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Day 6 Assignments
Reply to post your assignment.
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11 Replies
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Rob Bertrand Dialogue Structures
What I learned: I learned three distinct dialogue structures and how they are used to bring more realism to your dialogue.
INT. ANNIE’S ROOM – NIGHT
Annie sits on her bed with her back against the wall and her computer on her lap. She clicks send on a video message to Jocelyn.
It’s declined.
ANNIE
Whatever! I give up…She pushes the laptop away and squeezes her eyes shut.
Behind the wall, there’s a soft TAPPING, followed by a faint whisper.
Annie thinks she hears something.
GHOST VOICE
(whispers)
Aaaannniieee––The voice is interrupted by an incoming video chat. It’s Jocelyn.
Annie, takes a deep breath. She can’t seem too desperate so she picks up on the fourth ring.
Jocelyn appears on the computer screen. She seems preoccupied. Distant
JOCELYN
Hey.ANNIE
Hey.An awkward silence.
JOCELYN
So?ANNIE
So?JOCELYN
What’s up?ANNIE
Nothing…I guess?JOCELYN
Cool. Cool….so, um…I can’t see you anymore. My dad’s pretty pissed on account of…Jocelyn raises her arms, showing her casts.
ANNIE
Is that why you’re ghosting me?JOCELYN
I’m not ghosting you…I’ve been laid up. My dad came down on me, hard. Took all my shit. If anyone got ghosted…it’s me! You’re fucking mom pushed me down the stairs!Annie and Jocelyn face off. Emotion running hot.
ANNIE
What’s going on here, Jocelyn? What is this? What am I to you? Is this…is this some kind of game to you? Fuck with the broken girl?JOCELYN
Jesus, Annie. Calm the fuck down. Like, we just met. It’s not like we’re together, or anything.ANNIE
Right. I get it, now.JOCELYN
A’ight, then.ANNIE
So, all that talk about having your dad wrapped around your finger? All those rules you preach? The fuck you, take what’s yours attitude….it’s all for show? Are you fucking kidding me, right now?Annie begins to laugh.
INT. LIVING ROOM – ANDREW’S HOUSE – NIGHT
Jessica sits alone on the couch with a blanket, engrossed in an eighties slasher movie.
The closet door hinges CREAK as the door pushes fully open.
Jessica feels like she’s being watched. She pulls her blanket up to her face.
JESSICA
Mom? Is that you?GHOST VOICE
I want you to join me, Jesssiiicccaaaa.Jessica screams and bolts upstairs.
INT. JOCELYN’S BEDROOM – NIGHT
Jocelyn’s room is the the epitome of spoiled chic. She has everything, except the upperhand.
JOCELYN
He offered me a new car, Annie. A new fucking car!On Jocelyn’s laptop, Annie’s face melts into pure anger.
ANNIE
(angry)
A new car? A new fucking car!? I really liked myself around you!JOCELYN
Okay…whatever that means.Through the laptop screen, we see Annie’s bedroom door open. Jessica runs in.
INT. ANNIE’S ROOM – NIGHT
Jessica, scared out of her mind, taps Annie on the shoulder.
JESSICA
Annie! Annie!ANNIE
Shut up a second.JESSICA
But…there’s someone–ANNIE
–I said, shut the fuck up!Jessica recoils like she was hit. Annie turns her attention back to Jocelyn on the laptop.
ANNIE
I’m such a fucking idiot. I thought you were the coolest person I ever met! You gave me so much fucking courage. I believed you were real!INT. JOCELYN’S BEDROOM – NIGHT
Jocelyn rolls her eyes at the laptop, but notices movement in the doorway behind Annie.
JOCELYN
Annie–ANNIE
–But you’re not! You’re just like everybody else! Using people. Manipulating them…Jocelyn leans closer. Straining her eyes at the shape, standing in the doorway. It watches Annie from the shadows.
JOCELYN
Annie…someone’s behind–ANNIE
–The truth is…You’re not cool at all! You pretend to be this rebellious fucking punk, but really you’re just a fucking poser!INT. ANNIE’S ROOM – NIGHT
Annie leans back from the laptop screen. Adrenaline and anger, pumping through her veins. Jocelyn points to Annie’s bedroom door.
ANNIE
Well…like you said. I can’t see you anymore! So, fuck off!Annie moves to end the video chat.
JOCELYN
Someone’s in your house!CLICK. Chat ended.
Annie and Jocelyn slowly turns towards the door. No one is there.
A voice screams from downstairs.
GHOST VOICE (O.S.)
Annieeeee!Jessica jumps into Annie’s arms.
CUT TO:
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Amy’s Dialogue Structures
What I learned doing this assignment is using dialogue structures makes a scene a lot more interesting.
EXT. – POOL – DAY
Chloe stands at the edge of the pool looking tentatively into the water. Josh stands next to her pleading with her with his eyes. Meagan is watching from a distance.
ANNOUNCER
Swimmers on your mark.
JOSH
Come on, honey. Look, your mom may not be here, but this nice lady is. She’s going to be spending a lot of time with us from now on. She’ll be kind of like a mom.
CHLOE
I just feel like mom doesn’t care.
Chloe begins to cry.
JOSH
Come on, honey. You can’t spend your life standing on the edge of the pool waiting for someone to show up.
CHLOE
This is important to me. I thought that would make it important to her too.
JOSH
You’ve got to just jump in and start swimming. Or you’ll never get to the other side.
CHLOE
I don’t know if I can. She’s really hurt my feelings.
MEAGAN (O.S.)
Go, Chloe!
JOSH
See, Meagan is cheering for you. Come on, honey. Just do it.
ANNOUNCER
Okay, swimmers. On your mark.
Chloe tentatively gets into position.
ANNOUNCER
Get set. In 3-2-1
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I expanded an interlude scene with circular, metaphoric, and simultaneous dialogue to deepen character and setup payoffs later in the script.
EXT. SUMMIT HIGH RISE – DAY
BB and others watch as Hurricane Ida pummels the East River and the Summit high rise pancakes down.
A SERIES OF SHOTS
The pile transforms for search and rescue. Remains of Omar and Sandrine, Ibrahim’s wife and daughter are found by BB and Joe and respectfully covered in white sheets. September 4, 2021.EXT. NEW PALTZ CEMETERY – DAY
A Muslim service for Omar and Sandrine ends in early September 2021. Ibrahim can’t trust God anymore, so he goes through the motions like a robot. The following conversations go on at the same time around the cemetery.LITONYA
I don’t know what to say.
JAKE
I am sorry for your loss. Our loss, losses.IBRAHIM
There are no words to express this kind of tragedy.Litonya joins Kisele and Delphine who are planting trees.
LITONYA
Oaks are the strongest.DELPHINE
Not exactly, Mom. White oak is strong but pin oak is weak.KISELE
I prefer evergreens because they are beautiful all year round and never shed their leaves. And our company is called EvergreenEnergy.DELPHINE
But their roots are too shallow.KISELE
How do you know so much?DELPHINE
I like lab sciences as much as musical comedy. I like funerals where there is dancing.KISELE
SSShhh!While they are planting, Ibrahim is walking around the tombstone with Jake.
IBRAHIM
I will never have another wife like Sandrine, a companion in every way. Omar was the perfect son, the way he recited the Koran, did his homework, chores, and took care of the women. Islam started in deserts where water is sacred. Floods and hurricanes threaten its existence.JAKE
I know what it’s like to lose a wife but losing children must be hell.BB and Joe finish the digging.
IBRAHIM
Thank you. I cannot stomach this kind of manual labor.BB
Our pleasure, I mean—JOE
We are glad to help. When tragedy strikes, actions speak louder than words.BB
And Joe has been through enough fires, floods, viruses, and other disasters. You are a hero, sun.IBRAHIM
I will never have another son.Litonya and Delphine continue digging roots, but Kisele joins the men.
KISELE
We are planting trees to heal.IBRAHIM
Trees can’t replace humans.Just before they
cover the gravesite, Ibrahim throws his Koran into the hole. but keeps his
black gold and diamond prayer beads, [having them transformed into a necklace
with obsidian rock pieces he will later give to Litonya as a wedding present. Set-up
and Payoff.]JAKE
I never know what to say at funerals.JOE
You are not alone. -
Elizabeth’s Dialogue Structures
What I learned – these are not only entertaining but can serve as a skeleton for a scene…
EXT. GARDENS BY THE WATER – NIGHT
Red firetruck light, ribbons the night as—
Ed, in a bathrobe, huddles with formally-dressed residents/families in spit-spray rain as
The band tries to shelter their instruments in a van.
RESIDENT 1
We’re all going to die.
Ed clutches the framed photos from his alter. Looks at the frazzled woman—that would fine with him.
PAT
We are not. Some kid pulled the alarm. Besides we’re safe here.
DON
(Re: Ed’s frames)
Whatcha got?
Pat smells a story. Is insta-glued on the frames as—
RESIDENT 1
I smell smoke!
ED
(Embarrassed)
Oh, just photos.
(Notices on the top level)
Actually it is smoke.
PAT
A girl you didn’t tell us about?
Pat pushes the edge of one frame down to see—
PAT
That’s cradle-robbing!
DON
What?
(Tips the photo to him)
An’46 Ford? All of us were in cradles back then.
(To Ed)
Who is she?
Ed remains fixated on what clearly is smoke—
ED
I think that’s Edna’s place.
PAT
Was she your wife?
A fire bucket rises to the smoking room as—
Ed looks around, concerned—
ED
Where’s Edna
And Pat pushes Ed’s other frame’s corner, such that—
Both pictures begin to slip. As Ed barely keeps hold—
ED
Stop it!
Ed lifts the frames above Pat’s reach. Looks for Edna
PAT
I didn’t know you were married. When’d she die?
ED
(Annoyed)
A year ago.
(And)
We have to find Edna.
PAT
How long were you married?
DON
(Been looking, too)
You’re right. I don’t see her—
And Resident 1’s been listening—
RESIDENT 1
Edna’s going to die!
A fire hose blasts water at what what we now see is flames as—
Edna appears in a window near the flames and—
The bucket fireman motions her to get in his bucket but—
Edna shakes her head, ‘no.’ Points back into her apartment. Hollers something we can’t hear.
RESIDENT 1
(Yells at Edna)
You waiting to die, Edna?
Ed’s stamps toward the firetruck.
ED
Oh, for crying out loud!
(To Edna)
Edna, get in. The firemen are going to water your plants.
Edna yells something at Ed, which makes Ed—
Start to barge toward the entrance to get her. As he’s stopped by a fireman—
RESIDENT 1
Dr. Ed is going to die. He has a death-wish!
Explains to Resident 1—
PAT
That’s because his wife died last year.
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Jodi’s Dialogue Structures – Day 6
This is definitely how people really talk. We multi-task and our ears and minds are attuned to this. Writing in the three structures of dialogue; Circular, Metaphoric, and having two different conversations at the same time gives the scene more realism.
INT. HALSTON HOME, BATHROOM – NIGHT
JENNY HALSTON is bathing her toddler Jimmy, while she’s talking to her husband Sam. Jimmy splashes water on Jenny and is having fun doing so.
JENNY: Oh, my stars! Jimmy sit still, don’t rock this boat.
Jimmy is laughing.
JENNY: Mommy’s talking to Daddy right now, shhhhhh.
Jenny gestures shushing, and Jimmy mimics her. She smiles at him. She’s sudsing up the wash cloth and washes Jimmy.
JENNY: So, Sharon said that their car will only cost them five hundred dollars. What a steal huh!? It’s a beautiful blue color. Jimmy don’t go underwater like that, you’ll drown. The red one is a dream.
SAM: How many miles to the gallon do you think it gets? I like the car, it’s one of the newer models.
JENNY: I think she said, Jimmy, quit kicking me. It gets twenty four miles to the gallon, isn’t that amazing!?
JIMMY: Mommy, I’m getting cold.
JENNY: Shall we do it? Okay Sweetie, here’s your towel.
Jenny picks Jimmy up and stands him outside the tub awaiting his warm towel while Sam grabs Jimmy’s towel off the rack and holds it open for him to nestle into
JENNY: That’s my good boy, you warm now Sweetie? I can’t wait, let’s get one! The red one!
SAM: Vroom baby, vroom!
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Budinscak Dialogue Structures
Day 6
What I learned doing this assignment:
o Easy to implement tools to make our story’s conversations more real.
o Amazing piece from the ‘AMERICAN PRESIDENT’ from Aaron Sorkin.
Setup:
It’s the middle of Act 2 and we’re in Las Vegas.
Scene:
EXT. HOTEL PARKING LOT – DAY
Puck, with backpack, and Sal scamper through the packed parking lot searching cars like squirrels rummaging around for nuts.
PUCK
I’m sick and gonna throw up.
SAL
I’m searching for my mommy. Can you help?
PUCK
Where’s the gold? Where’s the gold?
SAL
Thunderstorms are coming, we need to be prepared.
PUCK
I’m terrified of a haboob.
Sal stops and gives Puck a ‘oh, I can top that’ smirk.
SAL
I’m looking for a dirty rotten pet snake.
Puck nods – you were right. Good call.
PUCK
Two minutes, one dollar.
SAL
You’re on.
The boys glide around people and moving cars, their eyes focused on their quarry like famished lions on a hunt.
PUCK
There it is. Over by the van.
SAL
I see it. Got what you need?
Puck follows Sal to a new Cadillac, uncle Jack’s doppleganger auto, the one driven by the snooty and mean, corpulent couple.
SAL
You’re up. I’m your eyes.
PUCK
Starting now.
Puck pulls a screwdriver out of his backpack and removes the Caddy’s plates with ease – too fast for Sal.
SAL
You’ve been practicing. (beat) Stop. Puck, stop. Large Marge and Little Dick coming this way.
LARGE MARGE
What are you boys doing by our car?
SAL
Puck, find him?
Puck worms his body from underneath the Cadillac.
PUCK
Not yet.
LITTLE DICK
Find what?
SAL
My cousin’s dirty rotten pet snake.
LARGE MARGE
Snake?
PUCK
He’s a devilish little guy. Well, three feet isn’t little. Thought I saw him slide under here.
SAL
We never could figure out how he got inside the car. It’s not like he’s got hands to open the door.
Marge and Dick exchange knowing glances – knowing it’s time to get the hell out of there.
PUCK
Good thing he’s not too poisonous.
SAL
Remember the last time?
LARGE MARGE
Don’t we have an appointment inside, honey? C’mon, bye.
The corpulent couple turn and were gone.
PUCK
What are we going to do about the time?
SAL
Three, two, one.
Puck swaps a license plate out of his backpack with the large couple’s Caddy. Like a pro, the ‘new’ plate is on in no time.
PUCK
Done.
SAL
Hmmm. I think you set me up.
PUCK
Never.
SAL
I can’t tell you the exact time, but you were fast.
PUCK
Thanks. Cool call, I always enjoy dirty rotten pet snake. Too bad they left so early.
SAL
I know. Marge no likey snakes. I wanted to show you my new I-just-got-bit move. (beat) You took advantage of your cousin, didn’t you?
PUCK
I wouldn’t do that. You owe me a buck.
Sal reaches into his pocket. He extends the dollar to Puck, but snaps it back before Puck can grab it.
SAL
Alright, double or nothing. You in?
PUCK
You kidding? Name it.
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Armand Dialogue Structures
What I learned…
1. CIRCULAR DIALOGUE
This is one of the easiest of all dialogue techniques. Essentially, one or more characters begin a subject, are interrupted, and circles back to their original subject.
2. METAPHORIC DIALOGUE
There are two varieties of metaphoric dialogue:
A. When someone speaks through metaphors. Like a business person who consistently talks through sports metaphors. “The client was walking us out. It was the ninth inning and just before we left, Jack hit a home run.”
Other metaphors: Nature, war, business, religion, movies, etc.
This, again, is an expression of “Life Metaphors” and I include it to emphasize that a Life Metaphor needs to be a metaphor, not just a saying or belief.
B. When two characters are doing and talking about something that actually represents something more important to them.
This happens in a lot of love scenes where the stroking of a horse or the tending of flowers is played out as foreplay to making love.
3. TWO DIFFERENT CONVERSATIONS AT THE SAME TIME
Person A talks about one thing. Person B talks about another. You’d think they’re in two different rooms. They’re not communicating, that’s for sure. But somehow, it comes around in a way that reveals character and makes sense to the audience.
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Janeen’s Dialogue Structures
What I learned doing this assignment is that doing more than one of these in a scene will make the scene much more interesting to the reader.
SCENE
INT. FIBER GUILD MEETING – TWO WEEKS LATER
BRIDGET, CINDA, MORGAN, EMILY and RHONDA are settling in to work on their projects.
BRIDGET
I don’t know what Morgan did, but Sarah CheckThisName got a job with her old employer after five years at home with her little one being abused. Is everyone finished with the charity projects for the shelter? I’ll collect them if you have anything.
Everyone searches their bags for hats, socks, blankets or other items they’ve made for the shelter and passed them down the line to Bridget or walks them over to her throughout the scene.
RHONDA
What did you do, Morgan?
MORGAN
I used the Waterman method to give her confidence and take away her pain and emotional distress from her abuse.
EMILY
I’ve heard you talk about the Waterman technique but I thought that was just something a person did to improve themselves, not something you were taking patients in – or client, or whatever you call them.
MORGAN
It’s something I do for myself or for others, but I don’t take clients.
EMILY
Rhonda, I need help. I dropped a stitch 7 rows back and I’m need your help to fix it so I don’t have to rip it back to there.
RHONDA
Sure, not problem.
Rhonda puts her work down and takes her chair with her to sit next to Emily.
As they talk about Waterman, Emily and Rhonda continue to work on the problem fix.
RHONDA
So what does Waterman have to do with Sarah? How does it work?
Rhonda deftly works with Emily’s project, pointing out what she’s doing to Emily
MORGAN
It’s a form of mind control. I go focus, concentrate on the problem, see the solution and then imagine that the solution is realized — kind of like telling the universe to “Make it so” while concentrating on what you want to happen.
Rhonda points out what she’s done to Emily
RHONDA
See how I marked the dropped stitch and then pulled up a little slack in each of the spaces where we’ll need a new stitch?
To Morgan
RHONDA
So how did you meet Sarah?
MORGAN
Oh, I don’t know her. Bridget just told me about her.
Rhonda’s hands freeze on Emily’s project.
RHONDA
So you’re telling me you fixed her without ever talking to her or knowing her at all?
MORGAN
Yes. That’s exactly right. It’s amazing.
RHONDA
Does it work on habits and pain and eating more healthy? Any of that?
Rhonda continues to look at Morgan.
MORGAN
All of it. It’s amazing stuff.
BRIDGET
I told her I think we should all learn how to use it. Imagine the impact of five people trying to help one of my shelter women at once rather than just Morgan.
CINDA
I’m in. Bridget, do you think these two colors coordinate?
She holds up two balls of yarn for Bridget to evaluate.
BRIDGET
They do.
RHONDA
I’m in.
EMILY
Me too, although it sounds a little too good to be true.
(to Rhonda)
Thank you so much for helping me with this, Rhonda. I knew you’d know what to do.
Rhonda relinquishes the project back to Emily.
RHONDA
You sure you’ve got it?
EMILY
I think so.
RHONDA
Can you get us the information on the class? Just email it to us.
MORGAN
Will do. This will be great.
Looking at the pile of hats, baby blankets and socks from the gals.
BRIDGET
This is magnificent, ladies. My women will love all of this. I’m looking forward to helping them with the Waterman Method too.
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PS 80 Michelle Damis – Dialogue Structures
What I learned doing this assignment. I can see how fun this could make some dialogue. But definitely not something you want to overdo. The American President example was great. I can see these techniques spicing up a boring scene or to really make impact in a critical scene like the Amer. Pres. Example.
I attempted a bit of a Circular technique with a little bit of metaphoric. While I get the gist I tried to find a scene that I thought would work.
EXT. THEATER – NIGHT
Jim and Osgood exit the theater under the marquee. Fatherly Jim picks a piece of popcorn off Osgood’s clothing offering it up to him.
OSGOOD
Ick…No thanks.
Jim throws the piece of popcorn up in the air catching it in his mouth.
Osgood is struck by Jim’s carefree nature. They start walking.
JIM
I still can’t believe you had never seen “War of the Worlds”. What did you think?
Before Osgood can answer.
JIM
We should watch the 1953 version this weekend. It’s really good too. The aliens aren’t as believable but the special effects were cutting edge for their time.
Beat.
JIM
What do you think aliens look like? I mean, if you believe in aliens… Do you think aliens exist? Or are we really the only ones in the universe?
OSGOOD
I think it is rather close-minded to think that humans are the only ones. I think many things could exist that people don’t believe in.
Osgood’s senses are alerted. He smells a threat.
JIM
Like what? Werewolves?…(growling) Or Fairies(he says in an Irish accent)
OSGOOD
Something like that…
EXT. PARK – NIGHT
Jim realizes they are walking past a park. The evening lamps are still on lighting up the playground structures: Swings, Monkey bars, Merry-go-round etc…
Jim takes off running into the park, startling Osgood.
JIM
Come on!(yelling back) Last one’s a rotten egg!!!
OSGOOD
(to himself) What the Hell does that mean?
He follows, staying alert. Jim has hopped on a swing, he gestures for Osgood to get on the other one.
Osgood sits down, but has no clue how to make it move.
Jim stops swinging abruptly in disbelief.
JIM
Do you not know how to “swing”?
Osgood looks guilty as charged.
Jim doesn’t ask why, he just starts teaching him. Soon they are both swinging high into the air. Osgood is really smiling.
JIM
Here, watch this!!… I probably shouldn’t be doing this at my age, but here goes!
Jim launches out of the swing, rolling in the grass. Groaning loudly from the impact.
Osgood in contrast effortlessly flies through the air and lands like a feather.
Thankfully Jim’s pride is more bruised than any body parts.
JIM
(to himself)
Yep…I should not have done that. (to Ozy) No need to tell Marin about this..OK?
Osgood helps him up. Jim brushes himself off.
JIM
Here this will be less impact.
CUT TO:
Jim and Osgood are laying on their backs as the merry-go-round slowly spins. They are staring at the stars in silence.
Eventually.
JIM
So what would you do if aliens were going to destroy your family? Your planet?
OSGOOD
I guess I would fight like Ray. I’ve never had a family though, so I don’t really know.
This question has deeply impacted Osgood.
JIM
I would do anything for my family. I would die for them. I would kill for them if I had too.
In all the fun, Osgood has forgotten the threat. Looking around he takes a deep “sniff”. Nothing for now.
Jim looks at his watch.
JIM
We should probably get home.
Jim uses his feet to slow them down, Osgood observes and joins in.
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BOB SMITHS DIALOGUE STRUCTURES
The dialogue structure of this scene is two conversations at the same time.
INT. STUDIO COMMISSARY – DAY
It is lunch time and again OTTO, LEO, and FRIEDRICH, plus two others are having lunch and discussing Football (soccer) and taking bets.
KARL enters.
FRIEDRICH
I predict Berlin will defeat Frankfurt this week, let’s create a betting pool.
All agree.
OTTO
Uh, hello, Karl. We were just proposing a betting pool for Berlin versus Frankfort.
KARL
And I propose we pursue our protest of Sternberg’s authoritarian directing style.
OTTO
There is nothing to go on other than his ordering us to take our watches off.
KARL
You mean no other grievances are in your copybook?
OTTO
Not one. We’re discussing a betting pool for Berlin versus Frankfort. Are you in?
KARL
I am in. Put me down for ten marks on Frankfort.
OTTO
Frankfort? You predicted Berlin’s defeat by Bremen. Didn’t happen. Berlin won with a goal inside the last five seconds.
KARL
Which means Berlin is not up to par. And Frankfort is out-playing every team. Why don’t we be our own winning team..
OTTO
The betting pool. Yes! On Berlin.
KARL
I mean our grievances.
OTTO
That’s a sure loss.
FRIEDRICH
I agree with Otto.
KARL
That we won’t win our protest?
FRIEDRICH
Well, no, I meant the betting pool is a sure win on Berlin.
KARL
Very well. But put me down for ten Marks on Frankfort and I’ll go to the Union President myself with the grievances, uh, grievance.
LEO
With only one grievance? Gerhardt won’t give you the time of day. You’d have more luck persuading him to join the betting pool.
KARL
Nothing ventured. Nothing gained.
OTTO
Yes, you are down for ten Marks on Frankfort – poor fellow.
KARL
I meant the grievance.
OTTO
Yes, poor fellow you are, Karl.
KARL
You men would let Sternberg walk all over you. I’d bet on that!
FRIEDRICH
Like Otto, my money is on Gerhardt to be in the betting pool.
Flustered, Karl storms off and exits.
CUT TO:
INT. STUDIO UNION OFFICE – DAY
GERHARDT, the Crew Members Union President, is seated at his desk. Seated in a chair in front of him is KARL.
GERHARDT
But Karl! This Union exists to address matters of pay and working conditions for crew members. It is part of our job to adjust to the demands of directors and their idiosyncrasies. I remember Pabst created hell for us on “Pitz Palu” So you leave your watches in the Locker Room. Big deal. You’re in good company. So do the actors as a matter of course. No one wears a watch if you’re in a film about Charlemagne. This is no matter of the Union lodging protests with the Studio chiefs. Your request to submit a formal protest is denied. Pommer would say the same. Anything else?
KARL
(trrying to be positive)
Well, would you like to be in on a betting pool of the game between Berlin and Frankfort?
GERHARDT
Now you’re talking. Yes. Put me down for fifty Marks on Berlin.
KARL
Not Frankfort?
GERHARDT
With the way Berlin beat Bremen with that goal inside of five seconds – of course – Berlin. A team that is hot is a winning team. Fifty Marks on Berlin!
Karl is deflated.
FADE OUT.
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Emmanuel’s Dialogue Structures
What I learned doing this assignment is dialogue structures always keep the reader engaged and the script a page-turner, especially circular dialogue and two different conversations at the same time.
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