Genre: Sorror (Sort of Horror)
Premise: The illustrious “Fevre Dream” steamboat’s maiden voyage is disturbed by a mysterious passenger who may or may not be a vampire.
About: With Game of Thrones coming back to TV this week, I thought it’d be the perfect time to review a script by… George R.R. Martin??? Yes, believe it or not, Martin wrote a screenplay. It was adapted from one of his own books, Fevre Dream, and written back in the 90s. The script received renewed interest, obviously, when Game of Thrones became big, but apparently missed a window with a big-time director (who Martin wouldn’t reveal) in 2013. Still, Martin is hopeful, and says if the movie ever gets made, this is the draft they’ll use.
Writer: George RR Martin
Details: 129 pages (undated draft, but was written at some point in the 90s).


So when I was researching this script, I came upon a 2013 quote where Martin sounded very hopeful about an A-list director who wanted to make this film. That never came to light. And it reminded me that even when you’re as hot in Hollywood as someone like Martin was in 2013, it’s STILL tough to get a director attachment.

Getting a major director to attach himself to your script is one of the surest ways to get your movie made. BUT. Getting a major director to attach himself to your script is also one of the HARDEST things to do in the business. Actors can make three movies a year. A director will spend three years of his life on a film. Think about that for a second. That means in a, say, 20 year career, a director can only make SEVEN MOVIES. So he has to be very very very choosey. Yet when a director does commit, you’re golden. Your movie is greenlighted and it gets made and your life changes.

So if there’s one question that I think we should try and crack here on Scriptshadow, it’s: How do you get a director to attach himself to your script? What kind of scripts do directors like to direct? Obviously something visual. Something that allows the director to play, possibly try new things that haven’t been done before.

We were just discussing this with Ready Player One in my newsletter. If you’re going to get Spielberg interested in a sci-fi or adventure script, you can’t give him your version of an Indiana Jones type movie. Spielberg’s already done that. If he’s going to commit to that genre, you have to give him something he hasn’t done before. A race in the middle of Times Square with the Back to the Future car and dinosaurs on the course? That’s something he hasn’t done before.

The tricky thing is that every director’s different. Nicolas Winding Refn doesn’t want to make the same movies as Clint Eastwood who doesn’t want to make the same movies as James Wan who doesn’t want to make the same movies as Martin Scorsese.

Muddying the waters more is that some directors are just interested in character. And actors like these directors because they’re more likely to bring them accolades and respect. Damien Chazelle isn’t the kind of guy who’s going to make Jurassic Universe. Yet two of the hottest stars in Hollywood, Ryan Gosling and Emma Stone, just signed on to his latest project because J.K. Simmons won an Oscar in Chazelle’s last film (Whiplash) and if he can win Simmons an Oscar, then maybe he can win them an Oscar. So maybe that means you should write for character to indirectly get to the director.

I don’t know the answer to this question but I do think you should always keep the director in mind when writing a script. Whatever types of movies you like, study the directors who direct those kinds of movies, figure out what things they’re drawn to, and then make sure you include those in your own script, only do it with a new twist or with even more imagination. Again, you can’t just give directors the same thing. They want that “next thing.”

Today’s script, Fevre Dream, is very director-friendly. I haven’t seen this kind of attention to detail since James Cameron’s infatuation with the Titanic. The story follows an uptight steamboat captain named Abner Marsh. The burly Abner lost a fleet of his ships recently in a series of crashes and has put all his remaining money into the Fevre Dream, which he claims is the fastest steamboat in the country.

One of the fun things you learn reading Fevre Dream is that there used to be these unofficial steamboat races down the river, with every captain trying to prove his dick, err, his steamboat, was the biggest, err, fastest. The faster the steamboat, the better the reputation, the more customers, the more money you made.

But Abner has to make a deal with the devil to get this speed. Short on cash, he brings in a partner, the mysterious Joshua York, a fair-skinned Englishman who has only one rule. He needs to conduct business in every town they visit.

Seems like a small favor to ask, but Abner soon finds York disappearing into these towns for 2-3 days, holding up his boat, starting the Fevre Dream off with a bad reputation. Not only that, but he always brings mysterious characters back with him. These individuals, like York, are never seen during the day. And their social skills are so serial-killer-like, they begin scaring the other crewman.

It doesn’t take a White Walker scientist to tell that these folks are vampires. But what are they doing on the boat? What is it they want? That becomes clear when York finally confronts another vampire, a gentleman named Damon Julian who’s lived for THOUSANDS of years to York’s hundreds. These two will eventually square off. And the Fevre Dream, unfortunately, will be caught in the crossfire.


I’d like to begin by saying: THIS IS HOW YOU START A SCREENPLAY.

If you can’t grab your reader right away, why would the reader believe you could grab them for an entire story? And a great way to grab a reader is to make them feel EMOTION.

Fevre Dream starts with a black teenage girl being auctioned as a slave. Men bid on her heartlessly, as if she were an object. And when the money gets higher, so do the demands. The men want to see “what she’s working with.” And so the girl is required to disrobe and stand completely naked in front of these men.

It’s a scene so unsettling that you can’t help but be affected by it. So affected are you, in fact, that you don’t realize Martin’s roped you in.

But what really sets Fevre Dream apart is its attention to detail. I recently read a script about a game designer. My big complaint to the writer was that at the end of the script, I didn’t know any more about what a game designer did than what I knew at the beginning of the script. That’s a big fail. Whatever your subject matter is, you better make sure the reader leaves the story knowing more about it.

And here, the way Martin lovingly describes the design of the steamboat, how it runs, how it’s managed – it made you feel like you were back in 1850, like you really knew what riding on these steamboats was like. That’s what great scripts do. They bring you into their reality.

Where the scripts starts to get shaky is in its depiction of vampires. So much time is spent explaining to us what these vampires weren’t (they’re not affected by holy water. They don’t need to sleep in coffins. They don’t leave a pair of bite marks on your neck), that I was never sure what they were. I didn’t know the rules. They drank blood. They could walk around in light sometimes. Other than that, they felt ill-defined. And that’s when I realized why Fevre Dream wasn’t the kind of hit Game of Thrones was.

I don’t think Martin knew what he was writing here. Is this a steamboat movie with vampires or is it a vampire movie that takes place on steamboats? It feels to me like Martin was fascinated with steamboats but knew writing a story JUST ABOUT THEM would be lame. So he decided to add vampires.

The results are uneven, but that doesn’t mean the script doesn’t work. Martin has such a love for everything he writes that that love washes over you. He makes you a believer.

Martin’s also really good at shocking you. There’s a scene in this script that is one of the most shocking I’ve ever read. It’s so disturbing that most of you wouldn’t be able to handle it so I’d suggest you never look into it.

But in a strange way, I admired the scene. So many writers know where the “Hollywood Line” is. And by “Hollywood Line,” I mean that line that Hollywood doesn’t want you to cross less the audience gets offended. It affects everything we see because we know that in the end, it will always be okay.

But when you decide to cross that line? When you ignore it? You force the reader to revaluate everything they think they know and now they have no freaking idea what’s going to happen next. That’s territory rarely explored in screenwriting. So it’s refreshing when I see it.

Fevre Dream is a strange tale. I’ve seen some odd mash-ups before (Hansel and Gretel as gun-slinging killers?) but steamboat porn and vampires is a first. If you’re weird and have a high tolerance for one extremely violent scene, this script is out there. Grab it and take a read.

[ ] what the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: Sounds. A lot of screenwriters are so focused on the VISUAL side of their screenplay that they forget about the audible side. Sounds add dimension to the read. And the more dimensions you add, the more you can trick the reader into believing in your world. Key in on any important sound and describe it as well as you can. For example, when Damian (one of the vampires) is first introduced, Martin reserves a line just for his voice: “His voice is dark and sensuous, rich as a fine cognac.” A tiny line but I could hear Damian’s voice after that.  It broke down one more brick between reality and fiction.

  • Gregory Mandarano

    I… must read this screenplay.

    Also the vampire’s name is DAMIAN?


    GRRM is a fan of The Vampire Diaries!!!

    • carsonreeves1

      I know people have it. If they don’t start sending it out, I’ll put it out there. It’s over 20 years old so I don’t think George would mind.

    • S.C.

      Couldn’t find your email address, Gregory, so if someone could send him the script that would be great (I’m going to busy today).

      • Gregory Mandarano

        My email’s my name at AOL dot com.

        • brenkilco


    • leitskev

      The book was written in 1982.

      • Gregory Mandarano


  • Patrick Sawyer

    “A director will spend three years of his life on a film. Think about
    that for a second. That means in a, say, 20 year career, a director can
    only make SEVEN MOVIES. So he has to be very very very choosey.”

    Ridley Scott should take note.

  • lesbiancannibal

    Would love a copy of this if anyone has it:, cheers

    • S.C.


      • Joe Low

        Could you send it to me, too.
        Thanks a lot!

        • brenkilco

          should have it

  • Doug

    If anyone has this, please send it my way:

    Muchas gracias!

    • Emotionoid

      Can you send it to my way too? Much appreciated.

      • S.C.


        • Emotionoid

          Thanks Scott.

    • S.C.


  • DannY

    Hi, I’m interested in acquiring this script. If anyone has a copy please send it to

    Thank you!

    • S.C.


      • Citizen M

        Would appreciate a copy, ta very muchly in advance.

        • brenkilco

          just sent

          • TheRejectedWriter

            Can you please send me a copy as well? Thank you.


          • brenkilco


          • Brooks

            Can I please read too? b(dash)


          • charliesb

            I’d love a copy as well please.

            birdieey at g mail dot com


          • brenkilco


          • charliesb


          • bluedenham

            Would love a copy, please. Thanks in advance.

          • hickeyyy

            I still am looking for it. Think you could pass it my way?

          • charliesb


          • Bluedust

            Could you send one my way? thanks.

          • hickeyyy

            I still am looking for it. Think you could pass it along?

      • martin_basrawy

        would appreciate a copy, please and thank you.

        • martin_basrawy

          haha I’m an idiot. please send to martinbasrawy7 at gmail.
          Thank you.

      • hickeyyy

        Sounds like you’ve got a large number of requests, so add one more to the pile.

      • romer6

        If you would be so kind to send me a copy also, this would be very helpful since Iḿ working on a project right now that involves… wait for it… vampires! It is not a movie, it is a graphic novel. But I’d like to read this one all the same. I’m a sucker for stories with steam boats.

        romer6 at gmail dot com

  • S.C.


  • brenkilco

    So far on page sixty. This is an adaptation of a book by Martin, which, per the fan reviews on Amazon some fans found wonderful and others found endless. Assume the obsession with riverboats is even worse in the book but it’s still pretty crazy here. The credit sequence alone is nearly a page of closely packed prose that seems to name every last part of the boat that has a name. Still, it’s nice to find carefully worded sentences and a writer who has taken the time to really learn about the world he’s describing. So I can forgive the purplish prose: moon on the water and black shadows and bloody sunsets blah blah. But there are real problems.

    Apart from their top hats and frilly shirts the vampires are pretty standard issue. By the way why is it that all vampires must talk with exaggerated formality? Is it part of the curse that they can’t use contractions? And the pacing here is just plain awful. At the one hour mark, we have the sense that the character Joshua, though some kind of Nosferatu, is going to be the hero, but it’s only hinted at vaguely( he drinks bottled blood and hasn’t killed anybody) Though what he’s got planned for the bad vampires is anybody’s guess. Apart from a couple of scenes of blood slurping all we’ve done so far is cruise up river.

    Think George really wanted to do a conventional novel about life on the Mississippi, but got cold feet, decided he needed the vampire angle. And his heart doesn’t quite seem to be in it. Fantasy fans, and I’m not one, seem to embrace leisurely writers who immerse the readers in their worlds. But George really needed a better and stronger plot engine for this project.

    • carsonreeves1

      The vampires definitely didn’t have enough substance to them. Didn’t everyone speak formally back in 1850 though (disclaimer: I was not alive in 1850)?

      • brenkilco

        Well Cap’n Abner sounds pretty colloquial.

    • Gregory Mandarano

      So what you’re saying is… Damian will never sit on the Iron Throne.

      • brenkilco

        And Natchez Under The Hill is a long way from King’s Landing.

        • Gregory Mandarano

          Weddings are red,
          and big walls are blue.

          Riverboat captains,
          and vampires too!?

    • leitskev

      I think the idea of having vampires speak formally is due to the need to give them a different voice. If they are hundreds of years old and possibly from Europe, they are not likely to speak the current slang.

      In fact, I have had this problem myself, not with vampires, but with foreign characters speaking English in scripts. I mean let’s say your script is set in 1950s Soviet Russia. The characters would be speaking Russian, but for our purposes they speak English. It makes no sense to use slang English, so one tends to be more formal.

      As for Martin’s story being standard vampire, it should be kept in mind this was written in 1982, long before the vampire craze.

      • brenkilco

        Foreign characters are a problem. Am watching the BBC show Wallander on Netflix. Set in Sweden with an all British cast. And they use British slang. You’d never know it was Sweden except it never seems to get dark and occasionally somebody has to ask for a few kroner or struggles to pronounce a tongue twister town or somebody’s last name. You just sort of go with it.

        Scripts set in ancient times are the worst. Troy or Kingdom of Heaven. That sort. Colloquial English just seems phony. On the other hand we’re decades past the point where audiences will accept that goofy, De Mille type dialogue(Your lips are like pomegranates) What to do.

        Also if I were a smart vampire I’d try my damndest to fit in, and that would include keeping up on current idiom, no matter how old I was.

        • leitskev

          Lol, yeah, it’s a problem.

        • Randy Williams

          A vampire should speak like an Art student. Art students are timeless.

    • Randy Williams

      Can you tell me what the shocking scene is that is so disturbing that Carson thinks I shouldn’t even look into it?

      • drifting in space

        Same, ha. What page number? I’m not entirely interested in this but I do love me some Game of Thrones.

        • klmn


          • drifting in space

            Wow… that was something.

            Thanks (I think).

          • TommyToughnuts

            Summary of the scene?

          • TommyToughnuts

            Summary of the scene?

      • brenkilco

        Havent reached it yet. Unless it’s the scene where they put lard in the steamboat boiler to make it run faster.

      • Citizen M

        A screenwriter falls into the paddle wheel and gets mashed into hamburger.

    • Kirk Diggler

      “Is it part of the curse that they can’t use contractions?”

      LMAO – as someone who has made this vampire mistake, you have both shamed me and me laugh.

  • Gregory Mandarano

    I see this script as

    Director: David Slade
    Producer: Vince Gerardis

    The project came up as active as of December this year.

    Is this the director who backed out of the project? Or has the script found new footing?

    • carsonreeves1

      It doesn’t sound like it. Slade seems like a newer attachment. Martin was talking about someone “big.”

  • Zadora

    I see a lot of writers totally forgetting about the importance of sound. Especially in horror where it plays a big part. We get spooked by sound and it sets the spooky atmosphere. I also see a lot of writers highlighting sounds that has no importance at all.

    • Randy Williams

      The horror script, “February” by Tony Perkins’ son, Osgood, which Carson reviewed here I thought had brilliant use of sound including now that we’re in the cellphone age, the eerie ring of an old phone booth.

  • Kimmo Häkäri

    Sounds like something I need to read. Any kind soul want to send it to me? kimmo.hakari at

    Thanks in advance.

    • ABHews

      Glad I’m not the only dude that can’t find the script. If anyone has this and can send it my way please do. abmruff(@)



  • leitskev

    This was originally a book published in the 90s, maybe even in the 80s. I picked it up for like a 1.99 about 15 years ago and it’s a very nice little read. I didn’t know he had converted it to a script. I had read the Game of Thrones back when the books were first being printed and became a fan of Martin’s writing, so I gave it a shot.

  • walker

    Gave this one a read last night. Found it to be ponderous and inauthentic. Chock full of embarrassing middle-aged-male fantasies. It would be amusing to see what Carson and the commenters would say to an amateur who tried that page 7 credit sequence, followed by a MATCH DISSOLVE to three densely descriptive paragraphs that also attempt to introduce characters and call the shots.

    • carsonreeves1

      I often think about that (when I have a professional writing an 8 line paragraph). Why does he get a pass when the amateur who does the same thing doesn’t? Often it’s because the professional can actually write. He knows how to actually string words together in a pleasing way, something Martin definitely knows how to do.

      • walker

        I have given these issues some thought. I do a lot of notes for other writers and I advise them to write cleanly and concisely, and to keep the POV clear. Frequently a writer will offer a self-exonerating retort based on the fact that they have seen some well-known writer do this or that. That is why I usually suggest that they read more actual specs and less of this sort of script. But in the end it is certainly a double standard. Connected writers get a pass, unknowns get a “Pass”. Not much we can do about it except follow the set of rules that applies to us.

        • walker

          By the way I guess I should make it clear that I am not advocating the relaxation of standards for spec scripts by unknown writers, rather the opposite: that the George RR Martins and Ryan Goslings and Cormac McCarthys and Nick Caves, and all the quasi-celebrity sons and daughters, and everyone else who wants to dabble at screenwriting should be held to a higher standard than they are.

          • bluedenham

            The fact that you lump GRRM in with Ryan Gosling shows you don’t know what you are talking about.

          • walker

            Hey I threw Cormac McCarthy in there too.

          • bluedenham


  • Citizen M

    I read the Chapter 1 excerpt on Martin’s website.

    It promises a big, meaty adventure yarn. The toughest riverboat captain on the Mississippi, desperate for money; the wealthy stranger from the East who in his own way seems equally tough; the desire to build the fastest boat on the river; and the curious part of the bargain — allow mysterious strangers to come and go at will on the boat at night.

    Unfortunately the writing is a bit pedestrian, but the story has all the elements of a compelling adventure, promising a titanic clash of wills before the final resolution and solution of the mystery box.

    • Citizen M

      The point I was trying to make: the audience wants to see the best, the toughest, the biggest, the fastest etc. In entertainment, nothing succeeds like excess.

  • Randy Williams

    “How do you get a director to attach HERSELF to your script?” (made a little change there to your words since my favorite films for the most part have been directed by women)

    Jonathan Nolan said…

    I consider my job as a screenwriter to
    pack a script with possibilities and ideas – to create a feast for the
    filmmaker to pick from.

    • walker

      That’s funny coming from a guy who has never had to write a spec script.

    • brenkilco

      Which I guess accounts for the dramatically misshapen, thematically fuzzy, pulpy yet pretentious, bloated, how many climaxes is this damn thing going to have quality of his collaborations with big bro.

      • Kirk Diggler

        Yet strangely entertaining…. ;-)

  • Casper Chris

    Sounds interesting. Will give it a read.

  • bluedenham

    I don’t think anyone has noticed, but GRRM was a major TV writer in the 1980s and 90s with serious cred: Beauty and the Beast, The Outer Limits; The Twilight Zone. He knows a script from! Also was a major sci fi writer before that. The man can write.

  • klmn

    And now a little calliope music…

  • S_P_1

    I’m not particularly motivated to read this script soooo. Is this basically Bram Stoker’s Dracula on a steamboat? Or is this Interview with the Vampire on a steamboat. The vibe I’m getting is Victorian costume drama with an unnecessary element of horror thrown in.

    This is major cheating!!! This is only acceptable because he’s GRRM.

    If I wanted to write a movie on the Wright brothers, but thought that was too boring nobody wants to see a movie about the first airplane being built. So in order to spice things up the maiden flight of Kittyhawk would be cursed because it was built on sacred Indian burial grounds. This would be the real reason the US ARMY names it’s choppers after Native American tribes because of a pact made long ago.

    • Gregory Mandarano

      Don’t you mean the WIGHT brothers?

  • Magga

    Steamboats! I’m in! Vampires? I’m out

  • mulesandmud

    Seems like we’re firmly in Anne Rice territory here, peppered with some LIFE ON THE MISSISSIPPI and maybe a dash of FITZCARALDO.

    For those who chafe at the injustice of Martin’s bloated descriptions and glacial pacing, I’m sure those choices are a big part of why nobody has made this movie. If you would also like your movie to not get made, feel free to write like he does here.

    Compare Martin’s adaptation to the script for MASTER AND COMMANDER, which is equally devoted to its nautical period porn, but is written with concision and clarity that distills a sprawling novel into a compact, effective story with tons of personality. I have minimal interest in boats, but I fucking love that movie.

    I’m tempted to segue into a GAME OF THRONES discussion here, but for the sake of the spoiler-phobic I’ll just say this: reading this script reminded me how remarkable the adaptation process for GAME OF THRONES has become. The creators began from a place of deep fidelity to Martin’s books, but gradually the series is finding its own way. Now, they’re reaching the point where they need to start adapting books that haven’t been written yet.

    A really fascinating position for a writer to be in. Also a reminder that source material may be a compass and a lifeline, but ultimately, it’s also ballast. At some point, an adaptation needs to jettison the original work and make sure she can sail on her own terms. (Note: that’s as true for first drafts and rewrites as it is for novels and adaptations.)

    • walker

      I have had no trouble not getting my movie made without emulating other writers.

      • S_P_1


    • Fish Tank Festival

      MASTER AND COMMANDER was on repeat for me at one time. Love that movie also!

  • Poe_Serling

    “What I learned: Sounds. A lot of screenwriters are so focused on the VISUAL side of their screenplay that they forget about the audible side. Sounds add dimension to the read. And the more dimensions you add, the more you can trick the reader into believing in your world.”

    Great point, Carson. Finding that ‘right’ mix of descriptive lines (both visual & audible) and specific sound cues can really enhance a scene and the overall reading experience.

    When you read a lot of scripts, you often see where certain writers tend to go a bit overboard with their sound cues. So, during the course of the script, it lessens the impact of what the writers were originally trying to accomplish by using them in the first place.

    Personally, I think using moderation with sound cues is the key.

    Then, when it’s time to bring it all home, you can break out all your tools and craft a really unforgettable scene by using both sight and sound elements… and hopefully comes off as fresh and exciting to the reader.

    From the RING:

    Noah’s rooted to the spot.

    The WHIPSER-KEENING’s getting louder.

    Samara closes in, filling the frame on TV. Her nail-less claws feel around the frame as if exploring the ‘camera’ —


    from the seams in the television. Steady DRIPS come from the cracks between the panels, between image-glass and plastic housing —


    BURBLING up from the floorboards of Noah’s loft. TRICKLING up to surround his bare feet…


    • S_P_1

      This is a good example, BUT the writer had the distinct advantage of watching the original RINGU. The writer didn’t mentally visualize this scene and transpose on paper.

      Sound and music are extremely crucial when attempting to establish atmosphere.

      I’ve been on set where the sound capture was less than ideal. I’ve also seen (heard) in post how difficult it is to foley in audio after the fact. I will tip my hat to anyone who has the patience to correctly level the audio in a movie, or match up vocals, or add sound effects. This is very tedious and can make or break a film.

      • Poe_Serling

        “…the writer had the distinct advantage of watching the original RINGU.”

        You’re so right – I just used it as an example of a scene that I thought made good use of sound cues to heighten the tension/action.

    • klmn

      You could specify buzzers attached under the theater seats, like William Castle did with The Tingler. Or maybe some other kind of device.

      • Poe_Serling

        My favorite Castle gimmick – the Fright Break, which allowed movie patrons to get their money back if they were too scared to stay for the climax of the film.

        • klmn

          I’d like to make a remake of Willard, with a number of robotic cages under the seats. During the money scenes, cages would open to let a few rats run over the viewers’ feet.

          • Gregory Mandarano

            That would be horrible! The poor little ratties would get hurt. :(

      • Midnight Luck

        that is the new thing (i saw it on the news). The next evolution for the theater is already out. They have seats that move like they are on a roller coaster. They tip sideways, bang, bounce, vibrate, shake, you name it. It gives you a thrill like you are in the movie (supposedly).

        Hopefully after that they will start to include the ill fated “Smell-O-Vision”, so when Garfield farts, or the camera is close in on a dead body, well, you KNOW it.

        • Citizen M

          I’ve experienced movie seats that “tip sideways, bang, bounce, vibrate, shake”. The Tulbagh earthquake of 1969, watching “Otley”.

          The funny thing was, at that point in the movie a bomb had been planted on a bridge the Ambassador’s car was heading towards, so we were expecting something violent to happen.

          It took a second or two to realise it was actually an earthquake we were experiencing. After that, instinct kicked in and we headed for the exits so fast the theatre emptied in a flash.

  • blogwalker

    anyone have the script and could send to appage1ATgmailDOTcom?

  • klmn

    On the general subject of horror, a terrible evil has descended on America.

    Tax Day.

    • Midnight Luck

      It is only evil,
      If you pay them.

      Though, if you don’t,
      You will probably suffer an even worse fate.

      • HRV

        Time to rise up. Are you with me?

  • Lucid Walk

    Speaking of GAME OF THRONES, can I just say, I was disappointed in this week’s episode.

    The premiere of a new season, and nothing happened. A bunch of people talking about life, power, murder, sex, betrayal, the usual. Even the ending was somewhat lackluster.

    The only scene I enjoyed was Varys asking Tyrion for help. Varys wants to find a new ruler for Westeros, and he wants none other than Daenerys. I WAS PUMPED. All I could think was, “Finally! After four seasons, Tyrion and Daenerys are going to meet.” But then I realized, “Oh, wait. This is Game of Thrones. The good stuff, the memorable stuff, doesn’t occur until THE ENDING OF THE SEASON.” Heck, they might not even meet until next season. Or perhaps they’re not going to meet at all and we’re just being misled.

    This is why I agree with Carson about THE WALKING DEAD being a better written show, Of course, it’s repetitive. But at least, stuff is happening. At least they’re killing walkers in gruesome fashion every episode. At least it delivers on its promises instead of making us wait.

    Don’t get me wrong, I like THRONES. And who knows? Tyrion and Daenerys might meet after all. The White Walker might invade Westeros. The Starks might be reunited. Cersei might get her head chopped off. But it’d be nice to not have to wait so long.

    • Gregory Mandarano

      Well in episode – wait, sorry. Spoilers.

    • charliesb

      A BIT SPOILERY (but not really)

      As someone who watched the first four episodes, I’d like to say “get comfortable”, very little happens* in the next three episodes, it’s a lot more talking, and building and paralleling of character arcs. They’ve also hinted at a few changes from the books. Things started to pick up in the fourth episode, but it seems they are pushing most of the excitement to the back half.

      *That is exciting. People talk, a few pieces are moved into place, but nothing earth shattering.

  • Ramsey88

    Hey guys, super interested to read this script! Could someone send a copy to Thanks in advance :D

  • peisley

    Martin actually had a successful career in tv in the 80’s and 90’s, writing scripts for Twilight Zone (revival), Max Headroom and Beauty and the Beast (writer and producer). So, a feature script isn’t that surprising. That’s my know-it-all Wiki moment. Man, though, this guy worked, ate and lived writing. Teaching it, writing novels, short stories, scripts, fortune cookies. He’s writing incarnate. Lesson learned.

  • Levres de Sang

    I completely agree with Carson’s estimation of Martin’s facility with prose. Those walls of text slide down as easily as the “fine Cognac” he so evocatively describes. Mules mentioned Fitzcarraldo and I just kept thinking while reading that this script is crying out for a Herzog, Peckinpah or Visconti — someone with visual antennae attuned to textures of light and landscape. And then it struck me: with its big wheels, dusky river and MATCH DISSOLVES this would have been the perfect “magic hour” vehicle for the Days of Heaven pairing of cinematographer Nestor Almendros and director Terrence Malick.

    I was also really taken by the notion of vampires and the Deep South. It just feels redolent with possibility. Although any script with a female vampire by the name of Valerie must have something going for it! :)

    • Poe_Serling

      The notoriously secretive Malick could’ve been working on the Fevre Dream project since the early ’80s for all we know… ;-)

      He was obviously keeping himself busy doing the twenty-year gap between the release of Days of Heaven in ’78 and the release of The Thin Red Line in ’98.

      • Levres de Sang

        A nice thought that Malick may have been secretly working on this project because it’s absolutely made for him.

        * I thought the exact same thing earlier: What was he doing for 20 years…?

        ** I never actually got around to seeing any of his ‘comeback’ films, but Badlands remains one of my all time favourites.

    • brenkilco

      Of course Malik’s version will just be three hours of dreamy shots of the Mississippi, willow trees and the riverboat smokestack glowing at night. And you’ll only hear about the vampires in a voiceover.

      • Levres de Sang

        Actually, you make it sound rather appealing…

  • Tom

    would also love a copy of this script. tomrcstevens(at)gmail(dot).com

    Thanks so much!

  • Citizen M

    Finished it. I didn’t think GRRM would be able to wrap this up, because there was a lot of aimless to-ing and fro-ing on the river, and I never quite knew who wanted what. But it comes to a satisfactory end.

    Reading first Chapter One of the book, then the screenplay, was interesting. I felt the book started much stronger, setting up a clash between a powerful riverboat captain and wealthy vampire Joshua as they negotiate an agreement. The script starts with a slave sold to vampires, and only then do we meet our captain and Joshua, already in a working partnership so the drama and portend of their negotiation is lost.

    The main story concerns a clash between Old School and New Age vampires, but we the reader are kept in the dark about the issues until nearly the end. Similarly, it was never entirely clear why Joshua wanted to pick up “night walkers” at riverside towns, nor why the boat crew came to fear people who remained in their cabins most of the time, nor why it was so urgent for the boat to reach New Orleans at a certain date.

    I feel it’s a fantastic concept and with a generous budget could be made into a sumptuous and satisfying movie, but not in its present form. Given a clearer setup of motivations and goals, a reason for urgency, and a strong central storyline holding it all together, and this would make a great movie.

    A note on the writing:

    It looks like GRRM could not resist the temptation to lift big chunks of script directly from his novel. It leads to some graphic writing, particularly describing the riverboats and river chases, but also an overlong script with some needlessly detailed passages.

  • Kimberly

    So where can we get this script to read ?

  • tokyoYR

    Shocking… Oh wait not. Hollywood gets off to slave abuse. Easiest way to dehumanize while simultaneously making a vague indication of something deeper.
    I thought the opening and the “shocking” scene were cheap. That’s one of the easiest ways to get a rise.