TODAY'S NUGGET: The Pink Pather Strikes Again (1976) - Three Examples of How Inspector Clouseau Slapstick Works

[Quick Summary: After former Inspector Dreyfus leaves an insane asylum, he sends assassins after Inspector Clouseau.]

Blake Edwards wrote and directed the original Inspector Clouseau/Pink Panther films.*  Today's script is #4 of his 8 films.**

These scripts are a joy to read because:
a) the joke is always on Clouseau, who is clueless;
b) the slapstick is constantly moving him out of the fire into the frying pan;
c) the slapstick is inventive.

Here are three examples:

EXAMPLE 1: ROMANTIC JOKE ON CLOUSEAU - A Beautiful Mysterious Woman thinks she's slept with Clouseau, when it was actually another spy, James. 

INT. MUNICH HOTEL FIFTH FLOOR HALLWAY - NIGHT

The elevator doors open and Clouseau exits, walks to his door, is about to put the key in the lock when he realizes that the Clerk has given him the bedroom key. He walks back, unlocks the bedroom door and enters as James [the English spy] exits from the sitting room.  

INT. CLOUSEAU'S SUITE - BEDROOM - NIGHT

Dark. The lights in the sitting room have been turned off. Clouseau makes his way to the light switch. CLICK. No lights in here. He makes his way into the sitting room, bumps into a table. We HEAR the Beautiful Mysterious Woman SIGH. Clouseau turns the lights on in the sitting room.The Beautiful Mysterious Woman awakens, gets up and goes into the bathroom. Clouseau comes back into the bedroom, gets undressed and puts on his pyjamas, goes back into the sitting room. The Beautiful Mysterious Woman comes out of the bathroom and climbs back into bed. Clouseau turns off the sitting room light, bumps into the table again and returns to the bedroom. He climbs in bed. A long silence, then Clouseau lets out a yell, leaps from the bed and runs into the sitting room, hits the table, turns on the lights and carefully makes his way back to the bedroom where he freezes at the sigh t of the Beautiful Mysterious Woman in his bed. 

B.M.W. (smiling wickedly): Forgive me, darling. I just washed my hands and they must have been freezing. 

CLOUSEAU: Yes. Freezing. Hands.

It dawns on him that he must be in the wrong apartment. He hurries across the room, opens the door, checks the room number, and returns, checks his key. 

EXAMPLE 2: "OUT OF THE PAN, INTO THE FIRE" SCHTICK - One mistake leads to another.

INT. MUNICH HOTEL LOBBY - NIGHT

A CLEANING MAN. vacuuming. A SERVICE REPAIR MAN standing on a stepladder, putting new light bulbs into the huge crystal chandelier. Clouseau trips on the vacuum cleaner cord, stumbles into the ladder, knocking it out from under the Service Repair Man who grabs the chandelier. While the Service Repair Man swings from the chandelier and the Cleaning Man unplugs the broken vacuum that is spewing a geyser of dirt, some of the hotel staff rush to give aid, take the ladder form Clouseau who then continues his way to the desk as if nothing has happened.  

EXAMPLE 3: INVENTIVE "TOILET" HUMOR 

INT. PUBLIC TOILET - NIGHT

Clouseau enters, waits. The Mexican Assassin enters. A man exits a stall and Clouseau goes in as the East German enters. A man exits a stall on the other side of Clouseau and the East German takes it. We are WATCHING three pairs of legs. Clouseau's shoe lace is untied. He bends to tie it. The TWO "WHUMPS" SOUND almost like one. The life goes out of the two pairs of legs on either side of Clouseau. The Assassin's silenced gun clatters to the tile floor. Clouseau stands, FLUSHES TOILET and emerges, exits short.

WHAT I'VE LEARNED: I really am impressed by the inventive ways the writers get Clouseau out of worse and worse situations.  It's like kids playing on the page.

The Pink Panther Strikes Again (1976)(11/19/75 revised)
by Frank Waldman and Blake Edwards

*FYI: The first Inspector Clouseau film featured a diamond called the "Pink Panther." It was so popular that subsequent Inspector Clouseau films were dubbed "Pink Panther" films even though they didn't feature the diamond again.

**I imagine Edwards was not super-thrilled that studios wanted many sequels.  

However, I also imagine the studios were eager to get Edwards back because:
1) the public was still interested in Clouseau even a decade later; and 
2) two Clouseau projects without Edwards weren't as well received.

Here's the list of Pink Panther/Blake Edwards films.  I included the two non-Edwards projects in bold, just for reference: 

- The Pink Panther (1963) - David Niven
- A Shot in the Dark (1964) - Peter Sellers
- Inspector Clouseau (1968) - Alan Arkin
- "The Pink Panther" animated tv series (1969) 
- The Return of the Pink Panther (1975) - Peter Sellers
- The Pink Panther Strikes Again (1976) - Peter Sellers
- Revenge of the Pink Panther (1978)  - Peter Sellers
- Trail of the Pink Panther (1982) - Peter Sellers
- Curse of the Pink Panther (1983) - Peter Sellers
- Son of the Pink Panther (1993) - Roberto Benigni

TODAY'S NUGGET: Long Kiss Goodnight (1996) - Visceral Reactions That Lend Action Packed Energy on the Page

[Quick Summary: When a married schoolteacher with amnesia appears on tv, she is outed as a counter-assassin and becomes a target of former colleagues.]

TWO THOUGHTS:

1)  FEMALE ACTION STAR & THE BOX OFFICE. To me, it's important to understand the box office, so as to be aware of what audiences are paying to see. 

Today's script about a "girl-with-the-gun" struggled at the 1996 box office.  Interestingly, not much has changed, even as of this weekend.*  

2) ENERGY ON THE PAGE. I do admire Shane Black trying a female led action film at the height of his popularity.

He has a knack for conveying energy on the page, which is often difficult to do.  

Here, I like how the protagonist experiences visceral reactions that motivates her into frenzied action. 

For example, in the scene below: 
- The protagonist has lost her memory and is calling herself Samantha, though her real name is Charly.
- She is stretched out on a water wheel that's fed by cold river water.
- The bad guys are torturing her to see if she's really an amnesiac.
- I like that the energy comes from the character's emotions.
- One source is from confusion.  Samantha does not know her violent past. 
- Another source is from anger, from being wronged.  She has no idea why she's being tortured and this type of survival vengeance is particularly vicious and unstable. 

INT. BASEMENT OF OLD MILL - THE PRESENT

... UNDER THE WATER - HELL - SAME

Here we are again, in the world of silence and blinding PAIN. Despair and madness but now there's something else -- Now there's RAGE.  [The primary motivators are confusion, anger.]

It takes losing most of the FLESH from her right wrist... But she frees the hand. WRENCHES it loose. The water turns soupy red around it. GROPES, blindly. Fingers NUMB, so fucking cold -- Breath, running out. No air. NO TIME. [Her physical struggles to free herself are like her mental struggles to make sense of this weird situation.]

She darts her right hand forward. Toward the obscenely bobbing CORPSE of Nathan. Does something grotesque, jams her hand DOWN THE CORPSE'S PANTS -- [I like that she's a thinking protagonist & remembers what Nathan had said earlier.]

Hideaway gun, it's right where he said, right beside Mr. Wally. PSP-25 Semi-auto, steel jackets. She waits. Rage inside her. Death in her hands.

MEANWHILE, BACK ON THE SURFACE

The wheel CREAKS. Groans. The terrorist in the western boots watches her emerge, face first -- She comes up firing. [This is a great image, but also metaphorical.]

The first slug takes him in the knee. Blows it to scraps. He collapses, howling. She shifts aim. THE RED BUTTON. No hesitation. BLAM-! Hits it DEAD ON. Stops the wheel. Incredible.

Doesn't blink. Unties her captive hand. BLOWS TO SPLINTERS the wood surrounding her feet. Leaps to solid ground as 

ANOTHER ANGLE

Daedalus looks up from his prone position. In agony. A vision from Hell approaches: A fiendish blue-skinned woman in a sodden nightgown. Blood leaking from one wrist. She has rise, REBORN, from the icy waters.

DAEDALUS: Samantha... Please..!

CHARLY: Who's Samantha? [She's still angry, but also learning more about herself.]

She shoots him in the other knee. He HOWLS. Gun, empty. She tosses it aside. In a nearby crate: ASSAULT RIFLES. Snatches up a Kalashnikov and clip. Kneels and says:

CHARLY: You see it in the movies, badguy says, "Talk to me and I'll let you live." We're gonna run a variation, it goes like this: Take to me..? I'll let you die. 

She fires again. 

WHAT I'VE LEARNED:  I liked that the emotions led the action, and that they aren't put on hold during a fight. It's messy both physically and mentally as her memories surface.

The Long Kiss Goodnight (1996)(2/24/95 revised draft)
by Shane Black

* This weekend, another female led action film was released,  From the World of John Wick: Ballerina (2025).

As of yesterday, Deadline stated that the film made $25M, on a reported budget of $90M, and went on to speculate the reasons why:

"There's also the sense that many have already seen these girl-with-the-gun movies before, and there are plenty of copycats on streaming (i.e. Charlize Theron's The Old Guard, Gal Gadot's Heart of Stone, Jennifer Lopez's The Mother) - so why rush out? But this one is through the lense of John Wick, and ya know, stunts! But you can't just swap out our favorite puppy-loving, gun-toting surfer dude for a female lead, and that's potentially why more of the Wick-faithful aren't going."

TODAY'S NUGGET: The Last Boy Scout (1991) - Varying the Amounts of Suspense + Surprise in Escalating Stakes

[Quick Summary: After a hooker dies in front of her boyfriend and the p.i. she hired for protection, the two men uncover a political conspiracy while finding her killer.]

TWO THOUGHTS:

1)  MISOGYNISTIC? Critics have called this film misogynistic (example here). On the page, I didn't particularly think so, but I can see how the overall film could be. 

2)  ESCALATING STAKES.  Writer Shane Black is well known for his action scripts.  One of the keys is that the stakes escalate in unpredictable ways. 

Also, the combination of suspense (ex. we know the dynamite is going to explode) and surprise (ex. explosion has unexpected consequences) isn't formulaic.  

For example, in the scene below: 
- Hallenbeck is the p.i.  Jimmy is the victim's boyfriend. 
- They found dynamite on the victim's car. 
- Hallenbeck takes the dynamite as evidence and moves it to his trunk. 
- Suddenly, two thugs hold them up their car keys.
- Notice that the mixture of suspense and surprise seems to build organically, which adds to the thrill. 
- Note: Though the slugline only says "interior", the action soon spills into the exterior parking lot.

INT.  HALLENBECK'S PLYMOUTH - NIGHT

...Hallenbeck smiles. Calmly turns and throws the keys as far as he can. They land off in the woods.

HALLENBECK: Oops. Don't know my own strength.

TALL MAN: You dumb bastard, you're going to pay for that. Jake, open the trunk.

Jake steps forward, raises the Beretta to shoot open the lock. Hallenbeck tenses, waiting. Looks to a sloping hillside off to his left. Jake FIRES at the lock. The BULLET BLOWS THROUGH the TRUNK -- and HITS three live sticks of DYNAMITE.  [I like that the action here is not telegraphed early.  Jake raises his gun, but he might change his mind --> Hallenbeck reacts, waits --> Jake fires --> bullet hits --> dynamite.]

Joe is already throwing himself and Jimmy down the hillside as the night lights up like a sunburst. The trunk lid is blown fifty feet in the air.

Glass sprays in every direction... Jimmy and Joe careen down the hillside like rag puppets. Lurch to a stop at the bottom. Bruised. Bloody. [We expect the scene to end here, maybe with a quip.]

Side by side, sucking wind -- until a noise intrudes, the sound of CRUMPLING METAL... getting LOUDER. They look up -- and there's the flaming car tumbling end over end down the hill, toward them. [Instead, there is an unexpected surprise of a falling car. It's like "out of the pan, into the fire."]

JIMMY: Son of a bitch!

They dive aside just in time as the car plows past them and slams to a stop against a tree. Burns. Jimmy looks at Joe. Joe looks at Jimmy. 

WHAT I'VE LEARNED: I liked the combination of 3/4 suspense and 1/4 surprise because: 
a) it's purely about escalating stakes, and 
b) the emotion feels genuine, uncalculated, and not following a set formula.

The Last Boy Scout (1991)(2/25/91 with additional revisions)
by Shane Black
Story by Shane Black and Greg Hicks

TODAY'S NUGGET: Tender Mercies (1983) - How A Simple, Clear Motive Can Be Quite Unpredictable (Suspense)

[Quick Summary: A run down, former singer-songwriter gets a second wife and a second chance with his daughter and career.]

I think people like suspense because it is unpredictable.

But what is unpredictable any more without guns or car chases? 

Perhaps one key is to create characters who:
a) are dedicated to clear motives
b) and their motives clash.  

This script is a good example of pure character work being the unpredictable factor rather than external stimuli like explosions. 

Before the scene below:
- The protagonist, Mac, used to be a famous singer until he became an alcoholic.
- Dixie is Mac's ex-wife and is still touring as a famous singer.
- Sue Anne (18) is their daughter, who hasn't seen her dad since she was 6.
- Harry is Dixie's manager.
- Dixie has spoiled Sue Anne, giving her everything except freedom.
- The tour has stopped in a town near Mac's house.
- Note that the unpredictability spring from within these characters. We are constantly uncertain because we don't know how far the characters will go.

INT. DIXIE'S DRESSING ROOM - NIGHT.

SHE is changing her clothes. Sue Anne and HARRY come in.

DIXIE: I told you to wait up here with me when you weren't out front watching the show.

SUE ANNE: I'm sick of watching the show. I've seen it a hundred times.

DIXIE: Then stay up here.

SUE ANNE: I don't want to sit around here by myself.

DIXIE: Then watch T.V.

SUE ANNE: I'm sick of that, too.

SHE starts out.

DIXIE: Where are you going?

SUE ANNE: I'm going back to the hotel.

DIXIE: Why?

SUE ANNE: To change my clothes. I've got a date tonight.

DIXIE: Who with?

SUE ANNE: None of your business.

DIXIE: God damn it. What do you mean it's none of my business.

HARRY: Now, come on, honey. Don't get excited. You still have the rest of the show to do. [His motive is clear: make sure Dixie gets back on stage.]

DIXIE: She's going on no date unless I know who she's going with. [Dixie's motive is clear: don't let Sue Anne go on this date.]

SUE ANNE: Try and stop me. [Sue Anne's motive is clear: I will go on this date.]

DIXIE grabs her. SUE ANNE yanks her arm free and runs out. DIXIE follows to the door. 

DIXIE: (Screaming): Sue Anne. Sue Ann. Sue Anne. (She turns to Harry.) Harry, go after her. Tell her I said she'd better get back here and get back fast.

HE runs out after her.

WHAT I'VE LEARNED: Characters don't need complicated motives, but they must be strong clashing ones in order to setup the uncertainty of "how far will they go?"

Tender Mercies (1983)(undated)
by Horton Foote

TODAY'S NUGGET: The Cotton Club (1984) - Breaking Through Writer's Block with 4-5 Word Summaries

[Quick Summary: Several stories of a coronet player getting mixed with mobster, racial tensions, in the Roaring Twenties and early Depression.]

There were three things I really liked in this script:

1) THIS LINE OF DIALOGUE:  

DUTCH: ...You make a livin' with that horn?

DIXIE: I'm eatin' but I'm not getting fat.

2) THE FACT THAT THIS SCRIPT JUMPS AROUND A LOT BUT DOESN'T FEEL LIKE IT. Critic Roger Ebert explains what is in the mix:

Coppola has a way, in this film, of telling all the different stories without giving us the impression he's jumping around a lot. Maybe the music helps. It gives the movie a continuity and an underlying rhythm that makes all of the characters' lives into steps in a sad ballet. We like some of the characters, but we don't have much respect for them, and the movie doesn't bother with clear distinctions between good and evil. "The Cotton Club" is a somewhat cynical movie about a very cynical time, and along with the music and the romance there is racism, cruelty, betrayal, and stunning violence. Romance with a cutting edge.

3) MOST SLUG LINES INCLUDED 4-5 WORD SUMMARY OF "WHAT IS THIS SCENE ABOUT?" It's not a gimmick; it broke through my writer's block.

I was stuck recently and tried this trick to summarize the scene before I wrote it.  Behold!  It cut down on distractions and focused me immediately.

I will note that it was seeing all the various examples that helped.  So I encourage you to read it and page through it for inspiration when you're stuck.

Here are five examples (they're underlined as presented in the script):
- EXT. DWYER APARTMENT - DAY: VINCE SAYS HE'S MARRIED
- EXT. COTTON CLUB - DAY: EXIT AUDITION/SEE LILA ROSE
- INT. HOOFER'S CLUB - DAY: SUGAR REMINDS SANDMAN HE'S LATE
- INT. UBANGI CLUB - NIGHT: BAD JAM SESSION
- INT. DWYER APARTMENT - NIGHT: TEA & TOAST WITH PSYCHOPATH

WHAT I'VE LEARNED: I've been returning to this script again and again, just to look at the 4-5 word summaries for different ways to tackle scenes.

The Cotton Club (1984)(8/22/83 shooting script)
by William Kennedy and Francis Ford Coppol/a

TODAY'S NUGGET: Mr. Blandings Builds His Dream House (1948) - Two Keys in Delivering Setup-Payoffs in a Screwball Comedy

[Quick Summary: Jim and Muriel buy their dream house in the country, but it's more than they can handle.]

Q: What is one of the joys of screwball comedies?
A: Anticipating and wondering what is the character going to do next (?!).

Q: So what is a screwball writer's greatest fear?
A: That these hijinks will drag on the page.

Q: So how does the writer keep the script fun and lively to read?
A: I think it's balancing the delivery of the setup-payoffs.   

Scene A thwarts the audience's expectations with mini setups-payoffs.  However, it doesn't completely deliver a final payoff that would extinguish the momentum. 

The writer has to pace the setup-payoffs in Scene B, C, D, etc. to keep it rising. 

For example, in today's scene below:
- Note that this isn't a particularly new story, but it is about how the tale is TOLD.
- The setup is easy to read and predictable: Jim starts to rub steam off the mirror, which is something we've all experienced.
- The scene payoff is quick as things start to pile up and it gets ridiculous: his lather needs refreshing, more steam, Muriel contorts herself in the small space. 
- Also note the pacing of these small scene payoffs are like snacks.  They satisfy temporarily, but don't deliver the whole meal yet. 
- However, they're fun enough to continue to build curiosity (momentum) until it answers the overall question at the final payoff (is moving a good idea?)
- This film stars Cary Grant and Myrna Loy.

INT. THE BATHROOM

...Jim - He stands in front of the washstand lathering his face. Over scene we hear Muriel's voice from the shower. She is singing a lusty chorus of "Home on the Range." Jim picks up his razor and turns to the mirror. He reacts with annoyance, as he discovers it is covered with steam. With weary resignation he takes a towel and starts to rub off the mirror. As he clears one section another clouds up. By the time he gets it all reasonably clear he finds that his lather needs freshening. He grimly re-lathers his face only to find that the mirror is again clouded up. As he turns with exasperation toward the shower we see Muriel turn off the water, reach for a towel, start to dry herself. The mirror cleared off, Jim re-lathers, starts to shave. During this, Muriel, having dried herself and donned her robe, comes into scene. 

MURIEL (reaching for toothbrush): Excuse...

She takes her toothbrush and then opens the cabinet to get the paste. Jim, automatically following the mirror, has to squeeze around in a desperately contorted position as he continues shaving.

WHAT I'VE LEARNED: I really enjoy the thwarting of my expectations.  Also, half the fun is watching the setup-payoffs build and build until they explode.

Mr. Blandings Builds His Dream House (1948)(undated)
by Melvin Frank and Norman Panama
Based on a novel by Eric Hodgins

TODAY'S NUGGET: The Jewel of the Nile (1985) - Perfectly Timed Dialogue and Action (Stakes, Hope-Fear in Romance)

[Quick Summary: A sequel to Romancing the Stone. After an ambitious African politician kidnaps writer Joan Wilder to write his life's story, the selfish Jack Coulter races to her rescue.] 

I agreed with critic Roger Ebert that this story was good, but it lacked romance:

But the original contract specified a sequel, and it’s to everybody’s credit that “The Jewel of the Nile” is an ambitious and elaborate attempt to repeat the success of the first movie; it’s not just a ripoff. Even so, it lacks some of the pleasures of “Romancing,” especially the development of the romance between Douglas and Turner.

He went on to praise the mechanism of his favorite scene in a rat pit*  

I couldn't find that scene in this draft, but found a similar one in which the emotional and physical beats fall like clockwork (below):
- Joan, Jack, and the Jewel have arrived at a village.
- The Chief will let them pass if they pay the $1M toll.
- Pay attention to the rhythm of the scene.
- Notice the hope-fear-hope-fear pattern winds up the tension.

EXT. NUBIAN VILLAGE

...The CHIEF talks aside with the Jewel.

JEWEL: You don't have to pay it. ... Instead he will take Joan for one hour. [Fear. Emotional stakes are high here.]

Jack stops dancing. Looks at Joan.

JOAN: He's kidding. [Hope. She tries to dispel the fear.]

JEWEL: Just one hour. [Fear.]

JACK (teasing): Well Joan, now you can do something serious. Something that really matters. (to the Chief) Go ahead. 

The NUBIANS laugh as Jack offers the CHIEF Joan's hand. All one big joke. Until the CHIEF starts pulling her into his hut.

JACK: OK...fun's fun...hey, that's it. [Fear.]

Now Jack grabs the CHIEF. Wrong move. He's immediately seized by six young toughs. Joan becomes scared. The Chief talks roughly.

JEWEL (translating): He wants to know if you are married? [Emotional stakes.]

JOAN: No.

JEWEL (translating): Any babies? [Higher emotional stakes.]

JACK: No. ...look, what's the difference?

The CHIEF now pushes Jack in the chest. [Physical move that raises stakes.]

JEWEL: Then decide. Either he takes Joan for an hour...

JACK: Or...?

JEWEL: You will lose your leg.  [Fear.]

A terribly OBESE NUBIAN steps forward with a broad AXE on a long handle. The other young toughs stretch out one of Jack's legs. Tension is unbearable. They realize the CHIEF is serious.

JOAN: Jack...I ...I have to. [Rising emotional stakes.]

JACK (straining against their holds): NO!! I forbid you.

JOAN: You can't.

JACK (screams for all he's worth):  NOOOO!!! [Highest tension, stakes.]

The CHIEF looks at Joan.  A wave of his hand and the OBESE NUBIAN raises his axe. Joan turns to the CHIEF. Touches her chest.

JOAN: Yes. Now. 

JACK (half-crazed) Cut the leg. (at the Chief) DAMN IT! CUT OFF MY GODDAMNED LEG!! [FEAR! PEAK OF FEAR!]

JEWEL: That is your decisions?

JACK (really scared): Yes...

JOAN: Jack...

ON THE AXE

High in the air. A beat, then down it comes. BAM! Into the dirt next to Jack. A great CHEER goes up among the Nubians. They start to dance in simple, sweet ecstacy.

JACK - BEING BEAR-HUGGED BY THE CHIEF

ready to faint, looks to Joan, then to the Jewel.

JEWEL (translating): We are free to go no.   ... The Nubians are hopeless romantics. Some tribes enjoy tests of strength. ...They like to test love. [Funny release of tension.]

JACK AND JOAN 

are hoisted on shoulders and carried around the village.

WHAT I'VE LEARNED: One key to escalating stakes is the pendulum of emotions swinging from hope to fear.  Don't be afraid to swing widely.

The Jewel of the Nile (1985)(1st draft)
by Mark Rosenthal & Lawrence Konner

* Ebert wrote: 

...My favorite moment between them comes as they hang by their hands over a rat pit, while acid gnaws away at the ropes that suspend them above certain doom. Sure, this scene owes something to “Raiders of the Lost Ark.” But what’s new about it this time is the dialogue – the way they break down and confess that they love each other, and make marriage plans as death inexorably approaches. And then, when DeVito appears and might possibly save them, there is some business with a ladder that is followed by dialogue so perfectly timed that I laughed not so much in amusement as in delight at how well the mechanisms of the scene fell together. (my underline)

TODAY'S NUGGET: My Favorite Wife (1940) - Making It Easy for the Audience to Follow Trickster Characters (Structure)

[Quick Summary: After being missing for 7 years, an anthropologist returns to find her husband has just re-married that day.]

I love Cary Grant as a "trickster" character in screwball comedies because he often paint himself into a corner. How will he get out of this?!

Tricksters make wild decisions on a whim, causing many twists and turns.  Thus it is important to keep the story line fairly straightforward and relatable.

ex. This script's structure has a lot of twists and turns:
- Ellen, an anthropologist on an expedition, is presumed dead at sea.
- It turns out she's spent the last 7 years on a deserted island.
- She returns to find her husband Nick has just married wife #2, Bianca.  
- Nick finds out Ellen is not only alive, but had been on the island with Mr. Burkett, a fellow traveler on the ship.
- Ellen brings in a fake Burkett to meet Nick.
- Nick brings the real Burkett to confront Ellen.
- However, the real Burkett surprises them by declaring he wants to marry Ellen. 
- Despite all this ruckus, note that the simple jealousy story line makes it easy for the audience to follow the action.
- I also liked the smart (but hard to pull off) structural twist: Nick must choose between two wives --> It flips to Ellen now must choose between two husbands. 

Here's a sample of showing jealousy.  Note how it doesn't rush the emotions:

 EXT. GARDEN - DAY

...MED. CLOSE SHOT - of Nick, as he watches, fascinated apparently.

LONG SHOT - Burkett, beautifully build, ascends the lower diving board. He leaps from the diving board and catches the rings in mid-air. 

CLOSE SHOT - as the figure swirls through an intricate movement, every muscle showing.

MED. CLOSE SHOT - Nick, as his head moves from left to right with Burkett's movements.

MED. CLOSE SHOT - Burkett, as his chest expands to the breaking point.

MED. CLOSE SHOT - Nick, as he stares, horrified.

LONG SHOT - as Burkett completes a complicated maneuver.

LONG SHOT - as the spectators burst into spontaneous applause.

MED. CLOST SHOT - as Nick feebly joins in applause.

LONG SHOT - figure still swinging.

                                                                               DISSOLVE

WHAT I'VE LEARNED: Trickster characters are inherently contradictory and conflicted, i.e., interesting to watch. Thus, keep the plot simple.

Also, take your time allowing the emotions to rise/fall, as in the scene above. Most of the fun is watching tricksters squirm and evade problems. 

My Favorite Wife (1940)(undated draft)
by Bella & Sam Spewack
Story by Bella & Sam Spewack, and Leo McCarey

TODAY'S NUGGET: The Fisher King (1991) - When Brusque Kindness Breaks Through a Character's Shell

[Quick Summary: After he made a mistake that severely affected a homeless man, a fired radio DJ tries to absolve his guilt by befriending the man.]

TWO THOUGHTS:

1) EXCELLENCE AIN'T CHEAP. This is an excellent script, but it didn't come easy.  (See here for an in-depth interview with the writer Richard LaGravanese).

2) CHARACTERS WHO CARE.  For me, the script rises above others because we feel the characters care about others, even if they're seemingly rude or abrupt.

For example:
- Jack, the DJ, befriends a homeless man, Parry.
- Parry is in love with an office worker, Lydia, but from afar.
- Jack is living with Anne. She has issues with his lack of commitment.
- Jack asks Anne to help him set up Parry and Lydia.
- Jack and Anne get Lydia to come to Anne's video store under false pretenses.
- Lydia admires Anne's nails. 
- Anne offers to do Lydia's nails so that Parry and Jack can "casually drop by."
- Anne is a brusque and isn't exactly excited about this farce, but she is kind.
- I really liked how the writer used this brusque kindness  (Anne) to get past a defensive shell (Lydia).
- The key to the breakthrough is Anne's empathy with Lydia's situation.

INT. ANNE'S APARTMENT - A LITTLE LATER

ANNE works the other hand, as LYDIA sips her tequila from a straw.

ANNE: ...SO...anybody special in your life?

LYDIA (defensive): Do I look like I have someone special?

SHE moves to picks up her tequila with the manicured hand but ANNE eyes her down.

ANNE: Well, don't say it like that. It's not so...ya know, crazy an idea. You are a healthy woman...You hold a steady job. Ya not crossed eyed or anything... [Here, Anne seems rude, but she is actually complimenting Lydia.]

LYDIA: Well, there's nobody special! [Lydia is defensive.]

ANNE: Fine.

LYDIA (pause, then:): I mean it's not easy in this day and age. [However, the empathy makes Lydia feel seen.]

ANNE: What?

LYDIA: Meeting...people.

ANNE: Tell me about it. I've been dating longer than I've been driving. I can't believe that. [Anne identifies how being rejected feels, i.e., again saying "I understand."]

LYDIA: I never really...went through a ...dating period.

ANNE: It's a disgusting process. You haven't missed anything.

LYDIA nods in agreement, but her face tells us she feels she has missed a great deal.  [Some nitpickers may say, "hey, that's 'telling' rather than 'showing'!" but I'd challenge you to do better. How would you explain what an abstract concept like "breakthrough" looks like?!]

WHAT I'VE LEARNED:  Don't be afraid of characters with rough edges. Don't berate yourself if you can't perfectly abide by "show, not tell."

The Fisher King (1991)(revised 6/30/90)
by Richard LaGravanese

TODAY'S NUGGET: Wrongfully Accused (1998) - A Clever, Spoof Comedy with a Double Take Sight Gag

[Quick Summary: A wrongfully accused man must track down the one-eyed, one-armed, and one-legged man to clear his name.]

Q: What do you think are the best films in the genre?
A: Airplane (1980) and Naked Gun (1988), which star one of the best spoof comedy actors ever, Leslie Nielsen.  (He also stars in today's featured script.)

Q: Spoof comedies are hard to write.  Why didn't you like this one?
A: Around this time, the genre seemed to be running out of new ideas.  

Q: What do you like to see in a spoof comedy?
A: When the story goes off on unexpected tangents.  Or showing something you think you know --> springing a surprise --> which makes you do a double take.

ex.  Today's script does have a great double take sight gag:
- Our hero, Ryan Jack Harrison is at a bait shop, on the run.
- He sees a 'wanted' poster of his own face.
- He draws "big, Buddy Holly glasses, a long ZZ Top beard, and blacks out a few teeth" on the poster.  We immediately ask ourselves, "How is this going to help?!
- The bait shop owner is Roman.
- I love this scene because it's a rare to have a double take WITHIN a sight gag.

INT. "ROMAN'S" - DAY

...[Ryan]starts to leave. Roman pulls a gun.

ROMAN: Don't move, Harrison!

Ryan is about to raise his hands when Roman pushes him aside. Roman's gun is trained on:

ANGLE - MAN

Big Buddy Holly glasses, long ZZ Top beard, and a few blacked out teeth. He looks exactly like Ryan's alterations on the poster.

ANGLE - RYAN

Quietly exits.

WHAT I'VE LEARNED: I liked that this sight gag was so simple.  I expected Roman to go after Ryan, but instead, Roman went after "Ryan."

Wrongfully Accused (1998)(4/11/97 revised)
by Pat Proft