TODAY'S NUGGET: Possession (2002) - Leave Out/Leave In an Emotionally Correct Scene (That Does Not Push Plot Forward)?

[Quick Summary: After two modern academics stumble across two Victorian poets' "racy" letters, they track down the truth of the poets' secret relationship.] 

How does one adapt the 1990 Booker Prize winner* that is 576 pages long (paperback edition)?  

What should the screenwriter leave out? Leave in?

In this well crafted script, I was surprised that one of the best visual moments had nothing to do with the plot, but was emotionally correct for the film.  

Roland, a post-grad student, is at a crossroads.  He has stumbled across two rather daring letters from a Victorian poet that he's studied.  

Should he publish them? It would make his career, but also would destroy the poet's reputation as a faithful husband.    

The scene below externalizes Roland's internal dilemma.  It does not push the plot forward, but IS very effective in conveying "what should I do?"  

INT. ROLAND'S FLAT (HOLLAND PARK) - BEDROOM - SAME TIME

Roland, shirtless, lies in his sagging bed and stares at the two sheets. He studies them, reading them through again. Suddenly, he holds one in front of his mouth and blows...the thing page rises slowly, then hovers overhead. He catches it with a free hand then does it again. The letter floats magically above Roland in the darkness.

WHAT I'VE LEARNED: This would be a scene I'd cut in favor of more plot, and I'd be wrong.  I also like that it could be read with different meanings. 

ex. The floating letters could be a metaphor about how fragile this situation is for the poet's legacy, but also how the upcoming journey will be dicey for Roland.

Possession (2002)(3/17/00 draft)
by Laura Jones and Neil LaBute
Based on the novel by A.S. Byatt

*FYI: The Booker Prize is a prestigious literary award for the best literary work in the UK and Ireland.  

TODAY'S NUGGET: Tom and Huck (1995) - How to Show A Kid Character Realizing the Consequences of His Actions

[Quick Summary: After Tom Sawyer and Huck Finn witness a murder in a graveyard, they try to defend the man unjustly accused of it.]

I felt myself relax as I read this script.  

First, it read extremely quickly.  Second, I wanted to go with the characters, eagerly wondering what they'd decide to do next. 

One of the reasons is that the kid characters do not get a pass on hard decisions.  They are allowed to make them AND SUFFER the consequences of their actions.

For example, in the scene below:
- Injun Joe, Doc Robinson, and Muff Potter rob a grave at night.  They fight.
- Doc aims a gun at Joe, but hits Muff, who passes out.
- Joe take Muff's knife and kills Doc.
- Muff is unjustly jailed for killing Doc.
- Tom and Huck witnessed the fight and slip away.
- Tom tells Huck they have to help Muff, who has been kind to them, but Huck refuses.
- This scene is constructed to show Huck the consequences of not helping Muff. 
- It also leads to more questions that made me want to turn the page, ex. What will Huck do next?
- Notice where the writer positions Huck: from afar, in the distance. We only see Huck's reaction shots. 
- Why put Huck that far away? I think it helps better convey Huck's mental state, i.e., that he is finally seeing things more objectively.

EXT. JAILHOUSE - NIGHT

Through the barred windows of his cell, we see Muff Potter sitting in a pool of light, a defeated, pathetic character. The cell door CLANGS open and Muff looks up hopefully but it's only the Sheriff come to deliver Muff's meal -- a hard biscuit and a cup of water.

MUFF (wishing): Has anybody come to see me, Sheriff?

We JUMP BACK TO A LONGER SHOT to reveal that someone is observing Muff from the shadowy roof of the building next door. It's Huck, though we can barely make out his face, just his tattered outline, rags blowing in the breeze.

SHERIFF: Don't be stupid, Muff. (as he CLANGS the door shut; a cruel laugh) Nobody cares about you. And nobody's gonna miss you when you're gone.

The words, meant for Muff, seem to have an effect on Huck. At any rate, he turns and disappears into the night.

WHAT I'VE LEARNED: Where a character is physically positioned in a scene can really help the audience psychologically understand his internal emotional state.

Tom and Huck (1995)(9/6/94 rev.)
by Stephen Sommers, David Loughery and Ron Koslow
Based on Mark Twain's "The Adventures of Tom Sawyer"

TODAY'S NUGGET: Star Trek V: The Final Frontier (1989) - Humor in Sci-Fi

[Quick Summary: When an unknown madman takes a planet hostage in the Neutral Zone, the Enterprise races get there to prevent further war.]

Why does sci-fi remain relevant?  I think it's because we learn about how humans think and feel when we see humans grappling with science.*  

For example, I really enjoyed today's script** because of the humor arising from its action-adventure and sci-fi situations.***  It's not an easy combination to pull off.

In the scene below:
- The Enterprise has just been renovated with a newly installed, inescapable brig.
- The writer set up this situation: What happens when technology is taken away from humans, who are so dependent on it?
- Then the characters have to figure it out.  They are frustrated, which is universal and recognizable. 
- Why is it humorous? Because we all have experienced a "foolproof" situation which defeats us, and we have to resort to primitive solutions.

INT. BRIG

...An infrequent almost inaudible tapping sound comes from the wall of the cell.

KIRK (continuing; distracted): What is that damn noise?

They turn and regard the back wall. The tapping continues.

SPOCK: I believe it is a primitive form of communication known as Morse Code.

They scramble over and huddle beside the wall.

KIRK: You're right, Spock. I'm a little out of practice...(listening) Let's se... that's an "s."

SPOCK: I believe the next letter is a "t."

KIRK: "a"..."n"..."d"...end of the word.

McCOY: "Stand."

KIRK: New word. "b"..."a"..."c"..."k."

McCOY: "Back." "Stand back."

They're about to congratulate themselves when they realize it's a warning. 

TOGETHER (in horror): Stand back!

They dive for cover as a large panel explodes from the wall, showering them with dust. Scotty appears in the opening.

SCOTTY: Well, what're you waiting for? Dinna you know a jailbreak when you see one?

WHAT I'VE LEARNED: Humor arises because we recognize ourselves in the situation, EVEN if the situation is other worldly.

Star Trek V: The Final Frontier (1989)(rev. final, 11/21/88)
by David Loughery
Story by William Shatner, Harve Bennett, David Loughery  

* For more discussion, see my review of a previous Star Trek film. 

** FYI: This script was the last Star Trek film produced while creator Gene Roddenberry was still alive.

*** I have enjoyed the ability of action-adventure writer David Loughery to combine action-adventure and humor with genre.  It's a real gift (see another of his scripts (here), and next week's script). 

TODAY'S NUGGET: Reds (1981) - How It Feels To Be Overshadowed (Subtext in Dialogue)

[Quick Summary: In the 1910s, journalist Louise Bryant and communist activist Jack Reed are tested when they report on the Russia revolution.]

Having heard a lot about Warren Beatty, I was skeptical of him as a writer. However, this script surprised me and it was unexpectedly easy to read.*

It was ok that I didn't quite understand all the politics because the dynamic between Louise and Jack is wonderful, as they tried (and often failed) each other.

I particularly liked how the script shows Louise's point of view and how she is often overshadowed by dynamic Jack, who is a natural is in front of the masses.

The scene below shows how this push-pull leaks into their personal relationship:
- Louise is trying to be seen for the person she is. Jack doesn't have those problems. and can't empathize.  It wears on her soul.
- She is conflicted as she tries to tell Jack what she wants, gets frustrated when he doesn't get it, yet still wants to love him.
- Notice the unspoken subtext. These two are being honest, but can't quite pinpoint the obstacle between them.
- The dialogue is free from exposition and quite good to speak aloud. 

INT. BEDROOM

...LOUISE: Listen, I want you to know something. I asked Whigham if he'd send me to France. [This seems to indicate she's made a decision without him.]

Silence. He sits on the bed. They don't look at each other. 

JACK: Is that what you want?

LOUISE: Yes.

JACK: Why? (no answer) What are you doing? [He confronts by asking questions.]

LOUISE: I'm not taken seriously when you're around.  [She's trying to explain without blaming.]

JACK: What do you mean you're not taken seriously?

LOUISE (turning away): This is not good.

JACK: Do you mean I'm taken more seriously? [He's annoyed.]

LOUISE: Do you mean you're not? You know what I'm saying. And you know it's true. Be honest with me.  [She wants reassurance.]

JACK: Maybe if you stopped taking yourself so seriously, somebody else would have a chance. [Rather than talk about how she feels, he tries to solve the problem. They're on different pages.]

LOUISE: Thanks.

JACK: Why should you be taken seriously before you've done serious work?

LOUISE: I've got to find another place. [Thinking it's fruitless to explain, she reverts to protecting herself. This is another brick in the wall between them.]

JACK: I'm not sure I know what kind of work you're serious about. [He's trying, and failing to bridge the gap with facts vs. feelings.]

LOUISE (turning back to him): Well, I don't care. And I'm really not interested in whether your friends take me seriously or not. I don't think we like the same people, Jack, or the same kind of life. I want to be on my own. I may have found a place on Houston Street.  [She feels misunderstood.]

JACK: Go ahead. Be on your own. I don't give a damn. You're on your own anyway. [He responds with hurt.]

LOUISE: I know you don't give a damn. [She responds with hurt.]

JACK (shouting): WILL YOU TELL ME WHY THE HELL I SHOULD GIVE A DAMN?

LOUISE: YOU SHOULDN'T. DON'T GIVE A DAMN. I DON'T GIVE A DAMN EITHER. I'M LEAVING. (she walks out)

JACK: O.K. ALL RIGHT. LEAVE! (she slams the door) I'M LEAVING TOO!

He drives his fist through the door. She stands in the living room. Silence. He lies down on the bed, rubbing his bruised hand.

LOUISE (finally): Is this what it's like? [After she unloads her feelings, she still cares.]

JACK: I guess so. [And so does he.]

She returns to the bed. He makes a hollow for her between arm and chest.

WHAT I'VE LEARNED: The disconnect seems so real because it's all below the surface.

She's looking for reassurance (emotional) and he's looking to solve a problem (anything but emotional).

Reds (1981)(undated)
by Warren Beatty and Trevor Griffiths

* Apparently there were a several uncredited writers, and the relationship parts I liked best were written by writer/director Elaine May:

...(Beatty said of the first draft that it “had serious problems. There was no tension between Bryant and Reed. What I needed to do was pit her feminism against his chauvinism, turn a woman who was in love with a man against that man.”) He ended up bringing in an uncredited Elaine May, with whom he collaborated on Heaven Can Wait. She focused mostly on the crackling tension between the wiseacre lovers, underscoring the sexual politics of the filmmaker’s present.