Congratulations to Dean B for the big win this weekend with his short script, ASS LOLS (rhymes with “Assholes”), about an Adam Sandler pitch gone bad. Or good! He wins a free First 10 pages Consultation with me. Stay tuned as I’m anticipating this upcoming weekend’s Miniature Short Script Contest to be the best yet!
Genre: Science Fiction
Premise: An aging American working as a United Nations worker in Bucharest learns that his building is a front to hide a porthole that leads to another world, identical to our own.
About: Today’s pilot script comes from Justin Marks (The Jungle Book), a writer who’s built his brand on big ideas, allowing him to move into those high-paying mainstream screenwriting jobs that buy houses up in hills. Marks introduces the Starz network (Power, The Girlfriend Experience, American Gods) to their first science-fiction show. The project was flashy enough to nab Oscar winning actor, JK Simmons, for the lead.
Writer: Justin Marks
Details: 53 pages (2015 draft)
Every time they do the Oscar thing here in Hollywood, they close down all the streets that are anywhere near the Oscars. Which would be fine by me… IF ONE OF THOSE STREETS WASN’T THE STREET THAT IN ’N OUT WAS ON!!! By closing down In ’N Out street, the Oscars closes down a porthole to happiness. And that isn’t acceptable. So if you see someone holding up a sign outside the red carpet this weekend that reads, “#OscarshatesInNOut, you’ll have a good idea who it is.
Meanwhile, we’re in pilot frenzy mode, with fresh pilots flying off screenwriters’s laptops every couple of minutes. As writers have accepted the reality that unless they write a biopic, Hollywood doesn’t give a shit about their stupid feature spec, they’ve come over to the side of the business that actually makes people money. Unless you’re Justin Marks of course, who, after this pilot airs, will be pulling down money from both sides.
Counterpart takes place in modern-day Romania and follows Howard Silk, a 50-something American who works at the Office of Interchange, which I believe is some sort of United Nations outlet. Doesn’t matter really. Howard’s job is as boring as it sounds. He walks into a government building every day, meets with a few people, writes a few things down, goes home, wash, rinse, repeat.
It’s gotten so fucking depressing that Howard begs his bosses for a promotion. But Howard is seen as a weakling, a nobody with zero people skills. As his boss puts it, “It’s been sixteen years, man. If it were going to happen? It would have happened.”
If that sounds bad, Howard’s personal life isn’t going much better. The love of his life, Emily, has been in a coma for six months after getting whacked by a motorcycle while crossing the street. Emily’s dickhead brother keeps flying to Bucharest to convince Howard to let the family have Emily back so they can pull the plug on her. And Howard is about to concede.
That’s when everything changes.
Howard comes to work one day to find that his normally dismissive boss needs him immediately. Howard’s placed in a room until another man enters. That man… is Howard. But this Howard seems bigger, stronger, more confident. One might say he’s everything Howard wishes he could be.
That’s when Howard’s hit with shocking news. This government faction he works for is a front to hide a porthole that connects our world with another one. This other world is similar to ours in almost every way, with tweaks here and there. For example, Howard is a lower level management nobody in our world, but a top level superstar agent in the other.
Howard 2 informs us that there’s an agent who’s crossed over to our side and is assassinating people. In order to capture this agent, Howard 2 will need to start operating in our world. As a byproduct of this, Howard 1 will need to be upgraded into a top-level agent in order to provide a believable cover for Howard 2’s involvement. This means that Howard will finally get that promotion he’s so desperately wanted.
But what does this mean for a man who’s spent his entire life being overlooked? Will he be able to convincingly portray this new persona? Or will it be a case of, be careful what you wish for?
Counterpart embraces some good old Scriptshadow principles, primarily that if you want to get actors interested, give them dual roles to play, with each role being the polar opposite of the other (JK Simmons gets to play a meek weakling and a badass boss, all in the same show!). This was smart move numero uno by Justin Marks.
Also, Marks is very aware that this is a television show and not a movie. For that reason, despite its flashy sci-fi core, Counterpart is about character. The pilot is more focused on the flaws in Howard’s character (he’s a weakling who doesn’t stick up for himself) than some expensive sci-fi plot with hover-bikes chasing aliens.
You always have to keep that in mind with television. It’s why they could make a big sci-fi idea like “V” twenty years ago. The producers knew that the “aliens” would be in human form 90% of the time, which meant no big-budget effects.
Think about it. Whenever you try and stretch science fiction or fantasy and you don’t have an HBO budget? It looks cheesy. Go watch any episode of Fox’s Minority Report or APB to see what I mean. So stuffing these high-concept sci-fi ideas inside of these low-budget delivery capsules is the secret sauce for coming up with a sci-fi show. Or, at least, one that has a chance of getting on the air and not embarrassing itself.
That’s not to say there’s no plot in Counterpart, however, or that there aren’t things happening. The things that are happening are just doable. So here, we have an assassin running around killing people. This is a best-of-both-worlds scenario because it’s a legitimate problem that provides a compelling plot. Yet, again, it costs nothing to implement.
On top of all of this, Counterpart is the rare science fiction idea that feels unique. No time travel. No robots. While the concept’s core is somewhat familiar (a parallel world), I’ve never seen it explored in this way before – a “Cold War” like conflict that occurs within a government agency. That’s what you’re always looking to do, guys. Take that familiar element and explore it in an unfamiliar way.
The only issue I had with the pilot was the third act, which was built around Howard 2 getting to see his wife again, even if just in coma form. In his world, his wife died four years ago from cancer. So this is a profound moment for him. But all I kept thinking was, “I don’t know Howard 2. Wouldn’t this work better if Howard 1’s wife had died of cancer four years ago and he got to cross over into Howard 2’s world and see her again, alive?” It would’ve been a lot more emotional since we know Howard. Who cares if Stud Howard gets some time to see his wife again? His life fucking rocks regardless.
But I suppose it’s a minor nitpick. Also, there’s a twist at the very end that changes some of that. All in all, this was both a smart idea and a smart way to circumvent the low-budget requirements of television. I still don’t know if anyone watches Starz. But maybe they will once Counterpart airs.
[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius
What I learned: If you’re interested in high concept material, make sure you consider your idea’s “delivery capsule” before you start writing. A delivery capsule is everything the audience will see onscreen. If you have period piece settings and monsters and swords and sandals and tons of characters and locations, a la Game of Thrones, you only have a couple of places to pitch to (HBO and Netflix). But if your delivery capsule is modern day Bucharest with zero special effects, you can pitch that to any network on television, which increases your chance for a sale.
