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Day 8 Assignments
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9 Replies
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Amy’s Multiple Meanings
What I learned doing this assignment is having a scene like this in your story makes it more of a page-turner. I didn’t have a scene for this in my outline, so I made up one.
Setup: This is the scene just after Chloe’s play that Andrea missed where she and Josh had words because she missed yet another one of the kids’ events. Chloe is also upset with Andrea.
Character Motivations:
*Josh wants Andrea to put her career second to him and the kids.
*Andrea desperately wants to get her old job back as anchor of the noon news
*Meagan wants Andrea to get her old job back because Andrea reluctantly agreed to let Meagan come back as a nanny to the kids if she got the anchor position. Andrea getting the position means she is fully back into Andrea’s family’s life.
Scene:
INT. – ICE CREAM STORE – NIGHT
Josh, Andrea, Chloe and Benjamin sit at a small café table. Things are awkward. No one speaks.
Meagan IS HEARD from a distance CLEARING HER THROAT. Everyone looks up at her.
ANDREA
(to Meagan)
What are you doing here?
MEAGAN
Josh invited me.
Andrea cuts her eyes at Josh.
MEAGAN
We’re celebrating Chloe tonight, right? Hey, great job tonight, Chlo!
Chloe barely looks up.
CHLOE
Thanks.
Andrea’s PHONE RINGS.
She pulls it out of her purse, looks at it.
ANDREA
I should take this.
She puts the phone to her ear.
ANDREA
Tom. Hi… Oh really!… That’s great news! Thank you!… Bye!
She puts the phone back in her purse.
ANDREA
Guess what? I’m the anchor of the noon news again!
Josh puts his head in his hands.
Chloe looks like she’s about to cry.
Benjamin rolls his head back, exasperated.
Meagan smiles a sinister grin.
MEAGAN
Congratulations! Well, kids, it looks like we’re going to be spending a lot of time together again.
Benjamin and Chloe both roll their eyes.
ANDREA
That’s not necessary.
Josh glares at Andrea.
JOSH
That was the agreement, Andrea.
Andrea is taken aback at Josh’s stern tone.
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Budinscak Meanings
Day 8
What I learned doing this assignment:
o Interesting perspective to add to scenes. A nice release after a scene builds and segue to a fresh start.
o From subtext adding to a deeper meaning to multiple meanings for multiple characters.
Setup:
It’s the beginning of Act 2. Jack, Sal and Puck have just left the picnic grounds in Terre Haute and said their goodbyes to LC and his men. They’re on their trek westward. A comment LC made to the nephews sparks conversation and the question, what’s family?
Characters:
Jack – Defines family as more than blood relatives, it’s a way of life, a journey with like-minded friends.
Puck – Sees family as blood relatives only. Friends are friends, but family is family.
Sal – who cares? You can’t pick your family, you’re stuck with them.
EXT. HIGHWAY – DAY
Jack’s Cadillac glides down the road easing past slower traffic.
INT. CADILLAC – DAY
Jack watches his nephews via the rearview mirror. Sal looks at everything while Puck drifts off – he ponders a question.
JACK
You boys have fun?
SAL
The go-carts were a blast.
PUCK
Yeah. I like LC. Goober and Rico, too.
SAL
We took them for ten bucks each. Puck was magnificent.
Puck bows in the back seat as Sal and Jack clap.
PUCK
Uncle Jack, what did LC mean when he said your family is his family? Is he our uncle?
JACK
No, not literally, just figuratively.
SAL
Whose side of the family is he from?
JACK
Don’t be a wiseass, Sal. There’s a fine line between cool and fool. Know the difference.
PUCK
Family is our aunts and uncles, brothers and sisters, second cousins… it’s blood relatives, right?
SAL
It doesn’t make any difference, Puck, you can’t pick your family. You’re stuck with them.
JACK
Au contraire, my little doomsday boy, you can pick your family.
You know that douchebag, Uncle Bob?
The boys nod warily. They had their run-ins with Uncle Bob.
JACK
He’s a cousin, he’s blood so he’s family; but I never see him and I don’t know him. I know LC. He ain’t blood, but he’s family. LC’s more family than Uncle Douche. Know why?
Jack sees two confused faces looking back at him in the rear view mirror.
JACK
Family. They believe in you. They believe you. They believe. That’s family. And they do it unconditionally.
SAL
What’s that?
PUCK
They do it even when they don’t have to.
JACK.
That’s LC. I trust that guy with my life, and I only do that with family. Got it?
PUCK
Yeah, I think so.
JACK
Now check this out. Carmine’s is special. It’s who we are, it’s family.
SAL
Now a restaurant is family?
JACK
It’s a way of life. Family are those that think alike, stick their necks out for each other.
PUCK
Like friends?
JACK
Yeah, friends can be family. And relatives can be just friends – or worse.
PUCK
Is LC our uncle?
JACK
Are we going there again?
PUCK
I’m utterly confused.
JACK
Utterly? Give me a name.
SAL
Betty?
JACK
My sister? C’mon. Even you’re smarter than that, Sal. Family.
PUCK
Alright, Chick?
JACK
Family.
SAL
Chick’s family? How about Louie?
JACK
The barber or card dealer?
SAL
Card dealer.
JACK
Friend.
SAL
And the old barber who eats for free?
JACK
Family helps each other. He helped your grandfather when he got started. He’s family.
PUCK
Aunt Jerry?
JACK
My sister? Familia!
PUCK
Uncle Bob?
JACK
Douchebag.
PUCK
Got it.
SAL
What’s the difference between a douchebag and an asshole?
JACK
We’ll come back to that later. Let’s make sure we can all agree on one thing. Ready?
Puck and Sal got their heads tilted in question.
JACK
Uncle Bob?
PUCK AND SAL
Douchebag?
JACK
Uncle Bob?
PUCK AND SAL
Douchebag.
JACK
Louder! Uncle Bob!
PUCK AND SAL
Douchebag!
Jack’s infectious giggle carries over to the boys. Jack lays on the horn – beep!
EXT. HIGHWAY – DAY
Beeping like crazy, the Cadillac flies past traffic like everyone else is in second gear.
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Rob Bertrand’s Meanings
What I learned: I learned the Structure of Multiple Meanings
Setup: This scene takes place directly after the climax, where Danny attacked Jack, severing his left hand. Jack has survived his encounter with Danny and is recuperating in a hospital bed. With Annie by his side, they learn from a Police Detective that Danny has been living in their walls for months.
INT. JACK’S HOSPITAL ROOM – DAY
Annie sits by Jack’s bedside, holding his uninjured hand.
A burley DETECTIVE, late 40s, skims through his notes. His permanent frown hidden by a bushy mustache. He hates this part of the job.
DETECTIVE
We caught him…inside the house.A mountain of tension releases from Annie’s shoulders.
DETECTIVE (CONTINUED)
There’s no easy way to say this… It appears…it appears that he had been…living inside your walls…Jack bolts upright. Pain shooting through his body. Annie squeezes Jacks hand, tighter.
JACK
What?!DETECTIVE
We found him…in a crawl space that runs up the center of your house, Jack.JACK
I…think…there used to be a chimney…INT. BASEMENT – DAY
The freezer has been pulled away from the wall, revealing a small access hole.
DETECTIVE (O.S.)
He was pretty crafty.A uniformed Police Officer leans into the hole.
INT. WALL – BASEMENT – DAY
The office shines a flashlight up the wall framing and sees a crudely built ladder
INT. WALL – DAY – FLASHBACK
Danny hammers a nail into a two by four block of wood. His ladder is taking shape.
DETECTIVE (O.S.)
He built himself ladders and a series of perches, up through the wall.INT. JACKS’S HOSPITAL ROOM – DAY
Jack squeezes his eyes shut with dawning recognition.
JACK
(to himself)
My missing tools…DETECTIVE
No sign of forced entry. We think he got in through an open window.INT. ANNIE’S ROOM – DAY – FLASHBACK
Annie enters her room and finds the window open. She closes it without thinking.
INT. KITCHEN – DAY – FLASHBACK
Danny swipes the money from the refrigerator, then opens it and cracks a beer.
DETECTIVE (O.S.)
Then made himself right at home.INT. ANNIE’S CLOSET – DAY – FLASHBACK
DANNY’S POV:
Hands remove a precut portion of sheetrock, revealing the interior of Annie’s closet. Dipping through the whole, Danny approaches the closet door and carefully opens it.
We see, Annie casually disrobing.
DETECTIVE (O.S.)
He had access holes cut into every closet in the house.Annie feels something watching her and covers herself. Danny backs away from the door crack.
INT. WALL – NIGHT – FLASHBACK
Close on Danny’s eye, looking through a peephole.
DANNY’S POV
Annie sleeps soundly on the other side of the wall.
DETECTIVE (O.S.)
Not to mention all the peepholes. He had eyes on every room of the house.END DANNY’S POV
Danny leaves his perch by Annie’s room and climbs to a different peephole.
DANNY’S POV
Through the peephole, we see Jessica. She hears something and bolts upright in bed.
END DANNY’S POV
A smile creeps across Danny’s face.
INT. JACK’S HOSPITAL ROOM – DAY
Annie’s face, pure revulsion.
Fire burns under Jack’s skin. That kid is dead.
JACK
I’m gonna kill him!ANNIE
You’re telling me, he…he watched me? He…spied…JACK
(angry)
So…it wasn’t a ghost, after all? Just a god damn psycho living in our fucking walls!?INT. WALL – BASEMENT – NIGHT – FLASHBACK
Danny watches the séance through a peephole. He’s having a blast.
ARMANDO (O.S.)
Mrs. Andrews, if that is you, give us a sign of your presence.From upstairs, a door SLAMS, followed by the sound of footsteps walking across the house.
Danny looks up towards the sound, climbs the ladder and squeezes through the wall towards the living room peephole.
DANNY’S POV
Through the hole, we see Jack. Home early.
INT. JACK’S HOSPITAL ROOM – DAY
Annie’s face is a tornado of confusion.
ANNIE
All of the noises. The banging sounds. The missing items…all of it, was Danny?INT. HALLWAY – NIGHT – FLASHBACK
Annie and Jessica flee as family picture frames fly off the wall.
INT. WALL – NIGHT – FLASHBACK
Danny slams nails embedded in the sheet rock with a brick.
INT. JACK’S HOSPITAL ROOM – DAY
The Detective nods.
INT. WALL – BASEMENT – DAY
Investigators begin logging evidence.
Photo flash on food wrappers.
Photo flash on bottles filled with urine
DETECTIVE
Judging by the food wrappers and bottles filled with urine and…other things…A photo flashes on a bottle of hand lotion and a pile of tissues.
INT. JACK’S HOSPITAL ROOM – DAY
The Detective checks his watch. He’s late for an interview.
DETECTIVE
All evidence suggests he’d been living in your house for months.JACK
That son of a bitch! That sick fuck!Jack turns to Annie.
JACK (CONTINUED)
I’m so sorry, Annie. I’m so sorry! I should’a believed you. I should’a…ANNIE
I…I don’t understand. Why? Why do this?The detective checks his notes.
DETECTIVE
This kid…he’s uh…well? He’s been through some shit. Abuse, both physically and sexually. Long rap sheet of burglaries. At some point he discovered he liked playing games with his victims. Breaking in. Moving stuff around…this is just an escalation.JACK
An escalation!? That kid is homicidal.DETECTIVE
Don’t worry. Once he’s outta here–ANNIE
–He’s fucking here!?DETECTIVE
You did drive a hatchet into his shoulder…Listen, he’s under guard. He can’t hurt you anymore. I’ll be in touch, soon…Annie watches the Detective leave. Ideas forming in her mind.
JACK
That kid is dead. When I get my hands on him…ANNIE
I feel bad for him…JACK
Bad! You feel bad?ANNIE
I don’t know…maybe I… maybe I led him on in some way?JACK
No. Don’t do that. Don’t take the blame for him.Annie looks down at her hands. Shaking in her lap. It’s now or never.
ANNIE
Pops, I…need to tell you something. I’ve been meaning to tell you…JACK
You can tell me anything.ANNIE
I don’t like boys.Pain shoots through Jack’s body, as he stifles a laugh.
JACK
After Danny, I don’t blame you.ANNIE
No. I mean…like ever. I’ve never liked boys.She lets it sink in, as dawning realization blooms across Jack’s face.
ANNIE (CONTINUED)
I’m gay, pops.Jack’s smile fades as tears fill his eyes.
JACK
I love you, kid. I’ve always loved you. No matter who you love, nothing is ever going to change that, okay? You are my daughter. The light of my life and I love you. More than anything…Annie tears up.
ANNIE
Love is love.JACK
I think a part of me has always known. Wow…look at us? Having a conversation and not screaming at each other.ANNIE
Don’t push it…CUT TO:
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Jodi’s Multiple Meanings – Day 8
By learning how to use multiple meanings it helps increase the scenes emotional levels. Seeing different perspectives keeps viewers engaged on each individual’s dilemma, state, thoughts and inner feelings. It creates more dimensions to a scene.
SITUATION:
Cassidy and Simon will be leaving for a much needed two-day getaway. They haven’t had any time alone since Cassidy’s 90 year-old Grandmother, Mabel, came to live with them four years ago. Their 13 year-old Daughter, Celeste, is precocious and has started puberty. To feel more assured and at peace with leaving both Mabel and Celeste behind, Cassidy and Simon arrange for Celeste’s longtime sitter, Barbara, to come stay at the house while they’re gone.
CHARACTERS:
Cassidy and Simon (both early 40’s) need to get away together to enjoy some time alone as a couple. They are concerned that if there was an emergency, Cassidy’s Grandmother, who lives with them, would not be strong enough physically or quick enough mentally to thwart it. They know Celeste is not mature enough to face or to be able to handle an emergency if one arose. They are also concerned that she is not mature enough to make solid responsible decisions yet.
Mabel (90) is happy the two are going on a short retreat, this will give her time alone with Celeste and they can have the house to themselves for a moment. Ah, the nagging of putting everything in its place will be a thing of the past for two days. The stringent regimen of exercise Cassidy makes her do will be put on hold, yay. The dry chicken and the healthy meals can go bye-bye for two days, and instead they will eat junk food to their hearts content.
Celeste (13) is excited that her parents are leaving for a couple of days. This will give her time by herself, videos games marathon with friends sleeping over, pizza delivery, boys, oh the joy!
Barbara (17) is relieved she’ll be making much needed extra Christmas money for gifts. Her part time job is just not cutting it and this two-day gig will really bring in some cash. The icing on the cake is the Grandma will be in her room and Celeste won’t care if she brings her boyfriend along to stay with her. She hopes the two days of playing house by pretending the place is theirs, will help him see that they need to move in together.
The different motivations and/or perspectives:
– Cassidy and Simon want a vacation alone– Celeste wants to party
– Mabel wants time alone with Celeste and no household constraints
– Barbara wants to play house with her boyfriend and earn extra money
How they oppose each other in some way:
– Cassidy and Simon will not let Celeste and Mabel stay home alone for the two days.– Celeste wants the place to herself (without Mabel needing attention), for fun with her friends and videos games.
– Mabel doesn’t want Celeste to have friends over, she wants to spend time alone with her great granddaughter.
– Barbara wants to be able to feel that the house is hers and her boyfriend’s, having other people around will be a thorn in her side.
Evoked individual meanings for each character based on their motivation and/or perspective:
– The news from Cassidy and Simon that Barbara will be joining Mabel and Celeste for the weekend are experienced in this way:– Mabel is very hurt. She no longer feels trusted to be competent or capable, she feels irrelevant.
– Celeste feels resentful that she’s being treated like a child, and rebels against her parents decision.
– Barbara is excited and happy to play house with her boyfriend and make good money for a two-day job, until….
– The Parents feel assured and relieved that their young Daughter and their Grandmother will have someone around in case something happens.
INT. HOME – DINING ROOM – EVENING
Cassidy, Simon, Celeste and Mabel are eating at the dinner table, Barbara, the neighbor is eating too.
CASSIDY: Okay, so, we’re all set to go, we’ll be leaving early in the morning and Barbara will be here starting at 10 am.
BARBARA: Yes, Ma’am.
MABEL: What is Barbara starting?
CASSIDY: She’ll be staying here with you and Celeste while we’re gone.
Both Mabel and Celeste’s forks make a loud clank as they both drop them on their china plates. Cassidy looks surprised.
CASSIDY: I’m sorry, you two have something to say?
Celeste and Mabel are so out of sorts they talk over each other.
CELESTE: A babysitter!? I’m no baby!
MABEL: A babysitter!? She’s a child!
CELESTE: She’s almost my age!
MABEL: I was a decorated Engineer when you were kicking slats out of your baby crib! Now you think ‘I’ need a BABYSITTER! I am so insulted!
Mabel stands to leave the table, she falters on her feet as Simon quickly comes to her aide, Mabel regains herself.
CASSIDY: That right there is the only reason we feel it best to have someone around, in case one of you get into a pickle.
Mabel is still clearly upset.
MABEL: You get to a certain age and your feelings don’t matter anymore.
CELESTE: Can I at least have my friends over?
Mabel says to Celeste.
MABEL: I had plans for you and me kid.
Celeste looks at her Mom.
CASSIDY: No one is to come into the house. No one here but you, GrandNana, and Barbara. We all clear on that? No one.
BARBARA’S POV:
Barbara
feels deflated and her hopes are dashed for her and her boyfriend playing house
together, the closeness she was counting on. Mabel has a look of resignation on her face at first, but then finds a hopeful grin as she squeezes Celeste’s arm gently, looking forward to them spending time together alone. Celeste is angry and resentful, crossing her arms while giving
the evil eye to her Mom and Dad shooting darts at them back and forth, she
throws her dinner roll at the center of the table for dramatic effect and gets
up and storms out. Simon winks at
Cassidy that all will be okay…eventually. -
Valentine’s Day has multiple meanings.
INT. LAB
Betty gets vials that she brings toINT. LA ROCHE MANSION
February 14 2030: Betty bakes healthy cakes and Nikos bake traditional cakes, filled with dark chocolate and strawberry cream, hearts and flowers, that read Eat Me, You are Mine, Love is a Battlefield, The Best is Yet to Cum, and Love is Eternal. Betty injects things discreetly into cakes, not poison, but sticky stuff to change brains. No one suspects anything.DELPHINE
Some foods, like chocolate, are intrinsically sexy. Chocolate is bold and sweet and melts in your hands if you wait too long to enjoy it — creating a sense of immediacy and desire, so it’s naturally associated with sex.Kisele gives her a chocolate kiss. Aaanadi and Anahu hug each other.
Jake boxes playfully.
Jake sings.
JAKE
Love is a Battlefield, as Benatar would belt. I love this You are Mine cake. I admit I don’t want to share my loved ones. Priceless cured me of that. But Litonya is not here, as usual.KIDS
We miss her.JAKE
Yall keep asking me where she is, and I tell you, I don’t know. Love is freedom. Blake said, “He who binds to himself a joy does its winged life destroy; But he who kisses the joy as it flies lives in eternity’s sun rise.” So I am trying to be as eternal as Litonya’s eyes.ORHAN
True love is eternal.JEAN
Love is a social construct once devoid of its biology. But social ties can be the strongest.NIKOS
Like a noose.Jake does exercises against the wall.
JAKEI love to be eaten, my love is possessive, and I can also love the wider world for the common good. I love the symbols and meaning of these cakes, but I can’t eat them. I love sweets, but I have been gaining weight. Did you know that asparagus is an aphrodisiac?
NIKOS
Next time I’ll make asparagus cake with vinegar. It’s good for the blood vessels and whatever clears them up, makes it easier for–
He points to the cake that reads The Best is Yet to Cum!Jean’s voice booms over the loudspeaker.
JEAN
The way to a man’s heart is never through his stomach. It is through his mind.Joan enters.
JEAN
But my wife has lost her mind and me with it.Orhan plays Sufi music on his flute.
NIKOS
Love is transcendence.
BETTY
Food transcends through the digestive tract, a dark, murky labyrinth.
We have healthy cakes: Olive Oil Tangerine Cake with Pomegranate Glaze, Figs with Ricotta Cheese, Drizzled in Honey to make your insides as smooth as your lovemaking.Joan can’t smell but sees all the people and the cakes.
JOAN
Confusing.Jake kisses his mom.
JAKE
I love you, Mom.Love you can be said to almost anyone. It eases communication. But it can be a bullet, a harbinger of bad things to come if the exchange is not mutual and productive.
INT. TUDOR MANSION – DAY
Betty brings new DNA to Ibrahim.BETTY
This DNA will be a field day of research, before and after Valentine’s Day.
Ibrahim is too pleased to reply. -
PS 80 Michelle Damis – Multiple Meanings
What I learned doing this assignment…is that I didn’t really accomplish the assignment but I did get another scene processed that has some subtext in it. I just couldn’t find a scene that I felt fit well enough.
Nina is threatening Osgood and warning him.
Osgood is letting Nina know her parents strategy (as he is trying to help her see her failures)
Magnus and the others are toying with Osgood and his “mortals”
INT. NIGHTCLUB – NIGHT
Nina sees Osgood at the nightclub, he is with a few people. Having a somewhat heated conversation, she has had a few drinks so she feels comfortable interrupting.
She taps him on the shoulder, he spins around so fast that she doesn’t see him turn.
OSGOOD
What? (annoyed)
That’s odd? It’s a mortal?
OSGOOD
Oh, Hi…
NINA
Hi…? That was weird…
OSGOOD
What was weird?
NINA
How fast yo… never mind… Are these your friends?
His pals are eyeing her, Osgood is not happy.
OSGOOD
Yes, you could say that, but they were just leaving…Right?
**Need to establish MAGNUS now or earlier
MAGNUS
Oh, we can stick around.
The vampires make themselves comfortable.
NINA
Can we talk?
MAGNUS
(to the others)Seems the menu has changed this evening, and I’d love to try something new.
The others chuckle and snicker. Osgood gently grabs her arm to move her.
OSGOOD
Let’s go to the bar and grab you a drink, it’ll be faster.
Nina doesn’t budge.
NINA
I know my way to the bar.
She looks at his hand on her arm. He lets go and follows her to the bar. They each pull up a bar stool.
NINA
I’m just going to throw this out there…I don’t trust you. And if you do anything to hurt my parents, I’ll kill you.
OSGOOD
Well, that’s intense… Good to know.
Leaning back, crossing his arms.
OSGOOD
Let me assure you, I have no intention of hurting your parents. They seem quite fond of me, in fact they mentioned what a nice change I am.
NINA
What’s that supposed to mean?
OSGOOD
You tell me…
NINA
I don’t need to tell you anything.
OSGOOD
This is unexpected behavior from someone that was treating their parents so poorly that they brought a perfect stranger into their home so that they could pay you to live elsewhere.
NINA
That’s not what happened!!
OSGOOD
It’s not? OK. If you say so…
NINA
You don’t know anything.
The little ball of fury stands up, even her curls make little fists.
NINA
I’m watching you! I know you are up to something!
She storms out.
Osgood watches her stomp away. Returning to his table he realizes Magnus and the others are nowhere to be seen, this could be a problem.
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Elizabeth’s Multiple Meanings:
What I learned: I sometimes forget to consider every character’s unique experience in each moment. Focusing on Multiple Meanings helps enrich the script.
Set up: Mark, Susan’s life-long estranged father (who’s only just shown up for her wedding), is hospitalized with an MI. Ed, the boyfriend of Mark’s deceased biological agoraphobic librarian mother has just given Mark the box she’d made for him, full of pictures of the places she wished she’d traveled to, and hoped he has (as a travel podcaster, he has!)—which has given Mark a transcendent kind of peace right before this scene…
Ed never had “sex-sex” with Susan in high school though he did do “everything but”—before she suddenly moved away. It has yet to occur to him that he could be her adopted-out son (Mark’s) biological father—and Grace’s grandfather. He also is unaware that Mark was entirely estranged from Grace during her growing up. No one knows anything about Mark’s medical history, aside from his heart attack. Linda has forgotten why she was ever attracted to Mark. Mike, who hasn’t been willing to treat his treatable medical conditions, hasn’t thought much about what it would be like to have an untreatable one—and this will prompt his finally seeking care.
INT. HOSPITAL – MARK’S ROOM – DAY
Mark in a bed laughs with Grace. Holds her hand. It’s a nice moment, augmented when Mark—
Invites Linda with a look and—
Linda moves closer. A hint of what attracted them still here. A family at last as—
AirPlay on the TV: Mike plays a shoot-em video game on his iPad. Kristian and Adam-Eve watch, cheer. A hit—GROAN as—
CARDIAC ALARM SOUND. A NURSE, then CODE TEAM rush in.
A RESIDENT starts compressions on Mark. Others ready the defibrillator, etc. as—
HEAD NURSE arrives.
HEAD NURSE
Stop. He’s DNR.
Utter confusion. Resident ambivalently stops compressions.
CODE MEMBER 1
What? He’s 60!
CODE MEMBER 2
60? He looks 45.
CODE MEMBER 2 nods at Resident to restart. He does.
As she knocks Resident’s hands off Mark’s chest—
HEAD NURSE
He’s DNR! I took it myself. He’s got end stage pancreatic cancer. Doesn’t want chemo, surgery, Cyberknife—or pain. Psych’s seen him – he’s totally competent.
Code member 2 looks at Linda, who shrugs. Looks at Mike—
CODE MEMBER 2
That right?
MIKE
(Game control in hand)
I don’t know. We just met him.
Code member 1 looks at Grace.
GRACE
Three weeks ago.
Ed’s totally confused.
ED
He’s your dad!
LINDA
(New touch of ambivalence)
He’s a sperm donor.
Ed grasps his head—how to process? Then, to the team—
ED
Look, I’m a physician. Can we compress while we talk?
Head nurse grudgingly acquiesces. Compressions restart.
ED
May I see the psych note?
Head nurse opens the psych note on the room’s computer.
Ed reads.
Professional demeanor to everyone, as, inside he roils like he hasn’t since he was 11—
ED
She’s right. Mark has advanced cancer. He’s competent. He does not want to be resuscitated.
People look at each other and at no one as—
The compressions stop. The code team gathers equipment, slips out. Mark looks notably serene as—
Ed tries not to pace.
Linda ruffles through her purse.
Mike hugs a tearful Grace—
MIKE
Wow. A medical problem that is totally untreatable. At least he looks happy.
LINDA
Bastard.
(A tiny bit of…respect, and—?)
And when he was finally trying.
GRACE
He was nice. Really nice. I mean, the few hours he was around.
(And)
Why didn’t he tell us?
Adam-Eve and Kristian restart the video game—strange, mixed emotions and existential bigness, as—
Ed chews on something bothersome—
ED
He was 60?
(To Linda)
How old are you?
LINDA
49. Cradle-robbing bastard. I was too young to be a single mom.
(Tissue blotting tears, she grabs the iPad from Adam-Eve)
I need something to shoot.
Growing distress on Ed’s face as he does the math…
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Janeen’s Multiple Meanings
What I learned doing this assignment is that micro-aggressions can be depicted quite easily using this technique.
Situation:
Morgan is a trophy wife who has a restraining order against her for calling the police when a friend (Daniel’s wife) asked her to do so. She is doing mind control and learning intentional medicine to try to help the friend. Morgan is suffering a mild form of mental abuse from her husband who treats her like a child and trivializes the tasks she sets for herself. She is unaware of the abuse aspect, but resents his trivializing of her efforts to make her own mark in the world.
Morgan’s husband, Gavin, 10+ years her senior, wealthy successful writer, loves his wife, loves showing her off (she makes him feel younger and she loves him), but treats her like a child as a matter of course.
The Scene:
Morgan’s husband warns her to stay out of Daniel’s way — he’s dangerous and if he will beat his wife, he won’t think twice about beating Morgan if he runs into her. Stick with her little mind control stuff. This trivialization of her Waterman work infuriates her and she quietly seethes, resolving to do more to help Amber.
SCENE
INT. MORGAN’S HOME – LATER
MORGAN, meticulously dressed for an evening at home, sits at her little secretary in the nook off Gavin’s office. She is reading from the Waterman Method website with rapt attention.
GAVIN, in his leather chair, scotch on his side table in a heave lead glass tumbler, alternately watches his wife and reads a hardcover. Looking every inch the successful author with legs crossed in a gentlemanly pose and a look of amusement on his face when he looks at his wife.
GAVIN
How was your knitting club tonight? Did you have a good time?
Morgan turns to him, smiling and quickly locking her computer’s screen as she turns.
MORGAN
We did. Everyone has such beautiful projects. I finished my fourth hat for charity and started a fifth.
She knows Gavin has no real interest in her projects. Waits for the real reason he’s speaking to her.
GAVIN
A friend in the DA’s office says things could get very nasty for us if you come anywhere near that designer’s family. Be very careful to avoid them.
MORGAN
I will. I have no intention of violating the restraining order.
GAVIN
That man is a dangerous villain. If he beats his wife, then he won’t think twice about hurting you, my dear.
He stops, concern showing on his face.
GAVIN
I don’t know what I’d do if he hurt you. I’d probably attempt to kill him with my bare hands.
Morgan smiles, rises, and crosses to Gavin, sitting on the arm of his chair and kissing him on the cheek and then the lips.
His arm snakes around her and he brushes her cheek, cupping her chin in his fingers.
Morgan gives a soft chuckle, caressing his hand.
MORGAN
I hope that won’t be necessary. You have to protect your fingers. Your fans will revolt if your next novel is late.
He smiles, hugs her, kisses her forehead. They both understand he is dismissing her.
GAVIN
Stick with your knitting and your little mind control experiments. Stay safe.
Annoyance flickers across Morgan’s face.
MORGAN
I’m learning a new technique that may enable me to help Amber from a distance. I need to do more for her, but obviously, with the restraining order…
She trails off, looking back at Gavin who is already engrossed with his book. She pauses, blinks back tears, hurt.
MORGAN
(a little louder)
I’ll head upstairs now. Are you coming soon?
Gavin looks up from his book, smiles.
GAVIN
I’ll be along shortly.
She turns to give him an inviting smile, but he’s already returned to his book. She sobers, leaves.
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Emmanuel’s Meanings
What I learned doing this assignment is multiple meanings equals a captivating scene and engaging movie. I think every screenwriter should strive to include multiple meanings in at least one crucial scene.
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