[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
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