screenwriters."—TONY apparently emphasis

Recommendations

Info

146 —SCREENPLAY—Vincent's briefcase and, in defiance, tossing it onto thefreeway. His attitude, his strength, is beginning to emerge;he's starting to stand up for himself.After the briefcase episode Vincent forces Max, as a sort ofpunishment or test, to pose as him and meet Felix, the crimeboss, to get the new information about the last two hits ofthe night. Max, in a tense and dramatic moment, rustles uphis strength, threatens Felix, and manages to walk out of themeeting alive. This is another incident where the physicalaction triggers an emotional response.The cops, who think Max is the hit man responsible for allthese murders, follow him to a nightclub, and there, on acrowded dance floor, there is a violent shoot-out. Max tries toget away, and when he is spotted by a cop who believes inhis innocence, he's hustled off to safety. When Vincent seeshim with the cop, however, the hit man kills the cop and"rescues" Max.There's one more hit for Vincent to fulfill. At this point,two things are left unresolved. One, how is Max going to getaway from Vincent alive? And two, how is he going to preventVincent's last hit? Racing away from the big shoot-out at thenightclub, Vincent says that Max's dream of starting a limocompany is only a dream, a "someday" excursion into afantasy that will never happen. Max, for the first time, realizesthat he has been living a dream for twelve years. Now hisdream shattered, and knowing he'll probably be killed byVincent when this ordeal is over, he decides to give it all upand live for the moment. Otherwise, "What's the point?" It isthis insight that gives him the strength to put his foot on thegas for a wild speed run through the streets of L.A. He losescontrol of the wheel and crashes the car, hitting a divider.The car leaps into the air, hits the ground with a tremendouscrash, and rolls. Plot Point II.Vincent crawls out of the torn and twisted wreckage, andruns. Max manages to crawl out of the overturned taxi, seesa picture of Annie, the woman he met earlier that evening,and realizes that she is the last victim on Vincent's list.Which happens to be the reason why Vincent was at theFederal Building in the first place: She was supposed to behis first hit of the night. Max races on foot to warn Annie, andthen we go into a chase sequence that ends the film.
— PLOT POINTS— 147These two Plot Points anchor the story in place. PlotPoint I is the true beginning of the story: the first murder andMax's realization that Vincent is responsible for it. At PlotPoint II, he crashes the car and stands up to Vincent, ready tokill him if need be, in order to save Annie. Each Plot Point isgeared by both the emotional and physical forces workingon the character; the outside events affect the interior,emotional life of the character and move the script to itsnext level of action.Once again, a Plot Point is a function of the maincharacter and moves the story forward. It amps up the actionand underscores the arc of the character: Vincent is acynical, amoral person with no values of right and wrong;he's merely doing a job, and he's very good at it. He viewsthe world and everyone in it as "a cosmic accident," theproduct of random chance. There's no meaning orsignificance to our lives because we're nothing more than aninfinitesimal speck of dust in the vast universe. If there's nomeaning to our existence, then our lives mean nothing, sotaking a human life has little consequence. As Tolstoy said,without God, without a moral system of right and wrong,"anything is permissible."Collateral is a very good example of how Plot Points hookinto the story line and move it forward, influencing both theemotional and physical arc of the characters. The choicesyour characters make may very well determine the courseand outcome of the story. The interplay between Max andVincent and the choices they make bind them together in aunique and unusual situation that expresses the story'sdynamic in a visual, suspenseful way.The connections and interplay between thecharacters, of course, are essential to the movement andplotline of the story. Let's take another look at Chinatown. Asa mystery-detective story, Chinatown is structured from PlotPoint to Plot Point, each Plot Point carefully moving theaction forward from the beginning, when Gittes is hired bythe phony Mrs. Mulwray, to the end, when Evelyn Mulwray iskilled.The script opens with the question: Who is Mrs. Mulwray'shusband having an affair with? Gittes follows Mulwray to anumber of the city's reservoirs, then discovers him in thecompany of a young
Page 3 and 4:
PRAISE FOR SYD F I E L D"[Syd Field
Page 5 and 6:
FOUR SCREENPLAYS:Studies in America
Page 7 and 8:
A l s o by S y d F i e l dGOING TO
Page 9 and 10:
SCREENPLAYA Delta BookPUBLISHING HI
Page 12:
A SPECIAL THANKSTo the extraordinar
Page 15:
TO THE READER:My task ... is to mak
Page 18 and 19:
2 —SCREENPLAY—desire to write s
Page 20 and 21:
4 —SCREENPLAY—On Saturday after
Page 22 and 23:
6 —SCREENPLAY—People say I was
Page 24 and 25:
8 —SCREENPLAY—But when all is s
Page 26 and 27:
10 —SCREENPLAY —visual descript
Page 28 and 29:
12 —SCREENPLAY —What is a good
Page 30 and 31:
14 —SCREENPLAY-a screenplay from
Page 32 and 33:
16 —SCREENPLAY—During the two a
Page 34 and 35:
18 —SCREENPLAY —marriage. So he
Page 36 and 37:
20 —SCREENPLAY —a story told wi
Page 38 and 39:
22 —SCREENPLAY—dialogue and des
Page 40 and 41:
24 —SCREENPLAY—In Chinatown (Ro
Page 42 and 43:
26 —SCREENPLAY—ACT III IS RESOL
Page 44 and 45:
28 —SCREENPLAY —looks like. Any
Page 46 and 47:
30 —SCREENPLAY—Think about the
Page 48 and 49:
32 —SCREENPLAY—floor. It lent a
Page 50 and 51:
34 —SCREENPLAY —only what the f
Page 52 and 53:
36 —SCREENPLAY—subject will fin
Page 54 and 55:
38 —SCREENPLAY—and the first ma
Page 56 and 57:
40 —SCREENPLAY-ActionSUBJECTI I I
Page 58 and 59:
42 —SCREENPLAY—As an exercise,
Page 60 and 61:
44 —SCREENPLAY—It's a profound
Page 62 and 63:
46 —SCREENPLAY—been the instiga
Page 64 and 65:
48 —SCREENPLAY—Butch mutters to
Page 66 and 67:
50 —SCREENPLAY —the same themes
Page 68 and 69:
52 —SCREENPLAY —his identity, n
Page 70 and 71:
54 —SCREENPLAY —they work it ou
Page 72 and 73:
56 —SCREENPLAY—reveal them by s
Page 74 and 75:
158 —SCREENPLAY—I'll even use p
Page 76 and 77:
60 —SCREENPLAY—I write a lot ab
Page 78 and 79:
62 —SCREENPLAY —Dundee's (Charl
Page 80 and 81:
64 —SCREENPLAY —their motivatio
Page 82 and 83:
66 —SCREENPLAY —believe in God.
Page 84 and 85:
68 —SCREENPLAY —gold. Both Abby
Page 86 and 87:
70 —SCREENPLAY—when he comes ho
Page 88 and 89:
72 —SCREENPLAY —that the same t
Page 90 and 91:
^Story andCharacter"You don't throw
Page 92 and 93:
76 —SCREENPLAY —"Okay," I say,
Page 94 and 95:
78 —SCREENPLAY —Sarah's family
Page 96 and 97:
80 —SCREENPLAY —We decide it's
Page 98 and 99:
82 —SCREENPLAY—stimulate, a dra
Page 100 and 101:
84 —SCREENPLAY —Let's create an
Page 102 and 103:
86 —SCREENPLAY—Sarah is congrat
Page 104 and 105:
88 —CREENPLAY—create your chara
Page 106 and 107:
90 —SCREENPLAY—ends. We talked
Page 108 and 109:
92 —SCREENPLAY—way. I had good
Page 110 and 111:
94 —SCREENPLAY —he managed to g
Page 112 and 113: 96 —SCREENPLAY —another look at
Page 114 and 115: 98 —SCREENPLAY—reads"; producer
Page 116 and 117: 100 —SCREENPLAY —when an ice cu
Page 118 and 119: 102 —SCREENPLAY—you would like
Page 120 and 121: 104 —SCREENPLAY —you're writing
Page 122 and 123: Setting Up theStory"I'll tell you t
Page 124 and 125: 108 —SCREENPLAY —well as many o
Page 126 and 127: 110 —SCREENPLAY —sets up the st
Page 128 and 129: 112 —SCREENPLAY—Curly slides on
Page 130 and 131: 114 —SCREENPLAY-CURLY (crying) Th
Page 132 and 133: 116 —SCREENPLAY-MRS. MULWRAYMr. G
Page 134 and 135: 118 —SCREENPLAY —GITTES(visibly
Page 136 and 137: 120 —SCREENPLAY-COUNCILMAN(acknow
Page 138 and 139: 122 —SCREENPLAY —wouldn't take
Page 140 and 141: 124 —SCREENPLAY—another source
Page 142 and 143: 126 —SCREENPLAY—Watch Chinatown
Page 144 and 145: 128 —SCREENPLAY —mental, and em
Page 146 and 147: 130 —SCREENPLAY—story line is p
Page 148 and 149: 132 —SCREENPLAY—Alabama, carryi
Page 150 and 151: 134 —SCREENPLAY —the ring to th
Page 152 and 153: 136 —SCREENPLAY—The key inciden
Page 154 and 155: 138 —SCREENPLAY—inciting incide
Page 156 and 157: 140 —SCREENPLAY —words and thei
Page 158 and 159: "Writing a screenplay is in many wa
Page 160 and 161: 144 —SCREENPLAY—in, linear or n
Page 164 and 165: 148 —SCREENPLAY—woman. He takes
Page 166 and 167: 150 —SCREENPLAY —tails Evelyn t
Page 168 and 169: 152 —SCREENPLAY —In The Matrix,
Page 170 and 171: 154 —SCREENPLAY —One." In other
Page 172 and 173: 156 —SCREENPLAY—finishing up he
Page 174 and 175: 158 —SCREENPLAY—episode, or eve
Page 176 and 177: The SceneRICK:"Inside both of us, w
Page 178 and 179: 162 —SCREENPLAY —The scene is t
Page 180 and 181: 164 —SCREENPLAY—wife was having
Page 182 and 183: 166 —SCREENPLAY—the famous "sla
Page 184 and 185: 168 —SCREENPLAY —the scene "aga
Page 186 and 187: 170 —SCREENPLAY —Within the con
Page 188 and 189: 172 —SCREENPLAY-No,MAX not justth
Page 190 and 191: 174 —SCREENPLAY-VINCENT (CONT'D)C
Page 192 and 193: 176 —SCREENPLAY-VINCENT (CONT'D)D
Page 194 and 195: 178 —SCREENPLAY-MAX (CONT'D)Go fu
Page 196 and 197: 180 —SCREENPLAY —freeway, ruini
Page 198 and 199: 182 -SCREENPLAY —scene. Find the
Page 200 and 201: 184 —SCREENPLAY—action and char
Page 202 and 203: 186 —SCREENPLAY—The final actio
Page 204 and 205: 188 —SCREENPLAY —with nonstop a
Page 206 and 207: 190 —SCREENPLAY —French Connect
Page 208 and 209: 192 —SCREENPLAY —hell breaks lo
Page 210 and 211: 194 —SCREENPLAY-BOOM. BOOM. BOOM.
Page 212 and 213:
196 —SCREENPLAY —rising among t
Page 214 and 215:
198 —SCREENPLAY-connected by one
Page 216 and 217:
200 —SCREENPLAY—Now what?Take a
Page 218 and 219:
202 —SCREENPLAY—Act IIIbeginnin
Page 220 and 221:
204 -SCREENPLAY —One scene per ca
Page 222 and 223:
206 —SCREENPLAY—The essence of
Page 224 and 225:
208 —SCREENPLAY —unit of action
Page 226 and 227:
210 -SCREENPLAY —Lovell (Tom Hank
Page 228 and 229:
212 —SCREENPLAY —you'll pick up
Page 230 and 231:
214 —SCREENPLAY —treatment can
Page 232 and 233:
216 —SCREENPLAY—Because he was
Page 234 and 235:
218 —SCREENPLAY —ask them why,
Page 236 and 237:
220 —SCREENPLAY —(1) EXT. ARIZO
Page 238 and 239:
222 —SCREENPLAY —Line 4—Doubl
Page 240 and 241:
224 —SCREENPLAY —Bochco, Julie
Page 242 and 243:
226 —SCREENPLAY—Knowing these t
Page 244 and 245:
228 —SCREENPLAY —A long Quonset
Page 246 and 247:
230 —SCREENPLAY —(4)RYAN (on TV
Page 248 and 249:
232 —SCREENPLAY-STRUTin the tow-b
Page 250 and 251:
234 —SCREENPLAY-STRUT talks into
Page 252 and 253:
236 —SCREENPLAY-RYAN pushes the e
Page 254 and 255:
Writing theScreenplayBAGBY:"Gentlem
Page 256 and 257:
240 —SCREENPLAY—That depends on
Page 258 and 259:
242 —SCREENPLAY—ones in body, b
Page 260 and 261:
244 —SCREENPLAY—discover the sa
Page 262 and 263:
246 —SCREENPLAY —whether it's w
Page 264 and 265:
248 —SCREENPLAY —Many times you
Page 266 and 267:
250 —SCREENPLAY—you've got to d
Page 268 and 269:
252 —SCREENPLAY —should be writ
Page 270 and 271:
254 —SCREENPLAY—get something d
Page 272 and 273:
256 —SCREENPLAY-about it and he d
Page 274 and 275:
258 —SCREENPLAY—intact even aft
Page 276 and 277:
260 —SCREENPLAY —Ted Tally, the
Page 278 and 279:
262 —SCREENPLAY—this incredible
Page 280 and 281:
264 —SCREENPLAY —Merry and Pipp
Page 282 and 283:
266 —SCREENPLAY—the book by Car
Page 284 and 285:
268 —SCREENPLAY —sense to a mem
Page 286 and 287:
270 — S C R E E N P L A Y —Beca
Page 288 and 289:
272 — S C R E E N P L A Y —repo
Page 290 and 291:
274 —SCREENPLAY —trying to brin
Page 292 and 293:
276 —SCREENPLAY—"Art," Renoir s
Page 294 and 295:
278 — S C R E E N P L A Y —proc
Page 296 and 297:
280 — S C R E E N P L A Y —proc
Page 298 and 299:
282 —SCREENPLAY —character? Wha
Page 300 and 301:
284 —SCREENPLAY —he e-mailed it
Page 302 and 303:
286 —SCREENPLAY —magnify what's
Page 304 and 305:
288 — S C R E E N PLAY—to expla
Page 306 and 307:
290 —SCREENPLAY—you can probabl
Page 308 and 309:
292 —SCREENPLAY —to the beginni
Page 310 and 311:
294 —SCREENPLAY—Production of a
Page 312 and 313:
296 —SCREENPLAY —film called Co
Page 314 and 315:
298 —SCREENPLAY —If you submit
Page 316 and 317:
300 —SCREENPLAY—don't receive a
Page 318 and 319:
302 — S C R E E N PLAY—gross at
Page 320 and 321:
304 —SCREENPLAY —rights are not
Page 322 and 323:
306 — S C R E E N PLAY—unique a
Page 324 and 325:
308 —SCREENPLAY —In the long ru
Page 327 and 328:
Indexaction films, 187-98Act I (Set
Page 329 and 330:
— INDEX— 313matching to existin
Page 331 and 332:
— INDEX — 315Gone With the Wind
Page 333 and 334:
— INDEX — 317Parker, Dorothy, 2
Page 335 and 336:
— INDEX — 319Shark Tale, 276Sha
Page 337:
SYD FIELD is the internationally ac
show all

screenwriters."—TONY apparently emphasis

Create successful ePaper yourself

Delete template?

Save as template?