Thursday, September 28, 2006
I had to write a scene with subtext, meaning what the character is really trying to say, what underlying message they are trying to convey. The idea came easily to me, although i really hated writing it. I felt completely uncomfortable the whole time, and im dreading the reading today. I dont know if it's believeable without the context I imagined the scene in, it just makes me edgy is all.
UNTITLED SUBTEXT SCENE
By Caitlin Corrie
FRANKY, 49 year old carpenter, Dad, semi retired mobster, still does work on the side.
MIKE, 27 year old, full time mobster, holds FRANKY in high respect.
MARIE, 47 year old wife of FRANKY (NON-Speaking)
CINDY, 13 year old daughter of FRANKY (NON-speaking)
(It is just after midnight. MIKE is sitting down at FRANKY’S Kitchen table. They are speaking quietly, as FRANKY make’s coffee and sits at the table)
MIKE
I always like your coffee Franky.
FRANKY
Its just coffee for Chris sake. Never heard a compliment out of your mouth before.
MIKE
You know if anything ever happened to you, I’d see to it that Marie and the kids got looked after.
FRANKY
Mike what the hell are ya talking about? Jesus you gotta get more sleep kid.
MIKE
What no sugar?
(FRANKY gets up and hands some sugar to MIKE. He leans against the kitchen sink facing FRANK)
FRANKY
Anyways. I don’t want Marie to ever know anything about it, if I died that is from this business. She doesn’t need to know.
MIKE
Yeah.
(Pause)
FRANKY
What’s the job then?
MIKE
Well boss wants it clean. Not like last time.
FRANKY
Did he tell you to say that? Last time I got carried away, don’t you think I know that? They think I’m a fucking amateur?! It won’t happen again.
MIKE
Yes he knows it won’t happen again Frank.
FRANKY
Must be a big name eh?
MIKE
No, actually.
FRANKY
Who knows what their planning up in that big house, I don’t care-just as long I get the money. Got to put Cindy through college, and that sure ain’t happening on a constructions workers salary.
MIKE
Yeah Franky.
FRANKY
I got the perfect place to dump the body. Up off Sunset, new house, we can bury where they’re going to lay the cement tomorrow.
MIKE
Nah, boss has something special planned.
FRANKY
Oh? And it’s not a daughter of Chase or something?
MIKE
No. Franky, it’s someone that the boss considers the most immediate threat to the business. But let’s get outta here before Marie hears us.
(FRANKY gets up nervously and head to the door.
They get into the car and drive for a couple of hours up to the foothills. They exit the car at the top of a fire road)
FRANKY
Are you sure anyone lives up here? It’s just a damn fire road, who the hell does the boss have connection with up here?
MIKE
No one Franky.
FRANKY
Then why the hell are we driving all the way into the god damn woods?
MIKE
Franky, you’re a good guy.
(FRANKY pulls out a gun. End scene)
You see I wanted to context to be that the younger guy looked up to the older, more wise guys, who through old age and stress were beginning to loose his nerve. Maybe they had done many jobs together before, maybe the young guy learned all he knew from the older guy. It's one of the main reasons I didn’t have them swearing or talking to each other in a typical mobster sort of way. They didn’t need to show off, or act like big shots in their own company. I wish I had more time to work on it, more patience and more confidence to actually build that sort of feeling. It's hard to work in a page limit, although I can do up to five pages this one turned out to be two, mostly because I couldn’t handle writing any more, and also because I didn’t know how to add all that context in to it.
One of our assignments will be to re-write one of these mini scenes. Will I pick this one? It's not like the scene really matters. I guess what I mean this random post-scene-writing-semi-explanation thing to say is it's hard for me to make it really good if I don't even see the message I am trying to convey in the first place. However my other scenes are much worse, and very stereotypical, cliché to the extreme. I hate them, I don’t like this one because it's eerie, but the other ones scream amateur. (That is why I have not posted them here, too embarrassing) We have one more mini scene to write before a rewrite and before we begin our "ten min. one act" thingy. I am totally not ready! I don’t think I have learned any tools to even approach that. I need freaking exercises to help me make insightful characters and good plots, although I suppose if it were that easy everyone would be writing play...
(PS The reason why I wrote this might be because I am currently in Geography of the Mediterranean. We are reading the Godfather and have briefly examined the mob type qualities of the entire region. It’s not to say that the killing of someone’s good friend is what creeped me out, it’s something else that I cannot put my finger on. Something to do with me as a person writing it. Perhaps it is because my other scenes are so dorky, and some of my classmates actually write quite astonishing and wonderful things. Or maybe it is just because I don’t want to be judged, plan and simple. I don’t know…I suppose I might one day.)
