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Day 2 Assignment
Reply to post your assignment.
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14 Replies
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Amy’s Conflict
What I learned doing this assignment is the scene is more interesting when you put your protagonist in tough situations. My protagonist turned out to be stronger than I thought, so I need to turn up the heat somehow.
INT. – LIVING ROOM – NIGHT
Andrea hugs Chloe and Benjamin as Josh looks on still in shock.
Meagan saunters in, wearing an apron.
MEAGAN
Din-
She sees Andrea. All of the color drains out of her face.
MEAGAN
-ner. Andrea! You’re supposed to be…
ANDREA
Gone? I came back.
Meagan flashes her left hand, showing Andrea the huge diamond on it.
MEAGAN
Things have changed since you’ve been gone.
JOSH
Andrea, you were gone for a year. We thought you weren’t coming back.
ANDREA
(to Meagan)
I see. Well, don’t get too comfortable in my house.
MEAGAN
Too late.
ANDREA
Your services are no longer needed here.
JOSH
You can’t just throw her out. She’s my fiancé’.
Andrea turns to Josh.
ANDREA
I don’t think so. You’re already married.
Meagan stares daggers into Andrea.
MEAGAN
Kids, go get washed up for dinner.
Chloe and Benjamin leave looking kind of scared.
JOSH
Ladies, this is a highly volatile situation. I don’t think…
MEAGAN/ANDREA
Shut up.
JOSH
Okay.
Meagan steps towards Andrea in a menacing way.
MEAGAN
The kids hardly missed you. It’s not like you were really involved in their lives. I’m more of a mother to them than you ever were.
JOSH
Ladies, please.
ANDREA
Get out of my house.
MEAGAN
Or what?
Andrea picks up the phone and dials three numbers. She puts the phone to her ear.
ANDREA
Yes. I’d like to report an intruder. 14805 Maple Street. Unarmed. She just won’t leave.
JOSH
(to Meagan)
Honey, maybe it’s better if you go and let Andrea and I work this out. I’ll call you tomorrow.
Meagan angrily tears the apron off and glares at Josh, then storms out of the living room.
The FRONT DOOR SLAMS.
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Budinscak Conflict
Day 2
What I learned doing this assignment:
o Great way to amp up any scene.
o I enjoy the benefits of having checklists.
o Anything to engage ‘the reader’ and entice them to turn the page is great.
Setup:
Act II has just begun. Jack and his nephews, Puck and Sal, have just left Terre Haute and LC (Jack’s friend) – they’re finally on the road. The journey begins.
EXT. HIGHWAY – DAY
Jack’s filthy Cadillac, a blend of days’ old road dust mixed with morning dew, speeds by slower traffic.
INT. CADILLAC – DAY
A clean Jack gets comfortable behind the wheel while a dirty pair of nephews occupy the spacious back seat.
JACK
You guys ready to get going?
SAL
I guess we’re not swimming in the Atlantic?
PUCK
Who exactly is LC?
JACK
No, we’re not going swimming, Sal. LC’s my brother.
SAL
From whose side of the family?
PUCK
You mean like slang?
JACK
What do you think I met?
Sal plays with the back windows putting them down, then up, then down, then up.
JACK
Sal, stop that.
PUCK
I don’t know, that’s why I’m asking.
Sal leaves the window partially open – it whistles.
JACK
Sal, put the window up.
Sal makes believe he doesn’t hear his uncle. He smiles and stares out the window. Jack puts the window up from his control as he eyes his nephew in the rearview mirror.
PUCK
So?
JACK
So what do you want now?
PUCK
How is LC your brother?
JACK
He’s family.
Sal
From whose side?
Sal starts playing with his back window again.
JACK
Sal, stop playing with the window.
SAL
I’m not doing anything.
Sal makes eye contact with Jack and smiles slyly. Jack turns and reaches for Sal and the Caddy lurches. Sal squirms out of the way.
Flashing lights appear behind the Cadillac.
EXT. HIGHWAY – DAY
A state trooper, lights flashing, follows the Cadillac to the shoulder of the road.
INT. CADILLAC – DAY
Jack’s pissed and the boys struggle not to laugh.
JACK
See what you guys just did.
PUCK
Maybe we can call Uncle LC for help.
Snickers come from the back seat. Jack levels a stare at the boys, his face an unnatural red.
JACK
Freeze.
Puck and Sal make comical faces before they stop moving.
Tap, tap – the trooper’s baton hits the window
JACK
Good afternoon, Mister Trooper. Fine day we’re having, hmmm?
TROOPER
Do you know why I pulled you over?
JACK
Nary an idea, sir.
TROOPER
You were weaving all over the road. Get out of the car, please.
JACK
Is that safe?
TROOPER
Get out of the car, now.
Jack spots the frozen faces of Puck and Sal in the mirror, he closes his eyes and shakes his head.
Tap, tap on the window.
JACK
Coming.
EXT. HIGHWAY – DAY
The trooper stands at the rear of the Cadillac and signals for Jack to come over. Jack saunters over and looks questioningly at the state lawman.
TROOPER
You have water dripping from your car.
Jack sees water pooling from a steady drip out of the trunk.
JACK
That’s condensation from the tailpipe.
TROOPER
Tailpipe’s on the other side (looks at license), Jack. Open your trunk.
JACK
Can’t do that, sir.
TROOPER
Excuse me?
JACK
No can do. I’m a senior research associate with cooler division of IBM. I’m on a secret mission.
Jack looks in the rear window, Puck and Sal still hold their comical faces. Jack’s eyes narrow as he grimaces.
TROOPER
Open your trunk.
JACK
I’ll tell you what’s there – a specially designed cooler.
TROOPER
What’s in the cooler?
JACK
I can’t tell you.
TROOPER
Look …
JACK
You look … at my two boys. They think they’re going swimming in the Atlantic Ocean. They have no idea what’s going on. Look at them.
The trooper looks around Jack to the boys and back to Jack.
JACK
They weren’t blessed with brains or looks. Sad.
Jack and the trooper stare into the Cadillac’s back window one more time.
JACK
Here.
He pops the trunk revealing a large black cooler. The trooper leans in.
JACK
No, no, no. Can’t have you look inside.
TROOPER
What is it?
JACK
Gelato.
Jack opens the cooler and the trooper peeks inside seeing the container’s label – gelato.
TROOPER
Sir, if you want to discipline your kids, please pull over next time.
The trooper hands Jack his paperwork and leaves.
INT. CADILLAC – DAY
Jack plops down in the driver’s seat. He turns to his nephews – they’re still holding their expressions.
JACK
That’s enough.
The boys relax, then start to giggle. Jack’s not having fun.
JACK
That was a fun 30 minutes. Ready?
PUCK
Ready for?
SAL
I’m hungry.
JACK
We just left the picnic.
PUCK
I gotta go pee.
JACK
Oh, come on. You got issues, too?
PUCK
Now how’s LC family?
JACK
Cuz I trust that guy with my life. And I only do that with family.
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Rob Bertrand Conflict
What I learned: I learned that conflict is about opposition and that tension is stretching something to an intolerable level.
EXT. WEDDING VENUE – DUSK
Magic hour sets over a picturesque landscape, punctuated by the rhythmic bass of modern hip-hop. With the ceremony, dinner and speeches long over, the party is in full swing.
Neon lasers and bright strobe lights illuminate a covered dance floor filled with smiling faces. In the center of all the sweaty, writhing bodies, dances a teenage girl, with her mother.
Meet ANNIE ANDREWS, 16, a plain, but pretty girl who wields sarcasm like a deadly weapon. As a former tomboy, she’s clearly uncomfortable in the dress she’s wearing. Her long brown hair, normally hidden under a beanie, is worn swept up and sparkles under the lights. She awkwardly dances, as her mother…
NORA ANDREWS, late 30s, drops it low on the dance floor. On a normal day, she’s an overworked mother, who bears the weight of her dysfunctional family on her shoulders. But today, Nora’s letting it go, losing herself to the music.
Annie pulls her mom to her feet.
ANNIE
(laughs)
Are you sure you’re meant to bend that way?NORA
Oh, honey! Wasn’t this a beautiful wedding?Nora pulls Annie in for a hug.
ANNIE
It didn’t suck.NORA (CONTINUED)
Someday, this will be your wedding. You’ll be such a beautiful bride…Jessica’s eyes go wide, as she spins away. Literally dodging the subject.
The music transitions to a slow love song as the sweaty DJ grabs the microphone.
DJ
Ladies and gentleman! This…is…the anniversary dance! I need all married couples, to the dance floor! All married couples!The bride pulls the groom towards the dance floor, as the crowd cheers.
Couples of various ages, slowly converge on the dance floor.
DJ
That’s it. Don’t be shy. I see you over there, Norm. Don’t leave Dorothy hanging…An old man at the bar, waves the DJ off.
Nora, looks over to a banquet table. Her daughter, JESSICA ANDREWS, 8, a shy but crafty kid, sits alone, playing her Nintendo Switch. A suit jacket hangs from an empty seat next to her. Nora’s smile fades.
NORA
Now where did your dad get off to?
(calls)
Jack? I better find him…Nora ventures off in search of her husband, Jack.
Annie leans against a post and watches the married dancers. Their eyes filled with love and remembrance.
DJ (O.S.)
Alright, ya’ll. If you’ve been married less than two hours. Please exit the dance floor. This ain’t about you, right now.The Bride and Groom throw their hands up to a bevy of cheers and dance their way towards the bar.
The song plays on. Then…
DJ (O.S.)
This is for the newbies. Anyone married less than one year…Please exit the dance floor.A Young Couple smiles and wave as they walk through the crowd. They brush passed Annie, as she looks over her shoulder, searching for her parents.
DJ (O.S.)
Let’s get serious. We’re going to jump ahead…just a little. Anyone married less than five years. Please, exit.Three couples leave the dance floor and join the spectators. The dancers are thinning out.
DJ (O.S.)
Alright. Now we’re gettin’ serious. Real serious. We’re talking ten years or less. If you’ve been married ten years or less, please remove yourself from the dance floor!The biggest group yet leaves. As the crowd thins, two remaining couples are revealed.
A Sweet Middle-Aged Husband and Wife. They dance cheek to cheek, lost in memory.
The second group, A Handsome Older Man and his Husband. They dance proudly.
Annie smiles at their cuteness.
DJ
This is it. This is the moment we’ve all been waiting for! If you’ve been married…Less than 25 years…Please exit the dance floor!Both couples keep dancing.
The crowd erupts in cheers and whistles.
DJ
Alright. I get it. We’re dealin’ with marriage professionals, here! If you’ve been married less than thirty years…Please exit the dance floor!The Middle-Aged Husband and Wife throw their hands up and walk away.
The crowd erupts with cheers and applause.
Annie’s eyes tear up as The Older Man gives his Husband a loving kiss. The couple is interrupted by the DJ.
DJ
Alright, alright, alright…how long have you been married?OLDER MAN
We’ve been married thirty-six wonderful years–JACK (O.S.)
(slurred)
–Bullshit!The crowd is stunned.
Annie cringes. She recognizes that voice. That unmistakable slurred speech. She turns to find her father, JACK ANDREWS, a hardworking, harder drinking, blue-collar conservative, standing behind her. Annie can’t tell if his face is red from anger or the booze.
JACK (CONTINUED)
That’s fuckin’…bullshit, man. Marriage wuzzn’t even legal for them thirty-shix–Annie shoves Jack, hard in the chest.
ANNIE
(angry)
Dad! Stop!Jack looks down at Annie. But does he see her?
JACK
Wha’? Is true…God damn fags.ANNIE
I hate you!All eyes are on Jack.
JACK
(angry)
Whatta ya lookin’ at?NORA (O.S.)
Jack!Nora pushes herself through the crowd.
JACK
(angry)
Ah, fuck it…Jack stumbles backwards, trips over his own feet and crashes into table holding a half-eaten wedding cake. He falls to the ground, then vomits down his shirt.
Annie bursts into tears.
NORA
Annie, honey…go get Jessica and meet me at the car.Without making eye contact, with anyone, Annie escapes into the crowd.
The crowd parts, as Nora approaches.
WITNESS #1 (O.S.)
Get him some help. Jesus!WITNESS #2
Get him out of here.Nora’s eyes can’t hold back. Tears flood down her face as she kneels down.
NORA
Damn it, Jack…You promised me.JACK
It’s a god damn sin.CUT TO:
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EXT. IBRAHIM’S YACHT – DAY
A few months later, Betty is enjoying the beginning of a sunset over the Hudson River, letting the waves rock her gently as she watches YouTube videos about transitioning. CLOSE ON beautiful young women with perfect skin, thick, lustrous hair, and exotic eye make-up as they coo quietly about their transitions, buttressed by a background of soft monotonous meditation music.
VOICE OVER
After penile inversion and shortening and reconstructing of the uretha, the new vulva loses some elasticity and must be dilated twice a day. I tried penetration but do better myself staging my big O. Just a little discharge, a liner rather than a napkin. You can always be clean and smell sweet. As body parts are remapped, the brain is remapped, and an amazing new female butterfly emerges from its male chrysalis.Ibrahim emerges from his basement lab to get some air on the deck and watches silently. Betty looks up. Her red wig is so cemented and strong it doesn’t blow in the breeze.
BETTYNice to see you, boss. I feel great, thanks for asking. Life is better for women, as if silken webs were gently stretched over everything.
IBRAHIM
Until the spider squeezes her prey.BETTY
These You Tube lovelies will help me move through my sixties with beauty and bravery.
Ibrahim shifts uncomfortably as he watches. Betty takes out an arsenal of make-up and begins to redo her face trying to copy the videos.
BETTY
Even in my funeral director days, I was never this creative.Ibrahim watches the setting sun as Betty takes ten years off her life with cosmetics. Suddenly DELPHINE, Ibrahim’s twelve year old skips on to the deck, her silky chestnut hair swinging in the westerly winds. She stops and stares at Betty.
BETTY
Just call me Aunt Betty, darlin, and I will bake you some genderbread.
DELPHINE
You mean gingerbread? That’s my favorite. I can help decorate the gingerhouse.IBRAHIM
You are a scientist, Delphine, and should be spending your time in the lab downstairs.Delphine launches into a quick tap routine.
DELPHINE
I’m also a musical comedienne. My tap dancing is – professional.Betty jiggles her head to Delphine’s rhythm, but puts the finishing touches on her own mauve lipstick.
BETTY
We all have our specialties. I am good at cooking, cleaning, and…Ibrahim grabs her lipstick and smears it across her face before she can complete her alliteration with “killing.” Thankfully, Delphine is now into more dancing as if the sunset could see her. When another YouTube video comes on, he shuts Betty’s computer. She struggles to stand. Betty’s swimming lessons have helped morph Ibrahim into a strong man, much stronger than her. They face off. Betty’s crotch is still sore and painful.
IBRAHIM
This is a disgusting surgery. I should never have allowed it. It is mutilation, torture, a lifelong addiction to hormones, a sacrilege for society. It is haram—BETTY
I thought you give up Islam.As Delphine starts to pay attention to their conversation, Ibrahim’s anger boils,
IBRAHIM
Shut up. Enough. Delphine, go downstairs. I’ll help you with the new project. I’ll be down in a second.Dancing Delphine dusts Aunt Betty’s wig with a casual kiss and runs downstairs. Fathers are still to be obeyed.
IBRAHIM
I should never have paid for your aberration.BETTY
It was a beautiful metamorphosis. I am almost a butterfly.
IBRAHIM
What about your real job? You are weaker than a wilted penis after wicked rapes. Are you trying to make amends for your past?BETTY
No one kills better than a spectacular she-once male!The sun has set. Ibrahim sits in silence.
IBRAHIM
Okay, if like domesticity so much, we will have to work for the La Roches a few days a week. Great way to get their cells. Weekly testing from the same family would help a lot.BETTY
I am in. When? -
Jodi’s Conflict – Day 2
Answering the Conflict and Tension questions to help as guidelines and to help us see what more could be added helps to create a tension filled scene with lots of conflict.
EXT. MOUNTAIN DEW SKI LIFT – MORNING
Charlene and Ed are anxious to start skiing. They head towards the ski lift. Two tweakers, Bruce and Stu are in front of them sans skis and it looks like ED and Ed will have to share the lift with them.
ED:
Char, how’d you like to hike up? I’m not feeling the lift right now.
CHARLENE:
We’ll get there faster and have a lot more time to ski if we brave it.
ED:
You know it freaks me out a bit, being that high without my feet touching the ground.
CHARLENE:
This is a good time to conquer that fear, we won’t be that far from the ground.
ED:
Maybe next time, but those guys creep me out too.
CHARLENE:
Eh, don’t let those tweakers bother you, they’re harmless. I went to school with the tall one.
Ed is ambivalent but follows Charlene. They reach the lift Operator.
ED:
Can we have our own chair?
LIFT OPERATOR:
Sorry, four to a chair, thems’ the rules when we’re backed up.
CHARLENE:
Well, he’s got a little fear of heights.
LIFT OPERATOR:
The hike path is to the west of here, it’s not that far.
ED:
All good, man.
Charlene looks at Ed, he begrudgingly nods okay.
The chair swings around where the four of them are standing, they all hop on. ED is on the outside, hugging onto the railing. They are in total silence as the chair lift climbs higher.
CHARLENE:
So, Bruce, how’s everything going?
Bruce looks quizzically at her.
CHARLENE:
I’m Charlene Frannell. I was in your senior class.
Bruce nods.
BRUCE:
You that girl who narced on my friend?
CHARLENE:
What?
Bruce looks at Ed through his glassy eyes.
BRUCE:
No, he’s the one.
CHARLENE:
He didn’t go to our school.
BRUCE:
Must’ve been somebody else.
Trying to be a part of the conversation while facing outward.
ED:
So, you guys skiing today?
STU:
Man, you two ask a lot of questions.
Stu brings out a pint of whiskey and takes a gulp.
BRUCE:
We’re zip lining.
Bruce takes a gulp after Stu.
ED:
Oh, that’s cool.
STU:
Why’d sit so far away chica? We don’t bite.
Stu makes an obscene gesture to Charlene. She and ED muster appeasement. ED stares out at the trees biding his time on the chair lift.
BRUCE:
Whooohooo!
STU:
Badass fucking view, right?
CHARLENE: rolls her eyes.
BRUCE:
Fuck yeah! I’d like to do a chick up here, the quarter mile high club right!? How bout you Char (beat) Char, Char.
Bruce grabs for Charlene’s breasts, she screams. Tipsy, Bruce and Stu laugh out of control. Bruce fires up a joint. Charlene hugs into Ed. Ed shouting to them with his eyes closed while he faces outward. Ed tries to let go of the railing to protect Charlene, but quickly grasps the railing again. Charlene is on her own.
ED:
I’m glad you’re having fun, but can you lighten up on the language, there’s a lady present.
STU:
Chill dude.
Bruce starts swaying forward and backward as if on a large swing.
BRUCE:
If I’m rockin’ don’t come knockn’. Whooohooo!
STU:
You pussy, you gotta stand up and put your body into it if you want to rock!
Stu stands up and grabs the right side of the railing, ED, fearing he’ll fall off wraps his arms around the left side of the railing, Charlene wraps her arms around Ed. Stu starts moving back and forth trying to get the chair to really swing wide.
ED:
(shouts)
That’s enough! Stop it! We’re 500 feet in the air you idiot!
STU:
What’d you call me!?
Stu reaches over Bruce and Charlene and lunges at Ed. Stu grabs the back of his jacket and yanks him towards him over Charlene and Bruce’s laps. Ed loses his grip on his skis and one falls to the ground down below, shattering into pieces.
BRUCE:
What the fuck! Stop it! Get the fuck back you guys! You guys need to chill.
Reacting, Ed turns towards Stu.
ED:
Look what you did you asshole. You’re gonna pay.
STU:
(laughing)
I’m gonna pay huh? Pussy, you can’t even let go of that rail, I’m gonna pay.
CHARLENE: is crying silently hugging onto Ed. The chair lift system shuts down and stops. They all go quiet. The chair is still swinging uncontrollably, Stu and Ed slowly sit back.
A half hour goes by but seems like an eternity sitting high atop the ground in the chair lift. Patrol at the bottom cruise by in their snowmobile.
SKI PATROL PERSON:
Folks, it’s gonna be okay, we’ll be up and running in a few minutes.
A half hour goes by and they’re still stuck on the slope. Bruce starts to try to stand but still slightly drunk and high he sways back and forth. They all react.
ED
Stop it.
CHARLENE:
What’da think you’re doing?
STU
Asshole get down!
BRUCE:
This thing ain’t never going to start and I gotta piss!
Bruce seems to be standing carefully and slowly, he unzips his pants and pulls out his penis. Stu thinks he’ll be funny and give Bruce a little scare and jerks the chair lift. Bruce screams and tries to grab the railing but misses. He’s starting to fall off the chair backwards, quick thinking Charlene grabs one leg and Stu grabs the other. Bruce is dangling and swaying in the air. He is now screaming and trying to fight the fall by wriggling.
CHARLENE:
Bruce, relax, don’t wriggle, we’ve got your legs, just try to rock high like if your on a swing set.
STU:
Yeah, dude, we got you.
Bruce starts swinging slightly and then building more momentum he swings higher. Unfortunately, since his pants are unzipped nothing is holding Bruce in at this point. Both Charlene and Stu’s hands are slipping on his loose levis.
BRUCE:
Hold on. Don’t let me die, I don’t wanta die.
Charlene and Stu try frantically to keep holding on to Bruce’s pants.
CHARLENE:
We got you. Keep swinging Bruce.
As soon as Charlene says this, she and Stu feel empty levis. Bruce screams to his death.
ED:
Bruce, Oh my God!
Stu is stunned into silence. Charlene loses it, she wails in fear of what just happened.
ED:
Oh my God, Oh my God, you just killed Bruce!
STU:
No, I didn’t, it was an accident. He slipped.
ED:
He slipped because you were jerking the railing!
STU:
No, I didn’t. He slipped, he was drunk and high.
Charlene:
Yeah, couldn’t you have thought of that BEFORE he fell, and not cause him to DIE!
Stu pulls out a switchblade and opens it revealing a sharp blade as he threatens them both.
STU:
Look, he fell, he did it. I didn’t. And it you say any differently, you’re dead too.
They all stop dead in their tracks. The ski lift starts moving again. They all sit back staring straight ahead in silence.
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Elizabeth’s Dramatic Conflict
What I learned. I’ve known conflict is key. But focusing on stretching it out in a scene, running both internal and external tension is helpful…
INT. GARDENS BY THE WATER – HALL -NIGHT
Grace, antsy, envelope in hand, pounds on Ed’s door. Pounds again.
ED (O.S.)
(Zero patience, yells)
I told you I’m busy!
INT. ED’S APARTMENT – OFFICE – SAME
For the first time, we see Ed sitting at his computer, staring at his blank document. Pressing his temples as—
Another long, loud knock finally motivates him to—
Push up from his chair like he’s 101. And—
Shuffle to the door.
ED
(Before opening)
Hello Grace.
GRACE (O.S.)
How’d you know it was me?
ED
Pat doesn’t pound as long.
Ed cracks the door. Keeps the chain on.
ED
I can’t talk today. I have to work.
GRACE
I know, but I wanted to invite you to my bridal shower.
Reads Ed’s expression through the crack—
GRACE
It’s co-ed.
ED
I’ll be out of town. I’m sorry.
GRACE
You don’t even know when it is!
ED
I’m out of town every day.
GRACE
Renton’s a suburb, Ed. It’s 15 minutes away.
With growing concern, Ed opens the door.
ED
How do you know I go to Renton?
GRACE
Pat told me. And Judy. And Wade. It’s where Susan’s grave is.
So, Grace has talked to them all?
ED
I see.
(Sighs)
Grace. You and Mike are a lovely couple. And you do look a little bit like Susan, but—
GRACE
We’re practically identical.
ED
Well. Susan and I—
GRACE
(Interrupts)
I know! Only got together 18 months ago.
Ed’s brow furrows. What else does she know?
ED
How—?
(Thinks better of it)
Look, I have a book deadline. And bridal showers are not in my nature. But best of luck.
As Ed starts to close the door, Grace pushes it back open.
GRACE
You don’t have to bring a present.
A beat and—suddenly Grace is in tears and—
Hurrying past Ed into his living room! Ed reluctantly follows.
GRACE
Please. I just need some advice.
ED
Remember? I never did marriage therapy.
GRACE
(Simultaneous with Ed)
…marriage therapy.
(And)
I know.
(Sits on Ed’s couch)
Still, what you say really helps.
Ed closes his eyes. Grace starts to sob. Ed clasps his head. Helpless. Until— an idea.
Ed goes to a shelf. Pulls out an LP.
Grace looks up.
Ed turns on a 1970’s phonograph. Slips the LP out of the cover. Sets it a-spin and—
Amidst crackles, suddenly we hear THE HORNS at the start of Arethra Franklin’s “Respect”
GRACE
(Brighter)
Oooh. Who IS that? I’ve heard—
The beat! She can’t help but groove a bit.
GRACE
Wait don’t tell me. That’s—. Arethra—. Aretha Franken! Franklin. Aretha Franklin.
Ed can only shake his head.
GRACE
(Sings along)
R-E-S-P-E-C-T
Now says to Ed—
GRACE
So we need more respect.
ED
I was thinking more, the line—
(Like he wants to sing it—but somehow can’t)
Find out what it means to me.
Grace is really feeling the music, now, as she tries to understand what Ed’s saying.
GRACE
What it means. What respect means?
ED
Yes. To you.
Something dawns on her. We have no idea what
GRACE
Ooooooohhhh!
(And)
OhMyGod Thank you!
Grace grabs Ed’s face. Gives him a kiss. And—
GRACE
You are amazing!
Hands Ed the envelope. Before she—
Dances to the door like the musical thespian she is. Ed, following. Bewildered.
GRACE
(All better now)
Shower’s tomorrow night. My dad’ll to there! Don says you can skip the poker game, so see you then!
Grace, literally, twirls out the door.
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PS 80 Michelle Damis – Conflict
What I learned doing this assignment is that it is true that you just need to start and try and to worry right now about right/wrong/good/bad….just start getting it out.
EXT. FRONT PORCH- HALLOWEEN – NIGHT
The doorbell rings. Marin and Jim are dressed as Vampires for Halloween. They swing the door open and there is Nina, not in costume but nicely dressed.
NINA: TA-DA!!! Guess what Daddy!?!?
Nina ignoring her mother’s presence. Marin deflates. A group of Trick-or-treaters start coming up the stairs.
MARIN: Nina, hurry come inside so you don’t ruin it for the kids.
Nina gives her mother her usual annoyed look. Marin scoots her in and attends to the Trick-or-treaters, handing out candy and complimenting their costumes. Jim guides Nina away from the door.
INT. HOUSE – CONTINUOUS
JIM: What’s going on? This is a surprise.(having a hard time talking with vampire teeth in)
NINA: For God’s sake Dad, take those things out, you look ridiculous.
Ted has come around the corner, but is not noticed. He nearly laughs aloud when he sees Jim and Marins Vampire costumes. He shakes his head when he hears Jim speak.
JIM: (doing his best Dracula voice) But I Vant to SUCK your Blood.
He goes in like he is going to bite her neck, Nina laughs and pushes him away.
NINA: Daaad…..
Jim takes his vampire teeth out and wipes away some spit, Nina’s face doesn’t hide her disgust. Ted listens, making sure he isn’t seen.
JIM: OK Party pooper, What’s up?
NINA: Well, remember the interview I had? I got the job!!!
JIM: Oh… Congratulations Babe!
Jim hugs Nina. Marin has shut the door and is approaching.
MARIN: Congratulations? What happened?
Nina is visibly annoyed by her Mothers presence.
JIM: Nina, got the job!!
MARIN: That’s great hon…
Nina cuts her off. And only address her Dad.
NINA: I came over to take you out to dinner to celebrate.
JIM: And your mom too? Right?
Marin looks uncomfortable and unwanted. Ted is watching closely. The doorbell buzzes loudly, Marin heads to the door relieved by the interruption. A new load of kids in costume are on the porch.
NINA: Its Halloween Dad, Mom won’t leave her post.
This is what Nina was counting on anyway.
JIM: Come on Nina, at least ask her.
Nina stubbornly crosses her arms, Jim raises an eyebrow, Nina lets out loud “huff”.
NINA: Fine…
Raising her voice and snottily yelling towards the door.
NINA: MOM! Do you want to go with?…
Marin shuts the door, she knows she isn’t “really” being asked. Ted sees exactly what is happening.
MARIN: You two go without me, I can’t disappoint the kids on Halloween, there would be no one to hand out the candy.
Just then Ted interrupts, they are all startled by his presence.
TED: I can stay and hand out candy.
Nina shoots dangers his way, he reciprocates with a knowing smirk.
TED: You three can go celebrate and I’ll keep down the fort, as they say.
Nina is fuming, Marin unsure, Jim clueless to the underlying drama unfolding under his nose.
NINA: Its HOLD down the fort…
Her tone all but finishes with the word “Dumbass”.
MARIN: Are you sure? It’s no trouble??
Halfway looking for a way out herself.
TED: No, trouble at all. It’ll be fun.
He smiles back at Nina.
JIM: Well, it’s settled then. Thank you Ted. (to Nina) Now, where are we going?
NINA: It’s a surprise.
MARIN: Should I go change?
Nina looks at her mother’s costume, starts to say something, stops short and with a mischievous look crosses her face.
NINA: No… What you have on is perfect.
Nina throws Ted one more “I’m going to get you for this looks” as she heads for the door.
NINA: I’ll be in the car…
Sweet and Fake.
NINA: You two hurry up…
Nina
is out the door and down the stairs, phone in hand frantically dialing and
making a call. -
PS80 DAY 2 BOB SMITH’s CONFLICT.
Von Sternberg enters his apartment, his wife, Riza Royce, 20’s is waiting in a living room chair. Von Sternberg crosses to her.
STERNBERG
Marlene took a whole bunch of us out on the
town.
RIZA
Why didn’t you call?
STERNBERG
I became so absorbed, I lost track of the time.
RIZA
She has become your obsession.
STERNBERG
She is a star in the making.
RIZA
And you are the Maker. I hear the rumors.
You are “Svengali Joe.” Why don’t you just
divorce me and marry her?
STERNBERG
I’d sooner share a phone booth with a cobra.
You know, she is married to Rudi Siebert. Marlene
supports him and their daughter, plus, Tami Matul.
RIZA
Who is Tami Matul?
STERNBERG
Rudi’s mistress.
RIZA
Nice and cozy. Does that suit you?
STERNBERG
Look. Get to know Marlene. Why don’t you come
to the set? If she can’t say a line in English. You
stay off camera and say it for her. How can I make you
see that she and I have a creative partnership. And that’s
it! Her success will be our own. Doesn’t that suit you?
RIZA
It does not suit me that I don’t know
you anymore. Marlene has become
everything. Marlene! Marlene!
Marlene!
-
Pablo Soriano’s Conflict
What I learned: I use dialogue too much for conflict as well as tension. And I know I could have picked a better scene to use action to convey tension. But I didn’t. I’m still in the early stages of this story. So I simply put the protagonist and antagonist face to face. The first threat against her children. I will say that my story chalk full of conflict. I just need to find a way to add a bit more tension.
INT. ELENA’S HOUSE – NIGHT
Someone knocks at the door. Irma and her sons are asleep in the living room. The knock becomes louder and startels Irma. Elena steps out of her bedroom but Irma puts a hand up to stop her. Irma slowly approaches the window to see who it is. She quickly pulls back, takes a deep breath and slowly opens the door.
IRMA: What do you want?
SAPO: I wanted to check in on you.
IRMA: Since when do you care about me?
SAPO: I heard about your husband.
IRMA (sarcastic): Oh… you heard.
Beat.
SAPO: I thought we could help each other out.
IRMA: You’ve got some nerve, Sapo. Help me?
SAPO: Without a husband, you’ll need to find a way to provide for your boys.
IRMA: Psh. As if Ricardo ever provided for us. We’ll be fine. Thank you.
SAPO: I came to offer you a job.
IRMA: I have a job.
SAPO: A better one.
IRMA: This must be some sick joke. Do you feel guilty for killing my husband?
SAPO: I was not the only person Ricardo owed money too.
IRMA: Yeah, well tell them to get in line.
Beat.
SAPO: There is still an outstanding debt in your husband’s name at the casino.
IRMA: And you really think I’m going to pay it?
SAPO: You could. If you take the job I’m offering.
IRMA: Sapo. I wouldn’t work for you if the Lord Himself commanded me to do so. Let alone step into your filthy shack you call a casino.
SAPO: “The Lord Himself” heh? Maybe I can schedule meeting for you.
Irma is take aback.
SAPO: The debt is in your husband’s name. Someone has to pay it back. It will either be you. Or… maybe I take your boys under my wing. Show them the ropes. They’re going to need a father figure in their-
Irma Slaps Sapo. Hard. He is unfazed. She swings again but he catches her wrist.
SAPO: The debt will be paid one way or another. You know how persistent I can be.
IRMA: If you even speak to my boys, I’ll-
Sapo drags Irma out of the doorway and into the dark alley.
EXT. STREET – NIGHT
SAPO: You are coming in for work tomorrow. I’ve already spoken to your supervisor at the factory. It’s all settled.
IRMA (defiantly): Never.
SAPO: Oh, you will. I spoke with Antonio’s teacher. Maribel I think is her name. She’ll be walking the kids to school. I also spoke with Padre Miguel. You’ll be working on Sundays.
Irma is speechless.
SAPO: Don’t worry, I’ll make sure the boys make it to mass. I’ll go with them myself. I will make sure they grow up to be good men.
Irma finally yanks her arm away from his grip and backs away. She has no ammo to fire at him.
SAPO: Tomorrow. 8am. At the Casino. Just come with Elena. She has a shift anyway.
IRMA: Elena?
SAPO: Oh you didn’t know? She works for me too. Maybe she can brush you up on what you need to know.
-
Armand Conflict
What I learned… I enjoyed these definitions:
TENSION: Barely controlled hostility or a strained relationship between people or groups.
CONFLICT: Opposition between characters or forces in a work of drama or fiction, especially opposition that motivates or shapes the action of the plot.
Some sources of conflict:
– Opposition to a character’s wants.
– Threaten the character’s main goal.
– Introduce a new threat.
– Have characters with competing agendas.
– Someone says one thing and does another.
– A solution doesn’t come through.
– The antagonist is present.
– Opposing solutions.
– Internal confusion and/or fear.
– Making the wrong decision.
– Unrealistic deadlines.
– A choice between two negatives.
– And others.
Ways to increase tension:
– Have your characters make decisions that have
serious consequences.
– Put your characters in a place they shouldn’t be.
– Have them overstep their normal boundaries.
– Have them say and do things that increase the
danger they’re in.
– Put them in a spot where they have to decide
between two evils.
– Have them take socially unacceptable actions.
– Any action or dialogue that makes a conflict worse.
INT. FATHER’S OFFICE – NIGHT
Tyler and Charles sit on Father’s desk drinking whiskey. Tyler’s rocks himself on Father’s chair.
CHARLES
You don’t want to tell him.
TYLER
I got expelled. Of course I would prefer not to tell it.
CHARLES
If you don’t tell him. I will.
TYLER
Why are you making this about you?
CHARLES
I’m helping you.
TYLER
You’re snitching. And you know what they say about snitches.
CHARLES
They go on free. Tell him.
TYLER
Maybe it’s better if you do tell him.
CHARLES
I won’t tell him.
TYLER
You just said you would.
CHARLES
I was motivating you. I don’t want my head chopped off.
TYLER
So you do agree he will kill me.
CHARLES
If he doesn’t. I will.
TYLER
Excuse me?
CHARLES
You wasted such a big opportunity.
TYLER
Who needs college! Our father has a summer mansion.
CHARLES
You don’t know how lucky you are.
TYLER
Trust me, I do.
-
Janeen’s Conflict
What I learned doing this assignment is that creating tension and mystery is often the work of subtext in a scene where outwardly there is little obvious conflict.
SCENE from The Empowerment Club
INT. CLASSROOM – DAY
MORGAN DAY, beautifully dressed in classic, upscale style has no hint of entitlement or snobbery about her.
WINNIE, 30’s, businesswear, trendy jewelry, follows Morgan. Zelda, college student chic, well-worn backpack and hair pulled back casually follows.
They leave a corporate conference/class room where a prof is gathering his items from the desk, chatting congenially as they walk.
MORGAN
I am loving this class. What are you going to use it for?
WINNIE
I’m going to make my ex-boyfriend grovel to get me back.
Morgan stops and turns back with alarm.
MORGAN
But you can’t use the Waterman Method to harm someone. You can’t use any mind control method to harm someone. It’ll come back on you.
Zelda and Winnie share a bemused glance.
ZELDA
They just tell you that so they don’t get sued. You can use it for whatever you want.
Morgan is taken aback.
WINNIE
What are you going to use it for?
Morgan considers, shakes her head.
MORGAN
Oh, you know, aches and pains Maybe boost my confidence a little. Certainly nothing like you’re talking about.
Zelda gives her a goodnatured nudge.
ZELDA
You’re gorgeous, and you’re already confident.
MORGAN
(ruefully)
I am when I’m a student, but not when I’m playing hostess. Then I’m a wreck.
WINNIE
Your last name’s Day, right?
Morgan stiffens slightly.
MORGAN
Yes.
WINNIE
Are you Gavin Day’s daughter?
Morgan relaxes.
MORGAN
The writer? No, afraid not. I love his books, though.
WINNIE
Me, too. Have you ever met him?
MORGAN
Have you? How about you, Zelda?
ZELDA
No. He was doing a reading at the big bookstore on 6th, but the line was around the block so I didn’t bother. Have you met him?
MORGAN
I have. He’s as nice as he seems on the talk shows.
Winnie spies Morgan’s showy wedding ring. Stops cold, and puts her hand on Morgan’s arm.
WINNIE
Wait a minute. You’re his wife, not his daughter.
Morgan, obviously irritated and disappointed.
MORGAN
Busted. See you guys next week.
Morgan, head down slightly, steps briskly away.
ZELDA
Wait, what’s he like in real life?
WINNIE
When’s his next book coming out? Do you get to read them before they’re published?
Morgan ignores them.
ZELDA
Can you get me a sneak peek?
Stone-faced but with a forced smile, Morgan turns.
MORGAN
See you next week.
-
Erin’s Conflict
What I learned from this assignment is: The distinction between conflict and tension is interesting and I can see the checklist is going to be helpful moving forward.
++
Jacinda enters the diner and anxiously scans the tables until she sees her husband at a booth. When she sees he’s relaxed, just building a little house out of plastic straws, her expression changes from worry to irritation.
She walks over and sits down across from him. She reaches for a menu but he reaches out a hand to stop her.
RICHARD
I already ordered for you, the usual.
JACINDA
Oh, okay. Did you also ask for –
A waitress comes over and places a soda in front of Jacinda.
JACINDA
(to the waitress)
Thanks.
She looks around for a clean, wrapped straw but there aren’t any. He reaches back across to the table behind to grab one.
RICHARD
(to the people at the table)
Excuse me, sorry.
He hands it to her.
JACINDA
So tell me, why am I here? This couldn’t wait until tomorrow?
RICHARD
I just wanted to see you. I don’t know, we left on bad terms earlier and I wanted to clear the air. To be on good terms before – before I go back to work tonight.
JACINDA
Waking me up and making me drive out here in the middle of the night is not the best way to do that.
RICHARD
Listen, I want a family. I do.
JACINDA
You sound so convincing.
RICHARD
I do. I really do. This is the right time in our lives to become parents.
JACINDA
So are you telling me you’ve changed your mind and we can start trying? Because if that’s right we should start right now. Like, now, now.
RICHARD
Right now, right now? No, no, no, no. I didn’t mean “this is the right time in our lives to become parents” like “now, now, now,” but more like, “this is the season – and it’s a pretty long season – this is the season of life where people our age and in a similar situation become parents, and we should consider it, too, along with many other considerations.”
Jacinda exhales out of her nose, irritated.
The waitress drops off plates in front of each of them: A patty melt for him and a gyro for her.
JACINDA
I can’t keep apologizing for the rest of my life, Richard.
Richard takes a bite of his patty melt.
RICHARD
Oh my god.
JACINDA
Yes, you heard me. You keep holding it over my head like it’s an unforgiveable sin, and you know what? What, what is it?
RICHARD
(examining his patty melt)
I specifically said no tomato. Come on, how many times have I come here, and they put tomato on my patty melt? I know she’s new but I told her, I said write it down, I don’t like tomato. Come on.
JACINDA
Just take the tomato off.
RICHARD
Yeah, easy for you to say. Then the whole thing still has a tomato-y flavor.
JACINDA
So send it back.
RICHARD
There’s no time. I have to be back at the CO’s office in (checks watch) less than 10 minutes. Just my luck.
Jacinda stands up. She grabs her gyro and throws it onto his plate.
JACINDA
Here. No tomato. Okay? Now you can stop sulking like a little boy. And you can also decide if you want to forgive me, truly forgive me, and start a family together, or if you just can’t find it in your heart. I’m sick of this. We aren’t partners anymore, I’m your inferior, waiting for your command. I’m sick of it. I’m not going to apologize for the rest of my life. You have until tomorrow morning to decide. I’m not putting my life on hold any longer.
Jacinda walks out.
Richard sighs. Then he opens the gyro to make sure there’s no tomato. (There’s not.)
-
Emmanuel’s Conflict
What I learned doing this assignment is conflict always keeps the audience engaged. If you add conflict and tension throughout the story, it will always move the main characters forward, and allow natural dialogue to shape the story.
-
Richard’s Conflict
What I learned doing this assignment was… put your characters in difficult situations and let the drama unfold. Making every scene in the script as dramatic as possible will be difficult.
Setup
Our group of characters are alone in the castle, surrounded by the English army. There is no chance of escape and the English have told them they will pardon the one remaining character – the last one standing after they kill one another.
Shane is going to meet Illeana, knowing that she is holding a secret from him.
INT. TORY CASTLE – BEDROOM – NIGHT
Illeana sits on the hard floor. This is the weakest we have seen her.
The door opens. A perturbed Shane enters, closes the door and moves toward her.
He can’t say anything. They lock eyes.
ILLEANA
Have you come to kill me?
SHANE
We all risked our lives so you could escape!
ILLEANA
I fight and die with my people.
She turns away from him.
SHANE
Your people are all but destroyed!
ILLEANA
I couldn’t turn my back. Not on you. Not on us.
Shane lowers himself in front of Illeana.
SHANE
Are you with child?
That question gets her attention. Her mouth trembles.
Shane grabs a hold of her face.
SHANE
I asked you a question.
As quick as a flash, she retrieves a dagger from her boot, holds it to Shane’s throat.
ILLEANA
And if you want an answer, you had better get your fucking hand off me.
Shane releases his hand. She lowers the dagger.
SHANE
Is it true?
Illeana weeps. He knows her reaction is acknowledgment.
Shane can’t hide the anger anymore, he gets up and trashes what he can in the room.
ILLEANA
Stop. Stop!
He does. Stares her down.
SHANE
You and our child could be safe on the mainland by now!
ILLEANA
And what sort of live would we have without you!
SHANE
One where you are not dead.
She can’t respond.
SHANE
Do your brothers know?
She shakes her head.
SHANE
I will negotiate your release in the morning.
ILLEANA
They will kill you.
SHANE
What choice do I have?
ILLEANA
You will kill my brothers. That will appease the English.
SHANE
And then you will kill me.
ILLEANA
What?
SHANE
What sort of a man, a father, wouldn’t sacrifice himself for his family?
ILLEANA
You have to survive this for our country.
Shane bites his tongue, moves toward the door.
SHANE
You have left me no choice.
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