[Quick Summary: When two wanna be songwriters get a gig in Ishtar, they stumble into a conspiracy, and become unwitting targets of the C.I.A. and locals.]
TWO THOUGHTS:
a) Funny or Not? I admire Elaine May, so I really wanted this script to be funny.
My conclusion: There were many comic moments, but I did not laugh much.
b) Point of No Return (PNR) = A turning point, or fork in the road, in which a character makes a decision and cannot go back to his previous life.
So WHY would a character venture into the unknown vs. safety?
In this script, I particularly like how May lays out WHY the protagonists decide to go to Morocco:
- Chuck and Lyle must decide whether to take the cheap paying gig in Morocco. [Need to make a decision.]
- In flashback, they relive how they met and what solidified their friendship. [Their belief in each other, they have what it takes.]
- Back to the present, they decide to go to Morocco. [PNR: We'll take the gig.]
The scene below is the flashback. Chuck has threatened to jump off the apartment ledge because he does not think he has talent or a future in songwriting:
ex. "EXT. THE CROWD BELOW
As Lyle's figure comes out on the ledge, the crowd gasps.
ANGLE - CHUCK
He stands pressed against the building, staring straight ahead as Lyle slowly makes his way toward him.
LYLE (calling): Hold on! Hold on, Hawk, I'm coming.
CHUCK: Don't come any closer. And don't call me Hawk.
Far below Two Firemen begin spreading a net.
CHUCK (closing his eyes): I told you not to tell anyone.
LYLE (as he moves steadily closer): I know you did. But I was afraid I wouldn't get here in time. Don't be mad at me, Chuck.
A VOICE CALLS (from the window): Chuck! This is Rabbi Peirce...
CHUCK: Oh, my God! Rabbi Peirce is here!
Lyle reaches Chuck. The two men stand spread-eagled against the building.
LYLE: Gimme your hand, Chuck. (Chuck does not move) Come on. I know how bad you feel, but there are people in the world worse off than you. Poor people, sick people... (after a moment) People who don't have anyone to go out on a ledge for them.
There is a long pause, then Chuck reaches slowly over and takes Lyle's hand. Together, hand in hand, they start toward the window, two small figures, 15 floors above the ground.
CHUCK: Lyle? (a stone falls out of the facing) Are you disappointed in me? I mean, now that you know I'm not the kind of guy you thought I was.
LYLE: You are the kind of guy I thought you were, Chuck. (he kicks gently at a pigeon)
CHUCK: No, I'm not. I lived with my parents until I was 32. I've dribbled my life away...
LYLE: Hey, it takes a lot of nerve not to have anything at your age. Most guys would be ashamed. but you've got the guts to say fuck it...because you'd rather have nothing than settle for less.
CHUCK (after a moment): I never looked at it that way. (he steps over the pigeon) Maybe...maybe I am the kind of guy you thought I was.
The scene wavers and returns to the present."
WHAT I'VE LEARNED: The script must lay out a character's motives and desires before the PNR.
Here, the flashback shows how Chuck and Lyle fought to become songwriters (motive, desire) --> Of course they would take a cheap paying gig.
Otherwise Lyle would have to return to selling ice cream and pretzels.
Ishtar (1987)(blue draft, 10/11/87)
by Elaine May
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