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Day 3 Assignment
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12 Replies
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Elizabeth’s Dramatic Irony
What I learned: this is super fun—and makes things so much more interesting!
Ed: Responsible, Avoidant/restless as a result, caring, connecting. Subtext is avoidant. Here he learns that his teen (and again very recent) love (Susan)’s son Mark was totally estranged from his daughter, Grace until a few weeks ago. He ALSO learns that Mark is much older than he thought—and realizes he may be Mark’s father.
INT. HOSPITAL – MARK’S ROOM – DAY
Mark in a bed surrounded by Grace, Adam-Eve, Linda and Ed.
AirPlay on the TV: a shoot-em video game that Mike plays on his iPad. Kristian watches.
CARDIAC ALARM SOUNDS and a nurse, then code team rush in.
A RESIDENT starts compressions. Others ready the defibrillator, etc. as—
HEAD NURSE arrives.
HEAD NURSE
Stop. He’s DNR.
Complete confusion. Compressions stop.
CODE MEMBER 1
What? He’s 60!
CODE MEMBER 2
60? He looks 45.
CODE MEMBER 2 nods at Resident to restart. He does.
As she knocks Resident’s hands off Mark’s chest—
HEAD NURSE
He’s DNR! I got it myself. Pancreatic cancer. Doesn’t want chemo, surgery, Cyberknife—or pain. Psych’s seen him – he’s competent.
Code member 2 looks at Linda, who shrugs. Looks at Mike—
CODE MEMBER 2
That—right?
MIKE
Can’t say. Just met him.
Code member 1 looks at Grace.
GRACE
Me too. Three weeks ago.
Ed’s totally confused.
ED
He’s your dad!
LINDA
He’s a sperm donor.
A beat as Ed processes. Then, to the team—
ED
Look, I’m a physician. Can we compress while we talk?
Head nurse grudgingly acquiesces. Compressions restart.
ED
May I see the psych note?
Head nurse opens the psych note on the room’s computer.
Ed reads.
Professional demeanor to everyone, as, inside he roils like he hasn’t since he was 11—
ED
She’s right. He’s competent. And has a DNR.
Everyone processes. The compressions stop. Code team gathers equipment, slips out. Mark looks very serene as—
Ed is stunned.
Mike pulls a tearful Grace into a hug—
MIKE
Who knew. Wow. At least he looks happy.
LINDA
Bastard.
GRACE
He was nice. I mean, the few hours he was around.
(And)
Why didn’t he tell us?
Adam-Eve and Kristian pick up with the video game as—
Ed chews on something bothersome—
ED
He was 60?
(To Linda)
How old are you?
LINDA
49. I know—cradle robbing bastard.
(Grabs the iPad from Adam-Eve)
I need something to shoot.
Growing distress on Ed’s face as he does the math..
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Budinscak Dramatic Irony
Day 3
What I learned doing this assignment:
o Nice way to involve the audience.
o Whatever’s needed to keep the reader and audience engaged.
o It’s a great tool to have at our disposable.
1. Characters
Jack – slick/street smart, selfish, condescending, generous
Logline – Jack is a scoundrel and not the role model his impressionable nephews need, but they’re his captive audience and he’s ready to dispense ‘his knowledge’ as he sees fit.
Puck – nerdy, book smart, insecure, devious
Logline – Puck is a moral compass during the trip, constantly holding his uncle accountable while plotting to stay two steps ahead of his cousin, Sal.
Sal – sneaky, manipulative, smartass, bit of a bully
Logline – Sal is a mini-Jack, a sneaky storyteller and convincing liar – the one most apt to initiate trouble, benefit from it then abscond from blane.
Setup:
We’re in the middle of Act II and the day has just begun in Albuquerque, NM. Jack faces an 8-hour trip to Las Vegas with his nephews. While the boys are in the bathroom, Jack checks in with his sister Cat at Carmine’s.
INT. TRAVEL LODGE – DAY
Jack has the phone in the crook of his neck as he dials the last few numbers.
JACK
One day we’ll just say a name and the phone will call on its own. Riiiiiight.
CAT (OS)
Carmine’s, may I help you?
JACK
(Disguising his voice) I’d like to call in a take out order of calamari.
CAT (OS)
I’m sorry, we only have calamari on the dinner menu. We’re serving lunch now.
JACK
With the Diablo sauce on the side please.
Jack starts to giggle hearing the anger beginning to rise in Cat’s voice.
CAT (OS)
Sir, we don’t have calamari right now, I’m sorry. Would you like to order something else?
INT. CARMINE’S – DAY
Cat taps her feet, her eyes narrow while she fidgets with her pen over the order form. Carmine’s customers give her wide berth.
JACK (OS)
How about ordering up chili? As in chill, Cat. I can feel your anger over here.
CAT
And where’s here?
JACK (OS)
I’m in Atlantic City.
CAT
Always nice to hear from you, Jack, but we’re busy. Anything else?
JACK (OS)
Yeah, I got Puck and Sal with me. Gonna take ‘em to the ocean for a dip.
CAT
You got them? Let me talk to them.
JACK (OS)
No. See ya.
Click – the call’s over.
CAT
What? Jack?! Hey!
She stares in the phone before placing it back in the holder. A customer gives Cat a blank smile as he hands her money and his bill. She snaps it out of his hand and asks angrily.
CAT
How was everything?
INT. TRAVEL LODGE – DA
Complete with clean clothes, Puck and Sal emerge from the bathroom.
PUCK
Who was that?
JACK
Just someone I know who knows Clint.
PUCK
Clint Eastwood?
SAL
No shit?
Jack squints at Sal before turning to Puck.
JACK
Yup. We’ve got a bit of a ride ahead of us, but if you boys are real good, you’ll see him tonight.
SAL
For real?
JACK
Am I stuttering?
PUCK
We’ll see Clint Eastwood tonight? If we’re good, right?
JACK
Not good, real good.
SAL
What’s the difference? I mean, are you judging us?
JACK
It’s my call, but if you’re real good …
PUCK
We will be.
Sal’s head snaps around with a WTF look directed at Puck. Puck eyes Sal and simply nods.
PUCK
You’re not bull crapping us, are you, Uncle Jack?
JACK
Bull crap, really? Crap? It’s bull …. Shit, Puck. Does it hurt you to swear?
Puck shakes his head no, Sal smirks.
JACK
Puck, can I trust you guys? You got this?
PUCK
We got this, Uncle Jack.
INT. CADILLAC – DAY
Jack listens to music while the boys are at their best behavior in the back seat.
PUCK
How much longer?
JACK
We’re almost there.
EXT. HIGHWAY – DAY
The Cadillac passes a road sign: “LAS VEGAS – 200 MILES”
INT. CADILLAC – DAY
Puck and Sal both see the sign and look at one another.
PUCK
So we’re meeting Clint where?
JACK
You’ll see him this evening at the hotel.
SAL
What time?
Jack looks in the rearview mirror and shrugs. Sal turns to Puck and nods in Jack’s direction.
PUCK
Uncle Jack …
JACK
Quiet. You know the rules. You gotta be real good.
Puck and Sal settle in their seats. They nod off soon.
INT. CADILLAC – NIGHT
Jack checks on his nephews – they’re sound asleep in the back seat.
EXT. PARKING LOT – NIGHT
The Cadillac pulls in large parking lot and heads to the back area. The Caddy parks under a tree facing the entrance.
INT. CADILLAC – NIGHT
Jack stares through the windshield, but no other vehicles enter the lot. He turns to Puck and Sal
JACK
You boys were real good tonight. I’m sorry I lied to you.
Jack closes his eyes and falls asleep.
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Rob Bertrand Dramatic Irony
What I learned: I learned that dramatic irony allows the audience in on a secret that the characters don’t know.
Annie Andrews – Protagonist
Basic character traits: Sarcastic, quick tempered, fragile teenager who aches for acceptance.
Character Logline: Annie is a high school student, overwhelmed with guilt over the death of her mother, who’s struggling to come out to her traditional father.Jessica Andrews – Side Character
Basic character traits: Shy, Nervous, Crafty, inherited her sister’s gift of sarcasm.
An eight-year-old girl becomes obsessed with horror movies after the death of her mother and soon comes to believe the house is haunted by her mother’s spirit.Jack Andrews – Side Character
Basic character traits: Exhausted, foul-mouthed, conservative father, who’s protective of his daughters.
Character Logline: Jack is an overworked auto mechanic, who’s grieving the death of his wife, Nora, while struggling with alcoholism and his daughter’s deteriorating mental health.INT. BASEMENT – NIGHT
A beam of light penetrates the dark of the basement.
At the top of the stairs, Annie stands in the doorway. Holding a flashlight, she scans the basement for signs of danger.
Jessica peers around the safety of her sister. Looking down the stairs, into the abyss.
JESSICA
See anything?ANNIE
No. Nothing–GHOST (O.S.)
(whispers)
Annie.Annie and Jessica both go stiff with fear.
JESSICA
Mom?ANNIE
Shhhh. Listen.They hold still, listening to the cold ambient noise of the basement. They are startled by a scratching noise. Something is down there.
ANNIE
Fuck me. Tell me you heard that?JESSICA
I want dad.Annie shakes her head.
ANNIE
He doesn’t believe us, Jess. We’ve got to be sure.Annie looks down into the dark.
ANNIE (CONTINUED)
We’ve got to go down there.JESSICA
Are you crazy? I ain’t going down there. No way.ANNIE
If we call Dad and it turns out to be nothing…again…he’s going to murder us. Just a quick peek. Okay?Annie holds a hand out for Jessica. After a moment, Jessica takes it.
The sisters descend the stairs, one step at a time. When they reach the basement floor, Jessica tries the light switch. It doesn’t work.
INT. BASEMENT WALL – CONTINUOUS
POV: Through a hole in the wall, we watch Annie and Jessica search the basement.
INT. BASEMENT – CONTINUOUS
Annie swings the flashlight beam around the room.
JESSICA
Let’s go back, Annie. I got a bad feeling…It looks safe until…
ANNIE
Oh my god!The flashlight beam falls on a fresh bloody message written on the wall by the freezer: “YOUR FAULT!”
JESSICA
I told you it’s mom!As the message sinks in, the freezer lurches forward, by itself, scraping the floor.
The sisters SCREAM in unison.
EXT. ANDREW’S HOUSE – NIGHT
All is quiet until the front door bursts open. The sister’s screams echo through the neighborhood, as they flee across the grass towards the neighbor’s house.
INT. BASEMENT – NIGHT
Jack follows POLICE OFFICER #1 and POLICE OFFICER #2 down the basement stairs and flips the light switch. It’s working now.
POLICE OFFICER #1
The message is over here…In the full light, we see the message in all its messy glory. Jack shakes his head in disbelief.
No one notices the freezer has been moved back into place.
POLICE OFFICER #2
Your fault? That mean something to you?JACK
What the fuck. Is that…is that blood?Police Officer #2 moves to take a closer look. He dips a finger into the dripping red substance. Smells it. Smiles, then tastes it.
POLICE OFFICER #2
It’s ketchup. It’s frickin ketchup!POLICE OFFICER #1
Jack, I know your girls have been through a lot–JACK
–Are you saying my girls did this?POLICE OFFICER #1
We’ve searched the entire house, Jack. There’s no sign of forced entry. Nothing is missing. What do you think?Jack rubs his tired, red eyes. It’s too much.
JACK
Fuck, I dunno., man. I dunno what to think. They think the house is…They think the house is haunted.POLICE OFFICER #1
I think your girls have been through a hell of a trauma, Jack. This is just a desperate cry for attention. If I were you…I’d go easy on ‘em. Maybe take some time off. Spend it with ‘em.JACK
Alright. Uh…sorry for wasting your time, guys. I know you have more important things to do.POLICE OFFICER #1
It’s not a problem. You want me to talk to the girls. Maybe put a scare in ‘em?JACK
I got this. Time for a “come to Jesus” meeting.As the cops head upstairs, Jack takes a closer look at the message.
INT. BASEMENT WALL – CONTINUOUS
POV: Through the hole, we watch Jack approach the message.
JACK
Your fault…CUT TO:
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Amy’s Dramatic Irony
What I learned doing this assignment is your story doesn’t have to be horror or drama for dramatic irony to work. I had a lot of trouble identifying a scene that I could use this technique in, but once I did, I think it improved what the scene would have been otherwise by 1,000%.
INT. – KITCHEN – NIGHT
Andrea looks around the kitchen, not sure what to do.
She wanders over to the line of recipe books and picks up one labeled “Cookies.”
She starts thumbing through the pages
ANDREA
Cookies, cookies. Chocolate chip cookies! Everyone likes chocolate chip cookies.
She starts furiously pulling things out of the refrigerator and cabinets.
INT. – KITCHEN – NIGHT – LATER
Andrea stands in front of the oven and peers through the window.
The TIMER DINGS.
She opens the door and pulls the cookies out. They are a little burnt. Andrea scowls at them.
ANDREA
All right. Good enough I guess.
EXT. – GROCERY STORE – DAY
Chloe stands behind a table with her FRIENDS from her swim team.
Meagan and Karen are busy arranging all the baked goods on the table.
MEAGAN
Oh, we have so many yummy goodies. We’ll probably make enough money to completely pay our way to regionals.
GIRLS
Whoo! Yay!
CHOLE
Meagan’s chocolate chip cookies will probably sell first. Everyone knows they’re legendary.
Meagan gives Chloe a big bear hug.
MEAGAN
Awww, Chloe Bear. You’re so sweet!
KAREN
She’s right you know. That’s why I made a cake. I didn’t want anyone comparing me to you.
Everyone laughs.
Just then, Andrea comes running up, late, with her barely wrapped, slightly burnt cookies sloshing all over the plate.
ANDREA
Chloe! Hi, honey. I made it!
She drops the cookies on the table and everything gets really quiet for a second while everyone studies the cookies.
The girls start giggling. Chloe turns red with embarrassment.
Meagan and Karen laugh too.
Andrea looks from one person to another, confused.
ANDREA
What? What’s so funny?
CHLOE
Really, Mom?
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I love opposites but I wanted to get some comic relief as well.
INT. TUDOR MANSION – DAY
Backstage in the Green Room, Delphine is coaching an older woman.
DELPHINE
You can do it with head resonance. Imagine butterflies bursting out the top of your head. Relax your throat. Stand tall.But the woman’s voice sounds scratchy.
DELPHINE
You need a Southern accent for this scene and that will help. You must ooze your triphthongs. Ho o ow no o ow bro o o co o o!The woman obeys but sounds too New York nasal.
DELPHINE
Open your throat, honey chile.BETTY
Who taught you all this, darlin? You’re only 13!DELPHINE
I have a great future in show biz. I studied dialects with the best.BETTY
I thought your daddy wanted you to be a scientist..DELPHINE
I can do both. After five hours in the lab, I must act, sing, and dance. Jake says so as well. What’s good for the body is good for the brain. Stand taller.BETTY
Okay, let’s do it.JAKE
The woman almost sounds like she is going from death row to an execution.They leave the Green Room for the big living room, partitioned off for a stage. Betty is dressed as Amanda Wingfield and she and Delphine do that famous scene from The Glass Menagerie.
BETTY
Honey, there’s no more room for jonquils.Delphine transforms herself into fragile Laura and they finish to thunderous applause. Then the woman goes to the kitchen and comes out with a tray of goodies.
JAKE
This is the woman I need to help us at home, if only for a few days. Can I borrow her?BETTY
I am great at cleaning, not just acting and cooking.Jake looks her over and mumbles to the audience.
JAKE
She dresses well. But something reminds me of someone else. Except that she has a green still eye, gorgeous dentures, thicker, redder hair, a fuller female body, but….
A few days later, I introduce Betty to mom and dad. Dad isn’t crazy about her but Mom is relieved she is such a good cook and cleaner. I look again. It is BB. What a transformation! Even better. -
Armand Dramatic Irony
What I learned…
Dramatic Irony: Irony that is inherent in a situation, understood by the audience, but not grasped by the characters…
By using dramatic irony, you:
– Include the audience in the story.
– Cause them to worry about the characters.
– Entertain and increase the drama of any scene.
For it to be dramatic irony: (A.) The audience has to know something that one or more of the lead characters don’t know and (B.) what the character thinks is the opposite of what is truly happening.”
ASSIGNMENT
Tyler
Self-centered
Arrogant
Coward
Regretful
INT. ROOM – NIGHT
The killer stabs the STONER, staring at him as he fades out slowly.
INT. MANOR HALLWAY – NIGHT
Tyler rushes in. He sees the masked killer coming out of the door.
Tyler screams! He pauses himself.
TYLER
No. It’s only a nightmare.
The killer moves towards Tyler.
TYLER
I’m not afraid of you. I’m not a coward, you stupid serial killer!
The killer approaches. Tyler covers his face with his arms as the killer walks right through him.
TYLER
You’re here. You’re really here!
The killer stops. The killer turns around sensing Tyler’s presence.
TYLER
He can’t see me. You can’t see me!
Tyler dances in celebration.
TYLER
You can’t kill a ghost, motherfucker!
The killer throws his axe, right through Tyler’s ghostly head. It sticks on the wall to Tyler’s surprise.
TYLER
What the hell!
The killer grabs his axe, unable to see Tyler.
TYLER
You know I’m here. How?
Tyler remains silent, observing the killer as he disappears down the hall.
COLLEGE KID (O.S.)
Who wants to go skinny dipping?!
Tyler gasps.
TYLER
He’s gonna butcher those kids.
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Jodi’s Dramatic Irony – Day 3
It adds to the enrichment of the story when we find subversive ways to show characters. It also gets the audience to root for the clueless character in the scene.
Protagonist: Pam Karras
Logical, aggressive when mad, compassionate, tenacious.
Pam sees the pain and suffering of people living in her state, which has grown exponentially with the SB8 law which has put more women and children into poverty and changed lives for the worse. She decides to run for the Governorship to reverse this law.Supporting: Detective Salt
Crafty, arrogant, charming
Salt finds his opportunities with the highest bidder, although not amoral, he doesn’t have a high ethics bar.
Supporting: Detective Miller
Studious, naive, eager to please
Miller doesn’t look past the surface, he takes everything he sees and hears at face value, which sometimes can get him or someone else in trouble.
Intentional deception from Detective Salt
Unintentional deception for Detective Miller
Second turning point at end of Act 2:
INT. TRAFFIC INVESTIGATION UNIT – DAY
Detective Salt ends a telephone conversation.
DET. SALT
Got it.
Detective Salt puts his phone in his desk drawer. He speaks loudly over to Pam at her desk.
DET. SALT
Pam, I was just thinking how nice your friend Chloe is, what was her last name again, Sartel, Cleveland, Bet–
PAM
Carter. You interested? She has a boyfriend.
DET. SALT
Put in a good word for me?
Pam smiles at him as she shuts him down.
PAM
That’s sweet.
Pam opens a file and starts perusing it. Detective Salt smiles back, then he calls Detective Miller over to his desk.
DET. SALT
Miller.
Detective Miller looks up at Salt. Salt nods to him
DET. SALT
(Sotto)
Come here.
Detective Miller does what he’s told as Detective Salt is his mentor in the department.
DET. SALT
Listen, Pam’s birthday is coming up and we want to surprise her, take her to the caf for some coffee while we make the plans, shouldn’t be more than 15 minutes.
DET. MILLER
Sweet. You got it boss.
Detective Miller walks over to Pam’s desk.
DET. MILLER
You about due for a caffeine fix?
PAM
Well, I gotta a lot of–
DET. MILLER
Um, well,
PAM
What Miller, spit it out
DET. MILLER
Well, I uh, I could really use your ear right
PAM
Sure, what’s up? Take a seat.
DET. MILLER
Well, I’m a little uncomfortable to talk
about it here.
Detective Miller gestures and nods slightly and widening his eyes.
DET. MILLER
Cafeteria instead maybe?
(beat)
My treat.
PAM
Oh sure. I can get back to this in a few minutes.
Pam puts a file in her side file and gets up.
PAM
Let’s go.
Pam stands and they walk out the door.
DET. SALT
Anybody see the Bailey file?
DET. SCOFIELD
That’s Pam’s baby, she pulled it earlier this morning.
Just the response Detective Salt was looking for. He already knew Pam pulled Bailey’s file earlier that morning. Salt walks over to Pam’s desk. CU on Bailey’s file sitting front and center on her desk. He pretends to be looking for it by rummaging around and slyly opens Pam’s top desk drawer and sees her phone. He looks around to make sure no one is watching, then opens the screen and clicks the ‘contacts’ button. He scrolls down until he sees Chloe Carter’s name. He clicks on it and views her information, looking around again to see if anyone is watching, he takes out a blank piece of paper from his pant pocket and grabs a pen from Pam’s desk. He writes down Chloe’s address and phone number.
Detective Scofield yells over to Detective Salt.
DET. SCOFIELD
Did you find the file yet?
Walking back to his desk.
DET. SALT
Nah, not worth mentioning to her, she wants it to be her baby.
2 days Later NEAR THE END OF ACT 2:
INT. CHLOE’S HOME – SAME
Chloe is making dinner. CU on her front door knob is turning, then the door opens. The front door still open Chloe screams loudly, glass and other items are crashing making violent sounds. Chloe continues to scream. Then silence.
3 days Later NEAR THE END OF ACT 2:
INT. TRAFFIC INVESTIGATION UNIT – DAY
Pam walks into the office looking beat and exhausted, in the afternoon.
DETECTIVE MILLER
Whoa! You look fried.
PAM
Yeah, my friend Chloe’s in the hospital, she was attacked last night.
Detective Miller looks curious. Detective Salt gets up to leave.
DETECTIVE SALT
Well, see you guys after lunch.
PAM
Have a good one.
DETECTIVE MILLER
Later dude.
After Detective Salt walks out Detective Miller continues.
DETECTIVE MILLER
The gal you and Salt was talking about a couple days ago?
PAM
Yeah.
She looks a little curious too. She shakes it off.
DETECTIVE MILLER
Around your birthday and all, so sorry Pam.
Pam thinks that a curious statement.
PAM
She’ll be fine by the time my birthday rolls around, that’s months from now, the Doctors say she just needs time to heal right now.
Detective Miller is confused. He wonders out loud.
DETECTIVE MILLER
Well, what was coffee all about?
PAM
What do you mean?
DETECTIVE MILLER
When we went to coffee the other day.
PAM
Well, I hope I was helpful with advice you wanted.
DETECTIVE MILLER
Salt wanted me to take you to coffee so they can discuss party arrangements for you.
Pam looks surprised.
PAM
Well, that’s odd.
(beat)
I need Karen Bailey’s file back, I might have a lead.
DETECTIVE MILLER
I don’t have it.
PAM
(loudly)
Anyone have Bailey’s file, it’s not in the cabinet.
DETECTIVE SCOFIELD
Could be on Salt’s desk, he was looking for it on your desk a couple of days ago.
PAM
I did have it a couple days ago, but I re-filed it.
Pam and Miller are starting to put two and two together. She quickly goes to Salt’s desk and starts searching around. She finds nothing. Miller is searching the files.
DETECTIVE MILLER
I found it, here you go Pam, Bailey’s was misfiled, it was in the C’s.
PAM
Where’d Salt say he was going?
DETECTIVE MILLER
He didn’t, but he usually goes to the cafeteria.
Pam grabs her purse, her phone and her pick locking tool and runs out the door.
INT. PARKING STRUCTURE – SAME
Pam looks around as she uses her picking tool on Detective Salt’s car door. She unlocks it immediately.
INT. DETECTIVE SALT’S CAR – SAME
His car is messy, papers are everywhere in no particular order. She swiftly searches his car for any sign of evidence. Something to answer her growing list of questions. She goes through papers and mess two times. She’s ready to give up and checks one more spot, under the passenger seat floor mat. She pulls out the piece of paper we had seen Salt write on. It has Chloe’s address and a time on it. Pam feels gut punched. She slams the door behind her and walks away from the car.
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BOB SMITH’s DRAMATIC IRONY
What I learned doing this assignment?
Using irony helped me discover the innate irony
in my own outline and characters
Name: Emil Jannings.
Traits: Jealous, imperious, fearful (about his possible loss of status as a star and for his future career).
Subtext: Deceitful and manipulative.
Logline: Emil Jannings is the Oscar-winning star of “The Blue Angel” but is jealous of Marlene Dietrich whom he fears will undermine his star-status.
Name: Major Kent Kershaw
Traits: Amicable, personable, and professional who does not relish his duty to investigate Jannings to determine if he must be subjected to de-nazification.
Subtext: Persistence and probing.
Logline: Major Kent Kershaw is the interviewer of Emil Jannings to determine if Jannings must be subjected to de-nazification.
NOTE: Kershaw appears only at the beginning and end of the film, the two bookends of
Jannings’ story which is the film in between the them.
– –
Jannings has now finished his story of the making of “The Blue Angel” and explains his participation in Nazi propaganda films as his own effort to protect his family from Nazi persecution (Jannings had a Jewish mother).
JANNINGS
So, you see, Major Kershaw, with a Jewish
Mother, I and my family needed protection
and the best place to hide was in the open.
KERSHAW
So, the best place to hide was participating
in Nazi propaganda films?
JANNINGS
If I had refused, I would have paid for it with
My life, I am sure. So would my family. I am
not the only one from the cast of “The Blue
Angel” who worked for the Nazis. Kurt Gerron
made a propaganda film about the concentration
camp at Thereisenstadt which was titled, “Hitler
Builds a City for the Jews.”
KERSHAW
But he was forced under guns of the guard towers
to make the film. You were not. Max Schmeling
was not a Nazi but he fought in the war in Crete as
a paratrooper in the Wehrmacht. We deemed him
to require de-nazification.
JANNINGS
But I am not like Schmeling. I am like Gerron
Who made films in order to survive. Had Gerron
not been sent to Auschwitz but, had survived, would
you require him, a Jew, to be de-nazified?
KERSHAW
Well, there is something else that is in
your record that Gerron would never have done:
You campaigned for the Nazi Party in the
Reichstag elections of 1938. Would you say
that was hiding in the open?
JANNINGS
Of course.
KERSHAW
Mr. Jannings, you were fighting for the Nazis in
your own way just as Max Schmeling did in Crete.
How many people suffered because of the Nazi
majority elected in 1938? No, Mr. Jannings,
I regret to say that you also are now required to
undergo de-nazification.
JANNINGS
Then, you take away my only reason to live,
which is my acting.
KERSHAW
Your beautiful portrayal of the professor in
“The Blue Angel” will live on as your legacy.
JANNINGS
While my life ends like the professor.
Jannings begins to sob.
KERSHAW
(sympathetically.)
You must stay out of the public eye. Maybe
in a few years, then you can try again.
CLOSING SUPER TITLES against a montage of photos and scenes alluded to in the titles:
Emil Jannings never acted again. He died in 1950 of liver cancer. He was given a star on the Hollywood Walk of Fame. He had converted to Catholicism. His epitaph:
Gods give everything, All joys, All pain, the infinite whole.
Marlene Dietrich and Josef von Sternberg went to Hollywood and made many acclaimed motion pictures through the 1935 when they ended their partnership.
Dietrich condemned Hitler and Nazism, She became an American Citizen and entertained the troops even as they marched against the German Army.
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Pablo Soriano’s Dramatic Irony
What I learned: It’s actually kind of fun to make every character try to hide something from another. Even if it’s allies. It makes it so much easier to write. Always having the motivation of keeping a secret creates easier dialogue. Questions and lies. Frank is still secretly smuggling in drugs unbeknownst to his production team. Irma still hasn’t told the children that A.) their father is dead and B.) they are running for their lives. Now I have to think of Miguel fits into all this.
INT. FRANK’S STUDIO – DAY
Franks phone rings. He turns away from his production team upon answering. Sapo’s name shows up on the screen. He walks towards the door. Steven looks at him inquisitively as Frank exits.
EXT. STUDIO LOT – DAY
FRANK: What’s up?
SAPO: I have a favor to ask.
FRANK: It’s too late to change the routes.
SAPO: Not that. We’re all set. I have some information on a coyote.
FRANK: Since when are you giving me leads on illegals?
SAPO: In truth, I’m not really looking for him but one of his passengers.
FRANK: One of yours trying to fly the coop?
SAPO: Not if you can help bring her back.
FRANK: Her? You have to treat your girlfriends better. Whatcha got?
SAPO: They should be coming from Samalayuca. Probably headed for Fort Hancock. I can send a face and a name.
FRANK: And the passenger?
SAPO: Same. She’s got two young boys with her too.
FRANK: Ok. Send it over. I’ll let you know if and when I find her.
Frank hangs up. There was a missed text from KATHY: “Got my shift covered. I’ll grab the kids from soccer practice.” Frank texts something back and heads back inside.
INT. FRANK’S STUDIO – DAY
As Frank enters, Steven eyes him across the room. Frank sits back in his station and taps on the keyboard of his desktop. Steven rolls his chair over to him.
STEVEN: Everything alright?
FRANK: Just the Mrs.
STEVEN: Since when do you take her calls in private?
FRANK: Since when you give a shit?
STEVEN: Just seemed like an important call, is all.
FRANK: Maybe it was. Which would be none of your business.
STEVEN: No, I mean… Though maybe it was a call from BP.
FRANK: The less communication we keep with them, the better. They’d only reach out if we don’t keep up.
STEVEN: That was my concern.
Frank turns to Steven.
FRANK: Not a single wetback as made across on our watch. Not since we shifted our model.
STEVEN: Yeah I know.
FRANK: So what exactly is your concern?
STEVEN: We’re kind of under their thumb, Frank. If they give us some unrealistic expectations-
FRANK: We can only do so much. And they know that.
STEVEN: And what if they ask us to flip on our old friends?
FRANK: Why would they do that? They aren’t the DEA.
STEVEN: They may want some credit. Some leverage for more funding.
FRANK: Jesus, Steven. Would you stop?
STEVEN: They obviously know about our old connections.
FRANK: And we told them that we wouldn’t give them that info.
Beat.
STEVEN: You aren’t still keeping in touch with any of them, are you?
FRANK (irritated): No. We’ve cut all communication.
Beat.
FRANK: OK?
Beat.
STEVEN: OK.
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Janeen’s Dramatic Irony
What I learned doing this assignment is that irony rarely shows up in one contained scene unless someone enters the scene after the disclosure has taken place. In this case, my irony is heightened by the fact that my victim has to play advocate for her abuser.
Morgan Day <div>Basic Character Traits:
<div>
Insecure
Curious/Eager to learn
Perfectionist — can’t leave well enough alone
Bold under pressure
Subtext Character Traits: Intimidated, Crafty
Logline: Morgan is a wealthy fashionista who wants to help other women to prove to herself that she is not just a trophy wife.
Possible areas of subtext: Pretends to believe she is inferior to her husband. Collects friends who help intimidated women while not realizing she is intimidated. Pretends altruism while her work is a form of revenge against her husband.
Amber Richards
Basic Character Traits:
Loving
Gentle
Long-suffering
Fiercely protective of her kids
Subtext Character Traits: Intimidated, Secretive
Logline: Amber is a good mother and must find the courage to protect herself and her children from her vicious husband before he kills them.
Possible areas of subtext: Pretends she is in control in front of her children no matter what Daniel is doing to her.
SCENE
This is the 3rd scene of the screenplay. In Scene 1, we see Amber get beaten by her husband for not having the kids in bed by the time he got home from work. In Scene 2, we see Morgan disappointed when her mind control classmates figure out that she is a famous author’s trophy wife.
INT. WOMEN’S SHELTER LOBBY – DAY
MORGAN enters the women’s shelter with an armload of dresses in hanging bags. A woman follows her with an armload of shoe boxes and a tote with purses in it.
Morgan drapes her bags over the back of a chair in the lobby.
MORGAN
I’ll just let Bridget know I’ve brought in a few things.
AMBER sits on a sofa in a waiting area, her back to the office. She has a bruise on one cheek, on her wrists and on her neck. She recognizes Morgan’s voice and pulls her kids closer, sinking down into the sofa to hide herself.
One of the kids pops up over the top of the sofa to squeal at the sound of Morgan’s voice.
AMBER
(whispers)
Shush! Sit down.
Morgan does a double take toward the couch and recognizes a bracelet on Amber’s wrist as Amber grabs the toddler and pulls the child down next to her.
MORGAN
That’s a Daniel Richards original. I just brought in a dress that would look fabulous with that. Let me find it for you —
Morgan rushes to the couch and draws back in shock when she sees it’s Amber.
MORGAN
(abashed)
You have to promise me you won’t tell Daniel that I donated that beautiful black silk dress he made for me two years ago.
Amber waves her away.
AMBER
No problem. I won’t tell him.
MORGAN
I just think it’s better to let someone else wear these beautiful
MORGAN
styles than to let them sit in my closet, you know?
She draws closer to Amber and spots the bruises on Amber’s wrist and neck as Amber tries to hide the bruise on her cheek with her hand.
MORGAN
Oh dear, what happened? Were you mugged?
Morgan sits on the couch next to one of the kids and leans in close to Amber to speak to her quietly.
AMBER
No, no, of course not. I was carrying too many things at once — staging them to bring here — and, and tripped on my way down the stairs.
MORGAN
I’m so sorry. Let me see. Have you seen a doctor? Those bruises look awful. What did Daniel say? Did he take you to the ER?
Amber shoos her back.
AMBER
Daniel knows I’m fine. I am. I was just clumsy and trying to carry too much at one time. I’m fine.
Amber looks away. Morgan cocks her head a little as she ponders, then has an insight.
MORGAN
Good god! Daniel didn’t do that, did he?
Amber blushes, shifts quickly, puts a smile on her face.
AMBER
No, I told you, I fell. I’m fine. Daniel would never hit a woman.
(looking down quickly and then back up to face Morgan fully)
I’m here donating, just like you. And you’d better not tell Daniel you saw me here either.
Morgan is puzzled. Amber pulls her sleeve over her wrist when she sees Morgan glance at it.
AMBER
He thinks I sell all our old things, but I bring them here. Especially the kids’ clothes. People here always need those.
Morgan looks a little relieved.
MORGAN
Of course. I won’t tell if you won’t.
Morgan continues to stare at Amber’s bruises. Bridget comes out of her office and spots Morgan.
BRIDGET
Morgan, dear! Come in. I’ll give you a receipt for all these wonderful clothes.
Bridget leads Morgan to her office and nods sympathetically to Amber as she does so.
Morgan looks over her shoulder at Amber and waves quickly, shrugging as though she’d like to talk more, but has to go.
</div></div>
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Erin’s Dramatic Irony
What I learned from this assignment is: Dramatic irony is such a versatile tool. It can occur in a passing few moments or be the pretext for an entire movie (misunderstandings, farces). It can add incredible tension to a drama or a lot of humor to a comedy. It adds automatic subtext to what the characters say and do.
(Setup: Richard doesn’t know that Dick has some illegal firearms in the trunk of the car.)
Dick drives and Richard sits in the passenger’s seat, eating a baked potato with a plastic fork.
RICHARD
Hey, watch your speed, there’s a cop back there.
DICK
I’m barely going 10 over. 50 is basically 40.
The lights on the police officer’s car turn on.
RICHARD
Goddamnit! I just told you to slow down.
Dick slows to pull over to the side of the road and turns off the car. The cruiser stops a ways behind, lights still going.
DICK
Relax.
After a moment the POLICE OFFICER approaches. He stops behind the car and looks down towards the trunk. Dick watches him anxiously in the side view mirror. The officer comes to the driver’s side window and motions for Dick to roll it down.
DICK
Hello, Officer. What can I do you for?
POLICE OFFICER
Good afternoon. License and registration, please.
DICK
Of course.
Dick gets both and hands them over. The officer looks at them for a brief moment.
OFFICER
Do you know why I stopped you?
DICK
Why no, Officer, I –
RICHARD
He was speeding!
OFFICER
Your registration is out of date. See here?
DICK
Oh.
OFFICER
Yes, “oh.” This means you cannot drive this vehicle until the registration issue is taken care of.
DICK
What happens to the car?
OFFICER
It will be impounded. You can come collect it once you have proof of current registration.
RICHARD
Good job, Dick!
OFFICER
Excuse me?
DICK
That’s just my nickname, Officer. Nothing personal.
OFFICER
I’ll be right back. You stay right here.
DICK
Of course.
The officer starts to saunter back to his cruiser. When he’s just a few steps behind Dick’s car, Dick turns on the ignition and slams on the gas.
RICHARD
What the hell are you doing?!
Dick watches in the rearview mirror as the officer runs frantically to his car and starts pursuing them.
DICK
What did you want me to do? He was going to take the car, and we need it, don’t we? How else are we going to get to Shaz’s place?
Dick turns off the relatively empty road onto a busy road and zips in and out of traffic, followed by the cruiser.
RICHARD
We could have taken a cab. We could have taken a scooter. We could have taken a goddamn hot air balloon! But we can’t get to Shaz’s place if we’re locked up! JESUS!
DICK
Don’t worry. Cops don’t actually like high-speed pursuits because there’s such a high risk of something going tits up. I mean look right now, I could have just run those nuns over. Good thing they’re so alert. The State of Florida doesn’t want that to happen. So we just have to wait this guy out.
RICHARD
Are we even the same person?
Richard reaches over and holds his hand down on the horn of the steering wheel to warn more pedestrians milling about ahead.
Dick plucks Richard’s hand off the wheel.
DICK
Excuse me. Party foul.
Richard immediately tries to put his hand back on the horn and the two tussle.
RICHARD
Excuse me. I have a duty to warn these people that they’re in imminent danger.
DICK
Look at him back there, he’s frothing at the mouth, but you know what? I bet he’s having so much fun.
Dick comes to an intersection and takes a hard right. Before the cruiser has had time to turn the corner and see what Dick does next, he takes a hard left. This maneuver puts a good amount of distance between them and the officer.
Richard is thrown back and forth across the front seat.
RICHARD
Ow!
Richard is bleeding from the arm.
DICK
How the hell did that happen?
He sees a little blood on the tines of the plastic fork.
DICK
Who the hell eats a potato in a police chase?
RICHARD
I’M HUNGRY.
The cruiser is behind them again, but much further back. It’s joined by a second cruiser.
RICHARD
Jesus! Now there’s two of them! You said they’d call it off!
DICK
Just hang in there.
RICHARD
Why didn’t you just cooperate like a normal person? If we end up in jail tonight, I swear –
Dick gets onto a long two-way, six-lane bridge. Cresting over the top of it, they see three more police cruisers, all with lights on and sirens blaring, coming towards them.
RICHARD
This was a great plan, Dick. Great plan. What do we do now?
Dick doesn’t see a way out; he’s stuck on the bridge with two cruisers behind and three ahead. But he doesn’t slow down.
The three cruisers pass right by. The two cruisers that had been chasing them turn on a dime and join the three cruisers going in the other direction.
Dick turns to Richard and grins.
DICK
I told you. Relax.
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Emmanuel’s Dramatic Irony
What I learned doing this assignment is using dramatic irony is a great writing tool. Love watching a movie and knowing something a bit more than the character. You want to jump in and tell the character to watch out or do something different because she’s in danger or not making a wise decision.
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