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Day 6 Assignments
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12 Replies
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Amy’s Dialogue Cover-ups
What I learned doing this assignment is dialogue is more interesting with a cover-up.
Note: Andrea is a news reporter and Josh is a detective.
Scene:
EXT. – BASEBALL FIELD – DAY
Benjamin’s team is out in the field. Benjamin is on first base. Josh and Chloe watch from the stands. Meagan is sitting next to Josh on one side and Karen on the other.
Andrea appears and she’s on the warpath.
ANDREA
Meagan!
Meagan jumps.
MEAGAN
Ahh! You scared me!
ANDREA
I know what you did.
Meagan looks over at Josh, then back at Andrea, nervous.
MEAGAN
You don’t know anything.
ANDREA
Professor Smitty told you time travel was possible when the supercollider it turned on. You are the one that insisted that I stand really close to it to…
Andrea makes quotations marks with her fingers.
ANDREA
… for dramatic effect. It’s your fault that I went missing and missed a year of my life, my family’s life. IT’S ALL YOUR FAULT!
METHODS OF COVER-UP:
Silence: Meagan doesn’t speak but stares daggers at Andrea.
Action incongruent with words: Meagan-“You’re brilliant. How did you ever figure that out.” She rolls her eyes.
Change subject: Meagan-“You’re late. Again. Is it your intention to constantly disappoint your children, or do you just not know how to tell time?”
Attack back: Meagan-“So your new career is snooping on innocent people?”
Complement them: Meagan-“You’re one smart cookie, Andrea. Are you an investigative reporter? However, I think you got this one wrong. ”
Threaten them: Meagan-“If you don’t get away from me right now, I’m going to have Josh arrest you.”
Confirm something they already believe whether it’s true or not: “You got me, but what are you going to do about it? I don’t think there are any laws about sending people back in time.”
Misdirection: Meagan: -“You’re a terrible mother! Your children deserve better.”
Inappropriate reaction to an emotional event: Meagan starts sobbing. “I just wanted my own family. Ever since my husband died in 2018, I have been so lonely.”
Distraction: Meagan-“Oh, look! Benjamin is up to bat!”
Make a joke of it: Meagan-“Great job Sherlock Holmes. I’m sure Josh is proud of your awesome detective work. Meagan starts laughing hysterically.
Continue the conversation as if nothing happened: Meagan-“Benjamin hit a home run earlier. You missed it. What a shame. “
Pick the best response: Make a joke of it: Meagan-“Great job Sherlock Holmes. I’m sure Josh is proud of your awesome detective work. Meagan starts laughing hysterically.
Scene with chosen response:
EXT. – BASEBALL FIELD – DAY
Benjamin’s team is out in the field. Benjamin is on first base. Josh and Chloe watch from the stands. Meagan is sitting next to Josh on one side and Karen on the other.
Andrea appears and she’s on the warpath.
ANDREA
Meagan!
Meagan jumps.
MEAGAN
Ahh! You scared me!
ANDREA
I know what you did.
Meagan looks over at Josh, then back at Andrea, nervous.
MEAGAN
You don’t know anything.
ANDREA
Professor Smitty told you time travel was possible when the supercollider it turned on. You are the one that insisted that I stand really close to it to…
Andrea makes quotations marks with her fingers.
ANDREA
… for dramatic effect. It’s your fault that I went missing and missed a year of my life, my family’s life. IT’S ALL YOUR FAULT!
MEAGAN
Great job, Sherlock Holmes. I’m sure Josh is proud of your awesome detective work.
Meagan starts laughing hysterically.
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Budinscak Dialogue Cover-ups
Day 6
What I learned doing this assignment:
o Today’s lesson – dialog covers the real meaning in subtext.
o The number of internal experiences of subtext provides various outlets and numerous opportunities to work them into our stories.
Scene:
INT. HOTEL ROOM – NIGHT
Jack watches TV as he relaxes on the bed – he can easily fall asleep. Knock knock on the front door.
MAN (OS)
Room service.
Jack glances to the door – room service? He rolls out of bed and slides up to the door peephole – an eyeball stares back.
JACK
I didn’t order room service.
MAN (OS)
Compliments of the hotel, sir.
JACK
I’m okay, thanks.
MAN (OS)
Sir, open the door.
JACK
Nope.
Jack backs away and the door flies open. Two middle-aged men draped in cheap hats and tacky tourist garb – the FBI team of LOU and FRED – charge in.
LOU
FBI, don’t move.
JACK
You ain’t the FBI, are you? Look at you guys.
LOU
You heard me the first time, FBI. Now move.
JACK
Which is it, move or don’t move?
LOU
Oh, Jack. We’re gonna become close friends for a few days.
JACK
I doubt that.
FRED
Never doubt the FBI.
Jack casts a shocked look at Fred.
JACK
It speaks.
Fred takes a step toward Jack, but Lou’s well-placed hand stops him mid-step. Jack’s as cool as ice – even his hair doesn’t move.
LOU
Enough of your bullshit, Jack. You’re going to do what we say. You work for us now.
Lou and Fred settle into their well practiced routine – douchebag agent and bigger douchebag agent.
LOU
I know you’re the delivery guy for Don Vito. I’m going to have Fred give your car a detailed search, like an automobile enema. He’ll find anything you’re trying to hide.
FRED
I’m going to sift ant shit out of sand.
JACK
Good for you, meeting your career aspirations and all. And clean the ashtrays while you’re at it.
LOU
You ain’t that tough, Jack. You’re going to have to answer to this – what’s in the package you’re delivering?
JACK
Misdirection:
You geniuses realize I’m the decoy, don’t you?
Methods of Cover-up:
Silence:
Jack never answers and focuses on a spot on the back wall.
Action incongruent with words:
Jack’s hands move like he’s making a movie, “Here’s my eight millimeter flick called ‘Lou, Fred and the K9 Unit’.” Jack let’s out a low wolf whistle.
Change Subject:
Did you two know I won two awards for my mother’s baked ziti recipe?
Attack back:
Why don’t you tell me what Fred’s supposed to find in my Caddy?
Compliment them:
May I compliment you on your sartorial splendor and your advisory role at the house of polyester.
Threaten them:
At some point, you’re going to be on this side of the table, then it’s my turn for a little fun. I’m gonna fuck you up.
Confirm something they already believe whether it’s true or not:
Just so we all know, you’re not going to find the missing government witness hiding in my Cadillac.
Misdirection:
You geniuses realize I’m the decoy, don’t you?
Inappropriate reaction to an emotional event.
Exactly when the first tear drips from his chin, Jack breaks into hysterical laughter.
Distraction:
Did you guys hear that? Is the CIA at the door?
Make a joke of it:
You know what the missing government witness said? How much did you make on me?
Continue the conversation as if nothing happened:
Fred, after you sift the ant shit and clean the ashtrays; would you shampoo the carpets? And I’m gonna need a little elbow grease from you when you buff the leather … all the leather.
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Armand Dialogue Cover-ups
What I learned…
Dialogue usually serves two purposes with subtext — either to cover the subtext or to point to the subtext. Both are valuable.
METHODS OF COVER-UP:
– Silence: Person doesn’t answer when they should.
– Action incongruent with words.
– Change subject.
– Attack back.
– Complement them.
– Threaten them.
– Confirm something they already believe whether it’s true or not.
– Misdirection: Do or say something that sends their mind in a
different direction.
– Inappropriate reaction to an emotional event.
– Distraction.
– Make a joke of it.
– Continue the conversation as if nothing happened.
ASSIGNMENT:
INT. MANOR – NIGHT
Charles reveals himself as the killer to Tyler, his half-brother.
TYLER
Charles?
METHODS OF COVER-UP:
– Silence: Person doesn’t answer when they should.
Charles marches towards Tyler, axe in hand.
Action incongruent with words.
Charles locks eyes with the ghost of his brother. He screams and runs away.
– Change subject.
CHARLES
I remember the day Father brought you home as a baby.
Attack back.
CHARLES
Only an idiot would turn into a ghost instead of moving on. You’ve always been a little slow, bro.
– Complement them.
CHARLES
You look good for a dead guy.
Threaten them
CHARLES
I’m going to exorcise the fuck out of you.
Confirm something they already believe whether it’s true or not.
CHARLES
I knew I could sense your presence. We’ve always shared a special brotherly bond.
TYLER
Half-brotherly.
Misdirection: Do or say something that sends their mind in a different direction.
CHARLES
Maddie didn’t make it this time, I’m afraid.
Inappropriate reaction to an emotional event.
CHARLES
(finds blood on his own clothes)
Ever thought about tasting other person’s blood? Sometimes it falls on your lips, and you just gotta lick it. Not bad.
Distraction.
CHARLES
Where is Maddie hiding?
Make a joke of it.
CHARLES
Ghost you once, shame on you. Ghost you twice, shame on me.
Continue the conversation as if nothing happened.
CHARLES
Bro, long time no see.
BEST:
INT. MANOR – NIGHT
Charles reveals himself as the killer to Tyler, his half-brother.
TYLER
Charles?
Charles can only grin.
CHARLES
I knew I could sense your presence. We’ve always shared a special, brotherly bond.
TYLER
Half-brotherly.
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Jodi’s Dialogue Cover-ups – Day 6
Interesting. With the cover up choices it became clear that you are choosing how long you want your scene to be. An abrupt ending? or take it to more emotional depths? I think the choice would depend on the story itself as a whole.
INT. RESTAURANT – DAY
Sheila and Tom are seated at a table, it is lunchtime. They have recently started dating.
SHEILA: Tom, I need to have a talk with you.
TOM: Something wrong sweetheart?
SHELA: It’s not you, it’s me.
TOM: Uh, that’s the world’s oldest break up line, you’re breaking up with me?
SHEILA: I’m sorry Tom, but I feel it’s time for us to see other people (beat), but we’ll still be friends.
– Silence:
Tom throws down his fork and walks out.
– Action incongruent with words:
“Isn’t this great”, He scoots down in his chair and crosses his arms, shaking his head.
– Change subject:
“So, where do you want to go for dinner tomorrow night?”
– Attack back:
“You ain’t so great yourself sweetie. You just beat me to the punch”.
– Compliment them:
“I’ll never find any one as special as you”.
– Threaten them:
“You leave me and you’ll have hell to pay. I’ll become your worst nightmare.”
– Confirm something they already believe whether it’s true or not:
“You don’t think we belong together?”
– Misdirection: Do or say something that sends their mind in a different direction:
He gets down on his knees, “Will you marry me?” She is embarrassed as onlookers smile and clap.
– Inappropriate reaction to an emotional event:
He laughs hysterically
– Distraction:
“Ooh, there’s our pizza, I’m so hungry, how about you?”.
– Make a joke of it
He chuckles “Years from now our kids will have a good laugh at this”
– Continue the conversation as if nothing happened.
“So, what looks good to you? (beat) I’m really hungry”.
INT. RESTAURANT – DAY
Sheila and Tom are eating lunch. They have recently started dating.
SHEILA: Tom, I need to have a talk with you.
TOM: Something wrong sweetheart?
SHELA: It’s not you, it’s me.
TOM: Uh, that’s the world’s oldest break up line, you’re breaking up with me?
SHEILA: I’m sorry Tom, but I feel it’s time for us to see other people (beat), but we’ll still be friends.
I chose: Silence: Tom throws down his fork and walks out.
This choice is a clear
ending of the scene, but many of the others would have created more directions
to take this scene emotionally.0 -
Rob Bertrand’s Dialogue Cover-Ups
What I learned: I learned the Methods of Coverup and how to use the 12 options to create different options for subtext.
INT. LIVING ROOM – MORNING
The small hours of morning, just before sun up.
On the couch, Annie and Jessica huddle together, under a blanket. Scared out of their minds. Through the window, headlights pull into the driveway.
The girls perk up at the rustle of house keys, outside the door.
As Jack enters, he’s ambushed by his manic daughters. They speak over each other with panicked energy.
JESSICA
Dad!ANNIE
I searched the whole house…JESSICA
It was in my closet. This red ball….ANNIE
Came out of fucking nowhere!JESSICA
Heard footsteps…ANNIE
And the heart on the mirror!Overwhelmed, Jack drops his toolbox by the front door and stares at them with tired eyes.
JACK
Whoa. Whoa. Whoa…slow down. What the hell are you–ANNIE
–Some strange shit is going down in our house, pops!JESSICA
We’re haunted!JACK
Haunted? For fucks’s sake…Girls! I’ve been working all night! Let me go to bed.Jack pushes passed them, but Jessica grabs his arm.
JESSICA
Daddy? Please…JACK
It’s five in the fucking morning…stop with the pranks. I’m in no mood.ANNIE
I tried calling you. You didn’t answer.JACK
I was at work, Annie. I’m busy!Annie shakes her head. He’s lying.
ANNIE
Except I called Doris and she said you left hours ago. Where were you?Jack is called out. His mind scrambles for a way out.
METHODS OF COVER-UP
SILENCE:
He chooses not to answer. With a sigh, Jack stomps up the stairs and quietly shuts his door.
ACTION INCONGRUENT WITH WORDS:
JACK
Look, I wish I could stay up all night and talk ghostbustin’ with you, but I’ve got to go to bed. You should do the same, it’s a school night, for Christ’s sake.Jack makes his way up the stairs and disappears into his room.
CHANGE SUBJECT:
JACK
The better question is, why are you still up? It’s a school night, for Christ’s sake! Go to bed!ATTACK BACK:
JACK
You’re not the parent, Annie. You don’t need to fucking check up on me, alright?COMPLIMENT THEM:
JACK
Okay…okay, it’s a good story, girls. Really. Now, go to bed! It’s a school night, for Christ’s sake!THREATEN THEM:
JACK:
Enough, God Dammit! Enough! I mean it, if you both don’t lay off those horror movies, I’m gonna smash that fuckin’ dvd player! You hear me?JACK
I…uh…had to meet a friend. Now get your butts to bed, it’s a school night, for Christ’s sake!MISDIRECTION:
JACK
Well, Doris doesn’t know that I picked up some side work. And Doris doesn’t need to know, alright? You happy now? Now get to bed! It’s a school night, for Christ’s sake!INAPPROPRIATE REACTION:
Jack starts laughing hysterically and heads up the stairs.
JACK
Go to bed girls!DISTRACTION:
JACK
Hey! Which one of you ran off with my hammer out of my toolbox? Huh? I need that shit for work!MAKE A JOKE OF IT:
JACK
Okay. Fine…ghosts, huh? Well….who ya’ gonna call?He waits for the applause, but Annie and Jessica don’t find it funny.
CONTINUE THE CONVERSATION AS IF NOTHING HAPPENED:
JACK
Okay. So I just worked a twelve-hour day. So, I’m gonna hit the sack. I suggest you do the same.FULL SCENE: USING DISTRACTION
INT. LIVING ROOM – MORNING
The small hours of morning, just before sun up.
On the couch, Annie and Jessica huddle together, under a blanket. Scared out of their minds. Through the window, headlights pull into the driveway.
The girls perk up at the rustle of house keys, outside the door.
As Jack enters, he’s ambushed by his manic daughters. They speak over each other with panicked energy.
JESSICA
Dad!ANNIE
I searched the whole house…JESSICA
It was in my closet. This red ball….ANNIE
Came out of fucking nowhere!JESSICA
Heard footsteps…ANNIE
And the heart on the mirror!Overwhelmed, Jack drops his toolbox by the front door and stares at them with tired eyes.
JACK
Whoa. Whoa. Whoa…slow down. What the hell are you–ANNIE
–Some strange shit is going down in our house, pops!JESSICA
We’re haunted!JACK
Haunted? For fucks’s sake…Girls! I’ve been working all night! Let me go to bed.Jack pushes passed them, but Jessica grabs his arm.
JESSICA
Daddy? Please…JACK
It’s five in the fucking morning…stop with the pranks. I’m in no mood.ANNIE
I tried calling you. You didn’t answer.JACK
I was at work, Annie. I’m busy!Annie shakes her head. He’s lying.
ANNIE
Except I called Doris and she said you left hours ago. Where were you?Jack is called out. His mind scrambles for a way out. Remembers his toolbox.
JACK
Hey! Which one of you ran off with my hammer out of my toolbox? Huh? I need that shit for work!Annie and Jessica look at each other, perplexed.
ANNIE
We…didn’t take your hammer. Are you even listening to us?JACK
Well, it’s missing from my toolbox! If it’s not put back by tomorrow…I’m gonna flip out, okay?Jack pushes through the girls and heads upstairs. Stops at the top.
JACK (CONTINUED)
Oh…and lay off the fuckin’ horror movies, okay? It’s putting weird shit in your heads.He yawns, then disappears into his room.
JESSICA
He didn’t believe us…ANNIE
Maybe he’s right? We’ve been hitting the scary movies pretty hard.JESSICA
But scary movies are just make believe, Annie. This shit was real…CUT TO:
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Janeen’s Cover-ups
What I learned doing this assignment is that generating all these ideas pointed me to the one that would work best while only looking at the list had not done so.
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 that she’s staying away and feels compelled to do something. He asks if it violates the restraining order and she says no.
2. Possible Responses
A. Silence — Gavin says nothing. He sneers slightly, gives a mile huff of disgust and Morgan’s satisfaction in the work she has done is abolished. She sinks back against his chest, deflated. B. Action Incongruent with words. — Gavin: I still don’t think it’s ethical. He kisses her hair and pulls her closer. <div>
C. Change subject — Gavin: Have you found a new designer for your gala dress?
D. Attack back — Gavin: Would you like it if Daniel sabotaged your gala dress without your permission?
E. Complement them — Gavin: You’re the kindest person I know.
F. Threaten them — Gavin: If you do it again without her express opinion, I’ll have to let the police know. if it works as you say, it’s definitely unethical.
G. Confirm something they already believe whether it’s true or not — Gavin: I’m sure it did her some good.
H. Misdirection — Gavin: You’re working so hard on this. I hope you’re working as hard on your dress for the gala.
I. Inappropriate reaction to an emotional event — Gavin: You’re such a good girl. He jiggles her in his arms with a quick series of hugs, a big grin on his face.
J. Distraction — Gavin kisses her passionately.
K. Make a joke of it — Gavin: Well, I guess dinging finger cymbals at him from a distance wouldn’t be considered a crime.
L. Continue the conversation as if nothing happened — Gavin: You might be right there. I wonder how they’re doing.
3. The response I like best gives us more subtext about their relationship. I choose K — Make a joke of it. Her response to that is to leave the room saying she’s tired.
SCENE
INT. MORGAN’S HOME – CONTINUOUS
MORGAN leaves her desk, pours herself a glass of wine and sits on the sofa.
GAVIN, Morgan’s husband, wealthy, cool (not hot or cold), more than ten years older than her, very good looking and a successful writer watches her with lust, satisfaction and amusement as she draws closer to the sofa. He rises, drink in hand, and joins her on the sofa. He puts his arm around her and she kisses him on the neck as she sinks into him.
GAVIN
What have you been busy with all night? Learning to play the finger cymbals?
MORGAN
No, silly. I’ve been doing the Waterman Technique to help Daniel’s wife. He hits her, you know.
GAVIN
You should leave it to the police. In fact, the restraining order says you have to leave it to the police.
Gavin tweaks her hair and she rises to look at him full on.
MORGAN
They’re not going to do anything to help Amber. Besides, with Waterman, I can help her from here.
GAVIN
Did she ask you to do it?
MORGAN
No, of course not and you know it.
GAVIN
I know the restraining order forbids you from contacting her. You’re working your mumbo jumbo on her from a distance? You don’t think that violates the restraining order?
MORGAN
The order prohibits me from talking to her or visiting her, not thinking about her.
GAVIN
Well, I guess clanging finger cymbals in her direction from a distance probably isn’t a crime.
Morgan’s face changes to amusement and then hardens a bit.
MORGAN
I’m going to read for a while in our room.
She picks up her wine and leaves the room. Gavin watches her go with a look between concern, pity and annoyance.
</div>
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Going through this list prolongs the crisis scene and strip teases Betty’s cover-up in a way that gives her the upper hand and makes Jake uncomfortable. Anyone can be bought.
EXT. HUGUENOT ST. – DAY
Betty is swinging blissfully on a hammock strung between two pine trees beside the boat garage. Jake hobbles over, trying to mitigate his PD shakes by pressing down on ski poles but he tips over as he approaches.
BETTY
You used to be so agile.Even Jake’s fury is slower than it used to be,
JAKE
Fuck Parkinson’s.BETTY
Love to, but he died over a hundred years ago.Jake is not in a good mood this time,
JAKE
We need them.
Betty bats her eyes innocently, and amplifies her fake Southern accent,BETTY
What, sugar? My cookies?Jake’s son Anahu walks by carrying a thick history book.
But Jake does the talking,
JAKE
My son Jess has done the research and we know your past. All of it.
Betty swings silently.
JAKE
You were the infamous serial killer/rapist/arsonist.Silence: Betty swings in her hammock, ignoring this outburst.
JAKE
We almost caught you when you assaulted Priceless, but she was too strong for you. If you hadn’t bought her off and funded her dance career, you would have spent your life in prison.– Action incongruent with words: Betty fusses with her hair and dress in a “ladylike” fashion.
BETTY
Do I look like a malicious man? You have no proof.JAKE
We have all the proof.JAKE
Oh yes we do. You were a stalker who sneaked up killing without a sound, a walking match in a sea of gasoline, a rapist who banged from behind after they burnt, and an antiseptic liar who hid your crimes in the icing of immaculate hygiene.
BETTY
My hands are for cooking and cleaning and caretaking.JAKE
Your paws were always weapons.
Jake uses one of his ski poles to tip over the hammock,
JAKE
You can’t row this boat forever. Our evidence will drown you..
Betty falls on the grass gracefully and gets up,
BETTY– Change subject:
BETTY
So, what do you want me to make for dinner tonight?
JAKE
How could you do that to so many innocent women?– Attack back:
You aren’t so innocent yourself, sweetie. You basically raped Fadma.
JAKE
You raped, burned, and killed multiple women. You set tenements on fire. You poisoned seniors. You may have done other things–– Compliment them:
You have such wonderful family members, a great fitness career, despite your PD.
– Threaten them:
You don’t want anyone to hurt your beloved kids do you?
JAKE
You wouldn’t dare.– Confirm something they already believe whether it’s true or not:
STEMGARCHS is more powerful than either of us.
– Misdirection: Do or say something that sends their mind in a different direction:
Maybe I can help you with your PD. The worst thing would be for you to get Levo Dopa dementia.
Jake is silent.
– Inappropriate reaction to an emotional event: Betty chuckles pleasantly.
– Distraction: I loved the Bright Space Brain Buffet, no side effects, and my memory is as good as a college student’s.
– Make a joke of it
Twenty years from now when we are dead, everyone will be Bright Spaced.
BETTY
You have no proof of this..Our brain buffet is for the one percent. I only got it because I work for STEMGARCHS and I was hit hard by that gang. I don’t have the power to–
JAKE
They’re in that lab. I can’t have Delphine risk her life, but you can get them. It’s not just us. The world is desperate for this buffet.
BETTY
Let me see the proof you have.
JAKE
We matched your DNA, all over your hammock and our house, with hats and gloves left in the woods years ago near unsolved murders but we have more than this. We can’t tell you but trust us that you have a choice—get us the drugs and we forget, but not forgive, or keep them to yourself and everyone dies.– Continue the conversation as if nothing happened.
Some things in the past never happened if we want to insure a brighter future.
Jake bites his teeth. He hates to be in a position where he doesn’t have the last word.
He doesn’t eat dinner at home that night.
[If it were just Jake, Betty might use his ski pole to finish him off, but his strong son is standing by. (This is the crisis.)0 -
Michelle Damis Dialogue Cover-Ups
What I learned doing this assignment is that a task like this can be fun and open up creativity. One must not allow themselves to close up because it isn’t perfect, but just throw the noodles at the wall and see what sticks.
– Silence:
Nina just sits there staring at him.
– Action incongruent with words.
Nina: I don’t know what you are talking about? ( as she grabs a fistful of skewers, pretending to straighten them)
– Change subject.
Nina: Oh, Hey Can you take something back to my Dad?
– Attack back.
Nina: Why do you always have to know everything!?
– Complement them.
Nina: You know I’ve been meaning to tell you that my parents really appreciate your company.
-Threaten them
Nina: How dare you come into my apartment under false pretenses!
– Confirm something they already believe whether it’s true or not.
Nina: Of course, I know. I know that you know that I know. And?
– Misdirection:
Nina: Of course, I know about Dad’s surprise party!
– Inappropriate reaction to an emotional event.
Nina: Great, Let’s get drunk then.
– Distraction.
Nina: Do you smell smoke? (looking around wildly) I smell smoke! I have a nose for these things!
– Make a joke of it.
Nina: Next you’ll be asking me who’s on First.
– Continue the conversation as if nothing happened.
Nina: BTW the toilet handle is broken make sure you jiggle it a bit.
NINA furiously hides the books and papers in the kitchen drawers. Takes a second look at a scarf on the coat rack and wraps it around her neck. Checking the mirror, she looks ridiculous and adjusts it as best she can. Opening the door she lets him in.
TED-Thanks
His eyes catch everything as he walks in, the garlic, the skewers, the scarf…he is amused.
NINA- You are welcome…But only this ONE time. I mean, you are only welcome this one time…
Her nerves showing.
NINA-You can set the box down over there and the bathroom is down the hall, first door on the right.
Ted sets the box down and heads towards the kitchen island. He leans over and takes a big whiff of garlic. Nina’s brow furrows, that wasn’t what she expected.
NINA- Don’t you have to use the bathroom?
Her voice cracks a little.
TED- I lied. Why don’t you take a seat? Let’s slice to the chase.
Nina can’t help herself.
NINA- It’s CUT to the chase.
Her voice drifts off uncertainly as she sits down on the couch.
Ted- Whatever…I know you know.
Nina- Of course, I know! I know, that you know that I know. Your point?
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DAY 6 BOB SMITHS DIALOGUE COVER-UP
What I learned doing this assignment is…?
I have learned the manymethods of dialogue cover-up.
INT. STUDIO SET OF “THE BLUE ANGEL” – DAY
Once again, Director Sternberg and star, Emil Jannings are having an argument in which Jannings complains that Sternberg is spending too much time mentoring Marlene Dietrich whom he believes is upstaging his star-status while neglecting the creative partnership of director and star that Jannings wants with Sternberg.
STERNBERG
Emil, what you are doing is poisoning the
creative atmosphere of the studio. You did t
he same thing during production
of “The Last Command.”
JANNINGS
Then why did William Powell change his
contract to say that Paramount would never
require him to work with you.
STERNBERG
Paul Henreid will never forgive you for
leaving him in a closed coffin when you
went off for lunch at the Commissary.
JANNINGS
With the way you treat actors, you are still
the most despised director in Hollywood.
POSSIBLE METHODS OF COVER-UP:
Silence: Sternberg says nothing in response. Jannings says nothing further.
Action incongruent with words:
Sternberg: Look this argument is no-win. Let’s go out to the Beer Garden and enjoy ourselves.
Jannings: agrees or says the same line and Sternberg agrees.
Change subject:
Jannings: When do you think our film will be released.
Sternberg: With the problems you cause, I don’t know when or if
it will be finished.
Attack back:
Sternberg: I squeeze the best performances out of my actors.
Jannings: Actors do not need to be squeezed.
Complement them:
Sternberg: In spite of yourself, you are a great actor.
Jannings: And you, a great director, interacting with you is what I
miss. That’s all I am saying.
Threaten them:
Jannings: Look! I am through with this production. I’m walking
away NOW!
Sternberg: You are under contract, Emil. You always like to cry
wolf.
Confirm something they already believe whether it’s true or not:
Sternberg: We both have our impossible side, Emil. But we have
too much going for us to let the past or any complaint
come between us.
Misdirection:
Sternberg: If you think I’m a tyrannical director, ask Leni
Riefenstahl about the hell of working with Pabst on “The White Hell of Pitz Palu.”
The best response:
Sternberg: We both have our impossible side, Emil. But we
have too much going for us to let the past or any
complaint come between us.
The new scene with the chosen response added:
INT. STUDIO SET OF “THE BLUE ANGEL” – DAY
Once again, Director Sternberg and star, Emil Jannings are having an argument in which Jannings complains that Sternberg is spending too much time mentoring Marlene Dietrich whom he believes is upstaging his star-status while neglecting the creative partnership of director and star that Jannings wants with Sternberg.
STERNBERG
Emil, what you are doing is poisoning the
creative atmosphere of the studio. You did t
he same thing during production
of “The Last Command.”
JANNINGS
Then why did William Powell change his
contract to say that Paramount would never
require him to work with you.
STERNBERG
Paul Henreid will never forgive you for
leaving him in a closed coffin when you
went off for lunch at the Commissary.
JANNINGS
With the way you treat actors, you are still
the most despised director in Hollywood.
STERNBERG
We both have our impossible side, Emil.
But we have too much going for us to let
the past or any complaint come between us.
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Pablo’s Dialogue Cover-Ups
What I learned: I used distraction for my cover-up but what’s great about this exercise it that I could have done it several other ways. Irma doesn’t actually lie either. This is a good skill to know to keep things tense between the characters.
EXT. DESERT – NIGHT
Now with full stomachs, they sit around the crank lantern. It’s colder but each of them drape an emergency blanket over themselves like futuristic cloaks. Irma pulls out a deck of cards. She quickly shuffles and deals.
IRMA: Gin Rummi
ANTONIO: It’s the only game we ever play.
ANDRE: It’s the only game I know how to play.
ANTONIO: Yeah, and you aren’t very good at it.
IRMA: Tony, stop.
After shifting their cards around, they get a couple runs in.
ANDRES: Are there casinos in Texas?
IRMA: Gambling is illegal in Texas.
ANDRES: Really? Then why is papa there?
Irma hesitates.
IRMA: It’s your turn, Andres.
Andres trades a card from the deck.
ANTONIO: Is papa looking for work?
Beat.
IRMA: No.
ANDRES: How did he get there? Did he have to cross the desert too?
Beat.
IRMA: No.
Antonio stares at his mother as she changes out a card.
IRMA: Your turn, Tony.
ANTONIO: When did he tell you he was leaving?
IRMA: I told him to leave. It’s your turn.
ANTONIO: Is this about Sapo?
IRMA: Antonio–
ANDRE: Who’s Sapo?
ANTONIO: A man that papa owes money to.
IRMA: Antonio!
ANDRES: Oh, the man from the casino?
ANTONIO: Yeah, he–
IRMA: Antonio!
ANTONIO: What!?
Beat.
(crisply)
IRMA: It’s. Your. Turn.
Antonio slaps his cards down and gets up as he stares daggers at his mother. He walks away, into the dark. Irma gathers herself. Andres looks at his brother’s cards.
ANDRES: Oh he was so close…
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Elizabeth’s Dialogue Cover-ups
What I learned: you can actually use several cover-up methods in the same scene…cool.
A first: Mark has shown up as promised. The subtext is: this time his absences haven’t been due to flakiness, he has end-stage cancer and doesn’t want to tell anyone until the wedding is over. This is part of a scene sequence during a co-ed shower. Here’s: silence, action incongruent with words/inappropriate reaction to an emotional event, confirms something untrue that Mark believes…
INT. CHILDREN’S THEATER – LOBBY – EVENING
Beads of sweat on his face, Mark pushes a sleeve up. Reveals a bruise and needle marks.
MIKE
Dude!
Mark pulls his sleeve back down. Says nothing.
MIKE
That’s the hard shit.
Mark shifts. Squints.
MARK
Yeah. I—
(Wipes his upper lip)
Quit.
Mike grins. Maybe today. Holds up his beer up to cheer—
MIKE
Best days ahead!
But as Mark blinks. Blinks some more—
MIKE
Hey man, I didn’t mean—
Mike reaches for another, dusty sobriety slogan—
MIKE
A smooth sailor is—
But it’s been awhile—
MIKE
Perfection is progress!
That can’t be right. Mike takes a swig for inspiration—
MARK
Backward steps are steps.
Mark’s eyes are red. As he pulls out a tissue—
MIKE
Dude! It’s your first day! I mean, I haven’t even quit yet, this time.
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Emmanuel’s Dialogue Cover-ups
What I learned doing this assignment is subtext in dialogue can be tricky, but fun, if you chose the right word or phrase, it’s a powerful tool to use.
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