TODAY'S NUGGET: A New Leaf (Unproduced) - Comedy w/Romance vs. Rom-Com?; A Smart Montage of Mental Fears

[Quick Summary: After squandering his inheritance, Henry decides to keep up his expensive lifestyle by marrying, and then murdering, a forgetful heiress.

MY THREE THOUGHTS:

1) UNPRODUCED SCRIPT. I rarely post unproduced scripts, but this is special.  

The acclaimed Elaine May directed A New Leaf (1971), which she adapted,  directed, and co-starred with Walter Matthau.

Then someone hired actor-writer Carrie Fisher to update it (the 1995 draft below).

2) WHAT GENRE IS IT? At first, I wondered if it was a comedy with romance or a romantic comedy. It is the former, but how can the reader tell?

COMEDY WITH ROMANCE = The story is about the protagonist on a funny journey or situation to solve a problem.  He/she may falls in love on the side.

ROMANTIC COMEDY = The story is about two protagonists' relationship, i.e., a two hander.  Both arc and change through learning to love the other person.

This script is very much focused on Henry, his goal (becoming rich again), and overcoming selfishness. Henrietta's arc is smaller, as she commits to Henry faster. 

3) A SMART MONTAGE OF FEARS. I was very impressed by how the following montage flowed on the page.  It shows Henry at home with fears playing across his mind:

...HOSTESS: We don't take reservations at Stauffers. You have about a twenty minute wait for a table. Stand in the back of the rope please.

Henry turns away from the mirror and faces INTO CAMERA. His expression is one of growing horror. Behind him the mirror goes blank, reflecting only his figure without background.

VOICE (O.S.): I'm sorry, Mr. Graham. The New York Athletic Club does not keep those members on its roster who are remiss in their dues.

The lobby of The New York Athletic Club suddenly MATERIALIZES in the mirror. Henry remains FACING CAMERA and speaking to off-camera clerk in tones of paranoid conviction.

HENRY: That's not it! It's my suit, isn't it?

Mr. Solomon suddenly appears in the mirror behind Henry and walks up to the desk. He lays a hand on Henry's shoulder. Both Henry's react.

SOLOMON: Don't waste your time, Mr. Graham. Come with me to the Y.

HENRY (shrugging his hand off): No, thank you. I will not, even in this time of crisis, identify myself with a minority group.

THE ANGLE TIGHTENS to an EXTREME CLOSE-UP of Henry. There is the SOUND of traffic and horns blowing O.S. THE CAMERA PULLS BACK slightly to reveal Henry at the wheel of a car. It is obviously a low budget car of American design. Through the side window of the car we see a Ferrari pull up. In it is Frank. He sees Henry, pulls down his window, and calls...

FRANK: Henry, you're not...you're not driving a Chevrolet!

Henry turns quickly away. The red light that bathes the screen turns green...and the Ferrari zooms off leaving Henry behind with the rest of the cars Henry closes his eyes. A tear trickles down his cheek.

WHAT I'VE LEARNED: I liked how clear the fear montages all had the theme of rejection in them.

A New Leaf (unproduced)(8/4/95 cut & paste draft)
by Carrie Fisher
Based on a screenplay written and directed by Elaine May.
Based on a short story, "The Green Heart," by Jack Ritchie.

TODAY'S NUGGET: The Wedding Singer (1998) - The Unfulfilled Desire

[Quick Summary: The wedding singer, who is engaged to the wrong woman, and a waitress, who is engaged to the wrong guy, fall in love.]

I have issues with this script, but it's ok.

I was pretty impressed, however, by how fast we get a hint of the protagonist's unfilled desire (interior conflict to come)* - by page 3!

In the scene below:
- Robbie, the wedding singer, can't wait to get married (unfulfilled desire). 
- He thinks his life is all smooth sailing.
- He has just wrested the microphone from the Best Man and saved his client's wedding reception. 

ex. "Robbie raises his glass and everyone in the thankful crowd follows suit in a smattering sort of way. The tension is broken.

Many look at Robbie hopefully, many still disturbed. The bride is ashen, unable to look at her husband, who sits by her side sweating.

ROBBIE (continued): C'mon everybody, we've all done crazy things. I had dreams of being a rock star and I was living what I thought was a rock'n'roll lifestyle. 'Til I met a girl who made me realize what's really important in life. And I'm marrying her next week. [Uh-oh.]

The crowd applauds. Robbie acknowledges it.

ROBBIE (continued): The point is, when you're in love, the emptiness is gone and there's no reason to do stupid things. Cause you got something to live for - each other. And the way I've seen these two look into each others' eyes all day long, I can tell they're gonna live for each other the rest of their lives. Cheers! [He's a romantic.  We sense that he's soon to be disappointed.]

The entire room fills with the warmth generated by Robbie's love inspiring speech."

WHAT I'VE LEARNED: I liked how we got to Robbie's current status quo quickly, with a light comedic touch, and set us up for where we'll be going.

The Wedding Singer (1998)
by Tim Herlihy (rewrite by Carrie Fisher, 11/8/96)

*This is known as Step 1: The Chemical Equation (Setup):  "A scene or sequence identifying the exterior and/or interior conflict (i.e., unfulfilled desire), the "what's wrong with this picture" implied in the protagonist's (and/or the antagonist's) current status quo."

TODAY'S NUGGET: Postcards from the Edge (1990) - Funny + Drama

[Quick Summary: A funny, addicted actress stays with her stage mother while filming a movie.]

I had stupid preconceived notions about this script. I was wrong.

Carrie Fisher really make the tough stuff look easy.

I especially liked how her comedy deepens the point of the drama:

- Funny and Uncomfortable:

ex. "Suzanne and Doris go into the kitchen. Jack stands awkwardly beside Sid, who continues watching TV.

JACK What're you watching there, Mr. Roth?

Sid points to the TV as he watches, in explanation of what he is watching."

- Funny and Romantic:

ex. SUZANNE: "Are you sure I didn't...sleep with you?
JACK: Sleep, yes.
SUZANNE: Kiss?
JACK: What? Here? Now?
SUZANNE: No. Then. That night.
JACK: See if this rings a bell.

Jack goes to kiss her. Suzanne starts to resist, but her need for affection and his charm overwhelm her. They kiss gently, shyly.

SUZANNE: It rings something, but I don't know if it's a memory bell, or --
JACK: --How about this?

He kisses her again, this time more passionately.

SUZANNE: It certainly reminds me of something I should've done before.
JACK: It reminds me of something I want to do later, so I can look back on it after that."

- Funny, with Ongoing Mother-Daughter Tension:

ex. [Suzanne goes into Doris' bathroom cabinet]

"DORIS (O.S.): Who's there?

Suzanne rolls her eyes. Great. Caught in the act and she didn't even do it. The light flips on and Doris stands there.

SUZANNE: Hi, Mama. I was just looking for some Aspirin.

Doris eyes her daughter suspiciously.

DORIS: Did you find it?
SUZANNE: Yes.
DORIS: Good.

They eye each other. Suzanne exits. Doris follows."

WHAT I'VE LEARNED: The funny bits make the drama better.

Postcards from the Edge (1990)
by Carrie Fisher
Adapted from her novel