Cheeti, Chen, Lee, Shi, Zbarskaya 1

The Little Foxes by Lillian Hellman

Rukmini Cheeti, Sunny Chen, Angela Lee, Chelsea Shi, Regina Zbarskaya Ms. Wilson AP Literature & Composition A 30 October 2013

Academic Honesty Statement I have read and understand the sections in the Student Handbook regarding Mason High School's Honesty/Cheating Policy. By affixing this statement to the title page of my paper, I am certifying that I have not cheated or plagiarized in the process of completing this assignment. If it is found that cheating and/or plagiarism did take place in the writing of this paper, I understand the possible consequences of the act, which could include a "0" on the paper, as well as an "F" as a final grade in the course.

2007, Form B. Works of literature often depict acts of betrayal. Friends and even family may betray a protagonist; main characters may likewise be guilty of treachery or may betray their own values. Select a novel or play that includes such acts of betrayal. Then, in a well-written essay, analyze the nature of the betrayal and show how it contributes to the meaning of the work as a whole.

Cheeti, Chen, Lee, Shi, Zbarskaya 2

The Little Foxes by Lillian Hellman: Rationale The prompt was chosen to guide the performance of recreating the American drama, The Little Foxes by Lillian Hellman. This prompt revolves around betrayal, a major theme in the play. The acts of betrayal by the family members in the play show that no matter the strength of familial ties, the nature of greed dominates the characters actions. Regina purposely allowing Horace to die by not helping him reach his medicine lets her fulfill her personal agenda an act of betrayal contributes to the growth of greed. Scenes were selected from the beginning, middle, and end of the play to show the development of the argument throughout the story. The first scene, from Act I, was used to set the stage of the family for the audience. In this scene, the mindset of the Hubbard brothers and Regina is shown to be about attaining power, instigating arguments amongst family members, and causing them to stop trusting one another. The middle scene, in the beginning of Act III, gives a glimpse into the suppressed family members: Horace, Birdie, and Alexandra. The characters express their thoughts, feelings, and intentions that would have gone unnoticed in the eyes of the selfish part of the family. The scene that ends this recreation is at the end of Act III, of Horaces death with an unmoving and uncompassionate Regina who wants her husband to die and so lets him from a heart attack. Concluding with a death of an oppressed family member is pivotal to the play, to the message sending out that greed will come out as the victor. Stylistic choices consisted of presenting the scenes of the play in a Criminal Minds framing, and imitating the format of the episodes as a way to transition from the scenes. Hellmans simplistic and straightforward style, with a tinge of drama, brought about the change in camera angles and lighting. The camera angles heightened the drama aspect and the lighting changed to fit the scenes mood.

Cheeti, Chen, Lee, Shi, Zbarskaya 3

The Little Foxes by Lillian Hellman: Synopsis Sheet General Synopsis Regina and her brothers, Oscar and Benjamin, are trying to work out a business deal with Marshall, a businessman from Chicago. They want to profit off a cotton mill by combining their money. However, Regina needs the money of her husband, Horace, who is in Baltimore because he is extremely ill, in order to complete the deal. She uses her daughter, Alexandra, to bring Horace back to get the bonds he has in his safety deposit box. She and Ben also agree to give a part of Oscars original share to Horaces share to entice Horace into the deal. When Horace returns, he refuses to hand over his money, so Oscar and Ben pressure Leo, Oscar and Birdies son, into stealing the bonds. When Horace finds out about the stolen bonds, he tells Regina that he is going to change his will so most of his money goes to Alexandra and that he gave the bonds to Leo as a loan, which cuts Regina out of the deal. However, before he can change his will, he suffers a heart attack. Regina makes no move to help and watches him die. Afterwards, Regina threatens to blackmail her brothers about the stolen bonds, saying that she wants 75% of the profits or she will report the theft. This drives her brothers away from her, as well as Alexandra, who abandons her (Hellman). Playwright Background Information Lillian Hellman (1905-1984) One of the major playwrights in America in 20th century Social justice themes, controversial Often compared with Ibsen and Chekhov Education as a child split into different cultures because of her often moving I cannot and will not cut my conscience to fit this years fashions. Extremely outspoken, adventurous, rebellious, and reckless; fit into the life of the 20s (Brody) Characters Main Characters Regina Hubbard Giddens - Wife of Horace, and sister of Ben and Oscar Benjamin (Ben) Hubbard - Brother of Regina and Oscar Oscar Hubbard - Brother of Regina and Ben, husband of Birdie Alexandra (Zan) Giddens - Daughter of Horace and Regina Horace Giddens - Husband of Regina (Hellman) Side Characters Birdie Hubbard - Wife of Oscar Leo Hubbard - Son of Oscar and Birdie Addie - Slave of Horace and Regina Cal - Slave of Horace and Regina Marshall - Chicago businessman (Hellman) Setting: A small town in the deep South, 1900; Regina and Horaces house (Hellman).

Cheeti, Chen, Lee, Shi, Zbarskaya 4

Key Plot Moments Near the end of Act I, Regina demands for more of the cotton mill contracts share because the brothers are now dependent on her husbands money. Ben; therefore, offers up a part of Oscars of the share as appeasement, and Oscar gets bad end of the deal. Greed is prevalent in the Hubbard family. In the beginning of Act II, Zan brings Horace home from Baltimore where he was treated for a heart condition. He is very weak from the travel and Zan is shown to be more independent and mature, strengthening her role as an individual. At the end of Act II, Horaces bonds are stolen by Leo to invest in the rest of the contract shares, heightening his role as the henchman and proving the Hubbard brothers will stop at no end to get what they want, with or without their sister. In the beginning of Act III, Horace directs Cal to inform Mr. Manders about receiving his safety deposit box and is asking for his attorney-of-law in front of everyone--referring to Leo--so he will find out by what Cal tell him of Leos reaction if he truly did still his bonds Horaces manipulative side and his reaction to betrayal is revealed. At the end of Act III and the play, Regina indirectly kills Horace by not helping him when his medicine bottle is broken and he gets up out of his wheelchair. He collapses; however, at the top of the stairs because he will not use the fact that her brothers and Leo stole Horaces bonds to gain more money out of the investment. Her greed manifests into murder and the renewal in her and her daughters life. Key Quotes Aunt Birdie: Dont love me. Because in twenty years youll be just like me...And youll trail after them hoping they wont be so mean that day or say something to make you feel so bad (Act III). Regina: I told you I married you for something...But I couldnt have known youd get heart trouble so early and so bad. Im lucky, Horace. Ive always been lucky (Act III). Horace: You wreck the town, you and your brothers, you wreck the town and live on it. Not me. Maybe its easy for the dying to be honest. And Ill do it without making the world any worse. Ill leave that to you (Act II). Alexandra: Addie said there were people who ate the earth and other people who stood around and watched them do it. Well, tell him for me, Mama, that Im not going to stand around and watch you do it (Act III). Birdie: I saw Mama angry for the first time in her life. She said she was old-fashioned enough not to like people [the Hubbards] who killed animals they couldnt use, and who made their money charging awful interest to ignorant niggers and cheating them on what they bought (Act III). Horace: Its a great day when you and Ben cross swords. Ive been waiting for it for years (Act II). Symbols/Motifs The bricks are physically the cotton mill that represent the stability and wealth brought to the homeowners (Act III). Lionnet, the plantation that Birdies family used to own, which Oscar married her for, shows old wealth as her family is aristocratic. The Hubbard Brothers are after this wealth, to attain it quickly and to keep it in the family (Act III).

Cheeti, Chen, Lee, Shi, Zbarskaya 5

The piano and music are outlets for the suppressed family members: Birdie, Horace, Alexandra, and Addie. A way to express themselves when no one else listens to them. Horace and Birdie played together when she first came into the family to make her more comfortable--a sanctuary away from the abusive husband, and good-for-nothing son (Act III). Chicago, a city in the North, is where the Hubbards and Regina, who are from the South, would like to go to and make profits. They are well off in the South, but Chicago is a status they want to achieve, to rise in social stature (Act I). Stairs show the level of domination. The higher the person is on them, the more dominance and power they have over the person lower on the stairs and on the floor. Mostly Regina is up on the landing talking down to her brothers, and when Horace crawls up the steps when he has a heart attack, he collapses and dies, never reaching that power (Act III).

Themes Lust for power - The Hubbard brothers and Regina will do anything, stealing to killing, to gain wealth and power. Death brings renewal - Regina wants to start a new life with Alexandra by using Horaces death. Betrayal - the fading family bonds are shown when Leo steals Horaces safety deposit box to invest in the cotton mill contract, and especially when Regina lets Horace die in front of her. Family - destruction of family is self-evident from the greed and betrayal. Escape from family pressures and social constraints is revealed by Hellman when Horace wants Alexandra to get away from this family in the South by understanding what they are capable of. Hopelessness for Alexandra is prominent after the tragedy of her father, but she is set on not moving with her mother to Chicago to live with her. Loss of innocence in Alexandra is seen from her giddiness to drive the buggy to her taking care of Horace and fighting with Regina to live her life the way she wants to after learning the knowledge of her mothers and uncles nature. (Hellman) Stylistic Devices Characterization is developed through their actions instead of the use of descriptive paragraphs to do so Writing Topics: legal distress, social justice, controversial themes Truthful and eye-opening Simplistic Blunt and plainspoken (Kornstein)

Cheeti, Chen, Lee, Shi, Zbarskaya 6

The Little Foxes by Lillian Hellman: Script Cast Regina Giddens - Regina Zbarskaya Benjamin (Ben) Hubbard and Birdie Hubbard - Sunny Chen Oscar Hubbard and Agent Shi - Chelsea Shi Horace Giddens and Agent Lee - Angela Lee Alexandra Giddens and Hallway Agent - Rukmini Cheeti Introduction Thesis: Set against the tense backdrop of the 1900 deep South, The Little Foxes by Lillian Hellman expresses the power of greed through the Hubbard's betrayal of each other to achieve selfish fulfillment; this is juxtaposed to the ideal thematic values of family which typically hold against all hardships. (Voiceover) Cues to opening death scene of Horace then cuts out. Horace dying scene - focus on hand and medicine bottle, Reginas blurry figure in the background Criminal Minds title and introduction of the actors as characters With Criminal Minds theme music Quote - From which the title was based off of: "Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes" (Song of Solomon 2:15). Transition #1 Agents walking along hallway, talking about the case, go into an interrogation room to talk to Regina, who recounts the happenings before Horaces death in a flashback; talks about the bonds they were planning to borrow from Horace. Topic Sentence: In the beginning, the Hubbards attempt to preserve family bonds by insisting that the money will always stay in the family, providing an excuse for them to take a part of Oscars share. (Hurried in hallway holding coffee and files maybe a clipboard) LEE: Agent Shi. SHI: Agent Lee. LEE: Heres your coffee. SHI: So whats the deal this time. LEE: (fumbling through papers) Lady charged with killing her husband and stealing his money. SHI: Know the name? LEE: Regina Giddens. SHI: Whyd she do it? LEE: Dont know boss. SHI: I need stats on her LEE: Middle-aged. Southern aristocrat. Rich family too. One daughter. SHI: Status of daughter? LEE: Alive. SHI: Get ahold of her.

Cheeti, Chen, Lee, Shi, Zbarskaya 7

LEE: But we cantSHI: Dont question me, just do it. LEE: Sorry, Ill get on it. SHI: Stole from her husband, huh? LEE: Apparently, thats what I got from my report. SHI: I need family dynamics. LEE: Done. Ill take you to her immediately. (Both agents go to interrogation room) SHI: Hello Ms. Giddens. So I got a few questions Id like you to answer. REGINA: What do you want. I didnt do nothing wrong. SHI: Whoa now, I never accused you. We were just looking for some background information. LEE: Just to get a basis, why didnt caused Horaces death. LEE & SHI: (pauses for answer, regina is silent) SHI: So start from the beginning and dont leave a single. thing. out. REGINA: (scared eyes-- story begins) Scene 1: Dividing the shares (Act I) Characters: REGINA, OSCAR, BEN, BIRDIE OSCAR: (To REGINA) You are talking very big tonight. REGINA: (Stops laughing) Am I? Well, you should know me well enough to know that I wouldnt be asking for things I didnt think I could get. OSCAR: Listen. I dont believe you can even get Horace to come home, much less get money from him or talk quite so big about what you want. REGINA: Oh, I can get him home. OSCAR: Then why havent you? REGINA: I thought I should fight his battles for him, before he came home. Horace is a very sick man. And even if you dont care how sick he is, I do. BEN: Stop this foolish squabbling. How can you get him home? REGINA: I will send Alexandra to Baltimore. She will ask him to come home. She will say that she wants him to come home, and that I want him to come home. BIRDIE: (Rises) Well, of course she wants him here, but hes sick and maybe hes happy where he is. REGINA: (Ignores BIRDIE, to BEN) You agree that he will come home if she asks him to, if she says that I miss him and want him-BEN: (Looks at her, smiles) I admire you, Regina. And I agree. Thats settled now and--(starts to rise) REGINA: (Quickly) But before she brings him home, I want to know what hes going to get. BEN: What do you want? REGINA: Twice what you offered. OSCAR: (To REGINA) I think youve gone crazy. REGINA: I dont want you to fight, Ben-BEN: I dont either. You wont get it. There isnt any chance of that. (Roguishly) Youre

Cheeti, Chen, Lee, Shi, Zbarskaya 8

holding us up, and thats not pretty, Regina, not pretty. (Holds up his hand as he sees she is about to speak) But we need you, and I dont want to fight. Heres what Ill do: Ill give Horace forty percent, instead of the thirty-three and a third he really should get. Ill do that, provided he is home and his money is up within two weeks. Hows that? REGINA: All right. OSCAR: Ive asked before: where is this extra share coming from? BEN: (Pleasantly) From you. From your share. OSCAR: (Furiously) From me, is it? Thats just fine and dandy. Thats my reward. For thirty-five years Ive worked my hands to the bone for you. For thirty-five years Ive done all the things you didnt want to do And this is what I-BEN: (Turns to look at OSCAR. OSCAR breaks off) My, my. I am being attacked tonight on all sides. First by my sister, then by my brother. And I aint a man who likes being attacked. I cant believe that God wants the strong to parade their strength, but I dont mind doing it if its got to be done. You ought to take these things better, Oscar. Ive made you money in the past. Im going to make you more money now. Youll be a very rich man. Whats the difference to any of us if a little more goes here, a little less goes there--its all in the family. And it will stay in the family. Transition #2 Cuts back to the interrogation room, agents ask Regina if thats all; she says yes and they leave her. Agents head to a coffee shop/cafe where they plan to meet Alexandra and get a little more information on what happened between her mothers story and her fathers death. Alexandra recounts in a flashback what she learned from Birdie. Topic Sentence: Despite the outer appearance of a well-functioning family, a look at the more oppressed members of the household reveals that the family is crumbling from the inside. SHI: Is that everything? REGINA: (Softly) Yes. SHI: (to LEE as they walk out) What is the status on the stats and family dynamics I asked for? LEE: (hands SHI files) Here. I scheduled a time and we going to meet Alexandra at BuckStar in about a half hour. (Both agents walk out of camera frame) SHI: Then lets go. (In coffee shop) LEE: (Both agents shake ALEXANDRAs hand and sit at the table) Thank you for meeting us, Alexandra. ALEXANDRA: Of course. SHI: So sorry for your loss. ALEXANDRA: Papa was such a good father (frowns slightly as she is still grieving) LEE: Ahem. If you dont mind, wed like to ask about the rest of your family. ALEXANDRA: Havent you asked enough? SHI: We need to know a bit more about the relationships between your uncles and aunts. ALEXANDRA: They didnt kill papa. LEE: Im sorry, we have to be thorough. SHI: We can gain insight into Reginas motives through the types of relationships she was surrounded by. ALEXANDRA: Oh, its about Mother. Okay

Cheeti, Chen, Lee, Shi, Zbarskaya 9

LEE: Can you tell us a bit about your Aunt Birdie? ALEXANDRA: She didnt do anything bad to Father. SHI: We just want to know about her. ALEXANDRA: She didnt do anything. SHI: Calm down. Were not arresting her, we just need to know. ALEXANDRA: It was an excruciatingly sunny day out . . . Scene 2: At the piano (Act III) Characters: BIRDIE, HORACE, ALEXANDRA, ADDIE BIRDIE: (Counting for ALEXANDRA) One and two and three and four. One and two and three and four. (Nods--turns to HORACE) We once played together, Horace. Remember? ALEXANDRA: Papa used to play? HORACE: Indeed I did. Do you remember it? BIRDIE: I remember so well the time we played together, your papa and me. It was the first time Oscar brought me here to supper. Your papa said he could play the fiddle and hed be much obliged if Id play with him. (Laughs when he does not answer her) Horace, you havent heard a word Ive said. (sighs) But we didnt play together after that night. Oscar said he didnt like me to play on the piano. (Turns to ALEXANDRA) You know what he said that night? ALEXANDRA: Who? BIRDIE: Oscar. He said that music made him nervous. He said he just sat and waited for the next note. He wasnt poking fun. He meant it. Ah, well-- Your papa dont like to admit it, but hes been mighty kind to me all these years. Often hed step in when somebody said something and once--(She stops, turns away, her face still) Once he stopped Oscar from--Im sorry I said that. ALEXANDRA: How did you meet Uncle Oscar? BIRDIE: I remember. It was my first big party, at Lionnet I mean, and I was so excited. You know, that was the first day I ever saw Oscar Hubbard. My brother, to tease Mama, said maybe we should have invited the Hubbards to the party. He said Mama didnt like them because they kept a store, and he said that was old-fashioned of her. (Her face lights up) And then, I saw Mama angry for the first time in my life. She said she was old-fashioned enough not to like people who killed animals they couldnt use, and who made their money charging awful interest to ignorant niggers and cheating them on what they bought. She was very angry. And then suddenly she laughed and said, Look, Ive frightened Birdie out of the hiccoughs. (Her head drops. Then softly) And so she had. They were all gone. (Moves to sofa, sits.) BIRDIE: (Thoughtfully) Like I say, if we could only go back to Lionnet. Everybodyd be good and kind. I like people to be kind. Dont you, Horace? HORACE: Yes Birdie. BIRDIE: You all want to know something? I dont like Leo. My very own son, and I dont like him. My, I guess I even like Oscar more. ALEXANDRA: Why did you marry Uncle Oscar? BIRDIE: I dont know. I thought I liked him. He was kind to me and I thought it was because he liked me too. But that wasnt the reason--(Wheels on ALEXANDRA) Ask why he married me. I can tell you that: hes told it to me often enough. ALEXANDRA: (starts to say something but gets cut off)

Cheeti, Chen, Lee, Shi, Zbarskaya 10

BIRDIE: (Speaking very rapidly) My family was good and cotton on Lionnets fields was better. Ben Hubbard wanted the cotton and Oscar Hubbard married it for him. He used to smile at me. He hasnt smiled at me since. Everybody knew thats what he married me for. Everybody but me. Stupid, stupid me. ALEXANDRA: Youre not stupid, Aunt Birdie. Dont say that. BIRDIE: You wont like me now. You wont like me anymore. ALEXANDRA: I love you. Ill always love you. BIRDIE: (Angrily) Well, I dont. Dont love me. Because in twenty years youll just be like me. Theyll do the same things to you. (Begins to laugh) You know what? In twenty-two years I havent had a whole day of happiness. ALEXANDRA: (To BIRDIE) I guess we were all trying to make a happy day. You know, we sit around and try to pretend nothings happened. We try to pretend we are not here. We make believe we are just by ourselves, someplace else, and it doesnt seem to work. Come now, Aunt Birdie, Ill walk you home. Transition 3 Agents thank Alexandra and head back to interrogation room, where they confront Regina once more. This time, Regina confesses the truth in a flashback after some pressure by the agents; also mentions the stolen bonds. Topic Sentence: The family finally breaks down completely when Regina kills Horace by refusing to give him his medicine; this act of betrayal shows the overwhelming power of greed over blood. ALEXANDRA: Our family was falling apart. SHI: Well Alexandra I think thats good enough. Thank you. LEE: Yes, thank you for your time Zan. We wish you luck with all your hardships. Again, were truly sorry. (Agents out talking about interview as they walk along the street) LEE: It was all a scam. There was no love to begin with. SHI: As expected. So, Horace knew . . . LEE: Alexandra. That poor girl. We need to find out what really happened to her father. SHI: Right agent Lee. Lets head back to Regina. Shell know. LEE: What if she doesnt tell us Agent Shi? SHI: Oh she will. SHI: AGENT LEE! One more thing. LEE: YES, AGENT SHI? (shuffling papers and scuffling feet to catch up) SHI: Keep up. (Stampede into interrogation room with Regina sitting at interrogation table and light overhead, preferably all metal furniture) SHI: So. Whats the deal. REGINA: What do you mean? (surprised by the sudden entrance of the agents ) LEE: Dont play with us Regina. We know something wasnt right. REGINA: (panicked) Wh-what . . . I dont know what youre talking about. SHI: You know. Alexandra. Your daughter, she told us about how Birdie and Horace wasnt really in the fair share. LEE: Horace wasnt just a sick man and died. So tell us what really happened that night of Horaces death.

Cheeti, Chen, Lee, Shi, Zbarskaya 11

REGINA: ah but- (got cut off) SHI: I think its best that you listen. REGINA: (meekly) Alright . . . I was there... Scene 3: Regina watches Horace die (Act III) Characters: REGINA, HORACE REGINA: (Slowly, nods) When did you find out the bonds were gone? HORACE: Wednesday night. REGINA: I thought thats what you said. Why have you waited three days to do anything? (Suddenly laughs) This will make a fine story. HORACE: (Nods) Couldnt it? REGINA: A fine story to hold over their heads. How could they be such fools? HORACE: But Im not going to hold it over their heads. REGINA: (The laugh stops) What? HORACE: (Turns his chair to face her) Im going to let them keep the bonds--as a loan from you. An eighty-eight-thousand-dollar loan; they should be grateful to you. They will be, I think. REGINA: (Slowly, smiles) I see. You are punishing me. But I wont let you punish me. If you wont do anything, I will. Now. HORACE: You wont do anything. Because you cant. It wont do you any good to make trouble because I shall simply say that I lent them the bonds. REGINA: (Slowly) You would do that? HORACE: Yes. For once in your life I am tying your hands. There is nothing for you to do. (There is silence.) REGINA: I see. You are going to lend them the bonds and let them keep all the profit they make on them, and there is nothing I can do about it. Is that right? HORACE: Yes. REGINA: (Nods, softly, without looking at him) You will not say anything as long as you live? HORACE: Thats right. Theres nothing you can do to them, nothing you can do to me. REGINA: You hate me very much. HORACE: No. REGINA: Oh, I think you do. (Puts her head back, sighs) Well, we havent been very good together. Anyway, I dont hate you either. I have only contempt for you. Ive always had. HORACE: From the very first? REGINA: I think so. HORACE: I was in love with you. But why did you marry me? REGINA: I told you I married you for something. It turned out it was only for this. I cant stand the kind of man you are. Im lucky, Horace. Im lucky that you got heart troubles so early and so bad! HORACE: (reaches for medicine bottle on table, and falls, he drops to the ground for the medicine bottle, realizing Regina is not helping, he shouts) Addie! Addie! (Crawls up the stairs and collapses, dead, at the landing) REGINA: (Walks around the stairs, and quickly shouts for) Addie! Addie! Conclusion Regina convicted as guilty for killing her husband.

Cheeti, Chen, Lee, Shi, Zbarskaya 12

Cut to a few days later, where the agents reflect upon the message of the case as they walk along a sidewalk. LEE: Thats it. SHI: Thats it. She wasnt meant to coexists with her family. LEE: Never meant to help out her daughter either. SHI: Well, shes out of trouble now. LEE: Its sad to think that despite being family they were all out for each others heads. SHI: Unfortunately, the world typically does come down to money. LEE: I guess so. SHI: Know what, Agent Lee? LEE: Yes, Agent Shi? SHI: You did a good job today, proud of you. LEE: (smiling) Thanks! SHI: Stop smiling. So whats the next case? LEE: Man. Mid-thirties. Billionaire. Got shot into his pool last weekend. SHI: I see, lets get on it.

Cheeti, Chen, Lee, Shi, Zbarskaya 13

Bibliography A Trick Of The Tail. Genesis - Ripples... - A Trick Of The Tail. N.d. YouTube. YouTube. 24 July 2008. Web. 30 Oct. 2013. "Bell Sound Effects." SoundJay. N.p., n.d. Web. 29 Oct. 2013. Brody, Seymour. "Lillian Florence Hellman." Lillian Florence Hellman. N.p., n.d. Web. 29 Oct. 2013. "Criminal Minds Theme Song." YouTube. YouTube, 25 Oct. 2009. Web. 30 Oct. 2013. Hellman, Lillian. "The Little Foxes." Gaston. N.p., 29 Jan. 2010. Web. 18 Oct. 2013. "How to Talk With a Southern Accent | eHow." eHow. Demand Media, 12 Nov. 2007. Web. 30 Oct. 2013. Kornstein, Daniel J. "Fordham Law Review." The Case Against Lillian Hellman: A Literary/Legal Defense. 57 Fordham L. Rev. 683, 1989. Web. 25 Oct. 2013. SoundDogs. Sounddogs.com, Inc., n.d. Web. 29 Oct. 2013. Stephen. "Restaurant Ambiance Sound." SoundBible. N.p., 28 Dec. 2010. Web. 29 Oct. 2013. Suspense Music Soundtrack. N.d. YouTube. YouTube, 19 Apr. 2012. Web. 30 Oct. 2013. The Little Foxes: Birdie's Underscoring Sound Design. Matt Bulluck, n.d. YouTube. YouTube. 04 Mar. 2012. Web. 30 Oct. 2013.

The Little Foxes by Lillian Hellman: Storyboard Scene 1

Cheeti, Chen, Lee, Shi, Zbarskaya 14

Cheeti, Chen, Lee, Shi, Zbarskaya 15

Cheeti, Chen, Lee, Shi, Zbarskaya 16

Cheeti, Chen, Lee, Shi, Zbarskaya 17

Cheeti, Chen, Lee, Shi, Zbarskaya 18

Cheeti, Chen, Lee, Shi, Zbarskaya 19

Scene 2

Cheeti, Chen, Lee, Shi, Zbarskaya 20

Cheeti, Chen, Lee, Shi, Zbarskaya 21

Cheeti, Chen, Lee, Shi, Zbarskaya 22

Cheeti, Chen, Lee, Shi, Zbarskaya 23

Scene 3

Cheeti, Chen, Lee, Shi, Zbarskaya 24

Cheeti, Chen, Lee, Shi, Zbarskaya 25

Cheeti, Chen, Lee, Shi, Zbarskaya 26

Cheeti, Chen, Lee, Shi, Zbarskaya 27

Cheeti, Chen, Lee, Shi, Zbarskaya 28