Here’s Roger with the first review of Big Money Week! To say he gets things started is an understatement. I’m going to have to read this thing!

Genre: Historical Adventure
Premise: The reclusive “Father of Modern Magic”, Jean Eugene Robert-Houdin, is called upon by the French government to debunk an Algerian sorcerer who is using his feats of magic to spearhead a civil war.
About: Penned back in ’94, this script was part of a fierce bidding war that involved Disney, Tri-Star and Steven Spielberg (people really really wanted this script). Andy Vajna’s Cinergi Pictures bought the script for $1 million dollars (1.45 million adjusted for inflation). Not only was Disney able to land Frank Marshall as director, but Sean Connery was attached to the lead role. Unfortunately, Sean Connery demanded rewrite after rewrite until Frank Marshall was pulled off the project by Paramount’s Sherry Lansing because he was under contract to direct Congo (why Lord, why?). Kevin Brodie (A Dog of Flanders) was attached to direct and the project lingered in development hell until January 2000, when Catherine Zeta-Jones’ production company, Zeta Films, acquired the rights to the script. Naturally, Michael Douglas was attached to the lead role, with Catherine starring opposite him as Robert-Houdin’s wife.
Writers: Lee and Janet Scott Batchler. The husband-and-wife team who worked on Batman Forever. Other projects include My Name is Modesty and Pompeii, an epic drama telling the famous story of the destruction of that city. They also wrote a project for Paramount called Alpha, a fast-paced adventure about a team of military working dogs and their trainers. Here we have “Smoke and Mirrors”, an Original Screenplay by Lee Batchler and Janet Scott Batchler.

What I learned: This script is suspenseful as hell. But why was it so suspenseful? Every time Robert-Houdin performed, someone’s life was on the line. That’s the simple genius behind the trick. Every task your protagonist has to perform should have high stakes. And as the protagonist completes each task and moves on to the next, crank up the stakes. The stakes in “Smoke and Mirrors” have a clear ascendant progression: (1) Darcy’s life, (2) Robert-Houdin’s life (3) and collectively, the lives of Robert-Houdin, Colette, Darcy and all of the Legionnaires. Here’s the other lesson: Every overarching thematic conflict in this script, Science vs. Magic, God vs. Allah, France vs. Kabyle, Civilized Man vs. the Savage, is boiled down to the two characters who come from each side. Robert-Houdin and the sorcerer, Zoras Al Khatim. Their intimate battle of wills puts two entire nations at stake. By making your characters symbols of bigger conflicts, you widen scope of your story. It’s how you can tell an epic story but at the same time make it personal and intimate. There are many other lessons and tricks to be learned in this script, you only have to look closer to discover them.

Genre: Action Comedy
Premise: Dave Lizewski is an unnoticed high school student and comic book fan who one day decides to become a super-hero, even though he has no powers, training or meaningful reason to do so. (from IMDB)
About: Kick-Ass is Matthew Vaughn’s third directing effort (behind Layer Cake and Stardust). What some people don’t know about Vaughn is that before he became a director, he was Guy Ritchie’s producer, producing such films as Lock Stock and Two Smoking Barrels, Snatch, and even the Madonna debacle, Swept Away. Kick-Ass stars Nicholas Cage and McLovin, as well as Chloe Moretz and Aaron Johnson.
Status of Draft: Development – 2nd Draft
Status of Project: Completed
Writers: Jane Goldman and Matthew Vaughn (based on the Marvel/Icon comic mini-series from Mark Milllar and John Romita Jr.)
Details: 105 pages (Because this is a 2nd draft, many things may have changed in the final shooting script, although I will say that pretty much everything I saw in the trailer is in the script).

I dig anyone brave enough to shun convention. Matthew Vaughn, however confusing and divisive his choices may be, doesn’t really give a shit about posters and, quote unquote, marketability. He just goes out and makes movies he’d like to see. Hollywood can sort out the rest. I know there are people who absolutely despise Stardust, and I won’t argue that it’s a mixed bag, but hell if it isn’t divinely inspired in places. I loved Robert DiNero’s character, and the “dead-man” sword fight near the end attempts something so few writers ever even try, which is to take a well-known device and put a spin on it.

What’s interesting about Kickass is that it’s probably the most predictable of his ideas (even though it’s not technically his idea). The “normal guy becomes a super-hero” angle is about as popular a screenplay choice as American Idol is a TV show. We’ve seen it in the simultaneously overrated and underrated Unbreakable, the hideously bad Mystery Men, the most annoying actor in movies’ (Michael Rapaport) film, “Special,” and those are just the ones that made it into production. I see the idea in countless spec screenplays all the time (both sold and unsold). For all these attempts, however, nobody has cracked the formula. So I welcome people to keep trying. Until someone gets it right, the idea is fair game.

When I watched the trailer for Kick-Ass, I found myself saying, “This guy gets it.” The characters look inspired, the tone feels fresh, and the movie just looks downright fun. The only issue here is that we’re still talking about Matthew Vaughn. The man can have inspired moments of genius but follow them with head-scratching tangents that are about as organic to the story as that popcorn butter they serve in the theater. As a filmmaker, I trust this guy. But as a writer? I’m still not sure. Let’s find out if he and Goldman brought it.

Dave Lizewski is your average dork, dweeb, nerd. He isn’t noticed at school. And on the rare occasion that he is, it’s usually because he did something stupid. Dave gives you direct insight into his life via voice over, which runs pretty much throughout the entire script, and is overwhelmingly present here in the first act. I have no problem with voice over as a choice and it seems to fit the mood here so I went with it.

Kick-Ass’s first misstep is in its flimsy motivation for why its main character decides to become a superhero. Nothing really pushes Dave into becoming a super-hero other than he wakes up one day and wonders why normal people can’t be superheroes. With the tone of this script being so light, I suppose you could forgive this, but it would’ve been nice to see his choice stem from something more personal (or at least a personal experience).

So Dave stitches together a costume, grabs a couple of sticks, and goes out to fight crime as his brand new superhero alias: Kick-Ass. His first attempts don’t exactly land him in the super hero Hall of Fame though, as he’s beaten to within inches of his life. Back at the hospital, Vaughn comes through with his first bout of randomness, inserting a scene where Dave has daydreams about Chinese families telling him he’s going to be reincarnated, as well as the obligatory giant talking spider! I will give Vaughn this. The man’s unpredictable.

Meanwhile, we meet Damon Macready and his 11 year old daughter, Mindy (aka “Big Daddy” and “Hit Girl”). These two are *real* super-heroes. Or wait. They’re normal people pretending to be super-heroes but who are *really* good at it. I’m actually not sure what they are, since even though they’ve been around a lot longer than Kick-Ass has, nobody knows about them. Also in the mix is mega-rich crime boss Frank D’Amico and his son Chris D’Amico (played by McLovin). Frank is trying to keep his strangle-hold of the city’s drug trade in line while the isolated Chris is just trying to lead a somewhat normal existence.

When Dave’s follow-up attempts to fight crime start to (sorta) work, he becomes a Youtube sensation, which gets the attention of real-life crimefighters Big Daddy and Hit Girl, as well as Chris, who eventually wants a part of the action and invents his own superhero persona, “Red Mist.”

Much like the trailer, the tone here is light and easy, with plenty of jokes to keep you smiling the whole way through (particularly if you like masturbating. There is lots and LOTS of masturbating in Kick-Ass). Here’s the problem though. After finishing this script, I still didn’t know what it was about. There’s no clear-cut plot. There’s no real story here to speak of other than a bunch of semi-super-heroes attempting to fight crime. It’s as if that obsession with character was so great, that Vaughn forgot to give the characters anything to actually do. I mean if I was pressed for it, I’d probably say the plot was for the superheroes to disrupt Frank’s drug trafficking, but since this angle didn’t seem to have any obvious consequences (i.e. if they didn’t succeed, it’s not like anything that bad would happen), I wasn’t sure what the focus was supposed to be.

I’ll admit this is my problem with origin stories in general though and I understand the unique challenges in writing them. Usually the first act of a movie sets up the main problem. But comic book origin movies always end up getting fucked in this respect because they have to spend the first act introducing our character and how he becomes a superhero. This then forces you to set up your problem in the second act, and by that point the structure is already so fucked up that the entire rhythm of the story is thrown out of whack. Still, I would’ve liked for the threat to be made more clear in Kick-Ass.

As I mentioned before, the characters are, admittedly, hilarious and you can’t say “Red Mist” coupled with the thought of McLovin’s face without laughing (whoever did McLovin’s hair in this should get a make-up Oscar next year). But once we reached that third act I just wasn’t sure what I was supposed to be rooting for. “Drug people = bad” isn’t enough for me these days. If there were any major changes in the subsequent drafts, I’m hoping that these are the issues they addressed.

I’ll still go see this for the hilarious character work but if anything needed a kick in the ass here, it was the plot.

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

What I learned: You want there to be stakes in your finale. You want it to feel like if your characters don’t succeed, that the consequences will be devastating. If there’s nothing at stake in the final battle, why should we care about it? You can argue that just the fact that your hero’s life is at stake is enough, but you’d be wrong my compadre. Because stakes go both ways. What your hero *gains* from winning the battle is just as important as what he loses by losing the battle. So if he just gets to stay alive by winning, that won’t cut it. He has to foil something, save someone, disrupt or end something that would’ve otherwise ruined mankind. At the end of Star Wars, Luke doesn’t just survive the Empire, he destroys the damn Death Star! Since I was never clear what Kick Ass gained or lost from the final battle (which stemmed from an unclear plot), I wasn’t as involved as I wanted to be.

We all do it. Every time we see a movie like “Gamer” or “Inkheart” hit the cineplexes, we shake our heads, rolls our eyes, and say, “I know I could do better than that.” We imagine ourselves as studio bosses, greenlighting a dozen District 9s, Hurt Lockers, or Up In The Airs. We’d make quality films, films that actually had something to say dammit! I mean let’s be honest, the only reason Transformers 2 and G.I. Joe made any money is because they had 100 million dollar marketing campaigns. Right?

Hmmm. Not so fast. Think about it. Really think about it. If you had a job that paid you 5 million dollars a year and allowed you more power than almost anyone in town, would you really be gambling it away on trying to find the next “Good Will Hunting?” It’s easy to play armchair studio boss from the confines of your living room. But I’m not sure any one of us, if put in that position, wouldn’t be calling Michael Bay, promising him tens of millions of dollars, if he would just please commit to Transformers 3. It’s sad, but it’s true.

Well lucky for me, this article isn’t reality. It’s a pseudo-quasi reality where I’m opening my own studio and trying to come up with my first year’s slate. I’d imagine, since this is my first studio, that my investors wouldn’t be giving me a billion dollars. They’d probably give me around 150-200 million (yeah, totally). I’d use this money to make five movies in the roughly 20-50 million dollar range. With that money, these are the five scripts I’d immediately put into production.

DEAD LOSS by Josh Baizer and Marshall Johnson – Thriller

Premise: A crew of crab fisherman rescue a drifting castaway with a mysterious cargo.

Do you remember the cinematic atrocity that was The Perfect Storm? They got us to pay ten dollars to go see a 15 second sequence of an enormous computer generated wave that we had already seen in the previews! That was the only memorable part in the entire movie! Dead Loss is the movie The Perfect Storm should’ve been. It’s got a good story, deep characters, intriguing twists and turns, in addition to a subject matter we haven’t seen on the big screen before. True it’s set on water and water is always trouble for productions, but after seeing this Youtube video, I’ve realized that elaborate sets simply aren’t a problem anymore. Which means you’re basically spending all your money in one place, the boat. You could be flexible and keep it under 25 million with B-level stars, or make it in the 50 million dollar range with one A-lister. Also, as long as contained thrillers are done reasonably well, they’ll always make money.

SOURCE CODE by Ben Ripley – Sci-Fi Thriller

This may seem like an obvious choice but I actually went back and forth on it for awhile. Source Code, like Dead Loss, takes place in limited locations (2 to be exact) so it’d be super cheap to make. My big fear with Source Code stems from this same issue however. Is it big enough for the average sci-fi fan? I know the kind of people who went to see Moon will line up for Source Code, but does it jump into that larger sci-fi appeal that is District 9? In the end, I have to go with the old adage that story is king. When you look at a similar movie like Déjà Vu (I think the biggest spec sale ever, at around 4.5 million dollars), they tried to make this huge sci-fi action movie but it didn’t amount to anything because it never made any sense. Source Code’s story is so sound (the Ripley draft at least – which is what I’d go with) that word of mouth will carry this film. So I’m including it on my slate.

THE CHEESE STANDS ALONE by Kathy McWorter – Romantic Comedy

Premise: A loveless man who believes he’s dying meets a woman who turns his life upside-down.

For those who don’t know, The Cheese Stands alone has become sort of this infamous screenplay in Hollywood, and for a lot of people, a cautionary tale. When the script sold for the most money a comedy spec had ever sold for back in 1991 (1 million bucks), studios began mumbling that they had gone too far, that they were swimming in excess. Unfortunately, as year by year went by and The Cheese Stands Alone wasn’t made, it provided enough ammo to turn that cheese into swiss, and now the script is used as an example why never to pay too much for a screenplay. But see here’s the thing, none of that matters anymore. And this script, which at the time was maybe a little bit cliché (reminiscent of movies like Moonstruck and Mystic Pizza) has entered an era where it would be completely original. As Hollywood complains about the dismal state of the romantic comedy, this script turns all of those horrid clichés on their head and feels, ironically, like a brand new voice. Not to mention, the dialogue here is better than 99.9% of the dialogue I read in any modern-day screenplay. But most of all, when I read this script, I just get this sense of fun. You can’t read it without smiling and you can just tell that that’s going to show up onscreen. It baffles me that no one’s even attempted to make this in the last five years.

SUNFLOWER by Misha Green – Thriller

Premise: Two women are held hostage in a prison-like farmhouse.

If you’re starting a studio, your best bet is horror and thrillers. Why? They provide the most bang for their buck. Cheap to make and don’t require huge stars to get their money back. Sunflower is another contained thriller (single location – cheap) that adds a twist. Instead of a single woman trying to escape a madman’s prison-like home, it’s two women. In other words, it’s a horror-thriller with a unique twist and a potentially sexy undercurrent. Hello? Two super-hot women clawing and scratching their way to freedom – only one survives? I’m in. This script would actually be so cheap to make (you could probably do it for 5-10 million) that I could use the extra cash to land a couple of A-listers in my other movie choices. So Sunflower is a definite go picture at Scriptshadow Studios.

THE DOGS OF BABEL by Jaime Linden – Drama

This would be my one big gamble but it’s a gamble I’m comfortable making because the script is freaking awesome. It’s just a great great story. From what I understand, the big problem with The Dogs Of Babel is that there’s no appeal for male actors to play the lead role. But I think this role is meatier than actors give it credit for. It’s very similar to the role Jodie Foster played in Contact, where she was going on this impossible journey, but refused to quit no matter how many obstacles were thrown in her path. Because she refuses to give up, she emerges as the protypical hero, the kind of person we all want to be (which she garnered an Oscar nomination for). That’s the same kind of reception a male actor would get from playing this role. But regardless of that (let’s just say we throw a B-Lister in the part), the female lead is a wonderful and challenging role for an actress. You’re basically playing a bi-polar dead person. That sounds to me like a role with all sorts of potential. Add into that the ten cajillion dog lovers in the U.S. and I just find it very hard that this movie wouldn’t find an audience. This is the kind of script that if done right, would be up there at Oscar time. I have no doubt about that.

SPECIAL MENTION – BRIGANDS OF RATTLEBORGE by Craig Zahler – Western

If any of these movies fell apart at the last second, I would put Brigands Of Rattleborge on my slate. Why? Because it has the potential to be the best Western of all time. I’m not saying it *would* be, but it has the potential to be. The reason this doesn’t get Top 5 mention is because…well let’s face it, it’s a Western. And how well do Western’s do in the marketplace? But the reason I know this would do well is because I don’t like Westerns. And I love this script. So I’m betting there’d be other people out there just like me, non-Western fans ready to crossover if you give them a reason to. And the reason here is simple: the character of Abraham. The mysterious tortured vengeful killer who has more ingenuity in his killing practices than Hannibal Lecter and Dexter combined. I still don’t know why they can’t target every serious A-list actor in town because I can’t imagine a single one of them reading this part would not want to do it. The big stumbling block here is obviously the director. It ain’t like 30 years ago when you had ten directors who were proven to be able to pull off a Western. Nowadays, you don’t know who’s Western-worthy, which results in the assumption that only the A-list directors can handle the challenge. And we all know how easy it is to get one of them to commit to a project. Because this would be the hardest project to set up of the six mentioned, I’d only do it if something else fell through. But hell if this wouldn’t be a cool movie.

Well, those are my picks. Would my studio crash and burn? Can you do better? If you were starting your own studio, which five scripts would you make first?

Here’s number 2 in our Tuesday Apocalypse Double-Header. This review originally aired a few months ago but we had to take it down. Now, with Book Of Eli screening, we’re putting it back up! Here’s my quick take on Book of Eli. It’s the perfect way to approach a spec script. You have a high concept easy to understand story with a badass hero and lots of martial arts type mayhem. Where Book of Eli gets bogged down is probably in its ambition. It bites off way more than it can chew and the pieces come spitting out of its mouth all over us. Even its more basic ambitions – like the town sequence, which makes up most of the script – left me wanting more. And don’t get me started on the “twist” ending, which makes absolutely no sense. I had a hard time digesting this. Let’s see what Roger has to say about it.

Genre: Post-apocalyptic action-adventure.
Premise: In a post-apocalyptic world, a lone hero guards the Book of Eli, which provides knowledge that could redeem society. The despot of a small, makeshift town plans to take possession of the book.
About: Produced by Joel Silver. The directorial return of the Hughes brothers, whose last film was 2001’s From Hell. This was a big spec sale in 2008 from Gary Whitta, who hadn’t sold a screenplay before this. So first timers trying to break in, this is your reference point.
Writer: Gary Whitta, former editor-in-chief of PC Gamer. Presumably this script scored him a writing gig on the (now dead) live-action adaptation of the manga-epic, Akira.

Say this mantra with me.

Story is the heart, Story is the soul. Story is the heart-soul of a screenplay.

Now, get ready, because we’re about to…

FADE THE FUCK IN:

Eli backs away, but TWO MORE ARMED BANDITS drop from hiding in the trees behind, cutting off his escape, surrounding him.

BANDIT LEADER
What you got there in your pack?

ELI
Nothing.

BANDIT LEADER
Yeah, that’s what they all say. How about you take it off real slow and tip it out so’s we can take a look.

BANDIT #2 notices the shotgun strapped to the pack.

BANDIT #2
He’s got a gun.

BANDIT LEADER
Shit, it ain’t loaded. They never are. Ain’t that right, old man? (beat) Open the fucking pack or die. ELI I can’t do that.

The bandit leader steps forward aggressively. Now within striking distance of Eli. He grins, teeth filthy and rotten.

BANDIT LEADER
Want us to do it for you? We can get it off real easy after we’ve hacked your fucking arms off.

ELI
No. I mean I can’t die. I’m on a mission from God, and under his divine protection. You stand in my way, you stand in his. And he will strike you down, through me, his faithful instrument.

WOOOOAAAAAH! Who the fuck is this Eli character, and is he really that bad-ass?

They call him the walker. But he is many things. A watcher. A scavenger. A saint. A killer. A samurai. A gunslinger. He’s a mad prophet that wandered out of the Old Testament and armed himself with a shotgun and a samurai sword. He wears threadbare Converse All-Stars he found on a mummified corpse. He never takes his tinted goggles off. He’s a man of few words but when he speaks it’s the Biblical voice emanating from the storm, the fire, the burning bush. He doesn’t start fights. But he finishes them. And the Spirit of God’s Wrath may or may not be hovering over him, brooding over him, infusing him with supernatural combat skills. And his best friend is a pet rat that lives in the folds of his iconic duster. And yes, he is a man on a mission.

What’s the mission?

To travel West. And to never stray from the road, for he is to deliver a book to an unknown destination, but a destination that he believes to exist based solely on faith.

He is the keeper and protector of a book…

So what’s The Book of Eli?

It’s a bible. A King James Bible battered by the elements, worn from wear and tear.

That’s it? Just a Bible? We can walk into a motel room, open the night-stand drawer, and get one of those for free. What’s the big deal?

Oh, did I mention that this is the post-apocalypse? Did I mention that a guy named CARNEGIE is looking for this book? Did I mention that this demented tent-pole-revival-crooked-preacher-faith-healer-like manipulator of men is to be played by Gary Oldman? And did I mention that his First-in-Command and Sergeant-at-Arms, a burly dude named REDRIDGE, to be played by Ray Stevenson, will do anything it takes to retrieve this book once they find out Eli is the owner?

No?

Oh. My bad. Because all this is true. And the conflict between these characters is the palette and brush that’s gonna paint this monochrome tinted world bloodbath-red.
Niiiice. Does it work?

I want it to…I really want it to…

God, I’m torn about this script, guys.

We have all the ingredients to make a smart and epic post-apocalyptic yarn. But…I hate to say it, man I do…but something’s off.

The first 10 pages: I’m all in. I’m invested, alright? Never mind that the writer is taking a risk by having no dialogue in the first four minutes. The first four pages is a quiet character-establishing sequence, a prosaic sequence of world building that seems like it was ripped right out of McCarthy’s “The Road”. I enjoy dry, sepia-toned slugs of description. I’m into that kind of shit. But when the protagonist, whom we just met, proceeds to tell a group of bandits that it’s impossible for him to die because he’s on a mission from God? And when the bandits laugh this off, and attempt to rob him anyways, only to be sliced-and-diced to ribbons by a dude who moves with uncanny, preternatural speed?

Count me the fuck in.

Look, the first act is interesting. We have downtrodden wanderers who are pushing buggies with wobbly wheels along desolate highways in a scorched-earth world, remnants of a lost civilization just trying to survive. Something we’re going to see in another movie come Oscar season, but I digress. It’s still cool. We have Eli watching a man and a woman, presumably husband and wife, from afar. When they get attacked by a motorcycle gang, Eli debates whether he should get involved. When they rape the woman, Eli decides it’s not his concern. He listens to them kill the couple, catches a glimpse of them rifling through the dead couple’s belongings. The obligatory Mad Max in “The Road Warrior” scene.

Keep this image in mind: Eli arrives at a fork in the road. One road continues West. One road leads to a town. The road that leads to a town is a diversion, a rabbit-trail. Which way is he going to go? Which way should he go?

Eli has a dilemma. His ancient iPod has no juice, no power. That’s right. Eli has an iPod. It’s one of his prized possessions. Not as prized as his Bible, but it provides him with moments of peace, moments of joy, moments of hope as he listens to Mozart’s Concerto No. 20 in D Minor. To charge it, he hauls around a car battery in his backpack. The problem is…his car battery is dead.

He thinks the town might have an “engineer” who might be able to help him out and charge the battery.

So…he takes the rabbit-trail.

And when he gets to town, there’s definitely some weird shit going on.

There’s a bizarre, craven and idol-like statue fashioned out of clay erected in the center of the road. There’s a chain-gang of emaciated, blind men and women roped together at the waist, being led to a destination where they will be required to perform some kind of back-breaking work. The kind of work that ostensibly requires lashings from a brutal chain-gang boss.

Enter the world according to Carnegie.

I’m intrigued. What’s the problem?

Dissonance. That bothersome whisper trapped in the hollow of your skull while you’re experiencing story. The further the story goes along, the louder the whisper becomes, “We’ve been led astray.” It’s a domino effect of characters in the story struggling with their Creator like Jacob wrestling the angel. Except the difference is that these characters want to follow the road less travelled. But instead they are forced onto the rabbit-trail, shoved past the road marker that’s labeled “DETOUR”. And soon the Story is submerged, chained to anchors that pull it towards the bottom of an obscure pool.

There are moments where you feel the Story trying to push its way back to the surface.

You can feel the characters wanting to say, “Based upon everything you know about us, we want to make this decision. In fact we would make this decision,” and the characters point at the screenwriter, “but this guy needs us to be in this action sequence over here.”

They might give us other examples:

“He needs us in this house for the Act 2 break, with this cannibalistic couple who look like they crawled out of Grant Wood’s painting, American Gothic.”

SOLARA, Eli’s cub to his lone wolf, might say:

“I know we’re repeating the same note within 15 pages of each other, but there needs to be another cool scene of Eli saving me from bad men. I know, I know. He saved me from Carnegie. Then abandoned me right after. But the writer says we can have another cool scene of Eli slaughtering brigands if he has to save me again.”

Carnegie delivers a lengthy monologue where he reveals why possessing the King James Bible is so important to him. And there’s dissonance, because you wonder if such a monologue is necessary. And if this information is necessary, is a monologue really the best way to communicate it?

Act 2 feels like a labyrinth of rabbit-trails. Decisions made that go round-and-round the heart of the story (and the other more interesting possibilities). And the concentric circles don’t lead to the center, the heart. Instead, they take you farther and farther astray.

Okay, okay. I get the point. Was there any good stuff after the first act?

Holy shit, yes. After emerging from the muck of Act 2 and the beginning of Act 3, I was blindsided by the ending. It was like going zero to sixty, from disappointment to…being drop-kicked by awe.

There’s a sequence tucked into the tail-end of the 3rd Act that felt like a fist was plunging into my soul; God plunging his hand into Adam and plucking out a rib.

No, I’m not talking about the final scene, the epilogue.

I’m talking about the moment Eli completes his pilgrimage and arrives at his destination and enters its walls. I’m talking about the scene audiences are going to be talking about when they walk out of theaters come January.

It’s like the writer laid his head on the stone in the desert, and Jacob’s ladder unfurled out of the heavens and he ascended its rungs, only to return clutching this sequence in his hands like Prometheus stealing fire.

At a recent writing session, I tried to tell one of my co-writers about this script. I was having trouble because my voice kept cracking. But when I finished he said:

“Just hearing about that gave me chills.”

I have a roommate that watches the shit out of Edward Zick’s “Glory”. One of her cherished movies. She wanted to know about the new Denzel joint, and I attempted to tell her about this script. About the ideas behind it. And I was weeping halfway through my attempt, much to her embarrassment and horror. The last time this happened to me was a few years back, and I was reading the novel, “The Kite Runner” and was burning through the last 100 pages when my girlfriend at the time asked me why I was crying like a little bitch, curled up underneath the sheets.

Some things have power.

And there are story elements, themes, and concepts in “The Book of Eli” that have real power. And they need to be woven together like a fine tapestry in order for the denouement, the revelation, the end to work. And I’m sad…because right now…the tapestry needs to be rewoven.

And it only feels like it’s half done.

Some threads aren’t bright enough, aren’t clear enough, are muddled and frayed and need to be taken back to the loom. Given back to the weaver.

There’s a concept that concerns who Eli was before he set out on his mission. And when I first read the detail, I was confused. It wasn’t clear. But then I realized what the writer was trying to convey.

And it’s this: If you look at the Judeo-Christian scriptures, there’s a pattern that emerges. When it comes to divine tasks, God always chooses those who are the least among us to perform these tasks. It’s like taking a beggar and showing him that he is really a King. It’s like taking a prostitute and showing her that she is really a Queen.

It’s much more than…”ordinary guy discovers he’s a hero.”

This is not Neo in the Matrix.

This is the guy you would fuckin’ ignore on the streets if he came up to you asking for change. This is the disabled man working at the local Wal-Mart who helps other people with disabilities to their scooters. This is the guy on your periphery who might as well be an automaton.

When you look at who Eli is at the end of the script, and think about who he might have been before we met him…it has the power of a parable. And it’s heart-wrenching.

But – these moments are not clear. And I don’t mean they’re just subtext, stuff you have to dig for. These are character moments, themes, emotions…the good stuff that makes up Story. And the way they read, the way this story is structured, the choices made for each scene…creates a domino effect that muddles these elements when they should be translucent. There should be no confusion whatsoever. All of this stuff should shine. But sadly, they don’t.
So that’s the damage? It reads like a first draft?

Yep. Look. There’s some great prosaic lines in this thing – “Deadwood filtered through the eye of an apocalypse.” There are lofty ideas: Restoring freedom, hope and joy to a lost, enslaved and downtrodden people. A great tone. Wonderful atmosphere. Cool action. A killer ending.

But, beautiful wordsmithin’ cannot hold up story. Story is the heart. Story is the soul. All the beautiful language in the world cannot camouflage a story that lacks proper cornerstones.

Cool action should not be duct-tape. An audience knows when a house of cards is about to tumble. If it hasn’t been built correctly in the first place, even a fragile whisper can knock the house off its foundation.

Pretend you’re in a fantasy world. What beefs would you address?

The time-line of this story. I might be wrong, but I think the script spans only three days. If that.

This puppy is going to be advertised as an epic journey across a post-apocalyptic America.

Which would be false advertising.

This movie focuses on the final three days of an epic journey. And we don’t travel across America. We travel through a section of California. On foot. So there’s not much mileage traversed in this thing.

And it’s frustrating, because you feel like you’re missing out on tons of cool shit. With this kind of world, with this kind of backdrop, why not open up the timeline? Show us the beginning, the middle, and end of Eli’s two-and-a-half decade trek/adventure. Or, be ballsy, and keeping with the Biblical theme…structure this like the 40 Days of Eli (taking a cue from The 500 Days of Summer).

I’m just day-dreaming here, but there are lines in the prose passages that describe Eli as an avenging angel, and I thought it would be cool if they gave him a preternatural antagonist. An Anti-Eli (forgive me, “Lost” junkie here). Someone who also can’t be killed and is sent by whoever to stop Eli.

The point is, a story like this is brimming with possibilities, and it’s confined by its (chosen) dimensions of narrative time and space.

So…are you glad this thing’s almost in the can?

I’m glad that this script sold and is being made into a movie with great actors…but my hope is that a veteran screenwriter took a look at this thing, diagnosed the symptoms, gutted what needed to be gutted, and put in shiny new parts that makes this thing run like a beautiful, savage beast.

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

What I Learned: You guys wanna know why this script is now going to be a movie with Denzel Washington and Gary Oldman, with Joel Silver as a producer? It’s like what Brian Cox says as Robert McKee in Adaptation: “I’ll tell you a secret. The last act makes a film. Wow them in the end, and you got a hit. You can have flaws, problems, but wow them in the end, and you’ve got a hit. Find an ending, but don’t cheat, and don’t you dare bring in a dues ex machine. Your characters must change, and the change must come from them. Do that, and you’ll be fine.”

Hmm, some complications resulted in me having to take the “Hungry Rabbit Jumps” (Nicolas Cage and January Jones to star – 5 votes on this year’s black list) review down. In short, I liked it. I’ll work on seeing if I can get it back up. In the meantime, here’s everyone’s favorite incredibly modest but painfully beautiful reviewer , Erica (she reviewed an earlier draft of Black List script “Swingles” here), coming to rescue me. She’s reviewing a tiny script aimed at the “A Walk To Remember” crowd.

Genre: Drama
Premise: After a diving accident, a 16-year-old girl enters a coma for five years. When she comes out of her extended stupor, she finds a crumbling family, but is armed with wisdom and knowledge.
About: Emma Roberts was set to star and Anna Sophia Robb to co-star in this film but the project is not listed anywhere so I’m wondering if it’s fallen apart. Someone will have to revive it if we are to ever see Julia Roberts’ neice in the role.
Writers: Charlie Craig with revisions by Liz W. Garcia and Lisa Barrett.

Emma Roberts looks freakishly like Julia Roberts

I had the urge to stop and check my twitter feed every few pages of this because it’s a story about a wholesome teen girl, presumably aimed at The Sisterhood of the Traveling Pants set, a demo I would not fall into at this stage of my life. Or ever. I was never the peppy teen who would, like, try out for stuff. I was the girl who turned down offers to go to the prom three years in a row because I thought the concept of prom was bogus. My favorite teen movie? Carrie.

But that is why I was happy to do this review. It forced me to adjust my cynical lens (or at least try to) to examine how something like this is done. And I felt like I learned (a small technical) something on the first page of this script, literally first scene.

The setting is early morning Nashville at Hennessy Lake. The main character, Bryce Graham, a 16 year old athlete in her prime, appears out of the fog but I wasn’t sure at first if she was … rowing or swimming? Her father is standing on the “prow of a Boston whaler” so I’m picturing her swimming and Dad in a boat, right? Or is she rowing and they’re both in the boat? Only after googling “Boston whaler” (which I only did because I knew I was reviewing this) did I realize that was not the type of boat in which you could row. I vaguely understood that the “prow” was either the front or back but didn’t know which (it’s the front), so my visual on this whole opening scenario was very poor. By the last paragraph it says her arms are “slicing through the water” but throwing a “swim” in there somewhere, or calling her a swimmer instead of athlete, would have made life much easier. Especially since this is the first I’m meeting this chick, I haven’t acclimated myself to this world and in the very next scene, she IS on a rowing machine indoors.

The reason this really struck me is because I’m a novelist and a lot of my script edits are of the “arms slicing through water swims” variety. It’s like a bad habit I’m always trying to kick. I also notice that sometimes a character or scene can be so clear in my mind’s eye that I don’t put some very basic information on the page that the person who knows nothing about the script needs to read. And that’s what I felt happened here. In trying to be evocative, they didn’t lose me at hello but they had me wondering if I had missed my exit. (Or if I was a total idiot, not a good feeling going into this.)

But this same evocative writing drew me in as Bryce rushes off to her high school swim meet, with her proud parents and smart alecky kid sister in tow, then winds up banging her head on the diving board and sinking to the bottom of the pool, blood swirling around her. Bummer.

By page 8, she’s unconscious in the hospital, getting an emergency head shaving, and since we know she’s the star of this show, it’s clear that she’s going to survive but first she’s in for a really, really long nap.

Aaaaaand five years later…

Kid sister, Sydney, is a blue-haired, boundary-testing 17 yr. old, Dad is sleeping in the barn where he used to train his athletically-gifted daughter and Mom is still trying to remain upbeat though shit is clearly not right up in the Graham house. On one of Mom and Dad’s regular visits to the hospital we meet Carter Lynch, a 20-something resident who has the time and the inclination to entertain the comatose patients by playing music or reading Danielle Steele to them. Yes, he really does this. His too saintly-to-not-be-annoying behavior and one-way banter (those comatose patients, not great conversationalists) had me rolling my eyes but I was only on page 17 (OMG, there’s 100 more pages of this?) so I kept rolling with it.

Maybe I’m too hardened by life to connect with “heart monitors beeping softly” or maybe I’m just too impatient to let a story unfold in due course but I was actually hoping a madman would break into the hospital, take Carter hostage and shoot up the place. That didn’t happen.

What did happen: Bryce suddenly wakes up. To the shock and jubilation of the medical staff, her parents and kid sister who is the recipient of Bryce’s first words in half a decade: “You’re…old?”

I liked how they describe her first moments of consciousness after she asks to be alone in her hospital room: the sound of a plane flying overhead makes her duck, a woman scolding her child in a park across the street sounds like screaming in her ears, the sun burning through her retinas. This is where I started to develop a mild interest in knowing what was going to happen next though I was still hoping Carter would have a freak diving accident and spend the next five years in her old bed, listening to an endless loop of Lil Weezy like I had to do when my boyfriend drove me to a book signing in Connecticut last week.

Soon Bryce is up and about, walking tentatively in the physical therapy room, a fascination to the doctors and a ray of hope for the visitors whose loved ones are still unconscious. And now she…knows things she can’t possibly know.

Even though the doctors want to keep her in the hospital for observation, she demands to go home where she mostly hangs with her sister, a bug freak whose cicadas literally accompany her everyfuckingwhere. Though the Graham house doesn’t feel like the homey home Bryce remembers since the stressed-out family has allowed it to fall into disrepair, Mom and Dad are basically living separate lives (Bug Freak suspect Mom may be cheating) and, most tragically, the shimmer of the pool doesn’t reflect on Bryce’s bedroom ceiling anymore because the pool is now empty and filled with leaves. (Maybe she should’ve stayed in the hospital, I thought. They waited on her hand and foot there and the singing doc was always roaming around, taking requests.)

Back at that hospital where she doesn’t want to be, we find out that one of the comatose patients, Sam, is actually Carter’s brother and their father, a depressed unemployed grouch that Carter lives with, won’t even visit the kid anymore. At which point, I started to feel a bit of sympathy for the guitar-strumming resident. A bit.

And it turns out that Bryce doesn’t just know things about her family and friends, she knows every answer on Jeopardy, shit like that. Which is quite upsetting for her though I was wondering why she didn’t just roll to Vegas, Rain-Man style. I mean, it’s been 5 years. She’s 21 now. It’s legal.

But it seems she only knows things that happened in the last 5 years because Carter read all this stuff to her while she was “asleep”. And she’s pretty pissed at him because why does she need to know who won the pennant for the last five years when she doesn’t even like baseball? I know Carter meant well but I sorta felt her on that one. Of course the two are bonded now and their little spat is like adolescent foreplay. In no time she’s swimming again in the lake, with him, and Dr. Do Good seems to have no qualms at all about fooling around with his Sleeping Beauty though this is obviously a MAJOR breach of protocol.

Neither does her family seem to mind that the young doc is now dating Bryce because he’s all up in the family mix like he couldn’t be brought up on charges at any second. I guess they’re all just heady with joy now that they have their daughter back and everyone seems to be figuring out their own problems, thanks to Bryce’s newfound and readily dispensed wisdom.

There are plenty of clues, i.e. the giant tumor spotted on her X-ray, that this good life won’t last. Bryce, inevitably, ends up back in the hospital and once they all know she’s going to die, Carter busts her out and then grants her last wish by popping her cherry by the lake! Don’t expect any of you will be reading this so no need to announce a spoiler alert before I say —> I actually liked that it ended with her diving into the lake, never to be seen again. So long, Mystical Mermaid.

Okay, I’m being very snarky about this script because I thought that would be more amusing for the Script Shadow crowd than simply saying this is movie that will probably kill (oops!) with teen girls, esp. if Carter is played by a cute boy (which we know he will be). I could have done with a few less cicada shout-outs but the cicadas turned out to have some symbolic meaning related to Bryce’s brief awakening, a payoff I felt I was due after enduring them for so long. In terms of telling the story and delivering on the premise, this script did that quite well, IMO. Nothing too interesting or unexpected happened but thirteen year-olds dreaming of their first kiss will probably go see this multiple times. Especially those thirteen year-olds who have already given blow jobs at rainbow parties which probably makes them romanticize that first real kiss from a cute boy that actually cares about them even more. Even the title “Anything but Ordinary” which sounds like it was cranked out of The Generic Generator, therefore making it a kind of titular oxymoron, will probably make teen girls swoon.

No one over the age of 19 would want to see this or should but I have to say I wound up feeling something for Carter once I found out his mother was killed by the drunk driver who put his brother in the hospital and he has fantasies about murdering the guy. Alright Doogie!

And you know what? I could see this being useful for an adult purpose. If your guy had done something that really pissed you off, you could say, “I heard about this really good supernatural thriller called Anything but Ordinary. Got amazing reviews. Friday night, let’s go see that, honey.”

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

What I learned: Set up your premise quickly and efficiently and give yourself room to tell your story. They had this chick in a coma by page 8 and I already had a feel for most of the major characters and relationships.

Know your audience. None of the cynicism or sarcasm that I would want to stick in this script belonged there. Of course, that’s why I wouldn’t write something like this because I know I could never maintain this level of wholesomeness. But good on Charlie Craig for being able to dive into (stupid pun intended – you see I can’t rein in my sarcasm for one last line!) this sappy teen girl world and emerge with something that will have a valued demo texting “OMG, u gotta go c ABO!”