TODAY'S NUGGET: Full Moon (Unproduced) - What A "Very British Sense of Humor" Looks Like on the Page

[Quick Summary: After a fictional young New Yorker flies to the UK for adventure, he becomes a minder to over-the-top Keith Moon, drummer of The Who band.]

What characterizes British humor?  Here's part of an essay from British comedian Ricky Gervais that was helpful to me: 

I would say that Americans are more “down the line.” They don’t hide their hopes and fears. They applaud ambition and openly reward success. Brits are more comfortable with life’s losers. We embrace the underdog until it’s no longer the underdog. We like to bring authority down a peg or two. Just for the hell of it. Americans say, “have a nice day” whether they mean it or not. Brits are terrified to say this. We tell ourselves it’s because we don’t want to sound insincere but I think it might be for the opposite reason. We don’t want to celebrate anything too soon. Failure and disappointment lurk around every corner. This is due to our upbringing. Americans are brought up to believe they can be the next president of the United States. Brits are told, “It won’t happen for you.” 

Today's script (unproduced) is written by the UK writing team of Dick Clement & Ian la Frenais,* who are best known for their trademark British sense of humor.** 

It's a good example of British humor around one of "life's losers." Keith Moon is ultra famous, but  brings self-destructive anarchy wherever he goes. 

In the scenes below:
- Dougal is the protagonist of the film, and Moon's minder/assistant.
- Moon has a house in Malibu next door to the actor Steve McQueen.
- Moon has become such a nuisance that McQueen built a fence between them.
- Moon is upset that McQueen would want a fence.
-  He decides to "bring authority down a peg or two, just for the hell of it." 
- The irony is that: 1) because Moon insists on a life of continual excess, booze, drugs, and partying that he's lost touch with normal social customs; 2) what Moon wants is connection with McQueen, but his actions isolate himself even more.

 

EXT. MCQUEEN HOUSE   POOLSIDE   DAY

A Hispanic Maid walks from the house with a tray containing a beer and a club sandwich. The fence is finished between the two properties and there's SILENCE except for seagulls and surf. There's a figure lying in a lounger by the side of the pool. We can't see a face as it's concealed by a script called 'The Towering Inferno'. 

EXT. MOONIE'S HOUSE   YARD   DAY

Moonie is astride a vintage British Triumph motorcycle, still wearing the German uniform. 

As we CUT WIDE we reveal that a ramp has been erected leading straight toward his neighbor's fence.

Moonie puts the bike in gear, makes a wide circle, then throttles back and heads it toward the ramp.

EXT. MCQUEEN'S HOUSE   POOLSIDE   DAY

From McQueen's POV we see the motor cycle fly into view, just clearing the top of the fence. in SLOW MOTION it sails through the air, accompanied by the main theme from 'The Great Escape.'. 

It completes its triumphant arc, landing in the swimming pool with a roar and a hiss of bubbling water and oil. There's a pause before Moonie's grinning face breaks the surface.

MOONIE: The Great Escape, Steve, one of your finest.

INT. MOONIE'S HOUSE    KTICHEN    DAY

Dougal gets himself a beer from the ice box. Moonie sits at the kitchen table, rolling himself a joint. He's in shorts and a Hawaiian shirt.

MOONIE: I thought he'd be amused. I was paying homage to the prick! I thought we'd crack a few Coors and talk motorbikes. There's nothing to eat in the house, where have you been? [The irony is that Moonie is offended that McQueen didn't think the stunt was funny. Also, the concerns of an average person - the cost, the embarrassment - doesn't seem to faze him.]

WHAT I'VE LEARNED: I felt the bittersweetness of the British irony.  I empathized with what Moon wanted (connection) yet abhorred his actions (destructive).

Full Moon (unproduced)(1/31/97, 3rd draft)
by Dick Clement & Ian la Frenais 

* You may not know the names, but you've probably seen their tv/film work (full list here). 

**The story goes that their trademark British humor was so well regarded that they were brought in to punch up the humor on The Rock (1996) before actor Sean Connery would sign on:

Instead, they [Clement and la Frenais] needed to go in and add more humour, and to make the character of John Mason more British. If anything, more Bond. The lack of Britishness had been one of Connery’s key objections to the original screenplay, and it needed addressing. They got to work, and they concentrated on fleshing the character of Mason out. One example contribution is a conversation at the end of the film’s second act, where Connery’s Mason explains, “I was special services. Military intelligence. They taught me to be a killer. In retrospect, I’d sooner have been a poet or a farmer. Which I consider infinitely more honourable professions.”