TODAY'S NUGGET: Radio Days (1987) - How Politically Incorrect Slapstick is Done Well

[Quick Summary: A series of stories showing radio's big influence on 1930s and 40s America.]

TWO THOUGHTS: 

1) A DIFFERENT ALLEN FILM. Today's script is about the broader idea of radio's impact, and a departure from Allen's smaller, more character driven stories.

2) SLAPSTICK WITH PURPOSE. I find unmotivated slapstick uninteresting.

However, today's script combines slapstick with a purpose, i.e., political incorrectness, to make a point. I chuckled at this added clever commentary.

For example, in the scene below:
- Joe is the son, grade school age. 
- Joe listens to the Avengers on the radio all the time. He wants an Avengers' ring more than anything.
- Joe and his friends are collecting money in cans for the Jewish National Fund.
- The kids break open the cans to count the pennies.  
- Rabbi Baumel catches them and is ashamed they want it for Avengers' rings.
- Rabbi Baumel calls in Joe and his parents.
- The comedy comes from the characters saying that they take offense at something...then doing exactly that ("don't slap the kid", then he slaps the kid himself).
- The rabbi and father's hypocrisy is seen in the slapping.

 INT. RABBI BAUMEL'S OFFICE. DAY.

...RABBI BAUMEL: This is not good. He must be disciplined. Radio has its place but once in awhile. Otherwise it tends to induce bad values, false dreams, lazy habits. To spend time listening to stories of foolishness and violence is no way for a boy to grow up.

JOE: You speak the truth, my faithful Indian companion. 

The rabbi, taken aback, slaps him.

RABBI BAUMEL: To a rabbi you say, my faithful Indian companion?

FATHER: Hey -- don't hit my son!

RABBI BAUMEL: What kind of upbringing is this!?

FATHER (slapping kid): I'll hit him -- but you don't hit him!

RABBI BAUMEL (slaps kid): I know better how to teach fresh children.

FATHER (slaps kid): I said I'd hit him! Leave my son alone.

MOTHER (slaps kid): No, I'll hit him! Because you're too lenient with him!

FATHER (slaps kid): This is lenient!?

RABBI BAUMEL: I'm a faithful Indian? Such impertinence.

MOTHER (slaps kid): See, I'll teach him manners, Rabbi! You and that radio! 

                                                                             CUT TO: 

WHAT I'VE LEARNED: The combination of two unrelated elements that make it funny.  

I expect political correctness to be serious. I expect slapstick to be amusing. I don't expect political incorrectness to be combined with slapstick and create an unexpected new category.  

Radio Days (1987)(undated draft)
by Woody Allen 

TODAY'S NUGGET: Rachel Getting Married (2008) - Example of How Biting Wit & Humor Both Connects and Isolates

[Quick Summary:  Kym, who has been in and out of rehab, is allowed out of her recovery home for her sister Rachel's wedding.]

Q: What makes this melodrama stand out?
A: The key is the protagonist, Kym, who has a biting wit and humor.

Q: What's so unusual?
A: I never know whether it's to connect (and bring the other person closer), or to isolate (and keep them at a distance).  Either way, it keeps things suspenseful.

For example, in the scene below:
- Just prior to this scene, Kym's dad and step-mom have just picked her up from rehab for the wedding weekend.
- In the car, they try to act normal, but the parents are worried. 
- Kym answers their questions with wit, but is defensive.
- Kym wants to belong, but she also likes to be provocative to stand out. 
- Kym has a conscience, but is also self-absorbed.  
- Thus, we enter the scene below uneasy how Kym feels about her sister Rachel.
- Notice Kym is a person of extremes. When she (or another) makes an honest mis-step, she's hard on herself (and others) in a witty way. It's hard to predict but also hard to deal with.

 INT. UPSTAIRS. DAY. CONTINUOUS --

 ...KYM (to Rachel): No, seriously, you're so tiny it's like you're Asian. Dad wants us to sleep in the same room so you'll be able to watch me while he's asleep and I won't sneak out of the house and blow dealers and shoot heroin.

RACHEL: Dad did not say "blow dealers."

KYM: I told him I'd just sleep in Ethan's room.

Beat. [This is an honest mistake and they just realized it.  Also, it makes us wonder. Who is Ethan? What happened? Something bad?]

RACHEL: You can always shoot up in the tree. [Rachel deflects with humor and sarcasm.]

Kym laughs. A little too loud. [Kym does realize the mis-step and tries to cover.]

EMMA: Kym, I'm not remotely surprised you're starting your drama already, however it's Rachel's wedding and this week it's about her.

KYM: Emma, you still have your tiny core of rage! What a relief. [Kym can't admit Emma is right, so uses humor/sarcasm as a defense mechanism.]

Kym flops on the bed and gazes adoringly at her sister for a moment. Rachel beams back. [I found it interesting that the sisters are used to sarcastic humor, so they don't take it personally.]

WHAT I'VE LEARNED: The biting wit and humor works well here because it comes from character, i.e., it's how Kym deals with life.

It also lends itself to great suspense because we never know if it'll connect, or isolate, her.

Rachel Getting Married (2008)(undated)
by Jenny Lumet

TODAY'S NUGGET: Star Trek V: The Final Frontier (1989) - Humor in Sci-Fi

[Quick Summary: When an unknown madman takes a planet hostage in the Neutral Zone, the Enterprise races get there to prevent further war.]

Why does sci-fi remain relevant?  I think it's because we learn about how humans think and feel when we see humans grappling with science.*  

For example, I really enjoyed today's script** because of the humor arising from its action-adventure and sci-fi situations.***  It's not an easy combination to pull off.

In the scene below:
- The Enterprise has just been renovated with a newly installed, inescapable brig.
- The writer set up this situation: What happens when technology is taken away from humans, who are so dependent on it?
- Then the characters have to figure it out.  They are frustrated, which is universal and recognizable. 
- Why is it humorous? Because we all have experienced a "foolproof" situation which defeats us, and we have to resort to primitive solutions.

INT. BRIG

...An infrequent almost inaudible tapping sound comes from the wall of the cell.

KIRK (continuing; distracted): What is that damn noise?

They turn and regard the back wall. The tapping continues.

SPOCK: I believe it is a primitive form of communication known as Morse Code.

They scramble over and huddle beside the wall.

KIRK: You're right, Spock. I'm a little out of practice...(listening) Let's se... that's an "s."

SPOCK: I believe the next letter is a "t."

KIRK: "a"..."n"..."d"...end of the word.

McCOY: "Stand."

KIRK: New word. "b"..."a"..."c"..."k."

McCOY: "Back." "Stand back."

They're about to congratulate themselves when they realize it's a warning. 

TOGETHER (in horror): Stand back!

They dive for cover as a large panel explodes from the wall, showering them with dust. Scotty appears in the opening.

SCOTTY: Well, what're you waiting for? Dinna you know a jailbreak when you see one?

WHAT I'VE LEARNED: Humor arises because we recognize ourselves in the situation, EVEN if the situation is other worldly.

Star Trek V: The Final Frontier (1989)(rev. final, 11/21/88)
by David Loughery
Story by William Shatner, Harve Bennett, David Loughery  

* For more discussion, see my review of a previous Star Trek film. 

** FYI: This script was the last Star Trek film produced while creator Gene Roddenberry was still alive.

*** I have enjoyed the ability of action-adventure writer David Loughery to combine action-adventure and humor with genre.  It's a real gift (see another of his scripts (here), and next week's script). 

TODAY'S NUGGET: Love's Labour Lost (2000) - "[Love] Kills Sheep" Sight Gag in Shakespeare

[Quick Summary: This is a musical adaption of a Shakespeare play, set in the 1930s, in which four friends swear off love.]  

BAD NEWS:

I admire Kenneth Branagh's attempt to do something new by adding dance and musical numbers to a lesser known Shakespearean play, but I didn't believe it.

Roger Ebert writes about a few problems:

"Love's Labour's Lost" is hardly ever performed on the stage and has never been previous filmed, and there is a reason for that: It's not about anything. In its original form, instead of the songs and dances we have dialogue that's like an idle exercise in easy banter for Shakespeare. (my underline)

As a result: 

It's like a warm-up for the real thing. It makes not the slightest difference which boy gets which girl, or why, and by starting the action in 1939 and providing World War II as a backdrop, Branagh has not enriched either the play or the war, but fit them together with an awkward join....Like cotton candy, it's better as a concept than as an experience.

GOOD NEWS:

1) I did like the updated use for the homonym (1 word, 2 meanings) for "Ajax", then used to reference a tragic Trojan War figure, and now for a cleanser.

2) Branagh furthers the turn of phrase with an actual sight gag: the cleanser, i.e., love, has killed the sheep! This visual is a funny, clever way to show a metaphor.

INT. LIBRARY -- DAY

BEROWNE prowls the circular gallery.  He passes books which he ignores and cleaning materials, which he does not. Next to an abandoned servant's broom there is a well known brand of bleach. This inspires him.

BEROWNE: By the Lord, this love is as mad as Ajax,

He glances out the window. A sheep grazes in the park. After a moment it falls over unconscious.

BEROWNE: It kills sheep!

But in this state, any form of madness is understandable.

BEROWNE (CONT'D): It kills me, I a sheep! I will not love. If I do, hang me; I'faith, I will not.

WHAT I'VE LEARNED: I particularly like this sight gag because it works for those who understand the literal level (cleanser kills sheep), but also those who get the humor of the deeper level (those who know historical Ajax + the cleanser).

Love's Labour Lost (2000)
by Kenneth Branagh and William Shakespeare

TODAY'S NUGGET: Love in the Afternoon (1957) - If You're Having Trouble Writing a Romantic Chemistry, It Starts With...

[Quick Summary: The daughter of a detective falls for the playboy that her father is shadowing.]

Q: When creating romantic chemistry, "start with the status quo,"* right?
A; Yes.  It is "what is missing" from the protagonist's life. 

Q: So "what is missing" = the antagonist. 
A: Not exactly.  

Q: Ok, if it's not "getting the guy," then what is it?
A: It is what the protagonist is missing emotionally, which the antagonist may point out or helps her realize. 

Q: What does status quo look like on the page?
A: There's a good example in today's script. 

The writers took their time laying out Ariane's inner and out life.**  She's curious, smart, but feels excluded.

So when she and the playboy hit it off later, we understand why she's so taken by him.  She's included in on a grand adventure, which fills that emotional need.

In this scene from the first ten minutes: 
- We see that Ariane yearns for adventure, love. She is lonely.
- We want to root for her.  She's considerate about her Papa, persistent, curious.
- Note also how humor is used to establish the fun tone, especially Ariane's parting line.

THE OFFICE

Ariane puts the cello aside, gets up, comes into the office. Chavasse has opened the briefcase, and taken out the camera.

ARIANE: I'm worried about you, Papa. You've been working every night.

CHAVASSE: It's my busiest season.

ARIANE: You need a rest, Papa.

CHAVASSE: Thank you, darling, but in my profession -- it's like being a doctor. I have to be on call night and day. A good doctor can never rest -- not until the patient is out of bed.

ARIANE: I never thought of it that way.

CHAVASSE:You shouldn't think of it at all!

ARIANE: Sorry, Papa.

CHAVASSE: How are things at the Conservatory?

ARIANE: So-so. We're rehearsing.

CHAVASSE: Rehearsing what?

ARIANE: A symphony. Haydn's 88th. You see -- I always tell you what I'm doing. But you never tell me what you're doing.

CHAVASSE: That's because I love you. And because I want to protect you from these sordid matters I have to deal with. Now go back to your cello.

ARIANE: Yes, Papa. Wouldn't you like some breakfast?

CHAVASSE: Later. I have some work to do in the darkroom. I'm expecting a client.

He has taken the roll of film out of the camera, now crosses to the door of the darkroom, opens it.

ARIANE: When Mama was alive, I'm sure you discussed your work with her.

CHAVASSE: Your Mama was a married woman.

ARIANE (with affection): I'm so glad.

She goes back to her room.

WHAT I'VE LEARNED: I often worry about taking too long to establish the status quo.  However, this script showed me I should take my time for a great pay off later.

Love in the Afternoon (1957)
by Billy Wilder and I.A.L. Diamond
Based on the novel by Claude Anet

*For more explanation and examples, see Ch. 7 "Structuring Conflict" in Writing the Romantic Comedy (2020, 20th anniversary edition), by Billy Mernit (here).

**I found it interesting to see that it took the writers 36 PAGES before the girl and guy meet in person! Though to be fair, she learns about his situation through her dad and sees his photo early on.

TODAY'S NUGGET: Witness for the Prosecution (1957) - Adding New Humor & Character When Expanding a Short Story

[Quick Summary: A famous barrister agrees to defend the beneficiary of a murdered rich widow, but surprises await.] 

THE SHORT ANSWER

Q: What's the best way to expand a short story and make it interesting?
A: Interesting characters.

THE LONG ANSWER

Let's take this short story by Agatha Christie.

The main character is the solicitor Mr. Mayherne, who does all the investigation and footwork.  Sir Charles, the barrister, is only mentioned twice in passing.

However, in the script:

1) The writers brought forward the barrister (now called Sir Wilfrid) as the main character. He will do a lot of the investigation/interviewing in his office.

2) But how does the audience know he's any good at investigating?* 

The writers were smart and demonstrated his wily nature in a situation BEFORE the case begins (scene below):

- Sir Wilfrid has a heart attacks and has just returned from the hospital. 
- He doesn't like his new restrictions nor the nurse Miss Plimsoll.
- He is willing to bend the rules to his advantage.
- Note how the added shrewd, sneaky humor makes him interesting to follow.

THE ANTEROOM OF SIR WILFRID'S CHAMBERS (DAY)

...He proceeds toward his office, ignoring the reception line-up. In passing he whisks the flowers from Miss McHugh's hand.

SIR WILFRID: Thank you very much. Everybody back to work.

MISS McHUGH: Sir Wilfrid, please -- if you don't mind -- I would like to read a little poem which we have composed to welcome you --

She has whipped out a long sheet of legal-size paper, typewritten on both sides.

SIR WILFRID (interrupting): Very touching, Miss McHugh. You can recite it after office hours, on your own time. Now back to work.

He starts for his room, sees Miss O'Brien sobbing, her cheeks streaked with tears.

SIR WILFRID: What's the matter with you?

MISS O'BRIEN: Nothing ---- I'm just happy that you're your old self again.

SIR WILFRID (a sweeping gesture with his cane): One more manifestation of such sentimentality -- whether in poetry or prose -- and I shall instantly go back to the hospital.

MISS PLIMSOLL: Not very likely. They won't take you back. (to the staff) He wasn't really discharged, you know -- he was expelled. For conduct unbecoming a cardiac patient.

SIR WILFRID: Put these in water -- (shoving the flowers at her) Blabbermouth! (to his clerk) Come on in, Carter.

He goes on into his office, followed by Carter.

WHAT I'VE LEARNED: Sometimes adaptations require going beyond the short story. Know what the film needs.

Here, audiences expect a defense attorney vs. witness showdown in this genre. Thus it made sense to make Sir Wilfrid the protagonist, though he is not in the short story.

Witness for the Prosecution (1957)(6/10/57 final script)
by Billy Wilder and Harry Kurnitz
Based on the novel by Agatha Christie

*After all, UK barristers generally work in the higher (appeals) courts. This is different work than that of solicitors who focus on the lower (trial) courts

TODAY'S NUGGET: Dr. No (1962) - "The pictures are so much funnier than my books."

[Quick Summary: After henchmen kill and steal at MI-6's Jamaican HQ, MI-6 sends 007 to investigate a plan to interfere with American missiles.]

I was interested what Richard Maibaum said in an interview:

I met Ian Fleming several times while he was still alive, but I did not speak to him about screenwriting. He didn't seem very interested. He didn't have script approval, but as a matter of courtesy we gave him the scripts to read. He would make minimal notes in the margin, in very tiny handwriting, that usually dealt with questions of protocol - what Bond called M in the office as opposed to what he called him at their club, things like that.

He did say to me once, "The pictures are so much funnier than my books." He was a little bemused and a little obtuse about it, I thought, because he really didn't understand that we were trying to make them funnier. That was the thing we changed most about the books as far as the pictures were concerned. We made Bond more humorous, throwing away those one-liners that are now obligatory in Bond films. [my emphasis]

A good example is the first introduction below to Bond in this first film:
- The introduction to Bond starts with ..."a MAN holding the back has his back to the CAMERA" and we do not see his face until the moment below.
-  The writers took time to set up the spy world, so Bond doesn't appear until p. 10.
- Note this scene is amusing, but the writers also hid some character work in it (Bond is observant, chivalrous, polite, flirty).
- Also, note the dialogue's humor comes mostly from the subtext underneath.

INT. GAMING ROOM. TOP STAKES TABLE. MED. SHOT. NIGHT

... SYLVIA (glancing across at him enigmatically): Suivi....

BOND looks at her, frankly surprised this time.  His eyes drop to her small pile of chips.

SYLVIA: The house will cover the difference.

BOND glances at the CROUPIER, who nods almost imperceptibly. Again BOND (whom we have still not seen front-view) deals.

SYLVIA: Carte.

BOND gives her another card. It is five. BOND's cards are turned. he has two kings. He takes another. It is a seven. The CROUPIER rakes the chips over to him again. 

BOND deliberately breaks the tension by taking out his cigarette case and offering it to SYLVIA.  [This deliberate, subtle move puts Bond back in charge. Good character stuff.]

BOND: I admire your courage, Miss....?

SYLVIA (taking a cigarette): Trench....Sylvia Trench...

He lights her cigarette.

SYLVIA: And I admire your luck, Mr....?

BOND (as he brings the lighter up to his own cigarette, and for the first time we see his face): Bond....James Bond.

Their eyes meet, appraisingly. Then a man comes up behind BOND bends down to whisper something. BOND listens attentively, nods, rises.

BOND (to croupier): Afraid I'll have to pass the shoe. Andree. (to SYLVIA) Forgive me...an urgent matter.

He gets up - she gets up and joins him.

SYLVIA: Too bad. Just as it was getting interesting. [She flirts first, testing the waters.]

BOND (amused by her obvious pass): Do you play anything else but Chemin de Fer? [He picks up the gauntlet.]

SYLVIA: Golf occasionally.

BOND: How about a game tomorrow. (slight pause) and dinner afterwards? [He's not just talking about a game and dinner. Good subtext.]

SYLVIA: Its tempting. May I let you know in the morning? [Playing hard to get.]

BOND (taking a card from his pocket and handing it to her): Fine....Here's my card....give me a call... [He makes a move, but gives her a choice.]

He smiles, moves away. SYLVIA watches him go thoughtfully. 

SYLVIA (to herself): Maybe I will.... [She's impressed.]

WHAT I'VE LEARNED:  A lot of the humor is in the witty dialogue but also in the subtext. 

Dr. No (1962)(5th draft, 8/1/62)
by Richard Maibaum, Wolf Mankowitz, and J.M. Harwood
From the novel by Ian Fleming

TODAY'S NUGGET: The French Dispatch (2021) - Contrast of food (comfort) + Emergency (anxiety) = Funny

[Quick Summary: Anthology of 3 stories from the French outpost of a fictional magazine (artist in prison, student revolt, kidnapped son of police commissaire).]

In this film, Bill Murray plays the recently deceased editor-in-chief of The French Dispatch.  His writers have gathered to write his obituary. 

However, most of the film is about three write ups for the magazine. 

I particularly thought the kidnapping one was vastly creative, character driven, and pushed the heights of fun farce and ridiculousness.

Roebuck Wright is the food writer who is sent to interview a famous chef.  He oddly chooses Nescaffier, the Commissaire's chef, who is adept at food-on-the-run.

A crime syndicate kidnaps the Commissaire's son in exchange for an imprisoned accountant.  But hurrah! A hint and the Commissaire roars into action!

I really liked the split screen of the Commissaire eating while working on site.  The contrast of food (comfort) + emergency (anxiety) = funny.  

Here is a partial sample:

MONTAGE:

Split-screen: on the right, the Commissaire, seated at the workbench table in the locksmith shop, speaks excitedly to the Chou-fleur while eating continuously with his left hand only; on the left, a small, speckled, boiled egg split open to reveal layers of whipped yolk  mousse.

    ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
To start: deviled eggs of the                   Send a commando unit to secure
precinct, canary served in                      all access points to the south
shells of its own meringue.                    and west.

On the right, the Commissaire, seated at the workbench table in the locksmith shop, speaks excitedly to Maman while eating continuously with his left hand only; on the left: a saucer of gibiers and fruits des bois.

    ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
Next: kidneys poached with                  Send a guerrilla detachment to
plums from the mayor's rooftop           block all egress routes to the
arbor.                                                          east and north.

On the right, the Commissaire illustrates (using arrows and X's) his scheme/strategy on one of the building floor plan maps; on the left, small boulettes shaped and packaged like a bowl of candies.

     ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
Then: minced lamb bon-bons in         Drill tunnels (circumference:
pastry wrappers.                                     75 mm) through the partition
                                                                    walls of all three adjacent
                                                                    buildings.

On the right, teenage boys and girls in shooting costumes perch among high chimney tops; on the left. another thermos.

     ROEBUCK WRIGHT (V.O.)                        COMMISSAIRE
Blase oyster soup.                                 On the rooftops: amateur
                                                                  snipers from the local hunting
                                                                  club.

WHAT I'VE LEARNED: Don't be afraid to go split screen and show contrast for an existential laugh. 

ex. Roebuck Wright is reporting on the food in rapturous detail (extravagant lifestyle channel) while the Commissaire plots a rescue (true crime channel).

The French Dispatch (2021)
by Wes Anderson
Story by West Anderson & Roman Coppola & Hugo Guinness & Jason Schwartzman

TODAY'S NUGGET: Thirty Seconds Over Tokyo (1944) - A New Twist on "The Plane Won't Start" (Humor in Situation)

[Quick Summary: Leaving behind a new, pregnant wife, an army lieutenant and his crew rendezvous with the navy for a top secret mission. Based on a true story. ]

I was all prepared not to like this script about WWII. I'm simply bored by the over saturated political and "message" films.

However, this one managed to paint an interesting picture about cooperation - between Army and Navy, and between soldiers and allies in China.

Also, I really liked how the writer created a three-dimensional world.

One way was through the humor in character (ex. army soldier fleeced both army and navy colleagues alike) and humor in situation (scene below).

I particularly liked how the scene below rose in tension AND was humorous:
- Timing is crucial on this mission in the dark of morning. 
- Since there are so many planes that must be deployed (and cannot be turned around), any non-starting aircraft would be shoved into the ocean.
- This is such an unexpected twist that increased the tension!

Red reaches forward, turns the switch, and the starter gets into action. Then we see the left motor. It gives a chug, turns over and stops. Then two more chugs. It stops again. The Navy crew in the background look serious, and move forward, prepared for the emergency of pushing the plane overboard if she doesn't function. The motor gives another helpless snort, and chokes out.

This cuts to the PILOT'S COMPARTMENT as Ted and Davenport exchange frantic looks. They work the starting button once more. There is another helpless little snort from the engine.

DAVENPORT: Those navy guys are moving up to push us over!

TED (viciously): They're not gonna toss this ship overboard! C'me on, baby -give-give...give...!

Another try at the starter, and this time there are four chugs. --This cuts to the LEFT MOTOR as she takes hold weakly, gives a dozen snorts, and suddenly grabs on; and to the NAVY CREW as they move back from the plane with looks of relief.

WHAT I'VE LEARNED: I really liked how relatable this script was: A guy wants to go home as soon as he can, but can't start his plane. Not philsophizing or preachy.

Thirty Seconds Over Tokyo (1944)
by Dalton Trumbo
Based on the book and Collier's story by Capt. Ted W. Lawson and Robert Considine

TODAY'S NUGGET: The Private Eyes (1980) - The "Button" on A Sight Gag

[Quick Summary: Bumbling Inspector Winship and Dr. Tart investigate the deaths of Lord and Lady Morely, but barely keep up with clues, ghosts and missing bodies.]

I love Tim Conway and Don Knotts!  However I did not know this was the second of two films that they starred in together and that Conway co-wrote both.

Is the mystery good? Not particularly. The story leans heavily toward the comedy.

Is the script funny?  It is so-so, on the page.  It's definitely a two-hander and imagine that it is performance dependent on Conway and Knotts. 

I did like that the pratfalls and sight gags were well thought out.

For example, in the sight gag below:
- This scene has nothing to do with the mystery plot, but we do learn about Dr. Tart's character (impulsive, honest, follows orders).
- The writers take the time to lay out Tart's ludicrous dilemma, to eat or not eat.
- The writers end with a funny "button" on the scene:  Tart knows he's wrong to be eating now. What if it's evidence? ...And yet he takes a second one!

INT. PANTRY - NIGHT

There are a lot of canned goods in the pantry and homemade preserves. Plenty for the two to inspect. 

WINSHIP: Well, start looking.

Tart starts looking, then stops.

TART: What are we looking for?

WINSHIP: We are looking for evidence.

TART: Do you suspect Mr. Uwatsum?

Tart is still not sure what that might be. He takes down a Mason jar filled with peach halves. He looks at it, then decides to open it. Tart unscrews the top, smells the contents and is about to put it back down when he finds the aroma to his liking. He decides to sample one. He is forced to take a whole peach half. He puts it into his mouth and tries to eat it. There is a great deal of difficulty trying to manage the large peach half. (Similar to a person trying their first oyster.) Winship talks as Tart goes through the motions of trying to swallow the peach half. As Winship talks, he slowly becomes interested in Tart's controtions.

WINSHIP: I suspect everyone. That's my job. Everyone here has  motive to have killed the Morleys so we...

His curiosity gets the better of him after he stares at Tart trying to down the peach half.

WINSHIP (CONT'D): What are you doing?

TART (tries to talk): Beech.

WINSHIP: Beech?

Tart tries to correct him.

TART: Peech.

He spits on Winship.

TART (CONT'D): Orry.

He exits. Tart pops another peach into his mouth.

WHAT I'VE LEARNED: I liked the button on the scene because it was funny AND showed me a lot about Tart w/o any dialogue (heedless, impulsive, oblivious).

The Private Eyes (1980)(4/18/80, 4th rev. final draft)
by Tim Conway and John Myhers

TODAY'S NUGGET: The Taking of Pelham 1, 2, 3 (1974) - Making A 150 pg. Thriller Feel Like 90 pgs.

[Quick Summary: Four men take 16 NYC train passengers hostage and demand $1M from the city, or they will start killing hostages.]

What makes a 150 pg. thriller speed by, as if you're floating on air?

1)  Well rounded characters.

In fact, pretty much every character, no matter how incidental, gets a little moment to shine, an eye roll here, a snappy line there.

 2) Humor.

As The Dissolve said about the film, “Most of the movie’s humor comes from the same thing that ratchets up the movie’s tension: the thrilling hostility constantly wielded by every New Yorker against every other New Yorker. ....No situation is complete without kibbitzing or argument, and everyone has to put their two cents in. Even the bystanders who are onscreen for mere moments. Even the hostages in danger, who can’t help telling their captors that the million-dollar ransom is “not so terrific.” They’re mostly pissed off their commute is on hold—

In the scene below, notice how fast and how much information you're getting from the characters' attitudes and reactions. Also, note its NY sense of humor.

INT. SUBWAY - FIRST CAR - PASSENGERS - BLUE'S POV

...At the far end, Brown guards the rear door. At mid-car, Grey stands with his legs astride.

ANOTHER ANGLE

Including Blue and, behind him, at the front storm door, Green.

BLUE: The city has agreed to pay for your release.

No one quite knows how to greet this news -- except the Pimp who slowly, mockingly, claps his hands together.

PIMP (drawling): Far out, man --

Blue starts forward, walking slowly, looking at passengers on both sides of the aisle as he goes.

MOTHER: As soon as the money gets here -- will you let us go?

BLUE: No -- but soon afterwards.

OLD MAN: Do you mind telling us now how much you're getting?

BLUE: What difference does it make?

OLD MAN: A person likes to know his worth.

BLUE: A million dollars.

OLD MAN: Each?

BLUE: Altogether.

OLD MAN (disappointed): That's not so terrific.

WHAT I'VE LEARNED: This script is an unusually smart use of characters, humor, and tension that creates an environment in which I'd like to spend time.

The Taking of Pelham One Two Three (1974)(Rev. 1st draft, 4/16/73)
by Peter Stone
Based on the novel by John Godey

2021 OSCARS: The Trial of the Chicago 7 (2020) - A Bright Spot of Humor

[Quick Summary: Seven protestors at the 1968 Democratic Convention were put on trial for "conspiracy to cross state lines in order to incite violence."]

I had a hard time getting engaged in this courtroom drama filled with big politics.

I wished there were more personal moments, like this spot of humor where Jerry, one of the defendants, confronts Shultz, one of the federal prosecutors:

EXT. PARK BENCH - DAY

...JERRY: Fine, then you buy our phones, you wire up a dope dealer, be a man. You don't send a woman to ensorcell me --it means "enchanting"-- only to have her crush my soul.

SHULTZ: How long did you two know each other?

JERRY: Ninety-three hours. It could have been a lifetime.

SHULTZ: For a fruit fly. Enjoy the weekend.

JERRY: Is that even ethical? Aren't there ethics rules?

SCHULTZ: Did she engage with you sexually?

JERRY (pause): We were taking it slow.

ABBIE: He's gonna be alright.

...SCHULTZ walks away toward his daughters. JERRY calls after him--

JERRY (calling): Does she ever mention me?

SCHULTZ, with his back still turned, just shrugs...

WHAT I'VE LEARNED: I found this moment so human. Despite the seriousness of his situation, a guy just wants to know if a girl likes him.

The Trial of the Chicago 7 (2020)
by Aaron Sorkin

2020 OSCARS: The Two Popes (2019) - Inserting Humore in Writing

[Quick Summary: The story of the relationship of Pope Benedict and Bergoglio, an Argentinian cardinal, who becomes Pope Francis.]

Writer Anthony McCarten, whose BAFTA Screenwriters' Lecture speech is well worth a listen, has spoken often on inserting humor in his writing.

I laughed at the scene below, and it was a release valve.

Bergoglio has just arrived at the Pope's summer residence.  He is uncomfortable, surrounded by so much excess.

I thought the humor was even more accentuated because it was followed by the sober reminder of the expectations that surround us, i.e.,  saints and cherubim.

ex. INT. CASTEL GANDOLFO - CORRIDOR (2012) - EVENING

Bergoglio is following the nun along the intimidating corridors. He's not happy here. The nun shows him a room.

BERGOGLIO: Thank you, sister.

NUN: Oh. I almost forgot. A message from your assistant in Buenos Aires...

She hands him a piece of paper. He unfolds it, troubled.

She shows him to his room. As he goes into his room...

NUN (CONT'D): Is it bad news, father?

INSERT: Shot of the piece of paper in his hand. It's a starting line up for tonight's big San Lorenzo game.

BERGOGLIO: I'm afraid so. Lavezzi is not in the starting line up for Argentina and Equador tomorrow.

PICK UP ON Bergoglio trying to pray a little later. He is distracted by the decoration in the room - paintings of saints surrounded by beaming baby-faced cherubim.

WHAT I'VE LEARNED: "Those who lose the ability to laugh, lose the ability to think."-Clarence Darrow

The Two Popes (2019)
by Anthony McCarten