[Quick Summary: In a small fictional town, grieving, embittered mother of a rape victim buys three billboards to provoke the police into action.]
Two McDonagh scripts, then and now:
1) THEN
A few years ago, a development exec asked me to cover an unproduced script by a guy called Martin McDonagh. I went in cold, knowing nothing, as I preferred.
I was not prepared. Not for the levels of graphic violence, swearing, nudity, etc.* Not for my wincing and/or reading in trepidation between my fingers.
Not for the brilliant grasp of story. And especially not for my paradoxical reaction.
Officially, I was offended on behalf of humanity.
Unofficially, I couldn't stop reading (even though I was officially offended).
What was so special? Whether I agreed or not...Whether I might be shocked, appalled, or embarrassed, I understood what the characters wanted and why.
2) NOW
McDonagh's scripts are getting even better. There is still clarity of motive.
However, I thought today's script was a particularly good example of the third "thing" that develops in the space between two characters.**
In the scene below, Sheriff Willoughby is dying of cancer. He wants the protagonist Mildred to get rid of the billboards. She wants him off her back.
Notice what forms between them in this push-and-pull scene.
ex. "WILLOUGHBY: What's Charlie think about these here billboards of yours, an ex-cop like Charlie?
MILDRED: Ex-cop, ex-wife-beater. Same difference, I guess, right? [We learn more of Charlie. What is our opinion of him? Somewhere between W and M's opinions?]
WILLOUGHBY: His word against yours, though, right? (pause) Charlie don't know about them, does he?
MILDRED: It's none of his business. [Ah! W uncovered M's secret.]
WILLOUGHBY: He's kinda paying for 'em though, ain't he?
MILDRED: I'm paying for 'em. [Do we think Charlie should know? Again, probably somewhere between W and M's opinions.]
WILLOUGHBY: This month you are. How about when...
WILLOUGHBY suddenly let's [sic] out a short sharp cough which spurts a spray of blood that hits MILDRED in the face, wholly by accident. Horrified, shaking, WILLOUGHBY tries to wipe her face with a handkerchief, MILDRED almost in tears at his embarrassment.
WILLOUGHBY (cont'd): I didn't mean to... [W's shame is about more than the blood.]
MILDRED: I know... [M knows what he means.]
WILLOUGHBY: It was an accident...
MILDRED: I know, baby. [M, at her most tender. This is startling, contrasted to her behavior everywhere else. ]
WILLOUGHBY: It's blood.
MILDRED: I know. [She's embarrassed for him, even if she can't say it.]
They're both in tears, and there's a desperation in his eyes, as he sits there shaking.
MILDRED (cont'd): I'll go get somebody... [Helpless M is not seen often. It's uncomfortable for all.]
She rushes out the door."
WHAT I'VE LEARNED: I liked how this space between two characters was so alive and active. Also, it requires the audience to get involved (infer, deduce, etc.)
Three Billboards Outside of Ebbing, Missouri (2017)
by Martin McDonagh
*None of which was ever gratuitous, surprisingly enough.
**I wonder if this is due to McDonagh's playwright training?
No comments:
Post a Comment