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• Every deserving screenplay ultimately finds a buyer
• A look at Paranormal Activity, a “claustrophobic classic”
• “Messy and awkward”: a script review of New Moon.
• Selling specs to Hollywood? Keep afloat with the 2010 releases.
• Emotions fuel the fire, turning your anxieties into good writing.
• Fake out? Fiction writers and the responsibility to your readers.
• Some advice: “Write what you know hurts.”
• James Berardinelli’s Turkeys of 2009
• Shane Black Confronts your fears: Interview
• The 5 S’s of Screenwriting
• Sony Pictures Classics: Scripts for your Consideration
• “How long does it take to get paid once you sell a screenplay?”
• The Verdict: Screenplay for download from mypdfscripts.com
• Stephen King plots sequel to Shining
• Have at least one spec of everything
• Oscar winning Pulp Fiction writer tweets from prison
• The Belgian that may dominate our cinemas in 2011 (and it’s not me)
• First Hobbit Movie Script Complete

And largely unrelated but too much fun not to include:

• Matrix goes Lego. Dodge this!
• Close Encounters of the Redneck Kind

With many thanks to Sol, who we’re wishing a safe return to New York!

Enjoy!

Karel

“Animation is not a genre but an art form” says writer-director Brad Bird on the commentary track. This is one of the most enjoyable superhero action adventures I know. It is also the #1 movie I will never forgive myself for not seeing in the theaters at the time of release. It’s in my Top 10 of all-time favourites and a strong reference movie in almost all my story classes.

ACT ONE

Prologue: The Glory Days & Wound (11mins)

00.00 TV interview: The Incredibles about their secret identities.
02.00 Mr Incredible called to the rescue, but saves the cat first.
04.30 Meets with Elastigirl on rooftop – “prior engagement”.
05.30 Bob saves man from suicide attempt, he’s not happy.
06.30 Bob stops Bomb Voyage, Incrediboy complicates matters.
09.00 Bob marries Elastigirl: she needs more than Mr. Incredible.
10.00 Superheroes are sued by suicidal: relocation program.

Sequence A: The Ordinary Life (9mins)

11.00 15 years later: Insurance clerk, warned to stop writing cheques.
13.00 After Helen sees headmaster, Dash told to be like everyone else.
15.30 Violet is shy. Always trying to be invisible. Boy looked at her!
16.00 Bob comes home, frustrated. Neighbour’s boy sees him.
16.30 Dinner: they all use their powers, Bob is not in control.
18.30 Robert reads paper: Advocate of superhero rights is missing.
19.00 Frozone calls: Wednesday, it’s bowling night.
19.30 Violet: What does anybody know about normal?

Sequence B: Secrets, Lies & Inciting Incident (14mins)

20.00 Frozone: What if we did what our wives think we’re doing?
20.30 Mirage: “He’s not alone”.
21.00 Fire rescue, escape into into jewellery shop, police catches them.
23.00 Helen: Uprooting our family to be a superhero is not good.
26.00 Boss cross: customers are experts, Bob has enough, loses it.
28.30 Boss in hospital. Relocator offers to help Bob & family.
30.00 Invitation from Mirage: Do great things. 24 hours to respond.
32.30 Lying to Helen: sent to conference. Accepting Mirage’s call.

ACT TWO A

Sequence C: Living the Dream again (12mins)

34.00 Mirage gives Bob instructions, he arrives on the island.
36.00 Bob fights the robot, terminates it. Mission accomplished.
38.30 Invited to dinner with Mirage; everything is delicious.
39.30 Montage sequence: Bob is loving the great new life.
41.00 Bob asks stylist E to repair suit; she will design new supersuit.
44.00 New assignment: Bob keeps lying to Helen.

Sequence D: Things are not what they seem (7mins)

45.00 Flying to island, nice to be back, Mirage. Briefing for 2pm.
47.00 Helen finds patched suit, calls Edna. You come in 1 hour I insist.
48.00 Bob’s meeting: I’m Syndrome, your biggest fan. You work alone.
50.30 Syndrome tries to kill Bob, he jumps in water.
51.00 Bob finds dead super Gazerbeam. “K R O N O S”
51.30 Tracers trying to find Bob: terminated.

ACT TWO B

Sequence E: Approach to Syndrome’s HQ (9mins)

52.00 E shows Helen her work: we are retired! Do you know where he is?
55.00 Removing the guards, going in.
57.30 Bob learns that the Supers are dead.
58.00 Helen finds out Bob left company, he’s  been lying.
59.30 Locator betrays Bob. Bob caught in Blobs.
60.00 E to Helen: go, fight, win!

Sequence F: Bob in the Cave / Family to the rescue (9mins)

61.00 Helen gets ready, Dash sees outfits. Calling Snug.
62.30 Helen & kids flies gov. jet, missile attack on approach.
63.30 Bob chained – Syndrome shows up.
67.30 Helen saves the kids. Get a grip!
68.30 Bob threatens to kill Mirage, doesn’t do it. S: You’re weak!
70.00 Helen to kids: use your powers. I’ll be back by morning.

Sequence G: FINDING BOB (9mins)

72.30 Mirage: Next time you gamble, bet your own life.
73.30 Helen goes into HQ, using her Elastigirl powers.
76.00 Dash: I’m gonna look around.
77.30 Rocket launch: Dash & Vi run.
78.30 Dash & Vi discovered. They have to run.
79.30 Mirage tells Bob his family is alive. Helen finds the two.

Sequence H: REUNION IN THE CAVE (7mins)

82.00 Dash runs & fights & runs.
83.30 Bob & Helen // Violet disappears, Dash to the rescue.
85.00 Family reunion.
85.30 S appears. Captures them, shows what the robots do. “I’m real”
87.30 Bob apologises, Violet releases them, escaping.

ACT THREE

Sequence I: Threshold Sequence (5mins)

88.00 To the rocket, Mirage helps
89.00 Frozone getting ready
90.00 Syndrome “saves baby” but can’t stop robot.
91.00 Incredibles arrive with bus.

Sequence J: INCREDIBLES vs. SYNDROME (8mins)

93.00 Robot attacks them.
94.00 Frozone helps. Bob has the remote control.
97.00 Taking out the robot.
97.30 Syndrome still around
98.00 New hope for the supers.
99.00 Kari (babysit) calls: thanks for replacement – S
99.30 Jack-Jack’s special powers. Bob throws Helen.
100.30 S in turbine / Violet protects them.

Sequence J: THE INCREDIBLE(S) TEAM (3mins)
101.30 3 months later: Tony & Violet / Dash comes close second
102.30 The Underminer: they all get ready to work together.

THE HERO’S JOURNEY

In a prologue full of beautifully dramatised exposition, we meet Bob, Helen, Frozone and Incrediboy. We learn about the role of the Supers and their fall – or Bob’s ‘wound’.

ACT ONE

The Ordinary World for Bob doesn’t start until after the prologue, “15 Years Later”. It is literally an ‘ordinary’ world and he has a strong longing to swap this life for something more exciting. This stage extends for two sequences, in which we see Bob’s boring day job as well as his exciting secret night escapades.

But he is a flawed hero. He lies to his wife and hates his job. He is blamed of not doing his fatherly duties. This Hero is ready for change.

The Call to Adventure comes with the message from Mirage, the Herald and Shapeshifter who seduces Bob into a adventure that promises exactly what Bob has been lacking in his life.

After hardly any Refusal, Bob crosses the Threshold and accepts Mirages offer. Again he lies to Helen, saying he’s off to a conference.

ACT TWO

The typical pitfalls of a second act are overcome by using a solid sequential structure and by interweaving Bob’s journey with that of his family. In the middle of the act sits a powerful Mid Point Reversal, which accelerates the Hero’s Inner Journey and gives his Outer Journey a new direction.

The first half of Act Two consists of a number of Tests for Bob, leading to his first assignment, which Bob completes effortlessly. So in a way this assignment can be seen as just another ‘test’ in the journey. Bob is loving his new life. But he’s still living the lie, so a reversal is looming. Going back to the island, he is to meet with with his employer but instead he is attacked by a robot and for the first time, he finds himself face to face with Syndrome, his Shadow.  It turns out he has created this shadow by rejecting (his need for a) Buddy. In order to resurrect as the transformed Hero, Bob will not only need to defeat Syndrome, but take on the very character quality Buddy/Syndrome represented: team spirit.

Although The Incredibles never FEELS formulaic, it ticks all the boxes of the Journey, including the almost cliche’d beat of the Mid Point: the Leap of Faith. To escape his enemy, Bob dives off the cliff (Butch & Sundance style) into the water below. Seconds later, the reversal is complete when he learns the full truth about Syndrome and the fate of the Supers by discovering the meaning of “KRONOS”.

The next sequence is a typical Approach to the Inmost Cave, i.e. trying to get into Syndrome’s HQ. There, Mr Incredible will face his lowest point when he is chained in the cave, first alone, then together with his family.

The traditionally melodramatic Ordeal scene is peppered with mild sarcasm,  when Dash cuts into Bob’s redemption speech and Helen says: “Shhht! Don’t interrupt…”

Brad Bird shows again how you can use a template like the Hero’s Journey and use it in an original way: the Reward is shown BEFORE the Ordeal, as we see on a big screen what Syndrome is up to. So the Incredibles know where to go and what to do once they’re out of their predicament. It makes the transition more fluid than in many movies, where the Reward magically – and quite randomly – appears immediately after the redemption.

ACT THREE

The Road Back ‘Threshold Sequence’ is a fully fledged chase sequence back to the Ordinary World, including running, flying and driving.Technically you can argue that this sequence belongs nor in Act Two (Special World) nor Act Three (Ordinary World) but I place it in Act Three because it happens after the Hero is ready to confront the Shadow. The race to the mainland is in effect the first action after the 2nd Act Turning Poing (PP2 or Ordeal/Reward).

Back on the main land, the family engages with Syndrome. The subplot of Jack-Jack and the babysit leads into the final showdown and Syndrome’s demise pays off the setup about the caped Super-costumes. Delightful.

In a brief Elixir-sequence, Dash finally  gets his chance to shine and Violet shows her regained self-esteem. In the final scene of the movie we see how the Incredibles will continue their lives.

As much as I loved it for its characters and situations, my first screenplay turned out to be 132 pages long, twelve pages over the 120 page limit for screenplays.  I knew that I had to cut it down to size and began the editing process.  I came to the conclusion that I was trying to throw too much into one screenplay.  As an excited amateur, I tried to stuff all these ideas I had into 120 pages, and it wasn’t going to work. I also found that many elements of the story weren’t working together.  I was trying to force a lot of situations that just didn’t seem all that natural.

DO I NEED FRANK?

One thing I noticed in particular was my struggle to close a character’s storyline.  His name was Frank, and he was supposed to be ultimately revealed as a figment of the protagonist’s imagination, a fractured creation of his mind due to the trauma of the experiences we see him go through.
I found it wiser to question whether or not I needed Frank. He was something that I fumbled with, something that just would not fit.  It was in my issues with Frank that I realized something important.  Frank may have been memorable, but he was extraneous to the overall plot.  He was a shortcut to explain certain things about the protagonist.  I had taken the cheap way out.  And because of that, ultimately Frank was cut out of the screenplay, and the story reworked.  The lesson that I learned here: All characters must exist for a reason, and a good one.

So, to elaborate on the topic of those who inhabit the world you are creating for an audience: my expertise is in the creation of unique and interesting characters.  These characters are fueled by my real life observations of all the people around me.  By simply opening up my eyes and ears, I overhear little tidbits of conversations of real people who are leading real lives, all with very authentic and genuine emotions.  I like to think that each individual is just that: an individual.  I find out what makes them unique, what drives them to do the things that they do.
In learning these things about a person, you can create a character in the same way.  Use your imagination.  Why does your protagonist do the things he does, why are those emotions in his heart?  Keep asking yourself why.  In the same way that you get to know a person, become very intimate with your character.

THE ROUNDABOUT WAY

Great characters are not all a good screenplay needs.  As great as I was at introducing quirks and writing a unique voice for each of my characters, my screenplays often lacked a strong structure.

I’m a very verbose and structureless person.  And it’s reflected in my writing and my screenplays.  Considering that it’s in my nature to tell stories in a way that are rather indirect and in a roundabout way, changing my writing style was one of my greatest challenges.  If you asked me how to get to the Trump International Hotel in Manhattan, I’d probably tell you that you could go take the D train to 59th St-Columbus Circle stop.  I know this because I used to work the area as an outside salesman.  You get up from the station, and look north.  Across the street and down a block is a store that I made my first sale for that company.  And boy, let me tell you, it was quite a thrill.  From that day on, I decided that I would become the best salesman ever and learn to close 90% of the time.  That’s how I ended up coming across this book entitled Influence, which I bought on Amazon.  Did you know that Amazon has some of the best prices?  You can even get free shipping and…..

And somewhere along the way, I’d forget to tell you precisely how to get there.  Though you’d end up with a great story about my experience as a salesman, you’d also probably be thinking, “Okay…well, that’s great, but how do I get to the hotel?”

The same goes for your screenplay: each moment in your screenplay must be moving towards something.  Your screenplay may have great character depth, but if those characters have no clear direction, your audience will become uninterested and bored as they watch you wander around with the hero in a disjointed fashion.  As such, you have to create a compelling and dramatic story.  Remember to ask yourself, where am I going with this scene?  Does it enhance the drama?  What does it show the audience?

A screenplay is not just pages and pages of dialogue taking place in various locations.  Nor is it simply a pair of talking heads.  It is the blueprint for a film, the culmination of dramatic story telling and compelling characters.  It is an emotional experience.  It is cinema.

INT. LUANNE’S APARTMENT – DAY

Later that day I meet up with Luanne and tell her about my dream.  I am a little hesitant to tell her about the extended hug.  But I tell her everything and lay it out for her, shot by shot.  As I finish recounting my dream to her, she replies with a sophomoric, “Ewww…”  I was right: she’s not very sensitive.  I make a mental note: if I ever need an insensitive and unfeminine figure in my screenplay, I’ll look to Luanne.

-Terry Ip
Self-styled perennial student of film working towards a career with a pension.

At the time of release, much of the attention surrounding JUNO went to the screenwriter rather than the script. Now the dust around Diablo Cody has settled, some voices have questioned the quality of the screenplay.

I still believe it is a wonderful independent film, well-structured and beautifully written. I am not a fan of mannered dialogue, but here it is a stylistic trademark that is fabulously executed by JUNO’s superb cast.

ACT ONE

Sequence A: One doodle that can’t be undid.

00.30 “AUTUM” Juno drinks juice. “It started with a chair.”
01.00 Flashback to the conception.
01.30 Opening Titles.
04.00 Third urine pregnancy test, Juno still won’t accept result.

05.00 There’s that pink “+” sign again.
05.30 Juno hangs a a candy noose off a tree, then eats it.
06.30 Juno calls best friend Leah to tell her. Disbelief. “Lunch baby?”
07.30 Juno with Leah, trying to figure out what to do.
08.30 FlashBack to how it started: Spanish Class
09.00 Bleeker getting ready to run.
09.30 Juno with Bleeker: Do whatever you think is right.

Sequence B: Figuring out what is “right”.

11.00 At school with Bleeker: they seem a pretty good match.
13.30 Juno calls for abortion info.
14.30 Juno VO about her past, mother and stepmum Bren.
16.00 Su-Chin: “All babies want to get borned”.
17.00 At WOMEN NOW: form to complete, free condom offered.
18.30 Juno waits, gets an anxiety attack and leaves.
19.00 With Leah: considering to adopt it out.
20.00 Reading adoption ads in the park: Mark & Vanessa sound good.
21.00 Bleeker at home, his mother doesn’t like Juno.
22.00 Juno tells her parents about the problem and her adoption plan.

25.00 Dad: Not ready to be a Pop-Pop. Mum: You know it wasn’t his idea.

ACT TWO

Sequence C: Mark and Vanessa Lohring.

26.00 Driving there with dad.
27.00 Meeting Mark, who is cool & Vanessa who is highly strung.
28.00 Decision for a closed adoption. Mark isn’t too excited.
31.00 Juno, on the way to the toilet, checks out the house.
32.00 Juno bumps into Mark, they bond over a Les Paul guitar & music.
33.30 Vanessa goes upstairs when she hears Mark singing: reprimands him.
34.30 Vanessa is insecure but Juno is 104% sure she will go ahead.

Sequence D: Will Vanessa be a good mum?

36.00 WINTER – Bleek is running & questioned about stuff by classmate.
36.30 Bleek offers Juno to skip his movie party and join for the ultrasound.
37.30 Ultrasound nurse insults Juno, Bren retorts fiercely.
40.00 Juno visits Mark to show scans, they bond.
43.00 J. & M. listen to Sonic Youth, watch horror, talk about baby’s name.
46.30 Vanessa shows lots of baby stuff, mentions a ‘cold feet’ experience.
48.00 Bren thinks Juno has crossed a boundary by dropping by at M. & V.’s.
49.30 Visiting Bleeker; he plans for the future, wants to get back together.
52.30 POV: Mark & Vanessa have different views about preparations.

54.00 At the mall: Juno & Leah see Vanessa, who seems a good future mum.
55.00 They meet Vanessa, who feels the baby kick.

Sequence E: Will Mark be a (good) father?

57.00 “SPRING” Bleeker is running, Bren is sewing stretch pants for Juno.
58.00 Calling Mark, they chat and bond over music and learning.
58.30 Leah tells about Bleeker & Katrina for prom. Juno doesn’t believe it.
60.00 Juno argues with Bleeker over Katrina.
63.00 Putting on lipstick, to Mark: he shows pregnant superhero cartoon.
63.30 Mark & Juno dance. M. says he’s leaving V. Juno is in shock.
67.00 Vanessa arrives, asks what’s wrong; Mark admits he has cold feet.

70.00 Juno drives off, pulls over, cries.
72.00 Bleekers plays the guitar // Juno writes a note.
72.30 Mark & Vanessa talk about divorce and lawyers.
73.30 Juno delivers her note to Mark & Vanessa.

74.30 Juno asks her dad about true love and happiness. He gives advice.

ACT THREE

Sequence F: I’m still in.

77.30 “Tic-tac-o-holic”. Mysterious delivery at night.
78.00 Bleeker finds tictacs. Juno visits him on the running track. Kisses him.
80.30 Water brakes.
81.00 Contractions, Juno begs for ’spinal tap’.
81.30 Birth.
82.00 Bleeker running.
82.30 Juno with dad in hospital: You’ll be back – on your terms!
83.00 Bleeker visits, lies with Juno.
84.00 Vanessa visits to see the baby.
85.00 The note to Vanessa: “If you’re still in, I’m still in”.

Sequence G: Bleeker and Juno

85.30 SUMMER – Juno on bike, VO about Bleeker as a top boyfriend.
86.30 Playing the guitar together.

INCITING INCIDENT

Juno’s realisation of her pregnancy seems a very early Inciting Incident. Because of the repeated urine tests, it almost passes as a ‘normal life’ situation for this story. Why then IS it the Inciting Incident? Because Juno MUST act. Her life has changed irreversibly and she’s got to do something about it.

Twenty minutes of screen time pass between Juno’s realisation and the end of Act One. Why does this work? Possibly because of the sequential structure.

The first sequence is much less about the realisation of being pregnant than it is about the question ‘who is going to help me’? Until Bleeker says “Do whatever you think is right”, she is still trying to get the solution from others. After this, she knows she will have to come up with the answer.

What follows is still a 15mins long ‘think-think’ sequence. This works fabulously, because it leaves us all with the nagging moral question “what would I do?”. Because of the depth of the dilemma, it takes a certain amount of time for our heroine to properly consider these options.

Once she has decided, she puts her plan to her parents and with their blessing, Juno has an objective for Act Two.

MID POINT

While Juno’s Outer Objective is about responsibly carrying the baby, the strongest Inner Journeys are really Vanessa and Mark’s. Their behaviours display flaws that may impact on their parenthood: Vanessa acts highly strung and Mark appears strangely blasé about it all. Act IIa asks “is Vanessa a suitable mother?” and Act IIb gradually shows Mark to be unfit as a father.

Although Mark and Vanessa’s journeys are gradual and they evolve throughout Act Two, the shopping mall sequence / mid point is a powerful connection point for two reasons: 1) for Juno it answers the question whether Vanessa is really suitable to raise her child and 2) it will give Juno the strength to proceed once Mark bails out.

CRISIS/REWARD

The end of Act Two usually consists of two parts: the down part (Mark bailing out) and an up part (Dad offering hope). In this film it is executed in an extraordinary way as we will learn that Juno had made up her mind before getting her dad’s advice. While we are watching the film it seems as if she finds the strength from this conversation. When we finally get to see Juno’s note to Vanessa “If you’re still in, I’m still in”, we learn that the Act Two of her Inner Journey had completed before we saw it. This is consistent with the principle that the hero usually only gets ahead of the audience towards the second half of the movie.

Although he has had numerous box office successes, in my view he has never equalled the overall excellence of THELMA & LOUISE (1991). It is a fabulous movie and an outstanding debut script by first-timer Callie Khouri.

Here is an attempt to analyse the structural dynamics of this wonderful screenplay and film.

ACT ONE

SEQUENCE A (8.5mins): Preparations.

00.00 Opening Titles: Landscapes that express freedom.
02.00 At diner, Louise is serving & advises against smoking, then smokes.
03.00 Thelma at home, hasn’t asked husband yet for permission to leave.
03.30 Darryl patronises Thelma, humiliates her, she still doesn’t ask.
04.30 Darryl leaves in sportscar, shouts at workmen.
05.00 T. calls L.. After the manager’s innuendo, they arrange their departure.
06.00 Louise leaves, montage shows both getting ready.
07.00 Louise picks up Thelma, who carries half household with her. Polaroid.

SEQUENCE B (13mins): Departure and disaster.

08.30 Driving. T.: I didn’t ask. L.: You get what you settle for (i.e. Darryl).
09.30 Thelma is smoking, looking in the mirror: “I’m Louise.”
10.30 Dusk, Silver Bullet, going to have fun. Different responses to Harlan.
13.30 Louise is reserved, it makes Thelma nervous. Harlan shouts drinks.
15.00 Dancing, line dancing. Thelma dances with Harlan.
16.30 Louise back to table, Thelma keeps dancing. Louise wants to leave.
17.30 Thelma is unwell, they go outside. Louise is looking for Thelma.
18.30 Harlan: Not gonna hurt you. T. resists. He hits her and attempts rape.

19.30 Louise appears with gun. “Suck my dick”. She shoots. (I.I.)

SEQUENCE C (11mins): Figuring out what to do.

21.30 They escape. L. blames T. for her behaviour. Police won’t believe them.
22.30 Louise vomits. Trucks & noise everywhere. Let’s have a coffee & plan.
24.00 They try and figure out what to do. Thelma calls Hal. Nobody home.
25.30 Detective Hal with waitress: Harlan deserved it! She defends T&L.

27.30 No money. Need to figure out what to do.
28.30 They argue. Go to police? Not ready to go to jail.
29.30 T. at the pool, L. calls Jimmy for money. Do you love me?
31.30 L. & T. leave in a hurry. They have decided to run. (PP1)

END OF ACT ONE: The decision has been made to go on the run.

ACT TWO

SEQUENCE D ( 8.5mins): Organising money.

32.30 Hal’s boss: Possibly interstate. Let the FBI in on this.
33.00 Louise: Let’s go to Mexico. Are you up to this? I’m going.
34.30 L. calls Jimmy. He will send the money. I miss you, Peaches.
36.00 T. calls Darryl, he’s watching a game, judging but not concentrating.
39.00 Young handsome JD asks for a lift. Thelma is keen, Louise says no.

SEQUENCE E (10.5mins): To Oklahoma for the money pick-up.

41.00 Hal is on the case, looks up Louise’s car: ‘66 Ford Thunderbird.
41.30 Louise doesn’t want to Mexico go through Texas.
43.00 Hal is investigating at Louise’s place.
43.30 Thelma and Louise are enjoying the ride.
44.00 Detective Hal is investigating at Louise’s Diner.
44.30 They see JD again; Thelma begs to pick him up. Louise gives in.

45.00 Detective Hal interviews Darryl, who is more concerned about himself.
46.00 JD to T.: Your husband sounds like a real asshole. T: he is. They bond.
47.00 JD warns them, they avoid an approaching police car.
47.30 Hal has info on Thelma’s gun etc.
48.30 They go to pick up the money. Jimmy is there, he books rooms.
50.00 JD leaves them and each go to their rooms. L. to T.: Guard the money.

SEQUENCE F (16mins): Mid Sequence, cross-cut.

51.30 Jimmy is jealous & violent. He calms down and proposes to her.
54.00 JD knocks on door. T invites him in. They have fun and make love.
1.00.0 Over breakfast Louise and Jimmy kiss goodbye.
1.04.3 T. arrives: Finally got laid properly. Left money in the room. Run!

1.06.0 Money gone. Louise breaks down. End of Thelma’s innocence.
1.07.0 T. cheers L. up, takes control and drives. Move! (MPR)

SEQUENCE G (10.5mins): Thelma has found her calling.

1.07.3 Hal & Co with Darryl. When she calls, be gentle. Women love that shit.
1.10.0 Thelma robs Store. Drive us to Mexico.
1.11.0 FB: This is a robbery // Hal & Darryl watching. Everybody is shocked.

1.12.3 Thelma brags about her robbery. Found your calling. You’re Disturbed.
1.14.0 Sexist truck driver. They think we like it.
1.15.0 Police now with Jimmy.
1.16.0 Louise with old man, gives him her jewellery.
1.17.0 L.: murder one, little defense. T.: How do you know all these things?

SEQUENCE H (8mins): Fugitives.

1.18.0 Hal blames T.’s robbery on JD. They wouldn’t have otherwise.
1.22.0 Thelma calls Darryl. He knows. L. calls, asks for police.
1.23.3 Hal knows about Mexico. T. talked. L. angry: We’re Fugitives now.

SEQUENCE I (11.5mins): Speeding towards Mexico.

1.26.0 Darryl with cops changes channel, annoys cops, changes back.
1.26.3 Driving through National Park by night.
1.28.3 Dawn. Passing sexist trucker.
1.31.0 T.: Texas. You was raped. L.: I’m not talking about that.
1.32.0 Stopped by cop: clocked at 110km/h. In trouble.

1.34.3 Thelma with gun, shoots radio. They put cop in trunk.
1.37.0 Thelma: I’ve got a knack for this shit.

SEQUENCE I (5.5mins): Dead or alive.

1.37.3 Hal: Brains only get you so far & luck always runs out.
1.38.0 Louise has doubts & regrets. Thelma justifies. Having fun, not sorry.
1.39.0 L. calls Hal: charge w/ murder;knows about Texas. Dead or alive?
1.41.3 Not giving up. Not making any deals. Dead or alive. (PP2)

END OF ACT TWO: Their fate has been sealed. T.’s arc complete.

ACT THREE

SEQUENCE J (6.5mins): Revenge.

1.43.0 Thelma feels awake.
1.44.0 They see macho trucker again. Ready to get serious? Yes.
1.46.0 They ask for an apology. Fuck that! They shoot, truck explodes.

1.48.3 Drive on.

SEQUENCE K (8.5mins): Freedom at last

1.49.3 (POV) Stoned bicycle rider, smoke into air hole.

1.50.3 Police helicopter: closing in.
1.51.3 Police cars chasing them, they go off the road. Cars follow.
1.54.0 Temporarily shake them off under bridge. Eerily quiet.

1.54.3 Thelma: crazy, first chance to express yourself.
1.56.0 They reach the edge of a cliff: Grand Canyon. Hal appears in heli.

1.57.3 Surrounded. Hal lands. Orders to surrender.
1.58.3 Louise: not giving up. Thelma: let’s keep going. (C&R)
2.00.0 They drive, hal runs.

I.I.: Inciting Incident (or Call to Adventure)
PP1: Plot Point 1 (Act 1 Turning Point / Crossing the 1st Threshold)
MPR: Mid Point Reversal
PP2: Plot Point 2 (Act 2 Turning Point / Ordeal & Reward)
C&R: Climax & Resolution (Resurrection)

PROTAGONIST

In my view, Thelma is the protagonist, for the following reasons:

1. She is prominent in the setup and we empathise/sympathise with her.
2. We may hope that she will become less submissive and find freedom.
3. Her story has a clear Inciting Incident (a major event happening to her).
4. She has a clear Mid Point Reversal.
5. She has a clear character arc.

Interestingly, if you look at Thelma’s story in isolation, the first half (before the Mid Point Reversal) she is a passive protagonist, mostly just following Louise. Only after that, she becomes an active protagonist. This passivity is counteracted by Louise’s initiative until the Mid Point.

ACT STRUCTURE

The Inciting Incident is clear: two major events happen to Thelma: Harlan’s rape attempt and Louise’s shooting Harlan. Although Louise later argues that Thelma started it because of her behaviour, Thelma’s actions are two degrees away from the Inciting Incident (Harlan’s death) that kicks off the story. Therefore, this is clearly an event happening to Thelma, not an action by her.

This leaves Thelma with the necessity to act.

The 1st Act Turning point is more problematic: Louise takes the initiative, Thelma agrees by following her. After a period of considering their options, they have decided to go on the run. Although the destination won’t be known until later, Act Two is now set in motion. In my view, this act break is reinforced by the next scene in which we learn the FBI will be on the case. This increasing of the stakes by showing the antagonist’s power is a frequently used technique to open Act Two.

The Mid Point Reversal is at the same time a reversal of fortune (loss of the money) and proof of Thelma’s change of heart. She is now committed to her inner journey towards finding her true identity (or essence) and freedom. Two events trigger this: her first fulfilling sexual experience and the realisation that she has failed to take responsibility by constantly relying on Louise. The evidence in her commitment lies in two immediate actions: she drives the car and robs the store.

The crisis occurs when they learn about the major setback that Hal knows where they are heading and he will charge them with murder. It is a crisis moment for both women: Louise has doubts and regrets, so Thelma has to make a choice. Her newly found strength is the Reward, as well as the fact that Louise hasn’t made a deal with the police. It is a strong Ordeal moment as 1) the image of death occurs when they realise it is now a matter of life or death and 2) it signifies the death of Thelma’s old identity.

At the climax, two important actions take place: 1) Thelma demonstrates her new strength when she stands up for herself in the confrontation with the sexist truck driver and 2) by saying “Let’s keep going” she commits to her new principles with her life and seals it with the ultimate act of defiance.

POINT OF VIEW

After the characters have been set up, every scene has the hero (Thelma) or the antagonist (Harlan/the police), except perhaps one or two.

Any scenes that are not told from Thelma’s POV either add to the jeopardy (as the police makes progress) or they provide comic relief (the black cyclist blowing smoke into the trunk with the cop in it).

Zen may be the key to your well-being; it is the enemy of cinema.

Get your audience into the ‘now’ and your movie is dead. Storytelling for the screen is not about what is NOW but about what comes NEXT.

It is mind-boggling how many people still don’t get this. A couple of weeks ago I overheard a conversation between a major decision maker on government film financing and an eager filmmaker.

She was explaining to him what a wonderful movie she had seen. She also explained how the movie had bombed at the box office.

Wonderful style, fabulous photography. But she maintained that it was a “really good movie”.

It was “such a shame the stupid audience didn’t get it”. She didn’t literally say the last thing, but it was in the subtext.

Many writer/directors – and people outside the commercial reality of the film business – struggle with this essential aspect of storytelling for the screen. They want the audience to admire what is on the screen NOW rather than worry about what is coming NEXT.

This is exactly what sets film apart from other media. And this is exactly where disasters happen when visual art lovers meddle with movies.

Screen emotions are about ANTICIPATION.

Antipation means: hope for a good/better outcome, fear over what might happen to the hero, curiosity over how things will turn out. Nothing of this has to do with the NOW.

Once an audience starts enjoying the beautiful picture, the great music, even an amazing performance (“the actor was really in the moment”), your audience has stopped worrying about what is happening next – and you’ve lost them.

Zen is about being happy and content with what you have, NOW.

Screen story is not.

It’s rather about being UNhappy. About wanting to know, see, experience what will come next. If your audience is content about what’s on the screen NOW, there is no reason to continue watching. On the contrary, they will happily leave the theater and go home.

Once you’re finished with THE POWER OF NOW, check out THE TOOLS OF SCREENWRITING and Screenwriting: The Sequence Approach
to save your screenwriting life.

Not if you’re me. I was pondering story structure. And suddenly I had this thought.

Think of a character’s journey as a journey of change.

If you look at both the Inner and Outer Journey of a film story as defined in terms of  ’change’, you’ll see they are structured identically.

I remembered this review of HANCOCK, where the critic pointed out that early in the movie we realise Hancock is a character who needs redemption. He needs to change. Like Bill Murray’s character in GROUNDHOG DAY, Robert Downey Junior’s character in IRON MAN, Bob in THE INCREDIBLES or THELMA AND LOUISE.

In every movie with a character arc, there is a more or less visible ‘need for change’ at the beginning, in the first ten minutes or so.

In this first sequence of many successful films, we see the hero’s flawed behaviour. We understand: this character needs to change in order to find happiness, an emotional or psychological balance, to realise a full life.

Then the Inciting Incident happens. Almost always AFTER we understand the character’s inner problem, that ‘need for change’.

Pondering over this, I started mapping it out over the 3-Act time line and I came to an interesting conclusion: the character journey, whether it is Inner or Outer, has three stages:

1. the need for change (a situation of conflict)
2. the journey of change (obstacles and increased conflict)
3. the result of change (conflict resolved, new situation)

Let’s look how these three stages play out over the inner and outer journey:

INNER JOURNEY (that which brings change to the character’s behaviour)

1. the need for change: opening until inciting incident (halfway Act One)
2. the journey of change: from inciting incident until crisis (end Act Two)
3. the result of change: conflict resolved, new situation (halfway to end of Act Three)

OUTER JOURNEY (that which brings change to the world)

1. the need for change: inciting incident until end of Act One
2. the journey of change: from beginning of Act Two until Resolution
3. the result of change: from Resolution to end of movie

Stages 1. and 3. are much clearer in terms of their visible clues about the change. The second stage (mostly Act Two) is murkier. It is a gradual change, which is a matter of ups and downs, victories and defeats.

The 2nd act Inner Journey is largely defined by the mid point.

Because the Inner Journey is weaker in this act, the mid point (the “S” in the middle on the pic.) keeps the story in balance.

Let’s have a look what this would look like on the 3-Act time line:

(the vertical lines are the act breaks, the crosses are Inciting Incident and Climax/Resolution)

So we can conclude the following:

Inner & Outer Journey are identical, only shifted in time.

It may not be a new view at story structure, but I haven’t seen this approach anywhere else.
Try it, it may work for you.

Since writing the below post, I have come to realise that the mid point may well be the last checkpoint to make sure you have the most powerful story you can get.

I believe the mid point can only exist if everything else works. Without knowing exactly what the outer objective is (Turning Point 1) and how the character changes (Turning Point 2) it is impossible to create the right mid point. The mid point changes the direction of the visible goal (Outer Journey), sometimes it completely changes the goal altogether. It also accelerates the Inner Journey as the protagonist is now committed to resolving the Need.

I have added some notes on THE INCREDIBLES and THE LIVES OF OTHERS to the examples below.

Many unsuccessful movies run out of steam halfway. Even a fair few memorable pics are weak in the middle, or have a ’soft belly’. The Second Act seems to be the hardest nut to crack. But why? Perhaps because the protagonist is chasing the same objective all along? After all we have a massive chunk of script to fill, about an hour of screentime on average. One remedy is to chop the movie up in quarters. First and last act are roughly one quarter each already, so Act Two we just cut in two.

It’s variously called the mid-act climax, the mid-point, first culmination or the mid-point reversal. I prefer the latter, although it is not always a strict 180 degree turn. It doesn’t necessarily have to be a climax either but it must be a ‘major turning point’. Things will be dramatically different from this point onwards.

Syd Field describes it something like this: “An important scene in the middle of the script, often a reversal of fortune or revelation that changes the direction of the story.” Field suggests that driving the story towards the Midpoint keeps the second act from sagging. For once I find Field more helpful than others. An executive at the talent agency ICM is trying to get his head around it:

“An event occurs wherein the character cannot give up his pursuit. It is a “no turning back point.” The bridge has been burned behind him (figuratively speaking), and he can only move forward. Often, this is manifested as a TICKING CLOCK. In classically structure (sic) romantic comedies, this is the point where the man and woman sleep together.” Hmmm… Not sure about that last one.

Here’s my favourite definition, from Frank Daniel:

“Mid-Point or First Culmination: a Major Reversal of fortune, making Main Character’s task even more difficult. Often, give the audience a very clear glimpse of an answer to the Central Dramatic Question “‘ the hope that Main Character will actually succeed at resolving his problem “‘ only to see circumstances turn the story the other way. First Culmination may be a glimpse at the actual resolution of the picture, or its mirror opposite.”

Let’s look at a few examples to understand the mid point better:

THE UNTOUCHABLES – Not only a well-structured, commercial movie with a top notch cast; it has a midpoint that ticks all three boxes: After a shootout on the Canadian border far away from the crime-ridden streets of Chicago, Eliot Ness and his team find out they can get to Capone through his accountant.

The mid-point sequence happens halfway the movie (ironically, not all midpoints really do), it changes the course of the story (Ness is no longer after Capone but after his accountant) and it takes place in a very different environment/change of scenery from the rest of the movie. And indeed: catching the accountant does get Capone in court. Important for the Inner Journey at this point is Ness’ response to the criticism on the way Malone forces a confession out of one of Capone’s men. When he says “Well, you’re not from Chicago”, it proves Ness is now open to approaching things ‘the Chicago Way’, as taught by his mentor Malone.

JAWS – It’s more than thirty years old and scary as ever, and not because of its state-of-the-art FX. Look closely and you’ll see: that plastic shark is a big joke! This is one piece of brilliant writing. Police Chief Brody (Roy Scheider) has been unsuccessful in trying to stop the shark killings by urging the mayor to close the beaches. When his own son narrowly escapes death, he is forced to change tactics (different direction): he must go and attack the shark in its own habitat. It brings a fresh turn to the movie with a change of scenery and the stakes are heightened because we are now fighting the killer on his own territory. What’s more: the protagonist is under greater jeopardy because he can’t swim. At Brody’s Inner Journey mid point, he is committed to tackle things at the core in stead of dealing with the symptoms. See also my notes at the bottom of the structural overview of Jaws.

ONE FLEW OVER THE CUCKOO’S NEST – In his book THE SEQUENCE APPROACH, Paul Gulino mentions another function of the midpoint: it gives the protagonist a flavour of the possible outcome of the story (Frank Daniel’s “glimpse of an answer to the Central Dramatic Question“). Here, Nicholson’s character tastes freedom when he takes the patients out on a trip. The reality however is that after this point he learns he may never leave the asylum again. A powerful reversal: rather than proving he’s insane, he now has to try and get out. The scene/sequence of the mad men’s outing is another beautiful example of a change of scenery. At one stage during the edit, director Milos Forman cut the sequence out. About the result he says: “I cut it down television style, under two hours. And you know what was funny? It felt much longer.”

I wouldn’t necessarily call the following movies class examples but I’ll give them any way because their mid-points worked really well for me:

THE PARALLAX VIEW – Bang in the middle of this classic conspiracy thriller, Warren Beatty’s character undergoes a five minute brainwashing. The scene is borderline unbearable and would have probably been cut by today’s studio heads. We undergo the character’s psychological torture first hand while we stare at the seemingly random images, exactly like the protagonist experiences them. After this, Beatty’s character is no longer the curious outsider vs. the mysterious corporation; he is fighting the system from within, which will ultimately lead to his demise.

GIU LA TESTA (A FISTFUL OF DYNAMITE) – Very much like in THE PARALLAX VIEW, we share the point of view of Rod Steiger’s character Juan while he watches what will cause a major change in his personality and in the course of the movie. At the very midpoint in the movie Juan witnesses a lengthy, traumatic shootout with a life-changing effect: from a mindless and merciless robber dreaming of the ultimate big heist he has now become a freedom fighter and finally commits to the cause of his alter-ego Sean (incarnated wonderfully by James Coburn).

THE QUEEN – The Queen is stuck in the lonely hills near Balmoral, her Land Rover having let her down. Without help from anybody she is out of her comfort zone when she notices the dear her grandsons have been stalking, upon her own advice and encouragement. A moment of realisation (with a lot of symbolism) leads to the decision to chase the dear away in an attempt to save its life from the hunters. The parallel with Princess Diana’s end becomes even more apparent when it turns out the deer was shot by a group of hunters after a chase on a neighbouring land (France?). The Queen has witnessed something that has changed her view and we see it externalised in her lukewarm response to the Queen Mother’s statements about the British people in a following scene.

NORTH BY NORTHWEST – The single most memorably scene of this film sits right in the very middle: the famous cropduster scene. Again, an entirely new setting in the movie, with hardly any other characters around. While most of the movie is rather talky, this sequence offers pure visual cinema with minimal sound design, then gradually picking up the pace and finally (literally) exploding in a symphony of action and music. The reversal: Roger Thornhill learns that Eve has betrayed him.

THE INCREDIBLES – Mister Incredible has successfully completed the task he travelled to the Special World for: eliminating the evil robot. Now, for the first time he is about to meet with his employer.

The reversal happens when his mission turns out to have been a setup to get him killed. The employer is effectively his arch-enemy Syndrome and the mid point delivers two major reversals: 1) in stead of staying on the island, he will have to escape 2) in stead of working alone, he’ll have to collaborate with his family.

THE LIVES OF OTHERS – In the first half of this 2007 Oscar winning drama, Captain Wiesler tries to expose the suspected playwright Dreyer to satisfy his superior at the Stasi (the former Eastern German State Security Service). While listening to a phone call, he learns that Dreyers best friend and mentor has committed suicide. Wiesler realises his work is not doing the good he had always believed it would. He is effectively killing people. When Dreyer plays the piano music he received as a gift from his mentor, Wiesler is so moved that he decides to not expose but protect Dreyer from this point on. To my taste, this is one of the most wonderful and moving mid points in cinema in recent years.

In my earlier blog “STRUCTURING THE FACTS” I briefly mention the midpoint reversal in UNITED 97: The passengers learn this is a suicide flight, therefore they have to change their tactics from trying to notify their relatives on the ground to actively fight back the terrorists.

The first film of the extraordinarily successful Indiana Jones quadrilogy, created by Spielberg and Lucas, the greatest filmmakers of their generation.

A timeless piece of of the very best entertainment. This is your typical Hero’s Journey and an excellent starting point for screen story study. Did I mention it is also great fun?

ACT ONE

Sequence A

00.00  Jungle Explorers, being followed.
04.00 Indiana Jones and Satipo enter the cave.
05.00 They find Forestal impaled but continue.
06.00 Indy avoids traps to take the little statue.
08.00 They escape from the cave, Indy is betrayed by Satipo.
09.30 Arriving outside, Indy is surrounded by Belloq and his men.
10.00 Indy manages to escape Belloq, he runs towards the water.
11.00 Indy boards the seaplane, in mid-air he finds the pilot’s snake.

Sequence B

12.30 Indy teaches, the girls are adoring him. Marcus enters.
15.00 Visitors tell the Nazis have found Tannis, are now onto the Ark.
19.30 Marcus got Indy the job, he needs Abner, wonders about Marion.
21.30 Indy boards a plane, but is followed (DI)
22.30 Nepal: Marion in drinking contest. (POV)
24.00 Marion: Abner’s dead. She will give Indy the bronze medallion.
28.00 Nazis come in, claim what Indy wanted, threaten Marion. (POV)
30.00 Indy comes to the rescue, fire. “I’m your goddamn partner.”

ACT TWO A

Sequence C

32.30” ‘Cairo, Sallah as ally, tells about Belloq who found the chamber.
35.00” ‘Monkey runs off to the Nazis (DI)
36.30” ‘They’re attacked, but Jones fights them off, Marion abducted.
39.30” ‘Indy chases the basket, it goes on a truck, which explodes.
40.30” ‘Indy mournes Marion; Belloq: “I’m a shadowy reflection of you.”
44.00” ‘Indy saved by kids & Sallah, followed by man w/ eye patch (DI).
45.00” ‘Sallah saves Indy from poisoned dates: Nazis in the wrong place.

Sequence D

47.30 Nazis are impatient, tell Belloq they want results. (POV)
48.00 Indy and Sallah approach the site.
49.00 Indy descends into the chamber, light beam; Sallah taken away.
53.00 Indy gets out, finds Marion but leaves her.
54.00 Indy finds the place of the Ark.

ACT TWO B

Sequence E

54.30 Belloq and the Nazis (POV)
55.00 Indy starts digging, a storm brews.
58.00 Indy opens the cave, finds a snake pit.
58.30 Belloq releases Marion, gives her a dress to wear //
60.30 Indy descends, burns snakes // Marion drinks // Indy & Sallah find Ark.

65.30 Marion is sober, takes knife, stopped by Nazis.
66.00 Indy and Sallah carry the Ark, lift it out.

Sequence F

67.30 Belloq notices the digging, alerts all.
68.00 Nazis take Ark out, throw Marion in and close the cave.
70.00 Indy and Marion argue in the snake pit, finally break through a wall.
72.30 They find an escape to the side.
73.00 Indy climbs the monowing plane and fights a guard.
75.00 Marion jumps in but Indy rescues her before it explodes.
78.00 Indy hears the Ark is on a truck for Cairo. Makes it up as he goes.

ACT THREE

Sequence G

79.00 Indy on a horse, following the truck.
81.00 Indy boards the truck, overpowers driver and takes over.
85.00 Indy drives truck into town, it is hidden from the Nazis.
86.00 They celebrate with Sallah before boarding the ship with Katanga.
88.00 On the boat, Indy and Marion kiss.

Sequence H

90.00 Engines have stopped, German submarine enters.
91.00 The Germans take the cargo and Marion.
93.00 Jones climbs on board the submarine.
94.00 Jones follows the Ark from the islan submarine base onto the island.
96.30 After a standoff, Jones has to give in.
100.0 Belloq initiates a ceremony that calls in the spirits who kill the Nazis.
104.0 Indy and Marion are free, all Nazis have disappeared.

Sequence I

104.3 Washington DC: Indy is unhappy “Top Men are working on it.”
105.3 Indy and Marion off to have a drink.
106.0 Ark is stored as “Top Secret – Army Intel”

Full Synopsis:

ACT I

In the spring of 1936 an exploration party penetrates thick jungle on the South American continent. When the group’s leader stops to examine map fragments, another of the group pulls a gun. The leader, hearing the click as the turncoat chambers a round, pulls out a bullwhip and disarms the man, sending him fleeing back through the jungle. Thus does Dr. Henry “Indiana” Jones, Jr. (Harrison Ford) stay alive.

Indy and his remaining companion enter a dank and oppressively vast cave, where a competitor of his, Forrestal, disappeared. Inside the cave are several traps rigged by the ancient people who hid a small, valuable statue there — and one of the traps is found to have snared Forrestal. The two men find and retrieve the statue, but the cave is rigged to collapse when the statue is moved. Indy barely escapes the cave, while his companion betrays him and is killed trying to escape.

Seemingly safe, Indy is cornered by the Hovitos, the local tribe, who are led by Dr. Rene Belloq (Paul Freeman), an arrogant French archaeologist who is a longtime rival and enemy of Indy’s. Indy flees and is rescued by Jock (Fred Sorenson), flying a seaplane, though Indy isn’t pleased to find Jock’s pet snake Reggie inside.

Back stateside, Indy teaches an archeology class and is still upset over the loss of the statue, which he surmises Belloq is taking to Marrakesh; he has found pieces he feels will pay for a trip to Marrakesh to find Belloq, but Indy’s friend Marcus Brody (Denholm Elliott) dashes that hope by informing him that two Army Intelligence officers want to talk to him about Abner Ravenwood, his former teacher, who was his friend until Indy broke up with his daughter, Marion (Karen Allen).

The Army officers are concerned because they’ve intercepted a German cable concerning a mammoth archaeological dig in the Egyptian desert. When they read the cable, Indy and Marcus realize the Nazis have discovered Tanis, an ancient city buried in a gigantic sandstorm in 980 B.C. and the possible burial site of the Ark of the Covenant. The Ark was built by ancient Hebrews to hold the stone tablets on which Moses inscribed the Ten Commandments. It holds immense mystical power — enough to allow the Nazis to level mountains and lay waste to entire regions.

Indy flies to Nepal (followed by a Nazi agent, Toht (Ronald Lacey)) to confront Marion Ravenwood, who runs a restaurant and bar (and who can outdrink anyone) because he needs the headpiece to the Staff of Ra, whose crystals will allow him to determine the exact location of the Ark. Marion, still bitter over their breakup, nonetheless accepts when Indy offers her $3,000 and the promise of more when they return stateside. She is cryptic about the headpiece, and after Indy leaves she ponders it as she wears it around her neck.

Toht and several Sherpa heavies enter the bar and hold Marion hostage, with Toht ready to torture her for the headpiece. Indy returns and a firefight erupts during which the fireplace is dislodged and the building begins burning down. Toht finds the headpiece but when he grabs it he’s badly burned — leaving an image of one side of the headpiece branded on his hand. He escapes while Indy and Marion do likewise

ACT IIa

Indy and Marion fly to Egypt to see Indy’s pal, Sallah (John Rhys-Davies), who is working on the Nazi site and who reveals that the Nazis are aided by a French archaeologist (Belloq).

Later, while shopping at a Cairo bazaar, Indy and Marion are attacked by sword-wielding Arabs working for Nazi agents. Indy fights them off but in the confusion Marion is trapped in a large basket and taken by two of the terrorists. The effort to track her down is held up by a man brandishing a sword in intimidating fashion. The swordsman is shot down in short order by a thoroughly unimpressed Indy.

Soon Indy spots a basket carried to a truck filled with explosives and is fired on by a submachine-gun-wielding assailant. His Nazi commander orders the Arabs to take off, but Indy shoots them and the truck crashes, exploding and destroying the basket.

Disconsolate over losing Marion, Indy drowns his sorrows in drink but is met by more Nazi agents who escort him to a table at which is seated Belloq, who gleefully talks about finding the Ark. Indy, no longer caring whether he lives or dies, reaches for his sidearm as Arabs inside pull rifles — only to see Sallah’s large brood of children rush in and the “Arabs” to turn out to be US Marines, much to the embarassment of Belloq.

Sallah takes Indy to see a shaman who is reading the Ra headpiece after both men have learned that Belloq and his Wehrmacht aide, Colonel Dietrich (Wolf Kahler), have obtained a copy of the headpiece. (Neither man is aware that it is a duplicate traced from Toht’s burned hand.) The shaman reveals two critical facts: first, that the headpiece gives the precise height of the Staff of Ra, and second, that the staff the Nazis used was too long — so their excavation is over a mile away from the Ark’s actual burial site, which is known as the Well of Souls.

Infiltrating the mammoth site, Indy is lowered into an underground maproom containing a precisely detailed miniature of the city. Using the Ra headpiece, he identifies the precise location of the Well of Souls. Sneaking further around the gigantic camp, Indy is shocked to find Marion, alive but bound and gagged. Indy starts to free her, but when she reveals that the Nazis keep asking about him and what he knows, he realizes he can’t cut her loose without revealing his presence to the Nazis.

Late that afternoon Indy and Sallah sneak a digging party of their own to the actual location of the Well of Souls.

ACT IIb

Late into the night they dig open the chamber, and to Indy’s horror it is filled with dangerous snakes. Indy clears an area of snakes with burning torches, then lowers himself into the chamber and burns many of the snakes alive with flaming gasoline. Sallah follows and the two eventually find the gigantic chest that is the Ark.

By now it is dawn, and only now does Belloq notice the commotion a mile away. The Nazis surround the site and Indy is left trapped inside, but Dietrich leaves him with something else — Marion, who is thrown into the chamber and the area closed off.

Indy notices a wall where snakes are entering. He climbs a mammoth statue and with all his might breaks it from its foundation and it crashes through the wall. The two find an opening to the surface, and discover the airfield at the excavation camp, where there is a bizarre Nazi transport plane. The two sneak up to the plane, but Indy is attacked by a mechanic and a prolonged fight ensues that is joined by a burly Nazi who pummels Indy before being punched backward and shredded to bits by the plane’s propellers. Marion seizes one of the plane’s machine guns and opens fire on Nazi soldiers, in the process setting a fuel dump aflame. The fire destroys the area and the plane explodes, but Indy and Marion escape.

Dietrich orders his men to transport the Ark by truck to Cairo. When Sallah finds Indy and Marion, he is overjoyed they’re alive and tells them of Dietrich’s plan.

ACT III

Indy takes a horse and pursues the convoy, seizing the truck containing the Ark and surviving a brutal chase and fight with Nazi soldiers to drive the Ark to safety.

He and Marion board a ship taking the Ark back to the US, but a Nazi submarine captures the ship. The Ark is taken aboard the sub and Marion taken prisoner for Belloq. Indy, however, escapes Nazi pursuit and rides the submarine as it sails on the ocean surface to an island where Belloq and the Nazis trek to the top of a mountain.

Indy has grabbed a rocket launcher and intercepts Belloq, vowing to blow up the Ark unless Marion is freed. But Belloq calls Indy’s bluff, knowing Indy wants to know what the Ark contains as much as anyone. Indy finds he can’t carry out his threat, and is seized.

At an elaborate ceremony atop the mountain Indy and Marion, tied to a pole, can only watch as the Ark is opened, but it contains nothing but sand, the remains of the stone tablets. No sooner is it opened, however, than its spirits suddenly appear. Indy and Marion, remembering an ancient code that requires people to close their eyes and not look at the now-freed spirits, withstand the mayhem that ensues as the energy of the Ark surges forth and its spirits attack the now-terrified Nazis, killing the entire contingent and destroying Belloq in gruesome fashion. The energy mass surges high into the sky before returning to the Ark and resealing it, leaving Indy and Marion drained but freed.

Weeks later Indy and Marcus feud with the Army officers over the whereabouts of the Ark, Indy angry that the Army has no idea what it has in the Ark — though it appears they in fact do understand what they have, as the Ark is sealed in a large crate and stored anonymously in a gigantic government warehouse, never to be seen again.

Full synopsis courtesy of IMDb.

A hero is not ‘active’ because he is constantly running, fighting, arguing etc. A hero is not ‘passive’ because he is never running, fighting, arguing etc.

Here is a list of points that in my view will have a positive impact on the protagonist’s ‘activity’ level.

Like any other principle, there will be numerous examples of successful films that stray from these. It doesn’t mean you can just ignore them.

1. The hero must have strong will power.
2. The hero should have a clear goal.
3. The hero should state the goal explicitly (on or before p.25 for feature films).
4. The hero must not be forced, but chooses to pursue the goal.
5. Once the goal is known, the hero should stay on the case.
6. The hero can only be distracted because of a new, stronger goal.
7. Keep showing us the Hheroero really wants to achieve the goal.
8. Make sure the obstacles in the way are significant.
9. Stay in the