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Lesson 13
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6 Replies
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Title: James Landers – Max Interest 2
What I’ve learned that is improving my writing is that even in a short scene, it’s important to stitch together MANY interest techniques to make the scene vital and interesting.
Logline:
TJ/Tina and Brenda reach the realization that their marriage is doomed.
Essence:
There are two immutable truths in TJ/Tina ‘s life: the absolute need to live as a woman, and unconditional love for Brenda.
Interest techniques for the rewrite.
Dilemma, Prediction, Creating a future (foreshadowing), Anticipatory Dialogue, Cliffhanger, Uncomfortable moment
INT. MARRIOTT HOTEL – TRANSGENDER BALL – NIGHT
It’s Valentine’s Day and both ballrooms of the swanky hotel are rocking with parties. The ballrooms share a hallway that leads to the elevators, escalators and bathrooms. As we enter the first ballroom, the Transgender Society’s ‘Come As Yourself’ annual ball swirls with flashing lights and colorfully clad people dancing to driving rhythms provided by an animated DJ. Heart-shaped red balloons float above tables bedecked in Valentines-themed tablecloths. Most of the dancers are transwomen and they represent the full trans spectrum, from crossdressers to fully transitioned women. They come in all sizes and shapes. They range in age from 25 to 75, though most are middle-aged. Presentations range from conservative to risqué. They are well-behaved, but many dance uninhibitedly, as if expressing their pent-up identities. As we come closer, we see TJ MASTERS (28, tall, handsome male, presenting as TINA, an attractive but readable cross-dresser). TJ/Tina is dressed tastefully and dances joyously with a cis-gender male. When the music stops, her dance partner bows and kisses her hand. She joins wife BRENDA (mid 20s, attractive, 5-months pregnant) at a table.
BRENDA
Did you enjoy yourself?
TJ/TINA
I’d rather dance with you.
BRENDA
You looked like you wanted to kiss him.
TJ/TINA
It was just a dance.
BRENDA
This was a bad idea.
TJ/TINA
It was a nice gift. Thank you.
BRENDA
I thought it might be fun, but it isn’t.
TJ/TINA
Is it the baby? You look tired.
BRENDA
It’s you, TJ. Tina. God, I’m so sick of this. I married a husband. A man. But watching you on the dance floor…you’re Tina. My TJ is gone.
TJ/TINA
I’m always there for you.
BRENDA
Not the you I married. In a year, you’ll be wearing dresses and makeup to work. Tell me I’m wrong.
TJ/TINA
(long pause)
I’m trying, honey. I haven’t started the hormones yet.
BRENDA
You might as well. You can’t help being who you are. You’re just pretending to be TJ, and that’s no good for either of us.
They both get teary eyed. TJ/Tina dabs at her tears.
BRENDA
You smeared your eyeliner, Tina. Go fix it. I need some alone time anyway.
TJ/TINA
I’m so sorry.
TJ/Tina leaves for the Ladies Room.
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Title: Laurie’s Max Interest 2
What I’ve learned that is improving my writing is brainstorming these techniques prior to writing a scene
Essence: Hannah wants she and Demetri’s relationship to change while he is fine with the present situation he created.
Hook — the braying sound from
outside that Hannah can hear but Demetri can’t.
Dilemma — Hannah doesn’t want to
lose Demetri but she will if she cancels the show
Predictions — Demetri warns her
what will happen if she cancels the show
Something unseen — lightning without a thunderstorm
Mystery — Why can Hannah see
and hear things Demetri can’t?Creating a Future — If Hannah
goes out during the argument the relationship will implode
Anticipatory Dialogue — Demetri
makes threats pointing to the future without money coming in
Cliffhangers — She runs out
during a lightning storm thinking he will join her but he won’t.
Uncomfortable Moment — Demetri
makes a sexual advance and she compares him to her fatherDEMETRI and HANNAH are lying in bed. He kisses her neck, strokes her arm.
HANNAH
Go to sleep. I’m fine.
DEMETRI
Roll over. I’ll rub your back until you fall asleep.
Loud braying SOUND. Hannah sits bolt upright.
HANNAH
What was that?
DEMETRI
What?
HANNAH
You didn’t hear that weird noise?
DEMETRI
C’mon. Lie back. You need to rest.
HANNAH
I’m too wired to sleep.
DEMETRI
Everyone will love your work — and you.
HANNAH
No more pep talks. Please.
DEMETRI
I’m not saying this because I put this together. I saying this because I love you — after tomorrow you’ll be a name, people will know you, want to collect you.
HANNAH
Yeah, like I’m a seashell on the beach. Or worse, an investment!
DEMETRI
Who cares. You’ll be on your way.
HANNAH
To where?
DEMETRI
I was going to wait until after the show to spring it on you —
HANNAH
Spring what on me? What are you talking about?
DEMETRI
Do you want to spoil the surprise?
HANNAH
Tell me!
DEMETRI
No, that would be too easy. I think I’m gonna make you wait.
HANNAH
Don’t you dare. Tell me, asshole, or else.
He shakes his head and she tickles him unmercifully.
DEMETRI
I’m warning you — stop!
HANNAH
Tell me!
DEMETRI
You spoil everything I try to do.
HANNAH
You’ve got it backwards! You spoil everything I try to do.
DEMETRI
Only when you’re making an elephant out of a fly. Now lay down. We both need to get some sleep.
HANNAH
You don’t respect what I want. You’re always telling me what I need to do.
DEMETRI
I’m not biting. We’re not getting into this tonight.
He strokes her arm. She brushes his hand off.
DEMETRI
Message received.
He rolls over to face away from her.
HANNAH
C’mon. Don’t be like that.
DEMETRI
Like I said, you’re going to spoil the best day of our lives.
HANNAH
Omigod. There’s no end to it.
He rolls over to face her. Gets up on one elbow.
DEMETRI
I planned every bloody thing for tomorrow so it will be perfect. For you. You don’t trust me so you’re miserable and I need to feel your pain.
HANNAH
Did you ever consider I don’t trust myself? That maybe it has nothing to do with you. Somethings should be on me.
DEMETRI
Enough!
He gets out of bed, pulls a big suitcase out from under the bed.
HANNAH
You’re leaving me?
DEMETRI
I’m going on a trip tomorrow. An adventure. With or without you.
HANNAH
You planned a trip without telling me.? Is this the surprise? Why did you feel you needed to plan a trip without me?
DEMETRI
Oh, I don’t know. A big fucking romantic gesture on my part? A cherry on top of the pie?
HANNAH
You mean on top of the cake. No one puts a cherry on top of pie.
DEMETRI
Fuck it.
HANNAH
You told me to correct you whenever you use the wrong idiom.
DEMETRI
You don’t even care to know where we’re going.
HANNAH
Niagara Falls! You said you want to drive up there and now we’re going.
DEMETRI
Not by half. I planned the trip of a life time, one we’d never forget! Niagara Fall!
HANNAH
Then tell me where.
DEMETRI
Japan. First Class!
HANNAH
You’re kidding.
DEMETRI
See for yourself.
Demetri shows Hannah the reservation on his cell phone.
HANNAH
Omigod! I can’t believe you did this. I had no clue —
DEMETRI
Because I wanted it to be a surprise! Get this. Forty-eight hours from now we’ll be strolling through cherry blossoms on our way to Osaka Castle.
HANNAH
Oh, wow. This is so unexpected. So romantic…
They kiss.
DEMETRI
So what are you waiting for? Get packing. And don’t tell me you have nothing to wear.
HANNAH
I don’t — The tickets must have cost a fortune. Can we afford this?
DEMETRI
After tomorrow we’ll have money to burn, and the power to go wherever we want.
HANNAH
Are you sure? I mean, even if all my paintings sell, after everyone takes their cut — will we really have that much left?
DEMETRI
I told you not to worry about the money side. Leave that to me.
HANNAH
Yeah, but I’d like to see the numbers. We’re partners after all.
DEMETRI
Will you relax?
HANNAH
But the art world is so fickle. One day you’re hot, the next you’re a nobody. We might need that money to live on. You don’t know the art world like I do —
DEMETRI
It’s a fucking business, and I know business… like the curve of your ass.
He pulls her in tight. Strokes her thigh.
HANNAH
I wish you wouldn’t do that.
DEMETRI
You like me to touch you.
HANNAH
Yeah, but as soon as we start to talk business, when I’m trying to make a serious point, you do this to throw me off.
DEMETRI
Damn. You’ve found me out.
He nibbles her ear. She swats him away.
HANNAH
I mean it, Demetri, I can’t mix business and pleasure like you. It confuses me.
DEMETRI
Can’t have that. From now on, no more business. Only pleasure.
He strokes her, kisses her neck. She twists free.
DEMETRI
Bloody hell. If you’re spoiling for a fight, let’s go.
HANNAH
See! This is what you do. Start out super sweet, eager to take care of me, then as soon as I get serious, try to discuss something important, you get mad and turn into a bully. There’s no in-between with you.
DEMETRI
Is that all you’ve got?
HANNAH
No! Sometimes I can’t tell if I’m talking to my manager, my boyfriend — or my dad.
DEMETRI
Who, hit me below the belt why don’t you. Same goes for me, babe. You go from a desirable woman to whining baby in 60 seconds flat.
HANNAH
See? When I say something you don’t like you turn on me, put me down, like I don’t have the right to an opinion. You do! I never know if you’re going fire me, break up with me or send me to my room!
DEMETRI
I would, except we’re already in it.
HANNAH
Very funny.
She runs to the other side of the studio. Cringes before she spits it out.
HANNAH
I’m cancelling the show.
DEMETRI
Don’t be ridiculous.
HANNAH
It’s my show and I don’t want to do it. I never did. I should have never let you talk me into it.
He storms over to her.
DEMETRI
I talked you into nothing. We decided on it together.
HANNAH
Oh, really. You didn’t listen when I said it was too soon, too much, too fast? That I’m still figuring out who I am, what my art is about? You wouldn’t let up that I couldn’t pass this up. You wore me down!
DEMETRI
You were overthinking it. Afraid to put your work out there. Afraid of putting yourself on the line. You weren’t thinking about the long game.
HANNAH
Yes, I was. I was thinking about us. I went along to please you. It’s been totally your show from the beginning, not mine. All I did was the painting. You did the rest without consulting me. Since the show’s so important to you, you go, talk to everyone. Take all the credit. See if I care. I don’t want any of it. I don’t need it.
DEMETRI
Hannah! They’re coming to see you, talk to you, not me. I’m the guy behind the scenes. And I intend to stay there. You need to be upfront. Look, if you’re worried about all of the attention, all you have to do is smile, make small talk, sip Champagne —
HANNAH
You just proved my point! I’m only the artist!
DEMETRI
This isn’t going anywhere. You are not going to back out. I won’t let you.
HANNAH
What are you going to do? Drag me there by my hair?
DEMETRI
Fine. Go back to doing piddly-ass art fairs where you barely made enough to cover your booth rent. See if I care. You are so goddamned lucky your uncle left you this loft — I don’t get it. You’re worried about a couple of lousy plane tickets? Would you rather be a starving artist than a successful one? That’s it! Making money, selling your artwork is dirty. And you don’t want to get your hands dirty with anything but paint.
HANNAH
You think I’m a snob?
DEMETRI
No. Even though you’d drown in a rainstorm your nose is turned up so high in the air. But no, I don’t think that.
HANNAH
Fuck you.
She turns her back on him.
DEMETRI
You think I don’t respect your feelings? What about mine? I’ve kissed up every asshole who’ve got their fingers in the pie to give you the chance at the brass ring! And I don’t sweat it. Why? Because you’re worth it. Because I love you!
She turns back, comes toward him.
HANNAH
I never asked you to do that. I wouldn’t.
He pulls her close.
DEMETRI
No, you just took it for granted and looked the other way. Pretended not to notice.
HANNAH
You should have told me.
DEMETRI
I’m not complaining. I just want you to appreciate me as much as I appreciate you.
HANNAH
I do. It makes me feel guilty. But I – I also feel like you saw me as this poor nobody, someone you could manage, and took over.
DEMETRI
I thought you wanted what I could give you.
HANNAH
Maybe, but I feel like I’ve lost my freedom, the freedom to experiment, explore, do the work I want, how I want, when I want!
DEMETRI
You’ll have more control than you want after the show. Don’t throw it all away.
HANNAH
But I feel like I’m turning into someone I don’t recognize. Someone I don’t like. I don’t want to blame you but I guess I do.
DEMETRI
You’re blaming me for looking out for you? I’m doing it so you could set your own terms, punch your own ticket.
HANNAH
To where? Osaka? That’s your fantasy, not mine.
DEMETRI
Like I give a shit where we go. The point is we go. Celebrate the win together.
HANNAH
The win… But it’s not a game to me. I thought we wanted the same things, that we had something special, but I don’t know if that’s true anymore.
DEMETRI
We have to make a living, babe, we can’t live on love alone.
HANNAH
But I want us to show up for each other when its about more than making a living. I should have stood up to you when you said I needed to stop working with the kids at the shelter…
DEMETRI
That’s what this is about? I never said you had to stop doing that forever. Only that you needed to take a break to focus on the show. I’m not the bad guy here.
HANNAH
Then I can go back tomorrow! Or when you tell me we have enough money in the bank?
DEMETRI
For fuck’s sake, Hannah, if I don’t make you happy, tell me .
HANNAH
All I know is I want out —
DEMETRI
Of us?
HANNAH
No. Out of the show. Are they the same thing to you?
DEMETRI
I’m not the one who can’t tell the difference.
HANNAH
If only I could make you understand…
She pulls on leggings, sweatshirt, running shoes.
DEMETRI
What are you doing?
HANNAH
What does it look like?
DEMETRI
It’s the middle of the night. I swear, if you run out on me now…
HANNAH
I need to clear my head.
DEMETRI
It’s fucking two in the morning!
She yanks open the door. A sudden bright light flashes in her face. She stumbles back.
HANNAH
What was that?
DEMETRI
Be reasonable for once in your life. It’s not safe —
HANNAH
Was that lightning?
DEMETRI
I didn’t see anything.
A loud braying sound.
HANNAH
There’s that weird sound again.
Demetri doesn’t respond because he can’t hear it.
DEMETRI
Hannah! We can fix this.
HANNAH
You think so?
DEMETRI
Of course. Come back to bed.
HANNAH
I won’t be long. I promise.
DEMETRI
Then I’ll go with you.
HANNAH
You’ll have to catch me!
She runs out, leaving the door open. He grabs one running shoe, searches but can’t find the other. He throws the one shoe across the room, flops back in bed.
The sound of running feet, thunder, braying, flashes of light, a loud scream…
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Andrew’s Max Interest 2
What I’ve learned is one can always tweak a scene and add another interest technique.
LOGLINE: Peter listens to Gracie while missing his audition.
ESSENCE: Peter puts Gracie ahead of his own needs
Added techniques: anticipatory dialogue, uncomfortable moments, prediction, something unseen
Already existing: hook, dilemma, [mystery],
EXT. BETHEL MUSIC COURTYARD – LATER
At the edge of the Courtyard, Bill signals to another classmate, CRUISE, confident, good-looking: the school heart-throb.
He’s spotted…
Peter and Gracie sit side by side on a bench, Gracie with a tissue, face a little blotchy from crying.
Peter sits somewhat stiffly, staring straight ahead.
GRACIE
… you know… I mean…Cruise is sooo hot, don’t you think?
PETER
(shrugs)
If you like that sort of thing.
GRACIE
But I think he’s going to ask Beth to the dance and not me.
Peter glances at his watch, gesturing helplessly.
PETER
That’s tough.
Bill and Cruise watch, amused, from the edge of the courtyard, out of earshot.
GRACIE
C’mon, Peter, help me. How can I get him to like me?
Peter lifts his arms helplessly again. If he knew that, he’d know how to get Gracie to like himself.
PETER
If I knew that…
GRACIE
Who’re you going to take to the dance?
PETER
I dunno…
GRACIE
How about Jane? She’s nice.
PETER
Maybe.
BILL
Busted!
Gracie and Peter swing around.
CRUISE
Lil’ Petey hitting on you, Gracie? You want me to sort him out?
GRACIE
Oh, hi Cruise. No. We’re just talking.
CRUISE
Hey, what’s with your face? Your skin’s kinda blotchy.
Gracie covers her face.
PETER
Wow. Don’t overdo the compliments Cruise.
BILL
Shut it, Penfold, or I’ll shut it for you.
PETER
Always helpful, aren’t you Bill?
BILL
You tol’ me you had an audition. But here you are hitting on Gracie.
GRACIE
You’ve got an audition?
PETER
Bit late now.
GRACIE
No, Peter. Go! I’m so sorry.
Peter starts to protest.
GRACIE
Go. Run.
Peter acquiesces and hurries away.
BILL
He’s too late.
GRACIE
Shut up, Bill.
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Shelley Darling Max Interest 2
What I’ve learned that is improving my writing is that having become aware of more Max interest techniques has pushed me to go deeper into the story, become more creative, and listen more intently for the characters’ engagement with each other. It also lends itself to looking for a more intense energy buildup within each scene.
BURNING TRUTH
LOGLINE: As Mollie divulges her research on the mystery of the Confederate soldier’s lost treasure, Moses hands her a cease-and-desist order.
ESSENCE: Finally willing to trust Moses, Mollie once again is betrayed.
ADD IN THESE INTEREST TECHNIQUES:
Something unseen
Amplify Mystery
Amplify Dilemma
Hook
Creating a Future
Anticipatory Dialogue
Cliff Hanger
Uncomfortable moment
Prediction
EXT. PRESIDENTIAL INN – DAY
Mollie, dragging her bags out the Inn door in her red cowboy boots and tight jeans-putting bags in her car, stops when Moses pulls into the drive with his truck. Moses, standing with one hand on his hips, stares as all eyes are locked as Mollie approaches.
MOLLIE
(Coyly greets Moses with great affection, rubs up against him)
MOSES
Well, Little miss Sprite-where do you think you’re going?
MOLLIE
(tiptoes up to reach his gaze as he hugs her)
MOSES CON’T
Why are you standing on your tippy-toes?
(Scoops her in his arms, lifts her up off the ground)
Just be yourself.
MOLLIE
(sexual enthralled)
Wow. No-one has ever said that to me before.
You’re right-why am I doing that?
MOSES
Where you off to so fast?
MOLLIE
Heading back to Boston.
I’m heading home to be with the family.
MOSES
Wait, what about your dance with the ghost, dream girl?
MOLLIE
What about it?
MOSES
You can’t leave Pepper hanging? You two just met.
MOLLIE
I only booked for the week.
MOSES
I thought you didn’t have a home anymore?
Are you coming back?
MOLLIE
(laughing)
Don’t know. Just have to see what happens.
Why, do you think we have a future together?
MOSES
What about all your mysterious dream investigations?
MOLLIE
Hey, on that subject.
Before I go, I’ve got something to show you.
Something amazing I’ve discovered at the cemetery. Let’s walk over.
MOSES
Hold on. I gotta grab something from the truck.
MOLLIE
What’s up? You seem distracted. Is there somewhere you need to go?
MOSES
(slyly grabs envelope from dash)
Hold on.
MOLLIE
What’s that you got?
MOSES
(Places envelope in his jacket)
Stop being so snoopy. C’mon here.
(Scoops her up-kisses-starts walking)
EXT. POLAND, FAMILY CEMETERY – DAY
Mollie and Moses walking across the green to the cemetery.
MOLLIE
Did you know about the confederate soldier, Robert Cheever?
MOSES
Heard stories.
MOLLIE
Why is a confederate soldier is buried in a Maine resort family cemetery?
MOSES
(a bit nervous)
What are you getting at? Is that it? You’re after the treasure, too?
MOLLIE
What are you talking about?
MOSES
(Grumbles)
MOLLIE CON’T
Whoa, someone woke up on the wrong side of the bed.
Didn’t Pep bring you your coffee?
MOSES
Why are you really here?
Dreams. Now the treasure and water? The word is that you have been digging up dirt surrounding the water corp?
MOLLIE
Wait a minute. I didn’t say anything about the water.
What are you getting at?I thought I could trust you.
MOSES
Well, Why are you really here?
Caught in a riptide of emotions of confusion and anger, jumps up on the gravestone as an envelope with Cease and Desist drops out of his pocket.
MOLLIE
-(Mollie pickles it up)
What the hell is this? I’m so pissed at myself for believing in you.
I should have known better.
MOSES
So have you been playing me too?
MOLLIE
(Slams her foot down)
I trusted you.
You’re the delivery boy for a business you don’t even want to be a part of, and you’ve chosen that instead of us!
MOSES
Oh, you who walk around in rose colored glasses.
I’ve been trying to protect you!
MOLLIE
How is delivering a cease and desist to me protecting me?
I’m not your china doll.
MOSES
Those fuckers. They pushed me into it.
MOLLIE
That’s it. I’m out here, I’m done!
MOSES
Yeah, right.
Go then. It’ll be written on your gravestone…she ran away.
Just like your dad.
MOLLIE
(walking away at a fast pace-yelling)
Fuck you! Maybe in the past I did.
At least I’m not running away from myself anymore.
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(Bill Southwell) Max Interest 2
What I’ve learned that is improving my writing is that anticipation is an important interest technique. Other techniques include Dilemma and Predictions.
Car Scene
Elizabeth has kidney failure so she and her husband must uproot from Rapid City, South Dakota, and move to Pittsburgh to be near a major medical center where she may receive dialysis. Before leaving they visit John’s parents at their Wyoming farm. They are in the car driving 200 miles back to Rapid City.
Elizabeth
Oh, how I love the farm, so peaceful and quiet. I always rejuvenate there.
They drive on in silence. The sun sets and the sky turns red over a high and wide region of the sky—displaying a rare and spectacular scene. The hum of the car becomes subdued as they take in the scene in silence. Then John notices that Elizabeth is sobbing.
John
What is the matter?
Elizabeth
Elizabeth’s head is resting on the back of the head rest.
I will never see this again.
John
(Confidently) Of course you will. Once you get on dialysis, We’ll buy a single story house and set up a home dialysis unit. You will get your strength back.
They ride on for several minutes in silence.
Elizabeth
John, promise me one thing.
John
What is that?
Elizabeth
Do not bury me in Pittsburgh.
John senses her seriousness.
John
I promise.
They continue to drive on in silence. The sunset fades and stars appear in the Wyoming night sky, billions of them. Elizabeth’s voice is heard.
Elizabeth (V.O.)
That there should be bright stars is yet a wonder.
Silence keeps a space where thoughts resound
And clatter on some polished place.
No matter, but I dreamed of death and saw
A sweet white face that smiled and meant to speak,
Till some response of fear within myself
Shattered the transparent film, before I felt,
And left a quiet night.
End of Scene
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Hilton – Max Interest 2
What I’ve learned that is improving my writing is to look beneath the initial conception of the scene and find places where interest techniques can used to elevate scene quality
(NOTE 1: I included a brief “pre-scene” for context. The assignment applies only to the main scene.)
(NOTE 2: Ben and Anna Lee have been captured, handcuffed, searched for a wire, and had their badges pinned to their bare skin
LOGLINE: Ben and Anna Lee are locked up and need a way to escape
ESSENCE: Faced with a deadly situation Ben gradually opens to the need to work with Anna Lee without seeing her through the lens of his long-standing prejudice against women
INTEREST TECHNIQUES USED:
1. Dilemma – Ben needs to continue seeing women as unreliable but must find a way to work with Anna Lee as a partner if they are to escape, which requires that he give up at least part of his prejudice
2. Prediction – Ben and Anna Lee predict that the militia will try to kill them
3. Something unseen – While they are locked up the militia are planning their demise
4. Creating a future – As they free themselves of the handcuffs they become more able to defend themselves
5. Anticipatory dialogue – They discuss what they believe might happen to them. Also Anna Lee makes reference to the task she is about to perform with the pin of a badge
6. Uncomfortable Moment – The forced intimacy Ben experiences when he removes Anna Lee’s badge
————-Begin “Pre-Scene”————
EXT. MILITIA CAMP – DAY
The militia man steers them through the camp toward a makeshift brig made of oak and hickory saplings, trimmed and lashed together with nylon rope.
It’s nowhere near Fort Leavenworth, not even a county jail, but still plenty strong for a temporary lockup.
The trail guard opens the door and shoves them in and locks the padlock. He throws their shirts in behind them.
TRAIL GUARD
Y’all rest easy. Mad Dog’ll let us know what’s gonna happen to you. Till then, happy camping.
——— end “Pre-Scene”———
EXT. MILITIA CAMP – IN THE CAGE – DAY
Ben and Anna Lee stand helpless, and watch as he walks off.
ANNA LEE
So much for a big strong man protecting me.
BEN
Weren’t you being sarcastic when you said that?
ANNA LEE
They’re not gonna let us go, are they?
BEN
Hard to see why they would.
ANNA LEE
What does that leaves us then?
BEN
Not much.
They look into each other’s eyes. As the reality of their situation becomes clear, a hint of partnership emerges.
ANNA LEE
How do you think they’ll do it?
BEN
They could just walk over and shoot us. But I don’t think they’ve gone full Gestapo yet. They still have to wrap it in the flag some way. Make it a ceremony. One that illustrates the blessed righteousness of their cause. And feeds them more belief that they’re not just garden-variety murders and anarchists.
ANNA LEE
All those noble aims, and here we sit like two ducks in a cage….
Be still.
She steps toward him. Close enough to kiss. He shuffles.
ANNA LEE
Be still!
She puts her face and mouth on his chest. He stands motionless, looks skyward. She nibbles the badge between her lips and gently lifts it out with her teeth…
… and drops it to the ground.
ANNA LEE
Okay, now, you want to get mine?
Ben looks at her. He hesitates, doesn’t want to get that close, but then steps to her. He leans into her and repeats what she did.
ANNA LEE
Turn around.
He looks askance but then turns. She bends to look at the keyhole on his cuffs which luckily happens to be facing out.
ANNA LEE
This is gonna be tricky, so don’t make it harder.
She kneels and picks up a badge. Her body is balanced and supple as she reaches down behind herself. She springs up with the badge in her hand, the pin at an angle.
ANNA LEE
Hold still.
She backs up to Ben and wipes the pin clean of blood and dirt on his pants. She “accidentally” sticks him in the butt.
BEN
Hey!
ANNA LEE
That’s for not protecting me.
BEN
Prima donna.
She finds the tiny keyhole with her fingernail.
Then, after several futile attempts, she finds it with the pin. She gently inserts it.
She very carefully bends the tip ever so slightly, then inserts it further and turns it. The cuffs spring open.
BEN
(smiling)
Good job, Agent Hafferty!
Ben rubs his wrists, and the bloody spot on his chest.
ANNA LEE
Think you can do it?
BEN
Of course I can. Turn around.
It’s easier doing it hands free. Her cuffs pop open.
BEN
And Bob’s your uncle. Here, put your shirt on.
—————–End Scene—————
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