A Curious Potpourri

Cool words for writers - Dialogue Hook

2007-10-07T10:43:00.000-07:00

A Dialogue Hook is a verbal example of of a dangling clause and what is said provides a transition to the next scene.

Tension is created because we’re left wondering just what is going to happen.

Here’s a example from “Toy Story” (1995)

Thought for the day...

2007-09-27T11:45:00.000-07:00

"Every piece of work in the shops moves. Save 10 steps a day for each of the 12,000 employees, and you will have saved 50 miles of wasted motion and misspent energy."
- Henry Ford

Film Breakdown - Mystery - The Last of Sheila (1973)

2007-09-23T08:44:00.000-07:00

1. 2:02 - A party is underway and a couple are arguing. Sheila (Yvonne Romaine) walks out of the house, followed by her husband Clinton Green (James Coburn) who demands she return... she does not, instead choosing to walk through the dark streets of Bel Air. Out of the evening comes a green car, speeding and swerving... likely a drunk driver as the car hits some trash bins. The car hits Sheila... the driver of the car reverses and gets out. Evidently grasping the seriousness of their dilemma, and perhaps being too late to do anything about it, the lone driver gets back into their vehicle and with a squeal of tires disappears into the night. Ends: 0:02:02

2. 1:12 - Dissolve to a yacht anchored off the coast of some small town. The name of the yacht reads SHEILA. Credits roll as we peek inside, though all we hear is the tap-tap-tap of an old mechanical typewriter and all we see are fragments of a crossword, pieces of a jigsaw puzzle, board games etc. Clearly the boat’s owner likes games. Clinton Green sits among his things, typing away on what look like stiff, card-like paper. As he finishes, he puts the card stock away into what looks like an envelope whose face already sports a handwritten name in ink. Clinton smokes a cigar and adopts a smug little smile. The names on the two envelopes read “Lee” and “Tom”. Ends: 0:03:14

3. 1:02 - Tom (Richard Benjamin) sits in his living room watching television. His wife Lee (Joan Hackett) enters the room from outside.Through exposition, Tom reveals that their luxurious house (the pool can be seen in the b.g.) belonged to her dead father, else Tom would unlikely to be able to afford such luxury. Lee holds a letter from Clinton and reveals they’ve been invited to join him for a week-long party on board the yacht. Tom is excited but his wife tells him to write something new... Clinton is never going to produce his “Freak show” script. Ends: 0:04:16

4. 0:02 - Clearly in flashback (since we have now seen those letters arrive at their destination), we now see Clinton continue typing on his old machine. An envelope to one side already awaits his labor, the name “Christine” can be read. Ends: 0:04:18

5. 1:11 - A loud A-type personality Christine (Dyan Cannon) talks on the phone and is evidently discussing the upcoming week-long party on Clinton’s yacht. Whoever it is that’s on the phone, it isn’t Clinton Green talking to her since Christine is disrespectful towards the deceased Sheila. However, she does reveal that it is the one year anniversary of Sheila’s death. She phones someone called Freddy and reveals she wants to go to the South of France (evidently Clinton’s origin or destination). Ends: 0:05:29

6. 0:06 - Clinton folds something into another envelope, seals it shut... the name on the front reads “Philip”. Ends: 0:05:35

7. 1:01 - On a television or movie set, Philip (James Mason) sits and barks orders to those around him. A group of children are dressed-up and sit on large props... likely they’re making a television commercial. Philip is called away to answer the phone... it is his wife or secretary and after listening for a bit, he instructs her to send a telegram of acceptance. Ends: 0:06:36

8. 0:06 - Clinton stares at another two envelopes whose handwritten names are “Alice” and “Anthony”. Ends: 0:06:42

9. 0:52 - Anthony (Ian McShane) handles the press while his wife Alice (Raquel Welch) fields questions from the paparazzi. She reveals that she’s exhausted after shooting her latest motion picture and she and her husband are going to vacation on the yacht of a famous producer friend. They’re both in Rome - at the airport waiting to board their plane - and Anthony man-handles an insistent Italian who chases them both as they head towards their plane - he falls to the ground and Alice is upset with Anthony because he’s so brutish. Ends: 0:07:34

10. 0:09 - Clinton Green holds a card which reads simply “The Game Will Begin Every Night At 9:00pm Sharp”. Ends: 0:07:43

11. 2:22 - The yacht is moored at the quay... however, there’s no one on board. Tom and Lee sit on their luggage, not wanting to board because they would be leaving their luggage unattended... Tom’s back is evidently not what it should be and so they dare not risk hauling all their stuff on board themselves. An open topped Rolls Royce arrives with everyone else crammed into the vehicle... Clinton sits prominently above all others and shouts a welcome to Tom and Lee. Clinton wants to take a group photograph and arranges everyone into a particular order by the bow of the yacht. Only then do they all board. Ends: 0:10:05

12. 0:37 - Clinton’s guests mill around the yacht’s main living room; they observe all the games strewn around. There’s a notice board standing to one side with everyone’s name on it... Clinton reveals that is “for later” and pins up the group photograph on a cork board. Ends: 0:10:42

13. 2:10 - Clinton shows each guest their rooms on board. Alice and Anthony get a large double room... in a smaller room, the other couple Tom and Lee speculate that Clinton did that so as not to put up with sulking for six days. Christine barges into their room and she and Tom speculate about what Clinton is up to... they seem to think that a movie about Sheila is brewing (as Sheila appears to be a compulsive subject of Clinton). Through exposition, it is confirmed to us that her killer was never found. Ends: 0:12:52

14. 2:57 - The guests are outside on the deck soaking up the sun and Clinton is talking (presumably) about a movie. Sounds like Christine was right after all; Clinton mentions wanting to call it “The Last of Sheila”. Anthony appears interested but presumptuously mentions that he’s not sure if Alice will be available (to play the lead). Wanting to change the subject, Clinton prepares to outline the upcoming game - what he’s dubbed “The Sheila Green Memorial Gossip Game”. He goes on to explain that he’s prepared six little pieces of pretend gossip, one for each of these guests in attendance... they’re to be kept secret by each person there. We then see some individually-typed cards revealed from the opened envelopes... for example, “You are an Informer”, “You are an Ex Convict”, “You are an Alcoholic” and so-on. However, we don’t see who revealed them. The idea of the game is to discover everybody’s secret and prevent everyone from discovering yours. Clinton goes on to explain that every day they will dock at a different port and at that place, they can discover the proof of one guest’s secret... Clinton will announce which secret to look for and give them all a clue beforehand revealing what to do/where to go on shore. Tonight they’re looking for the “Shoplifter”. Ends: 0:15:49

15. 1:15 - Evening finds our guests on a motor boat heading for the shore. Clinton isn’t with them though he’s following behind the boat in one of his own. Christine has a silver key in her hand, this apparently being their clue for the night. Inscribed on the key is simply STERLING 18K and it is obvious that each of the guests have their own key. Clinton reminds them to not confer with each other and with an extravagant circle around their boat with his, he’s off... back to his yacht. Ends: 0:17:04

16. 2:37 - Series of Shots - Anthony knocks on the door of a private home near a large novelty key somewhere in downtown... however the door is opened by a grouchy Frenchman who appears to cuss him out. Lee is about to enter a store when she’s pounced upon by Christine... sure she’s breaking the rule, but she speaks some French and doesn’t want to do this alone. Alice sits in an outdoor bar and is served a beverage... she’s deep in thought. Back with Lee and Christine, Lee is busy trying to get an expert’s opinion on the key itself while Christine is evidently shopping. Lee is told that it’s the key to a hotel and armed with this information, Lee skulks out of the store without Christine (who stands by the register haggling with the sales person over some trinket). Tom meanwhile has walked up to the door of an advertised “Hotel Sterling”... as he walks into speak to a receptionist, he finds Philip there asking to compare his keys to those of the other rooms. Tom hides and scuttles up a staircase unseen... out on the street, Christine is running after Lee. Unable to catch up with her, Christine stops running when she catches sight of Anthony and latches onto him instead. She tells him the French word for key is clef and armed with that, Anthony disappears. Lee is searching through a phone book’s yellow pages. Philip is behind the hotel’s reception, visually comparing each room key to his clue. Meanwhile, Tom is outside room 18K and taps on the surface... getting no response, he inserts his key and turns the lock... the door opens!
Ends: 0:19:41

17. 2:38 - Tom lets himself into room 18K. Inside a television set blares out the noise from some old B/W movie. The room is seemingly filled with junk... trinkets are on every flat surface, things are stacked against every wall. He opens a door and creeps in... on a nearby table, a clothed mannequin lies with a knife sticking out of his back. As Tom is about to reach out, Clinton shouts out NOT to touch the dummy! Clinton is sitting quietly to one side, watching everything. Clinton tells Tom to figure out what happened and to leave before any of the others arrive. Tom reveals that this must be the shoplifter’s room... there’s a lot of stuff in there, each still with a price tag attached. The dummy is a detective whom the shoplifter has killed. In the dummy’s hand is a bottle of perfume... a revelatory Chanel #5 is uttered by Tom, who beams and returns to the other room, switching the noisy television over to channel five. A fake documentary is shown to be playing on that station, Clinton’s voice can be heard... the picture of the shoplifter is clearly that of Philip. The door rattles with another key being inserted and Clinton quickly switches channels back to where it was originally and tells Tom to run away... Lee now enters the room and Tom leaves after a quick kiss. Ends: 0:22:19

18. 1:43 - Series of shots - Anthony walks outside on the street. He comes to the outside bar area and spots Alice smoking a cigarette. He offers to help but she’s not interested and he leaves. Back in room 18K, the fake documentary is running again and a beaming Philip sees himself as the Shoplifter. Outside La Clef du Sol restaurant, Christine meets Anthony who has just come out... she inadvertently gives him a clue about it being a hotel key and he skulks away. She embarrasses herself by barging into the restaurant, convinced (at least initially) that the solution is there. Anthony arrives outside the hotel room 18K but sees the sign on the door know which reads “The Game is Over”. Ends: 0:24:02

19. 0:42 - Alice continues to sit at the outside bar when to one side, an unseen person catches her attention. She becomes agitated, telling them that the mustn’t be seen here but that she does want to get together tonight on the top-deck of the yacht. She thinks they’ll be alone and she wants to talk about the game. Anthony now returns to the bar and the unseen person leaves quietly. Ends: 0:24:44

20. 0:34 - On the motor boat waiting to take everyone back to the yacht, Christine is hearing from Philip how there’s no such thing as 18K silver. Tom and Lee arrive and sit at the back... it looks like Tom is helped back on board by the crewman, no doubt because of Tom’s continuing back pain. Anthony and Alice return to the quay... Anthony wants to know who solved the riddle and how many solved it in total. But no one is telling as they head back to the yacht. Ends: 0:25:18

21. 1:28 - Later on the yacht, Tom brushes his teeth in the bathroom while Lee reads a magazine on their bed. It seems Clinton reminds Lee too much of her father... domineering individuals who play games and rewards those they like. Outside there’s some sort of argument going on between Clinton and someone else... Tom and Lee decide to ignore them all and engage in an intimate embrace... Ends: 0:26:46

22. 2:02 - Alice is talking to the unseen person again, this time on the top deck of the yacht as originally planned. She reveals that it was she who was once caught for shoplifting. She shows her card, which reads “You are a Homosexual” and she believes Clinton might have mixed-up the cards... she really wants to know what card the unseen person has... Ends: 0:28:48

23. 0:33 - Anthony lies alone on his bed listening to music on headphones. Alice comes into the room and Anthony taunts her with the fact that she always loses at games. Alice tells him to get a real job and Anthony mocks a hurtful tear... Ends: 0:29:21

24. 0:39 - In Clinton Green’s bedroom, it is evident that he’s listening-in on the conversations of his guests. Clinton switches off listening to Anthony & Alice. Christine enters his bedroom dressed provocatively... not finding him there, she opens the bathroom and joins Clinton.
Ends: 0:30:00

25. 0:10 - Tom sits on the bed smoking a cigarette. He appears deep in thought and absentmindedly buttons up his shirt. Ends: 0:30:10

26. 2:33 - Philip is in the main living area preparing himself a drink. To his side stands the notice board, the first row of a table reads MONDAY and we see the winners of the first game are Philip and Tom whose columns are circled; everyone else’s columns are X’d. Philip spots Lee sitting outside and joins her on deck. They reminisce about times past. Philip asks Lee why she and Tom don’t simply finance Tom’s movie themselves (instead of waiting for Clinton) but she poo-poohs the idea, adding that it’s not something Tom would consider. Tom now joins them on the deck and impersonates Clinton’s voice... once Philip leaves, Tom and Lee retire back to their room. Ends: 0:32:43

27. 1:01 - Back in their room, Tom reveals that there’s something going on and he’s going to talk to Clinton about it. Lee thinks it’s too late but they both know Clinton hasn’t slept eight hours since Sheila died. Tom leaves the room. Outside of Clinton’s room, Tom can her Clinton and Christine frolicking (or at least laughing) in the cabin and Tom decides not to disturb them. Philip now exits his bedroom and catches Tom outside of Clinton’s room... Philip tells Tom to go to bed. Ends: 0:33:44

28. 2:34 - Morning finds everyone out on deck relaxing in the bright sunshine. Clinton is shooting golf balls across into the ocean and at his feet, Anthony chit-chats about managing Alice’s career, being interested in that end of things, and asking what Clinton would say to making him an assistant producer on his next movie. Clinton walks away, not answering the question but choosing to mimic Anthony’s mocking hurtful tear (see #23). Over by the ladies, Alice walks away from Christine after a catty exchange of words. Christine reveals that she’s on the yacht to keep one client and get another... Lee reveals she’s there to try and keep hold of a husband. Off to the side, Alice joins Clinton who has now donned some diving gear. Alice apologizes to him for Anthony not having handled things better earlier on... Clinton dives overboard into the water. Ends: 0:36:18

29. 1:46 - The crew are having their naps and Christine asks Anthony for a drink - she’s parched floating around on the sea alongside the yacht in the afternoon. Inside, Tom plays darts alone. Anthony comes into the room to get a drink. Meanwhile, back outside, Clinton surfaces and shouts out various attempts to engage his guests in conversation... however, Tom, Philip etc aren’t biting, probably because Clinton’s tone is borderline patronizing. Ends: 0:38:04

30. 3:11 - Christine floats on her back in the ocean, close to the yacht. She sings to herself. Meanwhile, inside the boat we see someone’s POV... someone who secretly skulks around the boat, making sure the various crew members are occupied in personal pursuits. The POV shifts to the engine room. Outside, Christine is at the stern, the yacht’s silent propeller just beneath her. Inside, the POV lingers by the engine lever. Elsewhere, the cabin staff are undertaking mild chores when the sound of the boat starting is heard... the yacht shudders a little. Outside, Christine is sucked off her inflatable raft and into the churning slipstream of water. She struggles to swim away from the rotating blades, but the current is too strong. One of the crewmen dives for the engine shutoff switch on the top deck and at the same time, Anthony dives into the water to help Christine. The motor stops and Christine is hauled on board by Tom and Anthony... she is clearly intact physically and coughing water out of her lungs. Philip covers her with a towel and Christine is borderline hysterical, laughing up a storm and screaming at the same time. Clinton swims quickly up to his yacht to tend to his guests... satisfying himself that she’s alright, he proceeds to chew out the crew about starting the engines while they’re out there in the water.
Ends: 0:41:15

31. 2:11 - Tom & Philip conspiratorially whisper to each other about who could have turned on the yacht’s motors... between them they try and account for everyone of the guests and where they were when the incident occured. Tom’s back is acting up and asks Clinton to be spared having to play the game that night - Clinton says it’s okay, his big night will come on Saturday. Clinton then joins a few of his crew members to go inland to one of the islands. He’s probably preparing tonight’s game. Ends: 0:43:26

32. 0:49 - Clinton arrives back on his motorized boat in the evening; a few yards away from his yacht, he uses a loud-hailer to summon everyone of his guests onto the top deck. He throws them one parcel - the so-called clue for that evening - and tells them the launch will return at 8 pm that night. The island has a monastery and tonight they have to find “The Homosexual”. Ends: 0:44:15

33. 2:09 - The guests sit around in the living room. Their clue for this evening seems to comprise a guide book of the island they’re about to visit... Anthony reads out loud and there are some typos (deliberate?) and some cryptic facts which are unlikely to be true. Back in their quarters a few minutes later, Tom decides to shower before they leave for this evening’s festivities. Lee decides to leave him to it, choosing to go upstairs. While Tom is alone showering, we see an unknown someone enter their room. Whoever it is make their way to Tom’s wallet, in which lies Clinton’s card for him... it reads “Hit and Run Killer”. Ends: 0:46:24

34. 1:11 - Inside the island monastery, Clinton is dressed in the simple habit of a monk. He has lit candles throughout one of the rooms and lowers a tape recorder into a hidden crevice... it emits the spooky sounds of thunder, lightening and an owl hooting. The atmosphere suitably spooky, Clinton withdraws... Ends: 0:47:35

35. 2:05 - The guests now enter the monastery and written instruction direct them all to wear the monk habits left for them by Clinton. They are reminded to maintain their vow of silence. Meanwhile, Clinton makes his way throughout the large building, laying clues and printed messages throughout. The guests contemplate their next move when monastic chanting can be heard from several different areas of the monastery - no doubt tape recordings, but the ensuing chorus is humorous to several of the guests and does add great atmosphere for tonight’s game. They all disperse in different directions. Ends: 0:49:40

36. 6:48 - Series of shots - Anthony follows the sound of a particular chant, convinced this is Clinton singing and not some tape recording... he finally arrives at the source of the singing, but there’s a sign there that reads “Wrong”. Philip enters a large, cavernous candle-lit room... he decides to move into a smaller chamber to one side and finds a wooden confessional... a door to the side invites him into the confessional... he sits down and finds himself confronted with Clinton in drag. It turns out that Philip has used the wrong door to the confessional... however the other one is stuck and Philip is told to leave while he deals with getting it unstuck out of its jammed state. Meanwhile, Tom arrives at a source of chanting, and himself sees a “Wrong” sign... Tom spots Philip emerging from the confessional and himself tiptoes in to find Clinton for himself. Later, Christine does the same thing. As she steps out, she comes across another guest and (like us) doesn’t know who it is... but she says to them that this is the best game ever. Later in another room, she hears the ominous sound of a crash coming from Clinton’s direction... and we then see Clinton fall out of his confessional... dead! The killer (unseen, dressed in a monk’s habit) is about to escape when Alice appears outside the door... she knocks and asks to know what is going on. A sign is pushed out to her from under the door... it reads “The Game Is Over”.
Ends: 0:56:28

37. 0:49 - Morning finds our guests on the top deck, enjoying their breakfast in the bright sunshine. Philip mentions that Clinton didn’t sleep in his bed last night and nobody picked him up from the island. Anthony tells them all that his disappearance is part of the game. Philip disagrees, citing the fact that he hasn’t filled-in the scoreboard in the living room. Ends: 0:57:17

38. 2:32 - We hear the echoes of the guests calling out for Clinton in the monastery. Daylight now fills the rooms which only a few hours ago seemed so dark & shadowy. They make their way to the confessional room and open the door. We hear a scream from the ever-loud Christine and she’s told to get out. Tom and Philip enter and examine Clinton's corpse. Anthony enters and Tom tells them to not touch anything. Anthony appears to think it is an accident. Tom smells a rat. Philip finds a cigarette butt in Clinton's confessional but Tom reminds him that Clinton didn’t smoke cigarettes. Anthony is taking Alice back to the yacht as she’s sick. Ends: 0:59:49

39. 21:25 - The yacht’s captain tells Philip that the police have been summoned but won’t get there until the morning... they will harbor where they are until then. The guests now fix themselves drinks and talk about Clinton. Alice says it’s such a shame and Christine is upset. Anthony maintains that Clinton’s accident shouldn’t halt the movie continuing as originally planned. Tom reminds them this isn’t the first accident - yesterday’s propeller incident. Tom asks who solved the clue last night... as Alice had the “Homosexual” card, the game should have continued until she solved it... but she never got the chance to do so. So it was unlikely that it was Clinton who ended the game... furthermore (Tom says) the piece of stone that struck Clinton was ornately grooved, meaning it came from the base of a stone pillar and not the top. Tom takes the lead in trying to solve Clinton’s death... he starts by trying to analyze the very purpose of the original game. He asks everyone for their original cards and seeing them, believes the whole game to have been Clinton’s private joke.

Tom picks out the “Homosexual” card. It appears to be confession time... Lee is speechless but Tom admits he had a “thing” with Clinton. Alice admits to the “Shoplifting”. Christine admits to be the “Informer”. Anthony claims he’s the “Ex Convict” and can prove it. The tension now builds considerably as only Lee and Philip remain to claim their sin.

Lee finally fesses-up and admits she was the one who accidentally hit & run into Sheila.

We flashback to yesterday night and witness Lee confronting Clinton in his confessional - she knows what the game is about and wants the game to stop. When he whispers to her to get out, she does so but picks up the candleholder and rams it through the confessional door... Clinton falls out. Dead.

She then stages the crime scene to hide the fact that she killed Clinton. She now wants to make a clean exit and leaves the room by herself. Ends: 1:21:14

40. 0:34 - Philip mentions to Tom that he’s worried about Lee having made the “clean exit” line... he therefore rushes out of the room and to their bedroom. The door is locked to their cabin. He threatens to knock it down but she reassures him that she’s okay and wants to take a nap. He promises to come back later. Ends: 1:21:48

41. 0:52 - Anthony and Alice stand outside on the top deck. Anthony walks down to where the others are once Tom returns... Lee just wants to be alone. Ends: 1:22:40

42. 0:52 - Christine eats cake in the dining room and is sick at the news... sick at the news of hearing about the deal that Alice got on her last picture. Tom has obtained a master key from the Captain... Lee is apparently still not answering the knocks on her door. Christine admits to knowing she is a recovering alcoholic. She offers to accompany Tom to Lee’s cabin but he declines. Ends: 1:23:32

43. 0:31 - Tom lets himself into the bedroom and Lee lies there on their bed. He makes his way over and she moans in her sleep. She is alive. Tom removes a bottle from her grasp. Ends: 1:24:03

43. 0:26 - Philip stands outside while the others chat indoors. He hears a ker-splunk and sees a bottle of Scotch thrown into the water float-by. Ends: 1:24:29

44. 1:31 - Tom lays on the sofa... Philip holds the cigarette butt found in Clinton’s confessional. Philip appears deep in thought and tries to get Tom’s attention. However, he’s fast asleep... Philip makes his way to the yacht’s control room and helps himself to a key from a set hanging there. Philip then knocks on Lee’s bedroom door... not hearing a response, he lets himself into the room. However, her bed is empty and there’s nobody in the bathroom. Ends: 1:26:00

45. 0:07 - There’s a knock at Christine’s door and we hear her puff & pant suggestively... Philip makes his way in and we now see Christine doing sit-ups with the help of a crewman who holds her legs in place. No, she hasn’t seen Lee. Ends:1:26:07

46. 1:09 - Philip now wakes-up Tom and tells him that Lee has disappeared. She’s nowhere to be found. Tom rushes back to their room to verify this for himself... finding Philip is correct, Tom disappears to find the Captain. Philip gets an idea to look into Clinton’s room... in the bathroom, in the only cabin with a bathtub, Philip finds Lee. Dead... her wrists slashed. Ends: 1:27:16

47. 3:14 - Back on dry land, a stretcher covers a body on the quay and the Captain stands there talking to a man in a suit (a detective?). We’re seeing this from the POV of a telescope or a small movie-camera. The body is placed into a waiting ambulance. The POV changes to Alice who watches the ambulance... holding the camera is Anthony but he leaves when Alice starts to become morbid about Lee’s death. Christine is carrying a set of clothes to shore, claiming she wants to look terrific for their interrogation by the police. Anthony leaves to find a taxi, claiming the hotel will give away their rooms if they don’t check in soon. Tom exits a room smoking a cigarette... Alice thanks him for not revealing anything about “them” yesterday. She leaves and Philip comes to say his goodbyes. Tom asks him whose at fault for all of this... Clinton, Lee, Sheila...? He makes a move to leave and Philip mentions wishing he could remember something Clinton said. Ends: 1:30:30

48. 8:14 - The crew are celebrating their shore leave. Tom walks among them and heads for the waterfront in the night. From the shore, he notices the yacht’s living room lights flicker on, then off... on, then off. His curiosity piqued, he makes his way back on board. Inside sits Philip who calls out for Anthony in the dark... Tom says it’s him and the lights come on. Philip is practicing stomping out cigarettes in the light and in the dark. It is evident that the cigarette butt they found in Clinton’s confessional was odd in that it appeared as though the filter was stomped out... leaving the lit end to continue burning.

It now appears that Lee only thought she killed Clinton. But actually he was already dead.

Tom is now incensed that his wife Lee died for nothing; she killed a dead man. So someone killed her. Philip wants him to calm down but Tom leaves the room and says he’ll be right back. Ends: 1:38:44

49. 2:53 - Montage - Tom enters a bedroom and is searching for something. Back in the living room, Philip fixes himself another drink... while at the bar, he notices Clinton’s group photograph from the first day of their vacation. He remembers Clinton saying that for this game, you didn’t have to move if you were smart enough. In the bedroom Tom is rummaging through a set of chest drawers. Philip has retrieved everyone’s game cards from the trash and is comparing them to what’s on the photograph. Philip has flashbacks of what transpired on the boat throughout the week... Clinton telling Tom his special day was on Saturday... Christine revealing to all that Lee was a recovering alcoholic etc. Philip is deep in thought and appears to have had some sort of revelation. Behind Philip a hand appears outside the glass door and quietly locks access out of the living room. Philip presses a button on the bar to summon the kitchen staff but we see the kitchen is deserted. Ends: 1:41:37

50. 16:00 - Tom walks up the staircase and rejoins Philip. It seems each have “found” the beginnings of an idea.

Philip has found that everyone’s “secret” card formed the letter of an acronym which spelled SHEILA. Two odd things he’s found though... the “little child molester” makes no sense unless it was so phrased that way to form the “L”... this is probably the clue that gave him the insight into the acronym. Secondly, Tom’s secret should be “A” which doesn’t match his “HIT AND RUN KILLER” card. It should have been “Alcoholic” which Tom actually got as a card and represented Lee’s secret.

Philip admits it was he who started the yacht’s rotors but that was to kill Clinton - he’d realized what he was up to and had no desire to be exposed as a pedophile. Philip does a masterful job explaining just how Tom carried out the crimes.

Tom reveals that the crew have the day off since their master is now deceased. Philip makes a run for it but Tom is younger & quicker and manages to attack Philip and strangle him. In flashback we see Tom carry Lee’s drugged body over to Clinton’s bathroom... he had drugged the bourbon bottle with Seconal (prescription anaesthetic/sedative/hypnotic drug), knowing full well that no one else on board drank bourbon.

Philip and Tom continue to fight when suddenly Christine walks into the room. It appears she and Guido were on board entertaining themselves when she turned on the radio in Clinton’s room and instead of music, heard Tom and Philip’s conversation.

Philip reveals that the entire saga is worthy of a motion picture... to that end, he reassures Christine that they will need her services in putting together the movie. Tom will provide the money, now that he’s the sole inheritor of Lee’s fortune ($5M+). Philip then leaves with Christine, reassuring Tom that all will be well.

Tom is stuck between a rock and a hard place... he has basically been blackmailed into cooperating with Philip and Christine... and there’s nothing he can do about it.

The end credits roll with Bette Midler singing “Friends”. Ends: 1:57:37

Cool words for writers - Gerund

2007-09-23T07:32:00.000-07:00

Originates from Latin and is the name for a form that is derived from a verb but that functions as a noun.

Easily spotted because it typically ends in an “ing” and feels like an incomplete action.

For writers, especially screenwriters, these words are probably most effective in titles. Examples:-

        “Searching for Bobby Fischer” (1993)

        “Killing Mrs. Tingle” (1999)

        “Finding Nemo” (2003)

        “An American Haunting” (2005)

        “Running Scared” (2006)

Some may find using them to be pretentious, but others find that the incomplete action conveys significantly to the selling of the story premise.

So... consider a gerund in your story title if you want to hint at something or “dangle a promise” to pique some curiosity.

Just remember to deliver on that promise... ☺

Great Moments in Cinema - SCARFACE (1983)

2007-09-22T10:41:00.000-07:00

                                                                162

EXT. TONY’S MANSION GROUNDS - LATER THAT NIGHT        225

The Bengal tiger paces his spot, restless.

A monsoon-like wind blows through the trees on the estate.

The monkeys listen quietly.

The flamingoes flutter.

... Then there’s a burst of loud music from the stereo speakers on the balcony -- a Billy Joel song, something smooth and easy about the high times and how fast they go...

See Tony in a long shot, throw open the terrace doors and stagger out onto the balcony, overlooking his estate.

... On a closer angle, we track him to the edge of the balustrade. He’s done so much coke now he’s practically catatonic; staggering and muttering to himself.

                                TONY
                (insensate)
                ... Jesus fuckin' Christ whatsa matter
                with me, get a hold of y'self now
                these cocksuckers gonna run over you
                let 'em try I bury the cocksuckers...

His point of view -- panning his estate. The dark emptiness. The wind rustling the treetops.

Tony echoes back at him. Shaking his head at himself, He starts to cry!

                                                                163

225 CONTINUED

                                TONY
                        ...Ooooh fuck Manny, how the fuck
                        did I do that? How the fuck! ...oh
                        Manny, Manny... you were there
                        for me, you were the one, Manny, you
                        understood, always understood...
                        well what the hell happened, huh?
                        What the hell happened to us?...

In far b-g. Now behind Tony, on the video monitors in his office we see:

The main gate and guard shack -- a Marielito crosses into view, checks the gate, turns. Suddenly two figures spring out at him. One of them garroting the Marielito. He struggles.

Another monitor now reveals two more figures moving into the interior of the guard shack. They knife the other Marielito.

A third monitor carries another image of shadows moving through the trees on the state.

On the balcony, Tony is oblivious to it all, almost incoherent.

                                TONY
                        I said you, Manny, I said I
                        never go crazy and you said, I would
                        you sonofabitch and you were right...
                        those were the good days hunh, we
                        was crazy back in those days, we’d
                        do anything, you and me, we was on
                        the way up, nobody nothing coulda
                        stopped us cause we were the best hunh
                        -- the fucking best...

As Tony turns and starts back through the terrace doors into his study, the camera glides around to a view of a hook flying up and catching the balustrade.

A shadow starts climbing up as:

                                TONY
                        ...we still are Manny, we still are
                        -- see, I’m gonna wipe out all them
                        fuckers out there, I’m gonna run the
                        market, I’m gonna be King Cocaine
                        you hear me, you buy you buy from me
                        -- Tony Montana. Covers all the
                        magazines. Fan Mail. Television
                        stars, movie stars, shooting stars
                        --- he’s a star...

                                                                164

INT. TONY’S MANSION GROUNDS - OFFICE                226

As he crosses his office, the camera moves to reveal Gina standing there half-dressed in the doorway, her eyes blazing with hatred.

Tony sees her.

She steps forward, offering her body almost naked to her brother.

                                GINA
                        Is this what you want Tony?...

Tony shocked.

                                GINA
                        You can’t stand another man touching
                        me. So you want me Tony, is that it?
                        Well here I am.

She fires the Baretta we now see in her hand.

The bullet grazes Tony in the leg, snapping him from his catatonia as he goes reeling across the floor behind his desk. She fires again. Again.

                                GINA
                        I’m all yours Tony, I’m all yours now.

Bullets ripping into the desk. She advances, offering her sex, methodically shooting out the clip at rhythmic intervals.

                                GINA
                        Come and get me Tony. Before it’s too late.

He spins across the run away from the desk, trying to put distance between them. She sees his scurrying, turns, and expression like a demented angel.

                                GINA
                        Come on Tony, fuck me! Fuck me! Fuck me!

Advancing on him, firing. The furniture tearing up, the chair spilling, television sets and computer toys shattering, Tony squirming away, hit again in the thigh, shocked and scrambling over to the terrace windows. Her next shot shatters the window and as Tony ducks again to the side, we see outside onto the terrace behind him!

                                                                165

226 CONTINUED

A young Columbian punk no more than than twenty -- one of the hitters -- is crouched there, reacting to the broken window.

He doesn’t hesitate, turning his machine gun on Gina.

Gina is torn to pieces by the firepower -- blown across the room, spine severed and dead before she hits the floor.

Tony sees it, yells something, in the same instant swivels to knock the barrel of the machine gun aside. The punk is taken by surprise, not having seen Tony, and Tony now runs him backwards across the balcony and hurls him over the balustrade.

The punk lands in one of the shallow pools on the grounds at the base of the balcony.

Tony, from above, grabs the punk’s machine gun and empties the whole clip into the figure thrashing in the pool below.

Ernie runs into view on the far side of the pool, spots what is going on and yells up ---

                                ERNIE
                        Tony, they’re everywhere! Get outta here!

Ernie suddenly wheels, hit in the face, by a burst of silencer bullets.

We catch a brief glimpse of Sosa’s black side, the Skull, moving quickly along the wall of the house -- directly underneath the balcony on which Tony stands.

Tony, tossing the empty machine gun aside, wildly runs back into his office to get more guns, crosses to Gina’s corpse. It takes him by surprise. He comes to a dead stop, kneels, looking questioningly in her face.

                                TONY
                        (gently)
                        Hey Gina come on, you still angry at
                        me? I didn’t mean to kill Manny, I
                        was... I was--

Running his hands along her face, trying to rouse her, gently lifting her eyelids. Blood’s running out of her mouth in rivers.

                                                                166

226 CONTINUED

                                TONY
                        Come on Gina, get off the floor.
                        You’re all dirty now, you need a
                        bath... Mami’s gonna be angry baby
                        -- ooh is she gonna be mad at me!...
                        Come on open your eyes my baby,
                        open your eyes... - give me a smile.

There’s been a steady pounding and calling on the door of the office. Tony finally hears it, looks up, then over at the monitors.

One of them reveals Chi-Chi standing there outside the door pounding it.

                                CHI-CHI
                        Boss! Hey Boss! Open up!

On the monitor we see Chi-Chi suddenly spin and open fire down the foyer. Return fire decimates him. A grenade goes off, blows him up against the door.

                                TONY
                        Cheese!

He now seems to come out of his catatonia, runs to his sideboard, hauls out a rocket shoulder-fired rocket launcher and straps an Uzi across his shoulder. He looks up at the monitor.

On the monitors, the hitters are now darting across the foyer and coming up to the left and right hand stairs.Three of them are already huddled outside the door, around the corpse of Chi-Chi, motioning to each other, laying a grenade at the base of the door to blow it out.

Tony loading his rocket, intends to beat them to the punch, talking to himself.

                        TONY
                So you wanna play hunh, say hello
                to my little friend here.

Karroooomph!

The rocket tears down the door and blows the Columbian punks off the landing into the foyer.

It sounds like Armageddon, one of the hitters is screaming, smoke billowing out wildly.

Tony, at the height of his mad glory, steps out at the apex of the stairs, firing his machine gun and yelling.

                        TONY
                Whores! Cowards! You think you
                can kill me with lousy bullets hunh?

                                                                167

226 CONTINUED

Another hitter tumbles down the right-hand stair.

                        TONY
                Who you think I am? I kill all you
                fuckin’ assholes. I take you all to
                fuckin’ hell!

Left. Right.

Another hitter drops, screaming, off the stairs into the pool below.

A grenade goes off. Tony is hit again, but keeps on firing away. Laughing like a madman.

                        TONY
                You need an army you hear! An army
                to kill me!

Behind him we see the remainder of the pound of cocaine go up in a burst of wind, whipping around the office in auras of white. It is a ghostly effect out of which now appears the face of the Skull moving from the terrace towards Tony’s back with a sawed-off shotgun.

                        TONY
                Ha ha ha ha ha! You whores, you
                scum, I piss in your faces !!! Ha
                ha ha ha ha!!

Skull, now inches from Tony’s back, pulls the trigger and blows Tony’s spine out his belly.

Tony crashes forward over the bannister into the interior swimming pool below.

He floats quietly face down in the lit blue waters.

As the titles begin their crawl up, the music theme is expressive salsa with a dash of gaiety.

The camera moving off Tony to catch the reflection of the lit sculpture on the surface of the still waters. It says:

                        “THE WORLD IS YOURS”

And so, for the brief moment, it was.

                                                                168

226 CONTINUED

Our camera now distancing itself from the body in the pool, panning past the dream villa, past the shambles and the wealth, past the hitters pillaging and looting and drawing that obscene word “Chivato” in blood on the outside walls, past the stacks of cash blowing across the floor like leaves in autumn, with the looters running after it across the busted door with the tropic wind blowing down Coconut Grove -- to the Miami skyline across the Biscayne Bay.


                THE END

SP Terms - Sluglines

2007-09-20T19:50:00.001-07:00

Sluglines or probably more accurately Slug lines provide information about a specific scene. Also known as a scene heading, a master scene heading or shot heading.

In Spec scripts, the slug line is typically comprised of three pieces of information:-

1) Scene intros - an abbreviation documenting information about where the scene is set.

        INT. - interior and tells us the scene is shot indoors
        EXT. - exterior and tells us the scene is shot outdoors
        I/E. - also known as INT./EXT. (or vice-versa) this tells us the scene
                is a combination of indoors & outdoors

2) Location - information about where the scene takes place

        e.g. INT. FITTS HOUSE or INT. FITTS HOUSE - RICKY’S ROOM

        Note how elements of a location are separated by a hyphen and
        need to occur from general to specific

        e.g. INT. ROLLS ROYCE - TRUNK

        or EXT. SEATTLE - DOWNTOWN - FERRY TERMINAL - DRY DOCK

        (though too much information makes for a difficult read.)

3) Times - the time of day that the scene is taking place (a practical implication for eventual production)

        e.g. DAY or NIGHT

        They recommended that for Specs, writers should confine
        themselves to these two only. This is to maintain the reader’s         orientation and still be able to tell the story.

        However, any or more of the the following are deemed valid with
        many readers:-

        AFTERNOON, MORNING, EVENING, LATER, MOMENTS LATER,
        CONTINUOUS, THE NEXT DAY, SUNRISE, 3 AM

        (and so-on).

In addition to master slug lines, it is now commonplace to see what are called mini-slugs (or secondary headings) within a master slug lined scene. In other words, once the scene has established itself as being (say) in an apartment, it is acceptable to shift focus to a specific part of the apartment without the accompanying (messy) new slug line.

e.g. INT. TOM’S APARTMENT - NIGHT

Matt sits down on the sofa... he rolls up his newspaper and swats the cat playfully. The cat jumps off and walks over to Matt’s

COMPUTER DESK

where he jumps up and lays down on the keyboard.

☺

Finally:

In a shooting script, the slug line can comprise extra components :-

        2.5) Type of shot - CLOSEUP, WIDE, ESTABLISHING, TRACKING SHOT,
                                        AERIAL, UNDERWATER etc

        2.6) Subject of shot - focus is deliberately concentrated
                                        e.g. TRACKING SHOT - JIM, MIKE, PAT

(these are outlined here only to explain what one might see - maybe - in a shooting script... it’s worth noting however that standards are not always consistent, so variations can/will occur.)

Thought for the day...

2007-09-19T14:13:00.000-07:00

I'd just like to inspire people to be themselves and do what they want and not conform to the rigid guidelines of the music or entertainment business.
~Juliana Hatfield

SP Terms - Shooting vs Spec

2007-09-18T13:16:00.000-07:00

A screenplay that is written but not as part of a paid assignment is known as a “Spec”, because it is deemed speculative.

A screenplay that is put together to support the production of an actual movie is known as a “Shooting script”, because these scripts don’t just tell the story, they also have a bunch of technical content (e.g. scene numbers, special effects etc).

It is obviously best if the two aren’t confused.

In other words, go to someplace on-line like Amazon and search for “shooting script” and you’ll see a variety of available publications that elaborate how a given motion picture was made... the detailed instructions supporting each scene in the movie, the exact dialogue used between characters, the transitions between scenes, any effects required and so-on.

This kind of detail should always be absent from a Spec.

Why?

Probably because the writer should focus on the what and not concern themselves with the mechanics of how it will be made.

To dwell on that interferes with the telling of the story, besides which the story itself will be rewritten in potentially dozens of drafts long before any thought of making it will arise. In fact, the odds of the script becoming a shooting script at all are very slim. So it probably comes across as presumptuous (at least) or unnecessarily dictatorial (at most).

Thought for the day...

2007-09-16T21:51:00.000-07:00

“We all have ability. The difference is how we use it.“
~ Stevie Wonder

Film Breakdown - Action - The Double Man (1967)

2007-09-15T20:15:00.000-07:00

1. 1:55 - Opening credits. Ends: 0:01:55

2. 2:36 - At a military facility, some officers from an Eastern European country confer. There’s a plan afoot and a lot at stake. Ends: 0:04:31

3. 0:29 - A screaming man hurtles down a snowy mountain and lands at the bottom - dead. We see that this is a young man. After the fall, from a bird’s eye view high above the the top of the mountain, two anonymous skiers casually make their way off the mountain, their job now done. Ends: 0:05:00

4. 0:23 - Montage - Establishing shot of Washington DC at night. A noisy teletype urgently spits out a message addressed to a Dan Slater at the Central Intelligence Agency (CIA). The message reads that with regret, his son has been killed in a skiing accident. D. Slater’s office door shows his title to be Assistant Deputy Director. Ends: 0:05:23

5. 0:40 - Dan Slater (Yul Brynner) exits his office and makes his way down the hall to a colleague. He’s told by an assistant that Edwards is at the Pentagon and Slater drops off the teletype and indicates he’ll be back in 24hrs. The assistant reads the teletype. Ends: 0:06:03

6. 1:48 - Match cut on the teletype and we now find the urgent message being read by Edwards (Lloyd Nolan), presumably Dan Slater’s boss. Exposition reveals to us that the message was from someone called Frank Wheatley, a British agent who has previously worked with Slater. Also, Slater has left the previous night to go to collect his dead son in Austria; his sixteen-year-old son was Slater’s only family. Edwards tells his assistant that he would never have approved Slater going off like that - he’s suspicious of “accidents”. Ends: 0:07:51

7. 1:22 - Series of Shots - an Austrian train arrives in a snowy village. Skiers exit the station office and begin to board the train. Dan Slater emerges and purposefully walks away from the train. A taxi speeds along a mountain road, snow having been cleared off the road’s surface as though routine. Slater sits in the back. The taxi arrives at a town and Slater exits... he is watched by two men, one of whom we have seen previously as a senior officer but now in civilian clothing posing as a tourist. Slater makes his way to a church. Ends: 0:09:13

8. 3:38 - Slater makes his way up a staircase. We hear the V.O. of a service in progress and Slater enters a larger room to see a priest and some locals standing by a coffin. The coffin is taken away by pallbearers and Frank Wheatley (Clive Revill) and his wife Anna (Julia Arnall) pay their condolences; they were looking after the young man. The son’s ski instructor attempts to say something but is coldly rebuffed by Slater. Slater does not believe this is an accident, though Wheatley tries to reassure him otherwise. Slater is upset & angry. Later when Wheatley asks what he should do with his son’s belongings, he’s told by Slater to burn them. Ends: 0:12:51

9. 2:00 - Slater enters a restaurant; he is still being watched/followed by two men. Inside, he and Wheatley have a drink. Slater apologizes for his outburst in the Church. He reveals that he wrote his son & that his plan was for them to ski together soon... however, Frank Wheatley corrects him to say that Slater’s secretary typed-up a note to send to his son. Slater makes a move to leave and tells Frank he might be back in the Spring. He’s clearly headed back to Washington DC. Ends: 0:14:51

10. 0:45 - Slater and Wheatley say their goodbyes outside the restaurant and Slater boards a newly-arrived train. One of the two men watching Slater boards the train with him while the other stays behind.
Ends: 0:15:36

11. 1:30 - Slater sits in a full train compartment, stares contemplatively out at the snow-capped mountain scenery flashing past. The man following Slater enters the crowded train corridor and moves towards Slater’s compartment. Slater opens his bag to pour himself a drink from the bottle supplied by Wheatley in the restaurant. Inside his bag however, Slater also finds his son’s blood-stained jacket. The tourists and other train occupants are singing joyously, in abject contrast to what Slater is silently experiencing. In the back of Robert’s jacket are two mysterious holes. Slater makes the connection as to what they might be when he spots a pair of skis nearby and notices their menacing spikes. Ends: 0:17:06

12. 0:35 - Slater’s train arrives at the next town and Slater gets off. He makes his way to the taxi ramp and enters the vehicle, asking to be taken to the International School. As the car takes off, the man who was following him removes the receiver from a public phone. Ends: 0:17:41

13. 2:55 - Slater arrives and walks through the snow into the building. It appears deserted inside. Wheatley’s classroom door is opened and Slater steps in, holding a pair of ski poles he’s picked up at the entrance. Dan interrogates Frank Wheatley as to the whereabouts of his son’s clothing - Frank put everything in a trunk but the jacket in Slater’s bag wasn’t among them. Slater demands an answer and Wheatley has no answer that satisfies Slater. In fact, Slater ends up decking Wheatley with a punch to the jaw. Ends: 0:20:36

13. 0:49 - Slater leaves and Wheatley’s wife Anna tends to Frank. Just then, Frank’s phone rings and it is Dan Slater’s boss at the CIA... Edwards thus hears from Wheatley firsthand how Slater believes his son’s death was no accident. Ends: 0:21:25

14. 1:36 - Slater is at the medical examiner’s office and hears that despite seeing the marks on the body, these were not the cause of Bobby’s death. Slater argues the marks may prove that his son was pushed to his death. The local police chief discounts this, further suggesting that the last thing he needs in this small skiing community is a murder case. Slater leaves with Wheatley. Ends: 0:23:01

15. 1:24 - While leaving the medical examiner’s office. Wheatley tells Slater that Edwards is worried and wants Slater to call him immediately. The two join Anna in a VW van and Slater asks to be taken to the location where his son Bobby was skiing before his apparent accident. As they head out, one of Slater’s pursuers watches them drive away and quickly follows in his own car. Ends: 0:24:25

16. 1:25 - Slater, Wheatley and Anna arrive at the cable car station at the base of the mountain. Slater decides he wants to go up by himself. Once inside the building, Slater checks out a wall map of the skiing areas on the mountain, specifically eyeing Buler which is where his son was skiing that early morning on the day of his death. Slater insistently knocks on the door of a staff office, much to the consternation of the cable car operators who are having their lunch inside. Ends: 0:25:50

17. 0:54 - Slater’s pursuers meet back at their house and discuss Slater being at the cable car station. It appears everything is going to plan - Slater must continue to do exactly what he’s been doing as regards pursuing his investigation. Ends: 0:26:44

18. 0:58 - Back in the station office, Slater and the two cable car operators are apparently the best of friends. They all discuss Slater’s son - a regular - specifically that morning he rode up on the first cable car of the day. He was not alone but the other passengers in the car that day were a couple of unknown men and a woman who the operator says he would recognize again if he saw her. Ends: 0:27:42

19. 0:45 - Back in Washington DC, Slater’s boss Edwards and his assistant are discussing the facts as they are known regarding the location of the ski resort/town. Clearly, Slater hasn’t yet called Edwards as he was asked to do. Their nearest agent is revealed to be in Zurich and Edwards studies the case folder some more. Ends: 0:28:27

20. 1:03 - An art dealer in Switzerland answers some questions from a potential customer eyeing a sculpture in a gallery. The dealer sees a flashing light and excuses himself... once alone in his office, he unlocks a drawer and takes a phone call from Edwards. The dealer - clearly an Agent - is ordered to contact Slater in the small town of St. Anton in the Austrian Alps. Ends: 0:29:30

21. 1:23 - Having obtained himself some skiing equipment, Dan Slater boards the cable car to go to the top of the mountain. Slater’s pursuer - Berthold (Anton Diffring) - makes sure to board the same cable car ahead of Slater. Ends: 0:30:53

22. 3:32 - The cable car makes its way up the mountain. Inside, Slater nudges his way through the crowded car to get closer to a young woman looking out the window. It is obvious that back on the ground, the cable car operator gave Slater an indication that this was the woman who went up with his son Bobby on the fateful day. Slater attempts to engage Gina (Britt Ekland) into a conversation and offer to ski with her (for safety) but she’s not interested and moves away. The car arrives at the top and the car disgorges its passengers. Slater follows Gina to another cable car which takes a smaller group of skiers all the way to the very top. Once that car arrives, it is obvious that Slater’s tail - Berthold - is still there with him. Ends: 0:34:25

23. 3:53 - Gina dons her skis and heads down the mountain, followed closely by Slater and then Berthold. Gina eventually figures out she’s being followed and implores Slater to stop doing so. She begins skiing faster when it becomes obvious that Slater has every intention of continuing to follow her. Slater eventually crashes/falls while skiing due to inexperience and taking pity, Gina skis over to offer him some help. However all she really does is rebuke him for trying to ski beyond his abilities and leaves before Slater can say too much. From a distance, Berthold tells Slater where Gina can be found in the town. Slater then heads for the top of the mountain to share Bobby’s last view.
Ends: 0:38:18

24. 0:47 - Miller, the CIA Agent in Zurich posing as an Art Dealer, contacts Edwards and relays the fact that Slater has been in touch. Slater apparently asked him to investigate a few names (eg. Gina). Edwards makes a note of these. Edwards tells Miller to get Slater on the next flight to the U.S. out of Zurich - it’s only a few hours away and Edwards orders him to tell Slater to be on that plane and to call Edwards back once this is confirmed. Ends: 0:39:05

25. 4:00 - Slater arrives at the home of Mrs. Carrington where Gina Erickson is staying. Mrs. Carrington mistakes Slater for a party guest but once the confusion is cleared-up, she invites him to her party that evening and suggests he enters the contest. Slater is flying home that night, so he politely declines. Once alone, Slater begins to grill Gina about what she was doing that fateful Tuesday morning. Annoyed, Gina more or less has him escorted out of the house... however, Slater promises to be back that night based on Mrs. Carrington’s invitation. Ends: 0:43:05

26. 0:15 - In Zurich, Miller the CIA Agent removes a gun from his office desk drawer. Ends: 0:43:18

27. 2:37 - At the International School, Wheatley receives a phone call for Slater. It is Washington DC and Edwards finally gets to talk to Dan Slater. Edwards is upset that Slater clearly is not flying out that night as ordered... both he and Slater suspect a trap but Slater intends to play it out and see what is going on. Edwards reveals that he’s ordered Miller to join him out of Zurich... he’ll be arriving that night. He orders Slater to stay in the School until Andy Miller arrives; however, later on Slater admits to Wheatley that he’s going out to Mrs. Carrington’s party after all but intends to be back before Miller arrives. Ends: 0:45:55

28. 1:34 - Miller boards a train in Switzerland, presumably to travel to Austria. He is being watched by an unknown character at the train station... once Miller has boarded his train, the anonymous character phones Berthold’s gang. Berthold himself is pleased to hear his news and afterwards reveals that Mrs. Carrington’s butler (an informant) has told him that Slater will be at the party this evening. Berthold shouts up to someone called Max to tell him to get ready. Ends: 0:47:29

29. 4:35 - The party at Mrs. Carrington’s is in full-swing that evening when Slater arrives. Gina makes her way over to Slater... unbeknownst to him, he is also being watched by Berthold and Max, who are themselves guests at the party. Gina is very friendly and the sudden change of mood has Slater’s paranoia raised a notch or two. He asks to speak to Gina privately, away from the party crowd. She takes him upstairs. Once alone in her room, Slater grills Gina about that Tuesday... he asks if she knows or can describe the two men who accompanied her on the cable car. She reveals that one of the men talking to the boy was wearing a ski mask (it was very cold that day). Gina tells Slater that the boy looked happy to be accompanying the masked man. Slater then leaves Gina, having revealed nothing about himself to her. Ends: 0:52:04

30. 2:49 - Slater joins the party downstairs but is annoyed. Berthold makes his way over to Max... both watch as Slater stands by the bar sipping a large Scotch. Max then intercepts Gina and forces her to dance with him. While Slater talks to Mrs. Carrington, Gina hurries over to tell Slater that she has just met one of the men from the cable car (the unmasked one). They leave Mrs. Carrington to search for Max, but are told that he just left the party alone. Ends: 0:54:53

31. 1:14 - Slater searches for Max outside, but Max has clearly left without a trace. Slater returns to the party and asks Gina for the guest list. A helpful butler informs Slater & Gina that he overheard Max tell the taxi driver that he wanted to be taken to the Bahmer Farm. Slater calls Wheatley who knows where the farm is and offers to come at once to pick him up. Ends: 0:56:07

32. 2:15 - In the VW van later on, Slater and Wheatley wonder what it is they are getting into by going to the Bahmer Farm just outside of town. Wheatley tells Slater why he got out of the spying game... to be a normal human being again, away from professional paranoia that turned everything ugly. They finally approach the farm and Slater tells Wheatley to drive up close without his lights. Wheatley offers to wait and Slater exits the van to investigate... he’ll be back in ten minutes.
Ends: 0:58:22

33. 1:13 - Slater approaches the quiet farm house alone from the unlit roadside... he scurries over to spy on any inside activity. Back at the vehicle, Wheatley quietly exits the VW van. Slater makes his way over to the front door and this is suddenly opened by a German-speaker who asks what it is he wants... Slater wants to talk to Max Gruner. He is invited into the farm and told to make himself comfortable. Ends: 0:59:35

34. 2:19 - Once inside, Slater is held at gunpoint by Max who appears out of the darkness. Slater is told by Max to remove his jacket... then everything else. While undressing, Slater whips one of the two men with his belt and begins fighting with Max. Eventually all three are fighting and eventually Slater is overcome... however, while kicking away Max’s handgun, one of the assailants accidentally causes a shot to ring out. Thus alerted, Wheatley (outside) gets back into the VW van and takes off (presumably to summon help). However, it’s not long before his instinct to flee is checked and he quickly returns to help. Slater is seen running out of the farmhouse and meets up with Wheatley... in fact, Slater nudges him aside and drives the VW van himself. Ends: 1:01:54

35. 0:54 - The two men talk while driving away from the farmhouse. Slater accuses Wheatley of having set him up. Wheatley wants to know what is going on... he blames Gina, saying it must have been her that set them up. Slater indicates he’s going back to talk to her and find out. Ends: 1:02:48

36. 1:52 - Mrs. Carrington’s party is breaking-up. Slater and Wheatley return and the butler offers to look for Gina. When she arrives, Slater tells her they have to talk. Needing somewhere quiet, she suggests her room (again) and says she’ll meet him there and disappears. When Slater goes upstairs, he’s confronted by several doors and doesn’t know which one is Gina’s. She eventually opens her door and he makes his way inside. Ends: 1:04:40

37. 0:19 - Once inside Gina’s room, Slater hits her hard across the face. In fact, the two begin fighting and breaking stuff as he attacks her. She scratches him across the left-side of his face and now angered further, Slater twists her arm behind her back and throws her on the bed.
Ends: 1:05:19

38. 2:01 - Wheatley waits downstairs while upstairs, Gina asks Slater why he has attacked her. Slater tells her he doesn’t like being setup. Gina doesn’t understand what has possessed him and threatens to attack him with a lamp. She orders him to get out and Slater is unwilling to do so until Wheatley lets himself into the room and tries to make him see reason. The two men leave. Outside, Slater tells Wheatley that he’s going back to the farmhouse... but he wants to go there alone. Slater orders Wheatley to meet with Miller and for them to return to the farmhouse and join him. Ends: 1:07:20

39. 1:56 - Wheatley goes back up to Gina’s room. He’s not there to apologize to Gina because Slater wouldn’t want that - in Slater’s world, you don’t apologize. Frank reveals to Gina that the dead boy was Dan Slater’s son and that the death was no accident. In fact, Slater suspects everyone of having had a hand in the boy’s death. Wheatley asks Gina to try and forgive him (Wheatley) and leaves. Ends: 1:09:16

40. 5:49 Slater’s VW drives right up to the farmhouse... he gets out and enters the house but there’s nobody around, Slater makes his way up a staircase and walks over to one of several doors and opens it. It is dark inside but once he has entered, an unseen hand turns on an overhead bulb to reveal several men standing around... in the centre of which is a casually dressed other Dan Slater! The well-dressed Slater is the fake... he’s the one who attacked Gina... he’s the one who killed Bobby and he’s the one who will return to Washington with Miller to resume working at the CIA. The real Slater is bound and gagged and a ski mask is placed over his head... he is taken away to be killed. The fake Slater sits down and smokes a cigarette... and waits. Ends: 1:15:05

41. 0:50 - Miller and Wheatley are in a taxi, speeding back to the farmhouse. Neither can understand what Slater is doing. Wheatley tells Miller that he is not armed. Ends: 1:15:55

42. 1:38 - The taxi arrives at the farmhouse. The driver is paid and leaves... the two men enter & quietly make their way through the house and find Slater sitting alone in the dark. He feigns waiting for the bad guys who haven’t turned up yet... Miller pulls a gun and tells Slater that he’s under orders by Edwards to escort him back to Washington DC. They will not wait for the bad guys. Ends: 1:17:33

43. 0:36 - When Wheatley, Miller and the fake Slater drive off, from a distance Berthold and his crew get into their car. They tell the masked (real) Slater that he’ll soon be dead and buried. Ends: 1:18:09

44. 2:09 - Miller drops off Wheatley at the school and the latter says his goodbyes to Slater. Meanwhile, Berthold and his gang drive the real Slater somewhere unspecified.. however, while driving through a town there’s the sound of music and the streets are filled with skiers. The driver honks his horn to disperse the obstacle of the crowd, but they’re too busy enjoying themselves. Slater seizes the opportunity to lunge forward and force the driver against the car horn... the noise of which seems to irritate the crowd enough to surround the car. One of the gang gets out to pacify the crowd and so now Slater has a second opportunity as only Berthold is now covering him with a gun. Slater elbows him in the face and escapes from the car, still bound at the wrists. Ends: 1:20:18

45. 2:47 - The real Slater, masked and still bound, now plays hide & seek with his pursuers in the fading light. The village festivities continue around them, music blaring etc. The hunters get closer & closer, Slater finally deciding that his best chance will be to run across a snowy field and join the torch-lit procession. Half-way across the field, Slater is spotted by Berthold. Eventually, Slater makes it to the procession and is now safe among the crowds, who are festively walking en masse to the cable car station. Berthold blows his car horn and his colleagues run back to join him... by the time they drive to the cable car station where Mrs. Carrington is holding up some sort of award, Slater has arrived by foot with the revelers and makes his way inside. Berthold and others get their skis. Ends: 1:23:05

46. 1:25 - There’s a mad scramble by everybody to get into the cable car and be the first up the mountain. Slater gets on board, as do two of Berthold’s henchmen. Berthold himself doesn’t make it before the car is full and the doors are closed - through the glass, Berthold tells his men that he’ll meet them up there on the other side of the mountain. Over by Mrs. Carrington’s group, Gina stands looking at the cable car and her eyes widen when she spots Slater in the dark ski mask. Although she doesn’t know it to be Slater, it is evident that she recognizes the eyes as belonging to the exact same man who went up with Bobby on the day of his accident. Ends: 1:24:30

47. 0:57 - Gina flees from the cable car station... Mrs. Carrington is upset and demands to know where she’s going. When it is clear that Gina is leaving, Mrs. Carrington tells her that she’s needed there - if she insists on leaving, she need not return. Gina tells her that’s okay and leaves anyway... Gina then makes her way to the International School, where Anna opens the door and Gina asks to speak to Wheatley. Ends: 1:25:27

48. 1:51 - The revelers sing in the cable car as it ascends up the mountain. The masked Slater and his two pursuers can only stand and stare at each other at opposite ends of the crowded car. Once it arrives, Slater runs out of the car and his pursuers follow... Slater successfully hides and evades them. They eventually take the next cable car up to the top of the mountain. Slater comes out of hiding place but is too late to summon the attendant of the now empty car that heads back down the mountain. Ends: 1:27:18

49. 1:27 - Miller is in a restaurant and waits for a return call to Edwards. He joins the fake Slater who sits at a table smoking his cigarette. Miller is afraid that the bad guys will try something in the restaurant - however, Slater tells him that all will be fine. Just then Wheatley barges in with Gina in tow. Gina explains that she saw the masked man alone in the cable car tonight... Slater decides to abandon his trip to Washington DC and head back to the village. Miller threatens to pull his gun but Slater ignores him. Ends: 1:28:45

50. 3:00 - The two bad guys arrive at the top of the mountain and do not see Slater. They decide he must still be back at the middle station. Everyone is given flares and the villagers light them up and head down the mountain. From the middle station, the real Slater watches the torch procession approach his way. Two of the skiers with flares break away from the line and head towards him. Slater hides as the two arrive and begin to search the quiet middle station. Ends: 1:31:45

51. 0:35 - The fake Slater, Wheatley, Miller and Gina enter the cable car station at the base of the mountain. Excited voices are raised when it is evident that the torch-lit procession of skiers are now visible on their way down the mountain. The first skiers make their way past the finish line and the crowd in the station are ecstatic. Ends: 1:32:20

52. 1:26 - Back at the middle station, a masked Slater is still trying to hide from his hunters... however, he’s finding a lot of locked doors. Down the mountain, all the skiers are now past the finish-line and Gina didn’t see the masked man. Wheatley concludes that he must still be up the mountain. The fake Slater tells Miller that he’s going up to find him. Meanwhile, Mrs. Carrington awards her prize to the winner of the downhill race. Ends: 1:33:46

53. 3:05 - Slater is very close to being discovered. His pursuers are now in the kitchen where he’s hiding out. They’re almost on top of him when a loud noise is hear elsewhere - it is the sound of the cable car, which unbeknownst to them is actually arriving with Gina, Wheatley, Miller and the fake Slater. Suitably distracted, the two pursuers split up and one of them is attacked by the real Slater. The second gang member fires off a few shots, but Slater gets away. The cable car arrives and everyone gets out and takes cover when they see the body of the gang member lying outside of the restaurant.
Ends: 1:36:51

54. 0:58 - The fake Slater attracts the attention of the only surviving gang member in the middle station... he’s told that the real Slater is here, somewhere in the building, but before he can say much else the fake Slater shoots him from point-blank range... dead. When Miller goes to investigate, the fake Slater karate chops his across the back of the neck and renders him unconscious. Meanwhile, Wheatley and Gina haven’t seen any of this but move forward nevertheless. Wheatley picks up a gun from the fallen gang member and pushes Gina to one side, telling her to stay out of the way. Wheatley spots an unconscious Miller on the floor ahead of him. Ends: 1:37:49

55. 0:57 - The fake Slater speaks into the darkness, tells the real Slater that they cannot both exist. When Wheatley calls out to Dan Slater, he hears Slater’s voice beckoning him... fearing Wheatley will be killed, the real Slater comes out of hiding and attacks the fake Slater. Both begin to fight, the real Slater still in a ski mask and the fake Slater dressed smartly and donning a hat. They stuggle for control of the gun in the fake Slater’s hand. Shots are fired in the process; plates and other kitchen items are smashed in the struggle. Wheatley barges into the room where the men are fighting - he has his gun ready. The fake Slater tells him to shoot! The real Slater breaks free and fears being shot by Wheatley... so he runs away, but Gina trips him to the ground and rips off his ski mask! Ends: 1:38:46

56. 2:07 - Gina is in shock. So is Wheatley, who is conflicted about which Slater to believe. He holds both of them at gunpoint. The real Slater tells Wheatley the only thing to do is to shoot them both. The fake Slater tells him to shoot Bobby’s killer - he loved his son. Wheatley’s gun goes off! Ends: 1:40:53

57. 2:43 - At the train station, Slater stands with Miller by the restaurant. Not too far in the distance stands Berthold. A train goes by obscuring the view - once it passes, Berthold is no-longer there. Inside the restaurant, Slater stands staring out of the window. Miller brings them both a drink. As they finish up, Wheatley joins the men. Slater tells Wheatley that he was right - Dan Slater never loved a damn thing in his life. Miller and Slater enter their rail car. Now walking through the train corridor is Gina... Slater offers her a seat next to him. Ends: 1:43:36

Handy Writer's Software - Quickstory

2007-09-09T12:02:00.000-07:00

Quickstory 5 software (Windows)
by Typing Chimp software ~ $50 US approx.

(formerly QuickPlot)

Quick rundown

The idea is that you establish your story by navigating your way through a traditional tree structure (on left) and fill-in the blanks and/or free-form text (on the right). (Click on any of the screen shots below to enlarge so you can better see what’s on each page.)

This software is probably a good tool for helping to overcome writer’s block. The imagination is easily sparked by selecting a structure (3-acts, 8-sequences etc) and then generating plot points “Generate a Story”). If any one plot point feels promising, it can be locked/hold to prevent it being overwritten by the next set of generated plot points.

Once back on the main page (”Done“), the tree structure is established with all the generated/selected text under each plot point.

Any of the text that is assigned to the whole story or to each plot point can be changed by-hand.

If you change your mind about any one plot point, new plot point text can be generated. However, it will be necessary to tell the software which plot point you have currently selected because once the whole thing has been generated initially, it no-longer knows due to the extensive changes you might have made.

Once you are satisfied with the story, it will be necessary to generate the entire set of text you’ve created into the Pad... from thereon out, it can be printed or copied elsewhere.

Handy Reference Book - How NOT to write a screenplay

2007-09-08T14:57:00.000-07:00

How NOT to write a screenplay: 101 Common mistakes most screenwriters make
1999 by Denny Martin Flinn $12.00 new

(from the back of the book)
...Having read tons of screenplays as an executive, Denny Martin Flinn has come to understand that while all good screenplays are unique, all bad screenplays are the same. Flinn’s book will teach the reader how to avoid the pitfalls of bad screenwriting, and arrive at one’s own destination intact. Every example used was gleaned from a legitimate screenplay. Flinn’s advice is a no-nonsense analysis of the latest techniques for crafting first-rate screenplays that sell...

Thought for the day...

2007-09-06T17:06:00.000-07:00

“There's a lot of frustration in trying to get music out when you're the only one who hears it, especially if you have something in your head that's not normal.“

~ Neil Young

Thought for the day...

2007-08-29T13:01:00.000-07:00

“... it is always the simple that produces the marvelous.”
~ Amelia Barr

Cool words for writers - sitzfleisch

2007-08-29T12:47:00.000-07:00

Sitzfleisch

German word meaning “sitting” and “meat”. Writers need to have this - the ability to endure sitting around and doing your thing.

Film Breakdown - Horror - The Reincarnation of Peter Proud (1975)

2007-08-26T09:24:00.000-07:00

1. 0:40 - Opening credits. Ends: 0:00:40

2. 2:35 - A naked man swims across what looks like a lake in the dead of night. He swims towards a neon sign on the bank which advertises The Puritan Hotel. A small powered raft creeps out of the darkness... a woman sits alone, scanning the dark surface of the water. The man treads water as the woman pulls up alongside of him... he apologizes for what he said to her and claims he was drunk. Marcia (Margot Kidder) listens to him and responds sympathetically - it has clearly happened before. She invites him to enter the boat and as he does so, she attacks him with an oar. Unconscious, he sinks to the bottom of the lake.
Ends: 0:03:15

3. 2:07 - A naked, sweating Pete (Michael Sarrazin) is woken from a nightmare by his naked girlfriend. She is concerned by his restlessness and frightened by his changed voice (she says). He lights a cigarette and jokes that he’s really a Jekyll & Hyde personality. She calls him Professor and talks about her students - it’s likely they’re both teachers. As she leaves to shower, Peter writes notes in a bedside journal. Ends: 0:05:22

4. 0:49 - Peter is lecturing a room full of students when mid-sentence he experiences a shooting pain in his side. He cuts the lecture short.
Ends: 0:06:11

5. 2:25 - Peter is being examined by a doctor and questioned about his symptoms. It is revealed that he’s had this attack of pain three times already in the past six months. The doctor still can’t find anything wrong with him - x-rays are still showing everything as normal. Peter is given a mild sedative and he lays there alone in the examining office... he experiences images of architecture, a couple out on a ride in the country, intimate moments between strangers (possibly of a different era entirely)... Ends: 0:08:36

6. 1:14 - Peter is talking to what might be a psychiatrist. He’s told that it is normal for people to dream but Peter argues it’s always the same people, the same locations etc; the exact same dream. As Peter claims he’s almost afraid to go to sleep for fear of their returning, the doctor prescribes something to alleviate his anxiety. Peter appears frustrated at being given pills for his problem - the doctor tells him that there’s someone on his campus undertaking studies in parapsychology... this man - Dr. Samuel Goodman - might be able to help. Ends: 0:09:50

7. 2: 32 - Match cut over to what is presumably the office of Dr. Samuel Goodman (Paul Hecht) who is verifying some of the details in Peter’s dreams. Peter hands over his journal and the parapsychologist puts it away. He then gives Peter the tour of his facilities. We see first hand how several sleeping subjects have their vital signs monitored. Ends: 0:12:22

8. 1:42 - Peter drives through town during a bright, sunny day when he sees a luxury car showroom... in the window is displayed a vintage automobile which attracts Peter’s curiosity. He enters the showroom and makes his way over to a beautiful vehicle similar (if not identical) to the one in his dream. A salesman approaches him and talks about this particular car, the Cord super charged Sportsman convertible - and reveals they stopped making these in 1937. Ends: 0:14:04

9. 1:07 - Peter and his girlfriend are relaxing at home when he gets a call from Dr. Goodman - though very short-notice, Peter is asked to come in immediately because there’s an opening in the sleep lab’s patient schedule. His girlfriend is very disappointed. Ends: 0:15:11

10. 1:32 - Montage - Peter is wired-up to monitors by Dr. Goodman and one of his students. Peter - aka “number seven“ - is bid a good night and left alone in the dark. Peter’s girlfriend misses him in their lonely bed. The lab’s monitoring machine registers very little activity for patient number seven. A now dozing Peter experiences more images - a small house in a forest, a young couple having sex (always different women - not Marcia), a naked man jumping off a small pier and swimming in a lake. The techs in the sleep lab comment on the fact that patient number seven hasn’t dreamt anything as yet. Meanwhile, Peter’s visions continue... a building, a couple playing tennis, a bridge, a statue etc. Ends: 0:16:43

11. 1:06 - At lunch the following day, Peter talks to his girlfriend at the University. She asks how it went and Peter doesn’t know - he thinks Goodman is avoiding him since he hasn’t seen nor heard from him since the sleep monitoring began. Suddenly we see Peter again as patient number seven - we see his visions of an orange stained-glass window in a church, period architecture, a child running down the stairs while a woman plays the piano. In the lab, Dr. Goodman gets up off his chair to take a look at the readings from patient number seven. There’s nothing to see. Ends: 0:17:49

12. 1:07 - Goodman and Peter take a walk through the campus during the daytime. Peter is told he’s not dreaming at all. It’s more of a psychic experience but definitely not a dream of any kind. Ends: 0:18:56

13. 1:55 - Peter walks into an Occult store; lectures are being held inside, as well as there being a book store with quite a number of customers. He inquires about reincarnation and is directed to an entire section devoted to this subject. Ends: 0:20:51

14. 3:06 - Peter and his girlfriend are having dinner out; he’s frustrated by his dreams or visions. On their way home, Peter speculates that the man in his dreams was the man that he once was... his girlfriend is puzzled by his embracing the reincarnation theory. Back at home, Peter installs a tape recorder next to his side of the bed... he asks her to record whatever he says in his dreams as the other man. Later, we witness a sweating Peter mutter in his sleep and a wide-awake girlfriend turning on the tape recorder as requested. We hear Peter speak as the male victim of the murder, as we again see the same night-boat recapitulation sequence from the start of the story. Ends: 0:23:57

15. 2:16 - Match cut on Peter’s scream over to Dr. Goodman hearing the tape recording of the same event. Peter is distraught - he can’t eat, sleep or even face his students any longer. Dr. Goodman asks if he’d consider hypnosis... Goodman tells Peter to lie down and it’s clear they’re to try suggestive hypnotherapy. Peter is relaxed into a trance... he is ordered to forget all about his troublesome dreams as they are robbing him of energy and sleep. Ends: 0:26:13

16. 1:23 - A visibly relaxed Peter sits alone one night at home, enjoying a cold martini. He watches tv when suddenly some imagery of a New England town is shown... Peter recognizes some of the architecture from visions in his dreams. He calls out to his girlfriend Nora (Cornelia Sharpe) and goes over to the telephone and begins dialing the tv station.
Ends: 0:27:36

17. 1:51 - Peter is reviewing the show’s footage with Dr. Goodman at the tv station. None of the tv personnel know which town the footage came from - it’s just listed as a Massachusetts town. Outside, Dr. Goodman confirms that Peter’s dreams have returned, triggered by the imagery of the tv show. Peter has never even been to New England, but believes he has actually lived in that particular town in some previous life. Dr. Goodman reveals he has an open mind on reincarnation - it has never been proven, nor disproved. Peter is committed to proving the town of his dreams exists and that he’ll find it. Ends: 0:29:27

18. 7:18 - Series of shots - Peter and Nora fly to Massachusetts and drive to a place called Farmingham. The two have lunch and Nora comments on the fact that she would have liked to take in the sights; Peter however seems more focused in getting to where they’re headed and Nora seems bored. Peter and Nora check into a hotel for the evening. Peter’s hip suddenly begins to shoot pain (as it has done previously). Later, in their room he feels a lot better. However, Nora has had enough and feels they should give up trying to look around the big state. The next day while driving yet again, Peter stops on a bridge overlooking a small town - he thinks it might look familiar. While driving through that town, many images from his dreams start to match the sights surrounding them. He guesses that the statue in his dreams is a short distance away... however, once there it turns out to be a demolition site; no statue. Nora therefore remains unconvinced and wants him to take her to the airport. She’s through traveling around. Ends: 0:36:45

19. 0:28 - Peter and Nora say their goodbyes outside the airport building. She hopes he finds what he’s looking for. Ends: 0:37:13

20. 1:08 - Peter drives alone through the streets of the large town, still searching for more points of recognition. He eventually parks his car and walks over to a small wooded area... and sees the statue of his dreams before him. Ends: 0:38:21

21. 1:04 - Peter enters a police station and stops just inside the front entrance. He imagines what will transpire if he goes in front of the desk sergeant with his cockamamie story of looking for any information about an unknown victim from an unknown era. Peter leaves the police station before talking to anyone. Ends: 0:39:25

22. 0:47 - Peter checks into a large hotel and casually chats to the hotel employee about looking for a lake. He eventually hears that he must be referring to Crystal Lake, near which was the Puritan Hotel on the North shore. However, it is now called the Crystal Lodge. Ends: 0:40:12

23. 1:36 - Match cut to the view of the lake with the sign-posted Crystal Lodge Hotel. Peter sits in his rental car, overlooking the lake. He makes his way over to a small gas station, and while the attendant fills-up his car, Peter chats to the old-timer about murders in the area. The conversation goes around to the 1940’s and the attendant talks about the ”Brady case“. A man was allegedly killed by his wife on the dock and bled to death when his genitals were cut off... the wife however wasn’t convicted and eventually remarried. Ends: 0:41:48

24. 0:57 - A recapitulation scene now finds us seeing Peter walk through the town’s streets while his V.O. talks to Dr. Samuel Goodman (probably on the phone). Peter says he is sure this is the place but wonders what was his name, where did he live, who was Marcia, why did she kill him etc? We then see Peter in his hotel room, lying on the bed with the phone in hand... Sam Goodman and he are talking and Peter speculates that Marcia is probably still alive, she would perhaps be in her 50’s. Ends: 0:42:45

25. 0:43 - We again witness Peter’s visions. The stained-glass window, the child running through the home etc. Peter is asleep but sweating profusely and mumbling in his sleep. Ends: 0:43:28

26. 0:49 - The following morning, Peter is driving through a residential area when he suddenly sees the home in his dreams; it is unmistakable. Watching the house from his vantage point in the rental car, Peter smiles a little to himself. He drives over to the house and gets out of his car. Ends: 0:44:17

27. 1:45 - Peter makes his way to the front door of the mystery house and rings the bell. He is watched next door by a girl in her driveway washing her car. When he gets no response, Peter is told (by her) that nobody is home. The old lady, Mrs. Curtis who lives there, is away and has been for years. When Peter feigns interest in old houses, the girl offers to show him inside the house... she knows of a secret entrance and disappears into this and reappears at the open front door for him. Ends: 0:46:00

28. 2:53 - Peter enters the house. Suzy introduces herself as he walks around and recognizes the stained-glass window and the staircase. He walks upstairs and Suzy follows him into a boy’s bedroom... Suzy poses provocatively on the bed for Peter but he’s oblivious and reads the details off the the wall-mounted diploma. He thanks Suzy and leaves. Ends: 0:48:53

29. 3:27 - Peter walks into the offices of a newspaper. An employee looks through the 1940’s archives for mention of ”Curtis“.... and finds a Jeff Curtis, deceased Sep 27th 1946. The employee sets up the microfilm reader for Peter. Now alone, Peter scans the pages of the newspapers going back to that date and sees the headline. While he reads the front page article reporting the death of Jeff Curtis, we hear V.O. of a conversation between reporters discussing the case... we thus hear the back-story of the victim’s life... how the widow and infant daughter buried Jeff Curtis after the accidental death. Peter takes a printout of the article. While signing out of the newspaper office, he inadvertently signs the log book as Jeffrey Curtis. Ends: 0:52:20

30. 1:00 - Peter drives to an address he got out of the phone directory. He parks outside the large, opulent home but sees nobody there. While waiting, a police car crawls by and an intimidated Peter drives away. Ends: 0:53:20

31. 1:32 - A large cemetery finds us watching Peter read the engraved names of head stones. He finds the one he’s looking for. Ends: 0:54:52

32. 1:26 - Back outside the large, opulent home Peter sits in his car and sees a young woman in tennis gear exit the house. She drives off in a station wagon and Peter follows her in his rental car... all the way to a nearby country club. Ends: 0:56:18

33. 2:59 - Peter secures himself a temporary membership at the country club in order to play some tennis. In the Pro shop, Peter inquires after Jeff Curtis and is told in no uncertain terms that he wasn’t such a nice guy. Outside on an empty court, Peter spots the young woman he followed in his car and introduces himself. She is Ann Curtis (Jennifer O’Neill) and they play tennis. After their game, they have a drink together. Ends: 1:00:06

34. 3:53 - In the evening, Peter calls on Ann and the front door is opened by Marcia who welcomes him into their home and offers him a drink. While they chit-chat waiting for Ann, Marcia reveals that her deceased husband played tennis but went to war and seldom played after that - apparently he’d been injured by shrapnel in the hip which caused him some pain. Peter nervously taps his glass and Marcia reveals her husband had the same habit. Ends: 1:03:59

35. 1:05 - At dinner together, Peter and Ann discuss her father and mother. Ends: 1:05:04

36. 0:23 - Marcia Curtis sits at home, drinking large vodkas neat.
Ends: 1:05:27

37. 1:15 - Peter drives Ann home after their restaurant dinner. It appears as though Peter has to restrain himself from being anything but a gentleman... he walks her to the front door and says goodnight.
Ends: 1:06:42

38. 1:46 - Peter and Ann play tennis at their club. Standing watching them is Marcia, who appears a little unsteady in her chair as she sits there smoking her cigarette. The Pro shop attendant (an old acquaintance) appears alongside Marcia and says hello - they talk about Peter and the attendant reveals that Peter was asking a lot of questions about Jeff... seems Jeff was a friend of Peter’s father (or so Peter told him). Once alone, Marcia hears Peter call out something to Ann and it is identical to something Jeff once said to Marcia. She is a little distraught. Ends: 1:08:28

39. 0:56 - Peter enters his hotel room in the evening. Once inside, his phone rings... it’s Sam Goodman and he’s been trying to contact Peter. The latter reveals he’s just played tennis with his daughter and that his wife was watching... needless to say, Sam is amazed and wants all the details. Peter agrees to do so, providing it’s just between the two of them. Ends: 1:09:24

40. 1:55 - Ann is preparing food in her kitchen; her mother Marcia enters and it turns out Ann is going out on a picnic with Peter. Marcia is already drinking and breakfast hasn’t even been served as yet. They begin an argument - Ann accuses her mother of drinking when previously she had been doing so well... Marcia tells her to quit being a nursemaid but Ann counters that’s the reason she came back to the house to be with her. Marcia then warns Ann about Peter - she believes he’s after something, she doesn’t know what, but it’s her instinct, warning her to beware of him. Ann doesn’t know what she’s talking about. Ends: 1:11:19

41. 0:56 - Out on their picnic, Ann and Peter lie on a blanket and talk. She reveals that she’s just gotten over a divorce, after which she decided to come back home and be with her mother for a while. A ”while“ has now been 10 months. They kiss and Peter is somewhat repelled... Ann is upset but Peter tries to explain it’s his fault and if he tried to explain, she’d think he was crazy. Ends: 1:12:15

42. 0:34 - Marcia lies in bed and accepts a tray from Ann; she asks if Ann could take something to her grandma and Ann says she’ll be busy playing tennis with Peter. Marcia pleads somewhat and says Ann hasn’t visited her grandmother for some time... Ann agrees to the chore. Ends: 1:12:49

43. 2:56 - Peter accompanies Ann to visit her grandmother at an expensive retirement home. Ann’s grandmother is being fed lunch by one of the staff members but it’s pretty obvious she’s out of it memory-wise and doesn’t recognize Ann. Suddenly, the grandmother turns and calls Peter ”Jeff“ and moves over to hug him. Everyone else is surprised and Peter doesn’t say much, though he does hug the old lady and calls her ”mother“. Ends: 1:15:45

44. 1:02 - Ann is extolling the virtues of Peter to her mother... he apparently made an old lady very happy. Peter, Ann and Marcia are having tea together. Marcia can’t understand how Peter could be mistaken for Jeff - Peter can’t explain it either. Ends: 1:16: 47

45. 1:21 - Ann drives Peter past Crystal Lake and points out that her father drowned there. They stop near the family cottage and view the lake. Peter asks if they can go into the cottage and Ann agrees. Inside, Peter has a flashback and sees Jeff there with Marcia. Ends: 1:18:08

46. 2:11 - Montage - Banjo music plays and Peter and Ann square-dance with a group of people from the town. Back at her home, Marcia drinks her vodka, but washes down a pill she’s taken out of her medicine cabinet. Meanwhile, Peter and Ann continue to dance. Ends: 1:20:19

47. 2:35 - After their dance, Peter and Ann leave and decide to go for a drive. She knows of a great spot. Down by the lake, both stand watching the night view of the town... Ann reveals that her father proposed to her mother at that spot. Peter kisses her. They undress and have sex under the moonlight. Jerry Goldsmith’s composed score swells in the background. Ends: 1:22:54

48. 1:59 - Back at her mother’s house, Ann offers Peter a coffee. She’s about to go to the kitchen when she spots her mother passed out on the sofa. Ann runs over to Marcia to verify she’s alright... Peter offers to leave but Ann tells him it’s okay and to please stay; this has happened before. Later, alone together in the kitchen, Ann reveals that Marcia has been drinking heavily since Ann was a baby; probably because of her father’s death and not being able to get over it. Peter comforts her. Ends: 1:24:53

49. 1:56 - Dr. Samuel Goodman arrives at the airport and is met by Peter. They have a drink and discuss his case. Goodman is very excited, believing as he does that Peter’s story proves the existence of reincarnation. Goodman wants very much to document the whole case but Peter wants to wait a while. Peter reveals that the images - or hallucinations - have disappeared with the exception of the lake dream... that one keeps coming back. Goodman advises that sometimes the best thing is to reenact or play-out the fantasy and it often disappears. In his opinion, that’s why the other dreams have gone away. Ends: 1:26:49

50. 1:54 - Peter is dozing by the pool at the country club. Ann asks if he’ll come for a swim but he sleepily declines. Above him, Marcia sips her drink and watches Peter. While Ann is swimming, Peter begins to sweat in his sleep and mumble. Eventually, Peter’s voice changes to that of Jeff and Peter’s tortured body is used to reenact the attack on Jeff that night out on the water of Crystal Lake. Marcia is distraught at hearing Peter/Jeff’s mumblings. Ann runs to Peter and tries to wake him... eventually he does and reassures Ann that he’s okay. But Peter does turn and look back at Marcia... who promptly drops her drink and flees the country club. Ends: 1:28:43

51. 2:55 - Back at the house, Ann runs up to Marcia’s room but her mother who won’t let her in; Ann leaves. Marcia lies in a bath of hot water and we see her flashbacks of that night. Jeff is ripping off his & her clothing and is sexually assaulting Marcia in the lakeside cottage. V.O. of their argument can be heard - it appears that a philandering Jeff was bringing women back to the cottage and Marcia found out about it. Despite the violence of the flashbacks, Marcia in her bathtub is aroused enough to masturbate to the vintage memories. Ends: 1:31:38

52. 2:20 - Peter meets Sam Goodman in a bar; he specifies to Goodman that he wants the whole case to die as a secret between them both. Sam is upset but Peter reveals that he wants to marry Ann. Peter is going out to the lake and get rid of that last dream, once and for all. Ends: 1:33:58

53. 0:32 - Ann enters her mother’s bedroom but there’s no sign of her. Jeff’s photo portrait lies to one side, its glass shattered. Ends: 1:34:30

54. 2:25 - Peter is in his hotel room packing a towel and some items of clothing when there’s a knock at his door. It is Marcia and she walks into his room and asks point-blank ”Who are you?“... she asks how Peter could know what they said out in the lake and he grabs her and shouts ”because I was there!“. Marcia flees from the room in horror. Peter now makes moves to leave the room and his phone rings... he ignores it and leaves. Ann is on t the phone and leaves a message for Peter.
Ends: 1:36:55

55. 3:05 Montage - Marcia drives erratically through the night streets. Peter is at the lakeside and lets himself into the cottage. Marcia is speeding down a freeway, dodging in & out of traffic. Peter walks towards the lake in his swimming trunks and dives into the black water. Marcia sits at the wheel of her idle car and she relives the last meeting with Peter in his hotel room. She eventually looks up and finds herself at the cottage - and all the lights are turned on. More flashbacks relive her last humiliating encounter with her husband Jeff. Peter swims across the lake in the dead of night.... he’s bobbing in the water when he hears the faint sound of a boat’s engine come out of the darkness. Ends: 1:40:00

56. 2:35 - Marcia is at the back of a small boat motoring across the lake. She cuts the power and all is silent. Peter is in the water, but a few feet away... Marcia asks Peter why Jeff had to come back? Peter wants to talk to her but Marcia now has an automatic weapon in her hand. She calls Jeff a monster. Marcia wants to save their daughter Ann, afraid Jeff is going to do to her what he did to Marcia. She points the gun to herself and Peter swims hard towards the boat to try and stop her. As Peter climbs into her boat, in almost the same exact pose as Jeff on that fateful night, Marcia is distracted and turns the gun to him and pulls the trigger. There’s a loud report of gunfire and Peter falls back into the lake. He sinks to the bottom. Ends: 1:42:35

Thought for the day...

2007-08-22T23:13:00.000-07:00

“Moderation is the center wherein all philosophies - both human and divine - meet.”
~ Benjamin Disraeli

Thought for the day...

2007-08-21T12:30:00.000-07:00

"Imagination is more important than knowledge."
Albert Einstein

Film Breakdown - Mystery - Between Two Worlds (1944)

2007-08-20T22:32:00.000-07:00

1. 1:00 - Opening credits. Ends: 0:01:00

2. 4:41 - An overhead announcement system addresses passengers about to board their America-bound ships out of Wartime London (WW II). In the event of an air raid, they are encouraged NOT to ask any questions. The last group to be called are eager to board and get underway; taxies and buses will shuttle them to the docks.

An impatient businessman named Lingley (George Coulouris) inquires about two of his employees with whom he’s become separated - he tries to exert his influence in getting them found in order to be with him... however, he is told to sit down and wait patiently.

Henry Bergner (Paul Henreid) - a former concert pianist - is at the front desk inquiring about immediate passage to America; however, he is told that as an Austrian citizen, his exit permit could take six months to process and he cannot leave before then.

The members of the final boarding group are called. Henry stands to one side and watches them leave without him. Then an air raid siren goes off! The passengers in the last group have already left the building and now the remaining staff scramble to take cover in the shelter. Ends: 0:05:41

3. 1:11 - Outside, the car has filled up with the final group and they’re about to leave when a woman named Ann Bergner (Eleanor Parker) runs up to them; she is looking for Henry.

Lingley shoves her aside and the car takes off. Just then the invading bombers drop their ordnance and the street explodes; the large car containing the passengers is obliterated.

Knowing that Henry wasn’t in the destroyed car, the woman enters the building but he’s no-longer there. Ends: 0:06:52

4. 0:55 - Montage - Henry arrives back at his flat; Anne rushes through the London streets. Henry sets up a gramophone record and plays some music while he sits in a chair. Anne finally arrives at their flat.
Ends: 0:07:47

5. 2:03 - Anne admonishes Henry for attempting to leave the country - leave her - by trying to book steerage at the Steamship Office. She notices towels and assorted clothes sealing the vents and the windows; Henry is trying to commit suicide by gassing himself. Henry tells Anne they should never have met, never have married - he’s incapable of working or using his hands. He wants her to live on without him. She insists they go everywhere together. The sound of bombs landing on London can be heard outside. The hiss of escaping gas from the gaslight seeps into their room. Ends: 0:09:50

6. 1:32 - The steamship blows its horn announcing its departure. Henry and Anne walk down a corridor - slightly confused - inside the ship and slowly make their way to a lounge area where other guests are seated inside. Ends: 0:11:22

7. 0:06 - A stewart named Scrubby (Edmund Glenn) tends to the group of passengers in the lounge. Ends: 0:11:28

8. 1:19 - Henry and Ann look in from the outside (through the glass) and witness Scrubby verify everyone’s ticket. Ann is shocked to discover that she personally witnessed those same people die in the street explosion during the bombing raid. Henry and Ann discover what has happened at the exact same time - they are all dead. They know they are sailing but not where. Henry takes Ann inside an empty room to get out of the cold. Ends: 0:12:47

9. Henry spots a grand piano up on stage in the empty room. He is drawn towards it and sits down. He begin to play a melody and Ann joins him on stage. Henry is amazed to see that his hands are now steady - he can play the piano once again! Ends: 0:15:26

10. 2:02 - Scrubby smiles to himself as he hears the piano music play in the other room. Scrubby is tending the bar and a couple sits there... they are a cynical reporter Tom (John Garfield) and his companion Maxine (Faye Emerson) who is an actress.

A little further away stands the Rev. William Duke (Dennis King) and Mrs. Midget (Sara Allgood). The priest tells the older lady that he isn’t feeling well and is going to his room to lie down for a spell. She isn’t surprised, after all they’ve been through today. They’re both confused and cannot remember very much - this is soon remedied by Scrubby who approaches the couple and suggests the sea air might be responsible.

Over by a table, the upper-class couple sit alone. He is Ben (Gilbert Emery) and his wife Genevieve (Isobel Elson) appears irritated by the piano music. Ben feels the exact opposite - it reminds him of a different era and he’s quite enjoying himself. Ends: 0:17:28

11. 3:42 - Over by the bar, Maxine proposes that she and Tom break off their relationship. She accuses him of being a broken-down newspaperman who drinks too much. Lingley makes an entrance and wants to speak to Scrubby... apparently he’s upset that his employees aren’t on board. Scrubby assures him they are not on-board and he won’t be needing them. Lingley is upset, all the more so when Tom begins a confrontation. As a reporter, Tom happens to know that the missing members of Lingley’s staff are - in fact - bodyguards. Lingley tells Tom to mind his own business and asks Scrubby to bring him brandy.
Ends: 0:21:10

12. 1:28 - Tom is suspicious about something Scrubby said to Lingley. He is further confused when Scruffy tells him there will be no charge for his drinks at the bar. Ends: 0:22:38

13. 1:37 - Maxine makes her way over to Lingley and asks if he’ll mind her joining him. Ends: 0:24:15

14. 4:03 - Henry and Ann are no longer alone. Though too preoccupied with his piano playing to notice, a passenger has joined Henry and Ann and is secretly enjoying the sound of music. He is Pete and is a Merchant Marine going home to the United States.

Pete is very cheerful and chatty; he notices Henry and Ann’s glumness and tries to reassure them because he believes they’re worried about the journey across the ocean and the danger from submarines. Pete tells them his wife Connie is expecting him, together with a new baby. Henry and Ann’s mood does not improve... they are incredulous and ask if Pete “knows”? Pete doesn’t know what the devil they’re on about. As Henry ponders just how to spell it all out for Pete, they are interrupted by the arrival of Scrubby who tells them that dinner is ready and about to be served. Once Pete has left the room, Scrubby tells Henry and Ann that nobody else “knows” and that’s how it should remain... they all have to find out for themselves. Ends: 0:28:18

15. 1:49 - A restless Tom smokes outside on deck and strikes up a conversation with the elderly Mrs. Midget who sits outside taking in the night air. She claims she loves nature, has always wanted a cottage by the sea. However, she’s always lived in the city. Tom takes her down to dinner. Ends: 0:30:07

16. 1:44 - Henry is gung-ho to tell the other passengers about the truth about their circumstances. Ann pleads with him to do as Scrubby wants... to say nothing and have everyone find out in their own way, in their own time. Henry doesn’t think it is right; besides, what can they do to them for disobeying? Ann points out that she and Henry can still get separated. They sit and kiss... and are interrupted by Maxine, who passes them on her way to dinner. Maxine wants to know if it’s true... the way love feels, that is. She wants to know if it’s all it is cracked-up to be. Without waiting for an answer, the unhappy Maxine moves on, away from Henry and Ann. Despite Ann’s reluctance, Henry persuades her to accompany him to dinner with the others. Ends: 0:31:51

17. 4:40 - Dinner time finds our passengers at a single large table in the Grand Dining Saloon. Pete is trying to cheer everyone up, but nobody seems interested. Henry and Ann enter the room and Tom is curious to know who they are... he then remembers Henry as having been rejected for passage at the Steamship Office. Pete announces that his wife has given birth to a daughter. The Rev. Duke comes in for dinner, having overslept. He announces to everyone that his big plan is to travel everywhere and speak to people... he’s been stuck at home in his parish for long enough. Ann hears this and runs out of the room - the agony of these poor people all being so optimistic, yet not knowing what fate has actually befallen them is too much for her to bear in silence. Henry runs out after her. Everyone at the table is mildly curious but Tom alone is starting to suspect something sinister. Ends: 0:36:31

18. 3:16 - Henry joins Ann outside on the deck. She is distraught about the ultimate fate of these passengers who carry on with their plans in blissful ignorance. Now Lingley joins them outside... seems he’s real keen (still) to have a bodyguard and to that end offers Henry money to take Lingley’s gun and provide this service. When Henry refuses, Lingley simply ups the offer price. Behind Lingley, henry sees Scrubby nodding secretly to take Lingley’s offer. Henry accepts and Lingley leaves to have his after-dinner coffee. Ann admonishes Henry for accepting the job as bodyguard... Henry defends himself by asking what difference can it make? She counters that she and Henry are different from all the rest... they are suicides. It is at this point that they detect the presence of Tom on the staircase; seems he has heard everything. When Henry pleads with Tom not to say anything to the others, Tom is incredulous... of course he’ll not say anything! He relishes the thought of knowing all this while they do not! Ends: 0:39:47

19. 6:43 - Maxine the actress is on deck after dinner. She is alone but looks through the window into the bar and contemplates the sight of Lingley. She’s almost thinking that hooking-up with him would be her ticket out of the small league and into the big-time. She enters the bar area but sits away from everyone else, though she catches Lingley’s eye. Benjamin and Genevieve sit together at a nearby table... Genevieve asks Ben to invite Lingley over to their table. Meanwhile, Lingley asks Scrubby to supply his room with champagne & caviar for two. Seems he has plans for this evening and pays Scrubby to keep quiet. Genevieve prods Ben further to invite Lingley over to their table, but instead Ben walks over to another table and sits with Rev. Duke and Pete the Merchant Marine. Lingley makes a move to head towards maxine but is intercepted by Genevieve who asks if he’ll join them for a game of Bridge. Genevieve admits they need a fourth player but when Mrs. Midget volunteers to asks Tom Prior, Lingley panics at the thought of sharing an evening with the nosy reporter. Genevieve mocks Mrs. Midget somewhat, as though the lower-class woman is somehow attempting to fraternize with high-class people of means. This is witnessed by Tom who can’t resist but to mock Genevieve Cliveden-Banks in return. Genevieve is insulted enough to leave. Tom then starts on Longley, hinting very strongly that he’s no-longer important. Lingley too leaves and this time Pete wants to know just what Tom is selling. Tom talks in more riddles and performs a card trick for the men at the table: Pete, Rev. Duke and Ben... all are suitably impressed but Tom simply explains it all away with more riddles and cryptic remarks. Tom leaves the men and exits the bar room.
Ends: 0:46:36

20. 5:07 - Lingley has joined Maxine out on deck. He seems conflicted (or is it shyness?) and asks her to join him for supper. She’s not sure if she should accept but he tells her she won’t regret it. He knows exactly what she wants and will make sure she gets it. He begins a monologue, telling her how much he needs her. As he is about to make his move, Tom appears out of the shadows and claps his appreciation for the show. Lingley threatens Tom but leaves upon Maxine’s insistence. Alone together, Tom and Maxine chat. He asks her if she knows just what she’s doing. Ends: 0:51:43

21. 1:34 - Back in the Bar, the Rev. Duke and Pete approach Tom who enters the room and heads for a drink. They proposition him to perform some of his card tricks at a gathering they have planned (to cheer everyone up). Tom agrees to help entertain everyone. Ends: 0:53:17

22. 11:30 - When everyone is assembled in the piano room, Tom takes the stage and holds everyone captive with a showman-like speech. Tom asks Henry for the cash (obtained from Lingley) and sets it on fire. Everyone is amazed, but only because they figure no sane person would do such a thing. They don’t know that Tom knows things such as cash no longer have any meaning. Lingley challenges Tom (he’s worried about the cash) and inadvertently volunteers himself to be in the next act. Tom takes Lingley’s gun from Henry and points it at Lingley; he shoots point-blank into Lingley’s chest! Lingley collapses.. then gets up when he cottons-on to the fact that he has not been shot. Lingley wants to know how Tom did this! Tom admits it was simple... he was dead in the first place! The others make polite laughter but it’s clearly nervous laughter.

Pete decides the fun & games are over. He orders everyone back to their cabins. Perhaps he already suspects that what Tom has stated is true - if so, he’s in denial. Tom suggests that any skeptics should question Henry and Ann standing in the corner. They “know” and can verify what he’s claimed. Henry claims it is all a mistake but Scrubby now enters the room and verifies everything. Each passenger now deals with the impact of this... everyone resigns themselves (eventually) to the news. Scrubby advises them all to simply accept everything; it is all quite simple. All that remains is the “examination“. This gets a reaction from everyone. The Examiner will asks question, judge and set them all on their separate roads for eternity. Maxine leaves. Mrs. Midget asks the Rev. Duke for a prayer... he can’t think of one, though he does remember a few lines of truth that meant a lot to him. He recites these lines and everyone stands in quiet. Ends: 1:04:47

23. 4:45 - Henry helps Scrubby set the chairs in one of the rooms. Ann sits quietly towards the back, out of their way. Henry wonders over to Ann and asks himself why he is helping Scrubby; it just seems so natural. Ann quizzes Scrubby about how many trips he has made on this boat... he reveals five thousand, ten thousand.. he can’t remember. He is about to reveal his story when the sound of the launch approaching can be heard. the Examiner has arrived.

Scrubby summons the others and asks that they take their seats. Lingley is super polite and even invited Mrs. Midget to sit with him. Genevieve offers Mrs. Midget the same courtesy. Mrs. Midget however sits away from them. Lingley asks for everyone’s attention - seems he has a proposal... to offer to speak to the Examiner on behalf of everyone. He needs their blessing though. Most refuse and hearing the bells toll, Tom rubs it in to Lingley that it is Judgement Day.
Ends: 1:09:32

24. 7:19 - The Examiner (Sydney Greenstreet) arrives and motions everyone to sit down. He is big and imposing, dressed in white. He greets Scrubby warmly.

He next asks about ”bunny“ and it turns out he’s referring to Rev. William Duke, who recognizes The Examiner and walks over to greet him warmly also. The Rev. is told he’ll have to change in this world - he’ll have to mingle, walk around, meet everyone. This is exactly what we know the Rev. wanted to do when we first met him (almost).

Lingley approached the Examiner and attempts to exert some influence. When it’s obvious this won’t work, he all but threatens The Examiner. When he’s dismissed summarily, Scrubby approaches him and asks that Lingley follow him. When Lingley protests that he has yet to be judged, Scrubby confirms that this has already taken place. We hear Lingley’s backstory and he’s told that here you can’t buy anything. Lingley is led away by Scrubby. Though never stated, the implication is that he’s not going to Heaven.

The Examiner motions to Henry and demands that Henry join The Examiner and his new apprentice, Rev. Duke. When Ann attempts to join him, the Examiner states he is to come alone. Henry refuses to abandon Ann but she encourages him to do as he’s told and join the two other men. It appears they’re all going into an adjacent room and have each passenger enter individually. Ends: 1:16:51

25. 22:04 - The Examiner and Rev. Duke enter the adjacent room. Henry enters and is told to sit to one side while the two other men take their place at the table.

Genevieve enters, all smiles and super polite. So refined. She says she’ll be brief - what she wants is a villa. A large one. The Examiner reassures her that she will have what she’s asked for... in fact, he’s to give her a castle. She’s very pleased and gets up to leave. She invites them all to dine with her at her castle. However, it’s at this point that the Examiner reveals that this will be impossible... nobody will ever be able to come and see her. She is to be alone for all eternity. The Examiner accuses her of adultery and as she’s hurt Ben, it’s unlikely he’ll want to join her in her castle. She claims Ben never knew; however, Scrubby has fetched Ben from the other room and Ben is there to testify at Genevieve’s trial that ”he always knew“. Ben won’t be joining her at her castle. She puts her brave face on it and leaves the room.

The Examiner gets up and motions for Ben to get going. All of his old friends are already waiting for him. This comes as quite a surprise to Ben. He can now play golf forever. He leaves the room. Tom barges into the room and demands his trial.

Before he does anything, The Examiner talks to Maxine who enters where the group was sitting... she is dressed in very sombre clothing, quite distinct from what she was wearing earlier. The Examiner says goodbye to Maxine; she has muddied herself but she’s got hope there. She leaves, escorted by Scrubby.

Tom offers The Examiner double-or-nothing... he wants to gamble. If Tom wins, he wants a real death. If he loses, he’ll do whatever The Examiner says as judge. The Examiner takes a card and Tom draws... but loses. Tom shuffles again... the Examiner takes a car... and Tom loses (he tries to cheat but it doesn’t work here, with The Examiner). Tom is resigned to his fate. The Examiner tells him there’s no catch - he can leave whenever he wants. There is just one thing though... he will see himself for what he really is. He can fake things no longer.

Mrs. Midget enters and offers to look after Tom. This is what he needs; looking after. The Examiner offers her the very thing she wanted - a little cottage by the sea (with a garden). She’s happy but Tom cannot join them. Mrs. Midget gives up the cottage in order to follow Tom and help him out. Tom walks away, claiming he’s not worth the sacrifice. She leaves with Tom well ahead... The Examiner reveals that she is Tom’s mother. This is why she wants to help him... she abandoned him as a child. She leaves.

Pete is beckoned into the room by the Examiner. He has nothing to talk about - he feels he got a raw deal and is really upset. It’s not fair. The Examiner tells Pete he’s here for the best of reasons - protecting his country from evil. Also, he reassures Pete that eventually everybody winds up there... it’s only a matter of time before he sees all his loved ones. The prospects cheer him up considerably. The Examiner tells him we make our Heaven or Hell for ourselves on Earth, and only bring it there once it has already been established. Some people waste their time on Earth, while others (looking at Henry) toss their lives aside. Pete however used his life as it was intended... for him - here - there will be nothing but peace and joy forever more. Pete leaves. Ends: 1:38:55

26. 4:33 - The Examiner makes a move to leave. The Rev. and Henry ask what is to become of Henry...? And Ann? The Examiner says his work is done. What about their trials, asks Henry? The Examiner tells him there will be no trial for him. They took matters into their own hands. Henry’s wife (Ann) will join The Examiner in going ashore.

Scrubby approaches Henry and reveals that he too took his own life - they died the same way. Their fate as suicides is to venture back & forth, on this ship or others like it. That’s the penalty. Henry runs to Ann in the next room and feels guilty that they cannot be together. Ann cannot leave him here alone. Henry wants her to go ashore. Ann refuses... she will not leave Henry. The Examiner and the Rev Duke leave. Scrubby goes outside and appeals to The Examiner to do something... he must speak up on their behalf. Won’t The Examiner help them somehow? The Examiner leaves.
Ends: 1:43:28

27. 2:25 - Scrubby rejoins Henry and Ann in the big empty room but leaves to talk among themselves while he cleans up by the bar. Henry is mystified by what he hears as breaking glass; Ann can’t hear anything. He leaves the room and Scrubby warns her to not let Henry be by himself for too long. Henry begins to play the piano next door. Scrubby tells Ann to go to Henry - to stay close to him. Ends: 1:45:53

28. 3:49 - Ann enters Henry’s piano room. Henry is moody & depressed but Ann tells him they’re together and that’s all that matters. Henry stops playing... again he can hear that noise, the noise of breaking glass. Henry leaves the room - he needs to think outside. He leaves. Scrubby warns Ann not to leave him alone... to call him back. She eventually agrees and steps outside. Henry has disappeared! She pleads with Scrubby to do something. he tells her it is useless... he knows what has happened. Henry has gone back. She looks for him. Ends: 1:49:42

29. Dissolve to the gramophone record playing in Henry and Ann’s flat. The window has been shattered and Henry lies on the floor, seemingly dead but he stirs and jumps up. He runs over to the window, then over to the unconscious Ann. He pleads with her to wake up - the raid broke their window and the fresh air has saved them! He wants her to come back to him. She wakes up. They’re alive... there’s so much to do, so much to live for. They kiss.

Film Breakdown - Action - V for Vendetta (2005)

2007-08-19T15:08:00.000-07:00

1. 1:30 - An unseen female V.O. narrates the story of Guy Fawkes, a man we see in 1605 trying to blow up the English Houses of Parliament. He is captured and executed, having failed to achieve his goal. The story we are about to witness is of a similar man (she says); a man she will never forget. Ends: 0:02:10

2. 2:05 - In two separate dwellings, a man in a mask and an attractive woman are getting ready for the evening. While dressing, the woman listens to a blowhard on tv - Lewis Prothero - pontificating the current political groupthink... behind him, the symbolic clock face of Big Ben, no-doubt representing the Houses of Parliament in Westminster (aka the government). As the rant continues, the attractive woman switches-off the tv... she has had enough. Meanwhile in the other home, the masked man disguises his weapons. They both have plans to go out; in fact, the woman is late for something. Ends: 0:04:15

3. 4:50 - Outside it is evening and a streetwide Public Address System warns everyone of a curfew. The attractive woman - fearful of arrest - ducks into an alley to avoid someone up ahead. In so doing, she collides straight into a threatening stranger and his equally creepy buddy. The subtext here is clearly one of sexual violence. When she attempts to defend herself, the head creep brandishes an official-looking shield and hides behind the power of the law (the last refuge of scoundrels). They are so-called Fingermen. As they prepare to pounce on the woman, the hero - our man in the mask - calmly appears to the rescue. The creeps attack him and the masked man more than capably defends himself, quickly incapacitating them all.

He introduces himself to the woman as "V", a letter annoyingly underscored by his adopting dozens of phonetic "V" alliterations in his monologue... this serves to define character (he is smart, articulate, capable etc) and to bury exposition. "V" is the protag (Hugo Weaving) and his goal it to topple the government.

She reveals herself to be Evey (Natalie Portman) and from now on she represents the audience's POV. She is invited to attend a rooftop concert and reluctantly accepts. Ends: 0:09:05

4. 1:55 - The night view is of the London skyline and on cue after midnight (it now officially being Nov 5, Guy Fawkes day), "V" reveals a conductor's baton and mimics conducting an orchestra. Evey thinks he is insane. However, we soon hear the thunderous "1812 Overture" by Tchaikovsky playing loudly and it is clear that "V" is both playful and smart enough to have hacked into the government's Public Address System. The population - now suitably awakened - are all witness to the symbolic destruction of the Old Bailey central criminal court. Ends: 0:11:00

5. 2:05 - We now see who is in charge of the country, a larger-than-life figurative Big Brother. Addressing representatives of his administration via a large screen, Fascist dictator Chancellor Sutler (John Hurt) wants a progress report from various branches of his government. They nonchalantly discuss the cover up of our protag's destructive activities, lest the government admit to terrorism and dissent being active. The police are represented by Finch (Stephen Rea) who isn't committed to the Chancellor's dictates. Ends: 0:13:05

6. 1:00 - The state television station is given orders to broadcast a news item explaining the destruction of the Old Bailey as a premature demolition. Nobody believes the public will buy this story. Evey is shown to be working there as a sort of personal assistant. Ends: 14:05

7. 0:20 - Finch gets a lead on Evey and the police spring into action. Ends: 14:25

8. 0:30 - Evey tends to Gordon Deitrich (Stephen Fry) at the tv station. Apparently he's a mild-mannered celebrity and it turns out the Evey had a date with him which she did not keep because of the altercation with the Fingermen. Ends: 14:55

9. 0:20 - Finch and the other cops break into Evey's apartment. They discover her employer is the tv station BTN. Ends: 15:15

10. 0:50 - A mysterious set of boxes are delivered to BTN and Evey witnesses their contents - the same masks worn by "V" and this portends something ominous to her. Ends: 16:05

11. 0:20 - Finch and the other cops descend on BTN and aim to arrest Evey. Ends: 16:25

12. 1:54 Series of shots

- 0:05 Evey prepares to flee the tv station
- 0:20 "V" arrives at BTN with bombs strapped to his chest
- 0:04 Finch & the other cops finally arrive outside BTN
- 0:09 "V" has secured himself a studio with hostages
- 0:07 Evey senses something is up and calls for the elevator
- 0:01 "V" sets off the BTN building's fire alarms
- 0:01 Evey hears the alarm and can't now use the DOWN elevators
- 0:04 Finch and other cops cannot now use the UP elevators
- 0:02 "V" sabotages the studio doors so they won't easily open
- 0:17 The BTN building employees begin to evacuate
- 0:04 Staff are perplexed at being unable to enter "V"s studio
- 0:06 Finch & other cops are hindered by evacuating employees
- 0:34 Finch spots Evey and she flees/hides
Ends: 18:19

13. 0:16 Nationwide tv coverage is disrupted. Ends: 18:35

14. 3:20 - "V" uses an emergency system to broadcast a previously taped msg throughout the country. In it he he addresses his grievances with the government and promises a revolution on this day NEXT year. Ends: 21:55

15. 1:10 - Just as "V"s message concludes, the police and/or staff at BTN break through the studio in which "V" and the hostages are cornered. However, inside everyone is now wearing masks and other clothing identical to that worn by "V". This pays-off the previously setup delivery of mysterious boxes. Improvised filming of the hostage rescue captures the accidental shooting of a hostage. Ends: 23:05

16. 1:55 Series of shots

- 0:30 "V" has left an explosive device in the control center
- 0:38 "V" makes his escape by masquerading as a hostage
- 0:10 "V"s bomb is disarmed safely
- 0:37 Evey rescues "V" from arrest by attacking a cop but is knocked unconscious in the process
Ends: 25:00

17. 0:50 - Using the improvised filmed footage of the hostage rescue, the government falsely issues a televised Special Emergency Report of the death of the terrorist "V". Ends: 25:50

18. 0:25 - Finch & the other cop watch surveillance of Evey's involvement in coming to "V"s aid. Ends: 26:15

19. 3:30 - Evey wakes up in "V"s home. She is told she will stay there for a year until his plan comes to fruition. Ends: 29:45

20. 0:31 - Finch & the other cop go over Evey's family history of revolutionary activities. Ends: 30:06

21. 2:42 - "V" cooks Evey a simple but decadent breakfast. He relays to her his revolutionary ideas (e.g. People should not be afraid of the government). Ends: 32:48

22. 1:56 - The voice of London, Lewis Prothero, the blowhard on tv we saw right at the start gets his cummupance from "V" who murders him at BTN. "V" calls him Commander and there's clearly some personal history between the two. Ends: 34:44

23. 1:50 - Finch investigates Prothero's murder. Evey is implicated because it was her employee pass used to gain access to Prothero's quarters. The government decide to hush up the murder and instead pass it off as a natural death. Ends: 35:34

24. 1:02 - "V" practices sword fighting. Evey watches him. They watch an old B/W swashbuckler movie together. Ends: 36:36

25. 0:32 - Finch and the other cop find some sordid history on Prothero. Ends: 37:08

26. 1:46 - "V" and Evey are watching tv when the announcement is made about Prothero's death. "V" admits to murdering him and Evey is shocked. Ends: 38:54

27. 1:41 - Finch's research shows Prothero's involvement with the Larkhill Detention facility. Ends: 40:35

28. 2:36 - Every tells "V" the story of her family. Ends: 43:11

29. 0:37 - Finch decides to get harcopies of the Larkhill facility's tax records. Ends: 43:48

30. 0:40 - "V" asks for Evey's help with a theatrical skill. Ends: 44:28

31. 0:25 - Finch finds that an ordained Bishop was the highest-paid employee at the Detention facility. Ends: 44:53

32. 3:05 - Every dresses-up as a young girl to gain access to the lecherous Bishop's sleeping quarters. She reveals to him that she set him up and that "V" is on his way there to murder him. The Bishop thinks this is a game. "V" does indeed arrive and Evey flees from "V"s captivity. Ends: 47:58

33. 1:39 - Finch investigates the Bishop's murder but is told to back off the Larkhill investigation by the menacing Creedy who threatens him. Ends: 49:37

34. 2:34 - Evey turns up unexpectedly on Gordon Deitrich's doorstep. He gladly gives her sanctuary from the authorities, revealing he is gay, anti-government and hoards banned artifacts in his home. Ends: 52:11

35. 0:56 - Finch attends the Bishop's autopsy. The Coroner rules it as death by poison. Finch asks the Coroner to help identifying an extinct fresh rose left at the crime scene. Ends: 53:07

36. 0:32 - The cops spot a pattern in "V"s killings... the victims were all once officials of Larkhill. There is only one ex-official unaccounted for but their whereabouts is unknown. Ends: 53:39

37. 0:12 - The Coroner removes something from what looks to be a home safe. Ends: 53:51

38. 0:15 - The cops are attempting to trace the missing ex-official when they discover it to be the Coroner. Ends: 54:06

39. 2:32 - "V" makes his stealthy visit to the Coroner. She has been expecting him and he's there to kill her. The cops are on their way but by the time they arrive, it is too late. The Coroner is dead and she now has her very own rose. Ends: 56:38

40. 0:59 - Alone, Finch reports to Chancellor Sutler and relays the events leading up to the death of the Coroner. Finch reveals that the Coroner left a written journal, explaining what happened at Larkhill. Sutler orders him to keep all details to himself as it concerns National security. Ends: 57:37

41. 2:40 - We hear the female V.O. of the Coroner reading from her journal. We see the Aushzwitz-like nature of the Larkhill Detention centre and in particular the story of the prisoner in Room V. Ends: 1:00:17

42. 1:16 - Gordon cooks Evey some breakfast; she is shocked to see that what he prepares is identical to what "V" prepared for her at his home. Ends: 1:01:33

43. 2:31 - Finch studies news articles of the infamous virus outbreaks that gave rise to the current government's rise to power. We learn that the outbreak caused the deaths of over 100,000 citizens... Finch suspects the government may have had some involvement in the outbreaks known as St. Mary's and Three Waters. Ends: 1:04:04

44. 0:39 - The government is concerned about the apparent panic of the general population towards acts of terrorism. Ends: 1:04:43

45. 2:57 - Possibly inspired by Evey's plight and/or courage, together with frustration over his own bouts with the censor at the tv station, Gordon decides to air an episode of his talk show which has not been pre-approved. Nor would it be, as we witness his vicious lampooning of the Chancellor. Evey is horrified but Gordon doesn't believe he'll get more than a fine at best from the authorities. Ends: 1:07:40

46. 1:58 - Government authorities break-in to Gordon's home. Evey hides under the bed and witnesses Gordon's violent arrest, mirroring precisely what she saw the night her parents were arrested. She makes her escape and is almost successful when she herself is captured. Ends: 1:09:38

47. 1:01 - Evey is interrogated. Ends: 1:10:39

48. 1:36 - Montage of Evey being "processed" in detention; hair shaved off completely, showered etc. Ends: 1:12:15

49. 2:10 - We don't know how long she has now been there. Alone in her cell, Evey finds a concealed note from the previous occupant. We hear the female V.O. of that prisoner tell her own story of how she came to be arrested (she was gay) and incarcerated. Ends: 1:14:25

50. 0:35 - Evey is water tortured to reveal facts about the terrorist known as "V". Evey reveals nothing. Ends: 1:15:00

51. 1:11 Evey is back in her cell and continues to read the previous occupant's secret notes. Again we hear the female V.O. of that prisoner relay her continuing story while we see it played out. Ends: 1:16:11

52. 0:21 - Evey continues to be tortured for information about "V"; she reveals nothing because she knows nothing. Ends: 1:16:32

53. 2:14 Evey is back in her cell and continues to read the previous occupant's secret notes. Again we hear the female V.O. of that prisoner relay her continuing story while we see it played out. Ends: 1:18:46

54. 2:21 - Evey is questioned for what she's told is the final time. Unless she talks she will be shot. She refuses to reveal anything and the guard is ordered to take her out and have her shot. Ends: 1:21:07

55. 4:53 - Inexplicably, Evey is told she is "free". In a daze, she leaves her cell and into "V"s home. Her entire incarceration was engineered by "V" and her cell was somewhere in his house. Evey is very upset but makes her way outside into the cleansing power of the falling rain (not unlike "V"s baptism by fire). Ends: 1:26:00

56. 3:15 - Evey is leaving "V". He would like to see her again before the upcoming Nov 5 and she promises to do so. Once she has left, "V" is upset at what he found himself forced to do to her. Ends: 1:29:15

57. 1:15 - The Chancellor is very upset... the promised Nov 5 date looms closer and Creedy and the others are no closer to capturing "V". Chief Inspector Finch speculates an attack on Parliament could come from the underground, but The Chancellor ridicules this notion. The Chancellor issues orders to remind the public why they need their (this) government. Ends: 1:30:30

58. 0:40 - Tv news is broadcast detailing nothing but bad news. War around the world, water shortages at home, avian flu etc. The general public react contemptuously. Ends: 1:31:10

59. 0:53 - Finch gets a lead on a man named Rockwood, a contact with some possible intel on Larkhill. Ends: 1:32:03

60. 4:12 - Finch and his partner meet the secretive Rockwood at a virus memorial site. Rockwood tells the cops the story of Sutler, Creedy etc and the nature of the virus which stemmed from the blood of the Larkhill victims. Prothero's pharmaceutical company helped develop the cure and made them all wealthy. Rockwood asks Finch & the other cops to keep Creedy under surveillance and Rockwood will reveal more. Ends: 1:36:15

61. 1:41 - Creedy is propositioned by "V", citing The Chancellor's ultimate lack of trust in him. Surely Creedy knows he's being monitored? "V" posits that after the destruction of Parliament, Sutler will sacrifice Creedy in an effort to deflect blame. "V" proposes to surrender to Creedy in exchange for Sutler. If/when Creedy accepts this proposition, he is to mark the front door of his home with a chalk "X". Ends: 1:37:56

62. 0:29 - Every is in her home and watches the same swashbuckler movie she enjoyed with "V". Ends: 1:38:25

63. 0:57 - Finch comes to find that the man known as Rockwood has been dead for some time. He's been duped and likely it was "V" masquerading as Rockwood to spoonfeed Finch with planted information. Ends: 1:39:22

64. 0:23 - Evey sees a child graffiti a wall with "V"s insignia. Ends: 1:39:45

65. 0:27 - Sutler is angry at Creedy for his continuing lack of results in finding "V". Ends: 1:40:11

66. 1:09 - "V" assembles an unseen pattern of dominoes. Hundreds of thousands of unsolicited parcels containing "V"s signature mask and costume are delivered to countless homes. Chaos begins in the country. Creedy makes his chalk cross on his door. Ends: 1:41:20

67. 2:52 - Finch tells us that he can't help feeling that everything that has happened so far is somehow related. A chain of events that went back to the time before Larkhill... a perfect pattern, laid out. We see "V" has assembled his dominos in a pattern. Finch believes that with so much chaos, someone will do something stupid. We see a fingerman murder a child wearing "V"s mask in the public street... the public turns on the fingerman in a symbolic sign of disobedience. "V" flicks the first domino in his pattern and we see the cascading pattern tumble before him - the pattern of his name "V". Ends: 1:44:12

68. 0:29 - Finch is alone at home. Tonight is "V"s big night, he asks... is everyone ready? Ends: 1:44:41

69. 4:02 - "V" is at home and gets a visit from Evey; they dance. Sutler is in a complete panic. "V" has something for Evey. Ends: 1:48:43

70. 0:39 - The cops talk about how heavily fortified Parliament is today. Ends: 1:49:22

71. 2:34 - "V" shows Evey the underground train he's been preparing for the last ten years. She begs him to not go ahead with his plan. Ends: 1:51:56

72. 1:41 - Sutler makes a speech that is broadcast nationwide. The homes are empty, as are the pubs; seems no one is listening to their Chancellor. "V" surrenders to Creedy as promised. Ends: 1:53:37

73. 4:07 - "V" gets to see the captured Chancellor; Creedy assassinates him. "V" is defiant and once challenged, kills Creedy and all his men. However, "V" is wounded. Ends: 1:57:44

74. 1:43 - Evey waits patiently underground by the explosives train. A wounded "V" returns. He has planned this day for twenty years, he says... he then dies in Evey's arms. Ends: 1:59:27

75. 2:55 - Crowds descend on Parliament... they're all dressed as "V". The armed troops don't know how to respond; requests for instructions are not returned. Finch finds Evey who has loaded "V" onto the explosives train and is about to let the train travel on its own... he wants to stop her but her conviction disarms him. Ends: 2:02:22

76. 2:09 - Music blares out over the Public Address system. Parliament explodes while everybody in the crowd watches (including characters we knew had died previously). The crowd represents all of us, past & present. And who was "V"? He was all of us too. The fireworks make a majestic "V" pattern. Ends: 2:04:31

PS. This was originally published as a contribution towards a set of articles on the subject of Exposition by Mystery Man.

Great Moments in Cinema... SLEUTH (1972)

2007-08-19T09:29:00.000-07:00

                                                                                                68

55         INT. GALLERY - EVENING                                55

MILO sinks to his knees near the top step. ANDREW passes him
and stands on the gallery by the newel post.

                                MILO
                (terrified and
                pleading)
        Look... I can’t give anything back,
        can I? I mean if it hadn’t been me it
        could have been somebody else. Please
        ... I’ll go away - you won’t never ‘ear
        of me no more... Why, Andrew? Why me?

                                ANDREW
        Don’t snivel.
                                                                                                69

                                MILO
        I must know why!

                                ANDREW
        I’m amazed you have to ask. I hate you.
        I hate your smarmy, good-looking face
        and your easy manner. I’ll bet you’re easy
        in a ski-lodge, and easy on a yacht, and
        easy on a beach. And I knew you’d wear a
        gold charm around your neck, and I bet your
        chest is hairy, and in summer matted with
        sun oil. Above all, I hate you because
        you’re a culling blue-eyed wop - a not one
        of me - a creeping, hairdressing seducer
        of silly women, a jumped up pantry boy who
        doesn’t know his place, and who thinks that
        gentlemen are made by accents and country
        clothes. Did you really believe I would give
        up my wife and jewels to you? That I would
        make myself that ridiculous?

                                MILO
        Why not? You’re not in love with her.

                                ANDREW
        Whether I love her or not. I found her.
        I’ve kept her. She represents me. And once
        she was in love with me.

                                MILO
                (with a show of spirit)
        And now she’s in love with me, and that’s
        what you can’t forgive. And after me, there’ll
        be others. Are you going to kill them too?
        You’re mad - a bloody madman...

                                ANDREW
                (deadly)
        And you are a young man, dressed as a clown

                                                                                                70
                                ANDREW (Cont)
        about to be murdered. Put the mask on,
        Milo.

                                MILO
                (whimpering)
        No... no please... don’t...

                                ANDREW
        Put it on!

ANDREW takes the mask off the newel post and shoves it on MILO.

                                ANDREW
        Finally at your moment of dying you are
        yourself - a snivelling dago clown.
        Farewell Punchinello!

ANDREW lifts the pistol to MILO’s head. MILO is shaking with
fear.

                                MILO
        Please...

ANDREW fires point blank into MILO’s head. MILO falls backwards
down the stairway, crashing to the bottom where he lies still.

Thought for the day...

2007-08-15T22:00:00.000-07:00

"There are often hundreds of ways to look at a problem. Sort through the range of facts, memories, emotions, observations, perceptions, and impressions. Turn the problem around and look at it from new angles." Elaine Dundon, in 'The Seeds of Innovation'

Great Moments in Cinema - Basic Instinct (1992)

2007-08-14T22:06:00.000-07:00

36

EXT. THE BEACH HOUSE AT STINSON - DAY

The black Ferrari is in the driveway. He sits in an unmarked police car on a hillside above the house, watching. It is a bleak, leaden gray day.

Catherine comes out of the house. She is dresses casually. She gets into the Ferrari.

INT. HIS POLICE CAR

He stays behind her at a safe distance on the winding panoramic highway -- a two-lane mountain road which leads from Stinson Beach into Marin County.

37

She suddenly starts speeding up on this dangerous road, cutting in and out, passing cars very fast.

He has to start cutting around cars to keep up. This woman really drives.

He cuts out and can safely pass a car without hitting a Grey Lines Tour Bus head-on. Close call: sheer drops on either side.

He looks frazzled.

Handy Reference Book - Good scripts/Bad scripts

2007-08-13T00:17:00.000-07:00

Good Scripts, Bad Scripts
1998 by Thomas Pope $14.00 new

(from the back of the book)
...Each chapter deals with a different component of the art of screenwriting - from character development to the nurturing of subplots to the fundamentals of good dialogue - and illustrates it through the virtues or mistakes of a particular film...

(from the Contents page)
Part One: Structure

The Abyss 3
Cutthroat Island 8
Inherit the Wind 14
Singin’ in the Rain 27
Pulp Fiction 40
The Usual Suspects 52
High Noon 60
Citizen Kane 70
Bonfire of the Vanities 80
Last Action Hero 92
Fargo 102
Jewel of the Nile 108
Groundhog Day 119
The Searchers 125
The Verdict 133
Tender Mercies 140
Some Like It Hot 147

Part Two: Character

Prizzi’s Honor 157
The Day of the Jackal 166
Network 175
Chinatown 183
Casablanca 193
Havana 204
Treasure of the Sierra Madre 210
Falling in Love 223

Resources 231

Great Moments in Cinema - The Fly (1986)

2007-08-12T10:19:00.000-07:00

                                                                52

INT. BAR - NIGHT

Brundle stands alone at the bar. In the garish neon of the place he no longer looks friendly and cuddly; he is angry, manic and, somehow... predatory.

Two large men with tattoos on their arms are arm-wrestling at a small table, egged on by a VOLUPTUOUSLY SLEAZY WOMAN. Beer is sloshing everywhere as the men struggle for an advantage.

The bartender puts a drink down - a double Scotch - in front of Brundle, who is in the process of unwrapping an O’Henry chocolate bar. The bartender winces as Brundle bites off a piece of chocolate then washes it down with some Scotch.

Brundle gets up and, still munching on his bar, begins to drift over to the table and the sleazy woman, whose name is TAWNY.

                BRUNDLE
        Who’s winning?

                TAWNY
        Dunno. Hope it’s Marky.

                BRUNDLE
        How come?

                TAWNY
        ‘Cause the winner wins me, and I like Marky
        tonight.

                                                                53

                BRUNDLE
        Yeah? Well, I like you tonight. Maybe I’d
        better get involved in this, too.

The two men ease off their wrestling. The biggest one, MARKY, grabs Brundle by the lapels.

                MARKY
        You’re disturbing us.

                BRUNDLE
        I got a hundred bucks says I can beat either
        one of you.

The men laugh. Marky grabs Brundle’s arm and rips his jacket sleeve right off. He folds Brundle’s arm back and displays it to Tawny.

                MARKY
        Like those biceps, Tawny?

                SECOND MAN
        Hey, I know his secret.
        (GRABS THE CHOCOLATE BAR AND SLURPS ALL OVER
        IT)
        He eats chocolate and peanuts for energy!

They howl in laughter. Brundle pulls out a hundred-dollar bill which has been waddled up in his pocket. He slams the hundred on the table.

                BRUNDLE
        A hundred. And I get to take the lady home
        for the night if I win.

                TAWNY
        Says who?

                MARKY
        Hey - an easy hundred, Tawny.

                TAWNY
        Yeah, but says who? It’s the idea of it. I
        ain’t no hooker.

                                                                54

Marky ignores her and sits down, ready to rumble.

                MARKY
        C’mon, let’s get it over with.

Having said her piece, Tawny sits down to enjoy the fun.

Brundle sits down opposite Marky. They spend a few minutes gripping and re-griping each other’s hand under the scrutiny of the second man. A few spectators accumulate around the table.

Finally, they’re ready to wrestle.

ON BRUNDLE, as they start.

ON MARKY, confident.

ON BRUNDLE, having no trouble.

ON TAWNY, wondering what’s happening.

ON MARKY, his confidence turning to mush as he meets the steel in Brundle’s skinny forearm.

The tension is building between the two arms; they are shaking.

CU BRUNDLE - he’s doing well but it’s an effort.

CU BRUNDLE’S FINGERTIPS - the hand that’s wrestling. Under the pressure of the fight, a STRANGE, PUS-LIKE SECRETION begins to ooze from under his fingernails and down the back of Marky’s hand. It goes unnoticed in the general sweat and beer.

The strain is enormous. Veins are bulging. Arms are quivering. Muscles are fibrillating. Then SUDDENLY, all the pent-up energy is released with a sickening CRACK! as MARKY’S FOREARM SHATTERS! Splintered bone slices out through the skin of Marky’s wrist and glints in the icy light of the bar.

Marky shrieks in agony. Brundle lets go. Marky holds his arm and stares at it as though it belonged to someone else. His hand dangles at an impossible angle; the piece of cracked ulna looks white as a tooth. The second man and Tawny look on in disbelief.

                                                                55

People begin to gather around. Marky starts to moan as blood begins to well up in a serious way and spill out of the wound onto the table top.

Brundle grabs his hundred dollars in one hand and takes Tawny by the wrist with the other. She’s stunned and she lets herself be dragged out of the bar.

Thought for the day...

2007-08-12T00:27:00.000-07:00

“One must work and dare if one really wants to live.”

~ Vincent van Gogh

Handy Reference Book - Sequences

2007-08-11T21:23:00.000-07:00

Screenwriting: The Sequence Approach
- 2004 by Paul Joseph Gulino. $12.00 US new

(from the back of the book)
...explores an often-overlooked tool that can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by a script as a whole.

The sequence approach has its foundation in early Hollywood cinema (until the 1950s, most screenplays were formatted with sequences explicitly identified), and has been rediscovered and used effectively at an increasing number of film schools.

This concise, fascinating book exposes a wider audience to the approach for the first time, introducing the concept and then providing a sequence analysis of eleven significant feature films made between 1940 and 2001...

(from the Contents page)

An introduction to Sequences 1
        Why Sequences? 1
        The Origin of Sequences 3
        How a screenplay works 4
        How Sequences work 12

Toy Story 20
The Shop Around the Corner 41
Double Indemnity 64
Nights of Cabiria 80
North by Northwest 97
Lawrence of Arabia 114
The Graduate 145
One Flew Over the Cuckoo’s Nest 158
Air Force One 172
Being John Malkovich 182
The Fellowship of the Ring 199

Sources 225
Index 227

SP Terms - INSERT

2007-08-11T20:44:00.000-07:00

An INSERT is a technical term whereby a writer documents the vision for a close-up on a prop or special attention to some detail.

The INSERT shot focuses on the one thing and is then followed by a return to the scene.

These are not common in Spec scripts because they’re viewed as unnecessarily technical in nature, provide little/nothing in terms of telling the story and are a type of camera direction. (The exact same thing can be achieved by resourceful use of scene description.)

from “Mission:Impossible” (1996)

INT. SAFE HOUSE - DAY

ETHAN nods.

                PHELPS
        Beyond Charles Bridge there is our
        Embassy. See it? Tomorrow night, if
        anything goes wrong, this guy will steal
        the names of our agents in every country
        all over Eastern Europe. Up for grabs to
        the highest bidders -- third world
        terrorists, arms dealers, drug lords --
        any and everybody who'd love to get rid
        of long term coverts like us, and some
        very dear friends among them. If they're
        exposed, they'll be executed. Come over
        here. Take a look at this.

CLAIRE, who is working at a computer, has pulled up a quicktime
video image in a box on her screen. In it, an old edition of the McLaughlin
Report, the PBS news show, is playing.

ETHAN is distracted by it.

INSERT - TELEVISION

SENATOR WALTZER, a bearded, bespectacled man in his forties,
is holding forth:

                SENATOR WALTZER
        I'll go you one further. I say the CIA
        and all its shadow organizations have
        become irrelevant at best and
        unconstitutional at worst. It's time we
        throw a little light on the whole concept
        of the Pentagon's "black budget." These
        covert agency subgroups have confidential
        funding, they report to no one -- who are
        these people?! We were living in a
        democracy the last time I checked.

BACK TO SCENE

ETHAN looks back at JIM.

                ETHAN
        You're going to use Walter?

                PHELPS
        He's our guy.

Handy Writer's Software - StoryBuilder

2007-08-11T10:27:00.000-07:00

StoryBuilder software (Windows)
by Seven Valleys Software - $100 US approx.

Every once in a while you come across writing software which looks useful. Typically what’s available is really no different than what can be gleaned out of a text book, but obviously the benefits of a computer program make it an irresistible option for some. Okay. For me.

StoryBuilder is an old-fashioned Windows program (circa Win 3.1 ?), a self-professed CAD program that helps fiction writers turn ideas into stories. As with any other piece of software, it won’t write your story for you - but it will organize your thoughts and notes. The software helps to develop ideas into (from the package) “...a concept with dramatic problems, living characters, vivid settings and a gripping plot.”

The neat thing IMHO is that you can hop, skip and jump anywhere you want to fill-in whatever it is you know (or think you know) about your story. Everything can be changed; nothing is mandatory. If you’re unsure about choices (goal, theme etc) just about everything has a drop-down list of possible choices from which to choose. And if you select something, you can alter it slightly to make it your own.

Characters

Especially useful (if you’re into that kinda stuff) is the ability to define your character’s traits... especially the inner ones, which have been adapted from psychological personality profiles (according to the manual). Of course, it is still up to you (the writer) to use those documented traits and turn them into external actions. But as all of this data comes out in one massive report eventually, it is unlikely to be forgotten. This is especially useful if (like me) you’re fond of cobbling together ideas and putting them away for long periods of time... it’s real easy to come back to a working document a year from now and know exactly what it was you had in mind when you first committed words to paper.

Plot points

These are typically scenes you have in mind when thinking about the as-yet undeveloped story. Establishing these early allows you to avoid forgetting them!

Problems

These are typically pretty simple in nature, usually confined to one external problem and one internal problem. But it’s up to you. Especially useful is the ability to jump to the TOOLS section and pull forth plotting aids... the “Master plots” is especially useful for turning a problem into a set of typical plot points encountered in literature.

Who all have we got here?

It’s funny how simple things change - how often has your protag and/or antag changed, even though the story itself has not?

How will it end?

I’ve always envied writers who know their endings the exact moment they think of a story. Often I’ll know what has to happen - or what should happen - but not much else. Perhaps that’s why writing is so enjoyable... you don’t know where an idea will lead and what you’ll find out about yourself.

Overview

The twenty or thirty page printout will combine everything you’ve compiled so far. It’s as detailed or as sparse as you want it to be.

There are a few useful features to be found under the TOOLS section... stock scenes especially show the writer what has worked before, though it’s probably best not to mimic those exactly, lest everything comes out a little on the cliche side. Also, Polti’s dramatic situations are there to see & ponder (and if any one of those is selected, it pre-fills the plot points for you).

SP Terms - INTERCUT

2007-08-11T00:56:00.000-07:00

An INTERCUT is a technique whereby a writer can alternate between two or more locations without having to re-establish master sluglines. It is typically used when characters are conducting telephone conversations but that need not be the only time this is used.

Each location must first be established once and after the INTERCUT is provided, the dialogue & action can flow as if all the scenes characters are present together.

from “Disturbia” (2007)

3         INT. SUV - EVENING - CONTINUOUS - MOVING                 3

Jeff drives. Kale's on his cell:

                        KALE (cont'd)
                (into phone as needed)
                Hey mom, it's us. Listen, fire up
                the grill 'cause the Bassmasters are
                headed home!

Jeff slaps Kale five as he veers the SUV into the left lane,
passing a slow-moving PATHFINDER...

                                                        INTERCUT WITH:

4         INT. KALE'S HOUSE - KITCHEN - DAY - CONTINUOUS         4

Kale's attractive mom, JULIE, 40, on cordless, preps dinner.

                        JULIE
                You're kidding. So I can actually
                put the burgers away this time?

                        KALE
                Yes, be gone with the red meat!

Julie smiles. Jeff grabs the phone from Kale.

                        JEFF
                (into phone as needed)
                We're having fish for a week.

Kale smiles as a LINCOLN NAVIGATOR PICK-UP zooms past in the
right lane, swerves back in the left lane in front of them.

                        JEFF (CONT'D)
                (over the above)
                I'd say an hour. Love you, too.

Jeff flips the phone shut, tosses it to Kale. They exchange
smiles. A silent moment passes. They both turn to face the
road as --

THE NAVIGATOR PICK-UP

suddenly SWERVES back into the right lane, revealing a

STALLED MINI-VAN

directly in front of them!

Thought for the day...

2007-08-10T22:40:00.000-07:00

“Why not go out on a limb? Isn't that where the fruit is?“
~Frank Scully

Theme

2007-08-06T18:35:00.000-07:00

Theme is the core idea or message pervading any given story-line (or at least they say it should be so). It is often (I think) confused with genre and so it’s not unusual to read about a gay or detective theme movie.

Theme is a symbolic distillation of the story’s premise... the “Godfather” stories probably have a theme of Family. Why? The title of the book/film implies family, the history of the Corleone clan is the basis for the trilogy, the entire life-cycle of the human experience is covered birth-to-death in all films etc. But you won’t find the words “theme=family” written down anywhere... it won’t exist in the SP or the film credits... but it’ll be there. Buried.

There are unlikely to be any new themes coming our way soon. This is because they’re pretty ordinary little messages that have existed for as long as people have wanted to tell (and hear) stories. Ideally we get to know pretty quickly what the theme for a story might be and then witness that same thing pervade the entire story, see it mirrored throughout in characters and relationships and dialogue. Is “Pulp Fiction” (1994) really about drugs and murders? Or is it about salvation? Jules (Samuel L. Jackson) decides to quit the business while he can, while Vincent (John Travolta) keeps going and dies on the job.

Does a story need a theme to be any good? Probably not. Would having a theme guarantee its success? Nope.

Instead, it’s there to glue everything together. In that regard, keeping it in mind really just acts as a way to retain focus on what’s important when writing the story.

Theme comes in two parts... the first part is the subject matter, a broad categorization if you will; the second is a specific question or statement within that subject matter.

It’s this second part that is the tough nut to crack. It is completely freeform and you can come up with anything you want. Whether or not you’ll find anyone out there that agrees with you or not is a different matter. In other words, it has to make some sort of sense. And it probably won’t come across too well if you ram it down your reader’s throats.

Example: “Toy Story” (1995) is about love... Woody desperately wants Andy to love him, specifically to love him best of all. He wants to be the top toy. Buzz’s arrival is an immediate threat once all of Andy’s birthday presents are unwrapped... Woody’s rivalry dominates once Act 1 is over (about 19 minutes into the film). That is until the end of Act 2 (at about 60 minutes) when Woody finally gets it while contemplating escape from Sid’s bedroom. Woody cannot make Andy love him... he has to accept whatever happens. So it’s not just about love... the question posed by the storytellers is “can you make love happen” ? Or something like that. And the answer is of course no.

Example: “One Flew Over The Cuckoo’s Nest” (1975) is about freedom... actually it could be about several other things, notably change, hope and “the system” and so-on. It’s probably less important which one is chosen... as long as there is one and it’s the best fit for the story. CUCKOO is probably about freedom because the protagonist McMurphy (Jack Nicholson) doesn’t have any... he is institutionalized because he’s acting crazy but he’s just pretending so as to get out of work detail at the Prison. Nurse Ratched (Louise Fletcher) is the antagonist because she’s going to do everything she can to stop him achieving his goal of leaving the Hospital. In the course of his stay, McMurphy befriends the quiet Chief (Will Sampson) and instills in him a desire to escape... to be free. The two come close to getting free, but as fate would have it, McMurphy doesn’t take his opportunity. Probably because he’s rather help Billy (Brad Dourif) get laid. So it’s not just about freedom... the question posed by the storytellers is “is freedom worth having”? Or something like that. And the answer is yes.

Remember - the answer your story provides doesn’t have to conform to anyone’s preconceived ideas of what the answer should be. But if it’s something kooky... like hate - “don’t we all hate tall people?”... then it’s likely not going to be a best seller. You may believe it but nobody else will. It also has to make sense... you may honestly believe that a return to innocence will make you happy, but it’s simply not something one can actually do. Without a lobotomy, I mean. And it has to be something everyone else could reasonably relate to.

Ideally it should be posed as a question... it doesn’t have to though. “Wall Street” (1987) didn’t do so with its theme of greed. It basically made a statement like “greed is good” and then proceeded to show us the protagonist Gordon Gekko’s (Michael Douglas) downfall. In other words, the statement was refuted IMO.

I recall looking for a book on the subject of Theme but it didn’t exist. It’s usually more a chapter within one or two text books on screenwriting (if you’re lucky). BTW: The Screenwriting Expo folks have a DVD out from James Mercurio on this very topic... I don’t have it - nor have I seen it - but I do have others in the series and they’re very good.

So what are the common subject themes? Here’s a list I’ve been compiling for some time now. Remember the list below represents the first part... you have to supply the second part, representing your “take” on what it is you’re trying to say with your story. Hopefully you do have something to say... not a lecture, but your point-of-view.

And if someone else has a different list, it really doesn’t matter... If someone else has a better list, then use theirs! Don’t get hung up on the little stuff... if you think an idea you have falls under A or B, then just pick one. Seriously. It’s not important that you choose J.1.c vs. J.3.k... it’s just a list of indented words straight out of an Inspiration 8 drawing.

A. Coming of Age

B. Fall from Grace

C. Fate

D. Love
        1. Platonic
        2. Romantic

E. Pursuit/Rescue

F. Revenge

G. The Big Mystery

H. The Big Con

J. The Big Battle

        1. Man vs. Abstract
                a. Allegory
                b. Dreams
                c. God/s
                d. Magic/illusion
                e. Superstition

        2. Man vs Monster
                a. Machine
                b. Supernatural ghosts/demons

        3. Man vs. Man
                a. Addiction
                b. Alienation/Isolation
                c. Art
                d. Business/Commerce
                e. Charity
                f. Escape
                g. Family
                h. History
                i. Humor
                j. Politics
                k. Religion/faith/salvation

                l. Self
                        (1) Avarice
                        (2) Betrayal
                        (3) Courage
                        (4) Decadence
                        (5) Deception
                        (6) Duty
                        (7) Envy
                        (8) Excess
                        (9) Fortitude
                        (10) Generosity
                        (11) Gluttony
                        (12) Greed
                        (13) Grief
                        (14) Guilt
                        (15) Hope
                        (16) Identity
                        (17) Jealousy
                        (18) Loss
                        (19) Poverty
                        (20) Pride
                        (21) Prudence
                        (22) Sloth
                        (23) Temptation
                        (24) Truth
                        (25) Vanity

                m. Sports/Competition
                n. The Sexes
                o. Violence
                p. Wrath

        4. Man vs. Nature
                a. Death/Decay
                b. Time
                c. The Unknown
                d. Weather
                e. Blight
                f. Animals
                g. Change
                h. Confinement
                i. Old Age
                j. Disaster
                k. Disease
                l. Monotony
                m. Hard Times

                n. Medical Disorder
                        (1) Physical
                        (2) Mental

        5. Man vs. Society
                a. Assimilation
                b. Attitude
                c. Chaos
                d. Class
                e. Community
                f. Crime
                g. Culture
                h. Exile
                i. Freedom
                j. Justice
                k. Language
                l. Marriage
                m. Misogyny
                n. Morality/Ethics
                o. Nationalism
                p. Oppression
                q. Prejudice
                r. Race
                s. Taboo
                t. The Law
                u. The System
                v. Tradition
                w. Work

        6. Man vs. Technology

K. The Great Journey

L. The Noble Sacrifice

Character Contrasts

2007-08-05T11:36:00.000-07:00

One way to make a story pop out of the ordinary is to endow characters with qualities (or as Truby calls them, “values”) which provide immediate contrast when compared to other characters. Obviously it is more effective if these disparate attributes are presented in the same scenes.

Think of all the great dynamics that have arisen in film history as a result of such contrasts. Think of all the great lines of dialogue that have arisen naturally from that opposition.

Young:Old Good:Evil City:Country Adult:Child Big:Small Rich:Poor drunk:ɹǝqos Beautiful:Ugly Smart:Stupid Faithful:Unfaithful Believer:Unbeliever Mortal:Immortal Criminal:Law Abiding Boss:Employee Success:Failure Master:Servant uǝɯoʍ:uǝɯ Love:Hate Male:Female Negative:Positive Clean:Dirty Superior:Inferior Dead:Alive Black:White Intimate:Platonic Friend:Enemy

Great Moments in Cinema - TOOTSIE (1982)

2007-08-04T16:18:00.000-07:00

58.        CONTINUED:                                                                50

John and Dorothy are doing their scene. John’s eyes go to the teleprompter behind Dorothy frequently.

                        JOHN
        “Well, you haven’t changed at
        all, Emily.”

                        DOROTHY
        “Oh, but I have, Medford. Now
        that father is dead, the weight
        of his hospital falls upon my
        shoulders. And I will bear
        that weight, no matter what
        obstacles you put in my path.”

                        JOHN
                (leaning toward her)
        “You know, Emily, there’s no
        reason for us to be in opposite
        camps. We can rule ‘Southwest
        General’ together. I admire
        people with power.
                (coming closer)
        Women with power, especially.”

He leans forward to kiss her. Dorothy slaps his across the face. He
stands open-mouthed.

                        DOROTHY
        “Is this the same approach you
        would have used on my father,
        Dr. Brewster? Do you really
        think I’m someone you can grope
        in the broom closet and then
        not consider a threat? I’m
        afraid, Dr. Brewster, that you
        have underestimated me. If you
        want to win me over, you’ll
        have to deal with my mind, not
        my lips.”

                        RON
                (into his mike)
        And cut!

                        MEL
                (into his mike)
        Stop tape.

                        JACQUI
        Can we use it?

                        RITA
        Are you kidding?

59.        INT. STUDIO - CAST, CREW

Rita and Ron enter. John stands holding his face. There is a
buzz of conversation. All OVERLAPPING.

                        JOHN
                (bewildered)
        I was supposed to kiss her.

                        DOROTHY
        It was an instinct. I kept
        hearing Ron’s words -- “instant
        threat” and I realized how much
        it would --

                        JULIE
        -- It was a good instinct.
                (knowingly)
        It would have been mine.

                        RON
                (to Julie)
        Just a minute -- I’ll handle
        the instincts here! It
        happened to be a good instinct
        but next time, if you have a
        question about a piece of
        business, you discuss it with
        me.

                        DOROTHY
        It was wrong of me not to.

                        JULIE
        And thanks for catching me.
        You saved my ass. I mean
        literally.

                        RITA
        Okay, people. Item seven.

                        RON
                (claps Van Horn
                on back)
        Big John, good work!

All leave except Van Horn and Dorothy.

                        JOHN
        Dorothy... I just want to say
        that I loved what you did in our
        scene. Welcome aboard.

He kisses her full on the mouth.

Handy Writer's Software - Character Pro 5

2007-08-04T09:09:00.000-07:00

Character Pro 5 software (Windows)
by Typing Chimp software ~ $70 US approx.

Every once in a while you come across writing software which looks useful. Typically what’s available is really no different than what can be gleaned out of a text book, but obviously the benefits of a computer program make it an irresistible option for some. Okay. For me.

For those unfamiliar with the Enneagrams of personality, this is basically a system whereby all human personalities are broken down into one of nine types. The idea behind using this type of system (for writing purposes) is to gain a wider insight into the characters you have in mind for a story and how they interact with one another.

I recently read an article on UNK’s blog for a book review (tools for successful screenwriting) and wasn’t surprised to see the enneagram topic covered there. Now, if you set no credence with what psychologists, sociologists and psychiatrists have to say, then the notion isn’t likely to be something you’ll find useful... and software which allows you to do the same won’t help. But as a tool, it may be useful (e.g. for brainstorming).

Quick rundown

The idea is that you establish your characters one at a time and supply as much information as you can. Notice the left-hand side of the screen, where the folder-like structure allows you to jump around.

You then proceed to each screen, filling-in the blanks as you go.
(Click on any of the screen shots below to enlarge so you can better see what’s on each page.)

If nothing else, the enneagram helps you focus on what the character’s outcome is likely to be. For example, a protagonist’s arc tends to be an optimistic one whereas that of an antagonist is usually the opposite. But you’re not forced to take the conventional journey. lol

Depending on the choices made previously, answers to certain questions are pre-filled for you. But that’s optional, plus however the text got there, it’s possible to edit everything in the box anyway.

...and there’s room for additional stuff for which you may not have found a home previously.

The main part of the show however is the Enneagram screen itself. You’re forced to select from one of the nine types in its database... each one comes with an elaborate description (green button on the right)... besides which, it’s possible to change your mind later.

Some of the choices made will have further choices down the line...

Finally, at the end of the brief exercise you’ll be able to generate all the text for the character. That will be a combination of whatever you’ve previously entered plus the analysis of the chosen character’s personality traits.

Also very useful is the ability to take your main character and to analyze the potential relationship to another character. This “other character” is someone you have to create from scratch now (i.e. you can’t simply point to another file you’ve already established for that character).

Thought for the day...

2007-07-30T20:22:00.000-07:00

"Good plans shape good decisions. That's why good planning helps to make elusive dreams come true."

~Lester Robert Bittel

Handy Reference Book - Creating Character Emotions

2007-07-29T23:05:00.000-07:00

Creating Character Emotions
- 1998 by Anne Hood. $14.99 US new

(from the back of the book)
In this unique book, Anne Hood will help you find fresh, creative images, words and gestures to evoke feelings in your fiction. In 36 “mini-lessons,” Hood sheds new light on love, hate, fear, grief, guilt, hope, jealousy and other major emotions. Each lesson offers instruction on rendering that particular sentiment; “good” and “bad” examples illustrating how writers have succeeded and where others have gone wrong; and imaginative exercises for putting the feelings into words.

(from the Contents page)
Anger 20
Anxiety 24
Apathy 27
Confusion 31
Contentment 35
Curiosity 39
Desire 43
Despair 47
Excitement 50
Fear 54
Fondness 59
Forgiveness 63
Gratitude 68
Grief 72
Guilt 76
Happiness 80
Hate 84
Hope 88
Hostility 92
Irritation 96
Jealousy 100
Loneliness 104
Longing 108
Love (Parent-child) 112
Love (Romantic) 116
Passion 120
Resignation 123
Restlessness 127
Revenge 131
Sadness 135
Shame 139
Surprise 143
Suspicion 147
Sympathy 151
Tenderness 155
Worry 158

Film Breakdown - Horror - Rosemary's Baby (1968)

2007-07-29T13:53:00.000-07:00

1. 2:01 - Opening credits and establishing shots of NYC and Central Park. Ends: 0:02:01

2. 0:25 - A young couple, a man called Guy (John Cassavetes) and a woman Rosemary (Mia Farrow), are greeted by a landlord outside an older building near Central Park. It’s a beautiful sunny day and the couple look excited. The landlord makes idle chit-chat and the woman reveals her husband to be an actor. Ends: 0:02:26

3. 4:16 - Inside the building, the trio make their way up to the 7th floor. The building has an old, gothic charm to it. A uniformed man operates the elevator. The landlord asks if they have children and the couple tells him no but they plan to do so; he tells the couple the apartment’s old tenant recently passed away peacefully in the Hospital. They all walk through the spacious apartment and take a look around... the old lady’s possessions are still as she left them. A very large piece of furniture blocks a closet door and the landlord is perplexed... the two men maneuver the furniture out of the way and the inside of the closet is inspected: nothing much to see inside. Ends: 0:06:42

4. 0:17 - Outside a while later, the couple discusses the spacious apartment. Though bigger than anything else they’ve seen so-far, it is more expensive. Guy seems somewhat reluctant but promises his wife that they’ll get it if they can get out of their existing lease. Rosemary is very excited. Ends: 0:7:01

5. 1:32 - The couple’s existing landlord “Hutch” (Sidney Blackmer) is entertaining Guy & Rosemary and reveals (while making dinner) that he has given them a glowing reference. He tells them their new home’s building - The Branford - had a reputation at the turn of the century... two elderly sisters who were cannibals resided there, as did an older man who practiced witchcraft and was rumored to have conjured up the devil... a dead infant was found in the basement sometime during the ‘50s etc. Ends: 0:08:33

6. 3:06 - Guy and Rosemary are gradually moving in to their new apartment. An improvised dinner on the floor of their mostly empty living room is interrupted by the sound of their neighbor's voices coming through the wall. The couple try and ignore the sounds... later, they undress and make love. Guy wisecracks that he can hear the cannibalistic sisters chewing. Ends: 0:11:39

7. 0:57 - Series of shots - Workmen paint the couple’s apartment with a bright, cheerful new coat of paint. New wallpaper is hung in a sunny color. New carpet is unrolled. Rosemary hangs new curtains but interrupts her activity to watch a television commercial featuring her husband Guy. The apartment looks terrific & gone is the gloomy darkness of what it looked like under its former tenant. Guy comes home after work and is greeted by his happy wife. Ends: 0:12:36

8. 2:30 - In the basement laundry room, Rosemary meets a woman named Terry (Angela Dorian) who is staying as a guest of the Castevets, revealed to be Guy & Rosemary’s neighbors on the 7th floor. Ends: 0:15:06

9. 0:49 - Guy and Rosemary again overhear their next door neighbors talk; the sound travels easily through the wall that their apartments share. They again ignore the sounds and kiss on the bed... only to be interrupted again, this time by what sounds like chanting coming from next door. It sounds like quite a few people, certainly more than just the one elderly couple they know live next door. Ends: 0:15:55

10. 2:57 - Guy and Rosemary are strolling home one evening... when they arrive at their building, a small crowd of onlookers block the sidewalk. Police push the crowd back, away from the dead body of Terry Gionoffrio who lies splattered in a pool of blood. The Castevets arrive not long after and are given the bad news by the police that their guest Terry committed suicide by jumping out of the window. The Castevets meet Guy & Rosemary Woodhouse for the first time. Ends: 0:18:52

11. 1:11 - Rosemary drifts in & out of consciousness as she weaves images (Terry lying dead) and sounds (voice of her neighbor Mrs. Castevet) unintelligibly into her dream. Ends: 0:20:03

12. 4:21- Rosemary’s doorbell buzzes and Minnie Castevet (Ruth Gordon) stands outside. The neighbor is there simply to thank Rosemary for the nice things she said the other day about Terry. Minnie invites Rosemary & Guy to dinner. Later, Guy comes home & reveals he lost a part in a play to someone else... Rosemary commiserates and tells him they’re invited to dinner next door. They decide to accept the invitation. Ends: 0:24:24

13. 5:56 - Guy and Rosemary go next door for dinner. Roman Castevet (Sidney Blackmer) fixes them all a vodka blush and regales them with stories of all the places he’s been. Roman talks about the rituals of organized religion and of Guy’s acting career. Later, Rosemary & Ruth wash dishes while the men smoke in the living room. Once back in their own apartment, Guy & Rosemary joke about their neighbor’s idiosyncrasies. It seems Guy is committed to going back to meet up with Roman the following night. Rosemary won’t accompany him. Ends: 0:30:20

14. - The following night, Rosemary is relaxing alone with a book and some calming music when the doorbell rings. Unfortunately it is Minnie who is there to introduce her friend Laura-Louise... they pretty much invite themselves into Rosemary’s apartment and settle down to do some knitting and keep Rosemary company. Minnie and Roman give Rosemary a present of a very old pendant (300 years old apparently) which Rosemary previously saw worn by Terry. The smelly herbal contents are something Minnie calls Tannis Root (for good luck). Ends: 0:32:43

15. 2:41 - Guy returns after his get together with Roman next door. He says he had a nice time, listening to old stories. Rosemary shows her husband the old pendant she was given and decides to put it away in a drawer... Guy’s opinion is that if she accepted it, she should wear it as intended. Guy receives a phone call - we only hear his side of the conversation but he responds that the news he’s hearing is “just awful”... Rosemary’s curiosity is piqued... once he hangs up, Guy reveals that he’s now got the part because the original actor who accepted the role in a play suddenly went blind for some unknown reason. Ends: 0:35:24

16. 1:00 - Rosemary is updating her old landlord “Hutch” about their news... Guy’s fortunes have changed and his employment prospects are now considerably improved. It is pretty obvious that Rosemary is upset because Guy is preoccupied with his career. Ends: 0:36:24

17. 5:53 - Rosemary comes home to freshly cut roses throughout the house - they’re from Guy to apologize for his being so self-centered lately. He wants to focus back on her and announces that they should start a family asap. Later they start a fire, play some light music and are eating a candle-lit meal together when the doorbell buzzes. Guy goes to answer the door and Rosemary hears it’s their next door neighbors... she prays that Guy won’t let them in and is gratified to hear that they’ve just stopped by to provide the couple with some homemade dessert. They both eat their desserts but Rosemary complains of there being a chalky under-taste and quickly abandons it. Her husband guilts her into finishing the dessert on the pretext of there being no after-taste whatsoever. She distracts him and discards her dessert into a napkin without his seeing it. Later, as she disposes of it in the trash, she experiences a dizzy spell. Guy carries her to bed. Ends: 0:42:17

18. 6:08 - Rosemary lies in bed and has a strange dream. She’s lying on her mattress and it is floating on the open sea in the bright sunshine. She’s very sleepy but tells Guy they have to make a baby. He jokes that they’ll do so tomorrow and for her to get some rest... her husband undresses her to make her more comfortable. She drifts into and out of consciousness, peppering her dreams with people we’ve already met (eg. Hutch) and complete strangers we don’t know. She dreams she’s naked on a simple cot and surrounded by ornate artwork painted on the ceiling... she walks naked on a boat and is told to make her way downstairs, where a bed lies in the centre of a large empty room. Once she lies on the bare mattress, Rosemary suddenly finds herself surrounded by a large gathering of naked people in the shadows... many of them she recognizes as the other tenants in her building. Her naked body is painted by Roman, her next door neighbor while the others chant quietly in the darkness. Rosemary’s legs are bound to the corners of the bed. A scaly pair of arms emerge from the darkness and caress her painted torso. Rosemary drifts in & out of consciousness but at one point awakens to see a frightening set of eyes hover close to her - she is being ravaged by some form of beast and in a panic, begins to protest... the others surrounding her subdue her as we fade to black. Ends: 0:48:25

19. 0:32 - In the morning, Rosemary awakens from a long sleep to find her body covered in scratches. Guy reveals they were both drunk and had sex, though he has since cut his fingernails (to explain away the scratches). Ends: 0:49:57

20. 0:36 - Series of shots - Rosemary sits at her kitchen table. She breathes in the NYC air standing by her open apartment window. She showers. She returns the dessert containers to Minnie next door who admits she probably put in too much cream of coca into the dessert... she asks if Rosemary would get her six eggs if she happens to be going grocery shopping. Everything is just as before. Ends: 0:50:33

21. 1:09 - Guy practices walking on crutches in their apartment (for his role in his play). Rosemary confronts Guy with the accusation that he hasn’t been looking at her; he denies it. Later over breakfast, Guy catches Rosemary looking at a calendar and he confirms to her that her period should’ve come due on Friday; she speculates that it’ll likely come that night. Ends: 51:42

22. 0:46 - Rosemary is having her blood pressure taken at a doctor’s office; she asks when she’ll know (presumably she’s asking about her pregnancy). Dr. Hill (Charles Grodin) tells her he’ll know more once he’s examined her. A nurse takes a sample of her blood while Rosemary chit-chats with the doctor. Ends: 0:52:28

23. 1:10 - Rosemary phone rings and she hears Dr. Hill offer his congratulations. The baby is due June 28th and he asks that she take vitamin pills. Furthermore, he needs her to come back and give more blood - apparently the nurse didn’t take enough the last time but confirms again that she is pregnant. She promises to stop by on Monday (Nov 1, 1965) to give more blood. Ends: 0:53:38

24. 3:30 - Guy returns home after work and Rosemary stands by the door to give him the news. Guy is happy and Rosemary wants a new beginning in their openness towards each other... Guy confirms he’s been self-centred again with his work and pledges to do better. Guy wants to run next door and tell Minnie & Roman their good news... Rosemary agrees and gives her blessing (although somewhat reluctantly, we see). Once he’s gone, Rosemary contemplates her situation alone when the door suddenly bursts open and Minnie & Roman enter carrying celebratory wine. While they’re fixing drinks, the Castevets recommend a friend of theirs, an obstetrician (“the best in NYC”) named Abe Sapirstein who delivers all the society babies... Guy offers to talk to Dr. Hill so there won’t be any hard feelings. Rosemary agrees and Minnie immediately calls this Sapirstein at home and makes an appointment for Rosemary and her baby. Ends: 0:57:08

25. 0:54 - Nighttime finds Rosemary and Guy in bed. Rosemary can’t sleep and she gets up and finds the tannis root pendant she put away... she now puts it back around her neck for good luck. Ends: 0:58:02

26. 0:34 - Dr. Abraham Sapirstein (Ralph Bellamy) is consulting Rosemary and asks her not to read books related to her pregnancy. He tells Rosemary not to talk to her friends either (“no two pregnancies are alike”) and to not take any pills... he’ll ask Minnie to fix Rosemary a daily herbal drink which will be richer in vitamins than any over-the-counter pills. Ends: 0:58:36

27. 0:25 - Minnie fixes Rosemary a milky-looking drink of fresh herbs from her garden. Ends: 0:59:01

28. 0:44 - Guy is practicing for his role in the play... he reads from a script laying open on his living room floor and he hobbles around in crutches. Rosemary comes home and he’s shocked to see she has severely cut her hair; she seems to like what the Vidal Sassoon salon has done for her. Rosemary reveals to Guy that she’s experiencing a sharp pain in her abdomen (since Monday). Ends: 0:59:45

29. 0:20 - Sapirstein reassures Rosemary that what she’s experiencing is completely natural. She reveals that she’s been reading books about pregnancy and he asks that she throw it away. Ends: 1:00:05

30. 0:58 - Rosemary walks away from a scrabble game she’s having with Guy. In her bedroom, her body language and the violin soundtrack show us she’s experiencing a distressing bout of debilitating pain. She returns to Guy and tells him she looks awful. He tells her she looks great, it’s the haircut that looks awful. Ends: 1:01:03

31. 0:33 - Rosemary is alone in the kitchen. She takes a knife & fork to a raw piece of meat and begins devouring it after but a few seconds of making a half-hearted attempt to cook it in a frying pan. She sits at the kitchen table and eats while writing inside what look like Christmas cards piled up in front of her. Ends: 1:01:36

32. 6:18 - Rosemary’s former landlord Hutch comes to visit her and is visibly shocked by her appearance. Rosemary assumes it’s the haircut, since this is what Guy told her. Hutch tells her she looks terrible but Rosemary calms him by revealing that she’s pregnant. He doesn’t believe her because pregnant women gain weight, not lose it. Hutch knows of Sapirstein. As he’s visiting, the doorbell rings and Rosemary admits Roman to her apartment... he meets Hutch. Rosemary notices that Roman’s ears are pierced. Roman only stays a few moments but is there to witness Hutch’s skepticism about Rosemary’s treatment. Once they’re alone, Rosemary confides to Hutch that her next door neighbors are nosy, but Guy is quite taken with them. Guy returns home early just as Hutch is leaving. As he’s preparing to leave, Hutch finds one of his gloves is missing... it cannot be found and so he leaves without it. Rosemary tells Guy that Hutch thought she looked terrible and he reassures her that it’s untrue. Guy then leaves the apartment on the pretext of buying a newspaper. Ends: 1:07:54

33. 2:00 - Rosemary reads in bed while Guy watches television. The phone rings and Guy brings Rosemary the telephone... it’s Hutch and he wants to speak to her. Seems that Hutch wants to tell her something (not over the phone) and they arrange to meet for lunch the next morning at 11 am. After she hangs up, Guy wants to know who it was, what he wanted and then where they’re meeting tomorrow. Once Rosemary has relayed all that information, Guy says he wants to go out and buy ice-cream. Ends: 1:09:54

34. 0:12 - Rosemary buzzes Minnie’s front door and tells her she’s going out and won’t be there later to have her daily herbal drink. Minnie feigns indifference and tells her to buzz her when she gets back and they’ll do it then. Ends: 1:10:06

35. 3:01 - A street Santa rings his bell out on the street... Christmas is almost upon them. Rosemary stands outside, dressed in a warm coast and waiting for Hutch. She’s in pain but forces those feelings aside. Later, a man waves in her direction and as she gets up to meet him, it turns out it isn’t Hutch but someone who looks like him meeting up with someone else beside Rosemary. After more waiting around in vain, Rosemary makes her way to a pay phone and dials a number. The voice at the other end tells Rosemary that Hutch was taken ill that morning and is in a coma at St. Vincent’s Hospital. Rosemary walks away, deep in thought after her phone call. She catches sight of herself in a shop window and is alarmed by the distressing image of the image she sees... she looks malnourished and her eyes are sunken into her skull, her unhealthy pallor etc. Just as all this is sinking-in, Minnie appears as if by accident and offers to take Rosemary home. Ends: 1:13:07

36. 0:58 - Rosemary sits in front of a muted television set, bent over in what appears to be pain and/or nausea. Later, she sits by Sapirstein at a party next door; he reassures Rosemary that it’ll stop any day now. They’re all given drinks to see in the New Year which is seconds away. It is now 1966. Ends: 1:14:05

37. 0:30 - Another day. Rosemary stands alone in her kitchen and eats what looks like raw chicken liver straight from a tray. She seems content to do so until she sees her image in the reflection of the toaster on the counter. We next see her retching into the kitchen sink. Ends: 1:14:35

38. 1:21 - A determined Rosemary sits at her kitchen table and plans a big party a week or so away. Guy isn’t keen but Rosemary insists all her old young friends will be there; Minnie and Roman are not invited. A special party - you have to be under 60 to get in. Ends: 1:15:56

39. 1:00 - Minnie is curious about Rosemary’s kitchen preparations. Rosemary tells her about her upcoming party and Minnie tries hard to have herself invited. However, Rosemary is insistent she can manage without her help. Minnie then impatiently tries to hurry Rosemary’s consumption of her daily herbal drink but Rosemary tells her she wants to drink it later. She shoos Minnie out of her kitchen and once alone, throws Minnie’s drink down the sink. Ends: 1:16:56

40. 3:12 - Rosemary’s party is in full swing. All her old young friends are there & happy about her upcoming pregnancy. Rosemary feels unwell and we next see her in the kitchen surrounded by her female friends; she crying from the pain. She reveals to her friends that the pain started in November and they are shocked at her admission. They pressure her into seeing another doctor for a second opinion. Ends: 1:20:08

41. 2:57 - Once everyone has left, amongst the detritus of the party, Guy considers Rosemary’s news that she’s going to see Dr. Hill on Monday morning. Amidst their heated arguments about seeing anyone but Dr. Sapirstein, Rosemary’s pain suddenly disappears. Rosemary is ecstatic because the pain has gone and she feels her baby kicking. She encourages Guy to feel her abdomen but he’s too nervous to do so. Ends: 1:23:05

42. 0:35 - Montage - the apartment is decorated further. The wall of what looks like the future nursery is professionally wallpapered. Minnie and Rosemary watch. Rosemary accepts the herbal drink from Minnie and drinks enthusiastically. Baby furniture is moved into the room. A bulging Rosemary directs two workmen on where to put the baby’s cot. Baby clothing is unpacked. Ends: 1:23:40

43. 1:10 - Rosemary prepares a small suitcase of her belongings to use in the event of a hasty trip to the hospital. Guy finds it amusing, since the event is still three weeks away. The phone rings and Rosemary answers... Hutch is dead. She feels awful because all of this time she didn’t even think of him. Ends: 1:24:50

44. 1:20 - A taxi takes Rosemary to a cemetery where mourners are leaving Hutch’s graveside. Grace Cardiff - with whom Rosemary has spoken on the phone numerous times - is there and hands Rosemary a package she didn’t want to mail (as she figured she’d see Rosemary at the funeral anyway). Grace also reveals that Hutch was briefly conscious before the end and said to tell Rosemary that the name was an anagram. Ends: 1:26:10

45. 4:23 - Back home and alone, Rosemary opens her parcel from Hutch; it is a book. Before she can unwrap the parcel, the doorbell buzzes and it’s Minnie with Rosemary’s freshly prepared herbal drink. Minnie is inquisitive about Rosemary’s book but leaves without any further information from Rosemary about how it came into her possession. Rosemary uses a large kitchen knife to break the twine of the parcel. The book’s title is “All them Witches” and Rosemary reads at random intervals while flipping through it. She stops at a picture of someone called Adrian Marcato born in 1846. She recalls Hutch’s final words about the name being an anagram. Rosemary removes her scrabble board and forms the book’s title with scrabble letters... no luck in rearranging those into anything meaningful. Rosemary returns to the book, this time stopping at an earmarked page containing a photo where a captioned name of Steven is underlined. She arranges the scrabble letters to spell out Steven Marcato and rearranges them hesitantly to this time spell Roman Castevet. Ends: 1:30:33

46. 3:04 - Guy tries to enter his own home and finds the front door chained securely. He calls out for Rosemary who lets him in but won’t say anything else. He asks about the funeral and makes other chit-chat. Rosemary then confronts him at their bedroom door and asks him if he knows who Roman really is... she reveals him to be Adrian Marcato’s son. She shows Guy the book from Hutch... Guy flips through it and an argument ensues, especially after Rosemary tells him they’re going to move out. Guy makes her give him the unfinished book and he put it away in the bookshelf. Ends: 1:33:37

47. 1:13 - Dr. Sapirstein admits that it is fantastic... absolutely fantastic. He’s obviously referring to the story. Rosemary is there relaying that story and refuses to have anything more to do with the Castevets... Sapirstein agrees. He confides in Rosemary that Roman is terminally ill - has only about a month to live - and is planning a last trip away from NYC. Sapirstein reassures Rosemary that he’ll recommend that Roman leave immediately but asks that she not say anything for fear of embarrassing him before he leaves. Ends: 1:34:50

48. 0:52 - Minnie & Roman say their goodbyes to Rosemary outside their building. A taxi is hailed. Rosemary is looking tanned, healthy and radiant. Ends: 1:35:42

49. 0:26 - Back in their apartment, Rosemary searches for Hutch’s book but Guy reveals he threw it in the garbage. He didn’t want her getting herself upset any longer. He gives her the vitamin tables prescribed by Dr. Sapirstein. Ends: 1:36:08

50. 0:58 - Montage - In a daze, Rosemary recklessly crosses the street through street traffic. She takes the pendant from around her neck and discards it. She visits a bookstore and interacts with an employee. Later, having purchased a few new books on the subject of witchcraft, while riding in a taxi she reads a passage explaining how victims can be blinded or otherwise paralyzed and killed by members of a coven. Ends: 1:37:06

51. 0:13 - Back on her bed, Rosemary reads out loud how a spell can only be cast on a victim using one of their personal possessions. Ends: 1:37:19

52. 1:44 - Rosemary makes a phone call to Donald Baumgart (Tony Curtis), the actor whose sudden onset of blindness provided the opportunity for Guy to be given the part in the play. Rosemary asks if he’s better... and prods him about an item he’s missing. Donald reveals that Guy has his tie. Rosemary says her goodbye and hangs up the phone. Ends: 1:39:03

52. 0:32 - Montage - Rosemary races through the apartment. She puts her contact book into her handbag. She uncovers a stash of bills she hid under some clothing. She retrieves her pills. She adds the large witchcraft book to the contents of her hospital suitcase. She exits her apartment and uses the service elevator to leave the building. Ends: 1:39:35

53. 2:25 - Rosemary makes an unscheduled stop at Dr. Sapirstein’s office. It’s almost the end of the day but she’s told to sit & wait for him. While she sits in the waiting room, she chit-chats with another patient and reveals her baby is scheduled to be born on Tuesday. It is only days away. She reads a Time magazine whose cover asks “Is God Dead?”. The receptionist compliments Rosemary on her perfume... says it’s an improvement on her other. Rosemary tells her the other stuff she had was part of a good luck charm she no-longer has... the receptionist admits that she wished Dr. Sapirstein would do the same. He carries that same smell sometimes. Rosemary is in shock and feigns needing to talk to her husband downstairs... she flees the doctor’s office. Ends: 1:42:00

54. 4:20 - Rosemary makes her way to a public phone booth on a busy street. She calls Dr. Hill’s office and his answering service take her message... while she waits for Dr. Hill to call back, she pretends to be on the phone to avoid others wanting to use the phone. When he calls, she tells him part of her fantastic story. While she’s begging him for an immediate meeting, behind Rosemary a stranger waits with his back to the booth (ironic tension). Dr. Hill is obviously skeptical but arranges for them to meet at his office later. Rosemary hangs up. She’s momentarily frightened by the stranger standing outside, but he turns around and doesn’t recognize him now... he poses no threat. Ends: 1:46:20

55. 7:00 - Rosemary takes a cab to Dr. Hill’s clinic. Later, while inside his office she talks to him and reveals that Guy lied to him about their moving to Hollywood. They never left NYC. Dr. Hill says nothing while she relays the entire conspiracy. Rosemary believes Guy traded success in exchange for her baby which the witch’s coven would use in some manner. It looks like Dr. Hill is coming around to believing her, despite the fantastic nature of the story. He asks Rosemary if she wants to check into Mount Sinai Hospital that evening... she does and he tells her to get some rest while he makes the arrangements via phone. Rosemary rests and she whispers to her unborn baby. She dozes and dreams of happy reunions with family... she’s with her new baby outside in the open air & the bright sunshine. She wakes when Dr. Hill returns to her room... however, Dr. Hill is not alone. He has company, namely Rosemary’s husband Guy and Dr. Sapirstein. Rosemary is led out of Dr. Hill’s clinic and into a waiting car - she is told not to make a scene or she will be committed to a mental institution. Ends: 1:53:20

56. 0:28 - Sitting in the back of the car, with Guy on one side of her and Dr. Sapirstein on the other, Rosemary endures the trip back to the apartment in total silence. Ends: 1:53:28

57. 2:26 - Back at the entrance to their apartment building, Rosemary accidentally spills the contents of her purse. While Guy, Dr. Sapirstein and even the elevator guy pick up all the small contents, Rosemary slips away into the elevator and escapes up to her apartment. Flying past the 7th floor, Rosemary is forced to reverse the elevator’s ascent and jump down to the floor as close as she can get the elevator after some trial & error. She's almost at her door when she sees the lights of the service elevator reveal that it’s on its way up to her. She barely makes it into her apartment before her pursuers catch-up. She chains the door securely... they plead with her to let them into the apartment but she refuses. Rosemary finally manages to shut the door and dead-bolt it. Ends: 1:55:54

58. 2:06 - Rosemary goes through he contact book and find a phone number. She dials. While her back is turned and speaks on the phone, behind her we see people tiptoe across the room quietly. Rosemary turns around and there’s a group of people in her room. Guy comes in and tries to reason with her. Dr. Sapirstein enters with a visible syringe in his hand - just a mild sedative (he says). Rosemary hits Guy and tries to flee but five or six people grab her arms & legs and pin her to the bed while Sapirstein administers his injection to her exposed arm. Sapirstein determines that she’s in labor. Somewhat delusional from the sedative, Rosemary apologizes to her unborn child. We fade to black with her. Ends: 1:58:00

59. Rosemary awakens in her room. Guy is there to greet her. She asks if the baby is alright & Guy tells her he’s fine - it’s a boy. She falls back asleep. Later, she wakes up and Laura-Louise is there reading a Reader’s Digest with a magnifying glass... startled, Laura-Louise runs out the room and won’t answer any questions about Rosemary’s baby. She’s off to get Dr. Abe. Guy & Sapirstein return and tell Rosemary there were complications. The baby is dead. Rosemary begins yelling, accusing them both of lying. Sapirstein administers another sedative via injection. Ends: 2:00:38

60. 1:54 - Rosemary awakens to a meal by her bedside; she accepts a tablet with a glass of water from Guy. Guy reveals they’re close to some sort of Studio deal which would mean they move to California. Before he leaves, Rosemary asks to see his shoulder. She's looking for a “mark”. He complies but there is no kind of mark anywhere on his exposed chest and back. Ends: 2:02:32

61. 2:36 - Alone and watching television, Rosemary hears the cry of a baby from somewhere in her apartment or perhaps next door. She turns off the television to better hear the baby’s cries. Eventually a neighbor comes in with a meal and her medication. While distracted, Rosemary hides the tablet in between bricks close by the bed and pretends to have taken the medication with her water. Later, we know not how much later, we see hidden in between the bricks six or seven tablets. Ends: 2:05:08

62. 10:52 - Rosemary slips out of her room and makes her way to the closet. She removes towels, sheets and other items on the shelves. She removes the shelves themselves and walks clean through to the other side, out into Minnie & Roman Castavet’s apartment which she can see through a keyhole. Rosemary goes back out to her own kitchen and removes a large knife. Returning to the closet, she walks through to Roman’s apartment. She enters their hallway and observes the Satanic artwork on the walls. She explores several rooms which are empty or contain nothing of interest. Eventually she makes her way into the drawing room. Wielding her large kitchen knife, she spots the entire building’s occupants in the room, including Roman and Minnie who were supposed to be on vacation. Rosemary walks to a baby’s crib decked in black material... she slowly walks over with her knife extended outward, ready for anything. She pulls aside the lace and recoils in horror at what she sees (we do not). Rosemary looks around the room for help or for aid in comprehending what is happening... “what have you done to it?”... “what have you done to its eyes?”. Roman confirms the baby has his father’s eyes... Satan is his father, not Guy. The room full of people all hail Satan... Roman goes to Rosemary and recommends she be a mother to Adrian (her son)... Minnie and Laura-Louise are too old, it’s not right. Guy tries to comfort Rosemary but she spits in his face. Later, Rosemary walks over to the baby and seems to admire him. It looks as though she has taken Roman’s suggestion to heart. Ends: 2:16:00

Thought for the day...

2007-07-28T10:45:00.000-07:00

"Creativity is inventing, experimenting, growing, taking risks, breaking rules, making mistakes, and having fun." ~ Mary Lou Cook

Film Breakdown - Drama - Fresh (1994)

2007-07-28T10:17:00.000-07:00

1. 1:33 - Opening credits. Ends: 0:01:33

2. 2:45 - A young boy makes his way through an urban city street. He is welcomed into an apartment of a hispanic lady who has something for him. She bundles some packets (drugs?) into a piece of newspaper and hands it to the boy. Without opening it he complains that the agreement was for “half a brick“, namely twenty packets. The boy is called Michael (Sean Nelson) and he’s been told by Esteban to take a half-brick to Chillis immediately; he’s already late for school. The lady looks around on her kitchen counter and finds a packet she inadvertently missed. Ends: 0:04:18

3. 1:38 - The boy next enters a different dwelling, this time containing a host of women sorting through more drugs. He tells one of them that he has to pickup five bricks but it’s obvious they’re not ready yet. An older teenage boy sits by a desk containing a scale - he calls Michael ”Little Fresh“ but Michael tells him his tag is only to be used by his friends. The older teenager tells everyone in the room that the only reason Michael is doing an important job is because Esteban is sweet on his sister - this angers Michael who protectively challenges the boy... who then backs down when he witnesses Michael’s determination. Ends: 0:05:56

4. 1:15 - Michael makes his way over to yet another location where a character called Chillie who very slowly counts the packets that Michael has delivered. Michael is anxious and wants to get going - he’s real late for school. Ends: 0:07:11

5. 1:58 - Michael stands in his classroom, interrogated by a teacher in front of the whole class about his tardiness. As Michael moves to put his books into a locker, one of the drug packets falls to the floor of the classroom. Unseen by anyone else, Michael quickly moves to hide the drugs in his backpack. Ends: 0.09:09

6. 1:06 - In the school gym, Michael and others from his class play basketball. After the game they all descend on the school auditorium where some school girls are practicing their cheerleading. Ends: 0:10:15

7. 4:38 - Out in the school yard, more school kids jump rope while some school boys sit and trash talk while playing with baseball cards. Fresh sits with the other boys but quietly observes some of the girls. He finally walks over to talk to one of them, a girl called Rosie. They talk about each other’s families and compare what that they would do if they each had money. Fresh is excited about cars but Rosie tells him he’ll never have money anyway... Fresh disagrees and says that ”someday he’ll have it“. Ends: 0:14:53

8. 1:48 - Dissolve to an abandoned rail track during the day where Fresh walks cautiously and once he’s sure that he’s alone, he reaches into a secret hiding place and removes a rusty can containing hundreds (if not thousands) of dollars in one big, rolled-up mass. He adds the few bills he’s earned today (from Chillie earlier) and puts the whole lot back into its hiding place. Later, he observes the NYC skyline while eating a candy bar. Ends: 0:16:41

9. 3:20 - Michael makes his way over to an apartment block and lets himself into an apartment full of people (mostly children). Michael makes his way over to his bedroom; he appears to be sharing that room with at least two others. Elsewhere in the home, Michael’s sister Nichole (N’Bushe Wright) is packing to leave; Michael would like her to stay but she’s getting too old to share the room & the crowded apartment with the others. She packs her things and leaves without saying goodbye to Michael. Ends: 0:20:01

10. 1:08 - Michael lies alone on his bed in the dark, wide awake and staring at the moving shadows on his ceiling. One of the older girls - a cousin - comes into his room and admonishes him for coming home so late. She tells Michael that she’ll kill him if their Aunt gets fed-up with worrying & looking after Michael and gets rid of all the kids. Ends: 0:21:09

11. 1:14 - Fade to white and then we’re back with Michael sitting on an abandoned car in a rough neighborhood during the day. It’s obvious that he’s a lookout and runner for a young gang of drug peddlers. Michael sells drugs to the occupant of a car that pulls up; he argues with a pregnant woman who is indignant at the $5 asking price; he slaps a woman who offers him sex in return for the opportunity to talk to his boss. Ends: 0:22:23

12. 2:51 - Michael walks up to - and tries to communicate with - an older thug called Jake (Jean LaMarre) who is upset at having to wait for someone who owes him $50... it’s getting late and there’s little likelihood of his showing up. Jake is incensed. Ends: 0:25:14

13. 1:44 - Michael approaches Jake’s boss Corky (Ron Brice) for his earnings; says that Jake was angry again and he’s not about to try and get paid when he’s crazy like that. Corky tries to shortchange Michael but he’s having none of it - he’s owed $100 for his work that day... he gets his $100. Ends: 0:26:58

14. 4:55 - Michael takes the subway to a park where hustlers play speed chess for cash. Michael challenges one of the players and wins. He then makes his way over to another table where Sam (Samuel L. Jackson) sits. Sam is Michael’s dad and is a bit of a dichotomy; he plays chess brilliantly but drinks liquor out of a bottle in a brown paper bag. He talks to Michael about not squandering time but sits at his table reading a newspaper. Michael loses his game of chess to Sam, primarily because Michael (he is told by Sam) isn’t always thinking about the smartest moves to make. Ends: 0:31:53

15. 1:00 - Michael and his friends walk through the urban sprawl. They talk about comics, super-heroes and guns. Ends: 0:32:53

16. 1:41 - Michael’s best friend Chuckie (Luis Lantigua) boasts of having ”trained“ their pit bull dog Roscoe to fight. Michael tells him they all found Roscoe and he’s not going to be fighting. Chuckie tells him he wants some cash - unlike Michael (who he accuses of hoarding his cash), Chuckie doesn’t have any because Michael won’t help him get a job with Esteban. Michael tells him he acts like a little kid and won’t get Esteban to give him a job. Ends: 0:34:34

17. 5:08 - Esteban (Giancarlo Esposito) is at home tending to his kids at dinner time. Michael is there at Esteban’s behest and sits quietly while Esteban deals with his wife and children. Esteban admonishes him for having left for school the other day when he wanted to talk to him; furthermore, that he appears to have enough time to work for Corky dealing rocks. Corky is clearly a rival of Esteban’s but Michael explains that Corky has work every day while Esteban only has a need for hired hands once a week. Esteban understands but warns Michael that anyone who deals rocks of crack cocaine is usually dead within three to five years; that’s the nature of that business. Smack is Esteban’s trade, as heroin has a different client base, a ”gentleman’s operation“ where clients are stable and peace-loving. Michael returns the packet to Esteban that accidentally fell out of his backpack at school - Estaban laughs and admires Michael’s honesty... he also tells Michael that his sister is ‘fine” and asks if she’s going out with anybody. Michael lies and says their Aunt won’t let Nichole out of the house. Ends: 0:39:42

18. 3:02 - Michael makes his way over to a general store and asks to speak to Nichole. She is hanging with a local hood named James and Michael tells Nichole that Esteban is looking for her. She tells him that she doesn’t like the way Esteban looks at her - she’s nothing special and nobody loves her. Michael says he loves her. Ends: 0:42:44

19. 3:56 - A crowded Basketball court during the day finds Michael and Chuckie hanging out watching the older guys play. Michael doesn’t want to play ball with Chuckie and it turns out this is because he’d rather watch Rosie and the other girls play nearby. Two of Corky’s men are involved in the game, including the volatile Jake. When Jake unsuccessfully defends the basket from a skillful player, Jake feels dissed & responds the only way he knows how... by shooting the player dead. Unfortunately, so many bullets are flying from Jake’s gun, he shoots Rosie in the throat and she dies in Michael’s arms. Everyone else on the court flees. Ends: 0:46:40

20. 0:40 - The police extricate Michael’s hand from Rosie’s throat where he was helping her stop the flow of blood escaping from her gunshot wound. Back at the police station, Lt. Perez tries to get Michael to cooperate... to tell them whatever it was he saw. Michael denies he saw anything. Ends: 0:47:20

21. 0:18 - Michael’s Aunt takes him back to the apartment, where she runs him a bath and he cleans himself up (he’s covered in Rosie’s blood). Later, Michael lays in bed naked and we fade to black. Ends: 0:47:38

22. 7:16 - Sam and Michael play a game of chess in Sam’s usual table in the park. Michael is clearly distracted and Sam is irritable that Michael is not playing his best game. Sam tells him to not play like every piece matters - everything there is just a means to an end... Michael is protecting his queen whereas (Sam says) she’s just a pawn with a lot of fancy moves - nothing more. Sam tells him to threaten his opponent’s queen whenever he can because doing so will distract the other player from Michael’s real move. Michael must be paying attention because for the first time in their playing against each other, Michael checks Sam though Sam eventually wins anyway. Sam invites him to his place and Michael reluctantly agrees (he’s not supposed to be seen with Sam). They hang out for a while. Ends: 0:54:54

23. 3:08 - Michael and Chuckie are at a dog fight; a lot of gambling is taking place. Their dog Roscoe looks too friendly and Michael clearly worries that he’ll get hurt. Chuckie meanwhile is oblivious - he’s bad mouthing the opposition and playing up Roscoe like he’s a destined to be a champ. Michael spots the psychotic Jake in the crowd ad the two eye each other. Once the competition starts, the pit bulls are released and begin their fight. Chuckie’s $20 savings could turn into some much needed cash for him at 5:1 odds. To Michael’s bittersweet relief, Roscoe overpowers the other dog and kills him. They’ve created a monster in Roscoe and he’s now got the taste of blood. Michael tells Chuckie that Roscoe won’t be fighting any more; instead he’s got a plan that will bring them stupid dollars. Ends: 0:58:02

24. 0:44 - Michael assembles a chess board in his room and tells the others not to touch his game. He surveys the pieces and makes his first move. Ends: 0:58:46

25. 4:08 - Michael takes Chuckie over to Esteban’s house. While waiting to speak to him, Michael sees Esteban having sex with his sister Nichole; it is obvious she’s high on drugs. Esteban appears grateful that Michael had some involvement in bringing Nichole back to him. Esteban asks them to wait in another room. Later, Chuckie poses against a wall wanting to make an impression on Esteban. Michael tells him he looks ridiculous. Esteban eventually comes in and interviews Chuckie, who mutters some inane street talk that doesn’t impress Esteban at all. Once they’re alone, Esteban tells Fresh that he’s giving him this big job because nobody will expect the mode of transportation to be a kid. Outside, Fresh tells Chuckie that Esteban was very impressed (a lie) and that Chuckie’s on the payroll. Ends: 1:02:54

26. 2:18 - Michael goes to an old warehouse alone to talk to someone called Hector. Hector is reluctant to sell Michael the cocaine base he’s asking for, ostensibly for Corky. Hector wants to know why Corky didn’t send one of his men for the drugs. Michael lies and says the cops are watching them because of what Jake did on the basketball courts. All his men are being followed and his phone lines tapped... that is why Michael is here in person to deal with Hector. Michael opens up his backpack and secretly removes his stash of cash, pretending this payment for the “base“ is from Corky. Hector is pleased to be dealing with cash and tells Michael he’ll have the drugs ready later. Ends: 1:05:12

27. 2:22 - Back at the school play yard, Chuckie can’t keep his big mouth shut. He’s blabbing to everyone how he’s in with the influential crowd (ie. Esteban) and he’s making tons of cash. He’s even acquired his own posse who follow him around everywhere. Michael’s other friends warn him about Chuckie - that he’s blabbing about moving ”base“ for Esteban when everyone knows Esteban doesn’t deal with those drugs - that’s Corky’s turf. Ends: 1:07:34

28. 1:54 - Michael and Chuckie make their way over to a used book store and pickup their drugs that have come through from Hector. The drugs are hidden in children’s text books. They put the books in their backpacks. Later, they’re both on the subway and Chuckie is acting immature - he has words with a cop and only Michael’s polite talk saves them both from taking a ride down to the precinct. Outside the train station, Chuckie is upset that Michael dissed him in front of the cop - Michael in turn tells him he’s acting stupid to be calling attention to himself like that. As they move away, it is obvious they’re being followed by a vehicle (Corky’s men?). Ends: 1:09:28

29. 2:30 - Michael notices they’re being followed and ducks into an alley. He insists that Chuckie surrender his backpack and keep a lookout... meanwhile Michael enters an abandoned building an pries open some floorboards. Under the floorboards are bags of something that look like the drugs in the textbooks... Michael swaps them all out and hides the real ”base“ under the floorboards. Chuckie stands outside with a loaded gun he’s purchased from somewhere. Ends: 1:11:58

30. 1:10 - Michael and Chuckie resume their walk when suddenly they’re confronted by the men in the car that’s been following them. Michael makes a run for it but stops when he realizes that Chuckie has drawn his weapon and takes a shot at the men. Michael had clearly stated to drop the backpacks if they were jumped. Missing his target (assuming he had a target), Chuckie runs and drops his weapon by the tire of a nearby car. When he tries to reach for it, a stray bullet hits the tire, the car collapses and the full weight pins him down by his hand. Michael is forced to abandon him and run for his life. Once Michael has left, the men descend on Chuckie and shoot him dead. Ends: 1:13:08

31. 0:27 - Montage. Michael is running for his life all the way home. Dissolving throughout his run are images from the urban landscape. Ends: 1:13:35

32. 1:54 - Michael is back at the police station and being questioned by two detectives. Lt. Perez gives Michael his home number, tells him he can call any time. Michael sticks to his story that they were simply on their way home when they were jumped. Ends: 1:15:29

33. 1:18 - Michael’s Aunt has had enough and wants Michael out of the house. It’s simply too dangerous now for all the other eleven kids to have Michael stay there - he’s now been involved somehow with two homicides and his cousins are afraid to step out of the home. Ends: 1:16:47

34. 0:29 - Michael is attacked at school by one of his friends who feels it’s Michael’s fault that Chuckie was murdered. Ends: 1:17:16

35. 1:41 - Michael walks Roscoe over to the abandoned buildings where he hid the drugs. He strings the dog up by its neck using the leash tied to a fire escape ladder. Michael then enters the building through a window and retrieves a gun. Once back outside, he shoots Roscoe three times at point-blank range and kills the dog. Ends: 1:18:57

36. 1:30 - Back in his room, Michael moves a chess piece on the game he’s playing against himself. Outside his home, an ominous-looking car waits in the street... Corky’s men. Once Michael steps outside, they man-handle him into the car and drive off. Ends: 1:20:27

37. 6:56 - Corky is interrogating Michael in an abandoned warehouse; he reveals the stolen textbooks and asks Michael if he knows what was in the books? Michael feigns ignorance. Corky confirms it is ”base“ and resents Esteban horning in on his business... he’ll need to be sent a message and little Fresh is going to be his telegram. He picks up a chain and makes a move to beat Michael with it. Michael then reveals that he was not running ”base“ for Esteban... he was doing it for Jake! Corky is stopped in his tracks and Jake reacts - he has no idea what is going on. Jake’s friend comes to his rescue to confirm his innocence but Michael’s story is so convincing that Corky assaults both of them on Michael’s say-so. Once they’re incapacitated, Michael reveals that Jake’s distributor is James. Ends: 1:27:23

38. 4:26 - Michael makes his way over to Esteban’s business location. Esteban wants to know why he hasn’t been around since Chuckie’s murder - Michael claims the police were watching his home. Esteban wants to know who jumped Michael... Michael reveals it was Corky’s boys (truth) but it’s because Corky is tired of dealing ”base“ cocaine and wants to muscle in on Esteban’s ”smack“ heroin trade. Esteban and his men believe Michael but Esteban wants to know how Michael knows all of this... Michael reveals he was told by his sister Nichole. Esteban fights hard to control his anger but wants to know more. Michael spins a yarn that Nichole was holed up with James (truth) and that James has been dealing Smack out of his store (supplied by Corky, whose ambitions are to eliminate Esteban). Michael verbally tortures Estaban by revealing that James treats Nichole ”nice and nasty“. Ends: 1:31:49

39. 3:45 - Esteban and his men watch James’ grocery store at night as Corky and his men arrive. Remember Corky believes James to have been Jake’s distributor. Esteban believes what he’s seeing confirms Michael story of collusion between the two... he orders his men to attack the grocery store. Corky’s men are shot and killed by Esteban’s men. Esteban then makes his way upstairs and interrogates James. Nichole’s clothing is still in his apartment, further confirming Michael’s (false) story to Esteban. James is shot and killed by Esteban and Michael has made a point to be immediately outside to witness it. The gang come back outside and all but one escape by car before the police arrive. Ends: 1:35:54

40. 3:51 - The weapons used in the grocery store killings are hidden in a secret car door compartment. Esteban is dropped off at an apartment where he has Nichole stashed. He orders his men in the car to take Michael home and to dump the weapons where they won’t be found. The car takes off and alone in the back, Michael rummages around in his backpack near the secret car door compartment. Michael then demands that the car be stopped and to be let out. Michael returns to Esteban’s apartment and waits outside until he knows he’ll be alone with Nichole. Once the coast is clear, Michael makes a phone call to someone. Ends: 1:39:45

41. 5:57 - Esteban opens his apartment’s front door to see Michael standing there (claims he cannot go home). Inside, Esteban confronts Nichole about James - she’s defiant and claims she can see whoever she wants. Esteban tells her that is no-longer the case. The front door bell rings and Esteban leaves the room to answer the door... it’s the police! While everyone is distracted, Michael moves over to the bed and removes something from his backpack... Nichole witnesses him putting something under the bed or the mattress. The police enter the room and it is Lt. Perez and others with a warrant to search the premises - seems they had a tip-off that there was a domestic disturbance in the apartment. Esteban scoffs at the claim and tells them to get out... Michael now pipes-up and claims Esteban threatened to kill Nichole and murdered James and others at the Grocery store that very night. As proof, Michael claims Esteban stashed some stuff under the bed. The cops search under the bed and remove an incriminating gun and all of Hector’s ”base“. Esteban is hauled away but he and Michael lock eyes on each other as we fade to black. Ends: 1:45:42

42. 0:58 - Lt. Perez questions Michael about what he saw happen that night. He tells Michael that if he testifies, he’ll be taken away from the projects and put under protection. Michael insists that his sister Nichole goes with him and is covered under the same deal. Michael’s game is over and he has won. Ends: 1:46:40

43. 2:09 - Michael makes his way over to Sam’s chess game in the park. It is probably their final game. Ends: 1:48:49

Thought for the day...

2007-07-25T17:47:00.000-07:00

“When I think of art I think of beauty. Beauty is the mystery of life. It is not in the eye it is in the mind. In our minds there is awareness of perfection.” ~ Agnes Martin

Film Breakdown - Drama - One False Move (1992)

2007-07-24T21:41:00.000-07:00

1. 1:14 - Opening credits. Ends: 0:01:14

2. 3:22 - An attractive woman in her mid 20’s arrives in a Los Angeles residential neighborhood. (She is not dropped off by a taxi.) She knocks on the front door of a home and announces herself to be Fantasia (Cynda Williams). She is let in and a birthday party of adults is in progress. After a few minutes, Fantasia opens the front door from the inside on a pretext of having left her purse in the car; this allows entry of two men into the home, one of which is armed. The armed man is called Ray (Billy Bob Thornton) and they all know him. He’s wanting to know where Marco lives and when no answers are forthcoming, he repeatedly beats on a female occupant of the house - Jackie - until a male occupant - Bobby - volunteers to take them to Marco. Ends: 0:04:36

3. 1:34 - Bobby takes Ray over to Marco’s house; Fantasia accompanies them. Marco isn’t happy to see Bobby but thinking he’s alone, he invites him in to his home. We next see everyone bound inside the home. Ray is torturing Marco’s female companion while Fantasia stands helplessly watching. We next see what Marco must have divulged - the secret location of his drug & cash hoard inside the home. Ray is excited. Ends: 0:06:10

4. 1:34 - Ray’s companion is back at Bobby’s house; he sits alone guarding the original hostages and slowly consumes a meal. The phone rings and he picks up to briefly hear Ray’s news. Hanging up, he puts down his food plate and purposefully moves slowly throughout the bound hostages with the tools of his trade. The cold and calculated manner in which he then murders the hostages is pretty chilling (though not specifically graphic). In sharp counterpoint, while he murders the first victim, the television set immediately behind him throughout this act displays video of the same victim who only hours before was so full of life partying with her friends. Ends: 0:07:44

5. 2:13 - Back at Marco’s house, a bound hostage is suffocating from a bag over his head. His kicking disturbs Ray who is sampling some of the drugs. Now standing over the unmoving victim, Ray tells Fantasia that there should be a child somewhere in the house and orders her to look for him. Fantasia eventually finds a young boy crying in a bedroom. Ends: 0:09:57

6. 0:41 - Match cut to a crying child in a different home, and of a woken father comforting his child in Star City, Arkansas (revealed via SUPER). The mother enters the bedroom and takes the child from him. He is identified as Dale (Bill Paxton). Before turning off the light, he pauses to listen to the call of a bird outside. Ends: 0:10:38

7. 1:58 - Dissolve to the Coroner arriving at the crime scene that is Marco’s house. Two police detectives survey the scene and witness the identification of Bobby and leave. A policewoman carries the young boy away. Ends: 0:12:36

8. 0:54 - The two police detectives make their way over to Bobby’s home nearby and survey the outside of the quiet house. The front door is unlocked and they let themselves into the house and find the bodies of the other victims. Ends: 0:13:30

9. 2:03 - The police are examining the video recording evidence obtained from Bobby’s home. They reveal that a witness identified Ray’s car parked outside the previous evening. Ray’s companion is revealed to be someone called Pluto (Michael Beach) who was spotted driving Ray’s car away from the house. Fantasia is mentioned as being Ray’s girlfriend. The cops analyze the recording of the home video and hear mention made of Star City. Ray’s robbery arrest paperwork from 1979 reveals Ray’s next-of-kin to be his Uncle, who lives in Star City, Arkansas. Ends: 0:15:33

10. 0:40 - The man known as Dale seen previously is now revealed to be a Sheriff - he’s on the radio answering an inquiry about Ray who he’s investigated as being a former resident of Star City but who hasn’t lived there for twenty years. Dale is excited at the prospect of being in the center of a major investigation - the authorities are anticipating that Ray, Pluto and Fantasia might flee Los Angeles and head for Ray’s Uncle’s house. Ray is going to the house to provide stakeout the property. Ends: 0:16:13

11. 4:06 - The police in Los Angeles put together a press release of the suspects sought in connection with the very violent murders. The police speculate as to whether it would be worth their while traveling to Star City, Arkansas. Pluto is revealed to be “a piece of work” with an IQ of 150 and fond of the knife as a weapon of choice. The Star City Sheriff, Chief Dale Dixon, calls in and they put him on speakerphone. Dale’s character is folksy and simple, easily impressed with the big-time City Cops and their major investigation. With his intimate knowledge of the area, Dale has found the Uncle’s property in a secluded area outside of town. Ends: 0:20:19

12. 0:25 - The gang comprising Fantasia, Ray and Pluto are driving at night through New Mexico (SUPER). Pluto drives while Ray appears to be snorting drugs. Ends: 0:20:44

13. 1:00 - Sheriff Dale Dixon is on duty and drives into a service station. He chitchats amiably with some locals (is there anyone he doesn’t know, even at this time of night?) but is distracted by seeing a man and a young boy leaving the store. Ends: 0:21:44

14. 4:24 - In a cheap motel, the gang of three rests up in Deming, New Mexico (SUPER) after a day of driving. Fantasia emerges from having taking a shower but appears unwell at the prospect of all those dead people back in L.A... Ray continues eating his bucket of fried chicken while Pluto reads a newspaper quietly. Ray is excited by all the drugs they stole from Marco... Pluto tells him it’ll only last until Houston, at which point the drugs will be sold and then he’s off to Chicago alone. Pluto easily overpowers Ray in a moment of anger and tells him to hold on to Marco’s $15,000 cash but Pluto will hold on to the drugs for now. Ends: 0:26:08

15. 1:27 - Dissolve to a plane landing in Little Rock, Arkansas (SUPER). We next see the two L.A. detectives driving through the country when a police car speeds up behind them with the lights flashing and the siren blaring. It is Sheriff Dale Dixon and he recklessly pulls up alongside them while still speeding to say Howdy and to welcome the boys to Star City. He spotted them a while back, figured out who they must be and is offering to show them the way to their hotel. He has a busy day planned for them. Though driving on the wrong side of the road - and in the path of an oncoming truck - the Sheriff continues to talk to the detectives in the other car before pulling out in front of them and leading the way. Ends: 0:27:35

16. 2:54 - Cut to a typical Southern diner where the two cops Dud (Jim Metzler) & John (Earl Billings), plus the Star City Sheriff are having breakfast. The waitress calls the Sheriff “Hurricane” but he tells the cops he doesn’t know why they call him that. Hurricane is trying hard to impress the cops from California but isn’t listening real well to what others have to say; he’s also selfish and insensitive. Ends: 0:30:29

17. 2:14 - On the way to the Malcolm place, “Hurricane” resolves a domestic dispute between a violent drunk husband wielding an axe and his frightened wife who has locked him out of the house. He tells the California detectives (who have each drawn their weapons) that it’s okay and that he’s out there twice a week doing this. Ends: 0:32:43

18. 1:11 - The gang drive through El Paso, TX (SUPER) and Pluto sits in the back reading a newspaper. He reads a front-page article of the six murders in L.A. and sees his picture and that of Ray sought as suspects. Ray pulls of the side of the road and attacks Fantasia, accusing her of having allowed the child to live (the child presumably having described Ray and Pluto to the police). Fantasia swears there was no kid in the house. Pluto tells Ray to get rid of her. You can see that Ray is tempted but the only thing he decides to do right then is to drive off. Ends: 0:33:54

19. 1:46 - “Hurricane” leads his Deputy and the two L.A. detectives to the old Malcolm house (Ray’s Uncle) out in the country. The detectives urge caution but “Hurricane” blunders straight to the house... he gets nothing out of the old Uncle who is almost deaf and can’t answer any of the Sheriff's questions about Ray. Ends: 0:35:40

20. 0:36 - The gang of Fantasia, Ray and Pluto descend on a used car lot. Not a word is uttered by the gang as the salesman descends on them ominously. Ends: 0:36:16

21. 1:08 - “Hurricane” invites the two L.A. detectives to his house for a family BBQ; he’s cocky and carelessly utters racial epithets. Ends: 0:37:24

22. 0:59 - Outside a gas station in Texas, Fantasia waits for Ray & Pluto to return from the nearby grocery store. Fantasia tells Ray she’s glad they didn’t murder the salesman in the car lot earlier - Ray is insulted (“who do you think we are”?). As Ray & Fantasia make out, Pluto stands and observes the couple nearby. Ends: 0:38:23

23. 0:41 - Nighttime finds the two L.A. detectives consuming vast quantities of alcohol at the home of “Hurricane”. The detectives admonish “Hurricane” for blundering into the Uncle’s property like that - anything could have happened. “Hurricane” defends himself by explaining he’s been Sheriff there for six years and has yet to draw his gun. Ends: 0:39:04

24. 2:03 - Inside the house, “Hurricane”s wife Cheryl Ann (Natalie Canerday) is putting their child to bed. Dud comes in to replenish his drink and she apologizes to him for “Hurricane”s earlier racial slur. She admits that Dale has never been this excited before... the prospect of catching the gang is the biggest thing that has ever happened and that he looks up to the two detectives from the big city as some kind of heroes. Dud reassures her that he & John are far from being that... she asks that they tell “Hurricane” that... he (Dale) doesn’t know any better & watches tv... she reads nonfiction. Ends: 0:41:07

25. 1:41 - Outside the house, Dud confides in “Hurricane” that the gang are basically their problem and that Dale can get as involved as he wants in their possible apprehension. Dale reaffirms his commitment to help but Dud points out that he has a pretty good setup (subtext: you have a lot to lose). Ends: 0:42:48

26. 3:18 - At an all-night convenience store in Odessa TX (SUPER), Fantasia and Ray are inside stocking up on snacks for the road. Outside, a Texas Highway Patrol officer rolls up to the store - Pluto watches quietly and whispers out-loud to himself for Ray to stay cool and not do anything stupid. Inside, Ray eyes the trooper who has entered the store to chitchat with the store clerk. Ray is convinced that the officer recognizes him and begins to make moves to draw his weapon. Fantasia tries to reason with him... she convinces him to relax and pay for their groceries and leave the store. Ends: 0:46:06

27. 6:05 - While driving on the highway at night, the gang observes a Highway Patrol car following close behind. Pluto urges Ray to slow down but Ray is rattled. It is the same trooper from back in the convenience store. Inside the trooper’s car, the radio tells him the car on which he’s made an inquiry has been newly purchased and that there are no registration details available. The trooper asks the person on the radio to check the teletypes - seems he does recall a recent bulletin from California to be on the lookout for a gang. Before the trooper can get any concrete results from Dispatch, he decides to pull the suspects over. The trooper ambles over and asks to see their paperwork; the situation is tense. Fantasia is doing a good job of putting the trooper at ease when Ray blurts out something inane which annoys the trooper... who then asks them all to exit the car. While Ray and Pluto are outside under the trooper’s control (he’s drawn his weapon), Fantasia slips out of the passenger seat and shoots the police officer in the head. Ray is excited and they all get back into their car but this time Pluto drives and heads back in the direction from which they came. Ends: 0:52:11

28. 2:37 - Early Sunday morning and “Hurricane” is watching the Uncle’s house. Dud and John arrive, slightly hung over from the partying the night before. Dale pulls Dud aside and admits to having made a mistake in approaching the Uncle in such a cavalier manner the other day - he could have jeopardized their investigation. Dud tells him not to worry about it. Dale then asks for some advice - he’s been thinking of moving to L.A. and joining the police force... thinks he and Dud and John would make a great team. Their conversation is interrupted by a Deputy who tells them a trooper was murdered last night in Odessa, TX by what is believed to be their gang of fugitives from L.A... “Hurricane” is now convinced the gang are making their way over to Arkansas. Ends: 0:54:48

29. 2:57 - In a Star City diner, the two L.A. detectives eat a meal and begin to discuss “Hurricane”. Dud tells John about his conversation that morning with Dale and slowly the two L.A. detectives begin to ridicule “Hurricane” amongst themselves... however, they fail to notice that Dale has come into the diner and accidentally overhears their conversation. The cops are embarrassed but Dale’s pride glosses it over and he busies himself with a radio call from his Deputy to say that the surveillance photos have arrived from Little Rock... they can now see who the suspects are in the murder of the state trooper in Odessa. Everyone rushes out to the police station nearby. Once they have all seen the picture, John speculates that the girl in the photo must be Fantasia... “Hurricane” admits her name is not Fantasia, but is in fact someone named Lila Walker. Ends: 0:57:45

30. 3:53 - The gang arrives in Houston, TX (SUPER) at the home of Beaver, a friend of Pluto. Beaver lets them all into the home and asks about the drugs. Pluto doesn’t answer but wants to know where Billy might be. Beaver tells Pluto that Billy is still in New Orleans but will be there tomorrow... Pluto and the others invite themselves to stay and wait for him. Later, Fantasia is wanting to phone someone but Ray won’t have any of it. She reaffirms her intent to go to Star City and wants only that Ray and Pluto pick her up once she has visited her family. Surprisingly, Pluto thinks this is a good idea. Ends: 1:01:38

31. 4:18 - “Hurricane” is parked outside the home of Fantasia’s mother & brother. John is still unclear as to how Dale knows this Lila Walker. Dale says only that he arrested her about five years ago for shoplifting and she then disappeared to go to Hollywood. Dale doesn’t believe she could kill anyone, citing as evidence the fact that she discovered the child in Marco’s house and he’s still alive. Inside the home, the police question Fantasia’s mother and brother... neither claims to have heard from Lila recently. “Hurricane” watches forlornly as Lila’s small child comes out of his bedroom wanting his grandma... we realize Fantasia’s brother and this small child were the people we saw earlier (scene #13) being observed by “Hurricane”. Outside, the L.A. detectives now know that Fantasia is coming home eventually to see her kid. John again asks Dale about explaining his involvement with Fantasia and Dale is angry about having to explain himself. Later at home, Dale prepares for bed and caresses his sleeping wife, then checks on his sleeping kids. Ends: 1:05:56

32. 1:27 - Montage - in the morning, Ray finds his cash has mostly disappeared. We see Fantasia on a bus headed through Texarkana, Arkansas (SUPER) - away from Ray and Pluto. In Star City, “Hurricane” stares out the window of his Sheriff's office. Fantasia is dropped off by the bus at a field being sprayed by a crop duster. Ends: 1:07:23

33. 2:22 - Fantasia is picked up by Ronnie, her brother. He tells her she can’t go home because the cops are after her. He tells her it was Dale Dixon and confirms she used to “know” him. Her brother offers to help in getting her to see her child... offers to have her hole up in the empty home of a friend of his. Ends: 1:09:45

34. 1:17 - “Hurricane” tells his wife he’s going out alone to undertake surveillance on Fantasia’s mother’s house. “Hurricane”s wife is worried and asks if the others can’t go along to help him - he gets upset at thinking he needs help for such a trivial task. Thankfully he doesn’t storm out in a huff, instead softens and reassures his wife that he loves her and their little girl (subtext: won’t knowingly do anything foolish). Ends: 1:11:02

35. 0:54 - Late at night, “Hurricane” is watching the house when he spots Fantasia’s brother exit the home quietly with the small boy. He tails their car. Ends: 1:11:56

36. 1:37 - Back in Houston, Billy has now arrived and is explaining to Pluto how he doesn’t have the money for the drugs. Billy reveals that he knows that he & Ray are on the run and offers to give them a portion of the money (that’s all he has and they need all they can get). Pluto pounces by stabbing Billy and Ray draws his gun to shoot the remaining two. They take whatever money they can find and quickly leave. Ends: 1:13:33

37. 0:59 - Ray drives Pluto away from the Houston home. Pluto wants to be dropped off somewhere to disappear to Chicago as originally planned; he asks for half the cash and he’ll surrender half of the drugs. Ray reveals that Fantasia took all the cash. If Pluto wants any money, they’re going to have to go to Arkansas. Ends: 1:14:32

38. 4:57 - At the hideout, Ronnie tells Lila that he & her son have to be going. Lila wants a few more minutes but Ronnie is insistent (it is almost 4 am). In the dark, “Hurricane” watches the exchange from a distance. We hear Lila tell Ronnie to put the money in the bank. Once they’re alone, “Hurricane” draws his gun and enters the home to confront Fantasia/Lila. When asked, she reveals that Ray & Pluto will be there soon. Dale wants to call the L.A. detectives but Lila threatens to not speak to Ray/Pluto when they call if the L.A. cops are involved. Dale backs down but admits he cannot help Lila in her predicament. She reveals that Dale took advantage of her while she was still a teen (a threat?) and confirms that her boy is Dale’s son. Ends: 1:19:29

39. 5:10 - Dale and Lila sit quietly in the dark. Lila wants to turn on a light but Dale doesn’t want to be surprised by Ray & Pluto’s arrival. Lila scoffs and reminds him that they were going to call ahead and as yet have not done so. Dale diverts the attention away from talk about his family; Lila then forces some of “their” son’s birthday cake upon him. When that doesn’t work, she turns up the heat sexually and by now Dale is completely irritated by her actions. In turn, Lila is fed-up with being victimized. Ends: 1:24:39

40. 3:51 - In the morning, Dale and Lila continue to wait for the call. Meanwhile, Dale’s Deputy is trying to contact him without any luck. Ray and Pluto arrive at a gas station and Ray makes a phone call to Ronnie who gives him Fantasia’s number. The cops show up at Lila’s mother’s house and question Ronnie about knowing Lila’s whereabouts. He denies it but the Deputy has proof that Ronnie was out late last night somewhere with Lila’s son. Dud questions the little boy who reveals that Ronnie told him to lie about not seeing Lila. Ends: 1:28:30

41. 2:56 - Lila pleads with Dale to let her go free - he can’t be letting her go to jail. The phone rings and it’s Ray. Fantasia speaks to him and tells him they’re about ten minutes away and gives him directions to the house. Ends: 1:31:26

42. 0:13 - Dale’s Deputy - together with the L.A. detectives John and Dud - all drive the small boy around in the police car, hoping to jog his memory as to where he went last night with his Uncle Ronnie to visit the pretty lady. Ends: 1:31:39

43. 0:30 - Dale instructs Lila on what to do when Ray & Pluto get there. He wants her out of the line of fire & he promises that he’ll eventually let her go free. Ends: 1:32:09

44. 1:07 - Series of Shots - A local plays a Blues harmonica. Skinned frogs legs are put into a cooker. The police continue to drive Lila’s son around hoping he’ll recognize where he was last night. He finally recognizes a landmark and the cops follow the narrow road. Meanwhile, not far behind come Ray & Pluto. Ends: 1:33:16

45. 1:17 - Montage - Dale waits for the arrival of Ray and Pluto. Dale’s wife and daughter have breakfast in their home. The local continues to play his Blues harmonica. Ray lights a cigarette while driving. Pluto sits quietly. Dale stares out the drawn curtains. The patrol car comes to a dead end, revealing that the little boy inadvertently led them down a wrong way. The local plays more spirited Blues harmonica. Dale lights a cigarette. Dale’s wife washes dishes and looks out the kitchen window. More Blues harmonica playing. Ray & Pluto’s car is getting closer . Ends: 1:34:33

46. 3:14 - Ray & Pluto’s car arrives at the house. “Hurricane” confirms with Fantasia that she knows what to do - she does and he hides with his gun drawn as she heads out to the front door to greet Ray & Pluto. She motions them inside the house while she packs her things. They reluctantly do so... once inside, “Hurricane” leaps out of hiding and at gunpoint tells them to get on the ground. Distracted by Lila, Dale takes his eye off Pluto who leaps forward and stabs Dale in the chest. Dale in return shoots Pluto in the stomach. Ray makes a run for it and “Hurricane” shoots at him but misses... Ray fires back but misses Dale also. Fantasia screams and runs out to where Dale is now chasing Ray... she deliberately causes Dale to miss shooting Ray in the back as he flees. Ray meanwhile turns around and shoots Fantasia in the head and Dale in the shoulder. With his final strength, “Hurricane” fires at Ray and shoots him in the backside. Now at a stop, Dale stumbles over and shoots Ray again in the back of the shoulder. As Ray makes a move to shoot Dale once again, Dale fires a fatal round into Ray’s chest. Pluto stumbles outside and falls outside the front porch, still clutching his beloved knife. No cliché ending here... Pluto dies without moving further. Ends: 1:37:47

47. 4:13 - “Hurricane” gingerly makes his way over to his patrol car, bleeding heavily. He calls his Deputy on the radio and gives his location... the police quickly arrive on the scene. Eventually Lila’s little boy gets out of the patrol car and asks a wounded “Hurricane” if he’s dead. He’s not and probably for the first time he talks to his son. Ends: 1:42:00

Handy Writer's Software

2007-07-20T12:01:00.000-07:00

Every once in a while I come across computer software for writers which will intrigue me enough to warrant a purchase. Sometimes it turns out to be useful, sometimes the exact opposite.

Where I think others will benefit, I’ll put something together (screenshots etc) and post an article to tout the usefulness.

I’ll probably steer clear of trashing something though... often I quit using software for a variety of reasons. Bad customer support, buggy code etc. Or else I’ve changed computer platforms and have long since left the old stuff behind... or a new piece of software comes along that totally supersedes the need for the older stuff.

As always, what I put together is just my opinion. The screenshots I take are designed to give you a flavor, not to divulge secrets to avoid your purchasing the software itself. In fact, I encourage purchases because that way you get the full benefits (manuals, updates etc).

So... just beware that what I put together may be perishable information (e.g. the software is subsequently updated) or else the system requirements have changed.

You are encouraged to investigate the vendor and/or suppliers of the software in question to try and get the best price by shopping around. (I try and give a current price for the software to give others a hint of what they’re dealing with.)

I have no financial interest in any of these guys; I don’t get a percentage. lol

Just trying to share information!

Peace

Great Moments in Cinema - Quest for Fire (1981)

2007-07-17T19:09:00.000-07:00

                                                                                        7

EXT. BIRCH FOREST - STREAM AND LAKE - DAY                15

A WATERFALL TUMBLES NOISILY into a small lake. Its shores are bordered with pebbles and surrounded by a forest of birch trees.

Naoh and Gaw crouch at the water’s edge cupping their hands, drinking water. They place three stones on the ground in a straight line, and a fourth one on top. (It evidently has magical significance).

Four women of ample proportions approach from the footpath leading to the lake. They carry two bison skulls made watertight with clay and animal skin. One of these water bearers is GAMMLA, Faum’s daughter. Her generous build is typical of the adult females of the tribe.

A young male, LAKAR, appears as the women quench their thirst, before filling the improvised water jugs. He creeps forward, looking lustily at the posterior of one of the females. She is leaning slightly forward.

EXT. BIRCH FOREST - LAKE - DAY                                16

Three Neanderthals advance in silence. Now and then they run on their arms and legs, much like Rhesus monkeys. To the left, through the trees in the distance, they see Naoh and Gaw plunging harpoons in the lake’s shining water. RASPY PANTING can be HEARD.

The intriguing SOUND comes from behind a mossy hillock. The three hunched brutes head cautiously in this direction. Through the ferns they see:

EXT. A SLOPING PORTION OF GROUND - DAY                17

Lakar, on all fours, coupling with the female he desired. The lacy screen of ferns partly hides their bodies. In the b.g. the other females gather water, paying no attention to the mating scene.

EXT. THE LAKESHORE - DAY                                        18

At the very instant Naoh spears a fish: Lakar’s SCREAM rises briefly above the waterfall’s steady roar.

Lakar runs from the forest holding his face in his hands. he dashes towards the women, his three aggressors in pursuit. All the women except Gammla cower against each other and scream.

Naoh doesn’t bother to remove the fish from his spear. He dashes forward with Gaw. They are swifter than the Neanderthals. But the latter are closer to the women and Lakar. (But Gaw easily outruns Naoh.)

EXT. FOREST - GROUP OF WOMEN AND LAKAR - DAY        19

Blood gushes from Lakar’s forehead. he tries to use the women, whose backs face the lake, as a shield. The women imitate Gammla and start to throw stones at the Neanderthals.

For a moment they hesitate to charge. One Neanderthal is hit in the mouth by a stone. Blood spurts from his split lips. Furious, he rushes at a woman and stabs her in the groin with his spear. A WHIRRING SOUND is HEARD. A spear pierces the brute’s neck. He falls heavily to the ground near his victim. We HEAR Naoh and Gaw’s SHOUTS. The two remaining aggressors ready themselves for the Ulam’s counterattack.

From the rear, Lakar beats a kneeling Neanderthal with a large stone. One of the brutes snaps Naoh’s harpoon with a backhand swing of his club. Five new Neanderthals emerge from the forest. With a gesture, Naoh orders his people towards the footpath.

                                NAOH
        N’ach...n’ach.

The Ulam race in this direction with Lakar outrunning the rest. He dashes up the narrow path and disappears around the bend.

Thought for the day...

2007-07-14T09:26:00.000-07:00

“A good idea will keep you awake during the morning, but a great idea will keep you awake during the night.”
~ Marilyn von Savant

Using Protection

2007-07-14T07:19:00.000-07:00

I’m no legal expert, but one question which I see regularly crop-up is that of protecting one’s work. The copyright thing. The WGA thing. Which is better etc?

When you write something - like a screenplay - it can be registered with a number of different organizations. No, you don’t have to do so. But presumably at some point you’ll want to send your work/s out to others and so then it will be outside your sphere of control... you may then need to protect yourself.

Why?

Two reasons. The most obvious reason is that you want to have some sort of recourse if your work is ever stolen. Plagiarized. Copied. Passed-off as an original work by someone else, when in fact it’s the fruit of all YOUR hard labor. You’ll need some sort of proof that YOU wrote that particular piece on or before a certain date.

The less obvious reason is to protect yourself from having OTHERS accuse YOU of having stolen THEIR work. See how that works? You write an amusing little story - unique and original in every way LOL - but you decide it isn’t worth registering because it’s not good enough (or whatever). Then a few years pass and you get the opportunity to have someone influential buy that original work... you’re ecstatic! You’ve made a sale! Then someone sues YOU because you’re now accused of stealing their original work. THEY have proof that their stuff is original because they took the time to register last year when they say they wrote it... the fact that yours is much older is immaterial now, lost as it is in a he-said-she-said sordid squabble which actually won’t last very long anyway once the other guys pull out their paperwork.

In the United States, the easiest method is to register your work with the Writers Guild of America. Depending on whether you live east or west of the Mississippi river, you would typically choose WGAe or WGAw. No, you don’t already have to be a member of these organizations (though it is cheaper to register your works with them if you do have an active membership).

The safest method is to register your work with the US Copyright Office. Obviously that process is a little more laborious, if only because it’s a behemoth organization that is not just dedicated to writing, but in fact to everything under the sun. (By now, the sun has likely been patented, but that’s via an entirely separate entity of the US Patent and Trademark Office LOL... and no, you can’t patent an idea, just an invention.)

If you’re a writer registering a screenplay, you’ll need to make sure you obtain the correct form (known as the PA) from the Copyright Office - the one you want (and not any other) is for registering works of the performing arts. If you’re a writer registering something else, then you’ll have to figure out which form to prepare (go here).

So what’s the difference between Copyright Office & WGA?

Well, aside from the cost of registration and the actual turnaround time in officially having attained registration, there IS a real fundamental difference between these two methods.

Registering copyright grants you legal protection... the U.S. courts recognize YOU as the author unless proven otherwise. Registration with one of the Guilds is only really useful for writing credits... in other words, the determination for who wrote what, when or how much of a written script. Need more convincing? >Great article here.

BTW: You can still be the subject of a lawsuit, however much you’ve registered your writing and however unique & original your story and characters might be. Remember the futuristic Sci-fi Terminator? Or the Matrix? Writers are especially vulnerable because every story is pretty much a variation on another previous story. Ideas cannot be copyrighted but even ignoring any outright dishonesty, genuine instances of parallel development must occur.

From the Vulgarity Department

2007-07-13T22:18:00.000-07:00

Today’s Pick - CAMELTOE - (slang) refers to the outline of a female genital area when observed through tight clothing.

The problem with slang is that it doesn’t translate very well outside of a given culture. And this word in particular falls under that rule. Notice how it describes something without actually saying anything offensive per se... and yet it is still frowned upon (see below) but the imagery associated with the word is hilarious IMHO.

In celebration of this word, a song aptly named "CamelToe" was also a regular (and very popular) song played on the Bob & Tom Show (syndicated US radio since 1995 on WFBQ Indiana)... sung to the tune of The Beach Boy’s “Kokomo”, this very funny spoof celebrated the amusing variety of words used to describe this particular cametoeian phenomena. LOL

This song was removed from air play under pressure from the FCC following the Super Bowl XXXVIII half-time program controversy. Of course it wasn’t involved in that debacle in any way, but rather it fell victim to the renewed sense of outrage sweeping the country after the infamous wardrobe malfunction. LOL

I’m publishing this here really to demonstrate how easy it is for fairly common euphemisms (albeit crude or clinical ones) to become taboo long after they were first introduced.

>Radio Station song here.

Thought for the day...

2007-07-08T10:53:00.000-07:00

“The big shots are only the little shots who keep shooting.”
~ Christopher Morley

Deconstructing Loglines

2007-07-08T08:47:00.000-07:00

I came across this article a long time ago and I find myself returning again & again to the basics contained therein.

Basically, according to screenwriter David Anaxagoras, the six essential elements of an electrifying logline are:

1. Tone and genre
2. The protagonist’s identity and motivation
3. The inciting incident
4. The main obstacle or central conflict
5. The protagonist’s ultimate goal or desired outcome
6. The stakes, or what happens if the goal is not accomplished

So a prototype logline would look something like this:

TITLE OF MY SCREENPLAY is a GENRE with overtones of TONE about a PROTAGONIST who HAS A FLAW/MOTIVATION when THE INCITING INCIDENT HAPPENS and s/he must then overcome THE MAIN OBSTACLE in order to accomplish THE ULTIMATE GOAL or else there will be CATASTROPHIC CONSEQUENCES. >Great Article here.

Thus: “Tootsie” (1982) is a comedy about an unsuccessful actor who masquerades as a woman in order to get work, but in short order lands his dream job, becomes a star AND falls in love with the leading lady!

If a logline is too revealing, parts can obviously be removed. It’s just a prototype after all. An element can be satisfied with just one word (e.g. an adjective like “lonely” salesman when describing the protag because it reveals character). Also, not all of the six elements need to be spelled out - some are just obvious or their absence contribute to the sense of fun.

As per Blake Snyder’s very excellent “Save The Cat” philosophy, it’s a great idea to get the logline established early. If you have read the book, you’ll know Blake Snyder has four essential elements; they happen to differ from the above list, but the principle is the same. Paint a compelling mental picture and with the addition of a killer title, the results will ensure focus throughout your story’s planning stage.
PS. I can’t recommend his book enough. ☺

Lastly, if you want to read yet more (LOL) there’s an article called “I wrote a 120 page script but can’t write a logline” by Christopher Lockhart. >Great article here.

Movie Script downloads/resources

2007-07-07T21:28:00.000-07:00

I tend to buy a lot of scripts, but every once in a while I’ll want something quickly and am always frustrated by having to remember where to get decent copies of movie scripts FREE.

By no means a definitive list, but here are some sites that are low in the broken-link department and high on deliverables. ☺

In no particular order:-

Creative Screenwriting
Internet Movie Script Database
Screenplays for you
Movie Page Dot Com
Drew’s Script-O-Rama
Simply Scripts
Daily Script

Lastly, there’s a pretty nifty screenplay search engine with which I’ve had some success.

Scriptcrawler

Thought for the day...

2007-07-05T20:23:00.000-07:00

"The future belongs to those who believe in the beauty of their dreams."
-- Eleanor Roosevelt

The Secret of Pixar Storytelling

2007-07-05T12:16:00.000-07:00

Okay, so it’s a topical point today because of their recent success in the box office with “Ratatouille” (2007). However, it’s worth mentioning that this Studio has always performed very well with its quality of product. ☺

Pixar directors, writers and artists share their storytelling experience and expertise during a series of keynote talks and panel discussions as part of Screenwriting Expo 5, sponsored by Creative Screenwriting Magazine. >Article here.

Writing Low-Budget Film tips

2007-07-05T07:20:00.000-07:00

Some time ago a few of us out on Triggerstreet were attempting to write a low-budget SP... the interesting thing (for me anyway) was that I’d never contemplated what was involved before then.

The following is a list of typical things that propel writing out of that league. Speaking for myself, I found that taking these into consideration meant you were FORCED to focus on the existing characters and plot... a worthy enough exercise in itself!

Not that you should ever aim for low-budget only, but it’s an interesting exercise in minimalism. Plus of course it increases the odds of getting sold LOL.

❑ Too many speaking parts
❑ Too many locations
❑ SFX and Firearms
❑ Stunts
❑ Opticals
❑ Exteriors on public roadways or sidewalks
❑ Night exteriors
❑ Crowd scenes
❑ Weather and seasons
❑ Specific music
❑ Period pieces
❑ Animals and Children
❑ Trains and cars
❑ Uniforms, "official" vehicles
❑ Heavy make-up or hair demands
❑ Errors and Omissions Insurance

All of these came from an original article courtesy of author Colin Brunton and by the Canadian Film Centre. If you follow the link, each of these are explained. >Great article here!

Great Moments in Cinema

2007-07-04T18:45:00.000-07:00

One of the great things about Screenplays IMHO is reading the original words of the writers... we often remember the lines of dialogue in a movie but unless you read the SP itself, you’re going to miss out on reading how the action was originally intended.

A fight scene... a sex scene... whatabout a movie with little dialogue... ? How’s it done?

Whenever I come across something worthwhile, I’ll post the page or the scenes or whatever it may be.

Please note though that I’m going to literally take whatever I have in the shooting script. That means it may not have made its way into the film exactly like that (due to a new revision, last minute direction, actor’s improvisation, editing in post etc).

To avoid confusion, the post’s subject title will refer to the name of the film and year it was released... this is likely to be different from that on the title page of the SP. For example “Kiss Kiss Bang Bang” (2005) was written by Shane Black as “You’ll never die in this town again” (2003).

Also, it goes without saying that the SP standards (such as they are) are likely to differ greatly between SPs from different production years.

So get whatever you can from these particular posts but just remember they’re not authoritative tutorials... they’re just one way a writer has solved a particular problem.

Or it’s just a great moment in the movie’s history & worth seeing how it was written. We all love twists, reveals, surprises... :)

From the Vulgarity Department

2007-07-04T10:41:00.000-07:00

Not sure if we need any of them, but for what it’s worth, there are movies (dUH) that dare to pepper their dialogue with these LOL. In doing so, they of course immediately limit their audience as it factors into the movie’s rating. But can you imagine movies such as “Goodfellas” (1990) or “Pulp Fiction” (1994) without them?

Today’s pick - MOTHERFUCKER - (colloquial) A term of abuse.

A common enough insult yet also a seldom heard expression in movie dialogue. This word draws its great effect from the taboo of incest. Apparently it has been around since 1918 and originates from North America.

Thought for the day...

2007-07-02T21:32:00.000-07:00

"Every act of creation is first of all an act of destruction."
~ Pablo Picasso

Screenwriting sometimes feels like...

2007-07-01T10:24:00.000-07:00

Being Sisyphus - for those of you not up on your Greek Mythology (LOL), this fellow was the son of Aeolus, punished in the underworld (aka Hades) for his misdeeds in life by being condemned to the eternal task of rolling a large boulder to the top of a hill, from which it always rolled down again.

Why Blog?

2007-06-30T23:04:00.000-07:00

Well, indeed why not?

My aim with this Blog is twofold.

Firstly it is to practice the ancient bloggity art, to become one with the know-how, the technology, the culture, the principles & practices. After all, one doesn’t want to wait until the last moment to go through all of that.

Secondly, I may or may not have something to say. I haven’t decided yet.

What little I do know is that I’m trying to study the art of screenwriting... as yet I am in that strange land between abysmal and somewhat mediocre.

I once read that you typically have to write five or six screenplays before starting to get the hang of things. So that’s what I do. I joined Triggerstreet.com several years ago and review the work of others for insight into the craft. When I feel I have gained enough knowledge I craft my shoddy works and upload them for peer review... three or four have so-far been scrutinized and rightfully taken down for a much needed rewrite. But I am getting better and I have learned a ton of stuff.

Ideally I prefer comedy, but probably anything will work. I think it’s important to study different genres and make an attempt to see what finds you.

If I have my way, I’ll write screenplays that are targeted to family audiences... I certainly don’t dislike sex, violence and profanity but find it difficult to see myself using these regularly.

I don’t see it as selling out, more one of avoiding a hard sell.

But I do love words. And studying them, profane or not, is healthy IMHO.

Peace