I got a headache after reading this script. I felt frustrated and manipulated.
Roger Ebert explains why much better than I can:
Railsback begins to suspect that O'Toole really wants to kill him, either in the service of cinematic art or for some sadistic private purpose. And that is essentially the situation the film repeats, over and over, scene after scene, all the way to the end.
That's what bothered me. I caught on right away (it didn't take much deep thought) that the method of the movie was to deceive and mislead me. Because the ability to do that is completely within the director's ability-because I can know only what he chooses to tell me-I found the movie's approach more frustrating than challenging.Did I like anything? I did like the turning point/reveal below.
In this scene, Cameron (protagonist) and Henry (assistant cameraman) talk about Eli Cross (director). Cameron thinks only Eli knows Cameron's secret.
ex. "INT. HOTEL BAR - LATE NIGHT
...CAMERON: Ya quittin'?
HENRY: Fuckin' A. Gettin' out tonight. But not without splittin' a Schlitz with the one guy, 'cept me, who wouldn't take shit from that screwball.
As the BARTENDER is taking away the empties, Henry puts his finger down on a DIME.
HENRY (cont'd): Change is for you, except that. That's a very special dime. (holds it up for Cameron to see) Know what this is? Ask me!
CAMERON: It's a dime...am I close?
HENRY: It's Eli Cross' ass. People think 'cause you're easygoin' they can walk all over you. Bull-shit...I'm blowin' the whistle with this dime in that phone...killin' a man and hiding it from the police...are you kiddin'...? Who is he think he is? [Oh no! Does Henry know Cameron's secret too?]
Cameron pales, knowing that drunken Henry's desire for revenge can expose him to the police. He grabs the dime from Henry's fingers and drops it into a PEANUT VENDING MACHINE. [Cameron jumps to the logical conclusion, i.e., He thinks it's me.]
HENRY: What the hell you doin'?
They have reached the HOTEL DOORWAY. By now, Henry is convinced Cameron means business. He stops.
HENRY: Do whatever you wanna do, but I better do it with ya! You'll need help 'cause that goddamn looney is dangerous.
CAMERON (blustering): Not to me, he ain't. I'm going to the cops. You gotta earn your living in pictures, but I don't give a shit. He can't hurt me.
HENRY: Don't be too sure. Damned psycho nearly strangled me! Don't believe me? Wanna see marks...?(tears open shirt collar to show bruises) ...Lucky to be alive!
CAMERON (confused): Henry, what are you talking about? I watched that whole thing today, he didn't even touch you.
HENRY: Not today. When Burt went into the water. (Cameron is wide-eyed) [Wow! Henry was talking about Eli's secret, not Cameron's secret. This is a great reveal and reversal of our expectations.]
WHAT I'VE LEARNED: It really helps that Cameron jumps to the most logical conclusion first ("Henry thinks I'm the killer").
It makes the reveal stronger (Henry is talking about Eli) and the reverses our expectations.
The Stunt Man (1980)(final shooting draft)
by Lawrence B. Marcus
Adaptation by Richard Rush
Based on the novel by Paul Brodeur
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