Genre: Sci-Fi
Premise: A group of time-travellers jump back to 12th Century China in search of a rare gene that will save mankind. Problems arise when they find themselves in the direct path of Genghis Khan’s army.
About: Details are scarce about this one, but it was acquired by Sony earlier in the year. David Gleeson is an Irish writer-director who wrote and directed a couple of small features in his home country.
Writer: David Gleeson
Details: 116 pages – Feb 10th 2010 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).

When trying to find out more about this low-key project, I made a call out to my Facebook peeps for more information. A Scriptshadow reader chimed back, “This sold?!! I thought this was going to be the Amateur Week special on Friday. It is so f**kin’ bad!”

To you, Mike, I say….I couldn’t disagree more!

The End Of History starts out much like the sci-fi darling “Children Of Men.” It’s the near future and less than 5000 women in the world are pregnant. Something is preventing the human race from procreating, and if it continues, in about 90 years, earth will look like downtown Pyongyang.

Cool-headed Nathan Scott, however, is going to make sure that doesn’t happen. No place should look like Pyongyang dammit. The Colonel is leading a combination military/scientist team back to 12th Century China, where they’ve located a band of warriors that contain the extinct gene which can reverse the procreation problem.

Scott has a vested interest in the mission. His baby daughter is fighting the killer disease, and won’t live without a gene transplant.

The mission is supposed to be simple. The clan they’re targeting is militarily formidable for the 12th Century, but their weapons might as well be toothpicks compared to what the Americans are packing. Actually, there’s a specific reason the Americans chose this clan. In 100 years, Genghis Khan will wipe every single one of them out on his march through China, permanently erasing any historic influence their presence may have had.

Indeed, when they jump, the sailing is smooth. They infiltrate the fortress without much resistence and the sci-tech team quickly goes to work extracting the gene. But after sending up a quick satellite to get a lay of the land, a horrifying video plays back. An army of 100,000 soldiers is marching DIRECTLY TOWARDS THEM.

Genghis Khan’s army.

There was a malfunction in the jump. They jumped back 100 years LATER than they were supposed to. Which means they’re right in the path of that Ghegis Khan massacre that was the whole reason they chose this location in the first place. Ahh, the irony.

To make matters worse, the hastily scrapped together tech starts malfunctioning in bunches, and after a major explosion, their time travel apparatus is all but toast. The group realizes they can salvage a small piece of the flux-capacitor, but only enough to send a message into the future, not to jump. Their plan is to fix it as fast as possible and send out an SOS. But even under the most optimistic time frame, Genghis Khan is going to arrive before they finish. And that means the unthinkable. A group of rag-tag 21st Century American soldiers is going to have to hold off the most ruthless army in history.

Will they be able to do it?

I have to give it to Glesson. This script straddles the line between ridiculous and awesome so finely that at first I wasn’t sure which side it would land on. But after it got going, I decided on awesome. Usually, in these sci-fi/historic hybrids, either the sci-fi is shoddy and the history is exceptional, or the history looks like it was researched by an 8 year old and the sci-fi is brilliant. Rarely do you find a script where both are handled well, but that’s exactly what happens here, and why I liked the script so much.

And believe me, this isn’t easy to do. One only needs to “travel back” a few years to the abombination that was Timeline to see how to royally fuck up an idea like this. I don’t think I’ve ever heard, read, or seen a time travel story as bad as that monstrosity. There were two castles. People were running back and forth between them for no reason. The time travel had 16,814 rules you had to remember. It was embarrasingly bad.

What The End of History wisely does is it keeps the time-travel plot simple. There’s never a moment where you don’t know exactly what the portagonists’ goals are, and that’s important in a script like this.

I also loved the technology of the war. Oh, I’m not talking about the 21st century technology. I’m talking about all the wacky weapons Khan had in his arsenal. This guy had rudimentary Napalm at his disposal. He had early versions of dirty bombs. He even had an ancient version of the damn Predator (the pilot-less airplane). Watching him unleash these toys on a shell-shocked 21st century army was, in a word, sweet.

However, there were things that kept this from becoming the next Source Code. First, I’m getting tired of these serviceable but ultimately unimaginative motivations for main characters. Yes, Scott has a daughter affected by the killer disease, and that makes his mission personal, but it’s such a derivative motivation that it doesn’t resonate with us. We’ve seen it so many times before. Contrast that with Leo’s character in Inception. Sure there were some problems with the kids storyline, but I have to admit, I don’t remember seeing a character with that particular motivation before, which made it original and therefore powerful.

Also, to echo my sentiments on Layover, there needed to be more dissention inside the group! There’s a troublemaker here, Decker, who adds about as much conflict as an agitated Abe Vigoda. There was so much potential for his character to stir things up, but instead he observes Scott pull off a couple of neat military maneuvers and becomes his BFF. Dissention inside the group – conflict – always makes a mission/goal more interesting, because there’s more for the hero to overcome. If you want to see it how this can help a screenplay, read The Grey.

I also thought Gleeson missed a couple of opportunities. One thing he doesn’t adequately address is what happens if they destroy Khan’s army. Obviously, all of history would change. If they had to fight off this army, but only enough to keep from getting killed, and not enough to become a part of the history books – that’s the kind of unique obstacle that could’ve introduced some interesting challenges. There’s also a female character on Scott’s team who’s half-Asian. What if she were a direct descendent of someone in Genghis Khan’s army? What if killing them wiped her out of existence? Even better, what if she was the romantic lead (a surprisingly absent piece of this puzzle). That would create quite a dilemma as well.

But hey, that’s neither here nor there. Sure the script has some problems (like all time travel stories – there are some holes) but it’s a great spec premise. Contained area. Contained time frame. High concept. These are the kind of scripts that sell when written well, so I’m not surprised that it did.

Still needs to be developed, but overall, enjoyable.


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

What I learned: Whenever you write a time travel flick, you have to deal with one specific problem: “Why can’t they just go back and do it again?” The End of History, unfortunately, doesn’t deal with this question satisfactorily. But this is exactly why a franchise like The Terminator is dying. If they fail in killing Sarah Connor or her son, they can just send back another Terminator a few weeks later (or earlier). There’s no end to how many times they can try to assassinate our heroes.

The recommended solution to this isn’t as difficult as you might think. You simply have to make clear that this is a one-shot deal. Maybe the technology is unproven. Maybe the time machine is so expensive that if it breaks, that’s it. Maybe there’s something in your own time travel design that simply doesn’t allow them to jump more than once. If you do it this way, the mission actually means something. Because everyone knows that there are no second chances here. Ignore that rule, and you have a bunch of sophisticated fanboys (the core fanbase for this kind of film) in the audience thinking, “None of this matters cause they can just do it again.”

Genre: Fantasy
Premise: Conan The Barbarian becomes a reluctant king and fathers a son, who is then groomed to become the future King.
About: It should be noted that this is NOT the draft of the script they used for the new Conan project, but rather the famous 2001 John Milius draft that many geeks have fallen in love with. Alas, it was not to be, as this draft was assuming Ah-nold would be in it, and Ah-nold decided to instead bankrupt Caleefohneeya. Little known fact. Oliver Stone got a writing credit on the first Conan The Barbarian.
Writer: John Milius
Details: 166 pages – May 24, 2001 draft

For those put off by the 60 pages of character development in Brigands Of Rattleborge, I hereby warn you, do NOT read King Conan. King Conan scoffs in the face of screenplays that only use 60 pages to set up their characters. Why, you ask? Because King Conan uses one *hundred* pages to set up its characters!

I realize this is a losing proposition. Those who don’t care about Conan won’t give a shit what I rate it, and those who do care, care so much that they’ll tear me to pieces for even implying it’s not genius (I’m looking at you JJ) but holy schnikies, this script is so incredibly boring!

Yes, I said it. It’s boring. I feel almost liberated as I write that.

For 100 pages, NOTHING HAPPENS.

Well that can’t be, Carson, you say. *Something* must have happened. Okay, let me tell you what happened and you can be the judge if anything happened.

Conan The Barbarian impregnates a woman named the Daughter Of The Snows. This evil nasty woman tells Conan she doesn’t want to hang out with him until his child is born and kicks him out of her crib. Women.

In the meantime, Conan meets a man named Metallus who teaches him the importance of “fighting in a line.” You can’t break the line ever or you lose. This is obviously symbolic for many things throughout the story, but since I could never get into the story, it just became annoying that it came up so frequently.

After learning the line stuff, Conan heads back to Snowzilla to grab his son, Kon. Yes, Conan is now a father. The Conan line will live on.

Eventually, Conan becomes king of a country called Zingara, which, as many of you know, becomes famous for creating Farmville. You might say, “How is that ‘nothing’ Carson? He destroyed an entire country to become king! That’s epic. That’s exactly why we want a Conan sequel.” Well yeah, if that HAPPENED, I’d be right with you. But Conan doesn’t have to do anything to inherit the kingdom. It’s just handed to him.

Even better, once he gets it, he doesn’t even want it. Conan is about as reluctant of a king as there is – constantly sulking and complaining that being a king isn’t all it’s cracked up to be.

After awhile, Conan’s handlers suggest sending Kon off to the king version of preparatory school. Kon will study. Kon will fight. He will learn everything there is about becoming a king.

For the next 50 or so pages, we cut back and forth between Kon and Conan – Kon as he grows up and learns the ways of being a king, and Conan as he rules his kingdom. Very little happens during this period. Kon has a rivalry with one of his classmates, Fortunas (the Emperor’s son), and Conan grows so bored of being king that he pulls a Princess Jasmine, dressing up like a peasant, and hanging out with the peasant folk. Here he eventually meets a peasant woman that he falls for.

Where I officially gave up on King Conan though, was when Fortunas finds out that Conan and Kon are trading letters. The mischievous Fortunas then secretly intercepts and throws away those letters, making each believe that the other has forgotten about them.

Okay…REALLY???

I can go ahead and buy that plot point in, say, The Notebook or Beverly Hills 90210. But in a Conan sequel??

After this point I found it very hard to stay focused because everything in this script was soooooooooo drawwwwwwwn ouuuuuuuut. From what I could gather, Conan’s boredom leads to him strengthening ties with neighboring countries. But the plan backfires when one of these countries benefits from Conan’s weapons trade, strengthening their army and giving them a decided advantage over a third country. This third country starts bitching at Conan, and he realizes he’s inadvertently created a quagmire in the region.

So outside watching Kon grow up and a king attempt to stave off boredom, we now introduce into the mix… politics? Did we not learn anything from the Star Wars Episode 1 debacle?

Eventually (and I’m talking a good 100 pages into the script here when I say “eventually”) Kon comes back home, and the two try to resolve their artificially fractured relationship. This leads to an assassination attempt on Conan and finally – thank God – something actually starts happening in the script.

But let’s be honest. By that point it’s too late. You are never more drained and more frustrated as a reader than when you’re trying to keep track of a complicated screenplay that you care nothing about. It’s really the worst experience you can have. You want to get it over with, but there are 30-some names like “Lord Gobaniior” along with complicated subplots and reemerging dormant story threads that force you, against all your will, to pay attention. Ugh! I was so drained after I read this.

To Milius’ credit, it’s hard to keep people interested on the page with a story that’s so cinematic – that depends so heavily on actors, costumes, and set design. But that doesn’t excuse the 160 pages, the 100 page first act or the baffling absence of story for long stretches at a time. I remember in the first Conan, which Milius also wrote, Conan pushing that spindle as he grew from a boy into a man. That little montage was a minute long and told me more about that character (how difficult his childhood was) and drew me more into that world, then every single Kon school scene here combined.

I was going to give this a “What The Hell Did I Just Read,” because I just found nothing to grab onto in the story whatsoever. But there’s no denying Milius is brilliant with words. Combined with the extensive mythology he’s created, there’s too much skill on display for me to rate this at the bottom of the barrel, but it was so un-engaging and slow and self-important that I had no joy whatsoever reading it.

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

What I learned: Build characters through action. Not through 18 scenes that essentially tell us the same thing. I’m referring, of course, to that scene in the original Conan I just mentioned where we see him pushing the spindle into adulthood. That simple action tells us more than any dialogue ever could. Think about your favorite movies. All of the characters have moments of action that tell us who they are. We see it when Han blasts Greedo. We see it when Neo gives up on the ledge while running from the agents. We see it when Andy Dufrane DOESN’T cry that first night in Shawshank. We see it in how meticulously Wall-E takes care of the city. Those ACTIONS will always be the best way to convey a character to an audience. Favor them wherever you can.

Genre: Horror
Premise: (from IMDB) Set in a medieval village that is haunted by a werewolf, a young girl falls for an orphaned woodcutter, much to her family’s displeasure.
About: David Leslie Johnson’s script “Orphan,” made a lot of noise when it was picked up a couple of years ago. Even though it didn’t make a huge dent in the box office, I thought it was pretty good, especially the bizarre twist ending which I wouldn’t have predicted had you given me a hundred tries. Johnson has a very enviable backstory. He was lucky enough to have been mentored by Frank Darabont (working with him on both The Green Mile and Shawshank). The Girl With The Red Riding Hood stars Amanda Seyfried, Gary Oldman, Virginia Madsen, Shiloh Somebody and Julie Christie. Catherine Hardwicke, the director of the first Twilight film, is directing.
Writer: David Leslie Johnson
Details: 120 pages – revised first draft – April 16, 2009 (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).

You say I don’t do horror. A pox upon you! I do horror. I’m doing horror right now knuckleheads. I heeded all your nasty e-mails and death threats and am finally giving you want you want. Okay, none of that is true. I’m only reviewing this because I hated the other script I was going to review (“36”) and couldn’t muster up the energy to review it.

But here’s the truth. I WOULD review more horror IF there was more horror to review. It seems like every horror script that comes down the pipeline is either a shitty remake or a sure-to-tarnish-the-original sequel. All I’m asking for is ORIGINAL HORROR. Something fresh and unique, like Johnson’s previous effort, Orphan. Any spec sales that fall under that category, let me know, cause I’ll be happy to read them.

So, The Girl With The Red Riding Hood is a “gothic” reimagining of that famous fairy tale, “Little Red Riding Hood.” Johnson has been saddled with the difficult task of fleshing out this 5 minute story into 2 hours. The results are, I suppose, solid, but since this isn’t really my thing, I had a hard time getting into it.

It’s 1324 in a French village and 17 year old Isabelle is having a secret romance with fellow villager, and brooding hunk, Peter, who works for her father. However, Isabelle is told that she’s being married off to a man named Henri to settle a debt between her and Henri’s family. Don’t you just love the old days? Have a problem with me? Here, take my daughter.

Isabelle is devastated but she and the rest of the village have bigger issues to battle. A rogue wolf has been terrorizing the town for decades and while it hasn’t killed any of them recently, signs point to that changing soon. Wolf be hungry. So scared are the villagers that they send for a “Witchfinder General” by the name of Solomon. I’m, of course, wondering the same thing you are. Why would you hire a witchfinder to find a wolf? (see how bad I am at reviewing horror?)

Well Solomon, a very serious individual, is too busy being pissed off to care what I wonder. He explains that this isn’t a wolf terrorizing their town. It’s a WEREWOLF. Solomon knows all about werewolves, you see. He’s killed one before. A werewolf that ended up being his own wife! By the name of Bella! Okay, I’m kidding I’m kidding. She wasn’t named Bella.

Anyway, Solomon and his men lure the werewolf into town, where it becomes preoccupied with Isabelle, and after finally getting her alone, it TALKS. Yes, this werewolf can talk. It wants Isabelle to come off with him. Apparently it’s not a very smart werewolf or it would know that people don’t run off with werewolves! Unless of course, the father orders them to. Then it’s okay.

Afterwards, Solomon realizes that the werewolf is not some rogue wolf at all, but that it lives here, in the village. Someone, one of them, is the wolf! The town naturally starts freaking out, and the mystery is on. Which one of them is the wolf?? And will it kill them all?

Okay so, disclaimer time. This isn’t my thing. Doesn’t matter if this were Oscar-worthy writing, I probably wouldn’t like it. Having said that, it’s a solidly executed script. I admit that the one area of writing that intimidates me the most is swords & shields period pieces. Anybody who can write dialogue for a time they did not exist in, where people spoke in a rhythm and a vocabulary as familiar to us as Japanese, I have a lot of respect for. And I think Johnson did a nice job with that.

I also thought he did a good job keeping the story fresh. There’s little twists and revelations here that throw the story in another direction just when it needs it. We have a devastating family secret that’s revealed about Isabelle’s sister. We have Solomon showing up to add some ass-kicking to the mix. We have a wolf who’s able to speak. All of that really kept you on your toes.

But if there’s one type of story I don’t respond to it’s the “Let’s wait here and die,” story. When you throw a bunch of characters into a location and they just wait for the bad guys to show up – that’s no fun for me. It’s not that you can’t make it work. I just like when my characters are active, when they have plans. In Aliens, they’re not just waiting for the aliens to kill them. They’re formulating a plan to get the hell out of there. Johnson’s able to infuse the characters with some proactive moments, but in the end, they’re still just a bunch of people waiting around.

This reminds me. Didn’t the original Red Riding Hood walk through a forest? Wasn’t that the big set piece of the story (did they have set pieces back in the fairy tale days)? That she was going somewhere and the wolf cut her off? I guess I kept waiting for this long journey she would have to take through the woods, knowing that the wolf was out there, and the ensuing suspense that would come from whether she would make it or not. Not a huge deal but it seemed like that kind of scene could have some potential and it was a part of the original story so I was confused as to why it wasn’t there.

Despite this not being my cup of tea, I can see it working. The image of an innocent girl in a red riding hood is so iconic that I can’t imagine the trailer not being cool. The question is, does the public’s demand to have their werewolves with ripped abs and predetermined teams make a tale like this obsolete? We’ll have to wait and see.

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

What I learned: Hollywood likes things they know. They like to get behind stories the public’s heard of before because then they don’t have to spend a billion dollars educating them on it. You and I have heard of Red Riding hood, so there’s a familiarity factor there. There’s no familiarity factor with “Blue-shoed Thomas” or “The Old Man With The Green Jacket.” For that reason, fairy tales are a great place to look for stories. Nobody owns the rights to them, and many are well-known. The trick is to throw a unique twist on the tale to make it fresh. Remember how cool that video game “Alice” was? They simply threw Alice in Wonderland into the horror genre. What about taking the Three Little Pigs and turning it into a modern day comedy starring Jack Black, Jonah Hill, and Phillip Seymour Hoffman? I’m only half-joking! But seriously, if you can find a cool spin on one of these tales, run with it. I see a lot of new writers get noticed this way.

Genre: Thriller/Drama
Premise: (from IMDB) Based on a true story, a mountain climber becomes trapped under a boulder while canyoneering alone and resorts to desperate measures in order to survive.
About: The buzz hit early on this script, highlighted by the fact that there will be an entire hour without a shred of dialogue. One of the best directors in the business, Danny Boyle, just finished the film. The script is written by his Slumdog Millionaire collaborator, Simon Beaufoy. James Franco plays the lead role. You can learn more about the real-life story here: http://en.wikipedia.org/wiki/Aron_Ralston.
Writer: Simon Beaufoy.
Details: 83 pages – April 1, 2010 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).

A question I hear a lot is, “Have you ever read a bad script that became a good movie?” The answer is no, I have not. But the ones that come closest are usually from directors like PT Anderson, Malick, Nolan, Mann, and Sofia Coppola. These helmers have such a powerful and unique style that the story almost becomes secondary to the filmmaking. For example, one thing I loved about Inception was the score. That deep trombone like bass that cycles throughout the film unnerved me in a way a story turn or a character revelation could never do. These kind of filmmaking-specific nuances will never substitute for a good story, but sometimes they can come pretty close.

127 Hours may very well be one of those films, because as a script, I didn’t think it was very good. It isn’t bad. It’s just…predictable.

For those cinephiles who saw “Into The Wild,” a few years ago, Sean Penn’s directorial effort about a man who sells everything he owns and heads for Alaska, Aron Ralston is very much like the character in that film, Christopher McCandless. He’s an adventurer, an outdoor enthusiast, a lover of nature. And like McCandless, he does everything exclusively by himself.

This is exactly how we meet Aaron, heading down to Blue John Canyon on his bike – alone. Once he reaches the desert, he locks up and sprints towards the canyon.

There he runs into a couple of girls, Kristi and Megan, who feel a bit like filler. The problem with writing a script with only one character is that you only have one character to develop. In other words, you don’t need a lot of space. But in order to get the page count up to feature length, you have to put something there, and I’m guessing that’s why these two are in the script (from what I understand, Aron *did* meet them in real life).

So the girls appear, have a few conversations with Aron telling us what we already know, that Aron rides life solo, then scram. But not before telling him about a party they’re going to 20-some miles down the road. You can’t miss it, they say. There’ll be a gigantic Scooby-Doo balloon swaying in the wind.

Later, he makes his way to a canyon/cliff area, starts running around and exploring, accidentally dislodges a boulder, gets chased Indiana Jones style, squeezes out of the way at the last second, but is unable to get his arm out of the way in time. The boulder catches it against the rock. Aron is shocked when he realizes…he’s stuck.

Thus begins Aron Ralston’s 127 hours of hell.

127 Hours uses three devices to keep us entertained – Video diaries which Aaron leaves on his video camera, flashbacks to his old girlfriend, and a series of hallucinations. Interspersed throughout these moments are Aron trying to figure out what to do. I don’t think I’m spoiling anything here since this is a real-life story, but eventually Aron realizes that the only way he’s going to survive is if he cuts his arm off – a process made difficult by the fact that he only has a Swiss army knife. And not even the real thing either. A cheap Chinese knockoff.

Essentially 127 Hours is a character piece about a man who realizes what being alone is really about. There’s a difference between the kind of alone where you get to pick and choose when you hear others’ voices, and the kind of alone where you don’t hear any voice but your own. As days dissolve into one another, Aron comes face to face with this reality, and begins to appreciate and understand how desperately all the people in his life have tried to connect with him.

This raises a bigger question: If Aron somehow gets out of here, will he finally look to bring these people into his life?

But if I’m being honest, it was hard to root for Aron. This might seem like an odd declaration, but I don’t have sympathy for people who do stupid shit. You read in the paper, “A freeclimber falls 3000 feet to his death.” You know the first thing that comes to mind when I hear that? “You probably shouldn’t have been climbing 3000 feet in the air WITHOUT ANYTHING TO SUPPORT YOU!” I mean if I ever start juggling chainsaws in Vegas and accidentally cut myself in half, I fully expect anybody reading an account of my ordeal to reply: “Serves you right moron.” I mean Aron isn’t cliff-diving into lava here, but running around the desert and climbing mountains with no one else around and without telling anybody where you are is a pretty stupid thing to do. So I just wasn’t onboard with him from the get-go.

I was also never surprised by this screenplay. As soon as Aron got stuck I thought, “There’s three things he can do here: talk to the video camera, go into flashbacks, and hallucinate.” Sure enough, that’s exactly what happens. And while I somewhat enjoyed Aron exploring his connection issues via flashbacks and hallucinations, in the end these scenes were too repetitive to fully keep me interested. At a certain point I was like, “Let’s cut off the arm already.”

Another unfortunate aspect of this story is that we know the ending before the film starts, draining the script of a good portion of its suspense.

Despite all this, I still think 127 Hours can be a good movie. Boyle is a filmmaker that plays in the same sandbox as Nolan, Mann, and Malick, so he obviously saw something worth getting dirty for. If I had to bet, I’d say he was drawn to the hallucinations, which become a huge part of the second half of the film. Visually, these are extremely weird and powerful (I imagine the huge floating Scooby-Doo balloon in the middle of the desert will be the “what the fuck” trailer image that sells a good share of tickets) and if there was ever an opportunity to explore the limits of your imagination, no-holds-barred hallucinations would be a great start.

But if it will be enough to make up for a rather ordinary story, I don’t know.

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

What I learned: One of the reasons we go to the movies is to see characters try and overcome the same issues we’re trying to overcome in our own lives. The exploration and eventual conquering of these “flaws,” when done right, can be the most powerful part of your story, because it gives us hope that we can conquer our own issues. There are a few character flaws that consistently work well, and one of them is the one Beaufoy uses here – Aron’s refusal to connect with the world. I don’t know what it is, but when we see someone who refuses to connect with others, we instinctively want them want them to connect with others. I’m reading The Girl With The Dragon Tattoo (the book, not the script) and Lisbeth Salander has this exact same flaw. She’s so disconnected from everyone and everything that we pine for her eventual transformation. We want her to initiate a hug, trust someone, open up to a friend. And the further she pulls away, the more desperately we want to pull her in.

And Roger makes three! This week we have an unprecedented THREE impressive scripts, one that even joins the coveted Top 25. That just doesn’t happen. Especially lately. The other two scripts are…ehhh, not very good. As for where to find it, this script has been around for forever (get it, cause it’s immortal?), and I know plenty of people have it. Maybe they’ll pop up in the comments section. Anyway, here’s Roger with his review!

Genre: Supernatural comedy
Premise: (from Hollywood Reporter) A slacker discovers that he is the latest in a long line of immortal warriors, a la Highlander, and must fight to achieve his destiny.
About: “Jeff the Immortal” was on 2007’s Black List and it was picked up the same year by Universal. From Rope of Silicon: “Apparently Bishop got the idea for the film after watching Highlander, the 1986 fantasy tale starring Christopher Lambert and Sean Connery, and wondered what he and his buddies would do if they got such powers.” Bishop was a writer on the Drew Carey Show and is also the author of Hardly Working at Relationships: The Overachieving Underperformer’s Guide to Living Like You’re Single When You’re Not. Bishop is also the writer on the American adaptation of the German comedy, Night of the Living Dorks.
Writer: Chris Bishop

Hehehe.

Like I do with Terry Pratchett novels, I made that sound a lot while reading this script. And, that’s kind of what this script reads like. Imagine if Terry Pratchett was an American screenwriter who was obsessed with arcade games like Dragon’s Lair and musicals like Wicked, then imagine him writing a script that parodies the Russell Mulcahy cult classic, Highlander, and you’ll have a pretty good idea of what to expect from “Jeff the Immortal”.

I haven’t seen Highlander, Rog. What’s this sucker about?

Jeff Seagal has spent a decade or so just hanging out, and now he finds himself on the cusp of thirty, anxious to marry his girlfriend Scarlet. Jeff used to want to be a chef, and in fact he even got into culinary school once-upon-a-time, but he could never afford the tuition. Instead, he finds himself working at the Bullseye Department store, a job that requires him to wear a nametag. Marrying Scarlet is his attempt to reclaim the American dream of doing something with his life and owning a house by thirty.

When we meet him he’s playing a videogame with his jaded co-worker LaQuinta who warns him that marriage means the end of oral sex, “My Rodney said ‘I do,’ but the rest of the sentence should’ve been ‘n’t eat any more pussy.” Later in the day, Jeff notices a balding heavy-set white dude dressed in sweat pants and a ratty old FUBU shirt peeking at him. Soon after, Jeff is victim to a paper cut. Then, he notices something weird.

He watches the wound heal before his eyes.

When he looks back up, the strange, old dude is gone.

Undettered by LaQuinta’s ominous warning of no more oral sex, Jeff arrives at his home to discover that Scarlet is leaving him. Apparently, she has been cheating on him for months. With the mailman. And then the UPS guy. Then she had a three-way with the FedEx man and the milk man. “Milk man? There are milk men left in America?”

“It’s a dying profession. His name is Logan. I think I love him.”

Jeff goes to a bar with best friend Russ for consolation. Russ’ life is all ice cream and blowjobs. He tries to cheer his buddy up, “Look, it isn’t as glamorous as it seems. I sell RVs for a living. I live with my Great Aunt. I drive a piece of shit yellow Saturn. Sure I’ve had my fair share of notches on the futon, but am I truly happy?” The funny thing is, Jeff realizes that he’s not so torn up about Scarlet. He realizes he’s been dating a bitch who hocked all his DVDs, cleaned out his bank account and slept with every dude who wore a Flyers jersey.

When they get back to Russ’ Great Aunt’s house, they are surprised by the creepy guy in the FUBU t-shirt. They mistake him for a homeless man but he screams at Jeff, “Do you want to live forever? DO YOU?!”

Russ goes to town on the guy with a frying pan, breaking his neck. Supernaturally, the guy’s neck straightens back out. Russ goes after him some more with the frying pan, but the old guy is mostly just annoyed, “That. Doesn’t. Work. Asshole.”

Who is this old guy, and why can’t he die?

His name is Angus, and he’s the first character in the script we meet besides Jeff. He’s an eleven-hundred year-old cantankerous immortal, and in the first five pages of the script, we learn that he’s the man who invented the longbow in the 1400s. He’s a Scotsman hanging out in the French countryside when he’s accosted by King Henry V, who steals his longbow, “Lord in Heaven, we will destroy the French with this weapon. Make haste and reproduce this ‘longbow’ for our archers.”

“No, that’s for hunting purposes only. Or possibly killing the Spanish.”

The Britons run him through, leaving him for dead, but that’s pretty much when we learn the guy is invulnerable to death.

In the present day, he’s been stalking Jeff, and we also learn that his life hasn’t been too much different than Jeff’s. While Jeff has been a slacker for a decade, Angus has been a slacker for centuries. In fact, he’s an immortal who waits tables at Applebee’s, and is content to be demeaned by his twenty-something manager, Kaley. Angus is obsessed with not bringing any attention to himself, and as a result he’s a guy who has managed to live through several centuries without ever taking any chances.

Back in Russ’ Great Aunt’s kitchen, Angus humors our heroes as they test his claim of immortality. There’s a time cut and we see that the kitchen is covered in blood, gore and even sinew. “Okay, you’ve poked out my eye, chopped off my leg, stabbed me in the gut, strangled me, held my head under water, burned me –- Gave me something called a suplex, and made me yell the n-word at your neighbor. Are you convinced I’m incapable of dying?”

So Angus is here to tell Jeff that he is immortal, too?

Although there’s a humorous scare that Angus might have the wrong protégé, we do in fact learn that Jeff is immortal. He’s a descendant of the McConnor Clan, a group of Scotsman who were cursed with immortality by a dark wizard from a rival clan. The whole death-proof curse kicks in on their thirtieth birthdays.

Because Jeff is tired of working at a job with a nametag, he decides this new immortality thing is just the shot in the arm he needs. Angus gives him a dire warning, telling him that he must not bring attention to himself. But Jeff blows him off. Burned by Scarlet and his minimum-wage status, his new goal is to get as rich as possible. Russ convinces him, “We gotta think of the most lucrative job for an immortal.”

Well, what is the most lucrative job for an immortal?

They’re kind of unsure, but Russ decides that being a daredevil and landing in the Guinness Book of World Records is a good start. Meanwhile, Jeff begins courting Liz Johnson, his old prom date from high-school. She’s a recent divorcee who has moved back to town to start anew. Apparently, all her ex did was play videogames all day and get hammered with his buddies, and Jeff does his best to hide the fact that he owns an XBOX and a bong.

But, you know, this his chance to change things for himself.

Jeff the Javelin attempts to jump a shark tank on a motorcycle at Big Joe’s RV Emporium, but the news crews gathered for the event capture a horrible accident and the miraculous death and resurrection of Jeff on their cameras.

Uh oh. Lemme guess. His high profile catches some unwanted attention?

You got it.

In Venice, Italy, we meet Gargomel of the McDonald Clan. No, I’m not making this up. The villain’s name is Gargomel. Yes, it’s from The Smurfs. He watches Jeff’s footage, suddenly a man possessed. He tosses the scantily clad Italian whores from his bed and pulls a gigantic sword out of a chest. He tells his Peter Lorre-like assistant, named Pierre, “Get me the next flight to America.”

As Jeff considers his next move, which is either lion tamer or man-on-man porn, Gargomel arrives in town, donned in his Wicked t-shirt and wielding his giant ass-kicking sword. He enters the Bullseye Department store and punches out the elderly greeter. And, that’s when we’re treated to some Highlander-esque mayhem in what is pretty much a Target, with Angus arriving to save Jeff’s ass. It’s pretty gory as whole torsos are dismembered and regenerated, and several civilians are possibly poked with stabby objects.

So, Jeff isn’t one-hundred percent immortal?

Right again.

Turns out that Gargomel is from the rival clan that cursed the McConnor’s. Because of the magic involved with the curse, the McDonald’s gave the McConnor’s eternal life, but they accidentally cursed their own progeny to die at age thirty.

Gargomel is approaching his thirtieth birthday, and the only way for him to reverse his curse is to kill an immortal from the McConnor Clan. He wields the Sword of Braemar, a blade tipped with a rare yellow diamond mined from the Glen Braemar Mountain. “If this stone pierces your heart, you will cease being immortal. You will die.”

Jeff also learns that Gargomel’s parents killed his own parents.

To complicate matters, Liz’s life is also put in jeopardy.

Sounds fun! Does it work?

I thought so. I think this script is a perfect example of how to write a fantasy comedy (or a horror comedy). It’s funny, without losing sight of the story. It’s adventurous, without going off the rails. It’s silly, but it’s smart in how it exploits and parodies the genre. It has a simple mythology, that never once feels convoluted, confusing or complicated.

And it does all this while providing a satisfying emotional journey for the protagonist.
But calling “Jeff the Immortal” just a parody film would be like calling Shaun of the Dead just a parody film. Sure, it pokes fun at the genre, but never at the expense of respect to that genre. It’s a genuine fantasy story with an honest-to-God emotional arc that is about stepping out of your comfort zone, taking chances and claiming your destiny as a hero. It’s kinda like an Apatow flick, but with swords. Hollywood, can this please star Jay Baruchel?

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

What I learned: Villains are rarely the villain in their own minds. Yep, I’m pretty much quoting Warren Ellis on this one, but there’s a scene in “Jeff the Immortal” that perfectly illustrates this idea. Jeff banters back and forth with Gargomel, “This isn’t over. The hero will triumph.”

“Yeah! I know.”

“You…want me to triumph?”

“You? I’m the hero.”

“No, you’re the villain. I’m the hero.”

“No…I’m the hero.”

“How are you the hero?”

“I die at 30. I’m fighting for my life here. That makes me the hero.”

Gargomel is the hero in his own story. Gargomel doesn’t want to die when he turns thirty. To achieve this goal, he has to kill Jeff. And, Gargomel is pretty much willing to do anything to prevail. So, let me quote Warren Ellis again, “The difference between a ‘hero’ and a ‘villain’ is often the ruthlessness and extremity they’re prepared to go in order to achieve what they want.