Genre: Dark dramaPremise: A haunting erotic tale about a student who drifts into a unique form of prostitution.
About: Starring Emily Browning and currently in post production, this script landed somewhere in the middle of the 2008 Black List. The writer, Julia Leigh, is making her writing and her directing debut. Have to give her props for that. Not many people can swing that their first time out. This is the original draft that ended up on the Black List two years ago. But I’m betting it’s been reworked and fleshed out since then.
Writer: Julia Leigh
Details: 66 pages (This is an early draft of the script. The situations, characters, and plot may change significantly by the time of the film’s release. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

Browning

Staying with yesterday’s theme, I have yet another script which laughs at widely accepted screenwriting practices. As you can see, it’s only 66 pages long! Let’s not get ahead of ourselves though. The writer, Julia Leigh, may have been writing this as sort of an extended scriptment, a la James Cameron, for herself. Since she directed the movie as well, a lot of the heavy literal description may have just been her preparing for the visual task of each scene. Either way, it appears this unique draft got out and gained a cult following.

The story follows a young woman named Lucy. We meet her as she’s subjecting herself to a trivial medical experiment. We understand right away that Lucy needs money. After working an additional waitress job that evening, she goes out for the night, does some coke with a strange woman, and sleeps with a man she just met. Apparently Lucy’s moral compass is a little out of whack. This young woman is detached from just about every emotion available.

Then one day she answers a mysterious ad in the paper, travels to a mansion in the countryside, and is offered a job by a “Madame” named Clara. Lucy will be a “waitress” at high end events. The pay will be $250 an hour. However, it’s understood that men may “choose” her. This is where things get interesting. If she’s chosen, she’ll be taken to a room and drugged so that she will have no memory of the events. The men may do anything they want to her as long as they don’t leave any marks, and as long as there’s no penetration. When she wakes up, she leaves and goes on with her everyday life.

Obviously, the story begins focusing on these events. We watch hesitantly as a nervous Lucy goes through the meeting process with the men, takes the “forget” pill, then wakes up the next day with no memory of anything. Like her, we don’t get to see what happens. We don’t get to see what these men do. This throws our curiosity into overdrive and is the big hook of the movie. In our minds, we’re thinking: “No penetration. No marks. What in God’s name are these men doing?” The possibilities are endless and the longer the story goes on, the more curious we get.

Of course, the story *doesn’t* go on for very long (it’s only 66 pages!), and the lack of an extensive middle act prevents an opportunity to get into why Lucy chose this bizarre lifestyle, how she’s become so absent and detached from life. We only get glimpses into these past windows, such as her friendship with a dying alcoholic, and it never quite feels like enough. We want more.

However, in the end, it doesn’t matter. Once she starts the “sleeping beauty” job, we’re entranced. We want to know what’s happening when those men come in and how it’s all going to fall apart. Because it has to fall apart, doesn’t it? I mean, if you’re subjecting yourself to sleeping beauty fetishes, it can’t end well, right?

Despite the bizarre structure, the curious first act, and some strange characters whose point I’m still trying to figure out, Sleeping Beauty excels in two categories. The first is tone. The tone here is dark, dreary and unsettling. The way Lucy subjects herself to life’s worst situations is just a sad empty experience. But it’s consistent and it’s real and it works. It hits us hard enough that we want her to find happiness. We want her to find a way out of it. The second is the big one. This script’s central mystery – what happens during those sleeping beauty sessions – is so powerful as to make you forget every other misstep in the script. It’s just such a compelling question. What are these crazy men doing to her??

I know there are some people who are going to hate this script. One of my friends I recommended it to wrote back, “What the fuck was that?” But that’s its strength. It’s a weird polarizing story that doesn’t follow any sort of structure, and I’m betting that’s why it caught the imagination of enough people to vote it onto the Black List. Step into this one cautiously. It’s an odd but strangely entertaining journey.

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

What I learned: This does NOT negate the 13 Things that make a great script post. In my opinion, following that list still gives you the best chance at writing something great. I’m merely showing you that there are other ways to do it, even if these other ways are a huge gamble. If you can blow someone away with one aspect of your script (in this case – the mystery), you can make people forget about a lot of its weaknesses.

Genre: Western
Premise: A group of bandits use the cover of a torrential thunderstorm to rob the occupants of a small town.
About: The Brigands Of Rattleborge was the number 1 Black List script back in 2006. Warner Brothers later optioned it. It has since gone through some revisions but is still waiting to be made.
Writer: S. Craig Zahler
Details: Original 2006 draft (This is an early draft of the script. The situations, characters, and plot may change significantly by the time of the film’s release. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

I can’t believe it’s taken me this long to review Brigands. It’s one of my favorite scripts. Better late than never, right? Before I get to the actual review, let me give you a little backstory on my mindset when I read it. I knew this was a highly rated Black List script, but I was far from a Western fan. Something about that era and that time is just hard to relate to for me. And let’s be honest, Westerns aren’t exactly burning up the box office. The system will take a shot with one every few years (Jonah Hex – albeit a stylized Western – is an example), but they’re usually considered a risky bet. However, this is the very reason I wanted to read Brigands. I figured if this many people liked a Western, one of the hardest genres to sell, then there must be something special about it.

Part of the reason I wanted to review it today was because we’ve been talking about what a “great script” is these last couple of weeks and I’ve been giving you examples of scripts that perfectly fit my “13 Keys To A Great Script,” but I wanted to show you the other side of the coin. I’d consider Brigands a great script and yet it DOESN’T follow a lot of the “great script” protocol. It’s 137 pages. It definitely doesn’t start off fast. So I thought it would be interesting to look at why it still works.

Brigands begins with two cowboys asking an Indian Chief to perform a fierce rain dance to bring a lethal storm down on a nearby town. What we’ll later find out is that the rain storm is a cover for our baddies to go in and steal from the town’s richest residents. This is where Brigands deviates heavily from convention. It uses the next few days and 60 pages (SIXTY!) to introduce us, in exquisite detail, to each and all of the main characters who live in the town. These, of course, are the people who will later get robbed.

Now 60 pages of character work and no plot are akin to strapping a REAL ticking time bomb to yourself and jumping off the Sears Tower. In short, it’s a quick recipe to el scripto destructiono. But what we find out is that Zahler is a master at creating characters, from their picturesque descriptions to their inner and exterior conflicts. Every single person in this script has something interesting going on.

More importantly, there’s a reason he decides to take so long in this part of the script. Zahler knows you won’t care about any of these characters dying if you don’t know them intimately. This is why we spend so much time with them. When these people do end up getting murdered, you feel it. It hits you because you know them so well. You’ve just spent 60 straight pages with them!

The story is anchored by three of these characters. You have Billy Lee, the heartless gunslinger who would shoot his own child if it got him an advance on his paycheck. He’s the man who will be doing all the killing. You have Pickett, the 50-something by-the-books Sheriff whose only concern is keeping the peace. And finally you have Abraham, the dark mysterious doctor/drifter who somehow knew the town was in trouble before they did. He’s here to settle a score, a score that goes back a long ways.

When the storm finally hits, Billy Lee and his gang slip in and out of the houses, leaving a trail of ruin wherever they can. The gang tortures, rapes, and murders anyone in their path. Most of this is described in horrific detail. We truly feel the horror of what’s happening. When it’s all over, when they’ve got the money and have hightailed it out of there, Pickett receives devastating news. Someone very close to him has been killed by the bandits. As a result, he’ll have to put all that moral highground aside, and team up with a most unlikely adversary – Abraham.

The reason the script works is simple. Its character goal, the driving force behind the story, is the strongest character goal I think I’ve ever read. Revenge on its own is an incredibly powerful driving force. But here, we got to know the person who was murdered. We know how much it hurts our hero. We felt that love between them. For that reason, we desperately want retaliation. This isn’t just his revenge story, it’s ours.

What I loved about Brigands though, is it adds this second mysterious element in Abraham. This man who dresses in all black, who makes his own bullets, who’s a doctor (what’s a doctor doing here??). The evolving mystery behind his character is the perfect counterpart to Pickett’s revenge story. We need something to balance the relentless horror of that thread, and he does it perfectly. Not to mention, the actual revenge scene, the way Abraham takes care of one of the bad guys, is probably the most memorable revenge moment of any movie in the history of film. Yes, I just said that. It’s that good!

So the closeness we feel to these truly unique characters combined with the unstoppable driving force of a relentless revenge story are the reasons this script has always hit me on a deep level. It will stay in my Top 5 until it gets made. It’s just a great script.

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

What I learned: Very simple. I learned from The Brigands Of Rattleborge how important it is to have a great villain. Billy Lee is so evil, so despicable in this script, that all we can think about for 2 hours is him getting his just due. You’d be surprised at just how into your script a reader will be just to see the villain fall.

Genre: Horror
Premise: A 1930s expedition to Antarctica results in a slew of horrifying discoveries.
About: So in light of Del Toro recently dropping out of The Hobbit, I decided to review one of his older and more beloved scripts, At The Mountains of Madness, based off of H.P. Lovecraft’s 1931 novella. But before I do, can we all just agree that MGM shouldn’t be responsible for anything that involves money. I think I have more money in my checking account than these guys do in their entire 2010 budget. The Hobbit is going to be locked up for decades unless someone pries the property away from this black hole of a studio.
Writers: Guillermo Del Toro and Matthew Robbins
Details: 107 pages – undated (This is an early draft of the script. The situations, characters, and plot may change significantly by the time of the film’s release. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).


I can’t say I peruse through 1930s literature much. These days, the only literature I have time for is entertainment blogs. Oh, and the occasional screenplay of course. As a result, I didn’t know much of anything about “At The Mountains Of Madness.” I knew Del Toro co-wrote it and that meant there’d be at least half a dozen monsters with eyes in weird places in it, but other than that, zippo. That’s not to say I don’t like Del Toro. He’s a gifted director. But I think he’s got Tim Burton syndrome, where he cares so much about his creatures and set design that he kind of forgets about the story. So as I joined this exhibition, I really had no idea if I’d enjoy it.

It’s 1939 in Tasmania when the whaling ship “The Arkham” appears seemingly out of nothingness, abandoned and barely aflaot. An inspection team finds dead bodies, mummified dogs, and one lone survivor, a crazed man named William Dyer. Dyer is adamant about keeping “them” away, whatever “them” is. He is clear that if they get out, the world will become a living hell. I hear the same threats on an average Santa Monica street corner, but something tells me Dyer’s spittin truth.

He explains to the men that nine years ago he agreed to be a part of the biggest Antarctic expedition in history. Two ships, The Arkham and The Miskatonic, would take with them the biggest portable drill in the world, two dog sledding teams, three planes, dozens of team members and thousands of pounds of food to the ice-ridden continent. Their goal? To explore the last known frontier.

The leader of this expedition, the bullyish but determined Gilman Lake, recently discovered the fossilized remains of an odd creature, a creature never before seen by man. This trip to Antarctica may finally prove where the creature originated. And, if they’re lucky, it might lead them to more of them, possibly still alive.

So after months of, you know, floating forward, they finally make it to Antarctica, and when the morning fog lifts, they’re baffled to find themselves surrounded by huge mountains. And when I say huge, I mean “dwarf Mount Everest” huge. Everyone is a mixture of confused and fascinated. At the top of these mountains, the men believe they can make out…structures. But that can’t be. How could anybody get up that high to create anything, let alone live there?


Complicating things is the funky way their location plays with time. By some strange coincidence, all their watches and clocks have stopped at exactly 6:14 am. Chalking it up to polarity and magnets, the team sets their sites ashore. But almost immediately, they’re met with the first strange creatures of this world, 8 foot tall blind albino penguins that just…stand there.

Lake could care less about all the weirdness. He wants to explore and he wants to do it pronto. So onto shore they go. If they thought things were weird on the boat, that was like a creep appetizer. This is the whole damn creepy food chain.

The 6:14 time dilemma morphs into a full blown breakdown of the laws of physics. When they bust out the planes and start flying around, mountainous cliffs a full five miles away, all of a sudden appear less than 100 feet in front of you, all within a matter of seconds.

More creatures, increasingly weirder, are discovered on the mainland, along with something so terrifying it will change the very way we view life on this planet. This is the kind of place that could put a permanent end to the phrase “When hell freezes over.” Because by all accounts, it just has.

The idea here is to grab every bit of information they can find and get the hell out in one piece because it’s only getting colder and the boat isn’t going to survive in this weather forever. Of course, as we already know, most of them don’t make it. Which leaves us with the question – how did the group meet their fate?

I’m always blown away when someone’s imagination takes me to a place I’ve never been before, so count me a thousand-times blown away that this particular story was conceived by someone 80 years ago. Outside of the tentacles jutting out of people’s bodies (which obviously reminded me of The Thing), half the stuff here was more imaginative than what I’ve read in every horror script in the past two years. There’s something beyond disturbing about 8 foot tall blind penguins that just stand there and do nothing. No matter what I did, I couldn’t get that image out of my head.

I also loved the idea of fragmented time and space. It added a layer of complexity that made every potential circumstance they encountered even more unpredictable than it already was. I loved the revelation of how the creatures got there, what giant secret ultimately rests in the region — I even loved the simple but effective setup – two huge ships packed to the gills with equipment and men, looking for new life on the last unexplored continent.

The only area where At The Mountains of Madness falters is in how it handles its dozens of characters. When we get to Antarctica, we get splintered into about five separate storylines. My issue is that none of the characters in the groups seems to know about or care about any of the other characters or what they’re doing. As a result, the storylines feel self-contained, almost like vignettes, instead of parts of a larger whole.


This is a problem for me because it’s so easily remedied. You need those carefully placed scenes in a story like this where the leader of the group, whoever she/he may be at the moment, makes it clear to both the characters in the story, and to us, the audience, what the current plan is, how long it’s supposed to take, who’s doing what and why, and where they plan to meet back up after it’s over. It’s only natural that a team would approach a problem in such a manner. That way, the story has a destination for every character, and even if everything goes to shit, there’s still form to it. There’s still a spine in place for the characters to latch onto.

Aliens does a great job of this. Despite the characters constantly getting split up, we’re always kept in the loop about what everybody’s plans are (i.e. “Bishop crawls to the far bunker to remotely fly in a second ship – we barricade the area so the aliens can’t get in”) so we’re never confused about where anyone is or what anyone’s doing. Here, that’s not the case. Certain characters just go off on their own and everybody else be damned. It feels sloppy, and as a result, the story misses that focus that all great multi-character movies seem to have.

But that doesn’t negate the fact that this is still a blast. Even if the storylines aren’t as dependent on each other as I would’ve liked, they’re all, for the most part, interesting. There’s usually a new surprise around every corner and most of those surprises are engaging and/or satisfying. So in the end I really dug this, and see why it’s become somewhat of a cult classic in the screenwriting world. Del Toro is wondering what to do next. Why the hell doesn’t he go back to this? It sounds more interesting than the other projects he’s playing with.

Script link: At The Mountains Of Madness (This script is meant for educational purposes only. If you are the writer or copyright holder of this script and would like it taken down, please e-mail me at Carsonreeves1@gmail.com and I will do so immediately)

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

What I learned: Sometimes the most benign things in a movie can be the scariest. I’ve noticed this trend in horror films where we’re trying to make the creatures bigger, badder, and more frightening than anything that’s come before them. It’s for this reason that something that SHOULDN’T BE SCARY AT ALL can be as horrifying as anything we’ve ever seen. Case in point, the scariest thing in At The Mountains Of Madness is based off a cute cuddly universally loved animal – the penguin. They may be 8 feet tall here, but they’re immobile and blind, essentially harmless. Yet it’s that harmlessness that makes them so terrifying. The lesson? Don’t always go with the obvious choice. Do a 180 and go in the opposite direction. You may find yourself with the scariest creature/situation of all.

Genre: Comedy
Premise: A man is forced to travel cross-country with his annoying brother in order to get to his wedding.
About: Disney picked this spec up back in 2009 for 250k. Kopelow and Seifert have been writing for TV for over a decade, having worked on shows ranging from “Kenan & Kel” to Oxygen’s “Campus Ladies.”
Writers: Kevin Kopelow and Heath Seifert
Details: 98 pages – May 16, 2008 (This is an early draft of the script. The situations, characters, and plot may change significantly by the time of the film’s release. This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting).

My vote for the most annoying person in the world. Who’s yours?

The best “two guys stuck together traveling cross-country” movie is Dumb and Dumber by a mile. The script was actually a bit of a gamble when you think about it. Whenever you write about two people stuck together in any situation, the traditional approach is to make one guy the “crazy/dumb/weird” guy and the other guy the “straight man.” The extreme contrast between the two characters usually provides the most potential for comedy. The Farrelly brothers said screw that and just put two idiots together. Somehow, we got a classic.

The Most Annoying Man In The World goes back to the more traditional pairing of super extreme guy and super straight guy, and proves that it’s still a safe bet when done well. Stuart Pivnick IS the most annoying man in the world, and I have to give it to Kopelow and Seifert for giving us one of the best descriptions I’ve ever read in a comedy. Stuart is described as… “an enthusiastic, hyper, immature, naive, nosy, arbitrarily opinionated, completely un-self-aware, chronic complainer with no sense of personal space.” I love how they not only have fun with the description, but how it perfectly portrays Stuart in the process.

Across the country, finishing his bachelor party in Las Vegas, is Stuart’s brother, Alan. Alan is basically the opposite of everything Stuart is. He always wants to get everything right and boy has that become a problem with his wedding fast approaching. Everything seems to be going wrong and Alan is having to do damage control minute by minute from 2000 miles away.

Alan also hasn’t spoken to his brother in over a decade. Why? Well because he’s the most annoying man in the world! In fact, so relentlessly annoying is Stuart, that Alan’s created a ruse whereby he works at a remote research facility in the middle of the South Pole, one where he’s supposedly unable to communicate with anyone outside of his research operators.

But when Alan gets stuck at O’Hare and all of the day’s flights are canceled, he’s forced to call the only person he knows in town. Stuart.

Stuart, of course, is thrilled! He loves Alan more than anything. And when’s the next time the government is going to let his poor brother out of that research facility? So he welcomes Alan in with open arms, situating a second mattress inside his bedroom so they can both sleep together, then proceeds to read out loud and sing in his sleep all night so that Alan doesn’t get a wink of rest.

Despite being late the next morning, Stuart drives the exact speed limit to the airport, and this leads to a series of problems which result in Alan missing his flight. But Stuart comes up with the wonderful idea that they just drive to Philly together! With options dwindling, Alan agrees. Because Alan can’t tell Stuart *why* he needs to get to Philly so urgently (there’s no way he’s allowing Stuart to come to his wedding), it results in a logistical nightmare, as more and more wedding plans continue to fall apart, and Alan must manage them without letting Stuart on to what he’s up to.

The two take many detours, with Stuart repeatedly screwing everything up as much as humanly possible. He has a medical condition that forces him to eat at EXACT times, flipping out if he’s even a second late. He listens to movie scores in the car and makes up his own words to them (He’ll listen to E.T. and sing “E.T. likes reeses pieeeeces. He’s going home soooon.”) He likes to play games like “Guess a number between one and a million” where Alan picks a number and Stuart keeps guessing which number it is til he’s right. He truly is the most annoying man in the world. And for the most part, it’s really funny.

But like I always tell people who write comedies, you have to have the story and the emotional element up to the level of the comedy, and Kopelow and Seifert do a great job with that here. This is just as much about getting to Philadelphia without letting Stuart in on his wedding as it is about funny scenes. It’s just as much about two brothers reconnecting as it is about making an audience laugh.

I saw “Get Him To The Greek” this weekend and what baffled me was just how unimportant the story was. Nobody really gave a shit about GETTING TO THE DAMN GREEK! Outside of Jonah Hill half-heartedly reminding Aldous every few scenes, nobody, from the record label to the fans, gave a shit whether Aldous made it to his concert or not. I remember that at least in the original script, Aldous hadn’t played a concert in 10 years. So it felt like the concert actually meant something and was a special event. Here, he plays a fucking concert in the middle of the damn movie!!!, completely sucking dry any of the importance of the concert that’s supposed to be the whole damn point of the movie! – My point is, if we don’t feel the push of the story – If that isn’t completely dominating the narrative – then none of the comedy freaking matters. The Most Annoying Man In The World, much like The Hangover, feels like the characters’ plight actually matters and isn’t just a convenient destination for the movie to end.

My only real complaint here is that the script needs to axe some of the generic situations its characters find themselves in. At first, going to a carnival/theme park sounds funny, but in the end it has very little to do with their specific journey, and therefore feels more like a desperate laugh grab than a logical story sequence. In fact, I think all of the set piece scenes here could use a jolt, except for the car getting stuck on an ice sheet scene – which had me laughing for a good five minutes. I thought The Hangover did this well. In the initial draft of that script, one of the guys wakes up to find out he was at a gay bar the previous night. I couldn’t figure out why they ditched that in the film, but then I realized we’ve seen that before. We’ve never seen characters steal Mike Tyson’s tiger though. It just reminded me how you have to push yourself to come up with original sequences in comedies.

Overall, a solid comedy. And more importantly, one I think could make a great movie.

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

What I learned: Comedies, more than any other genre, allow you to tell your story in the title. 40 Year old Virgin. Knocked Up. This is obviously a huge advantage in an ADD Twitter-obsessed 5-second-version no-fat-allowed world. But don’t just sum up your movie in the title, make sure it’s still funny and/or jumpstarts the imagination for what kind of movie it could be. 40 Year Old Virgin did the best job of this (I immediately thought of all the hilarious scenes you could have of a 40 year old man trying to get laid for the first time) and the 2008 spec sale “I Wanna F— Your Sister” also did a wonderful job. But that doesn’t mean it’s easy. There’s still an art to it. “Two Guys, One Who’s Dumb, Roadtrip To Marriage,” may tell us your story, but doesn’t roll off the tongue. So if the opportunity’s there and you come up with something clever, do it. If not, specs like “Due Date” and “Cedar Rapids” are still selling. So don’t sweat it.

Yes! I am so glad Roger’s finally reviewing Kashmir. I’ve been hearing great things about it forever and have repeatedly meant to read it. Plus, as a bonus, he applies my 13 Keys to a great script and sees how Kashmir stacks up. I mean, I have to love this review, right? — This is what happens when you write an awesome spec. You get work. And Weiss has gotten worrrrrrrrrk and then some. Anyway, as promised, I’ll have at least one horror review for you this week – on Wednesday – and let’s just say I was pleasantly surprised. I have a sharp funny comedy review for tomorrow. Thursday and Friday are up for grabs. Enjoy Roger’s review!

Genre: Drama, War, Thriller
Premise: Three ex-mercenaries stumble upon information concerning the whereabouts of the world’s most wanted terrorist. They journey into Kashmir, the dangerous and disputed territory between two nuclear powers in order to claim the $50 million bounty on the terrorist’s head.
About: D.B. Weiss’ “Kashmir” was on the 2005 Black List with 2 votes. In 2008 it was acquired by Relativity Media with Jean-Jacques Annaud (Seven Years in Tibet) attached to direct. Weiss is a graduate of the Iowa Writer’s Workshop and is the author of the videogame-themed novel, Lucky Wander Boy. Back in February, I reviewed a draft of Orson Scott Card’s Ender’s Game adapted by Weiss. Weiss has also penned drafts of the I am Legend prequel for Warner Bros., Halo and an adaptation of George R.R. Martin’s A Game of Thrones for HBO with David Benioff.
Writer: D.B. Weiss

This is a tale of three men.

One is motivated by desperation.
One is motivated by greed.
One is motivated by guilt.
This is the story of what happens to these men when they venture into volatile territory occupied by Jihadis, separatists and murderous native tribes in order to capture the world’s most dangerous man and claim the fifty million dollar bounty on his head.
Who is the man motivated by desperation?
Frank Pierce is former Marine Recon now working a boring high-tech menial labor job where he spends his hours soldering connections on circuit boards at International Navigational Technologies. He’s lorded over by MBAs fifteen years his junior and his soul seems to be slowly dying because he’s living a life that doesn’t call for his unique set of talents and expertise.
See, Pierce is really good at tracking things, specifically, other human beings. He’s a hunter. It’s a pretty specialized talent (huh, kinda like screenwriting?), and when he was in Marine Recon, or even the independent merc contractor, Executive Armor, he was able to use this talent. His official title? Full Service Independent Operator.
As an operator that could do the one thing he was good at every day, he thrived. Pierce was truly alive then.
But then, he met a girl, and realized, “I’d rather spend my life with her than with a bunch of sweaty guys in a South American jungle.” And together, with his wife, Linda, they had a daughter named Emma.
When the story opens, little Emma is watching a news broadcast that shows the aftermath of a terrorist bombing at the American Airlines Center, home of the Dallas Mavericks, in Texas.
Over two thousand people have been killed and Emma asks, “Dad, where’s Dallas?”
And this simple question from his five year-old daughter plants a seed of unease in Pierce, something that he’ll hold onto and try to convince himself is his true motivation.
Who is the man motivated by greed?
Carl Serra is a mad dog living the ex-private military man’s existence in the Philippines. He seems to spend a lot of his time gambling, which is what he’s doing when we meet him. A typical wise-ass, he beats some Filipino men at a hand of poker and says, “I thank you, Texas thanks you. And Uri thanks you, for giving me money I will no doubt piss away right here at this bar.”
We’ll get to Uri in a minute, but Serra drunkenly ambles home to his low-rent guesthouse, but is immediately accosted by Smiley, the Filipino man he pissed off, and his thugs. “You take my money, Funny Man. We need my money. We need it for important things.”
“So why’d you gamble with it?”
A reasonable question, but one Smiley doesn’t bother to answer. As he takes his pesos back from Serra, his thugs debate in Tagalog whether they should use a gun or a knife. They opt to use a knife, to which Serra replies in their own language, “Wrong choice.”
Serra Jason Bourne’s the knife out of their hands and quickly kills everyone in the room with it, even gutting a man like a trout. He strangles Smiley to death and goes through his possessions.
He finds a handwritten list of phone numbers that piques his curiosity.
Who is the man motivated by guilt?
Uri Tzur is the Israeli proprietor of the bar Serra operates out of, a former Israel Defense Forces soldier who can speak fluent Arabic. Actually, he went AWOL from the IDF, and it’s not something we think about much until a breathless sequence at the mid-point of this tale reveals his tragic back-story.
Compared to the other two soldiers, Uri thinks he’s dead weight, but the fact that he can speak Arabic makes him the fail safe for their plan. And as such, he’s at the center of one of the most intense scenes in this script. I mean, can you imagine the terror of being Israeli and having to infiltrate a network of caves by pretending to be an Arab jihadi? It’s a tense trial and the pure drama drawing off the historical context of the bigger conflict is staggering.
So who is the most wanted man on the planet?
His name is Sayim al-Bakr and he’s the man who has assumed leadership of al-Qaeda. He’s also the man responsible for bombing the American Airlines Center in Dallas.
Yep, he’s pretty much a narrative analog for Osama bin Laden.
OK. So that list of numbers Serra finds. They have to do something with Sayim’s location, right?
Smiley was a terrorist bomber in league with Sayim. The numbers are a list of one day satellite telephone numbers that Sayim’s men are using to communicate with the rest of al-Qaeda.
Serra phones Pierce, and Pierce uses his resources at International Navigational Technologies to trace the numbers. Serra and Pierce worked together, a long time ago, on a security detail for an Iranian dissident when they worked for the Halliburton suits.
Pierce calls the CIA and tries to inform them that Sayim is in Kashmir, a territory US troops haven’t set foot in for quite some time. But America is looking in Afghanistan or Iran, a thousand miles in the opposite direction, and they have a hard time believing Pierce because they don’t know who he is. And the CIA is reluctant to check the coordinates, because they would have to go to their supervisors, who would have to put in a request to Naval Intelligence and it’s all too much red tape for them to deal with.
With each passing day, they lose a number, and when Pierce sees that there are only seven numbers left, he finally decides to team up with Serra and take matters into his own hands, “We’ve got seven days.”
“We’re talking about hunting the worst man on Earth –-“
“– three guys, setting out to do a job the whole free world is crapping out on.”
So they go to Kashmir. But are they going to bring in Sayim al-Bakr dead or alive?
So, armed with the numbers and days as their ticking clock, a GPS device, cover as journalists for Outdoor magazine, and weapons, they trek through fifty miles of hostile terrain into the mountains of Kashmir. Their plan is to nab Sayim, bypass the Indian Army Base on the border and take him to the CNN field office at Srinagar where they collect their fifty million bounty and their names go down in the history books as heroes.
But this is where it gets interesting. Because Serra and Pierce have different motivations, they disagree. Pierce convinces himself that he’s doing this to protect his daughter, his wife, the citizens of his country. Sayim has war plans in his head that can surely be extracted. Serra just wants the bounty, and to him, he’d rather bring in Sayim dead than alive. It’s less problematic that way. And Uri is caught in the middle of this struggle, a conflict that gets heated with every obstacle that gets thrown in the way of their mission.
What about the action?
The second act involves double crosses by native drivers, a grueling march through wilderness, infiltrating a cave system that’s heavily guarded by terrorists and a snatch and grab that tests the physical endurance and psychological well-being of our heroes. It’s a tense adventure, a pressure cooker that frays loyalties and plants paranoia.
The third act explodes into all sorts of fucked-up fun when the arrival of someone who may or may not be a rival bounty hunter, Saint Nick Howard, causes our heroes to finally team-up as a unit or all-out compete against each other. Will they put their warring ideologies aside to work together or will their mission end in tragic circumstances by their own hands?
There’s a firefight on a treacherous mountain pass, a pretty awesome bridge battle with rocket launchers and derring-do, and a race through a mine field that’s probably as suspenseful as anything in The Hurt Locker.
Just for fun, let’s see how “Kashmir” measures up to Carson’s 13 Qualities of a Great Script:
1)AN ORIGINAL AND EXCITING CONCEPT – I’m sure many of us have thought, man, why haven’t they caught Osama bin Laden? Well, here’s a concept that fantasizes about that question and runs with it, with pretty riveting results.
2)A MAIN CHARACTER WHO WANTS SOMETHING (AKA “A GOAL”) – They want to capture Sayim and collect the fifty million dollar bounty. And everyone has a different reason for doing it.
3)A MAIN CHARACTER WE WANT TO ROOT FOR – Pierce is a family man who not only wants to protect his family, he wants to live a life where he can use his talent and feel valuable. We can all relate to that in some way, I think. Serra is an asshole, but he’s a funny and likeable asshole who can dispatch the bad guys in impressive ways. Uri has a sad back story that makes us sympathize with this mysterious character.
4)GET TO YOUR STORY QUICKLY – Page 15. Our main story goal is capture Sayim. Every scene before that even hints at it in some way, letting us know what this is about. And on page 15 the characters start talking about it, even if they were thinking about it for 14 pages before that.
5)STAY UNDER 110 PAGES – Nope. This is 123. But this is epic storytelling, and I was never bored once by it. It was so suspenseful I didn’t mind spending extra time absorbed with it. It’s a page turner.
6)CONFLICT – Characters on a mission who disagree with each other. All the other characters in the script are either trying to kill them or steal their bounty. Yep. Loads.
7)OBSTACLES – I think this script explores everything that can go wrong when entering hostile territory to capture the world’s most wanted man.
8)SURPRISE – Uri and Saint Nick Howard are characters that hide surprising secrets. Every fifteen pages has something that spins the plot in an interesting direction. The resolution is a big What If?
9)TICKING TIME BOMB – 7 Satellite Phone Numbers. 7 Days to find Sayim.
10)STAKES – Everyone’s life is on the line. What starts out as about money becomes something else. Philosophies, ideologies and morality collide against each other. The personal stakes symbolize a bigger historical conflict.
11)HEART – Pierce wants something that’s more than money, and he goes through hell to reach for it.
12)A GREAT ENDING – Sad, satisfying, thought-provoking. Doesn’t feel false. It feels right, like this is the only way it could have ended. That’s a good sign.
13)THE X-FACTOR – Look man, D.B. Weiss comes from the Iowa Writer’s Workshop, a workshop that has produced 17 Pulitzer Prize winning writers and Kurt Vonnegut, Jr. Guy can writer. And it’s not in that anorexic, breezy style that everyone else is so fond of. His language and voice is something that cannot be replicated. And the feel of this thing reminds me of something by John Milius or Walon Green. A script written with weight, machismo and command of the language.

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

What I learned: The turn into the 3rd Act is something I think about a lot. Sure, this is usually a point where there’s another twist in the story, but it’s also a place where everything gets so bad for our heroes you wonder how the story can possibly resolve itself. Here, Serra and Pierce’s arguments and motivations collide and lines are drawn and you think they’re going to kill each other. And as they’re fighting amongst themselves, the enemy capitalizes on the situation and tries to kill them. And the twist, or plot point here, is that another character crashes the party, someone revealing himself to be someone else. And although this character may save their lives, he’s also compromising their goal because he wants to claim the bounty for himself. There are layers to the conflict. And worst of all, the terrorist they’ve captured escapes and then everyone gets separated. It’s like the writer thought about everything that could possibly happen to the characters that they DON’T WANT TO HAPPEN. So, at this moment where the shit hits the fan, think of your character’s worst fear involving their goal. Then hit them with that fear to see how they’re going to hit back.