No link.

Genre: Biopic
Premise: A look at Jim Henson’s life, the creator of the most famous puppet franchise of all time, The Muppets.
About: Weekes did not sell this script, but the script has gotten so much attention around town that he landed a lot of work from it, most notably the rewrite of the high profile project “Waterproof” for Legendary Pictures. (This is an important thing to note for aspiring screenwriters. You don’t have to sell a script to make money. It’s far more common that your script(s) becomes a resume of sorts. If someone likes what they see, they’ll give you a job writing one of their films). Edit: Now someone is pointing out in the comments that Henson’s company did indeed buy this and is producing it. I haven’t been able to confirm this so might someone from the project e-mail me and let me know?
Writer: Christopher Weekes

I hate the word “genius”. It’s become so overused I don’t even think it means anything anymore. Like when people call Tiger Woods a “genius”. Tiger Woods plays a sport where you put a ball in a hole. I don’t care if the man hits a hole in one every time he pulls out his driver. Under no circumstances should a golfer be labeled a “genius.” Albert Einstein was a genius. The Wright Brothers were geniuses. J.R. Tolkien was a genius. There’s a reason you rarely see me give a script a “genius” rating, because when I give that rating, I want it to mean something. But as long as we’re on the subject, I think Jim Henson was a genius. He created an entire universe of characters out of an artform many considered to be long dead. There was no roadmap for what he did. There was no “how-to” book. He just made it up as he went along. And to come up with something so complete, so alive, so unique, is one of the greatest achievements in the history of entertainment.

So it was with great interest that I dove into this offbeat screenplay, only to find myself swimming through one of the more schizophrenic pieces of drama I’ve ever encountered. I’m just going to say it straight up: The Muppet Man bored me to tears for 115 pages, then made me an emotional wreck the final 20. I would go so far as to say the final 20 pages of this screenplay would be one of the most memorable and emotional sequences ever filmed. I could not sleep after reading this screenplay, it hit me so hard. So how did I end up weeping like a little girl during a script that initially I couldn’t even muster up the energy to turn the pages on?

Well it starts with the biopic. I hate’em. And here’s why. How do you break down someone’s life into 2 hours? Or maybe this is a better question: Could you sum up your life in two hours? I certainly hope not. That would make for one boring life. But that’s only the beginning of this genre’s problems. Movies like short time periods. A life is a long time period. Movies like 3 acts. A life has 100 acts. In movies you pick when stuff happens to your character. In life, you’re locked into what happens to your character. And I’m not saying there haven’t been successes in the genre, but it usually plays out the same old boring way: We get a glorified documentary of a person’s life. And for a big old chunk of The Muppet Man, that’s how I felt.

It’s not that Weekes doesn’t attempt to dramatize the action. It’s that he doesn’t have a lot to work with. There’s a thin mystery surrounding Jim’s health going on in the present. When we jump into the past, we see his brother die as well as the life-long courting of his eventual wife. But all these things play out like set decoration – like background music in a play we can only hear. And here’s why:

I never cared about Jim Henson.

He’s introverted. He keeps to himself. We never know what he’s thinking. He’s passive. Do these things ring an alarm to any longtime writers out there? Yes, these are the things that you NEVER WANT YOUR MAIN CHARACTER TO BE. Characters who keep to themselves are always boring on film. If we don’t know what you’re thinking, how can we identify with or care about you? Scene after scene you’re dying for Henson to give you something – anything – but it never happens.

The script has a few sparks though. Its best moments come when the original muppets sneak in to have discussions with Jim. They very much mimic Jim’s energy: melancholy, beat up, tired. When we meet Kermit he’s 20 years older with gray hair and a pot belly. These muppets are not the muppets of your past. They’re at the end of their lives, like Jim, and there’s this overwhelming feeling of sadness watching them. Mrs. Piggy has gone on to marry another animal, and Kermit wants Henson’s advice on what he should do about it. I don’t really know how to describe it other than it just feels so…sad. Cartoon characters (puppet characters) aren’t supposed to grow old. They aren’t supposed to be serious. So when we see them experiencing problems just like us. When we see their age and realize that they’re mortal just like we are, it affects you in a way like nothing else ever has.

Which brings us to that ending I’ve been talking about so much. How did The Muppet Man turn into the most emotional finale since a certain giant ship sank ten years ago? It starts with Jim’s death. Jim Henson didn’t have cancer. Jim Henson didn’t have a heart attack. Jim Henson wasn’t in a car accident. He had a bout of the flu which he ignored for two weeks. He was tired all the time. He would involuntarily pass out. But because his personality was such that he never wanted to bother anyone, instead of going to the hospital, he waited for it to pass. But it didn’t pass. In fact, before he knew it he was coughing up blood and even *then* his ex-wife had to convince him to go to the hospital. They made it there before he died, but his condition was so advanced that the doctors couldn’t save him. He went into toxic shock within hours, then a coma, and less than a day later, he passed away.

I didn’t watch Michael Jackson’s funeral. But people tell me it was extremely emotional. From everything I’ve heard, Jim Henson’s funeral was one of the most memorable funerals in history. And if the script’s account is any indication, I have no doubt about the accuracy of this statement. As Jim lay dying in the hospital – hoping that the drugs would take effect in time – he wrote his children a letter. Jim’s son read that letter during his eulogy. When he finishes these heartwrenching last words, he looks out at the crowd. And when we turn around to see what he sees, there aren’t just hundreds of people staring back at him, but all of the puppets Jim Henson had ever created.

From Wikipedia: In the final minutes of the two-and-a-half hour service, six of the core Muppet performers sang, in their characters’ voices, a medley of Jim Henson’s favorite songs, culminating in a performance of “Just One Person” that began with Richard Hunt singing alone, as Scooter. “As each verse progressed,” Henson employee Chris Barry recalled, “each Muppeteer joined in with their own Muppets until the stage was filled with all the Muppet performers and their beloved characters.”[30] The funeral was later described by LIFE as “an epic and almost unbearably moving event.”

And if that scene doesn’t get you, in a brilliant touch, the final scene actually plays out in the muppet world. But not the muppet world of yesteryear. The one of today, with the old muppets, and Kermit The Frog desperately trying to find Miss Piggy to tell her that he loves her. If you don’t need a towel to clean off your keyboard at the end of this scene, there’s a good chance you don’t have emotions.

If you want to go that extra mile and really emotionally invest yourself in this experience, do what I did, go over to Youtube, and watch as many Muppets clips as you can. You begin to see what I couldn’t see at the outset of this screenplay – which is the love for life Jim Henson had, if only through the world of his puppets.

I’ll be interested to hear what you guys think about this one, but in the meantime, since I’m having such a difficult time categorizing the script, I’m going to cheat…

First 115 pages:

[ ] What the hell did I just read?
[x] barely kept my interest
[ ] worth the read
[ ] impressive
[ ] genius

Last 20 pages:

[ ] What the hell did I just read?
[ ] barely kept my interest
[ ] worth the read
[ ] impressive
[x] genius

Script link: Link taken down. :(

What I learned: I was recently reading Lucy V’s blog and she had a great article on the dubious second act. The second act is generally referred to as “conflict” because that’s what you want your character to encounter: CONFLICT. If there’s not enough conflict, the second act will feel bland. That’s exactly how I felt about The Muppet Man. There simply wasn’t enough drama to keep us involved in the story. Always remember that in order to propel your story forward, you need lots of conflict in your second act. And as Lucy says, throw your characters into the fire. Make it bad for them. It’s always more interesting watching a character struggle through tough times than seeing him waltz through life without a care.

Genre: Drama
Premise: The oldest son of the Ashby fortune comes back to take over his family’s billion dollar company. There’s only one problem. He’s supposed to be dead.
About: Not much is known about this project. William Wheeler (The Hoax) was hired to adapt the novel, “Brat Farrar”, which was originally written in 1950. The novel is either a classic or a cult favorite, depending on who you talk to, and has inspired quite a few stage productions, as well as a UK miniseries back in 1986. Producers have been trying to turn it into a proper movie since its publication.
Writer: William Wheeler (based on the novel “Brat Farrar” by Josephine Tey)

If there is a pot of gold at the end of the rainbow, it’s probably on Fishers Island, where financial titans go to battle for the creme de la creme of North American real estate. It also happens to be the home of the Ashbys and their four children: Patrick, Ellie, Simon, and Elenor. Despite owning the second largest company in the United States, the tight-knit group is fairly grounded, as their father is a firm believer in family above all else. We actually meet him on an evening where he reinforces this point to his children. Whatever may happen in the world, stick together, support each other, and love one another. If you do that, you’ll live a happy life. He then proceeds to get on a helicopter with their mother, and crash into the lake. There are no survivors. In an instant, the Ashby children are orphans. Patrick, the oldest and leader of the group, is so distraught that a few days later, he swims out into the lake and allows himself to drown, his body never to be found again.

Flash-forward 14 years and Simon, the second oldest of the children, has just turned 25 and is therefore about to inherit the reigns to his father’s company. The will states very clearly: the oldest of the Ashby boys will inherit the company after the father’s death. That time has finally come and the cold and calculating Simon couldn’t be more excited.

With only days left before the transfer, their Aunt Claire comes rushing into the house, crying. There is somebody out front. A visitor. It’s important that they come right away. Everybody runs to the guest house and are shocked to find none other than…Patrick. Or, at least, the spitting image of Patrick, now 27 years old. But how could this be? Patrick is dead. He killed himself. Everyone is confused, particularly Simon. If this is Patrick, where has he been all this time? Patrick does his best to explain the circumstances. He couldn’t live here after their parents’ death, so he left and has been living a normal life out in the real world. He came back because of his father’s words. That a family sticks together. But Simon isn’t listening. He knows what this means. If this is the real Patrick, then he, not Simon, will be taking over the business.

Stevie, the longtime head of security at the Ashby estate, is already putting a plan into motion. Old family members showing up to claim untold fortunes is a scam that’s been going on since the Caveman days. They’ll surely be able to sniff out the impostor with an extensive background check. And thus begins a painstaking investigation into whether this is or is not the real Patrick Ashby.

So everyone is shocked when Patrick passes the DNA test, the psyche evaluations, and the quizzes Simon and his sisters put into place about their childhood. Whoever this person is, he knows intimate details about their family. Clearly, this has to be Patrick. Even we’re convinced. I mean, how do you fake a DNA test??

He didn’t have to. Turns out Stevie and Patrick have conceived of an elaborate con, planned months in advance. The DNA tests were doctored. Old family videos were meticulously studied. Stevie clues him in on all the family tricks that will come his way. Once Patrick gets a hold of the company, the plan is simple. He will siphon out millions of dollars to himself and Stevie, then after a few months, he’ll declare his return a mistake, and disappear back into his old world, never to be seen again.

Because no family just hands over a 20 billion dollar business overnight, Patrick has to jump through a lot of hoops, and the more hoops he jumps through, the more Simon doubts he’s dealing with the real Patrick. Another problem (which should be noted – things not to do if you’re trying to steal a 20 billion dollar family business) is that Patrick falls in love with Ellie, who is supposedly his sister. And Ellie, in a creepy twist, is just as enamored with Patrick – even though *she* believes that he *is* the real Patrick. Will Patrick slip up before the board anoints him president? Or will he continue to fool everyone and pull off the biggest con in history?

As we barrel towards the end, twists and turns start popping up like whack-a-moles at a carnival and for the most part, they work. But there’s a lingering sense as you’re reading ‘The Sound’ that something like this couldn’t possibly happen in real life. Especially in post-meltdown Wall Street, where things are checked, double-checked, re-checked, then checked again. Although to be honest, that didn’t bother me that much. My big problem with The Sound is its decision to tip us off that Patrick Ashby is a fake. To me, that was the most intriguing mystery of all: Is this or isn’t it the real Patrick Ashby? Instead, the script wants you to focus on “Will Patrick get caught?” Which was interesting, but I’m not sure as interesting as the alternative.

Another issue I had was that the characters didn’t have enough depth. I understand the challenge involved in a story like this. There’s so much plot and so many secrets, it’s not easy to map out a clear and distinct character arc for everyone. Still, all I knew about Fake Patrick was that he had a rough life. I wanted to know more about who he was and how he got to the point where he actually conned people for a living. Had we dealt more with his pain, had we understood the depths of his predicament, we probably would’ve rooted for him more.

Despite these issues, The Sound is a satisfying read. It’s funny because I started thinking of Rob Pattinson and his attachment to Bel Ami, and I thought – this is a much more interesting portrayal of a poor man infiltrating the social elite. Where that world felt stale and uninteresting, this one felt alive and unpredictable. I could definitely see him playing Patrick Ashby. Of course, you’d probably have to add a dozen sex scenes (with his sister?) to get him interested, but it would be worth it.

The Sound was something I knew nothing about going in, but was happy I found it.

[ ] What the hell did I just read?
[ ] barely kept my interest
[x] worth the read
[ ] impressive
[ ] genius

What I learned: Every decision you make in a screenplay has a ripple effect. Make sure you not only understand what you gain by making a choice, but also what you lose. So in the case of The Sound, Wheeler chose to tell us very early on that Patrick and Stevie were conning the family. We gain a sense of fear: “Will Patrick get caught?” But we lose a sense of mystery: “Is this the real Patrick?” Ultimately it’s up to you to decide which is more important in telling your story. But you can’t make an informed decision unless you’re aware of the effect each choice has.

Producer note: It is my understanding that the original book had Patrick and Simon as twins, with Patrick a few seconds older. I’m curious as to why they changed this in the screenplay. It would seem to me that if you kept the twin storyline, you could go out to talent offering both characters to a single actor. And we all know how much actors love playing two parts in the same movie. Easy way to snag an A-lister methinks. Thoughts?

Genre: Dramedy
Premise: Semi-autobiographical look at a man who finds out he has cancer. Coping with his mortality, he decides to use humor in his struggle to cure cancer and keep his sanity intact.
About: Just last week, Seth Rogen announced this will be his next project. Mandate pictures and Seth himself will be producing (along with Evan Goldberg). James McAvoy is attached to play the lead. What might explain Rogen jumping from the cancer-themed “Funny People” to another movie that centers around the disease, is that Seth is friends with Will Reiser, the writer, and was there with him while he dealt with the disease (it may also explain why the friend’s character name is “Seth”). “I’m With Cancer” also finished 9th in voting on last year’s Black List with 24 votes.
Writer: Will Reiser

Today is sort of a monumental day at Scriptshadow because it’s the first review from someone completely outside the industry. This person has no aspirations whatsoever of being a part of the movie business.The extent of their involvement is going to see movies and that’s it. So what are they doing reviewing a script on Scriptshadow? Let me try and explain. My really good friend who I’ve known for fifteen years now, Carmen Rossi, has breast cancer. So when I decided to review “I’m With Cancer”, I thought it would be an interesting idea to get her perspective on it. I was a little reluctant about approaching her at first but as soon as I mentioned it, she was immediately game. I remember the day she told me the news and how sick and scared I felt. I told her she could write whatever she wanted. No restrictions. Just tell us what she thought . So, this is Carmen Rossi’s review of “I’m With Cancer.”

I have cancer.

I found out one week after my birthday. To say I went into shock upon hearing the news would be the understatement of the century. I’m not old. Cancer doesn’t run in my family. I’m a good person. When I took my life insurance health exam two years ago I was rated “Preferred Plus No Nicotine” which is, like, the healthiest you can be—essentially I was as healthy as a marathon runner. So yes, I totally went into shock when I heard the news. But once it finally sunk in, I realized that I could cry about it or I could laugh about it. I chose to laugh about it and continue to do so.

When I heard about “I’m With Cancer” I wanted to read it out of personal curiosity. I wanted to read what a comedy about cancer was all about. That, and I wanted to try out my new Kindle (which I love, btw).

Adam Schwartz is a normal, ordinary guy. He enjoys his job, loves his girlfriend and complains too much. Out of the blue, at age 25, Adam’s diagnosed with cancer. There’s nothing too distinctive about Adam. He could be anyone. Which is the whole point. What happens to Adam could truly happen to anyone. “I’m With Cancer” is semi-autobiographical, and Reiser draws upon his experience with a cancer diagnosis at a young age, and the battle he went through, to present the story. Following the rule of “write what you know,” Reiser perfectly captures the emotional aspects of the story—from the apprehension of telling people about the cancer, to the varied reactions the news elicits and how these affect the character.

“I’m With Cancer” takes us along on Adam’s physical and emotional journey to happiness and acceptance. We’re with Adam in the stark hospital room when he receives his diagnosis, we’re with him as he shares the news with family and friends. We’re with him through chemotherapy, relaxation therapy and laughter therapy. We’re with him as the drugs designed to kill the cancer cells also kill the healthy cells and his physical appearance deteriorates. We’re there as he receives more and more bad news, and plans his own funeral arrangements. And then we’re with him when he has an emotional catharysis and complete transformation.

Being diagnosed with cancer, particularly unexpectedly and at a young age, is the most traumatic event you can experience. As someone who’s experienced a fair number of traumatic events in her life, take my word on this. But one thing you learn is that while the cancer may reside only in *your* body, it affects everyone around you. A positive attitude and a good support system can get you through it. I have an amazing support system of family and friends. Adam has…well, Adam has a smothering mother, a stroke victim father, Seth, his pothead jokester of a best friend (who uses Adam’s condition to score chicks), and Rachel, Adam’s girlfriend of four months. While they all care about Adam, none of them are really able to handle all that comes along with a cancer diagnosis, and Adam forms new relationships with those that understand his situation more—specifically, his fellow chemo patients and his psychologist.

While the principal story is that of Adam’s transformation, we also see a transformation in Seth—in between his wisecracks, he’s a concerned friend terrified of what may happen—and in Rachel, who simply cannot handle Adam’s condition or his needs, and lets him down time and time again. While not a traditional laugh out loud comedy, “I’m With Cancer” approaches a serious disease with humor and light-heartedness. But to those who know people who have died from cancer, I fear the tone of the story may be off-putting and come across as flippant and disrespectful. It’s not, but cancer evokes a lot of emotion in people and personal experiences will most definitely play into one’s interpretation of this story.

Once Adam decides to go through chemotherapy to fight the cancer, he quits his job at the museum, and his co-workers throw a going-away party for him. Without question, the main and only topic of discussion among all the party attendees is Adam’s cancer. Through short snippets of conversation, we see the co-workers react to Adam’s health—from the guy who asks if he’s wearing a wig, to the woman who advocates natural healing and a diet of only green foods , to the woman crying in hysterics—each are portrayed in an honest and sincere way. (Responses to me ran this gambit and beyond, and just this morning I received an email from a friend praising asparagus is a miracle food to defeat cancer cells.)

It’s a funny scene. But it’s also a perfect example of what concerns me about this script. I find it hilarious because I’m a young person with cancer. Will someone who doesn’t have cancer find it funny? Will they feel uncomfortable laughing at it? What about someone whose mom died of cancer? Is cancer something that’s so sacred we can’t laugh about it? My grandparents would never say the word aloud, and if it was uttered, it was whispered as if saying it would bring it upon them. But that was then. Now, we have high-profile athletes and celebrities who fight their cancer battles in public. We have cancer walks and fundraisers in which survivors proudly stand tall and tell their stories.

But is it something people are comfortable seeing on the screen? There is humor in this movie. The character of Seth (to be played by Seth Rogen. It was hard to read the part and NOT imagine Seth Rogen playing the Seth character, in part because it reads like every role Seth Rogen has played) provides comic relief, as does Adam’s stereotypical Jewish mother. But is it enough to balance the scenes where Adam’s in the Chemotherapy room? Where you visibly see his health deteriorate until he’s a shadow of his former self? When he starts making his funeral preparations?

To help cope with the emotional aspects of his disease, Adam sees a psychologist. During their first meeting, the psychologist says: “The first thing I want you to do is to stop looking at cancer as a burden. Cancer has come into your life to show you that your emotional and physical bodies are out of balance. This is your chance to correct that.” Adam completely dismisses her advice. But as his ordeal continues, these words shape his life, and in the end, he ends up both emotionally and physically content, and in balance.

Reiser does a great job of telling Adam’s story in a realistic and accurate voice. The story progresses at a great pace, and I feel there is a good balance between the humorous scenes and the more tragic scenes. Reiser nails the details, like the doctor who speaks as though everyone has a medical degree and understands what a schwannoma neurofibrosarcomas is. He illustrates the paralyzing fear Adam has about Rachel with eerie accuracy—the cancer diagnosis is too much for Rachel to handle and they drift apart. Though it’s obvious she doesn’t love him and the relationship is over, Adams’s fear of being alone and the disbelief that he can ever find anyone to love him while he has cancer, keeps them together. And breaks my heart.

But Adam’s story ends as I know mine will—with the cancer gone and a life full of love, happiness and the things that really matter.

[ ] What the hell did I just read?
[ ] barely kept my interest
[x] worth the read
[ ] impressive
[ ] genius

Genre: Psychological (Supernatural?) Thriller
Premise: A ballerina competes against a rival dancer who may or may not be another version of herself.
About: Black Swan will star drool-worthy starlets Natalie Portman and Mila Kunis and is being helmed by visionary director Darren Aronofsky. Aronofsky originally tried to set up the project in 2007 but Universal put it in turnaround. Thanks to “The Wrestler” doing so well though, Portman twirled onto the project a couple of months ago and everything’s been full steam ahead since.
Writer: Mark Heyman (original script by John McLaughlin)
Details: 131 pages – March 25, 2009 draft.

Can I just tell you why none of my review matters? Can I just tell you why my review is absolutely pointless?

Because in this movie, Natalie Portman and Mila Kunis have sex.

Yeah. You read that right. And not just nice sweet innocent sex either. We’re talking ecstasy-induced hungry aggressive angry sex. Yeah so…this movie is already on the must-see list of 2010. But how good is it? Does the story that surrounds the sex disappoint or excel?

Black Swan is a very intriguing story with a quiet slow burn. So slow, in fact, that I nearly lost interest halfway through it. Heyman focuses on the tiniest of things. The way shoes sound as they click against the pavement. The way a slight breeze tussles at your hair. You know how as film evolved, we’ve been encouraged to cut out all the meaningless stuff? For example, instead of showing a character walk from their house to the train, we should just cut to the train? Yeah, Heyman doesn’t do that. If someone needs to walk somewhere, we walk with them. And after awhile, it really begins to test your patience. And if you’re looking for the culprit in the 131 page screenplay length, that’s where you’ll find him. But it’s pretty clear these are the moments Aronofsky is interested in in Black Swan. He wants you living every second of this character’s life, lulling you into a sense of security so that you get used to the mundane. That way when the extraordinary happens, it slams into you like an SUV.

Nina is a ballerina in one of New York City’s top ballet companies. She appears to be the only sweet girl of the bunch however, as it’s established early on that these companies are packed with jackals, every seemingly sweet-natured princess scheming to backstab the girl next to her if only it gets her one rung higher on the ladder. High School’s got nothing on these bitches. Nina’s sorta friend, Beth, who has been the school’s running lead in all the productions, is nearing the end of her career, and everyone’s gunning to take her place in the next big ballet: Swan Lake.

The lead role is the part of Odette, the Swan Queen. The role is complicated by the fact that the ballerina must be able to play both sweet, the “White Swan,” and dark, the “Black Swan”. It is the ultimate challenge. Of course, Nina has the white swan down. But does she have the darkness to nail the Black Swan?

The director of the production is the handsome but sinister Yevna. He sees something in Nina but before he gives her the part, he wants to speak with her privately. It is there, in his office, that he pries into Nina’s mind, searching for her dark side, even going so far as to force a kiss on her. But it’s unclear whether Yevna is trying to seduce Nina or simply seeing how she’ll react. As the sweet polite girl she is. Or as the raging disturbed woman she will have to be. In the end, Nina is given the role. But it’s clear Yevna has doubts as to if she can pull it off.

As the days go by and Nina searches desperately to find her darkness, she begins noticing another girl around town and at the ballet company who looks exactly like her. But not just “exactly.” We’re talking identical. Yet every time Nina tries to get close, the girl turns away or hides her face. Finally, Nina meets this mysterious doppelganger after rehearsal. Her name is Lily. And while she definitely looks like Nina, she’s by no means an identical replica. Was it Nina’s imagination perhaps?

Whereas Nina is calculated about every move she makes, Lily is the opposite – uncaring and uninterested in perfection. Everything she does seems so…effortless. The two begin a tepid friendship, one which Nina is constantly trying to pull away from. But while she is afraid of Lily, she is also drawn to her in some way. And then there’s those strange fleeting moments where Lily looks exactly like her.

As they get closer to production, Nina’s world starts to spin out of control as Lily befriends Yevna and continues to move up the ballet company ladder. The girls will go out, get drunk, and Nina will show up at rehearsal late the next day only to find that Lily is standing in for her. Is Lily scheming to steal her role as the Swan Queen? Or is Nina making this all up in her head in order to find her dark side? That is the ultimate question.

As in all Aronofsky movies, there are some controversial moments. In one scene, Nina basically gets raped by Yevna. It’s cold and off-putting, and yet it’s an important moment as it demonstrates just how high the stakes are in this seemingly innocent world. The script is steeped in darkness (surprise surprise) and makes you feel so uncomfortable at times that you can’t read it without constantly resituating yourself.

Black Swan is an interesting read. As I mentioned before, it takes its time. But if there’s any director who knows how to make the quiet moments work, it’s Aronofsky. He’s rarely boring as a director. Much has been made of the “supernatural” aspect of Black Swan, with some even comparing it to, “The Others.” (one of my favorite scary films btw) But I never saw it that way. To me it was clear that Nina was always imagining her relationship with Lily. I never doubted that Lily was real. But I believe Nina made up the more elaborate aspects of their friendship in order to discover her dark side. I wouldn’t be surprised if this was a talking point of the film after its release, which, if the film is good, will surely help word of mouth and repeat business.

As a screenplay, I thought Black Swan was good. It definitely could’ve moved faster and I would’ve preferred we get some answers sooner instead of being strung along with weird unexplained moment after weird unexplained moment. After awhile that just gets exhausting. But the feel of the story is just so original. It’s not quite like anything I’ve read or seen before. If you like your scripts dark and moody, check out Black Swan for sure.

[ ] What the hell did I just read?
[ ] barely kept my interest
[x] worth the read
[ ] impressive
[ ] genius

What I learned: Don’t be afraid to explore the details in your screenplay if they help tell the story. It’s okay to create mood and atmosphere. Just make sure you don’t go overboard with it. I don’t think Black Swan would have a prayer on the spec market because it’s just sooooooooo slow at times. But some movies require you to indulge in the seemingly mundane things. That’s fine if you know when to stop.

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Guess who’s back? Back again. Guess who’s back. Tell a friend! It’s Roger Balfour capitalizing on all the vampire mania with a review of Bubba Ho-Tep’s sequel: Hubba Bubba Something’s In The Tubba! Or something like that. I like when Roger reviews scripts because he always sees the best in them. It’s a reminder that I can be a bit too critical at times (not that I’ll change). Anyway, the good news is I’ve already read this week’s scripts, and while I’ve ranked a certain upcoming action-comedy-romance a strong ‘worth the read’, there is a 1.75 million dollar comedy spec from a few years back that was absolutely dreadful. I also have a dark psychological supernatural thriller that may be starring two gorgeous actresses. And finally a black list entry from 2006 that should get supporters of films like “The Squid And The Whale” and “Rachel Getting Married” excited (if they’re not too hopped up on anti-depressents that is). And hey, we should have a couple of script links as well. If I may quote Anakin Skywalker: “Yipeeee!” So let’s start it off with a little vampire action, shall we? Take it away Roger…

Genre: Horror, Black Comedy
Premise: Elvis shoots a film in Louisiana when he runs afoul a coven of she-vampires.
About: The sequel to 2004’s Bubba Ho-tep.
Writer: Don Coscarelli & Stephen Romano. Based on character by Joe R. Lansdale.

Bruce Campbell. As Elvis. Fighting She-Vampires.

Let’s get real, people.

You already know if you’re going to like this or not. You either loved Bubba Ho-tep or you hated it.

Wait.

Bruce Campbell has parted ways with the project? Pump the fucking brakes. Who the hell can bring the same classy B-movie gravitas to the role of the King? Who else can possibly bring a legendary Horror hero pedigree to the table other than the chinned-one?

Ron Perlman, that’s who.

Okay. So Campbell is out. Perlman is in. Campbell left over creative differences and writer changes. Giamatti is fucking in, as they say, to play Colonel Tom Parker. And this yarn sets up the third film.

Yep, Bubba Insert Classic Horror Creature Here is a trilogy. And writer-director Don Coscarelli envisions different actors playing Elvis for each sequel.

But didn’t Elvis die at the end of Bubba Ho-tep?

Yeah, and The Lone Ranger died when you saw him and Silver fly off the cliff during the last commercial break.

This is the serialized pulp story template. Heroes don’t die. They survive. Their living-legend status has equipped them to asexually reproduce new adventures. Or in Elvis’ case, another geriatric black comedy romp into the woods of Hammer Horror staples and EC-comic shenanigans.

So, nope. Of course Elvis didn’t die.

In fact, Bubba Nosferatu starts off right as Ho-tep ends. Cut to Nurse Ella in her bed, awakened by the death rattle of a four-thousand year old Mummy. She runs out of the Shady Rest retirement home, down an embankment and into the creek where Sebastian Haff, aka Elvis, lies in his soiled white jumpsuit, unconscious.

Nope. Ella ain’t gonna let him leave the building just yet. She straddles his chest and performs CPR, resuscitating the King back to life.

But during his near-death experience, instead of seeing a white light, he sees a horrible montage of suppressed memories…

A gold-plated revolver.

A flash of a demon vampire’s sharp teeth.

A spray of blood as faces twitch and contort in agony.

And the center-piece to this sequential Boschian tableau, the diabolical countenance of Colonel Tom Parker. Who will now be referred to as “The Colonel” from here on out.

Seventy-three year old Elvis wakes up in the back of Nurse Ella’s car. We learn that Elvis has been kicked out of Shady Rest. After all, he did give an actual sworn statement to the authorities stating that he battled a supernatural creature, and the resulting clash of iconic characters left behind a corpse. That of his only friend, eighty-three year old Jack “JFK” McLaughlin. Ella has been fired. We never find out why, exactly, but what the hell, the Devil’s in the details, right?

They’re on their way to The Big Easy. Ol’ Tiger has been transferred, and Nurse Ella has been tasked to deliver Big E to The Grand Dauphin Retirement Home in New Orleans, right on the waterfront, in exchange for a week’s worth of room and board while she looks for a new job. For her, the barter’s just fine.

But thing’s ain’t so fine for The Pelvis. There’s some real bad mojo, you see. It has to do with a movie picture Elvis got bamboozled into by The Colonel back in ’73. A picture that shot on location in The Crescent City. And Elvis has good reason to be suspicious because, according to his fragmented memories, some really weird vampiric shit went down on this movie shoot.

But hold on, we’re getting ahead of ourselves.

I want to talk about The Memphis Mafia. Now here’s a sequence, 8 pages into the script, that had me crying in front of the computer screen. It’s so great I wanted the movie to de-rail and turn into a story about these goofy fuckers. We get the vital stats of Otis Flanger, Cooter Mayhew, Shelby Jenson, and Marshal “Stack” Malone via glorious slow-motion, majestic freeze-frames, and multiple-split screens showcasing these curious characters in various out-fits and poses like we’re watching the titles to a 1970’s-era Cop Show.

They face off against Young Elvis, who sports his stylish, red-trimmed Martial Arts Gi. Of course, his T.C.B. insignia (Taking Care of Fucking Business to the ignorant) is emblazoned on the uniform. They get their asses handed to them. But you know, if you’re elite enough to be in the Memphis Mafia, you know that the unspoken rule is never let Elvis lose. And the sequence segues into what Elvis likes to call the Three-up Cover Formation. Which is a dazzling whirling-dervish of Young Elvis and his team attacking all flanks with punches and kicks and really intense 70’s soundtrack theme music. It’s classic martial arts stuff that comes into play later…when Young Elvis and the Memphis Mafia have to fight their way out of a she-vampire bloodbath slash orgy.

Yep, that part’s pretty awesome.

What about the rest of the story?

Rehash the plot of the first movie. Septuagenarian Elvis arrives at his new rest home. He’s frustrated about the boil he mistakes for cancer on his penis. He smears it with yellow dick goop. He exchanges witty banter with Nurse Ella about said dick and goop. Old people die mysteriously. Instead of flying scarab beetles elderly Elvis does battle with flying vampire bats. Instead of a tragicomical black dude who claims to be JFK, we have a tragicomical Native American dude who claims to be Chief Sitting Bull, leader of the Sioux Nation and slayer of General Custer.

Sure, he’s a neat character. After his role at Little Bighorn, The Chief joins Buffalo Bill’s Wild West Show. When a Paiute medicine man has a heart attack, Mr. Bull attempts to help him. The shaman is at death’s door, and he calls on The Great Spirit to bless him with eternal life. There’s a mix-up and Sitting Bull, instead of the medicine man, is struck by lightning. The Great Spirit has infused him with immortality. That’s right, The Chief can’t die.

Which comes in pretty handy for Elvis, because, let’s face it, he’s an old dude with a walker who will later engage in fisticuffs with she-vampires from an ancient Clan. He’s gonna need muscle like Sitting Bull.

But unfortunately for Sitting Bull, his blessing has become a curse as he’s spent the past 97 years being shuffled across old-folks homes all across the continent.

Anyways, it turns out that The Colonel employed some of his manipulative mojo to have Elvis transferred to The Grand Dauphin.

What the hell? The Colonel’s still alive?

Alive isn’t really the right word. Now, “undead”, that’s about right. Just like we’ve always known, Elvis’ manager is a vampire.

Here, have some of The Chief’s peyote buttons and let’s talk to the spirits. See who the real bad guy is.

You see, back in the 1940’s, while The Colonel was just a man, he fled Amsterdam under the suspicion of murder. He ingratiates himself into a family of rogue gypsies to learn his trade as a swindler. Except, one night, he attempts to dip the pockets of the wrong man. Prince Franz Black is his name, and being a vampire is his game. The Colonel is eventually turned and made a slave to Prince Black, under whom he sets up shop. He’s kept on a short leash by The Prince. His job is that of plunderer. He helps finance the Clan’s western expansion. He makes a killing investing in retirement communities, which also serve as way-stations for Black and his entourage where they can visit and feed on the livestock as needed.

But The Colonel’s first love is the music business.

And Elvis is his work-horse. But when his work-horse partially falls out of the limelight, it becomes time to insert some much-needed juice into his top earner’s career. He gets the fancy to orchestrate the King’s comeback into the movie business. Only problem is, it turns into a bloodbath.

What’s the new Elvis movie?

It’s called “The Curse of the She-Vampires”. And Elvis is gonna play a freelance demon hunter who moonlights as a nightclub singer to rid the world of vampires. His co-star is Claude Killgore, a third of the Unholy Triumvirate that included Boris Karloff and Bela Lugosi.

The production goes to hell as Prince Black’s wives crash the party, unable to contain their bloodlust. Young Elvis dons his black leather jumpsuit designed by the meet-cute art-department girl, Jill. It’s a real beauty. Taken from the template of his ’68 comeback suit, it’s crafted into a vamp-proof, reinforced leather outfit. It’s actually fang-proof, kiddies. Armed with a gold-plated revolver, brass knuckles, throwing stars, and blades, and with the Memphis Mafia as back-up, they fight their way out of the blood orgy.

But during the blood riot Elvis is attacked by one of the wives. She attempts to bite him and she actually breaks a fang on the suit, but the other fang scrapes his flesh. He’s inflicted with a curse when he’s in proximity to the clan, so when Old Elvis gets to New Orleans, he starts to regress in age. He gets a little younger, kinda like Benjamin Button, but not that full-throttle. The curse seems to be a minor detail in the story, as it’s not really played to full-effect.

So Young Elvis, The Memphis Mafia, and Jill escape the she-vampires. Prince Black tightens the leash on The Colonel and somewhere along the way, Elvis hurts himself throwing his hip out during a performance and he loses part of his memory. He trades places with Sebastian Haff, who is then metaphorically sucked dry by The Colonel and Prince Black as they work him to death.

In present day, The Colonel’s grand scheme is to get back in business with Elvis. So all of this is precursor to the ultimate business meeting: An aged Elvis, a vampiric Colonel, and the shark Prince Black.

But the Prince could care less. The Clan Matriarch, Momma Nosferatu, an abomination in a wheelchair, who is so old she no longer needs blood, decides she’ll break her fast for Elvis. Another blood-bath ensues and Sitting Bull’s curse is broken as he sacrifices his life to save Elvis and Nurse Ella. Yeah, I don’t know how it’s broken. It has something to do with Prince Black’s supernatural power and Sitting Bull’s exposure to it. Don’t ask me, I only read the thing.

Does it deliver?

There’s the rub. This baby is a strange beast. The writers manage to capture that elusive Nacogdoches-flavor of Joe R. Lansdale quirk (is that a “Late Night” Doritos flavor? You be the judge.) Stylistically, anyways. But the problem here is the decision to tell two stories.

So it’s kinda like reading a sequel AND a prequel at the same time.

They try to braid the story lines together, but it just doesn’t work.

One story is way more entertaining than the other.

I dunno, I think the novelty of a geriatric Elvis wears thin two movies in. And when you just rehash the gags from the first film, it grows boring. Like Old Elvis, it just made me feel tired.

I kept gravitating to the story about Young Elvis. It kicks ass. The characters are more interesting, the dialogue is zippier, and it’s a faster world. There’s also some hilarious commentary about the movie business, and The Colonel is a fantastic character.

That’s so fuckin’ Giamatti.

I mean, you can taste the guy sinking his teeth into this role.

But again, it’s a frustrating read. I can’t help but wonder what Joe R. Lansdale could have come up with. I mean, if he were to write another novella called Bubba Nosferatu, what would his take on things be? And I wonder if Bruce wondered the same thing. Is that why he dropped out of the project? Alas, speculation.

But yeah, this sucker ends with Old Elvis and Nurse Ella stranded on the side of the road. Their car has died as they driving out of New Orleans. The last shot is of Ella pushing Elvis down the road in his wheel-chair before they cue the title card for the return of Elvis in:

“Bubba Sasquatch, Killer Apes of the Northern Woods”.

**link removed**

[ ] What the hell did I just read?
[ ] barely kept my interest
[x] worth the read
[ ] impressive
[ ] genius

What I learned: If you have funny yellow dick goop commentary in your first movie, it might not be that funny in your second movie. Seriously though, this script made me think of creating great gags. Those scenic exclamation points that sequences revolve around. Here, The Memphis Mafia is a great concept, and their Three-up Cover Formation is a great gag. So great it pretty much steals the movie. The Fang-Proof Jumpsuit is a cool concept, and the gag is that we get to see an awesome shot of a vampire’s fang breaking off on it. These are clever, entertaining moments that get the blood flowing. Gags make the story pop, unfortunately, they can’t save the story alone. But a good gag is the punch-line to your action scenes, and it’s always nice to experience the pure invention of a successful gag.