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Day 1 Assignments
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Armand Great Subtext Scene
What I learned…
SUBTEXT IS THE DEEPER MEANING.
Subtext has surface action and/or dialogue and it has a deeper meaning.
Subtext has a place/time where the subtext is delivered and a place/time where the real meaning is revealed.
Meaning revealed before the text. This often happens when there is some type of scheme. We are told about the scheme first, then see it played out. With each polite statement made, we interpret it through the scheme, thus experiencing the subtext.
PARASITE
INT. SEMI-BASEMENT – EARLY EVENING
The ‘master bedroom’ next to the entrance. Wall adorned with pictures of a young Chung-Sook competing at a national track and field championship as a student athlete. A SHOT PUTTER.
Great upper body glimpsed through tight uniform. No pictures of Ki-Tek.
ONE OF THE KIDS IS MORE ACCOMPLISHED THAN THE OTHER, AND MORE ESTEEMED BY HIS PARENTS
Early evening. It’s darker. The four family members are gathered around a table filled with various store-bought foods.
IT’S THEIR LITTLE LUXURY THEY CAN AFFORD
KI-TEK
What a special occasion. The four of us gathered here to celebrate the partial reactivation of our phones as well as our son’s upcoming job interview with a national franchise.
THIS IS WHAT THEY CAN AFFORD, AND WHAT THEIR SMALL VICTORIES ARE
Ki-Tek tries to deliver a heartfelt speech like a TV patriarch but severely lacks the gravitas.
Chung-Sook and Ki-Jung are already drinking their beers.
KI-WOO
Cheers!
KI-TEK
To family!
re: window
That son of a bitch. It’s not even dark yet!
The family turns to see —
A DRUNK MAN teetering toward the semi-basement window.
Their faces slowly fill with dread.
CHUNG-SOOK
How many times did I tell you? We need to put up a “No Urinating” sign.
THEY LIVE IN A REALLY BAD PLACE
KI-TEK
It’ll make them want to do it even more. It’s psychology.
KI-JUNG
to Ki-Woo
Go yell at him or something!
KI-WOO
It’s not the right timing—
The Drunk Man hasn’t unzipped his pants, still hovering uncertainly in the dark corner.
KI-WOO (CONT’D)
hesitates
I need to catch him in the act.
CHUNG-SOOK
Isn’t it fucking obvious? Just kick him out!
KI-JUNG
to herself
I hate this place.
SHE THINKS SHE SHOULD BE LITERALLY AND FIGURATIVELY AT A HIGHER PLACE IN LIFE
Ki-Woo gets up, still unsure, when —
VOICE (O.S.)
HEY, MISTER!
A VOICE booms from afar. Behind the Drunk Man, we see a handsome, well-built young man climbing off a fancy scooter. This is MIN-HYUK, 24. He walks over with a LARGE BOX in his hands.
KI-JUNG
Is that Min-Hyuk?
CHUNG-SOOK
It is.
Ki-Woo is surprised to see Min-Hyuk, who continues to yell at the would-be public urinater.
THE YOUNG MAN GOT OUT OF THIS ENVIRONMENT, IS MORE SELF-ASSURED AND CONFIDENT THAN HIS FRIENDS
MIN-HYUK
What do you think you’re doing? You think this is a public toilet?
DRUNK MAN
I, uh—
MIN-HYUK
What are you looking at!
Cowed by Min-Hyuk’s presence, the Drunk Man quickly skedaddles away.
Ki-Tek taps Ki-Woo on the shoulder.
KI-TEK
Your friend has mucho cajones.
CHUNG-SOOK
It’s that college student glow. Look at that confidence.
KI-JUNG
Which Ki-Woo obviously doesn’t have.
LITERAL LINE MEANING DELIVERED
A smitten Ki-Jung admires Min-Hyuk as he walks over to the apartment. He enters.
MIN-HYUK
How are you, Mr. and Mrs. Kim!
KI-TEK
Min-Hyuk! Good to see you, son!
KI-WOO
What’s with the surprise appearance?
MIN-HYUK
I texted you.
to Ki-Jung
Hey, Ki-Jung.
Ki-Jung smiles shyly as she nods.
Ki-Woo searches through his text messages.
KI-WOO
We could have met somewhere else. You didn’t have to come all this way.
EMBARRASED OF HIS SITUATION/HOME
MIN-HYUK
I brought this.
Min-Hyuk shows Ki-Woo the box.
MIN-HYUK (CONT’D)
It’s heavy so I had to bring it on my bike.
KI-JUNG
What’s this?
Ki-Jung lifts the flap to see a UNIQUELY SHAPED STONE and a wooden display stand inside.
MIN-HYUK
to Ki-Tek
When I told my grandfather I was going to see Ki-Woo, he gave me this.
KI-TEK
Whoa.
Ki-Tek picks up the large stone.
KI-TEK (CONT’D)
This is a precious viewing stone. Is this an abstract specimen?
MIN-HYUK
You know your stones, Mr. Kim. Pop-Pop’s been collecting viewing stones since his academy days. Our house is literally filled with these things — living room, study, basement… This one is supposed to bring luck. And money.
“THEY NEED IT”
KI-WOO
How perfect for us. Symbolic.
KI-TEK
Yes, how serendipitous. Please send him our sincere regards.
CHUNG-SOOK
to herself
He should’ve brought food.
WHICH IS WHAT THEY REALLY NEED, BAD ECONOMIC SITUATION
Ki-Jung stabs Chung-Sook with her finger. Fortunately Min-Hyuk didn’t hear.
As a beaming Ki-Tek continues to show off useless stone trivia —
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What I learned is that exaggerating on the nose creates laughs. That telling the truth can seem like a lie if it is incongruous. That once the truth is set up, the audience trusts the characters so when they are finally pushed to lie in the following scenes, new interest is generated. I learned that lies must form a quilt that runs underneath to another outcome, in this case a separation of Gil and Inez at the end.
Woody Allen’s Midnight in Paris is egregiously on the nose–that is where the comedy comes from at the beginning. He plants the fantasy of the time warp to the twenties to create situation comedies. Characters are stereotyped, especially historic writers, so that their dialogue is recognizable, exaggerated, and repeated for laughs. When people express their honest opinions in scenes, it can be hilarious and this was my strength. I was never good at subtext unless I did contrapuntal physical actions. But by the end of the script Woody Allen has set up intrigue and fantasy worlds and secrets so that he can play subtext. In the first scene, Gil the midnight reveler who is supposed to marry Inez in 2010 and live happily ever after in Hollywood had a secret new love, Adriana, who is also courted by famous painters and writers. The metaphor “volcano in the sack” is on the nose, true, and yet the other characters don’t know what is going on. But at this point in the script, pedantic Paul has also been playing beyond his partner’s back having a tryst with his former student Inez. So suspense is generated about their engagement that doesn’t look like it is going to happen.
INT. L’ORANGERIE MUSEUM – DAY 35
Paul, Carol, Inez and Gil in circular room with huge Monets.
PAUL
If I’m not mistaken he painted this
marvelous portrait of his French
mistress Madeline Brissou in the
twenties.
GIL
Er – I have to differ with you on
this one.
PAUL
Really?
INEZ
Gil pay attention and you’ll learn
something.
GIL
If I’m not mistaken this was a
failed attempt to capture a young
French girl named Adriana – from
Bordeaux – if my art history serves
me – came to Paris to study costume
design for the theatre. Believe
she had a brief affair with
Modigliani – then Braque – that’s
where Pablo met her – er Picasso.
You’d never know it from this
portrait but she’s quite subtly
beautiful.
INEZ
What have you been smoking?
GIL
And I’d hardly call the picture
superb. It’s more of a petit
bourgeoise statement of how Pablo
Picasso sees her, saw her – he’s
distracted by the fact she was a
volcano in the sack.
GUIDE
The writer clearly has feelings for
this man Gil. That’s your name,
no?
GIL
She finds him no genius – naive and
unassuming – that’s not exactly
dazzling.
GUIDE
To some women naiveté is endearing.
And she’s romantic. She dreams of
Belle Epoque Paris and a gift of
earrings and making love with this
man.
Gil stares, thinking.
CUT TO:
59 INT. HOTEL SUITE – NIGHT 59
Gil is sprucing up. He douses himself with aftershave,
checks clock. It’s eleven PM.
GIL
(to himself)
Eleven – let’s see – where the hell
am I going to get earrings at this
hour?
(thinks)
I must improvise.
He goes to Inez’s jewelry box and picks out art nouveau
earrings he knows Adriana would like. He grabs a box and
gift wraps it quickly.
Maybe it comes in a blue velvet box and he finds some colored
paper. Gil writes card: To Adriana with love. He crosses
it out – To Adriana avec amour.
He gives a final check to himself and opens door to leave,
running smack into Inez and both her parents, home from their
trip prematurely.
GIL
Ohmigod! What are you doing back?
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58 CONTD: (2) 58
INEZ
Daddy got chest pains.
GIL
Really?
JOHN
I’m sure it’s indigestion.
HELEN
Well we can’t take a chance.
INEZ
Daddy had an angioplasty three
years ago.
JOHN
They put a balloon in me. Big
deal.
HELEN
(phone)
Yes – I want the hotel doctor –
suite 818.
(she trails off)
INEZ
Why are you so dressed up?
GIL
Me? No – I was just writing.
INEZ
You dress and put on cologne to
write?
GIL
I took a break and showered. I
think better in the shower. All
those positive ions.
INEZ
We were halfway to Mont. St.
Michele and Daddy started to look
pale.
GIL
That’s terrible.
INEZ
We turned right around.
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59 CONTD: 59
GIL
No – sure – is there anything I can
get you, John?
JOHN
I’m fine. I’m sure it’s the beef
bourguignon.
INEZ
What’s this.
(picking up gift)
GIL
(grabs it from her)
It’s nothing – nothing –
INEZ
What is that? It’s a present.
GIL
Yes – yes… it is. Because it’s
gift wrapped… but er – you’re not
supposed to see that – it’s a
surprise.
INEZ
You got me something?
GIL
It’s nothing great – from the flea
market.
INEZ
Let me open it.
GIL
No! No – not now… I got it for –
I mean to give it to you at a
special dinner – just leave it…
GIL IS LYING.
INEZ
Now I’m dying of curiosity. If
it’s jewelry I hope it’s my taste –
not like the moonstone necklace.
GIL
You didn’t like the moonstones?
They’re understated yet elegant –
(to Helen)
Don’t you always say that, ha,
ha…
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59 CONTD: (2) 59
HELEN
Cheap is cheap is what I always
say.
INEZ
You never saw the necklace he got
me. I’ve never actually worn it.
You’ll see why immediately.
Opens her jewelry box, holds up moonstones.
GIL
I thought you’d like their
simplicity.
INEZ
That’s just it, they’re too simple.
HELEN
I agree.
INEZ
Hey – where are my art nouveau
earrings?
HE STOLE IT FOR FANTASY ADRIANA.
GIL
You probably didn’t pack them.
INEZ
I’ve worn them here.
GIL
I guess you lost them. They
probably dropped off.
INEZ
Both of them? My ears are pierced.
HELEN
I told you to keep everything in
the hotel safe.
INEZ
You think it was the maid?
HELEN
It’s always the maid.
INEZ
I remember seeing them there this
morning.
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59 CONTD: (3) 59
HELEN
I would report the theft right
away.
INEZ
I’ll bet it was that maid. She was
so snotty yesterday about turning
out the beds.
She goes to phone.
GIL
Gee I wouldn’t jump to any
conclusions. I mean an accusation
of theft.
INEZ
(phone)
I want to report a theft. I’d like
the house detective to please come
to room 818.
GIL
Oh god –
INEZ
(hangs up)
I didn’t like that maid from the
first day, didn’t I say that?
Gil seems like a psychotic surrealist when he is telling the truth. One of Allen’s techniques is to make the truth funny through juxtaposition and exaggeration. Then he filmed it to look exquisite and romantic and researched the past to make incisive, accurate jabs at the twenties and Gilded Age to please his educated audience. Only 90 pages and it reads fast, turning pages, with great dialogue and monologues as if it were a play and gorgeous cinematography of Paris. The DEEPER MEANING is also related to his impressive satire of the writers of the twenties and what he reveals about how we humans paint history in pretty colors because we can’t tolerate the present. Even Adriana wants to go back to the Belle Epoque. The goal of this film is to make the audience think as well as feel, laugh, and be charmed by the fantasy trip.
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Budinscak Great Subtext Scene
What I learned doing this assignment:
o It’s a way to seamlessly blend emotion, meaning, feelings, etc. into your character through their dialog.
o A notable skill set to elevate our dialog to attract A-list talent.
o A key skill to separate ourselves from other screenwriters.
THE SOCIAL NETWORK
OPENING SCENE
FROM THE BLACK WE HEAR—
MARK (V.O.)
Did you know there are more people with genius IQ’s living in China than there are people of any kind living in the United States?
ERICA (V.O.)
That can’t be true.
MARK (V.O.)
It is true.
ERICA (V.O.)
What would account for that?
MARK (V.O.)
Well first of all, a lot of people live in China. But here’s my question:
1 INT. CAMPUS BAR – NIGHT 1
MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger. He has trouble making eye contact and sometimes it’s hard to tell if he’s talking to you or to himself.
ERICA, also 19, is Mark’s date. She has a girl-next-door face that, makes her easy to fall for. At this point in the conversation she already knows that she’d rather not be there and her politeness is about to be tested.
The scene is stark and simple.
MARK
How do you distinguish yourself in a population of people who all got 1600 on their SAT’s?
ERICA
I didn’t know they take SAT’s in China.
MARK
I wasn’t talking about China anymore, I was talking about here.
NOTE: Mark says he has a problem as he wonders how he can separate himself from his peers/pack. Who are they? They’re other geniuses that scored 1600 on their SATs.
ERICA
You got 1600?
MARK
You can sing in an a Capella group.
ERICA
Does that mean that you actually got nothing wrong?
MARK
Or you row crew or you invent a 25 dollar PC.
ERICA
Or you get into a final club.
MARK
Or you get into a final club, exactly.
NOTE: She finally catches up with the conversation and he acknowledges it. He indirectly tells Erica how he plans to separate himself.
ERICA
I like guys who row crew.
MARK. (beat)
Well I can’t do that. And yes, it means I got nothing wrong on the test.
NOTE: Finally, he answers her question of what it means to get 1600 on your SATs.
ERICA
Have you ever tried?
MARK
I’m trying now.
ERICA
To row crew?
MARK
To get into a final club. To row crew? No, Are you, like—whatever—crazy?
NOTE: He tells her clearly what avenue he’s selected – final club.
ERICA
Sometimes, Mark seriously you say two things at once and I’m not sure which one we’re talking about.
■ARK
But you’ve seen guys who row crew, right?
ERICA
No.
MARK
Okay, well they’re bigger than me. They’re world class athletes. And a second ago you said you like guys
who row crew so I assumed you’d met one.
NOTE: Mark lets Erica know he’s committed in his pursuit and will never be confused with an athlete.
ERICA
I guess I meant I liked the idea of it. The way a girl likes cowboys.
MARK takes a cigarette from a pack, lights it, takes a drag and blows the smoke out before he says…
MARK
Hm.
ERICA
What?
MARK
Why would you ask me that?
ERICA
I was just asking.
MARK
They’re all hard to get into. My friend Eduardo made $300,000 betting on oil futures last summer and he won’t get in. Money or the ability to make it doesn’t impress anybody around here. Everybody can do that.
ERICA
He made $300,000 in a summer?
MARK
He likes meteorology.
ERICA
You said it was oil futures.
MARK
If you can predict the weather you can predict the price of heating oil. You, asked me that because you think the final club that’s easiest to get into is the one where I’ll have the best chance.
ERICA (beat)
I’ve lost my place again.
NOTE: Mark’s friend’s success could be done by anyone – Mark will do better, needs to do better – and the last thing he will do is to join the easiest club to enter.
MARK
You asked me which one was the easiest to get into because you think that’s where I have the best chance.
ERICA
The one that’s easiest to get into would be the one where anybody had the best chance.
MARK
I just, think you asked—the placement of where you asked the question–
ERICA
I was honestly just asking. Okay? I was asking just to ask. Mark, I’m not speaking in code.
MARK
Erica—
ERICA
You’re obsessed with the finals clubs. You have finals clubs OCD and you need to see someone about this who’ll prescribe some sort of medication. You don’t care if side effects may include blindness, okay, just, do it.
NOTE: The whole conversation has revolved around him and she feels/realizes she’s there to listen to him and nothing else. The sounding board has had enough.
MARK
Final clubs. Not finals clubs and there’s a difference between being obsessed and being motivated.
ERICA
Yes there is.
MARK
Well you do–that was cryptic–so you do speak in code.
NOTE: Erica tells Mark he’s obsessed. He picks up on her subtext, but shows no interest in her message.
ERICA
I didn’t mean to be cryptic.
MARK
I’m saying I need to do something substantial in order to get the attention of the clubs.
ERICA
Why?
MARK
because they’re exclusive. (beat) And fun and they lead to a better” life.
ERICA
You think Teddy Roosevelt got elected president because he was a member of the Phoenix Club?
MARK
He was a member of the Porcellian
and yes I do.
ERICA
Maybe he sang in an a CapeIla group.
MARK
I want to be straight forward and tell you that I think you should be a lot more supportive. If I get in I’11 be taking you to the parties and you’ll be meeting people that you wouldn’t normally get to meet.
ERICA
(smiles)
You would do that for me?
MARK
You’re my girlfriend.
ERICA
Okay, well I want to be straight forward and tell you that I’m not anymore.
MARK (beat)
What do you mean?
ERICA
I’m not your girlfriend anymore,
MARK
Is this a joke?
ERICA
No, I’m sorry, it’s not,
MARK
You’re breaking up with me?
ERICA
You’re going to introduce me to people I wouldn’t normally get to meet? What the fuck is that supposed to mean.
NOTE: Erica’s had enough of this jerk and his condescending manner.
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This reply was modified 3 years, 4 months ago by John Budinscak.
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This reply was modified 3 years, 4 months ago by
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Rob Bertrand’s Great Subtext Scene
What I learned: I learned that you can say a lot, by hiding it in subtext.
Movie: Beautiful Girls
Background: This is the opening scene of the movie. Birdman and Kev are plowing driveways. Birdman saves a special house for last.
EXT. TODOR HOUSE – NIGHT
A beautiful house. Christmas lights still dangle… Birdman plows with great care… He leaves no crumbs… He studies the windows of the Tudor, looking for signs of life…
They finish quickly… Kev hops back into the truck. He picks up a clipboard, crosses off one last name.
KEV
That’s it —Birdman nods. He looks back at the house. Sighs. Puts the truck in reverse. As it skirts the end of the driveway, an OUTSIDE LIGHT flicks on…
A hint of a smile crosses Birdman’s face. It is not lost on Kev, who snorts…
KEV (CONT.)
Aw, shit —NOTE: We start to get the hint that something’s up.
Subtext 1: Kev’s reaction hints at a secret.The Tudor’s front door OPENS… A LITTLE GIRL, KRISTEN, 3, bundled up good, trudges out of the house, carrying two pewter MUGS of coffee…
She walks precariously, balancing the mugs, negotiating her way across Kev’s freshly-cleared walkway…
Birdman opens the truck door… Leans down to the little girl and takes the coffees…
BIRDMAN
Thanks, Kristen. How are you tonight?Kristen merely stares at him. Her expression an admixture of terror and confusion.
Birdman hands Kev a mug. Kev slurps at it… Frowns.
KEV
No ‘buca —Birdman doesn’t hear him. For the front door has opened again. To Kristen’s mother. Birdman watches as
DARIAN SMALLS
28, in ski parka, leggings and Timberlands, walks to the truck. Blonde hair up, black eyes, Darian has about her the melancholy air of a Thomas Hardy heroine…
DARIAN
Hey–Beat
BIRDMAN
Hey–KEV
What’s the matter, Darian? No Zambuca this time?DARIAN
It’s 5: 00 in the morning–KEV
‘Zat make it too late or too early?DARIAN
Maybe you should lay off it a bit, Kev. Your nose gets any redder, you could guide my sleigh tonightKev stares at her blankly… She turns to Birdman:
DARIAN (CONT. )
You guys done for the night?BIRDMAN
Yeah–DARIAN
Big storm–BIRDMAN
Yeah.NOTE: It’s clear that something is going on between Darian and Birdman. The tension is palpable.
Beat. Kristen tugs at her mother’s leg…
KRISTEN
I’m coooooldddd — !DARIAN
Okay, baby…She picks up her daughter. Looks at Birdman. Forces a smile. The shit between them is so palpable it could wear clothes…
DARIAN (CONT.)
(re: the mugs)
I didn’t have styrofoam…BIRDMAN
I’ll get ’em back to you —Darian nods. Birdman nods. Kev rolls his eyes…
NOTE: Darian gives Birdman a reason to see her again, hinting at a romantic rendevous.
DARIAN
Goodbye, Kev Yeah —KEV
Yeah —DARIAN
(to Birdman)
Bye —Birdman nods again. Watches her walk back to the house, carrying Jodi. He starts up the truck. Looks at Kev, who’s giving him the ugly eyeball…
BIRDMAN
What — ?KEV
The thing with the Styrofoam really creases me…BIRDMAN
What are you talking about?KEV
It’s the fifth storm of the season – you’d think she’d get herself a nice sleeve of Styrofoam cups. $1.99 at your local Shop ‘N Save…Nothing from Birdman. He drives.
NOTE: Kev is doing the math and it all adds up.
SUBTEXT 1: Kev is calling Birdman out.
SUBTEXT 2: Birdman plays dumb.KEV (CONT.)
How ’bout i return the mugs this time?BIRDMAN
How ’bout shut your hole?Beat.
KEV
Chick’s married, Birdie.Birdman drives.
KEV (CONT.)
It’s all badThe truck drives off into the snow..• ROLL CREDITS
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Elizabeth’s Subtext Scenes
What I learned: great screenplays are packed with deeper meaning. It’s really good practice to look for it, a lot…
The Matrix
Opening scenes of the Matrix have revealed that Trinity and the Agents to have super-human abilities—and that they are opponents with death and destruction of each other being their common goals. Here’s from the last of the scene where Trinity somehow disappeared from a phone booth immediately before it was smashed…
Barreling through the booth, bulldozing it into a brick wall, SMASHING it to PLEXIGLAS PULP.
After a moment, a black loafer steps down from the cab of the garbage truck. Agent Smith inspects the wreckage. There is no body. Trinity is gone.
11
His jaw sets as he grinds his molars Agent Jones and Brown walk up behind
in frustration. him.
She got out.
AGENT JONES
AGENT SMITH It doesn’t matter. There is a plan – meaning (Neo is a threat to the Matrix the Agents must annihilate) and particulars will come later.
AGENT BROWN The informant is real. A hint at what the plan involves (we later learn that Cypher is a Zion traitor, helping the Agents)
Agent Smith almost smiles.
AGENT SMITH
Yes.
AGENT JONES
We have the name of their next target.
AGENT BROWN The name is Neo.
The handset of the pay phone lays on the ground, separated in the crash like a severed limb. Subtext in this description hides the reality of all the particular violent actions this conflict will involve.
AGENT SMITH We’ll need a search running. Method of the Agent’s plot involves a search…we later learn these are computer programs.
AGENT JONES It’s already begun.
We are SUCKED TOWARDS the mouthpiece of the phone, CLOSER and CLOSER, until the smooth gray plastic spreads out like a horizon and the small holes widen until we FALL THROUGH one —
Swallowed by DARKNESS.
The DARKNESS CRACKLES with phosphorescent energy, the word “searching” blazing in around us as we EMERGE FROM a computer screen. Meaning of “the Search”—although the meaning is more deeply revealed throughout the script. Reason is this is how the Agents are fighting/controlling everyone – “Reality” is a deterministic computer program someone has written- the theme and title.
The screen flickers with windowing data as a search engine runs with a steady relentless rhythm.
We DRIFT BACK FROM the screen and INTO —
9.
12 INT. NEO’S APARTMENT 12
It is a studio apartment that seems overgrown with technology.
Weed-like cables coil everywhere, duct-taped into thickets that wind up and around the legs of several desks. Tabletops are filled with cannibalized equipment that lay open like an autopsied corpse.
At the center of this technological rat-nest is NEO, a man who knows more about living inside a computer than outside one. Neo’s character description is subtext, covering the deeper reality that he can function inside code to free Zion, as will be revealed over time.
He is asleep in computer screen “Wake up, Neo.” Subtext: Wake up to the reality of the Matrix (revealed when he chooses a pill). Reason is the theme.
Neo’s eye pries looking around, screen.
front of his PC. Behind him, the suddenly goes blank. A prompt appears:
open. He sits up, one eye still closed, unsure of where he is. He notices the
He types “CTRL X” but the letter “T” appears. NEO Someone knows his name. Reason: because they are recruiting him.
What…?
He hits another and an “H” appears. He keeps typing, pushing random functions and keys while the computer types out a message as though it had a mind of its own.
He stops and stares at the four words on the screen: “The Matrix has you.”
NEO What the hell?
He hits the “ESC” button. Another message appears: “Follow the white rabbit.” a nonsensical phrase that is actually directions, as we shall see…
He hits it again and the message repeats. He rubs his eyes but when he opens them, there is another message: “Knock, knock, Neo.”
Someone KNOCKS on his door and he almost jumps out of his chair. He looks back at the computer, but the screen is now blank.
Someone KNOCKS again. Neo rises, still unnerved. NEO
Who is it? It’s Choi.
CHOI (O.S)
(CONTINUED)
10.
12 CONTINUED: 12
Neo flips a series of locks and opens the door, leaving the chain on. A young Chinese MAN stands there with several of his friends.
NEO You’re two hours late.
CHOI (MAN) I know. It’s her fault.
NEO You got the money?
Two grand.
CHOI
He takes out an envelope and gives it to Neo through the cracked door.
Hold on.
NEO
He closes the door. On the floor near his bed is a book, Baudrillard’s Simulacra and Simulations. The book has been hollowed out and inside are several computer disks. He takes one, sticks the money in the book and drops it on the floor.
Opening the door, he hands the disk to Choi.
CHOI
Hallelujah! You are my Savior, covers the deeper reality that Neo is felt by this group to be the savior, the One.
man! My own personal Jesus Christ!
NEO
If you get caught using that —
CHOI
I know, I know. This never
happened. You don’t exist. NEO covers the deeper (theme) reality that in the Matrix, no one really exists, as we will later learn
Right…
Neo nods as the strange feeling of unrealness suddenly returns. As above
CHOI
Something wrong, man? You look a
little whiter than usual.
NEO
I don’t know… My computer…
(CONTINUED)
11.
12 CONTINUED: (2) 12
He looks back at Choi, unable to explain what just happened.
NEO
You ever have the feeling that
you’re not sure if you’re awake or still dreaming? As above.
CHOI
All the time. It’s called
mescaline and it is the only way to fly.
He smiles and slaps the hand of his nearest droog.
CHOI
It sounds to me like you need to
unplug, man. A little R&R. What do you think, Dujour, should we take him with us?
DUJOUR
Definitely.
NEO
I can’t.
Come on. promise.
I have to work tomorrow.
DUJOUR It’ll be fun. I
and suddenly notices on her black jacket dozens of pins: bands,
He looks up at her
leather motorcycle
symbols, slogans, military medals and —
A small white rabbit. The ROOM TILTS. The meaning of the instructions: “Follow the white rabbit” and for some reason he wants to/feels called to (we later learn this is because he has been investigating the idea of the Matrix out of a deep inner pull.
NEO
Yeah, yeah. Sure, I’ll go.
13 INT. APARTMENT 13
An older apartment; a series of halls connects a chain of small high-ceilinged rooms lined with heavy casements.
Smoke hangs like a veil, blurring the few lights there are.
Dressed predominately in black, people are everywhere, gathered in cliques around pieces of furniture like jungle cats around a tree.
(CONTINUED)
12.
13 CONTINUED: 13
Neo stands against a wall, alone, sipping from a bottle of beer, feeling completely out of place. He is about to leave when he notices a woman staring at him.
The woman is Trinity. She walks straight up to him.
In the nearest room, shadow-like figures grind against each other to the pneumatic beat of INDUSTRIAL MUSIC.
Hello, Neo. Someone else who knows his name because of a plan
TRINITY
NEO
How do you know that name?
TRINITY
I know a lot about you. I’ve been
wanting to meet you for some time.
NEO Who are you?
TRINITY My name is Trinity.
NEO
Trinity? The Trinity? The
Trinity that cracked the I.R.S. D-Base? We learn she is someone he has come across in his research. They’ve been studying each other.
TRINITY That was a long time ago.
TRINITY Most guys do.
Neo is a little embarrassed.
NEO
Do you want to go somewhere and
talk?
TRINITY
No. It’s safe here and I don’t
have much time.
NEO TRINITY NEO
Gee-zus.
What?
I just thought… you were a guy.
(CONTINUED)
13.
13 CONTINUED: (2) 13
The MUSIC is so LOUD they must stand very close, talking directly into each other’s ear.
She nods.
NEO
That was you on my computer?
NEO How did you do that?
TRINITY
Right now, all I can tell you, is
that you are in danger. I brought you here to warn you.
Of what?
NEO
TRINITY They’re watching you, Neo. The Agents are watching, we will later learn the deeper reason– because they are trying to defeat the resistance movement, Zion and Neo is someone Zion is trying to recruit—so Zion (Morpheus included) is watching him, too.
Who is?
NEO
TRINITY
Please. Just listen. I know why
you’re here, Neo. I know what you’ve been doing. I know why you hardly sleep, why you live alone and why, night after night, you sit at your computer. You’re looking for him. Meaning of why he followed revealed. The people of Zion get called to try to understand something
Her body is against his; her lips very close to his ear.
TRINITY
I know because I was once looking
for the same thing, but when he found me he told me I wasn’t really looking for him. I was looking for an answer.
There is a hypnotic quality to her voice and Neo feels the words, like a drug, seeping into him.
TRINITY
It’s the question that drives us,
the question that brought you here. You know the question just as I did.
NEO What is the Matrix? The question, what they are trying to understand gets named: the Matrix
(CONTINUED)
THE MATRIX – Rev. 3/22/98 13 CONTINUED: (3)
TRINITY
When I asked him, he said that no
one could ever be told the answer to that question. They have to see it to believe it.
She leans close, her lips almost touching his ear.
TRINITY
The answer is out there, Neo.
It’s looking for you and it will find you, if you want it to. This surface dialogue covers the subtext that Neo is called from within to be the One, if he decides to embrace this calling
14.
13
She turns and he watches her melt into the shifting wall of bodies.
A SOUND RISES steadily, growing out of the MUSIC, pressing in on Neo until it is all he can hear as we —
CUT TO:
14 INT. NEO’S APARTMENT 14
The sound is an ALARM CLOCK, slowly dragging Neo to consciousness. He strains to read the clock-face: 9:15A.M.
NEO Shitshitshit.
15 EXT. SKYSCRAPER 15
The downtown office of Meta CorTechs, a software development company.
16 INT. META CORTECHS OFFICE 16
The main offices are along each wall, the windows overlooking downtown. RHINEHEART, the ultimate company man, lectures Neo without looking at him, typing at his computer continuously.
Neo stares at two window cleaners on a scaffolding outside, dragging their rubber squeegees down the surface of the glass.
RHINEHEART
You have a problem with authority,
Mr. Anderson. You believe that you are special, that somehow the rules do not apply to you. Obviously, you are mistaken. Covers the Reality that Neo is not mistaken, he really will become the One.
(CONTINUED)
15.
16 CONTINUED: 16
His long, bony fingers resume clicking the keyboard.
RHINEHEART
This company is one of the top
software companies in the world because every single employee understands that they are a part of a whole. Thus, if an employee has a problem, the company has a problem.
He turns again.
RHINEHEART The time has come to make a
choice, Mr. Anderson. Either you choose to be at your desk on time from this day forth, or you choose to find yourself another job. Do I make myself clear? Covers the deeper Reality that Neo is going to have to choose to continue to remain ignorant—in the Matrix or leave it and try to figure out if he is the One, and then become the One.
NEO
Yes, Mr. Rhineheart. Perfectly
clear.
17 INT. NEO’S CUBICLE 17
The entire floor looks like a human honeycomb, with a labyrinth of cubicles structured around a core of elevators.
VOICE (O.S.) Thomas Anderson? Covers Morpheus’ plan here to get Neo to begin making his choice. This guy knows his non-screen name.
Neo turns and finds a FEDERAL EXPRESS GUY at his cubicle door.
NEO Yeah. That’s me.
Neo signs the electronic pad and the Fedex Guy hands him the softpak.
FEDEX GUY Have a nice day.
He opens the bag. Inside is a cellular PHONE. It seems the instant it is in his hand, it RINGS. Unnerved, he flips it open.
Hello?
NEO
(CONTINUED)
THE MATRIX – Rev. 3/9/98 17 CONTINUED:
MORPHEUS (V.O.) Hello, Neo. Do you know who this
is?
Neo’s knees give and he sinks into his chair.
NEO Morpheus… Neo knows Morpheus name, covers the bigger Reality of who Morpheus is.
MORPHEUS (V.O.) I’ve been looking for you, Neo. I
don’t know if you’re ready to see what I want to show you, but unfortunately, we have run out of time. They’re coming for you, Neo. And I’m not sure what they’re going to do. Covers that the Agents are about to arrest Neo
NEO Who’s coming for me?
MORPHEUS (V.O.) Stand up and see for yourself.
16.
Right now?
Yes. Now. Neo starts to stand.
NEO
MORPHEUS (V.O.)
MORPHEUS (V.O.) Do it slowly. The elevator.
His head peeks up over the partition. At the elevator, he sees Agent Smith, Agent Brown and Agent Jones leading a group of cops. A female employee turns and points out Neo’s cubicle.
Neo ducks.
Holy shit!
Yes.
NEO
MORPHEUS (V.O.)
One cop stays at the elevator, the others follow the Agents.
NEO
What the hell do they want with
me?!
(CONTINUED)
17
17 CONTINUED: (2)
MORPHEUS (V.O.) I’m not sure, but if you don’t
want to find out, you better get out of there.
17
How?!
NEO
MORPHEUS (V.O.)
I can guide you out, but you have
to do exactly what I say. Covers the bigger reality that Morpheus has ways of knowing things that are beyond the norm.
-
Pablo’s Great Subtext Scene
What I learned: “Our minds are so fast at perceiving meaning that many times, we read a script and don’t even notice it. We just get the meaning and experience the story through it.” So true.
When it comes to subtext, I find that romance and sexual tension are some of the most commonly used in films. Hidden beneath the surface. I chose the film CAROL. But I have to admit, I kind of cheated. I took this from another website as an example. Though I was intentionally searching for a scene of two lovers.
Carol tells the story of Therese Belivet (Rooney Mara), a slightly lost, but also very young, aspiring photographer in New York City, who takes a job at a department store for the Christmas holiday. There, she meets Carol Aird (Cate Blanchett), a customer who appears to be an upper-class wife and mother from New Jersey. Carol has invited Therese to her home…
INT. CAROL’S HOUSE. LIVING ROOM – NIGHT
CAROL
Were those pictures of me you were
taking? At the tree lot?
(The subtext here: “Do you think I’m beautiful?”)
THERESE stops playing. A silence.
THERESE
I’m sorry. I should have asked.
(The subtext: “May I have your permission to be attracted to you?”)
CAROL
Don’t apologize.
( Meaning she doesn’t have to ask for permission to be attracted to women. What seems like a conversation about photography is really about their sexual desire for each other.
THERESE
I’ve been trying to… A friend of
mine told me I should be more
interested. In humans.
CAROL
And how’s that going?
THERESE
(after a small beat)
Well… actually.
CAROL
I’m glad.
THERESE begins to play “Easy Living.” CAROL listens for a
moment, rises, walks over to Therese.
CAROL (CONT’D)
That’s beautiful.
(Subtext: You’re beautiful)
She grazes her hand on Therese’s shoulder. THERESE freezes,
and CAROL tries to lighten the moment with two quick strokes
to her cheek. THERESE continues to play and CAROL listens.
CAROL (CONT’D)
Is that what you want to be? A
photographer?
THERESE
I think so. If I have any talent
for it.
CAROL
Isn’t that something other people
let you know you have? All you can
do is – keep working. Use what
feels right. Throw away the rest.
(Subtext: Do what feels right. Let go.)
THERESE finishes the song. CAROL starts over to a table by
the couch, opens a cigarette box, takes one out, lights it.
CAROL (CONT’D)
Will you show me your work?
(she sits on the couch)
(Subtext: “Can I see you again?”)
THERESE
Sure. I mean, I haven’t sold
anything. Or even shown a picture
to anyone who could buy one. I
don’t even have a decent camera.
But… they’re all at my place.
Under the sink, mostly.
CAROL
Invite me round.
(Subtext: I want to come over. I want to see you again.)
This scene between Carol and Therese is like a dance of revelation about their attraction to each other.
-
Amy’s Great Subtext Scene
What I learned doing this assignment is that I always thought subtext was just in dialogue, but it can be found in the descriptions as well.
Dead Poets Society
INT. THE WELTON JUNIOR CLASS DORMITORY ROOM – DAY 11
Each small room contains two single beds, two closets, and
two desks. Suitcases sit on the floor. Neil enters. Richard
Cameron sticks in his head.
CAMERON
Heard you got the new boy. He’s a hell
of a speaker, huh? Oops.
NOTE: Subtext: Todd is a terrible speaker.
Todd Anderson walks in. Cameron ducks out. Todd has heard
Cameron s comment, but he ignores it. He puts his suitcase on
his bed and begins unpacking.
NEIL
Don’t mind Cameron. He’s an asshole.
NOTE: Neil is letting Todd know that he knows that Todd heard what Cameron said.
There is a knock on the door. Knox Overstress, Charlie
Dalton, and Steven Meeks enter. Charlie speaks to Neil.
CHARLIE
Hey, I heard you went to summer school?
NEIL
Yeah, chemistry. My father thought I
should get ahead.
CHARLIE
Well, Meeks aced Latin and I didn’t
quite flunk English so if you want, we’ve
got our study group.
NEIL
Sure, but Cameron asked me too. Anybody
mind including him?
CHARLIE
What’s his specialty, brown-nosing?
NOTE: Subtext: Charlie doesn’t like Cameron.
Some chuckles.
NEIL
Hey, he’s your roommate.
NOTE: Subtext: Charlie should like Camron since they are roommates.
CHARLIE
That’s not my fault.
NOTE: Charlie really wishes Cameron was not his roommate.
Nobody is excited about Cameron but no one objects.
MEEKS
(to Todd)
I don’t think we’ve met. I’m Steven
Meeks.
TODD
(shyly extending his hand)
Todd. Anderson.
Knox and Charlie offer Todd handshakes.
CHARLIE
Charlie Dalton.
KNOX
Knox Overstreet.
Todd shakes their hands.
NEIL
Todd’s brother is Jeffrey Anderson.
CHARLIE
Oh yeah. Sure. Valedictorian, National
Merit Scholar
NOTE: Charlie is wondering if Todd will measure up to his brother.
Todd nods affirmative.
MEEKS
Well, welcome to “Hell”ton.
NOTE: Subtext: We hate it here.
CHARLIE
It’s every bit as hard as they say.
Unless you’re a genius like Meeks.
MEEKS
He flatters me so I’ll help him with
Latin.
CHARLIE
And English, and trig
Meeks smiles. There is a knock on the door.
NEIL
It’s open.
Neil’s father enters. Neil is surprised.
NEIL (CONT’D)
Father. I thought you’d… gone.
NOTE: Neil is afraid of his father.
All the boys stand.
NOTE: Mr. Perry is a man who demands respect. Everyone is afraid of him.
MEEKS, CHARLIE, KNOX
Mr. Perry.
MR. PERRY
Keep your seats, boys. How’s it going?
THE BOYS
Fine, sir. Thank you.
MR. PERRY
Neil, I’ve decided that you’re taking
too many extracurricular activities.
I’ve spoken to Mr. Nolan about it and you
can work on the school annual next year.
NEIL
But father, I’m assistant editor.
NOTE: Subtext: Neil doesn’t want to give up the school annual.
MR. PERRY
I’m sorry, Neil.
NOTE: Subtext: Too bad.
NEIL
But father, it’s not fair.
MR. PERRY
Fellows, would you excuse us a minute?
NOTE: Neil crossed the line by arguing with his father and he’s about to get an earful.
Mr. Perry walks into the hall, Neil follows.
12 INT. THE JUNIOR DORMITORY HALLWAY – SAME 12
MR. PERRY
I will not be disputed in public, do you
understand me?
NOTE: Reveal that Neil’s father is indeed angry with him for arguing with him in front of the other boys. It’s also revealed that Neil’s father knows that he commands respect and it’s something he values quite a lot.
NEIL
Father, I wasn’t disputing you.
MR. PERRY
When you’ve finished medical school and
you’re on your own, you can do as you
please. Until then, you will listen to
me.
NEIL
Yes sir. I’m sorry.
MR. PERRY
You know what this means to your mother,
don’t you?
NOTE: I think this is text that covers subtext in that Neil’s father is really saying that’s it’s important to HIM.
NEIL
Yes sir.
Using the pressures of guilt and punishment, Mr. Perry is the
most subtle of bullies. Neil’s resolve crumbles in front of
his authoritarian father. Neil fills the pause.
NEIL (CONT’D)
You know me, always taking on too much.
MR. PERRY
Good boy. Call us if you need anything.
NOTE: By saying “Good boy,” Neil’s father is implying that Neil knows better than to cross him.
He turns and walks off.
-
BOB SMITHS GREAT SUBTEXT
SCREENPLAY: “CASABLANCA”
WHAT I LEARNED STUDYING THIS SCENE:
Nothing beats learning screenplay writing from a masterpiece, moreover, in subtext there are setups and payoffs not necessarily obvious but discoverable.
For example: Rick has broken off a relationship with Yvonne, a French refugee.
YVONNE
Where were you last night, Rick
RICK
That was so long ago, I can’t remember.
YVONNE
Where will you be tonight?
RICK
I never plan that far ahead.
This is subtext to the pain Rick feels from the day that Ilsa left him when Rick said to Ilso, “Let’s get married in Marseilles.” And Ilsa replies, “That’s too far ahead to plan.” We gain insight into Rick’s hurtful treatment of Yvonne as somehow a twisted revenge against women for the one woman (Ilsa) who hurt him. Also confirmed in a later scene with Ilsa, in which she says to Rick, “One woman has hurt you and you want to take revenge against the whole world.”
OVERALL BACKSTORY OF “CASABLANCA”: Rick the owner of Casablanca’s “Rick’s Café Americaine.” Rick is a frustrated one-time freedom fighter who notably ran guns to Ethiopia and fought in the Spanish Civil War on the Loyalist side (backing underdogs against oppression. Rick now has in his possession two Letters of Transit stolen from (two murdered German couriers) which he could give or sell to Victor Laszlo – a Czechoslovakian Resistance Leader against the Nazis whom Rick admires – and his wife, Ilsa, with whom he was in love in Paris until she left him (as we will learn, because she was married to Laszlo) and thought he was dead but then heard that he was alive, ill, and in hiding in a freight car, so she left Rick.
Rick has refused to give or sell to Laszlo, when he asks why, Rick says, “Ask your wife.” That in itself is subtext to the hurt and anger he still feels for her for having left him. A subtext underlying his refusal is also his still loving her and believing that Ilsa still loves him and may leave Laszlo in order to renew her romance with Rick. Possible subtext: By not selling the Letters of Transit, he may drive her back to him, and he and she could use the Letters of Transit for themselves to escape from Casablance and head for America. This was one ending of the film, until they saw that the only way the film should end was that Rick, a two-time resistance leader himself, out of sentiment will support Laszlo – by giving to him the Letters of Transit and make Ilsa stay with her husband as he needs her, and together they can escape to America where Laslo can continue his work against the Nazis.
BACKSTORY TO THE FOLLOWING SCENE: Victor Laszlo’s nemesis, the cruel Nazi Major Strasser who wants to prevent Laszlo from leaving Casablance, has threatened Ilsa that maybe Laszlo, her husband will end up in a concentration camp or dead.
INT. HOTEL ROOM – NIGHT
Laszlo switches on the light as they enter. While Ilsa takes off some jewelry he walks to the window and peer sout into the darkeness.
Below and across the street, a man stands under an arch.
Laszlo watches him, then draws down the shade.
LASZLO
Our faithful friend is
still there.
NOTE: “faithful friend” is euphemism for a spy tailing Laszlo, by order of the Prefect of Police, Capt. Renault.
ILSA
Victor, please, don’t go
to the underground
meeting tonight.
NOTE: Subtext: Laszlo continues his resistance work against the Nazis.
LASZLO
(soberly)
I must. Besides, it isn’t
often that a man has a
chance to display heroics
before his wife.
He crosses to a table, takes a cigarette from a box, and strikes a match.
ILSA
Don’t joke. After Major
Strasser’s warning tonight,
I am frightened.
LASZLO
To tell you the truth, I am
frightened too. Shall I remain
here in our hotel room hiding,
or shall I carry on the best
I can?
He lights the cigarette.
ILSA
Whatever I’d say, you’d
carry on. Victor, why don’t you
tell me about Rick? What did
you find out?
LASZLO
Apparently he has the letters.
ILSA
Yes?
LASZLO
But no intention of selling
them. One would think if
sentiment wouldn’t persuade him,
money would.
NOTE: Subtext: “Sentiment” = ‘solidarity.’ Laszlo is puzzled that Rick, who admires him, and was once a freedom-fighter himself, would not give or sell the Letters of Transit, enabling him to escape from the reach of the Nazis and their quisling ally, the Prefect of Police, Capt. Renault.
Ilsa is now noticeably uncomfortable.
ILSA
Did he give any reason?
LASZLO
He suggested I ask you.
ILSA
Ask me?
LASZLO
Yes. He said, “Ask your wife.” I don’t know why he said that.
Laszlo turns off the light. Ilsa walks over to the couch and sits down.
LASZLO
Well, our friend outside will
think we’ve retired by now.
I’ll be going in a few minutes.
He sits down on the couch next to her. A silence falls between them. It grows strained. Finally…
LASZLO
Ilsa, I –
ILSA
— Yes?
LASZLO
When I was in the concentration
camp, were you lonely in Paris?
NOTE: Subtext: Laszlo is saying to Ilsa: “I sense that you and Rick were in love in Paris.”
Ilsa still cannot look at him.
NOTE: Subtext is that Laszlo knows Rick and Ilsa had a relationship, but he wants to hear it from Ilsa. In the following lines we see he is sympathetic. He will not pressure her to say more, he can discern the rest and he loves her, still.
ILSA
Yes, Victor, I was.
NOTE: Subtext: Yes, I did have a relationship with Rick. (Lazlo already sensed it from the beginning).
LASZLO
(sympathetically)
I know how it is to be lonely.
(very quietly)
Is there anything you wish to tell me?
NOTE: Subtext: “If you told me about it, I would understand.”
ILSA
(speaking low)
No, Victor, there isn’t.
NOTE: Subtext is that she was in love with Rick and still is.
LASZLO
I love you very much, my dear.
Ilsa finally turns to look at Laszlo.
ILSA
Yes, Yes I know. Victor,
whatever I do, will you believe that I, that –
NOTE: Ilsa is confused. She is loves both Rick and Laszlo. She loves two men at the same time. But she wants him to be assured of her love for him. Subtext = Subplot: Will she leave Laszlo for Rick?
LASZLO
— You don’t even have to
say it. I’ll believe.
Goodnight, dear.
He bends down and kisses her cheek.
ILSA
Goodnight.
She watches him go.
ILSA
Victor!
She gets up and follows him to the door. He opens it. In the slit of light from the hall we see Ilsa’s face, now strained and worried. She hesitates for a moment, then…
ILSA
Be careful.
NOTE: Subtext: Ilsa wants to be careful that Laszlo knows she loves him because, she still has feelings for Rick and is confused.
LASZLO
Of course, I’ll be careful.
He kisses her on the cheek and goes out the door. She stands there for a few seconds, then crosses to look out of the window. The figure in the archway is gone. She sees Victor walking down the street and closes the blind again.
Ilsa gets a cloak from the bedroom, and leaves the hotel room.
NOTE: Subtext: She is on her way to Rick to get the Letters of Transit but she also has reawakened love for him.
-
Jim Peacock Great Subtext Scene
What I learned: I’m familiar with subtext, how it is used and how important it is in character development. I look forward to learning more.
When I think of scripts with subtext, When Harry Met Sally immediately comes to mind. An old film, but one of the classic uses of subtext.
Sally
I don’t want to spend the rest of my life in Casablanca married to a man who runs a bar.Harry
You’d rather have a passionless marriageSally
and be First Lady of CzecholsovakiaHarry
than live with the man you’ve had the greatest sex of your life withSally
Yes, and so would any woman in her right mindTHIS MIGHT BE CONSIDERED IRONY AT THIS POINT, BUT LATER WE FIND THAT NEITHER THINKS WITHIN THESE NARROW LINES
Harry
Obviously you haven’t had great sex yet.OBVIOUISLY HARRY WANTS TO HAVE SEX WITH SALLY
Sally
Yes I haveHarry
No you haven’tSally
It just so happens I have had plenty of good sex.Harry
with whom?Sally
What?Harry
Have you had this good sex?Sally
I’m not going to tell you that.Harry
How many men have you slept with?Sally
I’m not going to tell you that.Harry
Okay. Don’t tell meSally
Two.Harry
You’ve been with two people and you’re telling me based on two people you know whether or not you’ve had good sex?Sally
How many have you?Harry
I don’t know.Sally
Is it between zero and three, four and ten, or ten and a hundred?Harry
You’re a very attractive personSally
Oh, thank you…. So you’re coming on to me?Harry
No I wasn’t. Can’t a man say a woman is attractive without it being a come-on?She stares at him
Harry
all right. Let’s just say for the sake of argument it was a come-on. Okay. What do you want me to do? I take it back.Sally
You can’t take it backHarry
Why not?Sally
It’s already out there.THERE IS A GROWING SEXUAL TENSION THROUGHOUT THIS SCENE WHICH CONTINUES GROW THROUGH MOST OF THE MOVIE. AND YET IN THIS OPENING SCENE THEY DO NOTHING BUT ARGUE. BUT IN THE BACKGROUND THE VIEWER EASILY UNDERSTANDS TAHT WHAT THEY’RE SAYING IS NOT WHAT THEY MEAN.
-
Jodi’s Great Subtext Scene – Day 1
Writing with subtext is writing with a deeper meaning. Like a mask you create. What is underneath versus what is seen on the surface. There are emotional, logical, unconscious and external forces in subtext that a character can operate from.
OUT OF SIGHT
It is after Foley robs a bank unsuccessfully. Foley is in jail calling an ex girlfriend.
THE PHONE RINGS AND REVEALS:
INT. ADELE’S APARTMENT – DAY
Miami Beach Moderne. ADELE — mid-thirties, pretty, Foley’s ex — sits at her kitchen table writing on a pad. She grabs the phone.
ADELE: Hello? (then, sighs) Yeah, I accept.
NOTE: She’s over this loser dolt.
INT. PRISON HALLWAY – DAY
Foley on the phone…
FOLEY’S VOICE: Hey, Adele, how you doing?
INTERCUTTING FOLEY & ADELE:
ADELE: Hey, Bank Robber, want some advice? Next time, leave the engine running.
NOTE: Anger at his stupidity, her having to go it alone. She is also logically making a point.
FOLEY: That’s funny, Adele. How many more times you gonna gimme that one?
NOTE: Anger at her for reminding him how stupid he was.
ADELE: Till it’s not funny any more. What do you want, Jack?
FOLEY: You know that Super Bowl party? They changed the date. It’s on tonight, eight-thirty.
NOTE: This is their secret message about his already pre-planned escape. He must move on the plan immediately because of external forces that are now coming into play.
ADELE: Didn’t you tell me one-time calls aren’t monitored?
NOTE: Adele doesn’t want to play along anymore. She’s over him and the game.
FOLEY: I said not as a rule.
ADELE: So why don’t you come right out and tell me what you’re talking about?
FOLEY: Listen to Miss Smarty Mouth. Out there in the free world.
NOTE: Foley is angry that he is not a free agent, forgetting his choice to do what he did, feeling victimized.
ADELE: What’s free about it? I’m looking for work.
NOTE: She resents that he is such an idiot and blew her chance to live a little easier with money.
FOLEY: What happened to Mandrake the Magician?
ADELE: Emil the Amazing. The bastard fired me and hired another girl, a redhead. I’m working on a new business card, pass out to the cafes. How’s this sound–
FOLEY: (cuts her off) Listen, Adele, the reason I called, that party is today instead of Sunday. About eight-thirty, like only a few hours from now. So you’ll have to get hold of Buddy, whatever he might be doing…
NOTE: He doesn’t care about her life, she is now just a go-between.
ADELE: And the one driving the other car?
FOLEY: What’re you talking about?
ADELE: Well, seeing as you have so much luck with cars, Buddy thought it might be better to bring two. He
got this guy he says you know from Lompoc, Glenn something.
NOTE: More anger about the incident. Foley let both her and Buddy down.
FOLEY: Glenn Michaels.
ADELE: Yeah, that’s him. Buddy says Glenn thinks you guys are real cool.
NOTE: Buddy knows Glenn could be used as a patsy for Foley and him.
FOLEY: He did, huh. Well, tell Buddy I see Glenn wearing his sunglasses I’ll step on ’em. I might not even
take ’em off first.
NOTE: Anger and disrespect, this subtext references history which is revealed later in the script
INT. RESTAURANT – DAY
As MARSHALL SISCO — fifty — slides a small wrapped box across a table…
MARSHALL: Happy birthday.
…to where KAREN SISCO — twenty-eight, black suit, long hair, a knockout — sits. She picks up the box and shakes it.
KAREN: You fit another Chanel suit in here?
MARSHALL: Something better. Open it.
NOTE: Marshall loves his Daughter and knows what she is about, and what she wants.
Karen starts to carefully unwrap the present. Marshall watches, takes a sip of his drink, looks around the bar, sees how everyone’s looking at the two of them…
NOTE: He is excited about his gift to her.
KAREN: (opens the box) Oh my God…
She pulls a gleaming automatic pistol from the box…
KAREN (CONT’D) It’s beautiful.
MARSHALL: It’s a —
KAREN: –Sig-Sauer .38. I love it.
She leans across the table and kisses him.
KAREN (CONT’D): Thanks, Dad.
MARSHALL: Happy birthday, kid. (then) You want another Coke?
NOTE: An exclamation of love, she’ll always be his kid no matter how old she gets.
KAREN: (checks her watch) Can’t. I gotta drive out to Glades, then I’m meeting Ray Nicolet at ten.
MARSHALL: Which one is that? The ATF guy?
KAREN: He was. Ray’s with the F.B.I. now, he switched over.
MARSHALL: He’s still married though, huh?
NOTE: Emotion; fears for his Daughter’s future happiness, scared she’ll get hurt by the married man Nicolet. Logic; He wants his Daughter to date a man she can have a future with.
KAREN: Technically. They’re separated.
MARSHALL: Oh, he’s moved out?
NOTE: He’s trying to warn her to wake up with logic.
KAREN: He’s about to.
MARSHALL: Then they’re not separated, are they?
NOTE: Again, he’s trying to warn her to wake up with more logic.
KAREN: Can we change the subject?
MARSHALL: What’re you doing at Glades?
KAREN: Serving process, a Summons and Complaint. Some con doing mandatory life doesn’t like
macaroni and cheese. He files suit, says he has no choice in what they serve and it violates his civil rights.
MARSHALL: You know you can always step in, work with me full-time as one of my investigators.
NOTE: He wants to make his Daughter’s life path easier and better, he communicates he has great respect for her abilities.
KAREN: No thanks.
MARSHALL: You used to like it.
KAREN: Dad…
MARSHALL: You’d meet doctors, lawyers — nothing wrong with them necessarily if they’re divorced. Why settle for some cowboy cop who drinks too much and cheats on his wife? That’s the way those hotshots are, all of ’em.
NOTE: Chomping at the bit to help her have a better life, trying to dissuade her from low-down guys like married Nicolet.
KAREN: I really gotta go.
MARSHALL: We don’t get to talk much any more.
NOTE: He misses her being around. He misses the closeness he shared with his Daughter.
KAREN: How ’bout I come next Sunday and watch the Super Bowl with you?
MARSHALL: I’d like that.
She gets up, kisses him again.
KAREN: Thanks for the gun, Dad.
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Janeen’s Great Subtext Scene
What I learned from this scene is that a difference between the congruity of what is said and what is done equals subtext. What is conveyed by those incongruities can be anything you’d like.
Cut to William working. He looks up casually. And sees
something. His reaction is hard to read. After a pause…
WILLIAM
Can I help you?
It is Anna Scott, the biggest movie star in the world — here —
in his shop. The most divine, subtle, beautiful woman on earth.
When she speaks she is very self-assured and self-contained.
ANNA
No, thanks. I’ll just look around.
WILLIAM
Fine.
She wanders over to a shelf as he watches her — and picks out a
quite smart coffee table book.
WILLIAM
That book’s really not good — just
in case, you know, browsing turned to
buying. You’d be wasting your money.
NOTE: He’s not really denigrating his own books, he’s trying desperately to make conversation — to get to know her.
ANNA
Really?
WILLIAM
Yes. This one though is… very
good.
He picks up a book on the counter.
NOTE: Willam’s banter is another attempt to entertain/impress her.
WILLIAM
I think the man who wrote it has
actually been to Turkey, which helps.
There’s also a very amusing incident
with a kebab.
ANNA
Thanks. I’ll think about it.
NOTE: Anna is flirting back.
William suddenly spies something odd on the small TV monitor
beside him.
WILLIAM
If you could just give me a second.
Her eyes follow him as he moves toward the back of the shop and
approaches a man in slightly ill-fitting clothes.
NOTE: Anna is interested or she wouldn’t be watching him move to the back of the store.
WILLIAM
Excuse me.
THIEF
Yes
WILLIAM
Bad news.
THIEF
What?
WILLIAM
We’ve got a security camera in this bit of the shop.
THIEF
So?
WILLIAM
So, I saw you put that book down your trousers.
THIEF
I haven’t got a book down my trousers.
NOTE: The verbal lie contrasts sharply with his guilty look and knowledge that he got caught shoplifting
WILLIAM
Right — well, then we have something
of an impasse. I tell you what —
I’ll call the police — and, what can
I say? — If I’m wrong about the whole
book-down-the-trousers scenario, I
really apologize.
NOTE: William threatens.
THIEF
Okay — what if I did have a book down
my trousers?
NOTE: The thief asks for a deal.
WILLIAM
Well, ideally, when I went back to
the desk, you’d remove the Cadogan
guide to Bali from your trousers, and
either wipe it and put it back, or
buy it. See you in a sec.
NOTE: His knowledge of exactly which book was stolen seals the deal — the guy has been caught dead to rights.
He returns to his desk.
In the monitor we just glimpse, as does
William, the book coming out of the trousers and put back on the
shelves. The thief drifts out towards the door. Anna, who has
observed all this, is looking at a blue book on the counter.
NOTE: Anna has seen how skillful he is with the thief. It is impressive.
WILLIAM
Sorry about that…
ANNA
No, that’s fine. I was going to
steal one myself but now I’ve changed
my mind. Signed by the author, I see.
NOTE: Anna is flirting back.
WILLIAM
Yes, we couldn’t stop him. If you
can find an unsigned copy, it’s
worth an absolute fortune.
NOTE: More humor to impress the star.
She smiles. Suddenly the thief is there.
THIEF
Excuse me.
ANNA
Yes.
THIEF
Can I have your autograph?
ANNA
What’s your name?
THIEF
Rufus.
She signs his scruffy piece of paper. He tries to read it.
THIEF
What does it say?
ANNA
Well, that’s the signature — and
above, it says ‘Dear Rufus — you
belong in jail.’
THIEF
Nice one. Would you like my phone
number?
ANNA
Tempting but… no, thank you.
Thief leaves.
ANNA
I think I will try this one.
She hands William a ?20 note and the book he said was rubbish.
He talks as he handles the transaction.
WILLIAM
Oh — right — on second thoughts
maybe it wasn’t that bad. Actually
— it’s a sort of masterpiece really.
None of those childish kebab
stories you get in so many travel
books these days. And I’ll throw in
one of these for free.
He drops in one of the signed books.
WILLIAM
Very useful for lighting fires,
wrapping fish, that sort of things.
NOTE: More humor retracting his earlier condemnation of the book and complimenting her choice while also apologizing with the free book.
She looks at him with a slight smile.
ANNA
Thanks.
NOTE: She’s impressed with how little fuss he made over her while clearly knowing who she was. She made him feel like a person, not a star, all while flirting outrageously with her.
And leaves. She’s out of his life forever. William is a little
dazed. Seconds later Martin comes back in.
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Emmanuel’s Great Subtext Scene
What I learned doing this assignment is subtext is a very powerful screenwriting tool. There are various ways to use subtext in scenes that deliver deeper meaning by word usage, action, body language and use of props.
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