Day 3 Assignments

[Armand Petrikowski]

Armand’s Dueling Agendas

What I learned…

“Competing agendas is one of the keys to great dialogue and increased conflict between characters. Different agendas show up in a character’s action, inaction, dialogue or lack of dialogue. It’s the competing agendas that provide the conflict and opportunity for comedy”

Name: TYLER, THE GHOST

Traits: Arrogant, Sarcastic, Immature

Subtext: Scared, in Denial

Character Logline: Tyler is the ghost of an entitled college jerk who was murdered 20 years ago by a masked serial killer, and now has to overcome his hidden guilt and fears to save a new group of college kids from suffering the same grisly faith as him.

Possible areas of subtext: He wants to haunt the kids so they leave before they are killed, he doesn’t want to intervene, he runs from the masked killer even though he’s a ghost, he thinks the killer’s return is just a nightmare.

Name: MADDIE, THE FINAL GIRL 20 YEARS LATER

Traits: Brave, Wise, Tough

Subtext: Paranoid

Character Logline: Maddie is the sole survivor of the original massacre who is obsessed with the return of the masked killer who was never caught and sets out to stop the killer at any cost now that the killer’s back.

Possible areas of subtext: Distrusts everyone, has conspiracy theories, doesn’t use technology and lives off the grid so the killer couldn’t find her.

——

Adult Maddie, now a badass vigilante, appears and helps fight the serial killer before he gets Dallas and Lex. Tyler re-connects with Maddie.

TYLER’S AGENDA: To get close to Maddie again

MADDIE’S AGENDA: To get away from Tyler’s ghost

Outline: Maddie appears just in time to help Tyler, Lex, Dallas and the remaining college kids (Jerk Jock, Socialite). Maddie kicks the killer’s butt. The killer retreats momentarily. Tyler discovers Maddie is alive. Maddie is informed Tyler’s ghost is in the room. She is in disbelief. Lex, who can see Tyler, suggests Tyler jumps in a body to make contact. Tyler jumps into the Jock’s body. Tyler and Maddie speak about things only the two of them would know. Maddie slaps Tyler for leaving her behind 20 years ago. Tyler says he died! Maddie says she should have killed him herself for his cowardice. Maddie asks the college kids to leave and Tyler to leave her alone. She will face off with the killer. Tyler tries to convince Maddie to leave. Maddie refuses, saying the killer will never back off unless he dies.

INT. MANOR – NIGHT

Tyler stands inches away from Maddie’s face. She can’t see Tyler.

TYLER

Maddie, you are alive. You… you’re beautiful.

LEX

She can’t hear you, Tyler.

MADDIE

Tyler? You kids have a morbid sense of humor. Tyler’s death!

Tyler jumps on the Jock’s body, inhabiting him. We see Tyler as he approaches Maddie.

TYLER

(in the Jock’s body)

Maddie. Remember what I said to you that night.

Maddie remains quiet.

TYLER

I said I wish I was as brave as you’re.

MADDIE

Tyler? Is it really you?

Maddie puts her hand on Tyler’s cheek. Tyler nods.

Maddie slaps Tyler. The college kids jump in surprise.

MADDIE

This is for leaving me to die, you coward.

TYLER

So you believe it’s me!

She slaps him again.

MADDIE

(to the college kids)

You need to leave.

LEX

What about the killer?

MADDIE

I’m going to stop this son of a bitch.

Maddie grabs her axe, determined to kill or be killed.

TYLER

You can’t do that. He’ll kill you!

Maddie grabs Tyler by his shirt.

MADDIE

You stay away from me, ghost!

The Jock is himself again. The Jock rubs his cheek in pain. Tyler stands next to him.

LEX

He already jumped out.

(points to Tyler’s direction)

He’s right there—

MADDIE
(rolls her eyes)

Of course.

(shouts to the air like trying to reach Tyler)

Coward!

(to the kids)

Follow me. I’ll get you out of here.

Lex and Tyler exchange a worried look as everyone follows Maddie.

[Rob Bertrand]

Rob Bertrand’s Dueling Agendas

What I learned: I learned that giving characters competing agendas can elevate a scene to greatness.

CHARACTER

Name: Annie Andrews

Traits: Whip smart, quick tempered, evasive, who aches for acceptance.

Subtext: Hiding Something

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.

Possible areas of subtext: Annie agrees to go on a date with Danny Laplante, even though she has a crush on Jocelyn.

CHARACTER

Name: Danny Laplante

Traits: Emotionally traumatized, delusional, pathological liar, who’s desperate for love.

Subtext: Plotting

Character Logline: Danny is a high school drop out with a history of mental illness, who becomes obsessed with tormenting Annie after she rejects his affections.

Possible areas of subtext: Danny gave Annie a false description of his looks. He makes up stories about his past to make himself look good.

SCENE

EXT. FERRIS WHEEL – COUNTY FAIR – NIGHT

Annie and Danny stand awkwardly together, in line for the Ferris Wheel. Danny nervously bites at a hangnail.

DANNY
I just can’t even imagine what it must be like to lose your mom like that.

Annie is taken back.

ANNIE
Uh? Yeah. This…this line doesn’t seem to be moving.

DANNY
Good. Gives us time to hang.

Annie’s phone buzzes in her pocket. She discreetly checks it.

JOCELYN (TEXT)
How’s it going?

ANNIE (TEXT)
OMG! This is torture! 🙁

DANNY
Who are you talking to?

Annie hides her phone screen.

ANNIE
Oh, just checking on my little sister. She’s, uh…She’s just wondering when I’ll be home.

Annie and Danny reach the head of the line.

The Ferris wheel grinds to a stop. The RIDE OPERATOR lifts the safety bar and motions for Annie and Danny to take a seat.

DANNY
After you, beautiful.

Annie winces.

As Annie sits down, Danny whispers to the Ride Operator. Both men smile and nod in agreement.

Danny takes a seat, closer to Annie than she’d like.

The Ride Operator lowers the safety bar and pushes a button. The chair lurches backwards over the sound of GRINDING METAL.

DANNY
Here we go…

At the peak of the Ferris Wheel, Annie gets a view of the entire fair. She looks around for Jocelyn and Jessica.

DANNY
Your dad sure was pissed.

ANNIE
Huh?

DANNY
Your dad. I could hear you guys screaming at each other from the street.

ANNIE
Really? Shit, that’s embarrassing.

DANNY
Don’t be embarrassed. He’s right. Therapy would be good for you.

Annie is mortified.

ANNIE
Longest Ferris Wheel ride ever.

DANNY
Therapy made me who I am today.

ANNIE
Yeah, who’s that?

Danny smiles, revealing teeth in need of a dentist.

DANNY
The man of your dreams, Annie.

The Ferris Wheel stops, with Annie and Danny at the peak. Annie is speechless.

DANNY
Wow, look at that view.

Annie’s phone buzzes. She quickly checks.

JOCELYN (TEXT)
I see you! Hang in there!

DANNY
Tell me about your mom?

ANNIE
Sorry…one sec. My sister…

Annie types lightening fast.

ANNIE (TEXT)
Dude! All he wants to talk about is my mom!

Danny fights irritation and puts on a fake smile.

DANNY
Was she a good mom?

ANNIE
Yeah. Yeah, she was.
(beat)
Why aren’t we moving?

Annie peers down at the Ride Operator, who appears to be chatting with some teenage girls.

DANNY
A mom is the heart of the family. Don’t ya think?

ANNIE
More like…the glue that holds a family together. But, I feel you.

DANNY
I feel you too.

Danny reaches for Annie’s hand, but she deftly moves it away.

DANNY
You ever think that maybe the wrong parent died?

ANNIE
(angry)
What? Why would you–

DANNY
–Be honest.

Annie thinks about it.

ANNIE
I dunno, Danny. That’s…that’s just a fucked up thing to ask someone.

Danny laughs.

DANNY
That’s a big yes. I only ask because I often had that same thought when my mom died. My dad took it really hard.

ANNIE
I bet you miss her. What was she like.

Danny changes the subject.

DANNY
Annie? I like you. I like you a lot. I’ve never felt a connection with someone like this.

Annie turns away, to hide a snicker. When she turns back, Danny comes in for a kiss. Annie pulls away, her face a mask of revulsion.

ANNIE
Danny, I thought we agreed to meet as friends?

DANNY
I know you feel something too.

Annie shakes her head.

ANNIE
We talked about this, Danny. I’m not interested in…dating, right now.

Danny smiles.

DANNY
I can wait for you.

ANNIE
You’re going to be waiting a long time, Danny.

Danny’s smile disappears and his body language grows tense.

DANNY
Did you see her?

Annie is confused.

ANNIE
See who?

DANNY
Your mom’s body after she died? What did that feel like? Seeing her like that?

Annie is startled when the Ferris Wheel begins moving again.

[John Budinscak]

Budinscak Dueling Agendas

What I learned doing this assignment is:

o How to bring scenes to life.

o A way to create the message you want to deliver – without words.

o No more ‘on the nose’ dialog.

Character Name: Jack

Traits: selfish, conniving, street smart, scoundrel

Subtext: Conniving

Agenda: Jack will admit to nothing concerning Don Vito.

Character Name: FBI Guy

Traits: rigid, aloof, underhanded, evasive

Subtext: Underhanded

Agenda: He will get Jack to agree to work with him and the other agent.

INT. LAS VEGAS HOTEL ROOM – NIGHT

JACK, late 20s, more smooth than suave, makes small talk with a WOMAN, late 20s, a lady of the night.

KNOCK KNOCK

MAN (OS)

Room Service.

Jack smiles at the woman as he turns the door handle – the door flies open.

Dressed like tourists in shorts and flowery shirts, Two MEN, burst into the room. They still wear their sunglasses.

FBI GUY

FBI no one move.

The woman grabs her purse and bolts out the door. Jack looks quizzically at the odd dressed men.

FBI GUY

Well, look who it is, the Don’s right hand man, Jackie DiLuna.

JACK

Jack.

FBI GUY

Huh?

JACK

Just Jack.

FBI GUY

Okay, J J. We got you. You know it and we know it.

JACK

Who are you guys, again?

FBI GUY

I can understand your confusion, we’re undercover.

The FBI agents smirk at one another. They pull out their credentials and thrust them in Jack’s face – he pays no notice.

Jack spins a chair from the desk until it faces his accusers. He plops down.

JACK

CIA’s undercover. Your alphabet is too proud, you’re always in suits. Who are you guys, really?

The lead agent shakes his head with disdain as he peers over his sunglasses, his eyes puffy and red.

FBI GUY

Jack ….

JACK

You the guys who lost that witness?

That hit a nerve.

FBI GUY

Is that how you want to play it? We’re gonna be your permanent shadows. We …

JACK

Even at night?

FBI GUY

Especially at night.

JACK

Shadows at night?

Jack stands, walks to the TV, turns it on and increases the volume. The men have to yell to be heard.

FBI GUY

What are you doing?

JACK

Isn’t that what you do in case somebody’s listening?

FBI GUY

Listening? That would be us. Now you listen, we got recordings of you and Don Vito.

JACK

Like singing recordings? How do I sound?

FBI GUY

You sound like someone who’s guilty.

Jack shakes his head like he can’t hear. The lead agent struts to the TV and angrily turns it off.

FBI GUY

You’re working for us starting now.

JACK

What’s the pay?

FBI GUY

You do your country a favor and you stay out of jail.

JACK

I’m doing that already. What else you got?

FBI GUY

Really?

[Robert Smith]

BOB SMITHS DUELING AGENDAS

What I learned doing this assignment is…?

Mining from the traits and subtext creates scenes and also discovery of possibilities in the stories and characters

Scene of Dueling agendas between. Emil Jannings and Josef von Sternberg.

NAME: EMIL JANNINGS

TRAITS: Imperious, easily offended. Afraid (of losing star-status to Marlene Dietrich and of his career’s future).

SUBTEXT: Deceitful, manipulative.

NAME: JOSEF von STERNBERG

TRAITS: Artistic, perfectionist.

SUBTEXT: Demanding.

INT. SET OF “THE BLUE ANGEL” – DAY

During a break from filming. JANNINGS is with fellow actors KURT GERRON and HANS ALBERS, they have scripts in hand and are in costume. GERRON: Tux and top hat. ALBERS: Derby and top coat. JANNINGS: Clown costume.

GERRON

Did you meet with Chaplin?

JANNINGS

Yes, and I met with Eisenstein and

Keaton. I have met all the great

directors who have visited the set of

“The Blue Angel.” The only director

who has not visited the set of “The

Blue Angel” to talk with the actors is

the director of “The Blue Angel.” He

is on the set only when he shoots.

How can a creative relationship be

built without a director commiserating

with his actors? He is somewhere building a

relationship with Miss Dietrich.

ALBERS

(Exasperated.)

Oh, let’s run lines

JANNINGS

I have worked with Jo on many films

and this is the first in which partnership

with his lead actor (me) is missing.

Von STERNBERG enters from behind Jannings and overhears.

ALBERS

Well, we are only shipmates. Tell the captain

of the ship.

JANNINGS

That’s it! Where is the Captain of the ship?

GERRON

Look behind you, Emil.

STERNBERG

Ten Minutes, everyone.

Gerron and Albers exit.

STERNBERG

You have grievances, let’s hear them.

JANNINGS

It’s your partnership that I miss. You

Spend your time exclusively with Miss

Dietrich.

STERNBERG

I have explained to you. You and I have

successfully worked for years and we know

each other’s techniques. You and I know each

other but Miss Dietrich is the newcomer who

needs special attention. She needs your support,

too, as the star.

JANNINGS

Let me tell you what the attention has produced.

I attended rushes recently with Heinrich Mann.

He says his book is obliterated in this movie.

You’ve turned his novel into pornography. The

only thing memorable is “Miss Dietrich’s legs.”

STERNBERG

I must make Lola Lola seductive or why else

would your character be seduced by her? I’ll be frank, Emil: You are obsessed with Miss Dietrich and you

fear she is a rival. She is not. You ARE the star of

“The Blue Angel.” As a newcomer, she needs your

support as the star. Now, I have a grievance.

Behind my back you have instructed other actors

to do the opposite of my direction. You are only

star of this film but I am the only director. This is

the first time you have ever done this. It must be

the last.

JANNINGS

Your source for this rumor is Miss Dietrich, who

has as much contempt for me as she has loyalty

to you.

STERNBERG

There is no room on this set for schoolyard pettiness.

It is unworthy of you, Emil. Now, let’s get on the set

and make a motion picture.

Jannings and von Sternberg exit. This scene segues into the scene in which Jannings’ character strangles Dietrich’s character, but Jannings over acts and actually hurts Dietrich.

• This reply was modified 3 years, 6 months ago by  Robert Smith. Reason: Correct a few names from CAPS to lower case, following the usual screenplay format

[Elizabeth Koenig]

Elizabeth’s Dueling Agendas

What I learned…having a specific focus can really help pull out a scene.

<b style=”font-family: inherit; font-size: inherit; -webkit-text-size-adjust: 100%;”>Grace’s Basic traits

· Hard (over)-working

· Playful/creative/musical – like ED, can put things together you’d never expect

· Enthusiastic/positive/exuberant

· SUBTEXT: in this scene: is desperate for mirroring/love from grandparents b/c she’s had precious little from parents and feels irrevocably unlovable –

Ed’s Basic traits

· Uber-Responsible

· Avoidant-restless as a consequence (changes): Subtext: in this scene: he can’t talk much about Susan, his teenage love, who he had only ‘hooked’ back up with a year ago, before she died—b/c the feelings of grief, guilt, having ‘missed out’ are so strong.

· Caring

· Connecting (collects/mixes diverse ideas & people)-his brilliance (extreme)

Outline:

Beginning: Ed in bed. Grace pounds on door, ecstatic she’s found Ed.

Middle: Grace tries to talk Ed into giving her marriage advice as Ed’s retirement home mates look on.

End: Grace gets the “perfect” advice

INT. ED’S APARTMENT – EVENING

Ed, supine in bed. Hands crossed on his chest. Ignores the growing knocks of Determination Incarnate, until…

… the patience of Job, he pulls back blankets and—

Lumbers down the hall. Not bothering with lights, as he—

Cracks the door. Squints. Only his head out. Though his nose points straight into the yellow pistil of…

INT. GARDENS BY THE WATER – HALL – CONTINUOUS

…a magenta flower. Silky and magnetic—for bees and men alike—on a blouse that sparingly covers the bosom of—

GRACE

OhMyGod, Ed! I found you!

ED

Uh—

Straightening, both his frontal lobes and his spine, Ed notices Pat pushing Sr. Mary down the hall toward them.

ED

Hi Grace.

GRACE

Oh! You remember me!

Sr. Mary sees this—Manna from Heaven for Grace. Smiles.

ED

(Pained)

Well, some things are—hard to forget.

(And)

But it’s really late. I’m sorry. It’s bedtime and—

Ed watches Pat make a face at him. Makes a face back as—

Grace reaches for her phone, confused as—

A MALE GERMAN VISITOR approaches from the opposite direction and helpfully reads his watch—

GERMAN VISITOR

Seven-oh-sechs! Bedtime for sure.

The man fixates on Grace’s cleavage. Against Ed’s better judgement—but anything to reposition Grace and her chest—

ED

What do you need, Grace? From me?

GRACE

Oh, I’ve been so excited! I mean, I know Susan is painful. So maybe that’s for later—

Pat stops, intrigued. Ed waves a hand: Go!

GRACE

But, the sex! Ed. I have got to tell you—you are absolute magic!

Pat grins. Ed’s mortified. Avoids Sr. Mary, as he throws a disapproving look at the German Visitor who’s stopped, too

SUSAN

Seriously. You are the Mohammad Ali of relationships! Fast hands and phantom punches that totally knock out a fight!

(Breathless)

But I need more.

Pat and Sr. Mary gape.

GRACE

Though you know I can’t pay for it. So it can’t be that kind of relationship. Still, if there’s any, creative way—

The German’s game for a creative way.

ED

(Irritably to the German)

This is confidential. Please leave.

But the German’s all in, as Walt rounds the corner.

WALT

(Shocked)

Ed has a visitor?

Ed tries really hard to ignore. To Grace—

ED

Like I told you before—

GRACE

(Interrupting)

You were were never into couples

JUDY

(OS)

Walt!

Judy rounds the corner. Appraises.

JUDY

(To Walt as she nears him)

You up for a game of Hearts?

WALT

(To Judy)

Shhh. This is really good.

Judy stops. Watches.

ED

(To the gathered audience)

Guys! Please!

GRACE

(To Ed)

Don’t worry, I’m used to it. I’m in theater.

(And)

And I know you’re retired.

ED

Correct.

GRACE

But please, can you just give me one more piece of advice? Not as a doctor, but as someone who was blessed with a life-long loving relationship?

Ed is suddenly the poster-child of both guilt and pain.

GRACE

Please.

(With tears)

We’re in trouble.

The congregation hovers. Awaits the Good Doctor’s wisdom—

ED

Uh—

(Finally)

Well. Do you cherish him?

GRACE

Cherish? You mean, like in the marriage vows? Of course!

ED

Well. Then maybe you could think of a way to do that more?

Grace thinks as Ed pulls his head in. Starts to close the door on a totally perplexed Grace.

ED

Okay? Nice meeting you. Good luck.

The door clicks.

INT. ED’S APARTMENT – CONTINUOUS

ED

Have a good life.

INT. GARDENS BY THE WATER – HALL – CONTINUOUS

GRACE

OhMyGod you’re right! I’ll start a foundation!

Oh my God—there isn’t a choice! Ed re-opens the door.

ED

I was thinking of something that’s, maybe, a whole lot less work.

GRACE

(Ecstatic)

No! You’re exactly right! We’ll train a bunch of poor kids to play video games in the Olympics! This is exactly what Michael would want! It was his dream! If only he didn’t get too late of a start.

Grace kisses Ed through the crack.

GRACE

Thank you so much, Grandpa Ed. You are the best doctor, ever! I’ll be back with the update!

Ed’s POV: all other eyes. Seriously concerned.

[Richard McMahon]

Richard’s Dueling Agendas

What did you learn from this assignment… that preparation, and thinking on many levels, is key to decent writing.

Select two characters with competing agendas in a scene. List their names along with each character’s traits and their subtext above the scene.

Shane and Illena.

Name: Shane
Traits:

Loyalty

Fearless

Tactful

Natural born leader
Subtext: Tactful

Name: Illena
Traits:

Amazonian

Diplomatic

Scheming

Sexual

Subtext: Scheming

INT. WAR TENT – MORNING

Makeshift with basic amenities.

SHANE (30s, chiseled but worn) ready for war, stands in the middle of the space. He stares at

ILEANA (late 20s, chiseled but worn) as she splashes water on her face.

Her jeweled hand moves across her midsection.

DISTANT SHOUTING AND MOVEMENT OF TWO LARGE ARMIES.

Ileana vomits a small amount of fluid into the bowl, which forms a near symmetrical pattern on the water.

SHANE

I know that feeling.

Ileana lifts armor off the ground and affixes it.

ILEANA

It’s perfectly normal.

SHANE

Aye, that it is.

He steps toward her.

Ileana glances toward him as she ties back her hair.

ILEANA

Now’s not the time.

Shane stops.

Ileana picks up her sword, examines and then sheaths it like the veteran she is.

SHANE

I want you by your father at all times. He is not to enter the battlefield.

Ileana is dismissive with both facial and body language. She steps right in front of him.

ILEANA

And let my brothers have all the fun?… I’ll protect my father. And when you slaughter those English bastards like the pigs they are, I may let you fuck me all night.

Wanting eyes from Shane.

ILEANA

Or maybe you protect my father, I’ll slaughter those English bastards like the pigs they are, and then I will fuck you all night.

The directness results in a small smirk on Shane’s face.

SHANE

If my men hear you talk like that, they’ll lose their respect for me.

ILEANA

If only my brothers had their respect.

SHANE

They will in time.

He grabs Ileana and kisses her passionately.

LOUDER SHOUTING AND MOVEMENT OF THE TWO LARGE ARMIES.

She pushes him off.

ILEANA

Stay focused.

SHANE

And you protect your father.

They lovingly embrace.

SHANE

(whispering)

Be safe.

ILEANA

You too.

Shane releases his grip, turns and exits.

Ileana’s stomach cramps.

More vomit is released.

Ileana wipes her mouth and leaves in a manner that suggests she is not in the mood for protecting today.

[Janeen Johnson]

Janeen’s Dueling Agendas

2 Characters:

Morgan Day:

A. Basic Character Traits: <div>

A. Insecure

B. Curious/Eager to learn

C. Perfectionist — can’t leave well enough alone

D. Bold under pressure

B. Subtext Character Traits: Intimidated, Crafty

Gavin Day:

A. Basic Character Traits:

A. Cool (not cold or warm)

B. Determined

C. Domineering

D. Proud

B. Subtext Character Traits: Lonely, Insecure

2. INT. MORGAN’S HOME – EVENING

Morgan’s husband, Gavin, a wealthy writer, doesn’t think it’s ethical to help someone without their permission and mentions the restraining order. She argues she’s staying away and feels compelled to do something.

3. Outline:

Gavin asks what Morgan is doing when he enters the room and finds her hard at work on her mind control regimen. </div><div>

Morgan feels compelled to do something to help Amber.

Gavin believes the restraining order prohibits her from doing that and that it is unethical to help someone without their permission.

Morgan cites thoughts and prayers as often done without someone’s permission, but is done from afar and has been found to be effective in scientific studies.

Gavin considers arguing with Morgan, but seeing she is determined, he decides it’s not worth a fight which would deprive him of her company which he needs after a long day of writing.

Scene:

FADE IN:

INT. DAY RESIDENCE – CONTINUOUS

GAVIN

Enters the room carrying a tea tray. MORGAN is still working on her mind control routine in support of Amber.

GAVIN

What are you working on tonight? I’m done for the day.

Morgan looks up with affection in her eyes.

MORGAN

I’m trying to heal Amber’s bruises and reduce her fear of Daniel and her emotional pain and suffering. A mission of mercy.

GAVIN

Leave that and come sit with me for a while. I brought tea.

MORGAN

I’ll be a few more minutes yet. I have to do something for her. You didn’t see the fear…and the bruises.

Gavin contemplates the tea tray, sets it down on the coffee table and sits stiffly.

GAVIN

Does she know you’re doing this?

MORGAN

Of course not. I haven’t talked to her.

GAVIN

Do you think it’s ethical to “help” someone without their knowledge? The courts might not see it that way if they knew you were doing this.

MORGAN

It’s as ethical as praying for someone we don’t know and we do that every Sunday at church.

Morgan looks back at the paperwork on her desk. Gavin considers the tea tray and looks at Morgan again with a slight frown.

GAVIN

The tea will be ready in about two minutes. Will you be finished?

Morgan looks over at him, smiles brightly, then teases.

MORGAN

I will if you stop talking to me.

Gavin breathes deeply, smiles to himself, relaxes his posture and fusses with the tea things.

</div>

[Jodi Harrison]

Jodi’s Dueling Agendas – Day 3

What I learned is it makes a scene much richer when you use differing agendas and subtext.

Pamela Karras – Stubborn, Compassionate, Homebody, Devoted to family

Elizabeth Baily – Loving, Assertive, Revengeful

Pam’s agenda: She must arrest Elizabeth, who is responsible for a burglar ring and is an accessory to murder.

Elizabeth’s agenda: To continue doing her vigilante work.

INT. TRAFFIC INVESTIGATION UNIT – DAY

Pam finds out who the leader is of the vigilante group attacking the bounty hunters. She gestures to a fellow police officer and heads out the door.

EXT. ELIZABETH’S HOME – DAY

Pam and her partner knock on Elizabeth’s door.

PAM

Go around the back.

EXT. ELIZABETH’S HOME – SAME

Elizabeth answers the door.

ELIZABETH

Ah, Barney Fife, coming to tell me something I already know.

PAM

Why? I told you I’d find Karen’s killer. Why, have you done this, now you’re going to jail, that’s no justice for Karen.

ELIZABETH

Justice!? You and your pathetic good for nothings weren’t going to do a thing about my girl’s killer! Do you know how many times I went down to your precinct to give them the information I found out about Crusher, to tell them he killed my little girl? Do you think they cared!? Do you think they listened!?

PAM

Elizabeth, listen to me. We don’t know for sure he did it. The case can fall apart and he’ll go scott free. Do you want that?

ELIZABETH

You did know that sleazy piece of shit Redneck admitted he was the guy who killed my Karen, right!? Why didn’t you geniuses know that!?

PAM

Here-say is not enough. It’s hard to prove he caused the accident.

ELIZABETH

We have it on tape!

PAM

I promise you, if he’s the guy I will get him, but right now I regret to say that you are under arrest.

ELIZABETH

Too little, too late!

EXT. ELIZABETH’S HOME – SAME

Pam takes her arm and turns her around and starts to gently cuff her.

PAM

You are charged for racketeering and as an accessory to murder. You have the right to remain silent.

ELIZABETH

You can’t stop us. There’ll be more like me.

PAM

Anything you say can be used against you in a court of law. You have…

ELIZABETH

We won’t stop until the blood sucking vultures stop taking from our misfortunes.

PAM

The right to have a lawyer present during,

EXT. ELIZABETH’S HOME – SAME

Pam is walking her towards the police car, her partner joins her.

ELIZABETH

(Shouting) I will not stop until I get justice for my Karen’s murder!

PAM

Any questioning. If you cannot afford a lawyer, one will be appointed to you.

EXT. POLICE CAR – SAME

Pam puts her in the police car, she is careful with her.

ELIZABETH

(Shouting) This is the way justice will be carried out now!

[Michelle Damis]

PS 80 Michelle Damis Dueling Agendas

Scene in nightclub between Ted and Nina

1. Name: Ted the Vampire

Traits: Idealistic, Honest, Loner, Practical

Subtext: Loner

AGENDA: Keep her away from the other vampires and teach her a lesson.

2. Name: Nina

Traits: Impatient, Determined, Moody, Wounded

Subtext: Suspicious

AGENDA: Find out what he is up to.

3.
INT. NIGHTCLUB – NIGHT

Ted has been confronting some other vampires, he knows they were watching him earlier that evening he warns them to leave them alone etc… Things are getting heated and Ted is distracted when Nina walks up. (she has had a few drinks already)

She taps him on the shoulder, he spins around so fast she didn’t see him turn. She is a bit dazed but recovers.

Ted: What?(annoyed the quickly realizing who it is)Oh, Hi.

Nina: Hi? (confused)That was weird…

Ted: What was weird?

Nina: How fast you uh….nevermind. (looking past him at his friends) Are these your friends?

(they are eyeing her, Ted is not happy)

Ted: Yes, you could say that, but they were just leaving…Right?(he gives them a look)

Other vampire: Well…We can stick around (they start to make themselves comfortable) we can always catch a bite later. (a few of them snicker at that comment, Ted is NOT amused)

(Ted realizes they are not planning on leaving, he has to get her away from them)

Ted: Come on, let’s go to the bar and grab you a drink it’ll be faster. (he gently grabs her by the arm to direct her, she pulls her arm away and gives him a look like “really”)

Nina: I know my way to the bar. (he concedes and follows her, they sit down at two bar stools and order)

Nina: I’m just going to throw this out there Ted…I don’t trust you. And if you do anything to hurt my parents, I’ll kill you.

Ted: Well, that’s intense. (he leans back and crosses his arms) Good to know.(mocking her a bit)

Let me assure you I have no intention of hurting your parents, they seem quite fond of me. In fact they mentioned what a nice change I am. (this infuriates Nina)

Nina: What is that supposed to mean?

Ted: I’m not sure. You tell me. (clearly toying with her)

Nina: I don’t need to tell you anything.

Ted: This is somewhat unexpected behavior from someone that was treating their parents so poorly that they brought in a perfect stranger so they could pay you to live elsewhere.

Nina: That’s not what happened!

Ted: It’s not? OK, if you say so…

Nina: (furious) You don’t know anything! Just know, I’m watching you, I know you are up to something. (She storms out).

Ted watches her leave then turns to see if the others are still there. The other vampires are nowhere to be seen, Ted looks concerned.

[Julia Keefer]

I formatted this in a free Arc but it won’t translate here. It is on the nose because that is how Litonya behaves but the deepest secret is that Ibrahim’s new company STEMGARCHS is not for the nature Litonya wants and needs.

Competing Agendas between Litonya and Ibrahim

STOCK FOOTAGE of Blue Origin Space Trip.

CLOSE on Ibrahim smiling with a thumbs up.

EXT. FELDMANS’ GARAGE

Litonya and Ibrahim stand 12 feet apart amidst ecoboats in construction.

LITONYA Traitor. Do you know how much gas it takes to blast off into outer space?

IBRAHIM It gave me more appreciation for the earth.

LITONYA Bullshit.

IBRAHIM You were never more than a consultant for the EvergreenEnergy Company. Rodney is gone and I am too tired and busy to–

LITONYA What about Kisele?

IBRAHIM At eleven years old, he can’t run the company but I will hire environmental engineers to help with his ecoboats or whatever dream.

LITONYA What are you going to do? Cheat on Bezos with another space venture?

IBRAHIM I am focusing on science and engineering in a bigger way to save the earth.

LITONYA Bullshit. I don’t trust you.

IBRAHIM We have the same mission but different ways of going about it. I promise to help your kids. At least you have kids of your own.

LITONYA I am sorry about your loss. The Summit collapse was so unexpected.

IBRAHIM Nature is the worst terrorist. We must fight her. We can’t be pawns in her bipolar madness.

LITONYA Look, I don’t argue. I don’t care enough about people to fight with them.

[Pablo Soriano]

Name: Irma

Traits: Dutiful, protective, modest, sensitive, tactful

Subtext: Withholding

AGENDA: Keep Ricardo from finding her savings.

Name: Ricardo

Traits: Indulgent, addict, desperate, weaselly

Subtext: Immoral

AGENDA: Wants Irma to give him whatever money she has tucked away.

SCENE:

Ricardo walks in as Irma finishes drying the dishes. His skin is glossy with sweat and his eyes are bloodshot.

IRMA: You’re drunk.

RICARDO: I’m tired.

IRMA: I suppose gambling all night long can be exhausting.

RICARDO: …Always a fucking lecture.

IRMA: Oh, I’m sorry: Hello, my dear. Can I make you some breakfast? Some eggs maybe? Oh that’s right! You sold our chickens for pay for your whores.

Ricardo suddenly rushes her. She drops a glass and it shatters. She is startled and attempts to push him away but he grabs her wrists.

RICARDO: I need money.

Irma scoffs.

IRMA: Some provider you are.

Ricardo tightens his grip. Irma winces.

RICARDO: I’m serious, Irma. I’m in trouble.

Irma pulls her wrists in so that they speak face to face.

IRMA: Even if I had a single peso I wouldn’t-

RICARDO: I know you have money hidden somewhere.

IRMA: Ricardo. We. Are. Broke. You’ve already sold off anything of value. The chickens. My jewelry. I feel lucky we still have the television. But our son’s Nintendo? Fucking shameful.

Ricardo shoves her into the refrigerator, forcing magnets to fall. Ricardo is deflated. He crosses his arms and looks to the floor.

RICARDO: I… I need your help, Irma.

IRMA: Don’t drag me into your world of sin. Lord knows how long I ignored your vices.

Ricardo looks up at her with longing, desperate eyes. She stares back, unmoved. He hardens and stands a bit taller.

RICARDO: As my wife, it is your duty to-

IRMA: Don’t you dare talk about what my duties are, you…

Irma holds back tears. Ricardo stands down. Their brief argument leaves them both defeated. Ricardo suddenly leaves in a huff. Irma takes a moment to gather herself before she picks up the magnets off the floor. She picks up a photo of the family together at some event. Neither Irma or Ricardo look all that happy in it.

[Emmanuel Sullivan]

What I learned doing this assignment is competing agendas always allow for great dialogue. It’s natural for people to have several viewpoints and to see that play out in action and dialogue can be intriguing.

[Amy Falkofske]

Amy’s Dueling Agendas

What I learned doing this assignment is having the two characters have competing agendas really adds electricity to a scene.

Character: Andrea

Basic character traits: well-spoken, image conscience, playful, competitive

Want/Need: Wants to become a network anchor, wants Josh and her kids back, needs to feel validated

Paradoxes: Wants to be a good wife and mother but also wants a demanding career

Secret: She once gave a co-worker the wrong directions to a story location so that she could beat her to the story

Flaw: She can be selfish

Special: She was the ugly duckling at school until her braces came off and her acne went away, then she became one of the popular girls.

Subtext: Afraid to say

Character: Josh

Basic character traits: inquisitive, honest to a fault, dad jokes, his kids’ biggest cheerleader

Want/need: Wants to do right by the people in his life, needs to feel like he’s number one to his partner

Paradoxes: He is a hardcore rule follower, tough on crime, but also a softie when it comes to his family

Secret: He once hid the details of a crime to keep a family from being torn apart.

Flaw: Has a temper

Special: He comes from a long line of men who were notoriously good at solving crimes

Subtext: polite

INT. – AUDITORIUM – NIGHT

People are exiting the auditorium. Andrea rushes
in towards Josh.

Josh turns to Andrea

JOSH

You’re late.

ANDREA

My tire was slashed. I’m guessing Meagan had
something to do with that.

JOSH

Chloe was counting on you being here.

ANDREA

Uh, my tire? What’s it going to take to get you
to see her for what she is?

JOSH

The kids need their mother.

ANDREA

And I need you to believe me.

JOSH

You could have taken an Uber.

ANDREA

I was busy filing a police report. Are you going
to talk to me about this?

Chloe walks up and stands by Josh.

CHLOE

Dad!

She gives Andrea the death stare.

CHLOE

Mom.

[Jennifer McCay]

Jennifer’s Dueling Agendas

WHAT I LEARNED:

2 Characters with Competing Agendas:

Jessica (protagonist) and Amanda (antagonist)

JESSICA’S TRAITS:

Smart as a whip

Deeply insecure

Tries to appear perfect at all times visibly

Southern belle

SUBTEXT:

Underneath her facade of Southern graciousness, she is a smouldering cauldron of rage.

AMANDA’S TRAITS:

Smart as a whip, and things come easily to her

Snarky Southerner with heart and a bite

Dreamer

Little tolerance for jerks

SUBTEXT:

Her kindness belies her unwillingness to participate in or take b.s. from anyone.

OUTLINE OF SCENE reflecting agenda more clearly:

[Prior to this scene, Amanda has shown signs of being wary of Jessica, but still shows her kindness overall. Jessica wants to beat Amanda at all costs for a scholarship. Amanda wants to win but only if she doesn’t have to work too hard at it.]

INT. SCHOOL CLASSROOM — DAY

Jessica speaks conspiratorially with Amanda to befriend her, an act of manipulation using rules Jessica has learned through her reading. Amanda has been more than a bit gunshy with Jessica prior to this, but caught up in the moment, Amanda accidentally reveals info that makes Jessica jealous and shares that co-competitor Ethan has a deadly food allergy to hazelnut

SCENE:

INT. SCHOOL CLASSROOM — DAY

JESSICA (trying to play it kind)

I hope this test isn’t too killer.

AMANDA

What would Ms. Collins be able to throw at us that we can’t take? It’s King Lear, not, like, Ulysses? Even Joyce didn’t want anyone to understand what he wrote. An old man and his kids fighting for his legacy. I have cousins who have done far worse than Goneril and Regan, and they’re tweens.

JESSICA

You’re not worried Collins will throw us a curve ball? Macbeth’s more my thing.

AMANDA

I heard you give that Freudian interpretation of the whole father-daughter thing in Lear the other day. You have this nailed.

(shrugs, waits a beat)

Why are you talking to me like we’re friends?

JESSICA

This scholarship business has been driving me to new lengths of neuroticism. What can I say? I guess I need a friend to get me through and thought you of all people might qualify. Who else is an actual peer here?

AMANDA

(softens)

A peer slash friend who’s your biggest competition, no doubt?

JESSICA

You know what Sun Tzu said: If you know the enemy and know yourself, you need not fear the result of a hundred battles. If you know yourself but not the enemy, for every victory gained you will also suffer a defeat.

AMANDA

Keep your friends close and your enemies closer? I’ll take the Godfather over a Chinese warmonger any day. But if that works for you, may the best woman win.

Anyhow, I’m not sure our other key competitor is even going to be up for the fight here in the final stretch.

JESSICA

Ethan?

AMANDA

Yeah, it’s not like Jonas or Claire is really in the running. Jonas took that art survey class last year? Not exactly an academic powerhouse. Rumor has it Claire’s about to flunk pre-calc and trying to hide it. But Ethan’s down for the count.

JESSICA

(trying not to look excited but secretly bursting)

Really?

AMANDA

Some fatuous barista gave him hazelnut syrup in his half-caff instead of mocha. He was down for the count. Allergy. He might miss the [XYZ academic competition] next week. That’ll cost him some points for the scholarship for sure.

JESSICA

That hardly seems fair.

AMANDA

Um, life isn’t equitable? But I don’t want to win based on someone else nearly biting it either. Breaking the rules is a different story.

JESSICA

Yeah …

AMANDA

You’re a stickler for all things rule-based. It’s the safety net?

JESSICA

(nods)

You get me.

MS. COLLINS ([teacher] walks to podium)

Clear your desks. Grab paper and your favorite pen. Brace yourself for the familial angst that is King Lear.

AMANDA

She gets off on torturing us?

JESSICA

(to herself)

Strong, focused, constant. Strong, focused, constant.

AMANDA

(whispering)

Is that some new mantra you’re trying?