[Quick Summary: Two chained prisoners, one black, one white, escape and have to work together to get to freedom.]
How does one craft an unexpected turn in a script?
In this Oscar winning script,* I noticed that the turns were built on a hope-fear-hope-fear rhythm.
For example, in the scene below:
- Two prisoners, Cullen and Jackson, are shackled together and have been on the run for days.
- Cullen is white. Jackson is black.
- They come across a single woman and her son.
- They hold the woman at gun point and send the son to fetch a chisel and hammer.
- The scene begins in fear: These men have been through a lot in prison, don't like each other, and are chained together.
- The scene turns hopeful: They final get the shackles off.
- Fear strikes again out of nowhere: They've been so afraid of their pursuers (external), the last thing they thought would trip them up is their bodies (internal).
INT. CABIN -- FULL SHOT
...Jackson lays his wrist on the stone and holds the chisel over the cuff. Three ringing blows and the iron falls off his wrist.
CULLEN: Now me.
They exchange instruments. Jackson aims carefully. One smash and the iron separates. Jackson looks at Cullen and grins sickly. Cullen reaches for the gun. Both men measure each other.
CULLEN (licks his lips): We cut loose now.
Jackson's grin fades. His eye hood. Without warning, he drops the hammer, staggers Cullen catches him and carries him to the bed..
WOMAN: What's the matter with him?
CULLEN: He's sick. Got poison in his system.
WHAT I'VE LEARNED: The fear-hope-fear-hope rhythm is a good tool to keep the story going. The suspense can hide an unexpected upcoming turn/twist.
The Defiant Ones (1958)
by Nathan E. Douglas and Harold Jacob Smith
Based upon the story, "The Long Road," by Douglas and Smith
*FYI: This film was nominated in 9 times, including the first nomination for an African American actor for Sydney Poitier.
