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Day 4 Assignments
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Budinscak Subtext Scene
Day 4
What I learned doing this assignment:
o Fun exercise to up the ante on our scenes.
o Great device to craft the scenes that audiences experience.
o I appreciate the formula/basic questions for subtext.
Subtext Scene:
1. Setup:
We’re near the beginning of Act 3. Jack has completed his trip on time and made his delivery to Burbank. A few goons escort Jack and his nephews – Puck and Sal – through the funeral home to the office where Don Vito waits.
This scene is also a payoff from a setup in Act 1 when Sal bets Puck he couldn’t fit in a casket. When Puck gets in, Sal closes the lid and Puck goes crazy when he can’t get out.
2. Subtext Questions
1. What is the meaning of the subtext? Puck hints to Sal about a possible way to escape their escort.
2. What is the cover up? The cover up is a plot against another person with the nephews in cahoots against their goon escort.
3. When will the meaning be revealed? The meaning will be revealed at the end.
4. How will the meaning be revealed? When the goon climbs in the casket and Puck slams the lid on him.
3. Pick one or more scene designs for subtext.
For this scene, I’m using a plot against another person, misinterpretation and a bit of dramatic irony.
4.
INT. FUNERAL HOME – DAY
OFFICE
A smug Don Vito rests in a cushy chair while across the desk, two goons seat Jack in a flimsy folding chair. Another goon rests his paws on the nephews shoulders – they aren’t going anywhere.
DON VITO
Jack, now comes the toughest part of your journey. (to the goon by the nephews) Get those two out of here.
Jack stands, the big guys shove him back in his seat. His face registers helplessness – there’s nothing he can do.
JACK
Wait! Do what you want with me …
DON VITO
I intend to. (turns to the one goon) Watch out for Sal, he’s a lot like his uncle.
The goon uses his hand on Sal’s shoulder to guide him down the hallway. Puck hurls himself into a coughing frenzy at the doorway to the casket display room.
SAL
Puck, you alright?
Puck glances from Sal to the casket room and back. Sal arches an eyebrow – great idea, I’m ready when you are.
PUCK
I’m okay. But you were wrong. He can’t do it.
SAL
Oh, yes he can.
PUCK
I don’t see it. He’s too big.
SAL
Or do you mean too fat.
The boys look at their large escort and break into laughter. The big guy squeezes Sal’s shoulder hard, Sal winces – he can’t hide the pain.
PUCK
Hey, large man. I don’t think you can do it, but my cousin says you can.
SAL
I bet him ten dollars I don’t have because, you know, we just came from Vegas. (beat) So will you?
GOON
Will I what?
PUCK
See, I can tell by looking that you’re too big to fit in that casket.
SAL
That’s the double wide model, like for… bigger people.
Puck elbows Sal and they laugh like they’re the only two getting the joke.
GOON
Bullshit. I can fit in there easy.
PUCK
No, you can’t.
SAL
Yes, he can.
PUCK
Nope.
GOON
Yes, I can, you little twerp.
The big guy marches confidently to the casket and inspects the inside.
GOON
You made easy money, Sal. I’ll get right in this coffin …
PUCK
Casket.
GOON
Like you know the difference.
PUCK
Price. Coffins are typically cheaper.
The goon mocks Puck’s answer and starts to climb into the casket.
PUCK
Stop. Take your shoes off.
The goon looks at Sal who nods slowly while making that face that his cousin is right. The big guy removes his shoes.
PUCK
Jacket, too.
GOON
What?
And there’s Sal nodding away – yup, remove your jacket. The big guy sighs and removes his jacket.
PUCK
It’s going to be real cramped in there. You better be careful and not take your guy with you.
Puck extends his hand while Sal keeps nodding away just like that dog on the rear dash of some cars. The big man hands his gun to Puck right before squeezing into the casket.
GOON
You’re wrong, little boy, I knew I’d fit.
Puck SLAMS the coffin lid shut and Sal locks it. The big goon bangs away from inside.
PUCK
So did we.
Puck inspects the gun and looks like what he is – a kid with a gun.
SAL
You know what you’re doing?
PUCK
Sal, all I know, we gotta save Uncle Jack.
Sal pulls Puck’s head close so their foreheads touch. They sneak down the hallway to the office where Uncle Jack is held.
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DAY 4 BOB SMITH’S SUBTEXT SCENE:
What I learned from this assignment…?
The necessity of subtext and how to discover it.
BACKGROUND: As production proceeds, Emil Jannings,
the star of the film constantly feels threatened by Marlene Dietrich
whom he feels is undermining him on camera and off as the star
of the film. This is what happens during a studio lunch break when
Jannings throws a tantrum about his feeling rivaled by Dietrich and his
resentment of director, Sternberg’s spending so much time
coaching her for future stardom, they are also having an affair.
INT. STUDIO DRESSING ROOM OF EMIL JANNINGS -DAY
It’s lunch time. Jannings is eating a sumptuous pile of kielbassa.
Sternberg enters.
STERNBERG
Bon appetite, Emil.
JANNINGS
Oh, at last you come to have lunch with me.
STERNBERG
Well, you say you miss my spending time with
you. So, here I am.
JANNINGS
Here. Have some kielbasa.
STERNBERG
Thank you for offering me kielbasa
but I am full. Marlene and I had a
huge lunch.
JANNINGS
Again, “Marlene,” “Marlene.”
STERNBERG
Stop being jealous of Marlene. You sound
like my wife. Well, now, I am with you. What
do you want to discuss?
JANNINGS
Well, after lunch, we shoot the scene in English.
Did you have any thoughts to share?
STERNBERG
Nor really. It’s the same as the German we shot
This morning, only now, speak English which you
already speak fluently. No problem.
JANNINGS
So I offer you kielbasa and you offer me
“not really.”
STERNBERG
Listen, Emil. You have to stop this jealousy
of Marlene. You sound like my wife. You
are poisoning yourself and you could poison
the creative progress of filming this motion
picture. I need you and Marlene working
together with me.
JANNINGS
You never understand me, Joe. I am the star.
It is a burden of responsibility. I need
you to help me carry that burden.
Jannings begins to cry.
STERNBERG
Stop this, Emil. It is very unseemly. Use this
feeling for your character. I mean, the Professor’s
anguish about Lola Lola’s indifference to his
Feelings.
JANNINGS
Is that how you feel about me?
STERNBERG
Indifference? To the contrary.
JANNING
But your attitude toward me has been indifference.
Is that how you are telling Marlene to play our
scenes?
STERNBERG
Frankly, yes! But that’s not how I feel toward
you.
JANNINGS
How do you feel toward me? Frankly.
STERNBERG
Frankly. I am concerned that you will walk off
the set as you did throughout our filming, “The
Last Command.” Holding up production, goingover budget.
JANNING
Well, until you stop denigrating me. That is
Exactly what I”ll do.
Jannings rises and walks toward the door.
JANNINGS
Joe, I am leaving. I must ask you also to
leave so that I can lock my dressing room.
STERNBERG
What about your kielbasa?
JANNINGS
I leave it for the janitors. Look at you, Joe.
You’re going to worry about the kielbasa
and not me? That’s an insult. Let’s go, Joe.
Sternberg turns and darts out of the dressing room fuming with anger, exit.
Jannings follows, exits.
We hear the key turn and bolt the door.
INT. STUDIO DRESSING ROOM OF MARLENE DIETRICH – DAY
Dietrich is already present, picking up dishes from lunch.
Sternberg enters.
DIETRICH
What did Jannings say?
STERNBERG
He walked off the set. When he gets into
this mood, it’s like talking to a three year old.
DIETRICH
Get someone else to play the part and re-shoot.
STERNBERG
From the beginning?
DIETRICH
Well, Jannings shouldn’t have such
power to sabotage the film and my career.
Is Peter Lorre available?
STERNBERG
Lorre is working on a project with Fritz Lang.
He’s neither proficient in English, nor the type
to play the Professor. I need Emil Jannings.
DIETRICH
He is behaving like an oversized three year old.
Why don’t you tell him!
STERNBERG
You can’t call the star a “three year old”!
DIETRICH
Why not! If more directors told off their stars
when they act like “three year olds” maybe
more stars would stop acting like three year
olds. Look! You threw Leni Riefenstahl off the
set when she got to be a headache. And
Jannings is a tuchas-ache. Tell him and he’ll
come right back.
STERNBERG
You are right, you don’t coddle actors. To coddle
actors is to treat them like three year olds. Treat
them like three year olds and they’ll just continue to
behave like three year olds.
Sternberg, turns to exit.
DIETRICH
Where are you going?
STERNBERG
To get Jannings before he leaves the studio grounds.
Sternberg exits.
Dietrich smiles in satisfaction. She can’t resist following him. She does, exits.
INT. STUDIO SET OF “THE BLUE ANGEL” – DAY
Kurt Gerron and Hans Albers are finishing up sandwiches.
Jannings enters.
JANNINGS
I’m saying goodbye.
GERRON and ALBERS
“Goodbye.”
JANNINGS
Yes, I’m through with von Sternberg.
ALBERS
You’ll halt the production and put us out of
work.
JANNINGS
Never thought of that.
GERRON
Well, you’re thinking it now. Better late
than never. Don’t do this, Emil. You’re
the star. We need you.
ALBERS
Yes, don’t act like a three year old?
JANNINGS
(not insulted but inquisitive.)
You are saying I am a three year old?
Sternberg storms in, enters.
STERNBERG
Hold it, Albers, that’s my line. Emil,
Stop behaving like a three year old. You
are the star. Behave like one.
JANNINGS
Jawohl, Herr Direcktor.
STERNBERG
All right. Lunch break is over. Emil,
put the make up back on and you and Kurt. report to the set in ten minutes with command
of your lines in English. Uh, you, too,
Hans. Ten Minutes.
Sternberg and Jannings exit.
Gerron and Albers exit.
Dietrich comes out of hiding and enters.
STERNBERG
You followed me?
DIETRICH
Ah-hah. Apparently, you can tell a star that he is
behaving like a three year old and it works.
STERNBERG
You are the best Assistant Director I’ve ever had.
Sternberg and Dietrich kiss.
FADE OUT:
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This reply was modified 3 years, 4 months ago by Robert Smith.
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This reply was modified 3 years, 4 months ago by Robert Smith.
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This reply was modified 3 years, 4 months ago by
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Rob Bertrand Subtext Scene
What I learned: I learned an easy model for building subtext into a scene. Something that I can use throughout my screenplay.
Background: Several months after the death of her mother, Annie is convinced to go on a blind date with Danny. After Danny turns out to be creepy, Annie runs into Jocelyn and they decide to ditch Danny. The following scene takes place the next morning.
Basic Subtext Questions
1. What is the meaning of the subtext: Annie doesn’t want her dad to know that her date was awful.
2. What is the cover-up: Annie tells her dad that her date went fine.
3. When will the meaning be revealed: It will be revealed in the middle of the scene.
4. How will the meaning be revealed: Annie’s little sister, Jessica, will tell their dad the truth.Scene Designed for Subtext: I have chosen Dramatic Irony. The audience will already know that the date was creepy and weird, but Annie wants her dad to think that it went fine. Annie wants to down play it because she met Jocelyn and has started to develop feelings for her.
SCENE
INT. LIVING ROOM – MORNING
The front door opens on a tired and weary Jack. He steps in and drops an ancient toolbox by the door. He nudges the toolbox against the wall with his foot. A hammer clearly visible.
The smell of coffee hits Jack’s nose.
JACK
Coffee…KITCHEN – MORNING
Jessica sits at the dinner table, with a glorious breakfast laid before her. Annie buzzes around the kitchen with a smile on her face. The happiest we’ve seen her.
Jack enters the kitchen.
ANNIE
Morning, pops! Good timing. I just made breakfast.Jack plops down in a chair, just as Annie pours him some coffee. Jessica wastes no time on a plate of pancakes.
JACK
What’s all this now?JESSICA
(mouthful)
I think Annie’s possessed!Jack takes a sip of his coffee. Eyes Annie suspiciously.
JACK
I take it your date went well?Annie plays it off.
ANNIE
Uh…yeah. He was very nice.JACK
Not too nice, I hope…ANNIE
We had…fun. I was just happy to be out of the house, ya know?JACK
You gonna see this boy again? When do I meet him?Annie shrugs.
ANNIE
We’ll see what happens.Jessica, completely oblivious to Annie’s lie.
JESSICA
You said he was a creep?Annie freezes.
ANNIE
Shut up!JESSICA
All he wanted to talk about was mom!Jack sets his coffee cup down.
JACK
Okay…what the fuck, Annie?Jessica recoils from Annie’s glare.
ANNIE
Thanks a lot, you little shit.JACK
So what happened?ANNIE
Nothing serious, pops. He was just not who I thought he was. That’s all.JESSICA
Creepy little bitch. That’s what you said…Annie is saved by a car honk from out front.
ANNIE
Our rides here…C’mon ya little narc.Jack is confused.
JACK
Ride?ANNIE
Just a friend from school. Go to bed, pops. ByeJessica smiles and throws a hug around Jack. Annie’s already out the door.
JACK
(yells)
Don’t forget, I gotta work late!He’s greeted by the slamming front door.
CUT TO:
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Hiding the wedding and the gala are challenging because everyone now has a secret agenda. This scene forced nature girl Litonya to transform into a high society UES MET matron at a gala, at least for an evening. It also stimulated the necessary questions at the end of the scene to keep the pages turning.
INT. CITY HALL – DAY
Ibrahim and Litonya marry without recognizable witnesses, dressed in drab business clothes.LITONYLA
The last time I was in this august marble building was for murdering my father.Ibrahim nods politely. Instead of a ring, he circles her throat with a necklace made of gold, diamonds, and black obsidian. His secret is that it used to be his Muslim prayer beads.
IBRAHIM
I made this just for you. You will look magnificent tonight.EXT. MET MUSEUM ROOF
And she does! Litonya, who never dresses up or wears make-up, has donned a sexy backless black evening dress to match her show-off necklace, eyes made up dramatically, and hair coiffed around other jewels. She even wears heels, making her tower over Ibrahim. But he is confident, dressed in the most expensive Brunico suit, royal blue to offset the black of his hair.He holds her hand and looks at her as if she were more outstanding than the MET sculptures. They are on the roof of the MET, watching the sun set over the west side. They both sip colored water, never alcohol. This gala is for STEMGARCHS that has given a fat donation to the MET. The socializing is mechanical but convivial.
Then they go down to the
TEMPLE OF DENDUR, lit up in an immortal way with candles, for the presentation. SLOWLY ZOOM into his acceptance speech.
IBRAHIM
It is our pleasure to set up a foundation and annual grant as well as a big Christmas donation. STEMGARCHS stands for Science, Technology, Engineering, and Medicine, but we use our funds to support humanity—culture, history, and the arts. No American institution is more worthy of our philanthropy than the MET. Our foundation will nurture educational programs for all ages. The annual grant is for Green projects to make the MET sustainable and ecologically correct while renovating and respecting history. And this year’s avalanche of cash will set up a science and art section to make people appreciate the aesthetics of science, the beauty of cells, and the spiritual and religious reflections of human endeavor. We will build an enormous wing into the drive that used to be for cars. STEMGARCHS has been essential in ending fossil fuels.Thunderous APPLAUSE. As the CEO of the MET talks effusively and gratefully, Litonya’s eyes drift towards the park where runners and bikers can still express their freedom no matter what society organizes. She wishes she was out there running but not with them. She prays it will be over soon. Ibrahim returns to her and wraps his arms around her possessively.
LITONYA
I wish Kisele could have been here.
IBRAHIM
You wanted to keep this secret. Kisele is too honest to keep secrets. I must leave tonight for a trip—
LITONYA
Where?IBRAHIM
Not sure.
As they walk down the grandiose steps of the MET they run into Jake, jogging through the fountains. They walk faster. Litonya feels like jumping in the fountain.Jake doesn’t. He stops and stares at his true love,
JAKE
Here you are. What the fuck—He is sweaty and stinking. When he stops, the PD shaking begins. The jog was fueled by his Levodopa and now he is coming back to earth.
IBRAHIM
You look terrific, Jake. So glad you can jog on the UES like the old days. Hope you had a client. Litonya has been working hard to save the earth so we came to schmooze and find Green donors.As they chat, participants stop to congratulate Ibrahim so his lie isn’t going over that well. For the first time in her life, Litonya shrinks. Thank God she is not wearing a ring. The black necklace is her marital chain.
JAKE
Lovely necklace. I thought you hated jewelry.
LITONYA
These are rocks, not jewels.
JAKE
So was my diamond but I guess it wasn’t big enough.IBRAHIM
Look, guys, I have a plane to catch so I will leave you here and see you when I get back.LITONYA
Plane? I thought you said you were done with planes?
IBRAHIM
It’s ecologically correct.JAKE
Blue Origin for your blue suit? Outer space?
IBRAHIM
Perhaps. Life is an adventure.He kisses Litonya on the cheeks French style and shakes Jake’s hand. Then he hails an empty limousine, always parked on Fifth after galas.
JAKE
Why didn’t you tell us where you were? The kids were worried. I was hysterical.LITONYA
Throughout my life I have taken breaks. Baby Kisele and I disappeared for months with winter camping, but Rodney was patient.They hug and then kiss passionately.
JAKE
Now that you are all dressed up, would you like to spend the night here rather than take the boat or car upstate?Jake hails a cab and they go to restaurants and bars, go to Harlem, drink alcohol, listen to jazz, and make their way to
EXT. INWOOD by dawn, ironically passing by the west side of Ibrahim’s Tudor Tower. In the cove, Betty, dressed a bit butch, is working on the boat.
BETYY
Night owls partying?
JAKE
Yes, we did something different. Changer les idees as Delphine would say.
BETTY
I love Delphine. And you, Litonya, look spectacular.There is a hint of the old Leo in Betty’s eyes as they move up and down her athletic frame in its morning after disarray.
Jake is still wearing the sweats,JAKE
She dresses up, I dress down, and we painted the town red before we are dead.
BETTY
You look happy but almost dead. She looks twenty years younger instead of five older.JAKE
Women are stronger and smarter than men.BETTY
That is why I became one.
JAKE
You’re looking pretty sniffer skipper.
As they chat, Litonya begins to row to balance her body after the damage done by high heels.
JAKE
Good work Litonya! Once I recover, I will join you and leave Betty at the helm. -
PS 80 Michelle Damis subtext Scene
What I learned from this assignment is that I need to start writing more scenes and making progress and not stress about the scene being perfect for the assignment.
1. First, tell us any background we may need to know. This scene is early on and the first time we see Osgood interact with other Vampires. I’m at the point where I’m personally needing to start filling in gaps and connecting things…so that is what this scene is. He is interacting with 3 other Vampires and the “Mr. Drink Spiker” was a bad guy in the scene prior. Not sure this was the best scene for this assignment but I am setting things up for later as well as a little within the scene.
2. Answer the basic subtext questions about the scene.
1. What is the meaning of the subtext? Planting nuggets of information about the Vampires. Setting the stage for why Osgood will pick the “rental” opportunity, insinuate that he kills the Mr. Drink Spiker. (maybe he does?? Maybe he doesn’t)
2. What is the cover-up? As I reveal some of the vampires “live with” it reveals options for future interactions
3. When will the meaning be revealed? Before, during, or after? Some during, some after, some much later
4. How will the meaning be revealed? Variety of ways
3. Pick one or more of the scene designs for subtext.= I think I actually may have incorporated a bit of several
A. Misinterpretation
B. Dramatic Irony
C. Something is off
D. No one wants to tell the person
E. A plot against another person
F. Competitive agendas
4. actual scene.
INT. NIGHTCLUB – NIGHT
ELLIS (30ish looking, 400 yr old, handsome, strong, black vampire ) and YEE-LING (early 40’s looking, 92 yr old, Chinese vampire. Her elegant, shiny hair falling to her waist). Seem to appear on either side of Osgood as he watches Nina join her friends.
ELLIS
For later?
OSGOOD
I don’t think so.
Yee-ling glances at her phone.
OSGOOD (V.O.)
Yes, vampires text. Why wouldn’t we? Who do you think invented the blue light filter?… Real lifesaver!
(Flashback)A vampire looking at an old cell phone with a bright screen going up in a puff of smoke.
YEE-LING
Pasha is waiting for us, come on.
INT. NIGHTCLUB/VIP COUCH – MOMENTS LATER
PASHA (the fittest 85-year-old Russian on the planet. 88 Vampire years old, the baby of the group and bottom of the pecking order) enthusiastically waves Yee-Ling and the others over to private, plush VIP couches.
Osgood positions himself where he can see Nina and her friends on the other side of the dance floor.
A waitress drops off their bottle service as the others make small talk.
ELLIS
Ozy…What’s new with you?
“What’s new?” carries the weight of “Fuck you” with this group. Osgood’s glare transitions as he remembers something, he reaches into his pocket and throws the folded piece of paper at Ellis. Yee-ling, panther-like, snatches it out of the air.
ELLIS
What is it?
YEE-LING
Ozy has to move again.
She hands the paper to Ellis. Pasha strains for a peek. We see the flyer in its entirety. Osgood’s building is being torn-down for Condos.
ELLIS
Why don’t you just give in and buy one of these new condos? It’ll be years before the gentrification catches up.
YEE-LING
He loves his “architecture”…
Mocking.
PASHA
Yeah, Ellis told me you have plenty of money…
Pasha realizes he should just shut up. “Money” is another dirty word with this group.
A phone RINGS. Yee-ling picks it up and starts fluently speaking Swedish. Osgood looks at Ellis, huh?
ELLIS
Babbel. She’s addicted.
They listen to her in awe. Yee-ling hangs up.
YEE-LING
That was Magnus. He says the bowling alley is hopping tonight.
Pasha excitedly hops up ready.
ELLIS
Lets go then.
Everyone gets up, Osgood takes a last glance towards Nina finding her on the dance floor with her friends.
EXT. NIGHTCLUB – NIGHT
As Osgood and the others exit, he notices the cops are wrapping up with Mr. Drink Spiker. Moments later he sulks away, citation in hand
Ellis, Yee-Ling and Pasha head out. Osgood doesn’t move.
PASHA
Ozy…?
OSGOOD
I’m not up for the bowling alley tonight. You guys go.
YEE-LING
Suit Yourself. (in Russian)
He watches them walk away for a moment before heading in the opposite direction.
He quickly catches up with Mr. Drink Spiker who is fumbling with his keys, which of course are to a douche-bag-mobile.
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Armand Subtext Scene
What I learned…
THE BASIC QUESTIONS OF SUBTEXT
1. What is the meaning of the subtext?
2. What is the cover-up?
3. When will the meaning be revealed? Before, during, or after?
4. How will the meaning be revealed?
SIX SCENE DESIGNS FOR SUBTEXT
A. Misinterpretation
B. Dramatic Irony
C. Something is off
D. No one wants to tell the person
E. A plot against another person
F. Competitive agendas
ASSIGNMENT
In this scene in Act 1, Tyler the ghost learns what the living think about him and the night he was murdered. He’s with Lex, a goth teen who is obsessed with true crime.
2. 1. What is the meaning of the subtext?
He thinks people believe he is a coward but learns his murder is legendary and people think he died a hero, sacrificing himself, and he tries to preserve that version of the story rather than his real cowardly actions.
2. What is the cover-up?
Misinterpretation, Dramatic Irony
3. When will the meaning be revealed? Before, during, or after?
Later.
4. How will the meaning be revealed?
He plays along, until he gets scared.
INT. MANOR – NIGHT
Lex confronts Tyler through her EVP app.
LEX
Spirit, I command you to announce yourself!
TYLER
(unimpressed)
Chill, little girl. I’m Tyler.
LEX
Tyler Berkeley? I don’t believe it—
TYLER
Yes, it’s me—
LEX
You’re a hero.
TYLER
I am?
LEX
You sacrificed yourself to save the woman you love.
TYLER
You know about Maddie?
LEX
Of course!
She shows him a true crime documentary on her phone about the night of the massacre.
ANNOUNCER ON THE DOCUMENTARY (V.O.)
Although all his friends were killed by the unknown attacked, Tyler Berkeley and Madison Vaughn were the last survivors. But to save Madison, Berkeley had to sacrifice himself.
TYLER
Okay, turn it off.
LEX
You don’t have to be humble.
TYLER
What happened to Maddie?
LEX
You saved her. She survived.
TYLER
She’s alive?
LEX
She disappeared ten years ago. They said the killer got her.
Tyler gasps in disbelief.
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Pablo’s Subtext Scene
What I learned: This exercise was helpful in that I now have all three protagonists with their own separate agenda. It makes for constant tension between characters.
1. First, tell us any background we may need to know.
After getting supplies from a mysterious ally, Irma lets Antonio guide the group using the compass that was included in said supplies as a sign of trust. Antonio uses this in the attempt to guide his family back directly to the border patrol so that they can be sent back home. Irma has not revealed why they are running away nor has she told her children that their father is dead.
1. What is the meaning of the subtext?
The meaning is that they are going the wrong direction.
2. What is the cover-up?
The cover-up is Antonio is sabotaging their escape while Irma is hiding the reason why they are escaping.
3. When will the meaning be revealed? Before, during, or after?
It is revealed that Antonio is leading them along the wrong path during this scene. But it won’t be revealed that they are running from their father’s murderers until later.
4. How will the meaning be revealed?
Antonio admits that he wants to go home and then throws the compass out of reach, proving that he has no intention of crossing the border.
3. Pick one or more of the scene designs for subtext.
C. Something is off
F. Competitive agendas
EXT. CHIHUAHUA DESERT – DAY
The Escandon Family hike through the rocky terrain. The sun continues to beat down on them even as it makes it’s way down. Irma does a double take and halts.
IRMA: I’ve seen that rock before.
ANTONIO: You’re delusional.
IRMA: No. I know I did because it has a chin. It looks like Jay Leno.
ANTONIO: Who?
IRMA: It doesn’t matter. I know that I’ve seen it because I noticed it before.
ANTONIO: Ok mama.
Antonio pushes on. Andres follows at first when he realizes his mother is fixated on the rock.
ANDRES: It’s probably not the same rock mama.
Irma walks up to it.
IRMA: Antonio.
Her eldest son stops and looks back.
IRMA: Let me see the compass.
ANTONIO: What?
IRMA: You heard me.
Antonio grips the compass.
ANTONIO: You said I could be in charge of leading.
IRMA: It’s my turn now.
ANTONIO: No. That wasn’t the deal.
ANDRES: Come on, mama. You said he could.
Irma ignores him.
ANTONIO: Do you honestly think I don’t know how to use it?
IRMA: No. I think you know exactly how to use it.
Andres looks completely lost.
ANTONIO: So you think I’m deliberately leading us off path? Are you serious?
IRMA: I’m not sure what you are doing. All I know is that we’ve been here before.
ANTONIO: I can’t believe you don’t trust me.
Andres looks back at his mother, waiting for her response. Irma reaches out to him.
IRMA: Andres. Come over to me.
Andres doesn’t think twice. He heads right to her.
ANTONIO: What are you doing?
IRMA: We are going back the other way.
ANTONIO: What?
Irma clips the backpack strap across her chest.
IRMA: If you want food or water, you’ll have to follow us.
ANTONIO: Mama.
Irma grabs Andres by the wrist and tugs him in the opposite direction.
ANTONIO: Mama. You’re going the wrong way!
Irma ignores him. Andres desperately looks back at his brother.
ANTONIO: I’m not following you.
IRMA: You’d better if you want to make it alive.
This startles Antonio, the reality setting in.
ANTONIO: This is all your fault!
Irma stops.
ANTONIO: Why couldn’t you just take the job!? Then we’d be home–
IRMA: Antonio, please.
ANTONIO: I want to go home!
IRMA: We can’t! We can never go back! It’s not our home anymore!
Andres pulls away from his mother. His eyes wide with shock.
ANDRES: We aren’t… ever going back?
Irma closes her eyes in exhaustion as she searches for the right words.
ANDRES: Are we in trouble?
Beat.
IRMA: Yes.
ANTONIO: Is papa waiting for us in Texas?
IRMA: No.
ANDRES: What?
ANTONIO: I knew it! You just want to leave papa! Well, we don’t!
IRMA: Antonio! We are too far to turn back now! Now, give me the damn compass!
Antonio turns towards the sun, winds up and heaves the compass. As Irma watches the item fly through the air, she bares her teeth as if ready to roar.
IRMA: Antonio!
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Jodi’s Subtext Scene – Day 4
You can create subtext in a scene with using one or more of the six scene designs for subtext.
1. The background: It is a sweet sixteen surprise birthday party. The Mother made arrangements with one of her Daughter’s friend’s to help her with the guest list and to entertain them as they arrive for the party. The Mother does some stalling practices with her Daughter outside the home until the time the party begins.
2. Basic subtext questions:
A. The meaning of the subtext: To keep the secret from being found out.
B. The cover-up: Is keeping the Daughter distracted until all guests arrive, but it creates a complication because the Daughter doesn’t want to be there with her Mother, she wants to be at her friend’s house, (she doesn’t know her friend will be at her house for the party). The Daughter becomes stubborn and insistent which makes the Mother somewhat regret her special plan for her Daughter.
C. When will the meaning be revealed: It is revealed in the very beginning as the friend keeps the Mother informed on the phone who has arrived and who is still expected.
D. How will the meaning be revealed: In the end when the Mother and Daughter are approaching the front porch, the Daughter continues to act like a total brat screaming at her that she’s missing the get-together that her friend is having on her birthday and she doesn’t want to be home with her (Mother). Why couldn’t she just have dropped her off at her friend’s house? she shouts. The Mother opens the door and her friends and a couple of invited parents pretend they don’t hear the girl having a tantrum outside, and shout out “Happy Birthday”! The Mother and the Daughter are both embarrassed.
3. The scene designs for subtext:
A. Misinterpretation: The Daughter is operating from an assumption, and also from wrong information about a friend having a get-together.
D. No one wants to tell the person: The Mom ‘feels’ like telling her Daughter so she’ll stop acting bratty, as she has done throughout the afternoon.
E. A plot against another person: It was supposed to be a good plot but became wearing on the Mother.
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Elizabeth’s subtext scene.
What I learned: I really need to keep practicing this. Obviously it’s important, but I definitely need to do more work.
Grace (who we’ll much later learn is Ed’s granddaughter, as well as his long-lost love, Susan’s granddaughter) has made friends with many people at Ed’s retirement home and invited them to the wedding shower she’s also pressuring Ed to attend. That he’s trying to get out of.
Meaning of the subtext: everyone knows Ed’s been asked to the shower and that he doesn’t know they have. Everyone is planning to attend, and they’re in cahoots to get him there, too.
Cover up: everyone feigns ignorance/doesn’t bite-reveal anything, as they enact the plot
When is the reveal: at the end when we see everyone get into vehicles with wedding gifts.
How revealed: with gifts, party clothes
INT. GARDENS BY THE WATER – SAUNA – DAY
Ed in swim-trunks, Don in tighty-whities, sweat.
ED
(Wipes a brow)
I can’t go to a bridal shower.
DON
Women go to those.
ED
Exactly.
DON
(Sees only the potential)
Better odds than our fantasy draft.
Off Ed’s annoyed expression—
INT. GARDENS BY THE WATER – HALL — LATER
Ed now in sweats, a towel about his neck, fidgets by a closed door of the chapel as low SOUNDS gradually become—
Women reciting Hail Mary’s before—
Silence. Ed cracks the door—they must be done. Sticks his neck in to see—
INT. GARDENS BY THE WATER – CHAPEL – SAME
Sister Mary in bed-chair, in a circle of women.
SISTER MARY AND THE WOMEN
(Focused)
Oh my Jesus, forgive us our sins. Save us from the fires of hell—
Sr. Mary continues as she looks at Ed who…
SISTER MARY AND THE WOMEN
Lead all souls to heaven, especially those who are most in need of Thy mercy.
…Mouths an apology. Retracts his head like a turtle as—
Sr. Mary’s owl eyes, like suction cups on his cheeks—
SISTER MARY
What do you need, Ed?
Ed stops. Grimaces. How do you not answer a nun?
ED
(Mumbles)
Uh—just had a question about a—.
The other ladies begin to hum “Be Not Afraid” as they wait
SISTER MARY
Yes?
ED
Shower. A—
SISTER MARY
Yes.
ED
Yes?
SISTER MARY
You should go.
The group continues as if they’d never missed a beat—
SISTER MARY AND THE WOMEN
Glory Be to the Father and to the Son…
INT. GARDENS BY THE WATER – HALL – CONTINUOUS
Ed shuts the door. Flummoxed.
Turns as Pat stalks down the hall with a tea pot she—
Shoves into Ed’s hands as she passes.
PAT
Wrap it first.
Rounds the corner.
INT. GARDENS BY THE WATER – DINING AREA – LATER
No lights yet, but the kitchen CLANKS harken the evening’s meal. Ed sits alone. The tea pot before him on a table as—
Wade and Judy, dressed (as always) to the nines spot Ed through a window. Enter the dining area—
JUDY
Dr. Cummings, please join us for dinner? We have a cab waiting.
WADE
Surely you’d prefer a meal out?
(And)
Besides, I really need to talk with you about my brother. He’s back in the hospital.
A friend in need…
ED
I’m sorry to hear.
Ed brightens—is this an excuse to skip the shower?
ED
You’re going out to dinner?
WADE
(Indicating Judy)
This beautiful woman has promised me a deviled egg! Come. You can advise in the car.
A brief hesitation—should he? Before—
Ed leaps up. Follows. Remembers. Goes Back to grab the tea pot before, hugging it, he rushes to catch up.
EXT. GARDENS BY THE WATER – FRONT ENTRY – CONTINUOUS
Lauren emerges from a staff door bearing a wedding-papered box she—
Puts in the trunk of the cab as suddenly a—
Van pulls up and the ladies from the chapel gallop out of the Garden’s Entrance, one pushing Sr. Mary and—
Pat bolts out, pushing Don. Everyone with wedding-papered gifts.
Lauren joins the others, smiles and waves at Ed as they hurry to and—
Giddy-up the steps of the bus.
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Janeen’s Subtext Scene
What I learned from this assignment is writing an outline and letting it steep before writing makes it quick and easy to write.
1. BACKGROUND: Needed background: Daniel has intimidated and beaten his wife, Amber, in the past. She asked Morgan, a client of Daniel’s, for help and Morgan called the police. Daniel was arrested but released when Amber refused to testify. Daniel did, however, get a restraining order to prevent Morgan from contacting or helping Amber in the future. He has now returned home, triumphant that he has paid back Morgan for her interference, but furious with Amber that he had to do so because it is bad publicity and Morgan was one of his regular clients and a good source of income.
2. Basic subtext questions:
Meaning of the Subtext — Amber screwed up big time by trying to get help. She will pay.
The Coverup — Amber is meek and submissive in the face of Daniel’s abuse
When will the meaning be revealed: At the Crisis when, to protect her kids, she kills Daniel in fairly cold blood.
How will the meaning be revealed? Her cold, steely way of killing him will show how strong she has gotten.3. Scene Design: Misinterpretation — Daniel takes her submissive behavior as a sign he has dominated. Amber is just plotting her escape and doing what she needs to do now to protect her kids.
SCENE
INT. RICHARDS HOME – EVENING
Daniel enters the house ranting in triumph that Morgan won’t be able to help Amber again.
DANIEL
That bitch will not be sticking her fucking nose in here again.
Amber scurries into the dining room from the kitchen, carrying her youngest. She is followed by her older child.
DANIEL
Your little trophy wife bitch friend has a restraining order against her. No more interference from her.
His shouting and violent delivery make the OLDER CHILD cry.
Daniel grabs him by the shoulder and smacks his bottom with the flat of his hand.
DANIEL
Shut the fuck up. I’m trying to carry on a conversation here.
Amber quickly puts the little one down on the floor and steps between Daniel and the older child, diverting his attention and anger.
AMBER
You got a restraining order against Morgan?
She gives him a peck on the cheek, sliding her hand down his arm and slipping around him toward the den, leading him to follow her.
AMBER
Let me fix you a drink.
(slight edge)
I want to hear what you’ve done.
Daniel grabs her arm and slaps her face.
DANIEL
I’ll tell you what I’ve done.
His grasp pinches her arm until it hurts.
DANIEL
I’ve burned her damn book, made the police understand that she’s a threat to my family and humiliated her publicly like she did to me.
He pulls Amber closer to him and then pushes her sharply away causing her to fall on her bottom and slide on the slippery hall floor.
The kids continue to cry and Daniel loses control more. Amber can see him turning to the kids again and thinks quick.
AMBER
(stonily)
I asked her for help.
She moves quickly to the den, knowing that Daniel will follow, but luring him away from the still crying kids. He follows and mocks her.
DANIEL
Well you won’t be able to ‘ask for help’ again. I’m taking your keys and your phone. No more ‘running away to a shelter’ or ‘phoning a friend’.
Amber works her way around to the door as Daniel stalks her around the furniture in the den. She shuts the den door before the kids can follow them.
Daniel catches up and slaps her face with the back of his hand. She staggers.
DANIEL
You’re a disgrace. You whine and snivel and act like you’re such a victim. We both know you’re not.
Amber whimpers and turns away from Daniel, a look of steel crossing her face, but her voice pleading when she speaks again.
AMBER
What about shopping? For the kids or for groceries.
Daniel begins feeling more powerful, superior. He mocks her.
DANIEL
I’ll see to that. Leave me a list and I’ll take care of it. We can’t have you running around on your own.
DANIEL
You and I both know you can’t be trusted anymore.
Amber, a look of piteous defeat pasted on her face, turns back to Daniel.
AMBER
I’m sorry.
(beat)
I’m sorry, Daniel.
Head down, she runs to him as he seems to expect. She throws her arms around him, sobbing. He puts his arms around her, holding her very tightly.
Amber sighs in relief.
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Amy’s Subtext Scene
What I learned doing this assignment is…
Background: Andrea got sucked in the local university’s supercollider and traveled through time. When she came back out, it was a year in the future. In that year, her kids’ nanny, Meagan, has gotten together with her husband, Josh, and they have gotten engaged. All during the movie, Andrea and Josh have been growing closer together and looks like they might reconcile, but Josh is upset that Andrea accused Meagan of being responsible for her getting sucked into the supercollider and then trying to push her into it.
1. What is the meaning of the subtext? Andrea thinks Josh is ready to reconcile, but he’s actually about to break it off with Andrea.
2. What is the cover-up? Something is off.
3. When will the meaning be revealed? The meaning is revealed when Josh asks for a divorce, but there’s a hint of it when we see Meagan.
INT. LIVING ROOM – NIGHT
Josh paces the floor.
Andrea rushes in.
ANDREA
Josh! You wanted to see me? I came home early. I guess this means you’ve forgiven me for the other night. We’re going to be a real family again, right?
Andrea runs to Josh and moves to kiss him, but he turns his head and walks away from her.
She follows him, her back now turned to the entrance to the kitchen where Meagan peaks her head around the corner.
ANDREA
What’s wrong, Josh?
JOSH
I heard about what you tried to do to Meagan. Your accusations against her the other night were ridiculous, but now this?
ANDREA
Why don’t you believe anything I tell you? I’m your wife.
JOSH
I want a divorce.
ANDREA
What? No! We were getting closer. I thought-
JOSH
I’m going to marry Meagan.
Meagan struts into the living room and takes her place by Josh’s side, a snide grin on her face.
Andrea looks as if she’s about to cry. She has no words.
She makes her way across the room, moving in slow motion.
Meagan sneers. Josh looks injured.
Andrea leaves in disgrace.
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Emmanuel’s Subtext Scene
What I learned doing this assignment is a scene that is designed with subtext is powerful. Most scripts almost always include these three subtext scene designs: a plot against another person, dramatic irony and something is off. Combining character and symbol subtext makes the scene more powerful.
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