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Day 8 Assignments
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DAY 8 Multiple Meanings
Lisa’s Multiple Meanings
What I learned is that I’m not certain I did the assignment as expected. But Hal always says to post it anyway.
SITUATION:
MARY WINTERS, VIOLET MILLS, and TILLY MILLS are three sisters who are attending the annual Bedford Falls Dance Contest as part of the It’s a Wonderful Life festival. Mary came with her boyfriend JOSEPH BISHOP. Tilly came with her boyfriend PETER WINTERS (and Mary’s ex). Violet came alone because she takes after their father and likes to see what happens. Their mother who used to organize the festival, died 3 months ago. Ever since her death, their father HARRY MILLS has been galivanting all over town with different ladies of varying ages.
* I’m just focusing for this assignment on the HARRY dating situation and his three daughters. After this part of the scene, the dance contest takes place, etc.
CHARACTERS & MOTIVATIONS/PERSPECTIVES:
MARY WINTERS – is embarrassed by their father Harry’s behavior and wants him to find someone his own age to settle on. Maybe a nice lady from church?
VIOLET WINTERS – thinks there is nothing wrong with Harry having some fun in his life and she encourages him every chance she gets.
TILLY WINTERS – thinks he’s too old to be dating and should just give it up at his age. But Tilly isn’t very interested in what her father is up to because she has other things to worry about. She’s the only one who knows that Peter wants to kidnap Santa Claus.
SCENE:
From “Mary’s Wonderful Christmas”
INT-HIGH SCHOOL GYMNASIUM-NIGHT
It is the annual Bedford Falls Dance Contest! The gym is decked out in It’s a Wonderful Life 1945’s style. The band is playing 1940’s music. The place is hopping with all ages where townies are mingling with out-of-towners. MARY WINTERS is there with JOSEPH BISHOP. VIOLET MILLS (Mary’s sister) is by herself so she can play the field. TILLY MILLS (Mary’s other sister) came with her boyfriend PETER WINTERS (Mary’s ex). They are all dressed in 1940’s costumes. Punch and cookies are being served.
HARRY MILLS enters the gym with not one, but two young ladies on his arm. KIM DAVIS is a 26-year-old disheveled schoolteacher and MARGE MARTIN is a older looking 28-year-old barmaid at Martini’s Bar. Both are younger than his daughters…and his daughters know both of them!
Mary, Joseph, Violet, and Peter are all standing on the edge of the dance floor watching couples dancing.
MARY
Oh my God!
Mary embarrassed, turns, and puts her head into Joseph’s chest. Joseph pats her on the back.
TILLY
Wow.
Peter heartily laughs.
VIOLET
You go Dad!
MARY
Shut up, Violet! Stop encouraging him!
TILLY
That is embarrassing. But please don’t make a scene Mary.
MARY
Our mother has only been dead 3 months and he’s acting like a horny, pimple faced boy!
TILLY
Don’t make it worse.
VIOLET
Well, I think it’s great that he’s sowing his oats…finally.
MARY
(getting in Violet’s face) You would say that! You’re just like him!
Joseph grabs Mary’s arm.
JOSEPH
Mary. Maybe Tilly’s right. We don’t want to make a scene.
MARY
A scene! Look at him making a scene!
In the meantime, Harry, Kim, and Marge have gone over to the punch table and are drinking punch.
Mary marches over with Joseph in tow who is still holding her arm. Tilly and Violet scoot along after Joseph.
MARY
Dad! Can I speak to you over there! (pointing to a line of empty chairs)
HARRY
(calmly) Good evening girls. Joe. You remember Kim and Marge.
JOSEPH
Hi Harry. Yes, of course. Hello Kim, Marge.
Violet leans over and kisses Harry’s cheek.
VIOLET
Hi Daddy. Ladies.
TILLY
Dad. Can we talk to you?
Harry turns to his dates.
HARRY
Pardon me, ladies. Someone’s hair seems to be on fire. I shall return.
Mary hurries over to where no one is sitting. Harry, Violet, and Tilly follow. Joseph stays behind and talks to Kim and Marge.
KIM
(to Joseph) Who’s hair is on fire!
JOSEPH
It’s just an expression Kim.
Kim looks puzzled.
MARY
Dad what are you doing?
HARRY
Well, I thought I was attending my daughter’s festival event.
MARY
You know damn well what I’m talking about.
Harry looks at Violet and Tilly and shrugs. Mary sighs angrily.
TILLY
Dad. Why did you bring Kim and Marge with you?
HARRY
I’m deciding which one I like.
MARY
Oh, for God’s sake!
VIOLET
(gleefully) It’s okay with me, Daddy. You be you.
TILLY
You do know that they are younger than us.
HARRY
Well, I can see how that might make you concerned, but I promise not to love ‘em and leave ‘em.
Mary is beside herself.
MARY
Dad, it is sad and gross.
VIOLET
Mary! It’s none of your business.
Mary gets in Violet’s face.
MARY
Violet, I get that you think it’s funny that I’m upset. True to your colors. But I will not have my dad running around town with two children. You know that mom is turning over in her grave!
VIOLET
Always so dramatic. True to your colors.
TILLY
Okay. Dad, please have a good time tonight. But take it easy. Be nice and… appropriate with the young ladies.
HARRY
Always a gentleman, dear.
Harry bows.
HARRY
Now if you’re done admonishing me, I need to get back to my dates.
Harry saunters back to where Kim and Marge are talking to Joseph. Mary has gotten quiet.
TILLY
Mary. Are you okay?
MARY
(sadly) Did you notice he’s not wearing his wedding ring?
Mary walks away.
TILLY
I hadn’t noticed. I suppose everyone is different on how long they greave.
VIOLET
I hadn’t noticed either. But he has to move on. Life is short.
TILLY
(picking up her head) Hey. Let’s not worry about dad for the rest of the night.
VIOLET
Deal.
Tilly and Violet shake hands.
VIOLET
Let’s dance!
Violet dances off. Tilly laughs and goes back to where Mary and Joseph are hanging out.
END THIS PART OF SCENE
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Cameron Martin’s Meanings
What I learned doing this assignment is…this is an awesome way to breathe a little more life into what may otherwise be a very boring exposition scene. Ultimately, per the outline, I have to communicate two things. First that there’s a way to the bunker, giving us a new direction for the story to follow. Second, is that Isaiah and Sully will start to work together. As I was writing the page and a half that sets up these two facts, however, it became clear that this was worse than dead weight on the script, and risked jeopardizing the audience’s trust. But, in giving the two characters conflicting expectations, motivations, and perspectives, it really helped to take what would be…just the worst kind of scene into something that does an amazing job setting up a future point in the script, as well as presenting a hidden conflict between the two characters that we leave us on the edge of our seats to see how it plays out. I’m not saying it’s perfect yet, but it’s a far cry from what this scene started out as with two characters just agreeing with each other.
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Sully – Motivation: Get to the bunker and keep Isaiah safe.
Perspective: Isaiah can’t be trusted, especially if things go south.
Isaiah – Motivation: See the hive that he believes may be atop the colony.
Perspective: His dad is starting to trust him.
——————
Scene used:
INT. LIVING QUARTERS – NIGHT
Sully discovers a way inside the bunker by reviewing schematics left behind by the spy. He decides he’s going to try and save his and his son’s lives. Isaiah asks to help, saying he knows more about the colony tunnels and escape routes than his dad.
——————
INT. JUDE’S APARTMENT – NIGHT
SULLY opens his eyes. In front of him, Jude lays still, a sheet covering her.
He rolls over to look away…
ISAIAH’s missing.
Sully’s eyes widen. Where is he?
He sits up.
SULLY
(whispering)
Isaiah?
No answer.
SULLY
Isaiah?
He gets up. No sign of him anywhere. Everything is as they left it before…
Sully looks back at the sheet covered corpse of Jude.
He tiptoes to what he assumes is her room. Funny. He hasn’t been anywhere else but the main area and the back room.
He flicks on a switch.
The lights come on for just a second, revealing a vacant rrom – no furniture – before the bulb EXPLODES, casting darkness over the room once more.
Sully takes a step into the room. Nothing can be seen as he inches deeper and deeper into the shadows.
CRASH OF GLASS SHATTERING BEHIND HIM…
It came from the kitchen.
Sully runs back out of the dark void.
Seeing Isaiah – thank goodness.
At Isaiah’s feet. The glass tank that was holding the budding fungal spears impaling the alien’s head has shattered.
ISAIAH
Daddy?
Isaiah coughs lightly at first, then begins to whoop and hack up blood!
ISAIAH
Daddy!? *COUGH! COUGH!*
Sully runs over to his son, who’s spasming on the ground.
SULLY
Isaiah, just hold still.
ISAIAH
I was just cur-ur-ious!
SULLY
It’s okay. It’s going to be oka—
ISAIAH
I-I-m-m-m sor-r-r-y.
Sully looks everywhere, desperate for an answer. His son thrashes in his arms.
ISAIAH
You have to kill me!
SULLY
Stop it!
ISAIAH
Make it stop! Kill me, please! Let me die!
A torrent of blood spews from Isaiah’s throat. His mouth tears into a smile that stretches back to his jaw bones.
SULLY
Isaiah, please. Please!
Isaiah’s mouth fractures from his skull.
Sully looks his boy in the eye…
Before Isaiah pulls his dad’s throat to his mouth that catapults from his skull and takes a giant bite out of Sul—
Sully jolts up in a panic!
Everything is as it was before. He looks over at his son who’s sleeping soundly. A dream.
Sully stands up, unwilling to go back to sleep.
He paces the room for a bit, wishing this too was all a dream. Maybe he could wake up next to his wife again.
His gaze settles on Jude’s bedroom door.
He sneaks over to the closed room. Jiggles the handle. Locked.
Too curious, his hand searches the top of the door frame, no key.
He walks away…
For a moment…
Before coming back with a knife in his hand. He jiggles the knife between the door and the frame, scraping the tip against the latch.
A moment…
And the latch comes loose from the door, which pulls open, inviting Sully to uncover the secrets within.
Sully opens the door…
And steps inside. He flicks on the switch…
The light comes on. The room is lived in, with papers and photographs littering every square inch. Much of it appears torn and ruined by water, with one spot in the carpet clearly burnt.
Sully peers through the array of evidence on different colony members, no rhyme or reason given to their organization now that they’re all over the floor to be destroyed.
He picks up his pace. Something there has to help them.
LATER
The papers have been scattered into amorphous mounds, like a paper mountain range encircling Sully.
He comes across a document – a map.
He gives it careful consideration. Then, a revelation.
SULLY
Oh my GOD!
CUT TO:
Isaiah fast asleep.
A hand shakes him awake.
It’s his dad.
ISAIAH
(startled)
Wha-What is it?
SULLY
I need your help getting ready.
ISAIAH
Ready for what?
SULLY
I’m going for a little walk.
ISAIAH
What? Where?
SULLY
Thanks to our late friend, there might be a way we can get into the bunker.
ISAIAH
Really?
SULLY
Yes, but we have to move quick. There’re some…preparations.
ISAIAH
I don’t—
SULLY
We have to go outside.
Isaiah lights up, beaming with excitement.
ISAIAH
Oh my gosh! Do you know what this means?
SULLY
Yes, we’re going to be safe.
Isaiah looks over to the tank with the burnt head inside. He can’t help himself.
Sully catches this, seeing how giddy his son is about the damned aliens.
SULLY
Isaiah, is there something you want to tell me?
ISAIAH
Um, no. I mean, uh, do you trust me?
Sully takes an excruciating pause.
SULLY
I trust you.
ISAIAH
You have to do everything I say, okay.
SULLY
Isaiah—
ISAIAH
I know. I know. We might get to see a nest. Don’t worry though! I think I know how to get around it.
Sully absorbs this. The nightmare resurfacing in his memory.
SULLY
You got it. Tell me what to do.
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Dev Ross – Multiple Meanings
What I learned is this type of subtext is exactly what I used to prepare when I worked as an actor. In order to create tension and conflict, actors prepare for a strong intention but are often forced to give up that intention because of the strong intentions of the other characters. It adds layers to an actor’s role and story.
DIANA is an out of work, once famous actress who needs to sell her mansion because she desperately needs money. She hopes to sell it fast in the current hot real estate market and then leave the country to live in Costa Rica where she’ll work to save the whales. She needs something meaningful in her life big time after her many empty and unhappy years in Hollywood. Her agent, JACK, is bringing over a potential buyer.
JACK is her long time agent and she, until the last few years, has been his biggest client and money maker for him. He still believes in her talent, but more than that, he’s in love with her, something he’s never shared. He’s got her a great ‘comeback’ part but the catch is the film is low budget and they’ll have to shoot in her house. He’s bringing the film’s Producer to the house to talk to her. The Producer really wants to buy the house because of its long line of famous actor owner lineage. He wants prestige!
DALE is a young and hungry film producer with Daddy’s deep pockets. With Diana making her comeback in his low budget film, he’s sure he’ll garner fame. He wants her famous old Hollywood house and her to star in his film.
In this scene, Jack and Dale are sitting in Diana’s living room having tea after she’s showed Dale around.
DIANA
So? What do you think? Do you like the house?
DALE
Like it? I love it! In fact, I’m not leaving! I’ll just have my clothes sent over! This place is totally turnkey!
DIANA
Well, it will need some attention…
JACK
But not a lot! This place is a classic! Good bones!
DIANA
Then I’ll call my realtor and we can–
DALE
Hey, we don’t need ‘no stinkin’ realtor. Jack’s already laid out the deal. You win, he wins, and I win.
Jack and Dale share a laugh, Diana pales.
DIANA
Since when did you get a real estate license, Jack?
JACK
You’re gonna love this, Diana. We don’t need one. Dale buys your house for cash, you star in his movie that — get this – shoots right here!
DIANA
What? But Costa Rica…
JACK
Can wait. You’ve got another great film in you. Possibly more. A lot more.
DIANA
Jack…
JACK
Look, how many years do we know each other? I know you better than you know yourself. This part will be your ticket back.
Off her stricken look, he pulls her into the foyer.
JACK
Gimme us minute, Dale.
Dale waves them off. He’s busy looking at old Hollywood photos of all the famous actors Diana’s worked with.
DALE
Take your time!
FOYER
DIANA
Jack, I’m done. I want to go to Costa Rica and do something meaningful before I disappear.
JACK
Diana, the money he’ll pay for this dump? You’ll be set. Face it. This house gets inspected, it’ll never sell. Termites, mold, a crumbling foundation… really? You’re doing this film, right?
DIANA
Right…
He heads back to Dale.
JACK
We’ve got a deal!
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Alice’s Meanings
What I learned doing this assignment is I now know what the multiple meanings are. I am rather “concealing” them.
1. Follow the same structure I did at the top of the page. First,
tell us the situation which is the basic setup for the scene.
Thanakh, Protagonist, comes back with his girlfriend Kiat from weekend offshore. By circumstances he needs to occupy with lecture next day. After lecture is done, he cannot find Kiat anywhere again.
2. Give us a list of the main characters and their motivations
and/or perspectives that contribute to the scene’s multiple
meanings.
Protagonist, Thanakh, understands his girlfriend disappeared. Other people either sincerely believe she left him, others simply enjoy they parted from each other.
3. Then WRITE THE SCENE where the multiple meaning event occurs.
INT. LANDING BEFORE KIAT’S APPARTMENT – DAY
Thanakh visits Kiat’s apartment.
Comes, rings door bell.
Door nearby opens, middle-aged woman in there. Looks with a smile.
WOMAN NEIGHBORE
She doesn’t live here.
Thanakh gives her questioning look.
WOMAN NEIGHBORE
She didn’t appear for two nights.
Those might be two nights they spent on the weekend! What a lie!
INT. LANDING BEFORE KIAT’S APPARTMENT – DAY
Thanakh comes back, and calls the door of that neighbor. Silence, then steps.
WOMAN NEIGHBOR
What do you need?
Seeing expression on Thanakh’s face, she recalls what’s that about, and smiles, enjoying the process.
THANAKH
Did she turn in?
WOMAN NEIGHBOR
No, she left.
Thanakh glances back at the door.
THANAKH
Did she gather her stuff?
WOMAN NEIGHBOR
Yes.
She’s perceptibly lying.
INT. KIAT’S APPARTMENT – DAY
Kiat’s one-room apartment, with shadowed windows, neatly kept, but few things, bearing signs of her leaving at the morning. Open door of a closet. Jumper thrown on the bed.
Entrance door cracks, pressed from outside. Lock gives in.
LATER
Apartment lit by sunrays shades pulled aside. A couple of policemen under chief, accompanied by Thanakh.
POLICE CHIEF
Women leave.
THANAKH
She didn’t take clothes.
POLICE CHIEF
Do you have in mind, where she could go?
THANAKH
No. She needs to appear at her working place!
POLICE CHIEF
Maybe, she flied across the boundary?
THANAKH
Without clothes, money, and documents?
INT. AUDITORY – DAY
Crowd of RI workers sits in ascending rows, under bluish-colored wall. Every face is distinct.
Thanakh stands some distance before them, lecturing.
One girl with beautiful face at the top row keeps looking down all the time Thanks speaks, as her contradictory emotions surface out and are clearly expressed.
THANAKH
We have here conditions for working on science, on our subject. These conditions are supposed to be comfortable, so that we could address, occupy, dedicate to our ongoing researches, working and learning. This is a place for juniors and interns to get education. I would confess how I mostly am connected to the research of my lab I’m a head of. And maybe paying not enough attention, or not follow closely enough what is ongoing at jointed labs. Still, I am genuinely aggravated that no one pays attention at a fact person has disappeared. If someone would work day after day for a period, short or long, I would at least ask the question, where is he going, or where did he went? We’ve got so many lab workers. I personally cannot keep track of all of them. But I cannot mark not who is present at my own lab who’s absent, because I need’em. How come no one questions Kiat’s absence? She was working on regular basis non-stop, dedicating to research and education, like all of you. And honestly, friends, I just don’t understand your indifference!
Thanakh stops with an air of translucency.
ALARM MAN
I’ve seen her that day.
Everyone looks at him. Man gets awkward.
ALARM MAN
I could’ve make a mistake. It was still dark then.
THANAKH
Did someone else disappear?
ADMINISTRATOR
Few people took leave from us.
THANAKH
Who are these?
ADMINISTRATOR
These are such, such, and such…
THANAKH
Did they submit documentation?
Administrator hesitates.
ADMINISTRATOR
It seems to me, I’ve seen one of it.
INT. RESIDENTIAL – DAY
Protagonist comes by the address of one of men who took leave.
Thanakh rings the bell. Door nearby opens. Man and woman behind it, sober faces.
THANAKH
Did he appear in here?
MAN
He left, not turning in.
Woman speaks, deeply offended.
WOMAN
We lived nearby of him for two years, he left not saying goodbye.
INT. OFFICE – DAY
Middle-aged man talks quickly to Thanakh, leaning across table. He’s desperate. His face red and white from emotion. Hopelessness in his eyes deep, as a precipices.
DISTURBED MAN
My wife had disappeared. Please, look for her!
Shows a picture, a photograph. Desperate. Photo trembles in his shaking hands.
DISTURBED MAN
Here, please, take a look. She was working for you.
Thanakh dismisses him cold with calm gesture.
THANAKH
She probably was killed. Few people disappeared here. Don’t come in here anymore!
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Matthew Frendo’s Meanings
WHAT I LEARNED: I learned how to create a scene that means different things for each character. This will make interesting scenes that audiences love and really feel.
SITUATION: The hunt just started a few hours ago at this point. Alicia just killed the first monster of the hunt. It’s the first time it’s ever been done in the history of the hunts. Everyone is shocked.
CHARACTERS:
ALICIA: one of the “players of the hunt. She just killed the first monster by accident, which she considers an act of defiance against the unfair system that put her there, and now wants to hide out the rest of the time until it’s safe.
HOST: the Host is getting a promotion after this night. Alicia killing the monster just put that in possible jeopardy, so he wants to make sure the promotion goes through at any cost.
AUDIENCE: they want a good, exciting show.
OTHER PLAYERS: they all want to survive
INT. AUDIENCE STAGE – NIGHT
The Host watches on the screen as Alicia pokes the sasquatch with a stick to make sure it’s dead.
HOST
(to himself)
Of course, this would happen tonight.
He gives a covert glace at Alex and Bullet behind the stage.
HOST
(to himself)
Find a way to use it to your advantage or your done.
ALEX
Holy shit. Has that ever happened before?
Bullet slowly shakes his head.
BULLET
She killed–
CUT TO–
AUDIENCE MEMBERS TALKING
AUDIENCE MEMBER #1
–Bigfoot. When’s the last time someone’s killed a monster in the hunt?
AUDIENCE MEMBER #2
I’ve seen all thirty years and never has no one done that right there.
AUDIENCE MEMBER #1
Damn, this will be an exciting year!
AUDIENCE MEMBER #2
Now, we gotta really think on what we send after her next.
(looks at tablet)
Well, that’s a new idea–
The other audience member strains to see and smiles at what he sees.
EXT. ABANDONED CIRCUS – NIGHT
Alicia flips the camera off with a defiant smirk and starts walking the other way.
INT. AUDIENCE STAGE – NIGHT
The Host gives a creepy smile and shakes his head.
HOST
Don’t get too cocky yet, girl. You won’t last much longer.
He turns to the crowd.
HOST
Did I tell you it would be a great show or what?
They cheer.
HOST
Now, let’s see what you voted on next.
He looks at the screen and his creepy grin gets wider.
EXT. ABANDONED CIRCUS – NIGHT
Alicia is walking back to her hiding spot when she hears a bell. She walks faster. Then she hears a second bell.
She stops.
ALICIA
Fuck. Maybe the middle finger was too much.
She starts running.
INT. BIG TOP – NIGHT
Josh and Stan are hiding under a tarp.
JOSH
Oh fuck.
STAN
What? What is it, man?
JOSH
Two bells.
STAN
What the fuck does that mean, man?
INT. BUS – NIGHT
Nick looks out the window, almost manic.
NICK
Two bells? That’s the–
INT. AUDIENCE STAGE – NIGHT
The Host claps with the crowd.
HOST
–first time it’s ever been done! The players will now be forced to face two creatures at once!
The crowd cheers.
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June Fortunato’s Meanings day 8 of subtext
What I learned: I’m writing the second half of act two, so each scene becomes more important, and more complex to write. This takes a lot more thought to write the scene so that it’s important, and also fulfills the assignment.
Kim wants to get back at her brother and Ingrid, so she tears out the garden she planted in their jointly owned house (the house which her brother stole.) Roy thinks that, since she destroyed the garden, he can help her by also suggesting that they destroy the house. <b style=”font-family: inherit; font-size: inherit;”>Kim reacts viscerally and badly to that idea.
Kim: Knows that Roy’s a veteran so she thinks that getting the band to play the war song will make him happy. Roy: references the Vietnam war all the time, but he’s making light of it because he’s so deeply wounded and hasn’t told anyone the horrors he saw, or was ordered to do. The song, meant to be happy, triggers his PTSD.
THE SCENES
EXT. ATLANTIC CITY – BEACH – AFTERNOON – LATER
Roy and Kim watch the waves. They sport a half-empty box of taffy, and finish corn dogs, fries and beer. Roy eases back onto the bench. Relaxed.
KIM This day is stupendous, Roy.
Roy nods.
KIM Good ol’ five finger discounts.
ROY YOU are the PREMO EXPERTO on that, Sugar, Sugar.
KIM I have to be.
ROY I prefer “the mooch” method. But I’m not as “pretty” as I used to be. The babes eyeball me like “here comes granpa…”
KIM I don’t.
Pause.
KIM “To live the mooch life, or not to live the mooch life. That is Roy’s question.”
ROY “To have but three weeks left to stay ‘alive’ – to find an abode and thereby to collect el benefitso”
KIM “Whether or not he’ll survive the hard benches and balcony hideouts, or suffer to do the bidding of the law and thereby take their money but lose his soul.”
Pause. Roy’s astonished. She gets him.
ROY (unsure) They say I can’t live rough anymore… Medically speaking.
KIM Your body or your soul. Catch 22.
Pause. Silence.
KIM <i style=”font-family: inherit; font-size: inherit;”>My abode was absconded.
ROY We could change that.
Long Pause.
ROY How attached are you to the house?
Kim doesn’t comprehend.
ROY You own the land, too.
No no no. Not up for discussion. Kim leaps up.
KIM They’re building a stage over there. Let’s go see it.
Kim hustles to the stage, leaving Roy in the distance.
EXT. ATLANTIC CITY – STAGE – AFTERNOON – CONTINUOUS
On the beach. Recorded music plays as musicians set up. A banner reads: “Retro 1970s Music Contest.” Roy makes his way to the stage, and Kim already has a mic in her hand. Her laugh fills the air.
KIM One, two, one two. Check one, two.
On mic.
MUSICIAN Welcome to the annual summer 1970s music contest! We have a contestant to kick off the summer! Gather round, folks. Here comes Kim Kirby.
KIM I’m here with a new friend and dedicate this song to him.
She nods to the musicians. They start up the accompaniment to “How Deep is your love”
KIM I believe in you You know the door to my very soul You’re the light in my deepest, darkest hour You’re my savior when I fall And you may not think, I care for you When you know down inside that I really do And it’s me you need to show How deep is your love How deep is your love, how deep is your love I really mean to learn ‘Cause we’re living in a world of fools Breaking us down when they all should let us be We belong to you and me How deep is your love?!
Roy claps wildly. Kim goes to him.
ROY Your voice! Huzzah!
She curtsies.
KIM And I’ve got another surprise! Play it!
The band starts up.
We both get to sing along.
KIM & BAND
Well, come on all of you, big strong men, Uncle Sam needs your help again. He’s got himself in a terrible jam Way down yonder in Vietnam So put down your books and pick up a gun, We’re gonna have a whole lotta fun.
But the song catches Roy off guard and not in a good way.
And it’s one, two, three, What are we fighting for? Don’t ask me, I don’t give a damn, Next stop is Vietnam; And it’s five, six, seven, Open up the pearly gates, Well there ain’t no time to wonder why, Whoopee! We’re all gonna die.
PTSD on steroids. Roy is freaking out.
Come on Wall Street, don’t be slow, Why man, this is war au-go-go There’s plenty good money to be made By supplying the Army with the tools of it’s trade, But just hope and pray that if they drop the bomb, They drop it on the Viet Cong.
And it’s one, two, three, What are we fighting for? Don’t ask me, I don’t give a damn, Next stop is Vietnam. And it’s five, six, seven, Open up the pearly gates, Well there ain’t no time to wonder why Whoopee! We’re all gonna die.
Roy jumps onto the stage and busts a drum-set, stomping it to smithereens. Music stops abruptly. Kim runs after him. The astonished musicians grab him in bear hugs. Roy shouts at the top of his lungs.
ROY
Follow orders, yes sir, yes sir, Skin that woman alive, yes sir, yes sir!! Hear her screams, yes sir yes sir. Die, die. Everybody dies!
Fuck uncle sam, fuck, fuck! what did you do???? Why? Why??? Fuck fuck die!
The musicians carry Roy off of the stage and block Kim from going after him.
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Anna Harper Day 8 Multiple Meanings
What I learned from this assignment. The undercurrent of multiple meanings really added meat to the scene. I was surprised by how much the process did for my work.
Note to readers ;
Matsicho is a Cree word for thank you.
“All my relations.” is a blessing to all the ancestors who have gone before.
Situation: All the characters are about to attend a sweat lodge ceremony.
Characters
SARAH
Sarah (a new mental health worker) is feeling exhausted with stress, she is wondering if this can really help. Sarah is also curious, though not deeply respectful of the rituals. She is being a tourist.
She finds Cody attractive and she is glad he is here tonight. There is chemistry between them, though she does not want a relationship with him, and yet enjoys flirting..
ROSE
Local school cook and medicine woman. Believes herself to be a strong and righteous medicine woman, an example to everyone. Her status as a medicine woman in the community is well respected, she enjoys having the status and takes her role very seriously.
She is very pleased Cody has shown up this time. She is secretly in love with Cody and thinking of leaving Frank
BONNIE
Bonnie is Sarah’s administrative assistant at the hospital. She believes in the power of the sweat ceremony, usually. Bonnie is hoping it will help her with the dangerous plan to take down the corrupt Dr. Suleman.
She is also here to keep an eye out for Sarah. Bonnie is fearful that Sarah will not make it through the sweat.
FRANK
Rose’s husband. He assists Rose at the sweat lodge. ceremonies. He is also Rose’s business manager. They get paid to do events of a cultural and educational nature in the community.
He has been attending Alcoholic Anonymous for years. He falls off the wagon now and again.
He is fed up with Rose dragging him out when his favorite hockey team is playing. He would like to quit doing the ceremonies and just stay home, drink some beers and watch hockey games.
Rose has him sleeping in the basement at the moment. He is in the dog house due to his last drinking spree.
CODY
Old Buffalo’s life coach for disadvantaged teens. He goes to the sweat only occasionally. He is here tonight because he heard Sarah was going. His agenda is to have a committed relationship with Sarah. He thinks of her as a trophy.
ALBERT
He is the prisoner’s life skills coach. He is glad to get out of jail for the day. He likes the sweat lodge and treats it with respect. He believes the prisoners don’t care about the sweat at all and just want to get a day pass.
PRISONERS
They have varying agendas. This is their first sweat lodge experience. They are all glad to get out and enjoy the fresh air and the feeling of freedom. One is considering legging it after the sweat. Another is heartbroken being away from his family and will appeal to the Creator for help.
One of the prisoners is coming down off drugs, he is new. They haven’t given him any meds at the prison. He is wondering if he can take the rigors of the sweat. None of them really expect very much from the entire sweat experience they are jaded and cynical.
SCENE From Old Buffalo Hospital
ESTABLISHING. CLEARING IN A BUSH AREA WITH A LAKE BEHIND THE SWEAT LODGE AND A LARGE FIRE BURNING
EXT. SWEAT LODGE-DAY
Frank is tending the fire. He moves large rocks around in the fire. He is the ‘rock man.’
Rose the hospital cook is the medicine woman leading the sweat event. She greets participants, a group of six male prisoners from the local jail, and their life coach approaches the fire area. Cody, Sarah, and Bonnie follow.
Rose, carrying herself with great authority in her body language, gestures for them to come over to the fire area. There is a drum-playing quietly nearby.
ROSE
Welcome, this is my husband Frank. He will now say a blessing to the four directions before we enter the sweat lodge.
Rose’s words do not match her demeanor. She is not creating welcoming energy., she looks pissed off. The facial expressions of the participants change to wary and worried.
Rose looks at Frank directly and makes harsh eye contact. Her mouth is tight, her expression stern towards Frank.
V.O. ROSE Don’t screw this up Frank
FRANK
V.O. Jesus, the old bitch. I’m doing my best.
Frank stands throughout the blessing with his arms outstretched and moves towards each direction in turn. He speaks in a theatre-style manner with strength and sincerity in his delivery of the blessing.
FRANK contd.
Great Spirit of East, of the sun, we thank you for the gift of this day. Thank you for bringing your light.
Great Spirit of the North, give us the courage to endure whatever the north may bring.
Great Spirit of the west, of beautiful sunsets, bring us your beauty at the end of our sweat ceremony. Help us to live our life mindful that we will have a final sunset.
Great Spirit of the south, comfort us with your warm breezes when our lives feel cold and heavy. Bring us back to the warmth of life. Make us remember we are one with all of life. All my relations.
The expression and submissive posture of the participants change noticeably, from down caste to looking upward towards Frank, alert.
FRANK contd.
Now, please come and see what our brothers from the prison have built here, with hard work and diligence. Look at the way your sweat lodge is constructed. Everything is from mother earth, the willow branches, the grasses that bind the branches together.
The prisoners smile at each other, surprised at the acknowledgment of their hard day’s work.
Frank pulls back the blankets over the sweat lodge to reveal the construction of the lodge to Connie, Sarah, and Cody. It is perfectly constructed. Then Frank replaces the blankets. They look impressed. Frank is smiling, feeling appreciated for his efforts.
Sarah moves closer to look at the willow branch bindings. She is beginning to show an engaged interest in the proceedings.
FRANK
The blankets are for honoring the darkness of the mother earth’s womb, and they keep in the steam. The rock man will sacrifice his opportunity to be in the sweat lodge to tend the fire and bring in new rocks between rounds.
The attendants look nervously at each other, they are not sure where this is all going, or what to expect next.
ROSE
We enter the sweat lodge on our hands and knees to show respect for mother earth. We enter in a clockwise direction.
ROSE V.O. I wonder if any of them really give a dam. Let’s hope the white woman doesn’t blackout and fall into the pit. I had better keep an eye on the drug guy, in case he starts to fit.
ROSE
If you feel unwell at any time during the sweat, or if you wish to leave at any time, this is fine. Your participation brings strength and power to the sweat. If you have to leave we will say prayers for you.
ROSE V.O.
V.O. I doubt that any of these pretenders can go for more than two rounds of rocks. Frank is going to be in a bad mood again, he wants to get home early for the hockey game.
ROSE
Today we have a woman who has come a long way to help at the hospital. She is not First Nations, this brings more power to the sweat.
ROSE.
V.O. Silly woman she has no idea what’s coming.
ROSE
Prepare yourselves to enter, you can leave your street clothes here. Follow me.
Apprehension shows on everyone’s faces The participants remove their jeans and other clothes to reveal they are all in bathing trunks and the women in swimsuits. They avoid eye contact with each other, except for Cody and Sarah. Sarah sneaks a sideways glance at Cody’s impressive body. Cody looks straight at Sarah with an unguarded look of lust. Rose is watching them.
ROSE V.O.
Whatever happens, she is going to get what she deserves.
Sarah keeps a long man’s shirt on over her swimsuit., and opens all of the buttons.
Frank moves to pull back the blankets covering the opening to the sweat lodge.
Rose drops to hands and knees and enters the lodge. The others follow.
INT.SWEAT LODGE/DAY
There is a pit approximately four feet deep in the ground with red hot rocks. The pit is circumnavigated by a shelf- like platform of grass and earth, wide enough for the participants to sit on, yet frighteningly close to the edge of the pit and the red hot rocks.
Sarah observes the large red hot rocks with horror.
The participants enter on all fours in silence. There are sounds of the fire cracking, and the quiet heartbeat of the drum. Sarah enters nervously., shaking as she crawls around the narrow edge of the pit. She looks at the pit, terrified by what she sees. The rock man closes the blankets over the opening. The interior is pitch black except for the menacing glow of the red hot glowing rocks. The participants are barely visible to each other.
V.O. SARAH
If this is meant to be healing, why am I so terrified, the whole thing seems bloody dangerous. What have I got myself into?
ROSE
Rose sits up erect, her tone of voice and body language are of power and authority.
Rose throws cedar and tobacco on the fire which makes it crackle and spit loudly. Rose throws several ladles of water from a bucket onto the red hot rocks. Steam almost obliterates the interior of the lodge, clearing enough to see the participants.
SARAH
V.O.
I can’t breathe! There is no air going into my lungs!
Rose takes an eagle feather in her hands.
ROSE
We are here today to pray for the strength and healing of ourselves and our community. We will start by sharing the eagle feather which is like our bible to us in our culture.
V.O. ROSE
These ignorant assholes had better pay attention and give respect.
ROSE
I will begin, and then we pass the eagle feather from one to another, you can choose; to speak, or sing or say a prayer, or be silent.
Rose sings in Cree, as she does she holds the eagle feather tenderly looking at it while she caresses the feather. Rose passes the feather on. Participants take it in turn:
Prisoner 1
Shaking hands and voice
Take care of my family. All my relations. Matsicho
PRISONER 2
All my relations. Matsicho
PRISONER 3
I am asking for healing for the nightmares. All my relations. Matsicho.
V.O. I think I am going to puke. Can this work?
BONNIE
I am asking the Creator to heal my community so that my grandson can grow up in a good community. All my relations. Matsicho.
V.O. Is this all for nothing.? Why did you let Nathan shoot himself.? Protect my son if you are there. If Nathan dies I am never coming to the sweat again.
SARAH
I ask for Nathan to be healthy and healed. Matsicho
V.O. I did that O.K. Is this over yet?
MONTAGE OF SHOTS
EXT.SWEAT LODGE contd. Rock man opens blankets takes in a rock for the pit. Blankets close. Sounds of crackling and snapping as Rose throws herbs on rocks and ladles of water. making lots of steam. Quiet drumming in the background.
SARAH V.O.
I think I am going to die. It’s too dark and too hot. I want to go home.
SARAH struggles to inhale.
EXT.SWEAT LODGE.EVENING SUNSET BEFORE DARK.
TRANSITION SHOT PAN TO LAKE
All participants exit the sweat lodge, some take tea at a picnic table, and some walk to the lake, immersing themselves in the water. Sounds of background drumming, fire crackling, the prisoners are laughing and whooping.
CODY
Cody turns to Sarah. Well, that was pretty amazing, right? Well done, we went for seven rounds of rocks. That is a strong sweat! The men seem happier.
CODY V.O.
Pretty amazing they all made it. I didn’t think they would.
SARAH
Well, I didn’t die, though I thought I was going to at times. I do feel better, more clear-headed, and relaxed.
CODY
Let’s go in the lake for a quip dip.
SARAH
I don’t think so, it must be bloody freezing.
CODY
Don’t be a chicken, come on it will help complete the healing. It feels amazing afterward, it does things to your brain, good things. Come in with me.
They make eye contact, Cody is smiling, he holds his hand out to Sarah, she takes off her oversized man’s shirt revealing a swimsuit; holds Cody’s hand. They walk into the lake.
They laugh and splash about. Cody pulls her in close for a long kiss. Sarah pulls back and then returns to Cody for another kiss.
Sarah quickly exits the lake, puts her jeans on, jumps into her vehicle then leaves.
All this is observed by Rose who is standing on shore behind some bushes.
V.O. ROSE
Bitch!
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This reply was modified 3 years ago by anna harper.
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This reply was modified 3 years ago by
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KATE’S MEANINGS
What I learned doing this assignment is that is helps delineate the different POVs and needs of each character and bring it to a head.
SITUATION
Shaunn has asked his domineering Mother not to come to see his last show
then Min turns up unexpectedly at one of their meetings.
CHARACTERS REACTIONS TO MIN
• Shaunn – trying to separate himself from her
wants a life without her involved in it
• Nia – wants them to have a good relationship as she doesn’t even have a Mother
believes he’ll be heartbroken if he doesn’t have a good relationship with his Mom
• Luciana – sees in Min a peer and businesswoman who can help with the problem of getting the land, wants her to stay until the problem is solved
INT. CAMPSITE – DAY
Shaun texting Min.
SHAUNN
(text)
Mom, I really don’t think it’s a good idea to come. We only have a week and then I’ll be back. There is quite a lot happening here besides the show and so I wouldn’t be able to spend much time with you anyway. I’ll fill you in when I get home. Hugs.
EXT. CAMPSITE – AFTERNOON. 3 DAYS LATER
At the fire-pit sit Shaunn, Luciana and Nia, deep in discussion about the problem with Darrogh and trying to con him for the land.
LUCIANA
This is harder than I thought. He’s not going to buy it.
SHAUNN
He almost is…
NIA
It won’t be fast enough.
LUCIANA
He knows you guys don’t know what you’re doing – I mean that you are new at the game.
SHAUNN
We sorta said we had senior partner.
LUCIANA
He needs to meet that person to really make the deal.
NIA
Like your Mom, Shaunn.
SHAUNN
I already asked for help and she sent us that proposal to use. We don’t need her here!
A red Lexus SUV pulls up to the campsite.
A small, neat Chinese woman, 50s, emerges. She is very well dressed (but sensible for the environment) – in blue jeans, Nikes, blue silk blouse and black soft wool cardigan, open.
MIN Looks around the camp. Spots a group of people at the fire-pit and walks confidently over to them.
LUCIANA
Well, I’m betting that’s her!
Min arrives and smiles.
MIN
Shaunn! I had some time off and so decided to come.
SHAUNN
I -. You got my text?
MIN
Oh yes, but that was a few days ago. Things change. Introduce me to your friends.
SHAUNN
Yes, of course, Nia you know.
NIA
Oh, yes Mrs Chen. I am so happy to see you here. You’ll be so proud of the work Shaunn is doing in the play. He’s the best Duke Orsenio ever.
MIN
Thank you Nia. I am sure I will.
SHAUNN
And this is Luciana. She is the town mayor here.
Luciana leaps up and embraces Min.
LUCIANA
Bienvenida! We are so glad you have come! We need your help. That Little problem? It has not gone away.
MIN
Anything I can do to help. I am here. I have all week.
She puts her arm around Shaunn.
MIN
It is not often I have so much time to spend with my son.
Shaunn winces and moves away on pretext of getting her a chair from elsewhere.
SHAUNN
(as he leaves)
I’ll get you a chair.
Nia offers her chair, moving to Shaunn’s. Luciana pulls her chair close to Min and offers her coffee. Min sits comfortably.
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PS81 – Dana’s Meanings
What I learned from this assignment:
I’m posting this assignment late as I had a bad flu for the past 5 days.
I created a situation with my two main characters. I hope I did this right. I didn’t complete the scene, but I think I got the idea from Hal’s instruction.
SITUATION:
Ellen is worried about her husband and two daughters. She received a phone call from her ex-patient, Jason, threatening her family. She continues her talk show as a distraction, while waiting for the police to confirm her family’s safety. She’s engaged in a phone conversation with a caller, Ryan, not knowing that he is Jason’s psychopathic alter or that he has kidnapped her family.
CHARACTERS:
ELLEN is a radio talk show host who received a threatening phone call from an ex-patient. She is worried about her family and waits for the police to alleviate her concerns. She continues her show, needing the distraction, and talking with one of her callers, Ryan, believing he’s in need of relationship help.
RYAN is Jason’s psychopathic alter who has kidnapped Ellen’s family. He calls the radio show to mislead Ellen into believing he needs relationship help. But he’s speaking of his relationship to Jason and Jason’s other identities (alters).
SCENE
INT. ON AIR STUDIO – DAY
Ellen at the microphone. She’s masking her fears.
ELLEN
Thank you for your call, Olga. I hope you and your sister-in-law work things out.
She glances at her cell phone, anxious.
ON PHONE
The school still hasn’t called.
BACK ON ELLEN
Reading the call screen.
ELLEN (CONT’D)
We have Ryan on the phone now.
CLAIRE
We have Ryan on the phone. And he’s having a schizophrenic day.
ELLEN
That makes two of us.
Ellen keeps glancing at her phone, nervous every minute it doesn’t ring.
ELLEN (CONT’D)
Good morning, Ryan. Let’s talk.
RYAN
Good morning, Dr. Ellen. I’m a longtime listener. And first-time caller.
ELLEN
That’s nice to hear. How can I help you?
RYAN
I’m hoping we can help each other, doctor.
ELLEN
Let’s stay focused on you for now.
RYAN
If you insist.
(beat)
I’m having an identity crisis.
ELLEN
An identity crisis? I haven’t heard anyone use that expression since the seventies. Are you trying to find yourself?
RYAN
I’ve never been anyone else but me.
ELLEN
That’s a good thing. And it’s healthy to question our existence as we evolve through life. Our sense of self, our purpose, the search for meaning.
RYAN
Mine is a personal conflict. I have difficulty connecting with others.
ELLEN
Why do you think that is?
RYAN
I’m a dominant personality. I’m impulsive and aggressive, and a bit demanding, which makes it hard to communicate with the others. They find me off putting. And that’s why I’ve called. I need you to help me forge new… alliances today.
ELLEN
I’ll do my best. Have you always been distant with others? Or are these emotions more recent?
RYAN
It’s hard to remember. My years tend to blend together.
ELLEN
The inability to make personal connections usually stems from an early childhood trauma. What are your earliest memories? Were they happy one?
RYAN
Happiness is a relative emotion.
ELLEN
Were you close to your parents?
RYAN
They died when I was very young.
Ellen instantly understands.
ELLEN
May I ask how?
RYAN
Badly.
ELLEN
I can’t help you if you won’t trust me, Ryan. Your avoidance suggests you’re blocking.
RYAN
Some things are better left unsaid, doctor.
ELLEN
I would never force you to reveal anything too painful. But the loss of your parents may be the reason you don’t trust others. You may be suffering from a fear of abandonment. The closer you get to people, the more you fear they’ll leave you, which results in your inability to connect with them.
RYAN
Now why didn’t I think of that?
ELLEN
I assume you disagree.
RYAN
Dime store analysis, doctor? I expected more from you.
ELLEN
Then let’s dig deeper.
RYAN
You’re the doctor.
Ellen glances at her phone again.
ON CELL PHONE
No calls.
CUT TO:
INT. TECHNICIAN ROOM – DAY
PLACEHOLDER SCENE
CUT TO:INT. ON AIR STUDIO – DAY
ELLEN
Let’s talk about relationships. I’m willing to bet you’ve had your share of them.
RYAN
I maintain an active social calendar. There’s no telling when someone new may pop up.
ELLEN
Are you currently involved with anyone?
RYAN
There’s one who’s a bit of a sticky wicket.
ELLEN
How long have you been together?
RYAN
We’re still in the get to know you phase.
ELLEN
How did you meet?
RYAN
I watched him from afar. And when the time was right, I introduced myself.
ELLEN
Were you his secret admirer?
RYAN
Something like that.
ELLEN
Are you exclusive?
RYAN
I’m leaving my options open.
ELLEN
What’s preventing you from getting closer?
RYAN
We’re divergent personalities. We’re not of the same mind. He wants something I can’t give him.
ELLEN
What’s that?
RYAN
Control.
SCENE CONTINUES
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Day 8 – Multiple Meanings – Assignment
Mike O – Meanings
What I learned doing this assignment is the multiple meaning skill allows the writer to give the audience/reader multiple scenarios simultaneously and insight into character interaction and deception.
Write a scene where two or more characters have different reactions to the same event or dialogue. Follow these steps:
1. Follow the same structure I did at the top of the page. First, tell us the situation which is the basic setup for the scene.
Situation: Richard sets up a “get together” at the gallery without Brooklyn knowing. (1) Richard tells Tarek about it at the café after Brooklyn leaves in a huff. (2) Richard then calls up Beth, invites her, tells her, “Tarek is really looking forward to it, and you, of course. (listens) I know, it may seem that way, but he is a single father and those boys of his, he dolts over. Think he’s overcompensating…” Beth is excited, she thinks Tarek wants her but is busy with his children. Tarek is surprised and put on the spot by Beth showing up and hanging on his arm. Brooklyn is not told about the party, Richard just springs it on her as people are arriving. It is being catered, etc. Blindsided, Brooklyn learns about Beth from Richard who is catty and cunning. RICHARD tells Brooklyn, “Tarek and Beth, they make a cute couple. Don’t you think? She’s bought a couple of pieces from us in the past. She’s got a real eye for talent and isn’t afraid to pay what it costs.” BROOKLYN “I wished you would have given me the head’s up, this place is…” RICHARD “Fabulous, darling. Mingle, get to know your clients. Your father was a real chatty Kathy.”
2. Give us a list of the main characters and their motivations and/or perspectives that contribute to the scene’s multiple meanings.
[1] Richard (antagonist) is the puppet master. His motivations are greed. If he can’t get Brooklyn to sell the art gallery, he will make her life in their town miserable by running off her love interest (Tarek).
[2] Tarek (love interest) he thinks the invitation is Brooklyn’s way of apologizing for the spat they had at lunch. He is excited to see her and according to Richard, she is dying to see him as well.
[3] Beth, pastry chef who owns the town’s best bakery. She is in love with Tarek. They dated casually last year. Thanks to Richard who secretly told Beth that Tarek wants to take their relationship to the next level, Beth has come expecting romance.
[4] Brooklyn (protagonist) blind-sided by Tarek hosting the gallery party, learns that Beth, is or was Tarek’s girl friend. She is instantly suspicious. Tells herself: “After the way you talked to him at lunch, do you blame him.”
3. Then WRITE THE SCENE where the multiple meaning event occurs.
INT. GALLERY – NIGHT
Two dozen of the town’s finest are enjoying the soiree: NIBBLING on catered hors d’oeuvres, DRINKING French kisses in crystal champagne flutes while perusing the gallery’s offering.
The white marble champagne fountain with its cherubs and Renaissancesque touches is a hit.
RICHARD “I’d like to thank Beth McGuire for providing us with these incredible hors d’oeuvres and canapes. (toasts to her) “Finest pastries in the Rockies.” Clapping and murmurs of approval follow. “And for the incredible French champagne, we have Mr. Simons to thank. (lifts his flute) I don’t believe there is a liquor that Wine and Spirits cannot procure for your drinking pleasure. Thank you, Gene.” Applause and toasts follow.
Richard turns to Brooklyn who stands dumbfounded by it all.
RICHARD “Everyone, I would like to introduce Joshua’s daughter. We have her to thanks for tonight’s get together. (big smile) “Also (pours a bottle of Chambord into the champagne fountain turning the champagne the color of blood) Over dinner the other night, Brooklyn reminded me that red is the color of romance, that it represents courage. (lifts his glass) To one of Chicago’s finest. We knew her father well.”
Cheers and clapping follow the introduction.
Tarek, late to the party, stands by the front door. He catches Brooklyn’s eye and mouths: hello. As he starts towards her, Beth intercepts him, hands him a glass of champagne.
BETH “When did you get in town, Tee?”
TAREK (surprise) “Little while ago.”
BETH “I’m glad you’re here. “
Brooklyn walks up to Tarek as Beth asks:
BETH “You free tomorrow night for dinner? Pot roast, your favorite.”
Richard arrives and asks:
RICHARD “Beth, have you met Brooklyn?”
BETH “No, I haven’t.(extends hand) Welcome to Evergreen.”
RICHARD (turns to Tarek) “Have you met Brooklyn?”
Beth looks up at Tarek, slips an arm around him.
BETH “She has Joshua’s eyes, don’t you think?”
TAREK (uncomfortable) “Uh-huh.”
BROOKLYN (casual) “Don’t you two make a cute couple?
She turns to someone waving hello at her.
BROOKLYN “Beth, it was a pleasure.”
She walks off.
CAMERA HOLDS on Tarek’s smirk.
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