TODAY'S NUGGET: The Mummy (1999) - What Sets an Action/Adventure Script Apart? Behavior Expressing Inner World

[Quick Summary: An English teacher, her brother, and an ex-Legionnaire seek buried treasures, unaware they're about to unleash a vengeful mummy.]

Q: You've read a lot of action/adventure scripts.
A: Why, yes; yes, I have.

Q: If I'm writing one, what are you looking for, on a basic craft level?
A:  Does this script know it's an action/adventure? Does it deliver the tropes (movement, conflict, often locations/travel) in a smooth read?

Q: What are you looking for, on a creativity level?
A: Most writers can handle action/adventure.  ex. Car A crashes into Car B.  

What many writers find difficult is adding character.  ex. Angry at the failure to heed the stop sign, Driver A tailgates Driver B, who drives super-slow to infuriate A.

Q: So how can I add character (motives, traits, conflicts, etc.)?
A: Focus on the behavior as a physical expression of the character's internal world.

Notice in the scene below how the writer

INT. FOYER - NIGHT

O'Connell and Jonathan race into the foyer. See Henderson's shriveled body on the floor. O'Connell runs up to Evelyn's door and rattles the knob, still locked. He bends down and looks in through the KEYHOLE. [Maybe looking through the keyhole means O'Connell is jealous?]

INT. EVELYN'S ROOM - NIGHT

Imhotep cups Evelyn's face in his hands, his HANDS instantly begin to DEGENERATE and DECAY. He leans in to kiss her. [Imhotep's desire is so strong that he's willing to decay just to kiss her.]

The door starts to CRASH and BANG from O'Connell and Jonathan trying to break in. Imhotep ignores them. And KISSES Evelyn. His lips and mouth instantly start to DEGENERATE and DECAY as he kisses her. Right down to the bone.  [Imhotep is undaunted by interruptions.]

The door BURSTS OPEN with a CRASH. Evelyn wakes-up from her trance. Sees Imhotep's rotted mouth kissing her. She SCREAMS and shoves him away. Imhotep's putrid mouth grimaces in sadness. O'Connell storms in.  [The verb "storms" has added importance to it.]

O'CONNELL: Get your hands off my girl, pal. [First verbal indication of deeper feelings for Evelyn.]

Imhotep's sadness turns to anger as he spins around and faces O'Connell. Imhotep licks his fetid lips. O'Connell smirks. 

O'CONNELL: Nice lips.

Imhotep starts to move for O'Connell. O'Connell smiles. [This is confident reaction, and unusual because the bad guy is coming at you.]

O'CONNELL: Figured you might be here, so I brought a friend.

He trows the white cat at Imhotep. Imhotep instinctively catches it. He SHRIEKS, drops the cat and stumbles back toward the window, --which suddenly BLOWS OPEN.

Imhotep CRIES OUT, spins like a dervish, then literally BURSTS INTO A WHIRLWIND OF SAND. Everybody covers their eyes. The Imhotep/sand-devil EXPLODES out the window and vanishes over the compound.  [I like the explosion into a sand-devil because it was unexpected action, but also a good manifestion of Imhotep's inner rage.]

Jonathan aims his gun at the window, his hand shaking badly. O'Connell hugs Evelyn close as she wipes her mouth in disgust. Daniels walks in, looks at Henderson's shriveled body on the floor...and drops the martini glasses. SMASH!

WHAT I'VE LEARNED: Behavior with a deeper meaning (of a character's motives, wounds, conflicts) will always set an action/adventure script apart.

The Mummy (1999)(3rd draft, 11/21/97)
by Stephen Sommers

TODAY'S NUGGET: A Medal for Benny (1945) - Why Does This Slapstick Girl Fight Land Well? Unpredictability, Good Setup-Payoff

[Quick Summary: Benny's unsuspecting dad and girlfriend face chaos when the town wants to popularize his unexpected Medal of Honor ceremony.] 

TWO THOUGHTS:

1) SOMETIMES THREE COMEDY WRITERS ARE BETTER THAN ONE.

If you can believe IMDB, silent film comedy gag writer Jack Wagner got this idea during WWII but couldn't interest anyone. 

So he enlisted his friend John Steinbeck to write the script and gin up interest.*

The script was also shaped by writer Frank Butler, also no comedy slouch.**

2) WHY DOES THIS SLAPSTICK GIRL FIGHT LAND WELL?

I would strongly recommend this script to comedy writers who are looking for slapstick comedy that comes out of character.

I think it was because Wagner and Butler were silent film writers that they naturally went the extra mile to find inventive ways to SHOW and not rely on dialogue.***

For example, I really liked clever use of payback (from a good setup-payoff) and unpredictability in the scene below.

Note:
- Lolita is loyal to Benny, though he hasn't written in 9 months.
- Joe pines for Lolita, Benny's girlfriend.  He buys her a new dress for a dance.
- Lolita rejects the dress, but she is secretly attracted to Joe.
- Joe goes to a bar to sulk and meets Toodles, who says SHE is engaged to Benny.
- Joe gives Toodles the new dress and takes her to the party. (setup)
- Lolita sees Joe with Toodles, who wears HER dress. (setup)
- This is an inventive way for Joe to get his payback (payoff), as you'll see below.

What happens now happens fast: Toodles, boiling now, rushes Lolita back against the table, grabs up a beer bottle, and swings it savagely at Lolita's head. Lolita ducks, Toodles makes another wing at her, but Joe, stepping in, wrenches the bottle from her hand, turns and tosses it over the veranda rail. Simultaneously, and with a berserk yelp of fury, Toodles snatches up a large earthen-ware pot of chili-and-beans, raises it high and inverts in neatly over Joe's head, jams it well down over his ears, then straight arms him clear over the rail of the veranda. --But even as Joe's heels vanish, Lolita pins a terrific haymaker on Toodles' jaw and knocks her spinning through one of the doors into the pavilion - glass, frame and all. [I did not expect the beer bottle or haymaker!]

Six feet below the veranda rail, the pot wedged firmly over his head, Joe rises into a sitting position. The faces of Lolita, Charlie, and the others, appear over the rail staring down. They get one look at the "potted" Joe and burst into a roar of laughter. [Payoff is the reaction shot.]

Joe tries to get the pot off, but fails. Panic seizes him. He gets up, lunges forward --smack into one of the veranda pillars. The impact shatters the jar, and bangs him down again into a sitting position --his head and face a solid, indistinguishable mass of chili and beans. --There is another roar of laughter from the veranda. But Lolita is running down the steps toward the hapless Joe. [More payoff with the jar shattering, face full of chili.]

WHAT I'VE LEARNED: I thought this girl fight was constructed well: Good setup. Good payoff. Good character motivation (both mad at each other and Joe). Unexpected use of props.

A Medal for Benny (1945)
by Frank Butler
Additional dialogue by Jack Wagner
Adapted from a story by Jack Wagner & John Steinbeck

* It worked. Plus an Oscar nomination for them both.

** Butler wrote comedies for Bing Cosby and Bob Hope (Road to Moracco). He won an Oscar for Going My Way.

*** Read the script for a funny scene with farm animals let loose in a bank.

TODAY'S NUGGET: None But the Lonely Heart (1945) - Hiding a Setup in Plain Sight for Later Betrayal

[Quick Summary: When a wanderer returns home to help his mother run a pawn shop, they both secretly turn to crime to make ends meet.]

I should've known that Clifford Odets* would deliver another complex stunner. 

His script here is extremely well-written. It reads fast, very free and natural. 

When I looked closer, though, I was amazed how difficult it is on a craft level (ensemble, deep themes, 2-3 story lines, etc.)

Today I will focus on his use of a setup for a later betrayal (I never saw it coming!)

In the story:
- Ernie has been wandering all over the UK. 
- He runs out of money and returns home to Ma, a tough, honest pawn shop owner. 
- Ma is brusque but kind to Ernie: You can either stay for good or go. 
- Ma tells Ike, a long time friend and fellow pawn shop owner, about the cancer, but not Ernie. Ike gives Ernie a job fixing a clock to give him some funds.

In the scene below:
- Notice how kind Ike is to everyone - Ernie, Lesser, a random old lady.
- Notice also we're focused on Ike's discomfort at relaying bad news AND he's doing Ernie a favor. How will Ernie take it?
- Notice that this DOES NOT look like a setup for a later payoff, i.e., There is plenty of drama to occupy our attention for now...only much later will we recall this scene and grasp it was a setup when Ernie betrays Ike later. 

Ike's assistant, little Mr. Lesser, comes in from the shop, a ring in his hand.

LESSER: She wants a quid on this - an old lady.

IKE (looking at the ring): Give it to her - an old lady, Mr. Lesser. (Sighing) Everything with a kiss.

LESSER (shaking his head as he walks out): Clocks, clocks...tick tock.

ERNIE: Best I could do with that old main spring.

IKE (as he picks up the clock, looks it over, and puts it down): Tick tock, tick tock... (Then) Did you ever realize your mother was once upon a time maybe the most beautiful woman in the East End of London? (Ernie looks up, surprised at this irrelevancy. Ike continues soberly and shrewdly.) In the old days, I mean.

ERNIE (puzzled): What about it?

IKE: Excuse me if I put a flea in your ear. Your mother is a very sick woman...

Ernie slowly stands up. He looks tightly at the old man.

ERNIE: You owe me two pounds, Mr. Weber. Pay it an' I'll be on my way.

Silently Ike takes some bills from his pocket and gives them to Ernie. Ernie puts on his cap and starts out through the front of the shop, the dog after him. He passes the counter where Lesser is polishing some rings. About to leave the shop, Ernie stops with his hand on the doorknob. Then he slowly turns, calling back sarcastically, hand still on the knob.

ERNIE: What's it she's got? A pain for her no-good son?

WHAT I'VE LEARNED: This is a very sophisticated setup because it doesn't look, smell, or sound like a setup.

In the age where audiences are always looking for something new, a twist, something NEW, this kind of craft can really set one apart as a writer.

None But the Lonely Heart (1945)
by Clifford Odets
Adapted from the novel by Richard Llwellyn

*He was a well-known playwright and writer of the famous film Sweet Smell of Success (1957) (my blog on it here).

TODAY'S NUGGET: Vicky Cristina Barcelona - Unfulfilled Love as a Strong Theme

[Quick Summary: When college friends Vicky and Cristina spend two months in Barcelona, each falls in love with the same artist, whose volatile ex-wife returns.]

I was surprised that the theme was so strong in this Woody Allen script.

It made more sense when I considered that:
a) The theme is unfulfilled love, and
b) Every character WANTS the same thing (variations of longing for love), but NEEDS something else. *

One of the script's strength is how strong that WANT is, yet it remains unfulfilled.

For example, in the scene below:
- Vicky had a fiancee, and was unprepared for her connection with artist Juan. 
- They had a one night stand.  He moved on easier than she did.
- On a whim, Vicky's fiancee suggested getting married in Barcelona. 
- Vicky and Ben are in Spanish classes together.
- I thought this was a poignant conflict for Vicky who has attracted two guys, yet still feels unfulfilled because of a third guy.

INT. FRUIT STORE - CONTINUOUS

Ben reaches toward Vicky and clasps her hand.

NARRATOR (V.O.): ...he couldn't resist taking her hand.

VICKY: Uh...uh, no.

Vicky pulls her hand away from Ben.

VICKY (cont'd): Don't. I....

BEN: No?

VICKY: Ehhh, no. Yyyy-you-you-you do know...that I'm, I'm recently married.

BEN: Yeah, I...I guess I was under the impression that...maybe you jumped into it too quick, maybe you regret it...?

VICKY: Regret? Have, have I implied that?

BEN: Unless I read into it.

VICKY: No, I...I shouldn't tell you this. I, I, uh...you know what? I was always someone who thought I knew exactly what I wanted.

BEN: But you didn't.

Vicky shakes her head nervously.

VICKY: Well, no, I, I, I met somebody else and, uh...I'm not gonna get into that story.

BEN: So, this guy you met?

VICKY: The guy is, is living with my best friend. (sighs) You know? (chuckling) What am I talking about? When I...when I hear myself, it's just, it's just crazy. I just married the guy I wanted.

BEN: Did you?

VICKY: I thought so.

BEN: So? What happened?

Vicky shakes her head.

VICKY: One goddamned weekend in Oviedo.

WHAT I'VE LEARNED: I liked that each character wanted love, but a slightly different variation, which kept it interesting.

I also appreciate how Allen writes dialogue that stumbles around a bit, like people thinking aloud.

Vicky Cristina Barcelona (2008)
by Woody Allen

*As a side note, I found that the comedy comes from characters choosing the wrong person to fulfill that want.

2022 OSCARS: The Power of the Dog (2021) - Ratchet Up Tension to Create a Crucible; Alcohol Used as a Release Valve

[Quick Summary: Brothers Phil and George peaceably run a Montana cattle ranch, until George marries widow Rose, who has an adult son Peter.]

I'm quite impressed at how the writer created a gradual crucible for the Rose character (whom I believe is not as fleshed out in the novel). 

In fact, it was so effective that I was terribly relieved when Rose drank to escape.  I couldn't take much more of Phil either.

The crucible really worked because there was a constant ratcheting up of tension:

- LEVEL 1: Rose marries wealthy George, who lives in a 16 bedroom house with brother Phil.  Phil actively hates Rose. She secretly drinks to deal...and Phil knows her secret.

- LEVEL 2: Phil decides to mentor her son Peter, in order to spite her.

- LEVEL 3: Cruel Phil baits Rose when she's near the toppling point (see below)

INT. BURBANK RANCH HOUSE/STAIRS/PHIL'S BEDROOM - DAY

Phil finishes climbing the stairs carrying a newly found fossil. In his bedroom he places the fossil inside his display case. Sharp eared Phil hears the drop of the bottle and opens his dormer window peering below. He sees Rose stretched out beside the pit now using a stick to roll a bottle of Whisky toward her, a good inch of the golden liquid at the bottom. As she reaches down to grasp it's neck Phil whistles a short phrase from Rose's Strauss Waltz. Rose pauses and Phil stops whistling. She pulls the Whisky bottle out of the pit and the whistling starts again, Phil above her watches amused. Rose looks all about including back up at the house. She doesn't know if the whistling is real or if she's imagining it. She steps back against the shadows of the wall and swigs the dregs of the bottle.

WHAT I'VE LEARNED: I'm rarely this moved emotionally to feel such helplessness. I totally understood how alcohol could be justified as a release valve.

The Power of the Dog (2021)
by Jane Campion
Based on The Power of the Dog, by Thomas Savage

2022 OSCARS: CODA (2021) - Creating Four Different Character Arcs But One Central Theme

[Quick Summary: Ruby (18) is torn between staying home to help her deaf family, and dreams of a college singing scholarship.]

FOUR THOUGHTS:

1) This script is FUN to read (and the fastest of the 4 Oscars scripts thus far).

2) It's a true ENSEMBLE piece, and all four main characters change and arc.

3) Though all their arcs are different, they all have the SAME THEME (not being seen for who they are).  It keeps the stories unified and easier to follow.

I really like how the writer found situations that best explored this theme. 

For example, in the scene below:
- Ruby is the link for her parents to the hearing world. She often puts the family's needs before her desire to get a singing scholarship.
- The parents, Frank and Jackie, have opinions but feel isolated because they can't communicate with hearing people .
- Notice how the writer found a FUN, ENSEMBLE situation that explores the THEME. What does being unseen feels like? Can it be sustained? If not, what change will follow (suspense)?

INT. DOCTOR'S OFFICE - EXAM ROOM - DAY

Ruby sits between her parents in a tiny exam room, translating for them. She's done this many times. That doesn't make it any less awkward.

FRANK: It's definitely itchy as hell.

RUBY: It itches.

FRANK: My nuts are on fire.

RUBY: His, you know...

FRANK: They're like angry hard little beets. Covered in barnacles.

RUBY: I got it.

FRANK: And your mother's got it even worse. Like a boiled lobster claw.

Ruby squirms, mortified.

DOCTOR: Right, so the layman's term for what you both have is "jock itch." It's common if you spend a lot of time in damp clothes. And it's easily transferable via intercourse.

RUBY (to her dad): You guys have jock itch.

DOCTOR: I'll give you an antifungal cream. But you both have to keep the area dry and avoid sex for two weeks.

RUBY (to her parents): You two need clean underwear. And you're not allowed to do it anymore.

FRANK: What?! For how long?

RUBY (to her parents): Never again. Done for life.

Frank and Jackie stare at her.

RUBY (CONT'D)(caving): Two weeks.

JACKIE: Can't do it.

FRANK: Impossible.

WHAT I'VE LEARNED: I really like the feel of the overall piece.  It's an ensemble, united by a similar theme, yet full of distinct characters.

CODA (2021)
by Sian Heder
Based on La Famille Belier

TODAY'S NUGGET: Dirty Dozen (1967) - Setting Up the Loose Cannon

[Quick Summary: Major Reisman has to train the "Dirty Dozen," a group of felons and death row inmates, for a surprise attack on the enemy.] 

I was surprised at the detailed attention to character in this script. 

For example, Maggot, the fanatic who wants to stamp out evil women, could have easily been a cardboard stereotype.  

Instead, the writers added a beat to throw us into doubt, and set up a future event.

Notice in the scene below:
- It describes Maggot's unconscious behavior (my underlines below).
- We unsure if he is even aware what he is thinking.
- This setup is a hint that pays off when Maggot goes berserk later.

EXT. WATCHTOWER COMPOUND NIGHT

...As MAGGOT climbs down the tower and sets off around the perimeter, he keeps up a constant stream of muttered imprecations.

MAGGOT: Spitting in the face of the redeemer...That's what he's doing - defiling the purity of souls that were sent into this world to live clean...

It is doubtful whether his words even have any meaning for MAGGOT, but he breathes them out as if they were some incantation that will destroy all evil spirits.

NEW ANGLE

As he gets near REISMAN'S hut, MAGGOT's speech becomes nothing more than a fierce, rhythmic breathing, but his mouth keeps moving as if it were forming words.

WHAT I'VE LEARNED: I liked that the audience is ahead of the character.  We see he's unhinged, but he does not. It adds to the anticipation.

Dirty Dozen (1967)(draft dated 2/4/66)
by Nunnelly Johnson and Lukas Heller
Based on the novel by E.M. Nathanson

TODAY'S NUGGET: A Chorus Line (1985) - Present to Flashback, Held Together By Sound

[Quick Summary: Ex-girlfriend and dancer Cassie tries to meet with Zach, the director-choreographer, while he auditions a group of dancers.]

NOTE: I always hesitate to read first drafts for this blog, but it is the only draft available anywhere, so here goes.

Purely by chance, I've read back to back the two most famous scripts about a dancer's life on stage (A Chorus Line and All That Jazz).

THREE THOUGHTS:

1) They have a wide appeal because they are not just about dancing.  Each revolves around personal, tumultuous relationship(s) that keeps us riveted.

2) All That Jazz is about one man's story.  A Chorus Line manages to also feature stories from the ensemble.

3) I liked how this flashback seamlessly moved from theater--> Zach's bedroom --> theater.  It's all visuals, held together by the tapping sound.

ex. MED. SHOT - ZACH'S LIGHT

He is turning it on and off, rhythmically, nervously, thinking. Then he turns off the lamp and leaves it off. In the dim, available light, we see his hand nervously tapping a pen on the desk.

Shooting over Zach's shoulder, his back remains constant, but now we are in his bedroom. It is dark. On the early dawn light coming through the window. Cassie is asleep in the bed. Zach, an insomniac, is watching her. After a beat, Cassie rolls over and falls off the bed to the floor. Waking up, startled, she looks around, then seeing Zach, starts to laugh.

(During above the only SOUND we hear is the pen tapping on the desk.)

BACK TO ZACH IN THE THEATER

He is still tapping the pen. Thinking.

WHAT I'VE LEARNED: I never really thought before about sound holding together the visuals until I read this scene.

A Chorus Line (1985)(1st draft, 11/17/82)
by Arnold Schulman
Adapted from the 1975 stage musical

TODAY'S NUGGET: Brooklyn Rules (2007) - Characters' Attitudes as a Foreshadowing Tool

[Quick Summary: Three childhood friends have their loyalties tested in 1970s-1980s Brooklyn where they rub elbows with mobsters.]

This is a great film about the unwritten rules of guy friendship.

These three guys are almost always together, yet I could easily distinguish one from another because of distinct attitudes in dialogue and behavior.

How did the writer do this? 

I think it is because he establishes the characters' attitudes early as kids to foreshadow how they will react as adults.

For example, the scene below comes early in the script. 

Notice the three distinct ways that the three boys (Michael, Carmine and Bobby) react to the same situation:

ex. "EXT. WEEDS - BELT PARKWAY - (LATER THAT) DAY

...

BOBBY (O.S.): Holy shit! Guys, come here!

Michael and Carmine head off running toward Bobby's voice. In a small clearing off the parkway, a small clearing off the parkway, a '74 ELDORADO is parked, engine idling. Behind the wheel, a silk-suited THUG is slumped DEAD.  BLOOD TRICKLES from two exit wounds in his forehead.

CARMINE: Oh fuck!

BOBBY: Is he dead?

MICHAEL: No genius, he's pretending. Look, he even put his brains all over the windshield.

As the kids peer into the open window, Carmine spots a pack of MARLBOROS and a GOLD LIGHTER. He reaches in to take them.

BOBBY: What are you doing?!

Carmine lights a CIGARETTE, then admires his new LIGHTER.

CARMINE: He ain't gonna smoke 'em.

BOBBY (a beat; then): Maybe we should tell somebody.

MICHAEL: What are you, retarded?

CARMINE (looking in car): Think there's any money?

Michael leans in and pops the glove compartment. There, in plain view, is a nickel-plated .38 REVOLVER. He leans in and takes it.

MICHAEL: Whoa. Checkit out.

CARMINE: Holy shit, lemme see.

MICHAEL: No way, man. It's mine.

Michael slips the GUN in his jacket pocket, just as something in the car catches Bobby's eye.  He opens the passenger door.

CARMINE: The fuck you doin'?

Through the window, we see what Bobby is going for - an ANIMAL TRANSPORT CASE in the back seat. He unlocks the wire mesh front, then reaches in and removes a month-old, brown and white

BEAGLE PUPPY

who is very much alive. Bobby cradles the dog in his arms.

BOBBY: Hey puppy, you okay?

CARMINE: He's cute. Sharp teeth.

MICHAEL: What should we do with him?

BOBBY: Nothing. I'm keeping him.

We hear POLICE SIREN in the distance. A beat, then the BOYS exchange looks and take off running..."

WHAT I'VE LEARNED: The scene above looks like it is about boys finding a dead body...but it's really about what is most valued by each kid (character).

Brooklyn Rules (2007)(4/8/04 draft)
by Terence Winter

TODAY'S NUGGET: Fierce Creatures (1997) - Exaggeration is Helpful for Satire

[Quick Summary: After a corporation buys a zoo and tries to corporatize it, the keepers rebel.]

WHAT I DIDN'T LIKE: The second half of the script was a little strained.

WHAT I DID LIKE: The first half was much more solid, especially the use of exaggeration to emphasize the irony of a situation.

In the scene below, Octopus, Inc. has bought a zoo and wants to increase profits. 

Its executive, Rollo, has decreed that only Fierce Animals will draw crowds and will be allowed to stay.

Note the use of exaggeration and contrast, which makes us laugh.

ex. "EXT. COATIMUNDI ENCLOSURE AND ENVIRONS. DAY

ROLLO stands arguing with SYDNEY, PIP, DEREK, HUGH and others.  SYDNEY is inside the enclosure, holding a chair, which he occasionally uses, lion-tamer style.

ROLLO: Fierce??! That coatimundi...

He indiciates a Coatimundi, which is watching in a friendly manner. [A lion-tamer chair for a 2 foot, 8 lb. animal?!]

SYDNEY: It's a wild animal, sir. It's not domesticated.

ROLLO: Neither's a house fly and I wouldn't call that savage.

SYDNEY: You take a liberty with him and he'll give you a nasty nip. [Trying to make him sound ferocious.]

ROLLO: A safety pin could give me a nasty nip Lotterby. I'll tell you what's fierce: fierce is taking your whole hand off.

KEEPERS: Whole hand!?! No! Impossible! No!! [Aghast reactions are funny.]

ROLLO: (Walking away) Lotterby, could I have a word with you over here please

HUGH: It is all right if it wrenches the hand off?? [More exaggeration to make the animal sound fierce.]

ROLLO: Oh yes.

HUGH: Phew.

SYDNEY: (Showing a scar) That's what a coati did to me. Look! [Big exaggeration compared to the likely small scar.]

ROLLO: I'm surprised you lived. Now... 

ROLLO and SYDNEY have arrived at some cages. SYDNEY looks at them, winces, and then puts on a very positive, cheerful polite act.

ROLLO: ...These are your meerkats, correct?

SYDNEY: Er...yes sir.

ROLLO: (Pointing) On the new plaque here it says ... they're known as the 'Piranhas of the Desert'? Is that right? [Good exaggerated visual.]

SYDNEY: Yes sir, they can strip a human carcass in three minutes.  [Blood thirsty description!]

ROLLO: (Pulling out a book) My encyclopedia says they're easy to tame and are often kept as pets. (He shows SYDNEY the page) See?  [I like the contrast of 'tame' vs. 'piranha'.]

SYDNEY: Well, you haven't been attacked by one sir.

ROLLO: Nobody's been attacked by one, Lotterby (He moves on) Or if they have, they didn't notice... [He calls Sydney on the unlikely possibility of an attack.]

SYDNEY: They've got diabolical temperaments, sir..." [I give credit to Sydney for his commitment to his mission.]

WHAT I'VE LEARNED: I laughed because the keepers created such an exaggerated fiction compared to the modest reality.  It was just simply ridiculous.

Fierce Creatures (1997)(9th draft, 4/4/95; originally titled Strictly Confidential)
by John Cleese and Iain Johnstone

TODAY'S NUGGET: 9 to 5 (1980) - Farce is a Skillfully Exploited Situation

[Quick Summary: Three very different female co-workers bond over some wild, crazy adventures outwitting their sexist, lying, egotistical boss.]

Two lessons from this script:

1) How a Script Can Hinge on the Right Casting. Even with a good script, Dolly Parton added that "extra" vibrancy.  So if you can get Dolly Parton, get Dolly Parton.

2) Why Do We Laugh at Farce?  Let's start with the definition: 

Farce (n.) = A light, humorous play in which the plot depends upon a skillfully exploited situation rather than upon the development of character. (my emphasis)

This is a new idea to me that farce is more about the situation than the character.

This script had several great examples, including the scene below.

Prior to this scece, Violet has accidentally put rat poison in the boss' coffee.
--> The boss hit his head, became unconscious, and spilt the coffee.
--> He is rushed to the E.R., woke up, and walked out.
--> Meanwhile, another unconscious man is wheeled in.
--> The police are waiting to hear about man #2.

Watch how we laugh the misunderstanding in the situation:

ex.  "INT. EMERGENCY WARD - NIGHT

...A Medic that brought in the man on the gurney exits the emergency room. The Detective stops him for a moment.

DETECTIVE: The guy they just brought in on the gurney; how is he?
MEDIC #1: Not so good.
DETECTIVE: When can I speak to the Doctor?
MEDIC #1: He knows you're here. [This line signals to Violet that "everyone knows what she did."  The reality is that no one does yet.]

The Medic walks on down the hall.

VIOLET: Oh, my God. They found out about it already.
JUDY: Don't panic. Don't panic.

The Doctor comes out and the Detective speaks to him.

DETECTIVE: How is he, Doc?
DOCTOR: He's dead.

Violet receives the news with a shock. Doralee and Judy are equally horrified.

VIOLET: Oh, my God. [She thinks the boss is dead, but ironically he's not.]
DETECTIVE: Can you tell what caused it?
DOCTOR: Not without an autopsy, but I'm fairly certain it was some kind of poison.
VIOLET: Ohhh... [She thinks she's to blame, but she's not.]

Violet feels suddenly faint and Judy and Doralee rush to help her. The Doctor leads the Detective and the Policeman into his office down the hall while Judy and Doralee help a distraught Violet to a seat in the waiting room."

WHAT I'VE LEARNED: Farce is about the situation more than the character development.

9 to 5 (1980)(final draft, 12/12/79)
by Colin Higgins
Story by Patricia Resnick

TODAY'S NUGGET: Miracle on 34th Street (1947) - "Platinum Unicorn"; Multiple POV

[Quick Summary: The real Kris Kringle is hired to be Macy's Santa, but doubters try to get him institutionalized at a court hearing.]

I rarely stumble across a unicorn like this script.

I'd consider it "a unicorn" for any one of the following reasons: *

- It's a double Oscar winner for story AND script.
- It's an Oscar winning comedy.
- It's a strong ensemble comedy.
- It's a funny, fun, deep, four quadrant page turner that reads extremely fast.
- It's got it all: comedy, adventure, romance, suspense, heart, uplifting message.
- It's stood the test of time: a beloved, almost 60 yr. old film that's still shown.

One thing that sets this script apart is its creative use of the ensemble:

1) It isn't limited to one point of view, i.e., we are not always with the protagonist.

2) Despite multiple POVs, there is unity: They all are about Kris Kringle.
- ex. In chambers, the judge speaks to a supporter about the Kringle case.
- ex. In the post office, two postal workers talk about all the mail to the Kringle. 

3) Each point of view is chosen for a reason (reaction, counterpoint, etc.)

- ex. Kringle has been advising customers to go to other stores for hard-to-find toys.  Now we switch to Shellhammer's POV (the manager).

Why do we switch?
a) To show the reaction and effect of Kringle's actions.
b) AND amazingly enough, it also furthers the story.

"INT. SANTA CLAUS FLOOR - DAY

...KRIS'S VOICE: - oh yes we have skates and they're very good - (Shellhammer smiles) - but they're not quite what your boy wants - (Shellhammer frowns) - I'd suggest that you go to Gimbel's, they have exactly what you're looking for.

At the mention of Gimbel's, Shellhammer immediately goes into a state of shock. He stands rigid, dumbfounded - sending customers to their arch rival Gimbel is too much for the human mind to comprehend. He begins to tremble and mutter "Gimbel's" unbelievingly to himself. Now, as the full impact of it all hits him, he moves forward with murder in his heart.

ANGLE - DAIS. Kris and a woman in f.g. Shellhammer is seen coming around the corner of dais menacingly. Shellhammer is all set to commit Santacide but realizes it's impossible in front of so many witnesses. He stalks off, frustrated and angry.

ANGLE - Shellhammer walking - Trucking shot. He is still muttering "Gimbel's" to himself furiously. Now the character of the Mother (we have seen previously with Kris) stops him.

MOTHER: Pardon me, but the guard over there said I was to speak to you. You the head of the toy department?

SHELLHAMMER: (he hasn't got time) Yes madam, but at the moment I'm --

MOTHER: (going right in) I want to congratulate you and Macy's on this new stunt you're doin'. (Shellhammer looks puzzled) Imagine sending people to other stores - I - I don't get it. It's - it's -

SHELLHAMMER: (weakly) It certainly is.

MOTHER: You said it. To think that a big store like this puts the spirit of Christmas ahead of commercial - it's - it's wonderful I never done much shopping here but believe me from now on I'm a regular Macy customer!"
  
WHAT I'VE LEARNED: My whole day changed after reading this script. Amazing.

Also, I was never confused or lost, despite the multiple POVs.  I credit that to a strong unifying center, and well-chosen POVs.    

Miracle on 34th Street (1947)
Written and directed by George Seaton
Adapted from an original story by Valentine Davies

*Since this script is ALL of the below, I deem this a "platinum unicorn."

2016 OSCARS: Spotlight (2015) - Unexpected Theme; Subtext

[Quick Summary: Boston Globe's Spotlight team tracks down secret settlements and lawsuits that proved the Archdiocese had knowledge its priests were molesting children.]

Before you:
- Avoid reading this script because of the subject matter...
- Skip it because "you know what happens"...
- Get too stagnant and only read stuff that's comfortable...

This script is for you (and me).

You see:
- I didn't want to read this if it was graphic or salacious.
- I thought I knew what the theme was (abuse of power).
- I run out of ideas if I'm in my comfort zone too long.

I discovered:
- The script is very respectful, and not graphic or salacious.
- At the end, the theme was better, more thought provoking than I could see coming.
- I learn more when pushed outside my comfort zone.

I also have renewed appreciation for the effectiveness of subtext. Here, Barbara subtly pressures her husband Robby to conform.

ex. "INT. BARBARA'S CAR, WOLLASTON PARKING LOT - LATER

Robby gets in. She pulls off.

BARBARA: How'd you play?

ROBBY: Not too bad. Shoulda left my putter at home.

BARBARA: How's Jimmy?

ROBBY: Good. He brought up the suit.

BARBARA: Really? What'd he say?

ROBBY: He was thrilled about it.

BARBARA: It's not a surprise, Robby. The Church does a lot a good in this town.

Robby nods, but something about that doesn't sit right."

WHAT I'VE LEARNED: The theme (sort of) announced at the end truly surprised me. It was there all along, but I wasn't looking for it.

Spotlight (2015)
by Josh Singer & Tom McCarthy

TODAY'S NUGGET: Primary Colors (1998) - Showing Motive (By Absenting the Antagonist)

[Quick Summary: A young campaign worker helps a charismatic Southern governor run during the Presidential primary.]

In 1998, I didn't see this film in the theater.

Bill Clinton had just begun a second term, and who needed a story with a parallel "Clinton-like" character?

I wish I would've known then that this story is really about MOTIVES.

The writer, Elaine May, did two smart things in this script:

1) She created an ensemble to show the range of motives.

2) She does not put the candidate, Gov. Stanton, in every scene (as Roger Ebert points out here).

Because of #2, the ensemble must talk about their views on Stanton ---> We see what really drives them.
 
ex. Skeptical Henry is now working on Stanton's campaign.
March is a reporter and his ex-girlfriend.

"MARCH: And that's the kind of man you want to work for? A man who just wants to get elected?

HENRY: No. I want to work for a man who fights the good fight and then watch a Republican get elected. [Sarcasm reveals a new position.]

MARCH: What's the difference? Can you tell?

HENRY: Yes. I can tell the difference between a man who believes what I believe and lies about it to get elected, and a man who just doesn't give a fuck. And I'll take the liar. [He's gone 180.]

MARCH (staring at him): How did he do this to you?

HENRY: Do what? What are you talking about? Why are you making this guy into the devil? Why don't you, at least, get to know him. Take some time, maybe spend a few days with us here. I miss you, honey, and we could be together...

MARCH: God, I think you'd fuck me to get some good press for Stanton.  [She tells him the truth.]

He stares at her for a moment...then turns and walks away."

WHAT I'VE LEARNED: Deliberately remove the antagonist from time to time.

It will make the other characters talk and reveal themselves.

Primary Colors (1998)
by Elaine May
Based on the novel by Joe Klein

TODAY'S NUGGET: Silverado (1985) - More fun

[Quick Summary: Four gunslingers descend on Silverado to right wrongs in intertwining stories.]

I liked this script very much.

Lawrence Kasdan might be my new "go to" guy for ensemble writing.

Two things to marvel at:

1)  The degree of writing difficulty that ensembles require.

ex. Last week's script  = 7 high school classmates who are reliving their common pasts in a confined crucible.

This week's script = 4 people whose 4 story lines cross over each other in real time.

2) It's never takes itself too seriously and is fun to read.

ex. "The three men ride hell-for-leather away from town. At the first bend they leave the road and head off cross-country their horses straining up craggy hillsides and sliding down dusty slopes. There is some good riding going on here." (italics mine)

I laughed at the last sentence.  It captures the tone perfectly.

WHAT I'VE LEARNED: Need more fun. Need more fun. Need more fun.

Silverado (1985)
by Lawrence Kasdan & Mark Kasdan

TODAY'S NUGGET: The Big Chill (1983) - Keep It Simple & Specific

[Quick Summary: A group of college buddies gather for the funeral of one of their own.]

I felt deeply when I read this script.

First, it's an amazing ensemble piece that juggles seven protagonists/antagonists.

Second, every story line felt so realistic and honest.

ex. "HAROLD: I want you to sit with Chloe.
MICHAEL: Okay.
HAROLD: I've got to be up there, and it's a little touchy with Alex's folks.
MICHAEL: I understand.

Harold gives him a "I knew you would" squeeze.

MICHAEL: Who's Chloe?

Harold gestures discreetly in Chloe's direction.

HAROLD: It's Alex's girlfriend.

Michael peers into the pews.

Harold indicates Chloe in the front row, which they have almonst reached. Michael is impressed, brightening at the sight of her. But when he speaks to Harold, he's all solicitous friend.

MICHAEL: I'll take care of her."

I think the keys are:
- The writing is simple (but not simplistic).
- The actions reflect very specific feelings (and not vague).

These put me inside the character...all seven of them.

Now that's a high level of skill.

WHAT I'VE LEARNED:  Keep it Simple and Specific.

The Big Chill (1983)
by Lawrence Kasdan & Barbara Benedek

2013 OSCARS: Moonrise Kingdom (2012) - My Two Rules About Ensembles

[Quick Summary: A 12 yr. old Kahki Scout and his girlfriend run away together, in hot pursuit by parents, and a scout troop.]
 
I'm not a big fan of Wes Anderson films, but I do like this script.

It abides by (then stretches) my two rules of ensembles:

1)  Even in an ensemble, there are 1-2 lead characters. *

Here, Sam and Suzy Bishop (the kids) are clearly the leads.

They easily could have been overshadowed by four very active adult characters, but the script is careful to keep the focus on the children.
 
2) Multiple subplots are fine, but they must SUPPORT the main character's story. 

Scout Master Ward, Captain Sharp, Mr. and Mrs. Bishop each have their subplots.  That's right - there are FOUR additional arcs.

However, the reader never forgets about Sam and Suzy.

How did the writers do it?

The supporting characters have separate subplot arcs, but each one supports the main plot.

ex. Scout Master Ward loses his status --> rescuing the kids restores his honor.

ex. Captain Sharp loses the woman he loves --> rescuing the kids gives his life new meaning.

ex. Mr. and Mrs. Bishop have a troubled marriage --> rescuing the kids brings them together.

WHAT I'VE LEARNED: Strong ensembles have strong (but not overpowering) subplots.

Moonrise Kingdom (2012)
(The above link has an interactive script, plus a separate PDF.)
by Wes Anderson and Roman Coppola

*If you insist on multiple main characters, please read my post on The Best Years of Our Lives (three main characters face the same problem).

Those types of stories need much more structure to keep the story clear and unified. 

TODAY'S NUGGET: The Warriors (1979) - Unity & 9 Protagonists

[Quick Summary: After the Warriors are falsely accused of killing a rival gang leader, they are the target of every gang in town, and struggle to get home.]

I like ensemble casts, don't you?

Usually I get mired in scripts with large casts, but I found this one an easy read, because it remembered a couple rules of ensembles:

1 - Pinpoint a leader, i.e., one character who puts the whole story in context. It helps the audience follow along.

In this script, The Fox is a member of a New York gang called the Warriors.

The Warriors are blamed for shooting a rival gang leader during a truce.  

The Fox saw the real shooter.  Thus, he becomes the reason for the story, and for the whole manhunt.

2 - If there are multiple protagonists, antagonists, &/or story lines, they should all be unified in action (cf. Aristotle's Poetics).

The nine Warriors (protagonists) are split up and face many antagonists.

The script moves between their various adventures (multiple story lines):

ex. Swan is captured by the Dingos. Swan must escape a straightjacket to get back to the team.

ex. The Fox regrets bringing Mercy, who was with the Orphan gang, on the journey.  Is Mercy a spy or an innocent?

ex. Cowboy and Rembrandt are lured into a gang chick's lair, and escape an ambush.

So why doesn't the script drag with so many characters and stories?

I think it's because the characters are unified by the same enemy (all gangs) and the same goal (make it home together).

There are several individual stories, but they all move in one direction ----> toward home.

WHAT I'VE LEARNED: It's the unity of story that keep ensemble scripts clear.

The Warriors (1979)
Written and directed by Walter Hill
Based on the novel by Sol Yurick