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.

Andrew Klapproth Austin Spiker Iggy Cossman Colin Wiles Shreetej Reddy

Ms. Wilson

AP Literature and Composition

29 October 2013

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.

AP ENGLISH LITERATURE AND COMPOSITION 2007 SCORING GUIDELINES (Form B)

Question 3 (Acts of Betrayal)
The score reflects the quality of the essay as a wholeits content, its style, its mechanics. Students are rewarded for what they do well. The score for an exceptionally well-written essay may be raised by 1 point above the otherwise appropriate score. In no case may a poorly written essay be scored higher than a 3. 98 These detailed, well-written essays identify an act of betrayal in a novel or play, and they persuasively explain how this act contributes to the meaning of the work as a whole. Selecting apt and specific examples, they describe the treacherous act and cogently argue for its significance. These essays need not be flawless. Nonetheless, they exhibit the ability to sustain control over a thesis while discussing a literary work with understanding and insight. The best essays will demonstrate the ability to write with clarity and sophistication. 76 These competent essays also identify an act of betrayal in a novel or play and discuss its plausible contribution to meaning. Although these essays may contain some insight, it is less thorough, less perceptive, or less specific than that of essays in the 98 range. References to the text may be fewer or less aptly chosen than those in the best essays. These essays demonstrate the ability to express ideas clearly, but they do not exhibit the same level of mastery, maturity, or control as the very best essays. They are likely to be briefer, less incisive, and less well supported than the 98 essays. 5 These essays are characterized by superficiality. They may refer to an act of betrayal and offer some discussion of its significance, but they do not accomplish one (or both) of the tasks in sufficient depth or with sufficient development. The essays may rely on unsubstantiated generalizations, or the betrayals significance to the meaning of the work may not be soundly explored. Discussion, though not inaccurate, tends to be thin and may rely more on plot summary than do upper-half essays. These essays typically reveal unsophisticated thinking or immature writing. Although the writing is adequate to convey the students ideas and is not marred by distracting errors, the essays are not as well conceived, well organized, or well developed as the upper-half essays.

43 These lower-half essays reveal an incomplete or oversimplified understanding of the meaning of the work or discuss acts other than betrayal. They may fail to link the betrayal to a meaning in the text. Their assertions may suggest a misreading (that is, the interpretation may be implausible or irrelevant), or the work may be a poor choice for the question. The essays may rely almost entirely on paraphrase. Often wordy and repetitious, the writing may reveal uncertain control of the elements of college-level composition and may contain recurrent stylistic flaws. Essays that contain significant misreading and/or inept writing should be scored a 3. 21 These essays compound the weaknesses of the essays in the 43 range. They may seriously misread the text, and often they are unacceptably brief. Although some attempt may be made to answer the question, the observations are presented with little clarity, organization, or support from the text. Essays may be poorly written on several counts and may contain distracting errors in grammar and mechanics. Essays that contain little coherent writing or discussion of the text should be scored a 1. 0 A response with no more than a reference to the task. A blank paper or completely off-topic response.

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

AP ENGLISH LITERATURE AND COMPOSITION 2007 SCORING COMMENTARY (Form B)

Question 3
Sample: 3A Score: 9 This very thorough essay on Gabriel Garca Mrquezs novel Chronicle of a Death Foretold is convincing proof that sometimes more is more. Although the language is not uniformly sparkling, it presents a clear thesis. The essay sets up the persuasive analysis with an extended summary of the key events of the story relevant to the students argument. On the third page of the response, the student launches into the analysis proper, observing that the cruel irony of the situation set up by the cultural paradigm in which the characters of Mrquezs novel live is further revealed by the fact that the Vicario brothers immediately run to church for absolution of their crime (the murder, preceded by the betrayal, of the protagonist Santiago Nasar). This betrayal, according to the student, exposes the fallen nature of the society in which he lives. The tragic dimension of the betrayal, as the student cogently argues, is emphasized by the novelist, who is not subtlethough the student certainly isin drawing connections between the treachery against Nasar and the betrayal of Christ. The essay thus shows how this central act of betrayal contributes to the meaning of the work as a whole. Sample: 3B Score: 5 This essay about Joseph Conrads Heart of Darkness attempts to make a connection between certain betrayals and meaning in the novel: Kurtz . . . betrays his initial ideals and gives in to the darkness which is one of the major themes of the novel. The student first relates how Kurtz betrade [sic] order for terror by becoming more savage than the savages and then indicates how he betrayed his company and his intended. While the discussion is generally accurate, this essay provides a rather superficial analysis, using generalizations and what seem to be stock phrases garnered from class discussion instead of from a discovered understanding of the novel. Notice for example these explanations: They described his methods as uncuth [sic], but did nothing about them becaus [sic] of his immense amounts of irony, and he stepped into the interioronto [sic] the very heart of darkness. Though the essay contains some errors and awkward constructions, it is primarily limited by its inadequately developed argument. Sample: 3C Score: 3 This weak essay presents an incomplete and oversimplified understanding of the meaning of Thomas Hardys novel The Return of the Native and expends its energies, space, and time on a paraphrase of the protagonists treacherous actions. Only at the endtoo late, given the brevity of the essaydoes the student attempt to link Eustacias betrayal of Clym, but the discussion is unpersuasive and relies more on assertion than on argument and analysis of appropriate evidence. The essay never discusses the nature of the betrayal, and the students conclusion, that [t]he betrayel [sic] contributes to the whole novel by sort of being the source of all the other characters [sic] problems, is overgeneralized and unsupported.

2007 The College Board. All rights reserved. Visit apcentral.collegeboard.com (for AP professionals) and www.collegeboard.com/apstudents (for students and parents).

Shreetej Reddy, Andrew Klapproth, Austin Spiker, Ian Cossman, Colin Wiles Ms. Wilson AP English Literature 30 October 2013 M. Butterfly Mise En Scene Rationale AP Prompt: 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. Prompt Selection: We chose this 2007, Form B prompt because the theme of betrayal of others and personal values, as well as mature innocence is the center of the complexity of our piece. In M. Butterfly, David Hwang utilizes the main characters - Song and Gallimard - betrayals of each other's trust and their own values and depicts Gallimards naievete in his illusioned conception of the symbolism of the butterfly, through literary analogies to Madama Butterfly, in order to demonstrate his beliefs against racial stereotypes between the Western and Asian cultures. Act I: (pages 16-24) As Song desperately fell in love with Galimard, the distance he maintained made him believe that he gained power, strength, and dominance over Song, his butterfly, and his

relationship with Song led to the betrayal of Helgas trust. The significance of this portion of Act I is that it establishes the false illusion that Gallimard believes. After Song sends Gallimard numerous desperate, love letters which end by her declaration that she had already given you my shame, Gallimard says that he felt for the first time - the absolute power of man. (Hwang 30). This clearly shows that Gallimard believes that he is taking the role of a male foreign oppressor and dominating over the butterfly, which in the play Gallimard alludes to, Madama Butterfly, symbolizes a very innocent, weak native girl. His illusionment is that this relationship parallels that of Madama Butterfly and sets the foundation of the irony that will occur later in the play when it is discovered that his conception of Song being the butterfly was erroneous. In addition, as Helga begins to notice a repetition in Gallimard coming home late, she questions his whereabouts. He replies that he went to the... Dutch ambassadors home.( Hwang 22). This secret that he keeps from Helga is significant because it reinforces the theme of betrayal from breaking of Helgas trust. In our play, this relationship is reflected in a more modern setting. We depict the power that Gordon (Gallimard) falsely believed that he had over Sindi (Song) through the contrasting body language. As they both keep meeting up, Sindi overly-expresses her feelings towards Gordon which shows her desperation for him. Gordon is always very calm and relaxed in these encounters which shows that he doesnt openly exhibit any obsession over her. In order to effectively capture the body language, we used a medium angle shot in order to be able to see the contrast between Sindis touchy nature to Gordons slightly distanced nature. Also, through narration and voice-overs, the fact that Gordons betrayal of truth to Heidi is revealed to the audience, which represents Gordons betrayal of his own morals. In addition, the non-diegetic

sound of a loud bummm within the very first scene, as well as the close up shots of Gordon reflects the intensity and the importance of his relationship to Sindi. Act II: (pages 38-41) Through dramatic irony, the audience learns, unbeknownst to Gallimard, of Songs betrayal of her own values and her betrayal of Gallimard, which shows how she took advantage of his trust to steal classified information for her own personal gain, and how Gallimard is the true butterfly. The significance of this portion of Act II is the irony that unlike Madama Butterfly, in which the foreign oppressor exploited the innocent native, the true relationship between Gallimard and Song parallels the opposite of this relationship presented in Madama Butterfly. In reality, Gallimard is the butterfly, a naive lover, that is being tricked and betrayed by Song for her own personal gain when she steals information about Gallimards job and conveys it to Chin. In addition, the audience understands that Song had also betrayed some of her own morals when Chin tells her, Dont forget: there is no homosexuality in China!(Hwang 39). At this point, the audience understands that Song is the powerful oppressor and is actually a man and is a spy for China and is pursuing a relationship with Gallimard in order to steal information that he holds. In our play, Sindi (Song) is talking to the lead cheerleader, Chastity, at the opposing school that Sindi once went to, East Middleton Highschool. In this scene, Sindi is giving Chastity the West Middleton playbook. The lighting for this scene is slightly darker to represent the ominous nature of true betrayal that is occurring against Gordon. Also, a medium camera angle was used in order to include the reactions of both characters during full conversation between both Sindi and Chastity. For example, when Chastity is listening to the Sindis full account, she

is appalled by Sindis actions. The medium angle shot allows for the audience to witness these subtle reactions. In addition, diegetic sounds, specifically dialogue, is used to emphasize the fact the Sindi has also betrayed her own moral values. Chastity tells Sindi to remember not to practice homosexuality because it is against the Catholic conduct of West Middleton High school. This verbal statement from Chastity, coupled with the information that the audience already knows leads the audience to understand the Sindi went against and betrayed her Catholic morals. Act III: (pages 61-66) Song not only betrayed Gallimard by toying with his emotions and trust, but betrayed her moral values and her standing with the Communist party through her relentless pursuit of desire. Song betrayed Gallimards trust when he took the classified information that Toulon had entrusted Gallimard with to the Communist enemy. The result of this is the courtroom scene, where Gallimard is on trial for treason against his country when he would photograph them for me [Song], and Id pass them on to the Chinese embassy (Hwang 60). Also, Song betrayed Gallimards emotional attachment to him by revealing that his relationship with Gallimard was all a ploy to get the information. Song obtains complete control of Gallimards heart and tears it to shreds, doing it because he was...already full of pride when we met. No, not just pride. Arrogance. It takes arrogance, really - to believe you can will, with your eyes and lips, the destiny of another (Hwang 64). Here lies the complexity; while all along, Gallimard thought he was the foreign devil dominating the Oriental butterfly, when in reality, he was the butterfly being controlled and dominated by Song.

This betrayal is shown in our play with Sindi taking Gordons playbooks, which he was given to by Coach Tony and was trusted with, and giving them to the opposing schools team by Chastity, the enemy informant, in the darker, tense room. His emotional betrayal is shown by Gordon being physically upset and the majority of his shots in Act III being one-shots of him by himself. The enforcement of the punishment by Principal White, or the judge of the courtroom, is shown as the large, imposing rule of law and order through low angle shots and the slouching, submissive behavior by the other characters when around him. But when in the hallway walking away from the office, Sindi and Gordon are more upbeat, and medium angle shots restore the tension between the two shown in the closing lines of the play.

Synopsis Sheet:

Synopsis: Rene Gallimard is a French diplomat who is in China during the 1960s. While in China, he goes to a play, Madame Butterfly, and meets a woman who plays the main character who is an Oriental Chinese girl wooed by an American serviceman and marries him. Gallimard falls in love with Song because of her traditional Oriental style and her willingness to love him back. Gallimard has an affair with song over the next 20 years, periodically telling her inside information about the war in Vietnam. It is revealed to the audience that Song is a communist spy who is funneling information back to Maos government to support the Cultural Revolution. Also, Song is a man. After Gallimard returns to France, he longs to be with Song (whom he had a child with) and divorces his wife. Song is banished from China for counterrevolutionary acts (mainly homosexuality) and meets Gallimard in France. The story skips ahead to when Gallimard is being put on trial for giving information away to the enemy, and put in jail, where he later commits seppuku.

Playwright Background Info: Hwang is an American of Chinese descent whose plays were concerned with detailing the lives of Chinese/Asian Americans in modern society. He has produced everything from opera, film, and plays. He has had multiple films win awards such as the Obie Award (Fresh Off the Boat) and three Pulitzer Prize for Drama nominations, including M Butterfly, which also won a Tony Award.

Primary Characters: Rene Gallimard - French diplomat Song - Male communist spy posing as a female opera singer Marc - Gallimards best friend from college, appears in Gallimards dreams and visions convincing him to go after the ladies Helga - Gallimards wife Toulon - Co-worker of Gallimard in the French embassy Chin - Songs communist contact

Setting: Act 1 - China, 1960s Act 2 - China/France, late 60s and early 70s Act 3 - Courtroom and jail in France

Key Plot Moments: Act I, Scene 6 - Gallimard decides to go to an opera of the play Madama Butterfly, and he is swoon by the beautiful lead actress, Song, and she lays the foundation for Gallimards future love for her. Act II, Scene 4 - Song has a secret meeting with another woman identified only as Miss Chin, and Song divulges all the information that she has gathered about the Vietnam War from Gallimard, and it is revealed here that Song is a Communist spy for Maos government, and possibly not a woman.

Act III, Scene 2 - After revealing to Gallimard that she is a man, Song tries to convince Gallimard during a court case against Gallimard for treason that he still loves Song. But Gallimard realizes that it is he who was taken advantage of, not Song, and that he was teh symbolic Butterfly.

Key Quotes: Gallimard - Pg 28 - I began to wonder: had I too, caught a butterfly who would writhe on a needle I felt for the first time that rush of power - the absolute power of man. Gallimard - Pg 31 - Reading it, I became suddenly ashamed. Yes, my experiment had been a success. She was turning on my needle. But the victory seemed hollow.

Symbols/Motifs: In M. Butterfly a butterfly is used to allude to the opera Madama Butterfly in which a U.S. Naval officer marries a young Japanese girl, Butterfly. Pinkerton, the officer, later asserts his power over her and files for a divorce leaving the young native girl in a state of disarray, where she later commits suicide. Gallimard is in love with Song because he believes her to be his butterfly and on the surface she appears to be, but in reality Gallimard is the true butterfly because he was used and left to suffer. In M. Butterfly, comic relief and irony is inserted into the play with Gallimards extraextramarital affair. Simply put, alternate diction is used to describe the male sex organ in a laughable way; described as a weenie. This is a symbol for Gallimards ignorance and naivety that comes from twenty years of unknowingly dating a guy. This comic relief is seen in our reenactment of the play as we incorporate literal hot dog wieners throughout.

Themes: Betrayal (of each others trust and moral values) Love (Gallimard loves Song, while his love with Helga was false)

Stylistic Devices: Dramatic Irony - when the audience knows something that the character does not Flashback - scene that takes a narrative back in time to explain current events Allusion - a reference to an outside event, place, person, idea, etc.

First Scene:

Second Scene:

Third Scene:

Modern Butterfly
Iggy Cossman, Andrew Klapproth, Shreetej Reddy, Austin Spiker, Colin Wiles
Cast: Gordon (Gallimard) - Football player (Andrew) Sindi (Song) - New student, cheerleader, Gordons lover (Iggy) Heidi (Helga) - Gordons current girlfriend, class president, soccer team, smart (Austin) Mark (Marc) - Gordons best friend, ladies man (Shreetej) Coach Tony (Toulon) - Gordons football coach (Colin) Chastity (Chin) - cheerleader captain of Sindis old school, really religious and morally upright (Colin) Principal White (judge) - Head of the school (Austin) Betrayal is a common theme that has been exhibited throughout history; from Brutus in Ancient Rome, Benedict Arnold in colonial America, to inside modern day drama. M Butterfly can be added to that list. The struggles of one trying to find true love and happiness is plagued by the same putrid stench of treachery that has stained the annals of history since it began. Thesis: In M. Butterfly, David Hwang utilizes the main characters - Song and Gallimard - betrayals of each other's trust and their own values and depicts Gallimards naievete in his illusioned conception of the symbolism of the butterfly, through literary analogies to Madama Butterfly, in order to demonstrate his beliefs against racial stereotypes between the Western and Asian cultures.

Act 1
Scene 1 We enter the principals office with Gordon sitting on a bench outside the door. He is sitting similarly to Forrest Gump when another student comes in and sits down next to him, sad and disgruntled. Gordon: (after some silence) Why are you here?

Kid: I didn't cite my source correctly on my English paper man, I'm such an idiot! ... What about you? What's your story? Gordon: Well, to understand my story (bummmm) you have to go back (bummmm) to when I knew a girl (bummmm) whose name was (bummmm) Sindi. (Camera zooms in on Gordon's face with each bumm) Scene 2 [Narration] [Gordon: It started out innocently in the beginning. I met the woman of my dreams on accident.] Medium shot of Gordon throwing a football on the field. After a couple throws, he decides to throw it deep. Gordon: Hey, go long! (throws ball, grimaces when it hits the ground) (While finishing her cheer, Sindi ends in a split. She is hit and knocked over by Gordons football) Gordon: (helping her up) Oh my gosh, are you okay? I didnt mean to hit you Sindi: (angrily) Why did you hit me!? Right in the middle of my cheer, too. I cant believe that you did that to (accidentally strokes Gordons muscles) oh, youre really strong. Gordon: (stumbling over his words) Umm, yea ok, thanks. Sindi: What do you think about that? Gordon: I think youre kind of cute. What about me? Sindi: Sometimes, the feeling is mutual (Hwang 22) (Sindi walks away seductively, ending the scene) Scene 3 [Narration] [When I go back to Heidi the next day, I lied to her and said practice ran late. I had the power over her and she didnt know any better. I knew what I was doing was wrong, but I didnt care.] Narration is overlayed of a scene of Gordon walking through the hallway, head down, contemplating. Heidi enters from stage left, and begins a light hearted conversation with Gordon. Heidi exits, and Gordon continues his walk down the hallway. Scene 4

We see Gordon at his locker grabbing his books. Mark runs up to Gordon and goes total bro on Gordon. Mark: Yooo G-dog I saw you talkin' to that smokin' cheerleader babe yesterday! I didn't know you were such a playa' yo! Gordon: Im not, Mark, she's not even into me. Mark: Naww man I could totally see the lust in dem eyes bro, she was straight up thirsty for yourA random kid runs in the hallway by them holding a piece of paper, yelling "YES, I got a D!!" Mark: Yeah, what he said. Gordon: Why would you think she's into me? I'm not even that good with girls. Mark: Dude. You be straight messin' with me, right? You're dating freaking Heidi (last name), the freaking most popular chick in the freaking school. Gordon: Exactly! I'm dating Heidi and I can't cheat on her with someone I don't even think likes me. Mark: G-dog. I've got 5 chicks wit me at ALL times bro, my phone be blowin' up from all the girls wantin' to get some of this Mark-tastic. You can handle one extra girl. Gordon: I don't know Mark, I don't exactly want to be like you when it comes to dating. Maybe I will see her again and we'll see what happens. (Starts to walk away) Mark: (still standing at the locker) (yelling) Yo Gordon! When a woman says "Sometimes it is mutual" she ain't playin' bro! Dey be crazy yo!

Act 2
Scene 1 The kid is still sitting next to Gordon, passively listening to his story. Gordon: So after that I began to have a relationship with Sindi, and she seemed very interested in my football playbooks but I didnt care. Excuse me, I have to use the restroom. Kid: Huh? Okay. Gordon leaves, and right after he leaves the camera, Sindi walks in and sits in his spot. Sindi (male): (after some silence) Was Gordon here talking to you? Kid: ...Huh? What?

Sindi: Gordon was very naive when it came down to it. He didnt see at all what I was doing, unlucky for him. I kept taking his playbooks, and it was actually very easy Scene 2 (Gordon and Sindi are alone together in an isolated room) [Narration] [I gave him everything he wanted. He thought that he was in control of his situation like Mark said, but couldnt be farther from the truth] Sindi: Hey, what are those singles doing in your pockets? Gordon: Oh, these.Mark said they might come in handy (Gordon puts the singles away) Sindi: Alright you ready? (Sindi takes off shirt) Sindi: Do you like what you see? (Lights turn off) Gordon: Wait a minute, what is this wiener doing here? (Lights turn on) (Gordon is holding a hot dog wiener in his hands) Scene 3 We open in a darker room, Sindi is sitting inside with a very manly pose. Knocks are heard on the door. Sindi: Yo Chastity, come on in. Chastity: What are you wearing? Sindi: I could ask you the same thing. Its a disguise. Chastity: You sure? Sindi: Do I look like the same Sindi that know know at West Middleton? No. Here, I had to make a disguise so people from West and East Middleton dont know who I am. (Chastity begins writing down notes as Sindi speaks) Sindi: So, listen, you need to tell captain Kelsey that last night, our mission could have ended. Chastity: What do you mean? Sindi: Tell cheer captain Kelsey that he told me to strip. Chastity: I swear, I dont know nothing about this case anymore, nothin! Sindi: He told me to strip, and I had to make a decision. We cheerleaders, we gamble. My palms were wet, and I had to make a split second decision.

Chastity: Slow down, youre speaking too fastSindi: You write faster! Im the artist here. Chastity: Youre just going to get rough notes. Sindi: Suddenly, it hit me. All he wants to do is for her to submit. Once a woman submits, a woman is always ready to be generous. Listen here Chastity, it worked, I got the playbook Kelsey wanted. All of Coach Tonys notes, from the past 20 years hes worked here, is in there. Every single play, its in there. Chastity: This will do. But remember; there is no homosexuality at the Catholic private school at West Middleton! Sindi: Listen, Chastity, sometimes a counterrevolutionary act is necessary to counter a counterrevolutionary act. And with that, I kindly ask you to leave. (Chastity exits) (Hwang 48-49) Scene 4 (Gordon is in the hallway, and Sindi catches up with him) Gordon: Hey Sindi, I have great news! Im going to Alabama on a football scholarship! Sindi: (disappointed) But that is so far away! Why cant you stay around here with me? Gordon: Heidi also got a scholarship there, we are going together. This is where I want to go, Sindi. Sindi: Gordon, you cant go though! Its not supposed to end like this! Gordon: Why, Sindi? Why can I not go on and end it now? Sindi: Because I love you Gordon! I loved you since the first day I saw you and I always will! Gordon: (stunned) But Sindi, I never knew this Sindi: Yes! Yes! You are the only one for me, Gordon. Gordon: Ok then, Ill talk to Heidi and we can be together. (Gordon runs off) Scene 5: [Narration] [Little did he know, Gordons decision to break up with her was not up to him; he had already lost all of his free will.] Heidi: (crying) ...Its the Truth! Gordon: Heidi I have to break up with you. Heidi: I take it back, all of the cheerleaders are beautiful.

Gordon: I cant. I have cheated on you. Heidi: (sullenly) For how long? Gordon: For eight months. Heidi: I knew you would, since the day we started dating. I knew were going to cheat on me, but why her? Gordon: I cant date her, she is a cheerleader from West Middleton. Heidi: You cant date her, but you still dont want to date me? Gordon: Thats right! Heidi: (frustrated, she storms off) Shit! I hope everyone is mean to you for the rest of your life! (Hwang 57)

Act 3
Scene 1 (Sindi is sitting outside the principals office, still speaking to the kid) Gordon: Sindi, I brought you chocolates Please dont change. Sindi: (smacking chocolates to the ground) You know I have to. You know I will. No matter what your eyes tell you, you cant ignore the truth. (Hwang 59) (Principal White opens his door, yells out their names, they begin to walk in slowly) We look up at Principal White, he is sternly looking at the two students White: You both know why I called you in here today. Gordon, you betrayed Coach Tony by giving away his playbook to the other school, so we have decided to take away your football scholarship. Gordon: What! No, Principal White, you have it all wrong. It was him who betrayed me! I thought she was a girlfriend that I could trust, but it turned out that he wasnt at all! (arguing ensues between them) White: Enough! Sindi, we are expelling you from this high school for acts of homosexuality. But, before you leave I have one more question. Sindi: Fire away. White: I would like to know - indeed, all of Middleton would like to know - did he know you were a man? Sindi: He never saw me fully naked. White: That doesnt answer my question. Sindi: You know, Principal White, I never asked him (Hwang 60-62) Scene 2

[Narration] [Gordon: There is nothing more she could do; Im a man who loved a woman created by a man. Everything else - simply falls short. Sindi: Whats another bit of flattery when hes already given me weeks worth of it? Its a wonder my head hasnt swollen to the size of China. Gordon: But whos to say it hasnt] (Hwang 63) Gordon and Sindi are leaving the principals office, walking down the hallway, arguing with each other. Scene 3 [Narration] [That night I realized my search was over. And now, to you, I will prove that my love was not in vain - by returning to the world of fantasy where I first met her.] (Hwang 68) Gordon is tossing footballs on the field with the sun in the background, contemplating his thoughts to himself. Scene 4 [Narration] [Gordon: And I have found her at last. On a field in the outskirts of West Middleton. My name is Gordon - Also known as Madame Butterfly.] (Narration overlays scene of Gordon sitting sullenly on the bleachers, reflecting on life. He climbs to the top of the bleachers and without looking back, jumps) (Hwang 68-69) Scene 5 (scene occurs at Gordons funeral after all but three guests have left) Coach Tony (silently walks to the grave and leaves his whistle) Mark Pinkman ( silently walks to the grave and leaves his hat) Sam: (a.k.a. Sindi) (walks to the grave, leaves flowers and as he turns exclaims) Butterfly? Butterfly?

Conclusion: Although the tragic story of Gordon and Gallimard paints them as the victims of the betrayals of others around them, there are always two sides to the story. Sindi and Song may have broken their lovers hearts and destroyed their lives, they were not immune to betrayal themselves. Around the cast of

characters, the idea of who truly is the butterfly, who truly is the innocent one of them all, can not be solved with one simple answer.

Works Cited "David Henry Hwang." :: The Steven Barclay Agency. The Steven Barclay Agency, n.d. Web. 30 Oct. 2013. <http://barclayagency.com/hwang.html>. "Explore 1,888 Plays by 1,098 Authors!" David Henry Hwang. Playscripts Inc., n.d. Web. 30 Oct. 2013. <http://www.playscripts.com/playwrights/bios/115>. Hwang, David Henry. M. Butterfly. New York, NY: New American Library, 1989. Web. <http://unrulycrossings.wikispaces.com/file/view/Hwang_M.+Butterfly_.pdf>.

Works Referenced "Synopsis Madama Butterfly." Of Madama Butterfly. The Metropolitan Opera, n.d. Web. 30 Oct. 2013. <http://www.metoperafamily.org/metopera/season/synopsis/madama-butterfly>.