TODAY'S NUGGET: Duplicity (2009) - Why Do I Believe the Chemistry (& Fireworks) Between These Characters?

[Quick Summary: Two industrial spies, who are in a secret love affair, are on opposite sides of a case.]

Tony Gilroy writes scripts that actors want to play. 

Why? One reason is because the chemistry between characters has real conflict and interesting dynamics.  I want to see how these fireworks resolve.  

For example, in the scene below: 
- Ray is being followed.
- His work buddy, Dale, is watching his back. They're on the phone together, trying to figure out  who is following Ray.
- In Grand Central Station, Ray recognizes Claire. He follows her into a store.
- Notice how FAST the writer gets us into the action. Ray blows by the usual "hi how are you" --> straight into his beef with Claire. 
- The audience sees Ray's behavior and realizes (without being told) that Ray and Claire know each other. Only someone familiar would bypass the usual greetings.
- Also: the suspense draws me in (WHY is he so mad?).
- Also: the provocative, snappy dialogue keeps me reading ("You charm me. Seduce me. Screw me.")

INT. SAKS FIFTH AVENUE -- DAY

... CLAIRE blinks. But she's a big girl. It's a public place...

CLAIRE: Look, seriously, I don't know you think I am, but wh-

RAY: You charm me. Seduce me. Screw me. Then you dope me and ransack my hotel room. (he still can't believe it) And how sick is this? Last thing I remember before I passed out whs how much I liked you.

CLAIRE: I'm sorry...I just...you don't look crazy, which is the only reason I'm not screaming for a security guard, but --

RAY: I can't believe you're going this way. 

CLAIRE: Is this...(glancing around) ...it's a joke, right?

RAY: You have any idea how far my ass was hanging out because of you?

CLAIRE: Is this? Are you selling something? What are you selling?

RAY: I got up the next morning, went back to the consulate and practically crawled over glass to get a copy of the guest list. Then I spent the next twenty-four hours trying to figure out if you were working for MOSSAD, the Syrians, or the Russians.

CLAIRE: Really...(maybe he is crazy) And who was it?

RAY: Still working for the C.I.A.? (like he nailed her) We're supposed to be on the same side, Theresa. Which was a lousy cover name for you, by the way -- you're not a THeresa. 

CLAIRE: What the hell are you talking about?

RAY: American Consulate. Dubai. You and me. Fourth of July, 2003.

CLAIRE: You are crazy (Does this ever work?)

RAY: We were drinking red, white and blue Margaritas. I had a knee brace. You had a toe ring -- first toe ring I ever saw, by the way.

CLAIRE: If you follow me, I'll scream.

And she's walking -- fast -- back the way she came -- back into the Perfume Jungle, and he's right on her ass --

...RAY: Come on... you don't want security any more than I do.

CLAIRE: You're right, I want the cops.

RAY: They're gonna want your name.

CLAIRE: Leave me alone! (wheeling on him and --)

HER PURSE -- the strap catching his arm -- tearing -- THE BAG SPILLING OPEN TO THE FLOOR and --

CLAIRE: -- look -- look what you did! --

CLAIRE dropping -- grabbing at the stuff that's spilled --

CLAIRE: --get away -- just -- you hear me? --

RAY: Oh no...

And the way he said it -- the way he looks -- something fundamental has shifted here suddenly --

RAY: You?

There -- at his feet -- her keys -- a KEYCHAIN -- a little Rubik's cube (Eight ball? Troll?) keychain and --

RAY: You? You're the drop...(pulling an identical keychain from his pocket --) I'm ...

CLAIRE: You? You're the meet? (yup) No... 

WHAT I'VE LEARNED: I believed the chemistry because they're both continuing to engage in the fight, trying to get what they want, even though something isn't adding up. Ray wants answers and Claire wants to avoid him. 

Duplicity (2009)(undated)
by Tony Gilroy

TODAY'S NUGGET: The Bourne Ultimatum (2007) - The Devil IS in the Details (Twist)

[Quick Summary: Bourne, a guy on the run with amnesia, goes back to his roots to find out how he became an assassin.]

Though the Bourne films varied for me,* all the scripts are good to excellent.  

I admire the writers for continuing to find ways to create new obstacles for Bourne.   It's tough to surprise today's audiences, who are often wise to genre tropes.  

Thrillers have a lot of fast paced action, but I'm always impressed when there's a twist that relies more on brains than brawn. 

For example, today's script had a small, clever detail that snuck by me. 

Yes, it's a small, but the devil IS in the details, isn't it?

EXT. UPPER EAST SIDE -- LATE AFTERNOON

Bourne exits from the subway. Bourne walks north.

INT. HUB

Wills pacing...Bourne's profile is up on Screen 2. It says "David Webb (AKA Jason Bourne)" on the profile.  A tech comes to Wills.

TECH: Sir, this may be nothing but, look at Bourne's birthday.

Wills looks at the profile. Bourne's birthdate is listed as 9/13/70.

WILLS: What about it?

TECH: Well, Landy told Bourne his birthday was 4/15/71 so...

Wills gets it instantly.

WILLS: Everything stops. (to the room now) EVERYTHING STOPS! LISTEN UP! (they're listening) New assignment. Numbers. Four.  Fifteen. Seventy-one. What do they mean?

Wills grabs his headset --

EXT. CRASH SITE -- DAY

A CRI agent approaches Vosen.

CRI AGENT: Landy gave Bourne a false birthday. Wills thinks it's a code. 

It sinks in for Vosen...oh...shit... 

WHAT I'VE LEARNED:  I liked this twist because it relied on observation, not having superior gadgets. 

The Bourne Identity (2007)(final shooting script, 7/20/2007)
by Tony Gilroy and Scott Z. Burns and George Nolfi
Story by Tony Gilroy
Based on the novels by Robert Ludlum and Universal's "The Bourne Identity" and "The Bourne Ultimatum"

* How I ranked the Bourne films:
- Bourne Identity: It's the freshest and most original.
- Bourne Supremacy: I wanted to see what happened to Marie.  
- Bourne Utlimatum: I'd lost patience with the "guy on the run with amnesia."   

TODAY'S NUGGET: The Bourne Supremacy (2007) - How to Ratchet Up Tension? Don't Forget the EXIT

[Quick Summary: Bourne and Marie are on the run once again.]

There are a lot of articles on how to INCREASE tension, but fewer on how to EXIT. 

Is the exit important? Yes, because tension relies on emotions rising and falling.  If it stayed high at all times, it would be very exhausting and also boring.

In these Bourne films, I like the exits because they demonstrate the necessity of the emotional release before the next round of tension. 

For example, in the scene below:
- The CIA is chasing Bourne.  
- Bourne is starting to remember things and who he is.
- Bourne calls the CIA for a meeting because he "wants to come in." 
- Bourne demands the CIA send in Nicky, someone he trusts.
- Nicky is a psychologist who helped Bourne with his meds and psychology on his last mission. 
- When they meet, Bourne demands Nicky confirm things in his file. 
- The scene exits with a show of mercy and emotional self-control.
- The exit lets the tension out, but also leaves us with more questions.
- Because there's a reprieve, we're ready for the next round of tension.

INT. PARKING GARAGE -- DAY

...BOURNE: For Treadstone. In Berlin. You know my file. I did a job here. When?

NICKY: No. You never worked Berlin.

BOURNE: My first job.

NICKY: Your first assignment was Geneva.

BOURNE: That's a lie!

NICKY (emphatic): You never worked Berlin...

BOURNE raising the gun -- eyes gone dead -- oh, shit...

NICKY (CONT'D): No...Jason...please...

BOURNE: I was here!

NICKY: ...it's not in the file...I swear...I know your file...your first job was Geneva! ...I swear to God you never worked here!...

He's so ready to kill her. NICKY starting to cry -- hands over her face -- covering up -- bracing for the bullet she knows is coming --

BOURNE -- about to pull the trigger --

SUDDENLY

FLASHBACK! -- a moment -- a shard -- A WOMAN'S FACE -- backing away -- begging -- begging us -- begging the camera -- PLEADING FOR HER LIFE IN RUSSIAN -- this awful blur of desperation and panic -- fear -- too fast -- too panicked --

JAM BACK TO  

BOURNE swamped -- thrown -- hesitating --  [I particularly liked this line because it shows Bourne's growth, as well as emotional self-control.]

CLOSE ON NICKY 

Sobbing now -- when? -- finally looking out, and --

BOURNE IS GONE! 

WHAT I'VE LEARNED: I think how you exit a scene is as important as how you enter because they (the exits) are transitions to the next round of emotions. 

The Bourne Supremacy (2004)(9/17/03 draft, revised)
by Tony Gilroy and Brian Helgeland
Based on the novel by Robert Ludlum and the 2002 Universal Film "The Bourne Identity"