[Quick Summary: A Secret Service agent pulls out all the stops to chase the counterfeiter who killed his partner.]
I still hate the pat answer, "It's all about the relationship between the characters," because whatever does that mean?
Today's script partially answered that question for me. It's a great example of how a relationship can motivate a loner (here, the protagonist).
In the scene below:
- Chance is the protagonist.
- He and Hart are Secret Service partners. Hart retires in 3 days.
- Because there's so much betrayal in his work, Chance trusts very few people, and is very loyal to them, especially Hart.
- This scene shows that rare moment where Chance feels safe. It explains so much of why he'd chase Hart's killer to the ends of the earth.
- Also notice the end of the scene when Chance feels the threat to his prized friendship. There's a subtle change in tone and mood, i.e., character motivated.
EXT. PARKING LOT - UTRO'S - LATE DAY
Chance and Hart walking toward their cars.
CHANCE: Got something for you.
He opens the lid of his trunk and removes a graphite fishing rod folded into a 15-inch leather carrying case.
CHANCE (continuing): Your retirement present.
HART: You're a week early.
CHANCE: It's burning a hole in my trunk.
Hart opens the case and brings the rod to full seven-foot extension.
HART: What the hell --
CHANCE: They tell me the trout jump all over it.
Hart puts his arm around Chance. They embrace warmly.
CHANCE: I'm gonna miss you, Amigo.
HART: Me, too.
CHANCE: Listen, I know you got somethin' goin' tomorrow.
HART (smiling): You readin' my mail again?
CHANCE: Master. (pause) Where?
Hart shakes his head 'No".
CHANCE (continuing): You're not goin' out alone.
HART: I got three more days on the job and I want to make the most of 'em. No sense the two of us running down the same lead.
CHANCE: We're partners.
HART: Damn straight we are. And when the bust goes down it's ours. Like always.
WHAT I'VE LEARNED: This script helped me see better that what Chance wanted most was that connection, and how resulted in his behavior (also known as "character motivated action").
To Live & Die in LA (1985)(11/8/84 draft)
by William Friedkin and Gerald Petievich
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