Script & Reflective Report

Script

“WHAT D’OR WONT TELL HER”

By
Megan Payne


1. INT. MONA’S APPARTMENT – EVENING

D’OR runs up the stairs, her footsteps echo loudly on the wooden floor. There is eerie silence in the foyer of MONA’s apartment as its three occupants stand in shocked silence. It is decorated with the latest trends, the young and cool MONA fits right in but THE WILSONS – a middle-aged, mid-western couple – look out of place and uncomfortable. THE WILSONS look between one another with clear confusion, discomfort and upset, whilst MONA stares at the ground, avoiding their eyes.

MONA apologetically shows THE WILSONS out of the front door, they all seem to be in shock. MONA closes the door behind them, sliding down to sit on the ground and lean against it as soon as they’re gone. D’OR can be heard weeping upstairs. 
MONA composes herself, taking a deep breath and steeling herself to find D’OR. She lurches up the stairs, and finds D’OR lying dramatically across a chaise lounge in the bedroom, weeping. MONA takes D’OR into her arms. 

D’OR 
I swear, Mona… I swear to God… I never meant to lie to you.

MONA is still confused, but she continues stroking D’OR’s hair comfortingly as she talks

D’OR (CONT’D) 
I just wanted to be someone… 


BEGIN FLASHBACK:

2. INT. DOROTHY'S APARTMENT – EVENING 

The New York studio apartment is small and cramped, every surface covered with clothes as if the occupant had dressed in a hurry. The bathroom is the only separate space, equally as cluttered, the sink full of makeup and shower products. The one overhead light is dim and flickering, and the details of the room can barely be seen. Next to the unmade, clothes-covered bed sits an upturned wooden crate acting as a table. It holds a rotary phone, full ashtray, tangled and mis-matched jewellery, a burnt-down candle, and other miscellaneous affects, including a book titled Black Like Me, which has clearly been read many times by its worn, dog-eared appearance.

Suddenly, a tall, attractive young woman bursts through the door. She is dressed simply in flared blue jeans and a tight t-shirt, has long, wavy, dark hair and light skin. She moves frantically, and is clearly distressed. Moving towards the bed, she throws down a pile of papers, a modelling portfolio slips out of the pile, pasted with high-quality images of her and labelled ‘DOROTHY WILSON’.

Kicking off her shoes into the pile of mess on the floor, she lounges haphazardly on the bed and starts to flick through the other papers. They are all high-fashion and editorial magazines, and they all feature women of colour on the front page in extravagant and glamorous 1970s outfits.

DOROTHY stares at these images for a few long moments, visibly distressed, upset and deep in thought. Suddenly, the rotary phone beside her bed rings, she is excited because she knows it is her modelling agent – ANNA - and she has been expecting a call. She sits up, discarding the magazines into the already-messy sheets.

ANNA 
Hi, Dorothy?

DOROTHY 
(Hopefully) 
Anna! Yeah...?

ANNA 
I’m afraid they’ve gone with someone else on this one…

DOROTHY stops listening as soon as she hears the news, gazing forlornly at the discarded and crumpled magazines disdainfully. The agent can be heard offering reassuring platitudes for a few moments, and then hangs up. DOROTHY sits in silence for a few moments, before springing into action, and reaching to dial the phone again.

OPERATOR 
Hello, Operator. How can I direct you today?

DOROTHY 
Hi, I’d like to place a call to New Orleans, Dr. Landry’s practice. The number’s 504-891-8004.

OPERATOR 
Right away, ma’am.

The line goes silent for a few seconds, and Dorothy bites her lip worriedly as she listens to the static as her long-distance call is transferred.

DR. LANDRY 
Hello, Dr Landry speaking.

DOROTHY 
Hi, Doctor

DR. LANDRY 
Dorothy, hello. I take it you’ve made your decision?

Dorothy hums the affirmative, but she still looks deeply troubled 
DOROTHY 
I’m gonna do it, I don’t know how much longer I can manage like this

DR. LANDRY 
Well then I’ll book you in as soon as I can…

For a few seconds, all that can be heard is the flicking of paper and scratching of a pen as DR LANDRY finds an appointment, and DOROTHY’s heavy, anxious breathing.

DR LANDRY (CONT’D)
I can you be here next Tuesday at four?

DOROTHY 
Oh, of course! I’ll find a way! Thank you so much Doctor!

She excitedly puts down the phone, flinging herself back to lie on her bed, relaxed and grinning ear-to-ear.


3. INT. DOCTOR’S OFFICE – DAY

DOROTHY sits in a chair in a bland and almost empty waiting room. It is evident that little care has been taken; the beige and brown wallpaper is stained from cigarette smoke and peeling from the walls. It is silent except for the tapping on the receptionist’s type-writer and bubbling of a fish tank in the corner. DOROTHY is visibly anxious and uncomfortable as she looks around the room; crossing and uncrossing her legs repeatedly, wringing her hands together, picking at her fingernails, biting her lip, etc. 
Suddenly, an assistant calls out


ASSISSTANT 
Dorothy Wilson?

DOROTHY looks up.

ASSISSTANT (CONT’D) 
Dr. Landry’s ready for you in room three.

DOROTHY stands abruptly and walks where she is directed down the hall. As she walks, she puts on a brave face, taking a deep breath and raising her chin in pseudo-confidence. She enters the office where DR. LANDRY is waiting for her, sat at his desk.

DR. LANDRY 
Hello, Dorothy. How are you?

He gestures towards a chair opposite him, and DOROTHY sits.

DOROTHY 
Good, thank you Doctor – well, nervous, really.

DOCTOR 
Well let’s get started then, you have nothing to worry about.

DOROTHY is directed to a bed in the corner of the room. DR. LANDRY loses the curtain as she undresses. When he opens the curtain, she is wearing a medical gown and goggles over her eyes, lying on the table. DR. LANDRY moves towards a piece of equipment – a UV light machine – turning it on and placing it over DOROTHY as he begins to work. The room is silent but for the whirring of the machine and DOROTHY’s heavy breathing as she ties to calm her nerves.


4. INT. BEDROOM – NIGHT

DOROTHY is lying in bed in a private hospital room. The scene mirrors that which we first saw her in, but it is far more clinical and organised, and DOROTHY seems much more relaxed. She is noticeably more dark-skinned than previously. An alarm goes off, disturbing her rest. She reaches for a bottle of pills on the neatly organised bedside, labelled ‘melanin’ and takes two. She then takes a pamphlet from the table and beings to flick though it. It is a booklet of DR. LANDRY’s work, full of ‘before’ and ‘after’ images of women. In all the ‘before’ pictures, the women are light-skinned, and in all of the ‘after’s they are much darker-skinned. DOROTHY is excited to be looking at these pictures, and smiles at the booklet happily.

Suddenly, she is interrupted as the phone on her bedside rings.

DOROTHY 
Hi Anna!

The other side of the phone call is unintelligible.

DOROTHY (CONT’D) 
No, I won’t be in New York for a while I’m afraid.

(pause) 
No, I’m fine, just taking a vacation… Actually, I’m visiting that Doctor you told me about…

What ANNA replies cannot be made out, but she is clearly happy and excited, DOROTHY looks happy and relieved knowing that her agent believes she’s made the right decision.

DOROTHY (CONT’D) 
Thank you! Well, the Doctor said about three months but I just can’t wait to be back and working! 
(pause) 
Oh, of course, you too! Goodbye!

She hangs up the phone and replaces it on her bedside, turns the lamp off and settles into bed to sleep. 


5. INT. MODELLING AGENCY – DAY

A trendy, contemporary office in New York, decorated with bright colours and modern, abstract-shaped furniture. A young receptionist wearing disco-style clothes lounges at the front desk, smoking a cigarette. A woman walks in, she is wearing platform boots, a pant suit, large sunglasses, and has her hair mostly covered by a paisley silk scarf. She is an imposing and mysterious presence in the room. The Disinterested receptionist barely looks up from her magazine when she asks

RECEPTIONIST 
Name?

The woman takes off her glasses. She is Dorothy, but with much darker skin. 
DOROTHY 
Dorothy Wilson

The receptionist is suddenly interested, and looks up in shock. She is visibly taken aback by DOROTHY’s new appearance.

RECEPTIONIST 
Holy shit! What’ve you done Dorothy?! 
Dorothy’s confidence falters, and she suddenly seems apprehensive and self-conscious

DOROTHY 
Well…they thought I was due a new look…d’ya remember that spread I did for Mark, with the dark make up and all?

The receptionist nods, uncertain

DOROTHY (CONT’D) 
…and, well, the colored girls are getting all the jobs now anyways, and then this doctor came up…and…well…What d’ya think?

The receptionist has gotten up and walked around to the front of the desk to examine DOROTHY as she speaks. As DOROTHY finishes talking she takes one last drag of her cigarette and stubs it out in an ashtray behind her. DOROTHY takes her hands, seeking reassurance

RECEPTIONIST 
It’s…It’s really somethin’. Hell, if it makes y’ happy – you’ll always look good.

DOROTHY is pleased by this, instantly looking happier. Another woman – ANNA - has entered the room as the girls were talking, an older woman in her thirties, dressed simply in blue jeans and a buttoned shirt. She is clearly in charge here. She has been watching DOROTHY intently from the doorway.

ANNA 
Dorothy Wilson! Is that you?

DOROTHY turns around, when she sees ANNA she spins around as if to show off her new look.

ANNA (CONT’D) 
Oh, darling! We’ll have you working again in no time!


DOROTHY 
Really? You think so?

ANNA 
Of course, this is just the look all the chicest designers want these days. We just need to sort out a few details…

ANNA turns and walks back to her office, gesturing for DOROTHY to follow her. DOROTHY gives one last excited look to the receptionist and quickly hurries along behind ANNA


6. INT. PHOTOSHOOT – DAY

Inside a warehouse studio, a hubbub of people busy at work move around precisely. At the centre of it all – a photographer directs a group of black models wearing African-inspired prints and fabrics in modern 70s cuts and styles. 
A bell rings and the models move away from the set, as everyone moves their attention elsewhere, ANNA chaperones DOROTHY towards the photographer and designer - CHRIS

CHRIS 
Ah, here she is! The woman of the hour! How are you Dorothy darling?

He illustrates his speech with large, dramatic arm movements. As he reaches to give both ANNA and DOROTHY kisses on both cheeks, ANNA interjects –

ANNA 
It’s D’or now, remember, Chris?

CHRIS 
Oh, of course! Well, D’or, this is just the new look for you, this campaign will really set you on the path to stardom! You’re just the look we need…

D’OR is excited by this enthusiasm, and follows CHRIS – who is still talking excitedly – towards the set.

As D’OR begins to shoot, enthusiastically encouraged by all on set, the other models – who are standing in a corner, dressed in white robes – look on disapprovingly


MODEL 1 
Who the hell is she?


MODEL 2 
(mockingly) 
D’or.

MODEL 3 
Dorothy Wilson. She fell off last season – she was too ‘American Girl Doll’ for them-

MODEL 2 
(interrupting) 
So she’s gone black!

MODEL 1 
She’s what?! How’s that even allowed? There’s hardly a shortage of us!

MODEL 2 
Well I guess the real deal’s just too much to handle

The others nod along, and all three return to watching D’OR disdainfully.


7. EXT. STREET – EVENING

Later that day, D’OR is stood alone in a doorway outside the building of the photo shoot, sheltering from a rainstorm and struggling to light a cigarette as she waits for a cab. Another model exits the building, and walks past D’OR hurriedly. D’OR stops her

D’OR 
Hey! You got a light? 

The other girl pulls a Zippo from her jacket pocket and hands it to D’OR, squeezing into the doorway next to her to shelter form the rain. D’OR lights her cigarette, and pulls another straight from a holder in her purse, offering it to the girl as she returns the lighter. The girl accepts and lights up. The two stand silent for a few moments as they smoke, D’OR looking down the grey, rain-fogged street for cabs, the other girl studying her intensely.

MODEL 1 
You’re Dorothy, right?

D’OR 
It’s D’or now, but yeah

She seems proud of her new name, but not yet fully comfortable with it. 
MODEL 1 
You’re not black.

D’OR seems taken aback

D’OR 
I – I know…well…um…

MODEL 1 
You’re not black. You can do whatever bullshit you want to your skin, but you’re not black or ‘colored’ or whatever the hell you wanna call us

D’OR tries to interject again, but the girl keeps talking

MODEL 1 
When was the last time you got stopped in the street for ‘looking suspicious’, or watched a brother get beat by cops? When did a nice white family last move away from you on the subway, or at a restaurant, just because they don’t want to look at you, huh? I lose work every week because they’re ‘not looking for girls like me at the moment’…

Her rant seems to have drained her energy, and sent D’OR into shock. The model puts out her cigarette on the brick wall she’s leaning on, turns up her collar against the storm and turns to D’OR one last time –

MODEL 1 
Why the hell would you want this?

She turns and struts off, leaving D’OR leaning against the damp brick of the doorway looking shocked and confused.


8. INT. BAR – NIGHT

That night, D’OR sits at the bar in a small, dimly lit bar. There’s jazz music playing quietly, glasses clinking and the chatter of a comfortably full room. The bar is decorated in red velvet and gold art-deco furniture, the air filled with smoke. D’OR is sitting at the bar alone, perched on the edge of a stool, hunched over copy of Black Like Me as she plays idly with the cocktail umbrella in her drink. 
A man slightly older then her approaches, dressed in a brown leisure suit with well-styled hair and a moustache. D’OR does not notice him until he sits on the stool next to her and puts his hand over hers, removing it from her book. 
MAN 
Hey, sweetheart, what’cha got there?

He takes the book, folding the corner of her page, and frown at the covers for a few seconds before placing it back on the table. 
MAN (CONT’D)
Now what d’ya want with a book like that? Surely you ain’t got nothin’ to learn about bein’ black?

He leers at her drunkenly, leaning closer and inspecting her as he speaks. D’OR is uncomfortable, hands gripping the edge of the bar as she leans away as far as the small bar stool will allow her. 
MAN (CONT’D)
Y’know I’ve always wanted to be with a coloured girl, I bet you could show me a thing or two, huh? I like the exotic stuff…

He leans still closer, D’OR looks around desperately trying to catch the attention of a bartender or patron. Just as she is about to jump up or fall out of her seat, a stranger interrupts-
MONA
Hey, girl! Sorry I’m late! How are you?

The girl – MONA – kisses D’OR on both cheeks and hugs her, whispering

MONA
(whispering) 
Just go with it

She pulls away and the both turn to face the man
MONA (CONT’D)
Who’s he?

She nods towards the man.

MAN
Oh…um…I’m…uh…I’m just leaving, actually…

He is immediately embarrassed and quickly walks away
MONA takes his seat, gesturing to the bartender to get them another round of drinks 
D’OR
Do I know you?

MONA
You do now! I’m Mona!

She extends her hand jokingly, D’OR shakes it uncertainly

D’OR
D’or
(pause)
Thanks for getting rid of him

MONA
Oh, it’s nothin’! Us girls have gotta stick together, right?

D’OR nods agreeably, deciding that she seems to like the excitable stranger.
MONA (CONT’D)
(picking up the book) 
This yours?

D’OR nods again
D’OR
(shyly) 
Yeah,it’s…interesting

MONA takes her at her word and flicks through the book interestedly
D’OR
Are…you interested in it?

She seems surprised by to think that MONA might be

MONA
Of course! I’m from the Midwest so I never really thought about race stuff until I came here… but I figure I oughta learn what I can to help you guys 
(pause) 
I mean…I know it’s not the same as living it…I just want to do what I can…

She is clearly passionate about this, and MONA seems both taken aback and uncertain. MONA continues to flick through the book, unaware of D’OR’s concern
The bartender places two more cocktails down in front of the girls, and they ‘cheers’ them happily, as MONA starts chatting enthusiastically. 
The girls talk for hours, growing more friendly and affectionate, moving their seats so close that they touch as they talk and drink. Eventually the bar has mostly emptied and several empty glasses have accumulated in front of them.

MONA
(hopefully)
You wanna come to mine? I’ve got tequila

D’OR nods the affirmative, and the two leave the bar, arm-in-arm and giggling.


9. INT MONA’S APPARTMENT - DAY

MONA is rushing around the basic kitchen of her small apartment, putting together breakfast from a small cutting of a recipe from a magazine. She is dressed casually in jeans and a sweater and is humming along to the song playing quietly on the radio. 
D’OR emerges from the bedroom, wearing the same blouse as the previous night, but it is buttoned haphazardly and the collar is uneven. 
MONA
Good morning!

She puts an arm around D’OR as she approaches and kisses her on the cheek. D’OR barely responds, and then pulls away hurriedly.
MONA (CONT’D)
I made food – chitlins – I figured you could probably do with something to remind you of home..?

D’OR looks embarrassed as she declines –
D’OR
Oh, sweetheart, I can’t stay

MONA
(disappointed, resigned) 
Oh … okay…of course

D’OR
I’d love to, I would, but I’ve got to work…I should have mentioned it sooner

MONA is somewhat relived that it is not outright rejection
D’OR kisses her forehead and heads to the bathroom, grabbing her bag on the way. MONA takes her cup of coffee and sits on the couch, contemplating D’OR and their relationship in the short time they’ve known each other. 
From the couch she can see D’OR stood in front of the bathroom mirror through a small crack in the door. MONA watches intensely. 
In the bathroom, D’OR is washing her face thoroughly, and meticulously inspecting herself in the mirror as she applies some kind of cream. Every so often she appears to find something she is unhappy with and pours over the tiny imperfection for a few moments. When she is satisfied, she takes a small bottle of pills from her bag and takes two. She finally steels herself before emerging from the bathroom 
D’OR
I’ve gotta head off – I’ll see you again sometime..?

She walks to the front door as she speaks, and MONA joins her, opening the door for her
MONA 
Of course, I’d love to

They exchange kisses on both cheeks, and D’OR leaves. MONA closes the door behind her, turning back to the messy kitchen and untouched food in quiet contemplation.




10. EXT. FASHION SHOW – DAY 
D’OR gets out of a taxi outside a large, ornate building. The building is surrounded by people: paparazzi, fans and fashion-industry execs. As D’OR approaches the building an event manager directs her towards an area where several other models are being photographed. As she approaches the group, the other girls move away and bright camera flashes overtake her vision as her name is called out – it is clear she is the most sought after. 
11. INT. BACKSTAGE - DAY
After a few moments, she makes it inside the building, looking overwhelmed and stunned. She is directed towards hair and makeup where she sits at a table surrounded by stylists. 
DIRECTOR
Everyone, this is D’Or, take good care of her, okay?

The group nod along in happy agreement, as the director leaves, they eagerly jump to work.
MAKEUP ARTIST
It’s just so exciting to have you here, you’re really the hottest thing right now!

D’OR chuckles embarrassedly, but nods in agreement.
D’OR
I know, I mean I never thought I’d be here…it feels like I’ve finally made it

HAIR STYLIST 
Well that’s because you have, honey, you’re it.

They crew of stylists nod to each other excitedly. D’OR stares proudly at her reflection in the mirror as they get back to working feverently.

12. EXT. STREET – NIGHT

The show is a success; outside, the building is surrounded by people chattering excitedly about the show, designers, celebrities, models, etc. 
D’OR exits the building. Whereas other models peel off into taxis in friendly groups, she is alone, bewildered in the chattering crowd.
As she wanders aimlessly, she overhears a conversation –
MAN 
Oh and that first girl! I’ve never seen anyone like her before!

WOMAN
Uh, no, honey that’s Dorothy Wilson

She says D’OR’s name under her breath like it’s scandalous; the man she is speaking to is visibly shocked.

WOMAN (CONT’D)
Mmm hmm, I know…

MAN 
I mean I get a change but why would she want to look like… like that? She was such a natural beauty!

WOMAN
Your guess is as good as mine...at least she still looks good in the clothes

D’OR stands dumbfounded at the edge of the crowd. As they turn to leave, the pair notices her and stride past with condescending looks. 
MONA suddenly emerges from the crowd, cheery as ever, and finds D’OR, who puts on a fake smile. 
MONA
Oh finally, there you are! This is crazy, I never knew you were such a big deal!

D’OR smiles, embarrassed and feebly protests.

MONA (CONT’D)
I mean it! Let’s get outta here, you should be celebrating!

MONA takes her hand and drags her towards a waiting cab.

13. INT. D’OR’s APPARTMENT - DAY
This apartment is much nicer than the apartment we first saw D’OR in. It is spacious, with large windows and New York skyline views. It is decorated in expensive and fashionable furniture, with flowers and candles on every table. The walls are covered in framed photos of D’OR’s photoshoots, campaigns and magazine covers. On a small side take there is a telephone, alongside a framed photo of MONA and a postcard from San Francisco.
D’OR sits in a couch staring absently out at the morning view as she drinks a coffee and smokes. She looks tired and distressed, with her hair unkempt, bags under her eyes and dressed in uncharacteristically casual and ill-fitting old clothes.
She takes a deep breath and sets down her mug, steeling herself as she pick up a phone from a nearby side table and calls ANNA. It goes to voicemail.
D’OR
Hi, Anna. I really don’t know how to say this but… I’m leaving New York, and quitting modelling – for now – at least. I’m a fraud and…and I can’t take it anymore.

She stares wistfully at the photo of MONA as she speaks. There are a few moments of heavy silence, punctuated by D’OR’s anxious breaths, before she hangs up, placing the phone down, picking up the photo of MONA and laying back on the couch wistfully.

END FLASHBACK:

14. INT. MONA’S APPARTMENT – NIGHT

We return to the first scene, MONA holds D’OR as she cries in her lap. 
D’OR 
I’m a fraud, Mona!

MONA 
Why didn’t you tell me?

D’OR 
I tired. I tried lots of times. But every time I got close you would whip up a mess of chitlins or start talking about my beloved African heritage … and I felt like such a phony. I didn’t want you to be… ashamed of me…

MONA looks down at D’OR sympathetically. D’OR is avoiding eye contact but MONA takes her jaw and tilts her head up to look her in the eye

MONA 
Do I look ashamed?

D’OR shakes her head begrudgingly. MONA smiles and leans down to kiss her lightly, D’or wipes her tear-stained cheeks and smiles back.

D’OR 
This really is my real hair, Mona. I do have naturally curly hair

MONA chuckles affectionately and stokes D’OR’s hair

MONA 
Do you have any idea what I thought, D’or?

D’OR shakes her head

MONA (CONT’D) 
I thought you were dying. I freaked. I thought you were taking those pills because you were dying.

D’OR 
Of what?


MONA 
Sickle cell anemia, what else?

Both girls erupt into laughter, lying entangled on the chaise lounge, their worries forgotten for now.


End.

Reflective Report

My artefact is a screenplay adaptation based on part(s) of Armistead Maupin’s serial Tales of The City. My work will focus on the back story of Dorothy Wilson (D’or) which leads to and is partially revealed in ‘What D’or Won’t Tell Her’ (Black Swan edition 1989, p.222) and ‘Guess Who’s Coming to Dinner?’ (p.258)

It is revealed over approximately a page of the original text that D’or has been pretending to be Black, sending her entire character and relationships into question, however, as she is – at this point in the serial – a minor character, her story is not afforded much detail or expansion. I believe it would be interesting to explore this character and narrative in more detail, through a story which focuses primarily on her at an earlier point in her life.

I believe that this story is one which would interest modern audiences just as much as it did when Tales of the City was first released due to its themes of race, identity and privilege. I was inspired by the style/format modern Netflix docu-dramas such as Inventing Anna (2022) as this format allows individual characters to have their own episode(s), allowing more detailed and in-depth exploration and development of them/their stories, whilst staying true to Maupin’s original serial format. This fulfils Hutcheon’s definition of adaptation as “a creative and interpretive act of appropriation/salvaging” (Hutcheon 2006), as I would describe this adaptation as re-appropriating the original text, or salvaging the elements which have made it so successful, for a new, modern audience. Hutcheon also describes adaptations as “an extended, deliberate, announced revisitation of a particular work of art” (Hutcheon 2006, p.170). This is also relevant to my work as I believe that it is necessary to be “deliberate” and “announced” in this adaptation in order to accurately and appropriately tackle the complex issues (i.e. race, identity) in a way which is both authentic to the source text and historical context, and appropriate for a modern audience. Additionally, it is – by nature – an “extended […] revisitation of a particular work” as the television format allows for further exploration and extension of characters, themes and narratives.

The process of creating a transmedia extension of Maupin’s heterochosm of the original serials by rebooting Tales of The City in a new medium both allows existing fans of the written series or previous television incarnations (1993, 2019) to re-engage with this new expansion, as well as encouraging new audiences to engage with both this adaptation as well as previous versions of the text. Jenkins describes transmedia storytelling such as this as “a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience. Ideally, each medium makes its own unique contribution to the unfolding of the story” (Jenkins, ‘Transmedia 202’ USC). I aimed to achieve this by extending the text outwards from Maupin’s source text, as different details are made apparent/focused on in varying capacities in each text (serials, novelisations, original TV series, my adaptation), this allows audiences to engage with individual versions of the text, or with all of them, as they are both individually fulfilling, and fit together cohesively. This ties in to Claire Parody’s works on franchising and adaptations, in which she describes “the franchise text” as “an orchestrated multi-text” (Parody 2011, p.31). By focusing my idea for a series and my example episode on individual character(s) based on the canonical information we have of them from Maupin’s texts, I aim to allow my incarnation to fit alongside other adaptations in order to create an “orchestrated multi-text” which can be “differently constructed, at different times and by different audiences” (Parody 2011, p.31) and “makes its own contribution to the unfolding of the story” (Jenkins, ‘Transmedia 202’ USC). Incorporating consistent reference to and awareness of the source text places this adaptation in what Hutcheon described as a “system of diffusion”; “a continuum of fluid relationships between prior works and later […] revisitations of them” (2006, p.171). In order to reinforce this in my work, the first and last scenes of my adaptation (outside of the flashback) are taken largely from Maupin’s original texts (particularly the dialogue, which is almost exact), this allows pre-existing audiences of his work to identify elements which they may recognise and to understand the role of fidelity to the original in this adaptation, whilst also allowing me room to expand creatively on D’Or’s backstory through the use of flashback which makes up much of the episode.

When writing the artefact, I was conscious to extend the heterochosm in a way which would allow my adaptation to fit into the original series, primarily by being authentic to the setting and characters. Leitch – reflecting on Hutcheon’s work – suggests that “[a]continuum runs from those recreations that put an aesthetic premium on fidelity to the original text” (Leitch 2014, p.1). I felt that this fidelity to both the content and the “aesthetic premium” of the original text was essential in order to allow for immersion and maximum engagement. In order to do this, I researched the setting (New York, 1970s), as well as the varied ways in which people/characters presented themselves/were presented in media at this time. I also wanted to show a change in Dorothy/D’or’s presentation as she makes the conscious shift from presenting as a white mid-westerner to a black New Yorker. All of these details were essential in creating an immersive story world. Although I was not worldbuilding in the typical fantasy style, I believe it remains important to uphold Mark Wolf’s principles of worldbuilding (2012) in order to create an immersive and engaging story. The most important of this is to create consistency, allowing viewers to feel fully immersed in the 1970s New York setting. By creating a story world which is authentic to both the source text and the historical setting, “internal plausibility” for the text’s events is ensured, allowing audiences to become invested in, understand and relate to the narrative’s setting and themes without too much intrusion of modern criticism/knowledge.

Overall, I feel that my adaptation is effective and aligns with my original vision as well as established theories of adaptation and transmedia, as I have been mindful of this and the source text in order to  create “an extended, deliberate, announced revisitation of a particular work of art” (Hutcheon 2006, p.170).

Bibliography:

Hutcheon, L. (2006) A Theory of Adaptation. London: Routledge

Jenkins, H. Transmedia 202 [lecture] University of Southern California

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