Day 4 Assignments

[Rob Bertrand]

Rob Bertrand’s Contrasting Scene

What I learned: I learned that contrasting dialogue and scene action can really elevate dialogue and subtext.

EXT. ANDREW’S HOUSE – NIGHT

Annie and Jessica flee the house, screaming. They cut across the lawn towards the Clark’s house.

EXT. FRONT PORCH – CLARK’S HOUSE – NIGHT

Annie pounds on the door as Jessica clings to her. Both girls are scared shitless.

JESSICA
Knock again! They’re old!

Annie pounds the door again.

ANNIE
Help! It’s Annie and Jessica! Please! Open up! Help!

A light turns on. The door unlocks and opens on Larry, in his bathrobe.

LARRY
My heavens, girls. What on earth?

ANNIE
Please! You’ve got to help us! Something’s in our house!

INT. LIVING ROOM – CLARK’S HOUSE

Annie and Jessica sit together on a couch, wrapped in a blanket. Looming over them is a wall filled with the Clark’s family photos. A large wooden cross sits dead center.

Annie scowls at their smiling faces.

Karen enters with tea and sets it on the coffee table.

KAREN
A nice cup of tea. That’s what you need, sweeties. Calm ya’ right down.

ANNIE
I don’t want your…we really should call the police!

KAREN
Now, I insist. Tea is good for the soul. Larry should be back soon.

Jessica tugs on Annie sleeve.

JESSICA
(whispers)
Can I have some tea?

ANNIE
Yeah, of course.

Annie hands Jessica a cup of tea. She takes a sip and tries not to smile.

JESSICA
That is good.

The front door BURSTS open. It’s only Larry and his bathrobe.

Annie stands up.

ANNIE
Well?

Larry shrugs.

LARRY
I looked around. Other than the picture frames, everything looked fine to me. Doors and windows were all closed and locked. I even searched the closets.

KAREN
See? Sometimes what we fear most…is our own imaginations.

LARRY
I’ll try your dad, again.

He dials out on a landline phone.

ANNIE
We didn’t imagine those pictures flying off the wall.

JESSICA
There’s an angry spirit in our house. I think it’s our mom…

KAREN
Nonsense. What you need is a good talk with Jesus, missy.

Larry hangs up.

LARRY
Straight to voicemail. Well, I guess we just wait. He’ll call back. He always does.

ANNIE
You got a phone book? I usually start with calling his favorite bars.

Karens mouth falls open.

INT. MEETING HALL – NIGHT

CLOSE ON Jack’s face. Sweat beads on his forehead. His voice is solemn, almost weak.

JACK
Man, I love the smell of a dive bar. You know? That heavy aroma of cheap beer and sweat. After a long day of back breaking work. The first taste of that ice cold beer…it’s the fucking best. Let’s start with that and follow it up with a shot of crown. Fuck it, make that two shots. Just keep drinking till I blackout.

Jack looks down at his cell phone in his hands. It’s Larry. He sends it to voicemail.

JACK
The hardest part has been keeping this from my daughters. The way they look at me. Those…accusing eyes. Why? Why do I do it? Sneaking around like a god damn teenager. I’m’ a fucking adult. I don’t have to fucking sneak. Maybe it’s because I’m afraid? I don’t want them to see me like this. Weak. Broken. Some days it’s all I can do from…from…

Jack looks up at the circle of people, seated around him.

JACK
Fuck!
(sighs)
All I know is I haven’t touched a drop of alcohol since my wife died. God knows I want to. Everyday. But…I can’t. Not anymore. Thank you.

The group claps, a few cry. The MODERATOR nods his approval.

MODERATOR
Keep walking the path, Jack and work those steps. Thank you for sharing. Who’d like to go next?

Jack’s phone buzzes again.

JACK
Excuse me, I really need to take this.

INT. HALLWAY – MEETING HALL – NIGHT

Jack stands, shoulders slumped in defeat. His cell pressed firmly to his ear.

JACK
Ah fuck. Thanks, Larry. I’ll be right there.

CUT TO:

[John Budinscak]

Budinscak Contrast Scene

Day 4

What I learned doing this assignment:

o Great scene examples for contrasting dialogue – “PULP FICTION” and “NETWORK”.

o Great way to work in the character’s world view.

o Hal likes barbeque.

Setup:

We’re in the middle of Act 2. After a long ride, everyone’s tired so Jack and the boys pull into the House of Jimmy Truck Stop in Oklahoma for food, fuel and ice.

After dinner, Jack goes out for a smoke and the boys go the bathroom. Sal rushes up to his uncle, Puck’s in trouble. A trucker has Puck trapped in a bathroom stall.

Scene:

INT. TRUCK STOP DINER – NIGHT

HALLWAY

Sal runs to keep up with his uncle, Jack’s a man on a mission. He stops short of the bathroom door and hands Sal an “Out of Order” sign.

JACK

When I yell ‘Sal’, come in, grab Puck and get out of there.

SAL

Okay.

JACK

Don’t let anyone in, okay?

Jack smiles at his nephew who nods crazily. Jack places the sign on the door handle and walks into the

BATHROOM

The large trucker leans against the closed door of a stall. He turns to Jack sizing him up – no threat here.

TRUCKER

What do you want?

JACK

You know growing up, my handwriting was so bad, even I couldn’t read it. That’s not good for a chef. So I had to come up with something to remember recipes, and I thought, hey, I’ll make up a song. You know, so it’d rhyme and stuff.

TRUCKER

This bathroom is closed.

JACK

You like music? I’ve always been a fan of the Crooners – Frank, Bing, Perry, Vic and especially Dean. I’m a huge Dean Martin fan.

The physically imposing trucker steps in front of Jack and folds his arms, blocking Jack’s path.

TRUCKER

I just said the bathroom is closed.

JACK

I’m a pretty darn good chef, Italian’s my specialty. A great thing about Italian food, everybody makes it a little different – and it all tastes good – most of the time. Me, I love Braciole (Bra-show-lay)

TRUCKER

I don’t give a shit what you love.

PUCK (OS)

Uncle Jack?

The trucker looms over Jack, he’s not the least bit worried when he mocks Puck’s voice.

TRUCKER

Did your uncle come to res…

Jack’s right hand snaps out and finds its mark – the trucker’s adam’s apple. The big man’s hands go to his throat – he can’t breath.

JACK

This is one of my favorite recipes. I sing it to Dino’s “It’s Amore”.

Jack sweeps out the trucker’s right foot and the big man hits the tile floor knees first – intense pain shoots through his body. Jack hums the Dean Martin classic then breaks into song.

JACK

Take bottom round, pound and a pound, that’s braciole. Salt, pepper and chees – fresh parmesan, please – that’s braciole. Garlic and spice, tie it up nice, that’s braciole.

Jack rips a towel dispenser off the wall.

JACK

(speaks this part) Don’t forget to brown it on all sides in olive oil.

Jack smashes it over the trucker’s head. Blood rolls down the man’s face.

JACK

Sal!

Sal bursts in and runs to the stall where Puck hides. Puck emerges, shaken but okay. They look at their uncle, the trucker, then back to their uncle. Jack finishes his song.

JACK

Save for the sauce, so sings the boss, that’s braciole!

Jack kicks the trucker in the ribs – hard.

PUCK

Please stop.

Jack kicks him again.

JACK

Sure. Now get the hell outta here!

The boys flee. Jack throws his hands up – he skipped a verse.

JACK

Dammit, I forgot the crushed red pepper.

Jack rolls the trucker on his back. The big man’s eyes open.

JACK

You can make braciole anyway you like. I’ve seen ‘em big, too big, where they look like a shitty version of meatloaf. Big, lumpy, lousy… just like you. I love braciole, especially the small ones. I protect the small ones. They’re delicate, they’re innocent. They deserve our attention. We need to respect and protect them. They’re just kids.

Jack punches him in the mouth and knocks out three teeth.

JACK

I come this way a lot. I better never see you again.

Jack checks his reflection in the mirror – he likes what he sees. He walks over the top of the trucker – literally. On Jack’s last step, he stomps on the trucker’s ankle before he exits.

[Robert Smith]

BOB SMITHS CONTRAST SCENE

What I learned doing this assignment is…?

Dialogue contrast makes for more exciting dialogue.

INT. STUDIO COMMISSARY – DAY

A lunch table. A half dozen crew members from the set of “The Blue Angels” are seated and eating lunch, talking about football (soccer).

KARL, a crew member joins them but in addition to lunch he also has an imposing office clock that he places on the table. It is so large it looks out of place. He starts removing lunch from his tray and places it on the table.

OTTO

(to Friedrich)

I’ll bet 10 marks to a hundred that Berlin beats

Hamburg. Karl, what are you doing with that

clock??

KARL

I am protesting that crazy director von Sternberg.

When he says “Quiet on the set,” he means ‘

he doesn’t want to even hear our watches tick. Isn’t

that right, Friedrich.

FRIEDRICH

Otto, you wouldn’t believe it. This director

made us remove our watches from the set.

OTTO

Karl, isn’t that the clock the one that was in the

executive outer office?

KARL

Yes. And I hope Pommer or Hugenberg notices it’s

missing so I can explain that I took it to make a point:

The tyranny of von Sternberg. He makes us remove

our watches because when von

Sternberg says “Quiet on the set” he means, “I don’t

want to hear your watches tickingt.”

OTTO

What will he do if he says “Quiet on the set,” but he

hears your hearts beating?

KARL

I’ll say that to Pommer.

OTTO

Don’t tell him you got it from me. I don’t

want to get on Pommer’s bad side.

KARL

Worth the risk. But. You are working on

another set, anyway. Why should I drag

you into this?

FRIEDRICH

I worked in impossible conditions under Pabst

when we were filming “The White Hell of

Pitz Palu.” At least Pabst was a warm gentlemen

Even though we were freezing. “Metropolis” was

inhuman but at least Lang was very human, as

demanding as he could be. But I’ve never seen any

Director like this arrogant von Sternberg. When you

just ask him a question, he reacts like you are rat

unworthy of his attention..

OTTO

How many more weeks of shooting?

FRIEDRICH

Too many. Karl, if you don’t mind, Otto and

I were discussing a bet on the game between

Berlin and Hamburg.

KARL

The way Berlin played the last game, von

Sternberg will rescind his watch prohibition

before ‘Berlin ever wins. Let’s eat. It’s

twenty minutes to one and Herr Direktor has

decreed we must be back on the set no later than

one. So, watch the clock and don’t forget. One

o’clock.

.

[Amy Falkofske]

Amy’s Contrast Scene

What I learned doing this assignment is this is a good way to add comedy to your story. It’s also a good way to reveal character.

INT. – CHURCH – DAY

SUPER: 2006

A wedding ceremony. The bride and groom stand at the front facing the pastor.

The doors to the church open and 2022 Andrea appears. Her lips quiver and a tear rolls down her cheek. It’s her wedding day.

PASTOR

I now pronounce you Mr. and Mrs. Joshua Richards.

2006 Andrea and Josh kiss.

APPLAUSE

Andrea and Josh make their way down the aisle.

ANDREA

This is like TV, only I can see the viewers. I would be a good talk show host, don’t you think.

JOSH

You’d be great, honey. The camera loves you.

Both Andrea and Josh smile and wave to their guests as they continue down the aisle.

ANDREA

I know what I’d call my show. Afternoons with Andrea.

JOSH

No. You need a more serious title to go with the hard-hitting stories.

ANDREA

No. I’ll only be doing lighthearted topics.

JOSH

Really? I thought you’d want a more newsy show, you know, where you can interview your husband, the detective.

ANDREA

Nope. Sorry, my dear. It’s going to be a lifestyle show.

[Michelle Damis]

PS 80 Michelle Damis Contrast Scene

What I learned doing this assignment. While I’m not sure I nailed the assignment, I did have fun and while I was going through the lesson, I think I found a solution for a pilot that I wrote. So overall , good creative juices flowed.

INT. STORE DAY

Nina struts down the aisle in the hardware store pushing a cart with her list on her phone and earbuds in her ears, the KESHA song “DINOSAUR” playing.

An accomplished shopper outside her norm. Her regular stores don’t have all these gross old men.

Her “list” disappears as the name “Megan” shows on her phone.

NINA

Hey, Can I call you back? I’m in the middle of something.

Talking a little louder than the other customers are used to.

NINA

NO! You are not?

She practically screams as she stops in front of a bunch of wooden garden stakes.

She picks one up, inspecting it as she intently listens to the caller.

HARDWARE CLERK

Can I help you?

NINA

Did you take a pregnancy test?

The clerk taken aback, and confused.

NINA

Not you…

Dummy.

NINA

Hold on Megan (to caller)… How sharp will these get? And on what aisle can I find a tool to do that? (to clerk)

HARDWARE CLERK

Oh, those should be plenty sharp for the ground.

NINA

Who said they are for the ground?

Her face screams “stupid question”.

NINA

Aisle?

Impatiently tapping her foot.

HARDWARE CLERK

Um…Aisle 7?

NINA

(to caller) Take it again.

HARDWARE CLERK

Aisle 7?

NINA

ARGH….Not YOU!

[Elizabeth Koenig]

Elizabeth’s Contrast Scene

Having characters’ dialogue not ‘match’ what what’s happening makes the scene feel fresh, helps keep us attentive.

EXT. RUNDOWN CHURCH – DAY

From the sidewalk: Grace, Jewels and Mike gaze at the church like it’s Sleeping Beauty’s castle at Disneyland as

Ed appears constipated: Weathered siding. Chipped steps. Evidence of illicit teen partying and a yard full of weeds

MIKE

(Re: the yard)

Is that a graveyard?

GRACE

(Enchanted)

Ohhh!

Grace ballet-leaps up the steps—

Tiptoes into the crabgrass like it’s a daisy field and—

Bends at an untended gravestone. Reads—

GRACE

So young.

As Mike, the devotion of Moses, moves toward something he sees in a bush, and—

Jewels sasheys after Grace—

JEWELS

Now don’t get superstitious.

GRACE

Are you kidding? It’s beautiful! Your deceased loved ones with you every time you go to church!

MIKE

We don’t go to church?

(appraises the thorns)

And those aren’t our deceased.

It isn’t a talking flame, but worth—Mike jabs in a fist.

MIKE

Ow!

A scratched arm. Pulls out a full bottle beer!

Grace practically leaps, it’s that genius—

GRACE

Let’s get married at Susan’s grave!

Mike’s glee turns pensive—wish he’d thought of it.

MIKE

That’d be super meaningful to you.

Jewels looks at Ed—

JEWELS

Is it public property?

Ed marches up the steps to the door. Nip this in the bud.

ED

This is a great venue. Quaint.

He points to a sign, “Founded in 1962” –

ED

Historic.

As a bus goes by—

ED

Close to transportation.

Grace goes still, like she’s tuning into a message, maybe from Susan’s grave as—

Jewels parts the grass. Moves to the door Ed’s opened—

JEWELS

Let’s go inside at least.

Mike somehow has an opener. Pops the beer top.

MIKE

Absolutely.

(Chugs)

This is awesome.

As Mike follows Jewels and Ed inside—

Grace looks up at the sky. Please. Give me a sign.

[Julia Keefer]

I must go through my entire script to make the words opposite the actions. BB/Betty already does this naturally as a criminal, but here is a family birthday party where actions and words don’t always sync. It looks mundane but it is a set up before the Feldmans die of COVID and Omar, Sandrine, and Astride are killed in the Hurricane Ida Summit collapse.

INT. TUDOR MANSION – DAY
Fall 2020 New Paltz before official vaccine rollout.
Ibrahim tries to vaccinate his family in his master bathroom. Sandrine submits quickly and quietly but the triplets object.

IBRAHIM
This is the best birthday present you will get.

OMAR
It’s a bioweapon.
IBRAHIM
COVID may or may not be a bioweapon, but

Delphine is so eager she talks over the others.

DELPHINE
Sure. Finally I can go back to performing.
ASTRIDE
But who will come?

As he tries to inject Astride, she screams.

IBRAHIM
Sorry darling. Think of this as a kiss of love.

OMAR
It’s poison. It may change our DNA.

SANDRINE
No son. This is misinformation. It is our only weapon against this terrible disease.

OMAR
How come we are getting the vaccine before it’s been approved?

IBRAHIM
FDA and CDC are slow to approve. I was vaccinated in the spring.

DELPHINE
Now you tell us.

IBRAHIM
I was the guinea pig. I would never experiment on my family.

After the girls submit, Omar hands his dad a Koran.

OMAR
Keep your hands on the Koran and let mom do it.

Done. But Astride panics and throws up on the floor and Omar suddenly poops in the toilet. Delphine sings Happy Birthday. Nonplussed, Ibrahim cleans like he has never cleaned before as he speaks calmly.

IBRAHIM
I am an intellectual, a PhD, former professor, consultant for top global organizations, President of the EvergreenEnergy Company.

As he mumbles through his stellar resume, Sandrine kisses him.

SANDRINE
Et un mari merveilleux.

DELPHINE
And a devoted husband and father.

INT. KITCHEN – DAY

The Al-Harbis work on the big meal. Ibrahim is stirring something on the stove that is sticky and burning as Sandrine runs around organizing, and the triplets chop veggies, garlic, and ginger.

IBRAHIM
I am not used to manual labor, but we can’t risk having help around.

OMAR
I thought you just protected us with those jabs!

IBRAHIM
Vaccines are against the first variant, but viruses mutate.

DELPHINE
Like cancer.

IBRAHIM
Sort of.

SANDRINE
We need more optimistic conversation. Parlons francais.

DELPHINE
No, the Feldmans will be here soon so our tongues must stay with English rhythms. It is an accentual syllabic language but French is syllabic, English is placed–

IBRAHIM
We need to make them drinks.

OMAR
Liquor is haram.

IBRAHIM
I know son but in America, we must extend Arabic hospitality that has lasted longer in history than Islam.

SANDRINE
I bought the latest Beaujolais. That should be enough.

IBRAHIM
No, they have always been hard drinkers. Funnier expression.

INT. LIVING ROOM
ELIOT and JEN FELDMAN are still conquering the town sideways, fifty pounds overweight, dominating the local college as a Dean and the town as an antique dealer. Rodney at 40 is twenty pounds overweight, but Kisele is in perfect shape.

Ibrahim serves them cocktails, vodka and fruits, and gives the rest of the family water.

Everyone sings Happy Birthday to the triplets. They shout in unison: No presents, just love!

JEN
It’s important to be healthy during a pandemic.

She eats full fat cheese, charcuterie, wine, and then religieuses, the French eclair. Eliot nods and helps her.

[Jodi Harrison]

Jodi’s Contrast Scene – Day 4

I can see how contrast of visual and dialogue can work to make the scene interesting. It also helps to bring out characteristics without announcing them. Can be funny discovering them.

EXT. UTAH SKI RESORT – DAY

It is a sunny day on the Brianhead ski slopes. ANTHONY CARD and his buddy JASON PARK are ready to ski, they are from sunny California, where the weather is usually warm. Some locals are skiing in their bathing suits, which is a yearly ritual. Anthony sees DIXIE KLEIN, a young lady skiing down the slope in her bathing suit as well. He is instantly smitten by her. Both Anthony and Jason are bundled up in their ski clothes and parkas.

ANTHONY: Jay, look at that babe there in the red bikini.

JASON: Yeah, she sure is fine.

ANTHONY: I’ve got to meet her.

Anthony rips off his parka and starts taking off his warm ski clothing.

JASON: What the hell are you doing? you’re gonna freeze to death.

Anthony’s teeth starts chattering, and his lips are turning blue.

ANTHONY: Naw, it’s good man. Good.

He spots the young lady and starts skiing towards her. He sidles up to her.

ANTHONY: Great powder huh?

She looks at him and smiles. Then she looks concerned.

DIXIE: Your lips are blue, are you all right?

ANTHONY: Great. Never felt better. The sun is shining.

DIXIE: It’s great isn’t it?

ANTHONY: Never felt warmer!

Dixie looks quizzically at his response. To keep warmer he starts making short quick turns as if he were slaloming.

ANTHONY: You want to go for a run?

DIXIE: Black or blue?

ANTHONY: Blue is good.

DIXIE: Oh, okay. I got the impression you were a skier, all good, blue will do.

Anthony over corrects himself.

ANTHONY: No black, black is good. Let’s do black.

DIXIE: Hey, you want a shot, you look really cold.

ANTHONY: Cold!? I always ski like this, it’s not cold, it’s nice and warm out here.

His body is turning blue along with his lips. Dixie brings a flask out of her bikini.

DIXIE: This will warm your insides.

ANTHONY: I’m not cold I tell you, The radiant rays of the sun warms my body like no other. I feel at one with nature this way. I’m incredibly hot, I’d take my shorts off right now if I could.

Anthony is writhing back and forth on his skis to keep warm.

ANTHONY (cont.): The sun is shining, the air is pure and warm, this is the time I like best when skiing, a time when I can let my body be free and feel the air on me as I ski down the mountain. It is my church.

Let’s dance.

Anthony starts gyrating his whole body while shaking his booty wildly and writhes like he’s having spasms. Jason shakes his head at his idiot friend who is freezing to death, and Dixie doesn’t know what to think. She reluctantly starts gyrating with him.

[Janeen Johnson]

Janeen’s Contrast Scene

What I learned doing this assignment is that the contrast creates some cognitive dissonance that highlights the extreme difference between the dialogue and action.

Contrast — dialogue of violence, revenge, empowerment while action is creating soft, cuddly baby items for charity.

SCENE

INT. FIBER GUILD MEETING – TWO WEEKS LATER

The ladies of the guild are working on charity baby items tonight — sweaters, hats, blankets, loveys, etc.

BRIDGET enters last. MORGAN, RHONDA, and EMILY are already at work.

BRIDGET

Sorry I’m late. I had to celebrate with one of my residents.

Morgan stops working, eager.

MORGAN

Anyone I know?

BRIDGET

As a matter of fact, yes. Remember Janna Gilbert?

MORGAN

Hasn’t worked in years, needs a job to start her new life.

BRIDGET

Exactly. She got a job at her old financial planning firm even though it had been four years. It’s a trainee position, but they said if she gets caught up on her certifications, they’ll give her the next opening they have as a planner.

EMILY

What are you working on tonight, Bridget?

BRIDGET

A preemie cap. I’ve made six so far for St. Luke’s.

EMILY

Beautiful lace work. So delicate.

Everyone oo’s and ah’s about a couple of hats she passes around.

MORGAN

Give me another name. I’ll see what I can do.

BRIDGET

I made you a list of a couple. I don’t know what you’re doing, but keep it up. I don’t believe in that mumbo jumbo myself, but in the off chance it works, go for it.

She hands Morgan a list with a couple of names and situations on it. Morgan slips it in her purse.

Cinda arrives, pulls a half done baby blanket out of her bag and gets to work.

CINDA

I’ve got news about one of your former clients, Bridget.

Morgan is pleased, eager.

MORGAN

Janna Gilbert? We were just talking about her.

CINDA

No, remember Sarah Topper?

All nod.

MORGAN

That’s one of the names Bridget gave me a few weeks ago. She needed the strength and courage to leave her husband.

CINDA

She left him alright. For jail. She popped him in the nose with a can of carrots. Darndest thing. He bled like a stuck pig.

Morgan blushes, guilty.

Bridget and Emily look at her.

EMILY

What did you do? You didn’t pull suggest she do violence, did you?

MORGAN

No, no, of course not. I used the Waterman Method to give her courage and strength. That’s what Bridget told me she needed.

She puts her head down, knitting furiously on a newborn lovey.

BRIDGET

I don’t know if what you’re doing works, but be careful with it. That’s not the kind of strength and courage I was asking you to find for her.

Rhonda and Emily exchange smirks, Bridget furiously jerks her hat around on the needles, Cinda rolls her eyes and does a low whistle. Morgan keeps her head down and her needles clacking.

[Armand Petrikowski]

What I learned…

CONTRASTING DIALOGUE.

The simplest form of the technique is this:

The character’s words give one message, action/environment gives another.

The strategy is simple:

A. Put two things together that contrast each other.

OR

B. Simply oppose words and actions/visuals in some way.

ASSIGNMENT

TYLER

Cocky

Funny

Scared

Romantic

LEX

Brave

Sarcastic

Acts Superior

Lonely

INT. HALLWAY – NIGHT

Lex, terrified but mostly intrigued, interrogates Tyler through her EVP app. She advances as Tyler floats in front of her.

LEX

What’s your name, spirit?

Tyler floats in circles around Lex, she’s unaware.

TYLER

I’m Tyler.

(Re: EVP)

How are you communicating with me?

LEX

It’s an electronic entity phenomena app I created. EEP.

Lex glances around. She can hear Tyler, but can’t see him.

LEX

Proof you are a ghost.

Tyler moves a frame on the wall.

LEX

Do it again!

Tyler does. Lex presses a button on her app. A light comes up, sucking Tyler’s soul inside.

TYLER

What are you doing?

LEX

I’m a ghost hunter. Best way to proof you’re real is to show the world.

Tyler appears on Lex’s screen. He bangs on the screen as he shouts at her like a FaceTime call.

TYLER

Let me out.

LEX

Now, now. Be a good ghost and tell me what happened to you.

[Emmanuel Sullivan]

Emmanuel’s Contrast Scene

What I learned doing this assignment is contrasting dialogue is a fantastic technique to keep readers engaged. It forces you to continue reading to understand why there are two conflicting types of dialogue.