TODAY'S NUGGET: Kansas City (1996) - One Way to Justify a Road Trip

[Quick Summary: In an uneasy 1934, Blondie kidnaps innocent Mrs. Stilton to force Mr. Stilton to get Johnny, Blondie's husband, released from the mob.]

At first glance, this story just seems to be a meandering road trip around Kansas City between Blondie and Mrs. Stilton.

But below the surface, it's great storytelling:

1) There is a justification for the women to not stay in one spot for too long, i.e., they have to wait for Mr. Stilon to fix the situation but people are looking for them.

2) There is a reason behind each stop, i.e., we learn more about the characters.

For example, in the scene below:
- We learn how smart Blondie is.  She knows her sister is the one person who could talk her out of things and ruin her plan.
- Note the economy of writing, especially Babe looking in the car --> Blondie on the lookout.

INT. THE REEL INN - DAY

BLONDIE stands up and goes to the window. ANGLE OF WHAT BLONDIE SEES: BABE is parking her car on the street. BLONDIE goes immediately to where BESS is sitting.

BLONDIE: Come on, lady, we got to get out of here. Now.

BESS: What for?

BLONDIE: 'Cause I don't like it here. Move it. Let's go.

BESS doesn't question BLONDIE'S orders. She is stoned enough to do what she is told. She stands up puts on her coat and waits for further instructions.

BLONDIE: Follow me.

EST. FILM ROW - DAY

BABE sees BLONDIE'S car parked on the street. She looks in the windows then opens the doors and looks around inside to make sure it is BLONDIE'S car. As the CAMERA PULLS BACK we see that BLONDIE has been watching her sister from behind a building at the corner.

When BABE goes toward THE REEL INN, BLONDIE brings BESS out from behind the building and escorts her to the car.

BLONDIE starts the car and makes a U-turn. She watches in the rearview mirror.

BLONDIE: That was close.

This is all a blur to BESS.

WHAT I'VE LEARNED: I appreciate this example of how to tell a story in an interesting way. I wasn't expecting to get as involved emotionally as I did.

Kansas City (1996)(undated draft)
by Robert Altman & Frank Barhydt

TODAY'S NUGGET: Last Action Hero (1993) - Knowing How to Pace Action Sequences

[Quick Summary: When Danny finds a magic ticket that allows him to go into movies, he helps his favorite action hero Slater fight crime.]

This is a great idea and I can see why they're trying to remake it ever since. However, I did get bored with the many action sequences.  

On the other hand, I was impressed with the pacing and flow of action.  

There's definite tempo (bad guys, good guys, build tension, crash!), but also knowing when to stretch and when to speed up.

In the scene below:
- Slater has been injured.  It is all up to Danny on a girl's bike vs. bad guys in sedan.
- The writers make you feel how it feels to be Danny (headlights looming at him).
- They also secretly speed up our mind's eye (fall out window, lying on grass).

We're talking a TWO-TON SEDAN versus a GIRL'S FIVE SPEED. With Smurfs. They race toward each other. Collision imminent. DANNY is sweating. Teeth gritted. Eyes squeezed nearly shut.

DANNY: This is gonna work...it's a movie, I'm a good guy, this has got to work....

The headlights LOOM in front of him. Blinding. RUSHING FORWARD.

And it hits DANNY like a thunderbolt:

DANNY: I'm the comedy sidekick. Oh, shit, I'm the comedy sidekick. IT'S NOT GONNA WOOOOORRRK!

Needless to say, he swerves, jumps the curb, doing fifty, races for the edge of a hillside as we

EXT. STREET - NIGHT

SLATER appearing, huffing and puffing --way in the background, a TINY SCREAMING DANNY can be seen on a bicycle as he goes through a second story window.

Shouts. More breaking glass. Curses in Yiddish.

EXT. STREET - NIGHT

SLATER turns, sees DANNY falling out of another window, lying on the grass.

EXT. STREET - NIGHT

DANNY, groggy, as SLATER reaches him.

DANNY (a whisper): I think I scared 'em pretty good.

WHAT I'VE LEARNED: This script makes you feel what Danny is feeling in real time, which is due to pacing. Slow down for emphasis, faster over boring parts.

Last Action Hero (1993)(10/20/92 draft)
by Zak Penn and Adam Leff
Current draft by Shane Black and David Arnott
Production Polish by William Goldman

TODAY'S NUGGET: The Passenger (1975) - Creating an Interesting "The Girl"

[Quick Summary: A journalist takes over the identity of a dead hotel neighbor, who turns out to be an hunted arms dealer.]

Why is "The Girl" here not a throw away stereotype, though her main purpose is essentially to look after and assist Locke?

I think it's because she engages him like a good tennis partner, batting the dialogue back over the net.  She also requires him to be in the present, not the past or future.

The scene below is their first meeting. Notice how quickly he tells her the truth.

46. A long room - Palacio Guell. Interior. Day.

...LOCKE: Excuse me, I'm trying to remember something.
GIRL (very naturally): Is it important?
LOCKE: No.

The Girl reacts to Locke with an absolute directness, and with an unusual absence of embarrassment.

LOCKE: Do you know what it is? I came in by accident.
GIRL: The man who built it was hit by a tram.
LOCKE: Who was he?
GIRL: Gaudi. He built this house for a corduroy manufacturer.

She gets up.

GIRL: Come.

They enter a big salon.

GIRL: They used this room for concerts. Wagner.
LOCKE: Do you think he was crazy?
GIRL: What do you think?
LOCKE: No, he wasn't.

She looks at him and laughs easily.

GIRL: How could you come in here by accident?
LOCKE: I was escaping.
GIRL (deadpan): Wow...(then seriously) From what?
LOCKE: I thought there was someone following me, somebody who might recognize me.
GIRL: Why?
LOCKE: I don't know.
GIRL: Well, I can't recognize you. Who are you?
LOCKE: I used to be someone else. But I traded him in. What about you?
GIRL (she smiles ironically): I'm in Barcelona. I'm talking to a man.

Locke smiles at her.

WHAT I'VE LEARNED: I was impressed that "The Girl" was a meaty part. Her only purpose is to help Locke, but that is what SHE wants, not because it's a plot crutch.

The Passenger (1975)
by Marc Peploe, Petter Wollen, and Michelangelo Antonioni

TODAY'S NUGGET: Excalibur (1981) - Where are the Choices With Real Consequences?

[Quick Summary: King Arthur rises to power, but his reign is plagued with .]

This is a case of a decently written script with unfortunate story issues.

First, Arthur starts off strong, but then is overtaken by more interesting characters.

Second, Arthur does not make consistent choices that have real consequences.  Yes, he does make choices, but they seem to be driven by circumstances vs. himself.*

I picked this scene below for its character choices and real consequences.  

Note how this argument feels very human, despite that they're bargaining about magical powers.  Will  Merlin uphold his principles or fall victim to his own desire?

EXT. BATTLEMENTS, CAMELOT - DUSK

....Morgana, who has been watching from the shadows, slinks up to Merlin's side.

MORGANA: Crazy old fool. You think yourself a kingmaker. Ha! a meddler, more likely. Look what a mess you've made of things.

Merlin smiles knowingly at her.

MERLIN: I? Perhaps, perhaps. I'm losing interest, Morgana...I have helped men -- or meddled in their affairs, if you would have it that way --since the dawn of time. Now let them live by their own laws. Let them stand on their own feet. The gods of once are gone forever, it is a time for men...Morgana, make a man out of me. Kiss me.

He reaches to touch her lips. She cradles his hand in hers and doesn't allow Merlin to kiss her. SH kisses his knuckles and stares into his eyes, stoking his desire.

MORGANA: You know what I want. I want the secret of true magic, how to thicken the stuff of dreams and wishes with the flesh of the world.

MERLIN: That I cannot.

She breaks away, provocative, alluring.

MORGANA: Then I will not.

WHAT I'VE LEARNED: I feel when characters make choices without real consequences, it comes off as false. 

ex. Guinevere runs off with Lancelot...and isn't worried about Arthur?!

Excalibur (1981)(9/28/79 draft)
by Rospo Pallenberg and John Boorman
Adapted from "Le Morte Darthur," by Rospo Pallenberg

* As Roger Ebert puts it much better: "There is another problem, too: one common not only to many movie versions of Arthurian legends, but epidemic in the modern sword-and-sorcery genre. The people in this film seem doomed to their behavior. They have no choice. Arthur is courageous as a youth, but then presides over the disintegration of the Round Table, for no apparent reason. The brave and pure Lancelot, accused of being Guenevere's lover, engages in a deadly joust to defend her honor. Not much later, however, they make love. Merlin is a great and powerful magician, but allows Morgana to outwit him; he seems to decide from moment to moment whether to possess vast powers or none. 

Since there is no consistency in the behavior of the characters, “Excalibur” is maddeningly arbitrary. Anyone is likely to do anything, and when they do, Boorman springs another battle scene on us, with horses whinnying and swords thumping into flesh until the novelty wears thin...."