Screenwriting Bible

The Screenwriting Bible
Sir William K. Coe

THE
SCREENWRITING
BIBLE
This material is and 2005 by Sir William K. Coe. All rights reserved. Reader agrees to
have read and abide to the license !arnings and additional doc"ments listed !ithin the
beginning cha#ters o$ this boo%. &ncl"des third'#arty content not o!ned by Sir William K. Coe.
1
Sir William K. Coe
COPYRIGHT 2005 SIR WILLIAM K. COE. USA. ALL
RIGHTS RESERVED. CONTAINS THIRD PARTY CONTENT AS
CITED IN THE BIBLIOGRAPHY.
YOUR USE OF THIS BOOK CONSTITUTES YOUR AGREEMENT TO
THE EULA FOUND AT:
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It 0# th% 'h+-+'t%- 3(4- #t(-3 -%5(&5%# +-(412.
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Sir William K. Coe
,O1&3 '(1#t+1t -%%+t01* "0&& 601+&&3 #4''%%2 01
0)-01t01* +1 02%+ (1 th% )%)(-3 (6 th% '-("2.
- Hitlers Mein Kampf
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Sir William K. Coe
INTRODUCTION 9
QUALIICATI!"S# $ISCLAI%&'S# A"$ &(CUS&S 11
A'& )!U '&A$)* 13
T+& ,!AL ! A SC'&&"W'IT&' 13
A-!I$ W'IT&'.S BL!CK 13
T+& LI& ! A SC'&&"W'IT&' 1/
T+& 0!W&' ! SC'&&"W'ITI", 1/
STORY CONCEPT 16
&(0'&SSI", T+& ST!') C!"C&0T 11
I"$I", ST!') I$&AS 11
S&L&CTI", T+& B&ST ST!') C!"C&0TS 12
ST!') C!"C&0T C+&CKLIST 13
A'TIST') -S. C!%%&'CIALIT) 14
C+&CKLIST T! $&T&'%I"& I ST!') +AS A C!%B! ! A'TIST') A"$ C!%%&'CIALIT) 25
%!$I)I", ST!') C!"C&0T 25
ASSI,"%&"TS 25
21
MY MOVIE STORY DEVELOPMENT 22
CHARACTER DEVELOPMENT 24
T+& T+'&& AC&TS ! C+A'ACT&' 2/
$&-&L!0I", )!U' +&'! 2/
C'&AT& A '!U,+ !UTLI"& ! )!U' +&'! 2/
&STABLIS+ C+A'ACT&' I$&"TIICATI!" 2/
%AK& )!U' C+A'ACT&'S !'I,I"AL 26
%!TI-ATI!" 26
C!"LICT 21
$&-&L!0I", T+& !T+&' C+A'ACT&'S ! )!U' SC'&&"0LA) 21
0'I%A') C+A'ACT&'S 21
!U' BASIC CAT&,!'I&S ! 0'I%A') C+A'ACT&'S 21
'UL&S !' C'&ATI", 0'I%A') C+A'ACT&'S 22
'UL&S W+&" C'&ATI", "&%&SIS7 22
S&C!"$A') C+A'ACT&'S 22
C+A'TI", C+A'ACT&'# %!TI-ATI!"# A"$ C!"LICT 23
T+&%& 23
C+A'ACT&' ,'!WT+ 24
K&)S T! C'&ATI", CA0TI-ATI", C+A'ACT&'S 24
A ,!AL A"$ A" !00!SITI!" 24
%!TI-ATI!" 24
/
Sir William K. Coe
BACK8ST!') 35
T+& WILL T! ACT 35
A 0!I"T ! -I&W 90!-: A"$ ATTITU$&S 35
'!!% T! ,'!W 35
B&LI&-ABILIT) 31
$&TAILS 32
A W'IT&' W+! CA'&S 32
ST'!", SU00!'TI", CAST 33
,!!$ C+A'ACT&' 33
W+AT IS C+A'ACT&'* 33
T!!LS ! C+A'ACT&' 3/
T+& -ISUAL $)"A%ICS ! C+A'ACT&' 3/
C+!!SI", A "A%& 36
ASSI,"%&"TS 33
STRUCTURE 41
0L!T ST'UCTU'& /1
T+& T+'&& ACTS /1
TWISTS A"$ TU'"S /1
SITUATI!"# C!"LICT# A"$ '&S!LUTI!" /2
%AK& A ,!!$ I'ST I%0'&SSI!" /2
)!U' TW! K&) C+A'ACT&'S /2
T+& CATAL)ST /2
!'&S+A$!WI", /2
T+& 0I"C+ A"$ 'ISI", C!"LICT /3
T+& '&S!LUTI!" /3
T+& L!W $!W" !" +I,+ C!"C&0T //
A TITILLATI", TITL& //
ITS ,!TTA B& BI, //
ST!') LA)&'I", /6
,!ALS A"$ "&&$S /6
TW! ST!'I&S I" !"& /1
0L!T /2
&(A%0L&S ! 0L!T8$'I-&" ST!'I&S /2
&(A%0L&S ! C+A'ACT&'8$'I-&" ST!'I&S;&%!TI!"AL ST!') /2
SUB0L!TS /2
,&"'& /3
%)T+ 63
T+& ST'UCTU'AL C+&CKLIST 6/
2 T)0&S ! !0&"I",S7 C+!!S& 1 66
ST'UCTU'& 66
T'&AT%&"T 61
!'%AT7 61
T+& 0A'A$I,% 61
ACT I 61
T+& I'ST T&" 0A,&S 62
T+& S&C!"$ A"$ T+I'$ T&" 0A,&S 62
ACT II 62
%I$0!I"T 63
0I"C+ 63
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Sir William K. Coe
ACT III 64
ASSI,%&"TS 11
SCENES 64
+!W T! %AK& A SC&"& 1/
+&A$I",S 1/
SC&"& +&A$I",S 1/
%!"TA,& 1/
S&'I&S ! S+!TS 1/
LAS+BACKS;$'&A%S 16
$&SC'I0TI!" 16
C+A'ACT&' I'ST A00&A'A"C&S 16
C+A'ACT&' $&SC'I0TI!"S 16
C+A'ACT&' "A%&S 16
'&$U"$A"CI&S 16
SI,"S# "&WS +&A$LI"&S# S!",S# B!!KS# %A,A<I"&S# "!T&S# L&TT&'S 11
S!U"$S 11
S0&CIAL &&CTS# T'A"SITI!"S# &$ITI", $I'&CTI!"S# %USIC# CA%&'A $I'&CTI!"S 11
SUBTITL&S;SU0&'S7 11
K&)S T! ,'&AT SC&"&S 11
B&ATS 12
T!!LS !' BUIL$I", SUS0&"S& 13
&-!K& &%!TI!" 13
C'&AT& C!"LICT 13
0'!-I$& !00!SITI!" 13
BUIL$ &(0&CTATI!" 14
I"C'&AS& T&"SI!" 14
US& SU'0'IS& 14
C'&AT& I%%&$IAC) 14
&STABLIS+ C!"S&QU&"C&S 14
LI%IT TI%& 14
%AI"TAI" $!UBT 14
L&A-& T+&% LAU,+I", 9C!%&$I&S: 14
W'ITI", $IAL!,U& 25
C+A'ACT&' CA0TI!" 25
ACT!'.S $I'&CTI!"S 25
$IAL!,U& 25
!8SC'&&" 25
W'ITI", ,'&AT $IAL!,U& 25
W+AT $IAL!,U& IS 21
3 &L&%&"TS ! T+& -!IC&7 21
IT.S "!T W+AT )!U SA) BUT +!W )!U SA) IT 21
W'ITI", B&TT&' $IAL!,U& 21
&(CITI", &(0!SITI!" 23
LAS+BACKS 23
FORMAT STYLE GUIDE 74
I-& BASIC 0'I"CI0L&S ! SC&"& W'ITI", 2/
W'ITI", $&SC'I0TI!"S 2/
W'ITI", ACTI!" 2/
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Sir William K. Coe
$IAL!,U& 26
T+& '&W'IT& 26
T+& ,!!$ '&A$ 23
&AC+ '&W'IT& 24
S&C!"$ A"$ T+I'$ $'AT C!%0L&T&$ 24
AB!UT !'%ATS 31
0'&S&"TATI!" = T+I",S T! $! AT&' )!U.'& $!"& 31
%A',I"S A"$ S0ACI", 33
0A,& B'&AKS7 33
ASSI,"%&"TS 3/
MARKETING 92
T+'&& K&)S T! %A'K&TI", )!U'S&L AS A SC'&&"W'IT&' 42
TW! S!U'C&S ! I"!'%ATI!" '&,A'$I", W+! T+& 42
0&!0L& I" 0!W&' A'& 42
!U' CAT&,!'I&S ! 0&!0L& I" 0!W&' 42
W+AT T! $! W+&" C!%0L&T&$ 42
I"$I", A" A,&"T 42
A00'!AC+ 0'!$UCTI!" C!%0A"I&S A"$ !T+&' WA)S ! I"A"C& 4/
T+& SC'&&"W'IT&'.S $&AL 4/
T+'&& WA)S !' A SC'&&"W'IT&' T! &A'" %!"&) 4/
)!U' ST'AT&,IC %A'K&TI", 0LA" 46
0'I"CI0L&S 46
0U'0!S& 46
AU$I&"C& 46
ST'AT&,) 46
+I,+ C!"C&0T 46
T!!LS !' S&LLI", 41
L!,LI"& 41
T+& 0ITC+ 42
%A") W'IT&'S &A' 0ITC+I", T+&I' ST!'I&S# I T+&) WA"T&$ T! 0&'!'% !' A" AU$I&"C&# T+&) W!UL$
"!T +A-& C+!S&" A S!LITA') 0'!&SSI!" LIK& W'ITI",. SC'I0T W'ITI", %A) B& A S!LITA') 0U'SUIT W+&"
)!U AC& T+& BLA"K 0A,&> BUT !"C& )!U 0UT S!%&T+I", %A,IC !" T+AT BLA"K 0A,&# &-&')B!$) WA"TS
T! ,&T I"T! T+& ACT.
W!'KI", W'IT&'S !T&" 0ITC+ T+&I' ST!'I&S W+IL& T+&)?'& I" T+& %I$ST ! W'ITI", T+&I' SC'&&"0LA)S.
&-&" AT&' T+&) S&LL T+& SC'I0T# T+&) +A-& T! 0ITC+ IT T! T+& $I'&CT!' A"$ T+& ACT!'S. ALL
SUCC&SSUL SC'&&"W'IT&'S L&A'" +!W T! 0ITC+ &&CTI-&L)# IT?S 0A'T ! T+& @!B $&SC'I0TI!". 42
QU&') L&TT&' 44
S)"!0SIS 152
T'&AT%&"T 151
ST&0 !UTLI"& 153
0'!@&CT 0LA" 112
0!SITI!"I", ST'AT&,I&S 113
I$&"TI)I", 0'!S0&CTS 11/
W&&KL) ACTI!" 0LA" 116
ASSI,%&"TS 116
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Sir William K. Coe
APPENDIX 116
SA%0L& SC'&&"0LA) !0&"I", 111
0A'A$I,% ST'UCTU'& 113
ST&0 !UTLI"& 114
ST&0 !UTLI"& 122
ST&0 !UTLI"& 126
T'&AT%&"T 121
T'&AT%&"T 123
QU&') L&TT&' 133
QU&') L&TT&' 13/
QU&') L&TT&' 136
QU&') L&TT&' 131
ST'UCTU'& TABL& 132
LIST ! A,&"TS A"$ %A"A,&'S 134
LIST ! 0'!$UCTI!" C!%0A"I&S 142
C!%%!" !'%S )!U.LL &"C!U"T&' 216
C!0)'I,+TI", SC'&&"0LA)S 222
W+AT IS C!0)'I,+T* 222
+!W $! I &"!'C& %) C!0)'I,+T* 223
W+AT I )!U WA"T T! W'IT& S!%&T+I", BAS&$ !" S!%&!"& &LS&?S W!'K* 226
0!&TICS
B) A'IST!TL&
W'ITT&" 365 B.C.&
T'A"SLAT&$ B) S. +. BUTC+&' 241
A "I,+T%A'& !" &L% ST'&&T SC'&&"0LA) 314
BIBLIOGRAPHY 4!
3
Sir William K. Coe
I1t-(24't0(1
Screenplays have become, for the last half of this century, what the
Great American Novel was for the first half. Closet writers who use to
ream of the !lory of !ettin! into print now ream of the !lory of
seein! their story on the bi! or small screen. After teachin! about
"### writers in more than forty-five cities in the $nite States,
Canaa, an %n!lan, & have foun that the ream is by no means
confine to Hollywoo. 'eople everywhere watch () an thin* to
themselves, +& coul write better than that.+ ,r they !o to the movies
an lose themselves in the ma!ic of the ar*, an they want to be a
part of that ma!ic or that !lamour or that wealth that they see an
rea about. ,r they -ust want to touch the pain an the woner that
comes from facin! that blan* pa!e an turnin! it into somethin! totally
one.s own.
So they ecie to !ive it a shot. An then they meet (he Great
/estroyers0 %veryboy.s writin! a screenplay. 1ou can.t learn
creativity. &t.s impossible to !et an a!ent. 1ou.ve !ot to live in
southern California. &t.s who you *now, not what you *now. (hey.ll rip
you off. (hey.ll ruin your script. Noboy *nows what sells. All they
want is teena!e se2 comeies. All they want is macho violence. All they
want are establishe writers.
An you on.t have any talent anyway.
So the ream !ets chan!e or iminishe or vanishes alto!ether. ,r you
for!e ahea in blin, confuse i!norance, assumin! that there are no
stanars in Hollywoo, that it.s -ust a crap shoot. ,r you refuse to
consier commerciality at all, because that.s a sellout. ,r you ecie
-ust to !o after the buc*s because you can.t hope to say anythin!
meanin!ful anyway. An so on.
& on.t buy it. After twelve years of wor*in! in Hollywoo evelopin!
screenplays as a reaer, a story eitor, staff proucer, an screenplay
consultant for various prouction companies 3incluin! my own4, an
after havin! wor*e with probably a hunre or more screenwriters in
ac5uirin! an evelopin! pro-ects, an after listenin! to, tal*in!
with, wor*in! with, an interviewin! another hunre or so writers,
a!ents, proucers, e2ecutives, an stars, & thin* all those notions
liste above are myths. At the very least, they have !rown way out of
proportion to reality an nee to be put in proper perspective.
& have now been teachin! screen writin! for about eleven years, first
at Sherwoo ,a*s %2perimental Colle!e an then throu!h $C6A %2tension.
An for more than ei!ht years & have been conuctin! an intensive, two-
ay seminar on the complete screenwritin! process. (his boo* sets forth
the principles that have evolve out of those classes an my own
professional e2perience. (he !oal of this boo* is to estroy those
common myths of failure an to replace them with the followin! ieas0
4
Sir William K. Coe
7. &f screen writin! is a !oal you wish to pursue, then you shoul !o
for it. An as lon! as you fin the process of writin! screenplays
personally fulfillin!, then you shoul *eep at it, because anyone with
talent who stic*s aroun lon! enou!h will succee.
8. 6ots of us woul li*e to have written a screenplay9 what.s important
is whether you want to write a screenplay. &f you !et fulfillment out
of the ay-to-ay wor* of puttin! a story to paper, then the aitional
rewars of money an success an fame can follow. :ut if it.s those
seconary rewars you.re focuse on, it probably won.t happen, an
success certainly won.t be as !olen as you thin* it will be if it oes
arrive.
;. Creativity is somethin! we all possess. 1our ob-ective shoul be not
to learn creativity but to stimulate it. (his boo* is fille with
methos of nu!in!, nurturin!, an reco!ni<in! your own creativity, an
funnelin! it into your screenplay.
=. No matter how much new technolo!y can be thrown into a movie, no
matter what new stars or concepts or irectors are hot, an no matter
how much Sylvester Stallone !ets pai, the founation of any successful
film will always be a !oo, well-written story. A ba movie can be mae
out of a !oo script but never the reverse. Hollywoo will always nee
the screenwriter.
>. Hollywoo oes have stanars, an it is possible to *now what those
are an write screenplays that meet them. (he most strai!htforwar way
is to loo* at successful movies an see what they have in common. An
beyon that, to listen to the state esires an nees of the people
who are in the position of buyin! screenplays an ma*in! movies an ()
shows. (his boo* contains numerous chec*lists an outlines of those
re5uirements an the methos for achievin! them with your writin!.
?. Commerciality an artistry are not mutually e2clusive.
". (he screenwritin! process can be bro*en own into a proven series of
steps an sta!es which will enable you to achieve a salable,
emotionally involvin! screenplay.
@. 1ou can be a wor*in! screenwriter an live anywhere in the worl.
A. 1ou can launch a career as a screenwriter even if you on.t *now
anyone within a thousan miles of southern California.
An finally0
7#. 1ou can ma*e a bunle of money oin! all of this.
Now before this list starts to soun li*e those no-money-own seminars,
or those secret-way-to-riches as at the bac* of Writer's Digest an
Family Weekly, &. better summari<e0
&f you want to ecie whether screenwritin! is a career for you, then
o it on the basis of the reality of the wor* involve an the
15
Sir William K. Coe
fulfillment you will achieve with your writin!, not -ust on whatever
elaye rewars may await you somewhere own the roa. &f you choose to
pursue screenwritin! on that basis, because it is your !oal an your
ream, you can empower yourself to o so by evelopin! your own
creativity, *nowin! what is re5uire an helpful at each sta!e of the
writin! an sellin! process, an intelli!ently focusin! on methos that
have prove successful.
(hat is what this boo* will teach you.
74+&060'+t0(1#. D0#'&+0)%-#. +12 E8'4#%#
Binally, before launchin! into the meat of the boo*, a few wors about
my particular point of view in approachin! this sub-ect.
%ven thou!h wor*in!, e2perience, livin!-on-the-beach-at-Calibu
screenwriters can fin value in the enclose information an
principles, &.m assumin! that most of you reain! these pa!es are
be!innin! writers attemptin! to launch a career in feature films an
television. (herefore the boo* is !eare towar the screenwriter in the
early sta!es of his or herD career. Certainly the boo* will be helpful
to anyone writin! screenplays, even if you.ve sol a o<en.
:ut on.t worry if you.ve never even rea a screenplay, let alone trie
to write one. :y the time you finish the boo* you will have sufficient
information to *now how to complete a screenplay, startin! at s5uare 7,
an how to mar*et it when it.s one.
Similarly, thou!h the principles inclue 3particularly the artistic
ones4 apply to nearly all films an screenplays, many of the commercial
consierations o not apply to establishe filmma*ers.
&f you are in fact at the early sta!es of your screenwritin! career,
you must unerstan that principles which apply to Eooy Allen, Eilliam
Golman, an Fohn Hu!hes o not necessarily apply to you. 'articularly
in the arena of commerciality, there are certain criteria, stanars,
an restrictions to which you must a- here, restrictions that those
establishe filmma*ers can i!nore.
Eooy Allen can write any screenplay he wishes an !et it mae. Zelig
is a terrific film. :ut it is not a screenplay that woul serve a
novice screenwriter well in attemptin! to launch her career. $sually,
those !roun-brea*in! e2ceptions to the principles an stanars
outline here, those films on the cuttin! e!e of cinematic
achievement, were written by establishe writers. $ntil you are in that
situation, an can call your own shots, you must !ive much !reater
consieration to the trie an true rules of screenwritin!.
(his boo* also assumes that you are pursuin! the American 3$.S. or
Canaian4 film mar*et, so the rules an stanars for screenwriters
wor*in! for the mar*ets in Brance, Germany, Fapan, or &nia o not
necessarily apply to you. &f you are a screenwriter in %n!lan or
Australia, almost all of the writin! principles will apply to your
wor*, but some commercial consierations will iffer, an you will nee
11
Sir William K. Coe
to research the current screenwritin! mar*et in your own country in
choosin! your story concepts an mar*etin! methos.
(o illustrate the principles & outline, & will be usin! American movies
mae within the last ecae or two. %ven thou!h Casablanca can still
turn everyone to mush, my assumption is that if you are reain! this
boo*, you are pursuin! a screenwritin! career toay, an principles an
commercial consierations apply to you that mi!ht not apply to
screenwriters writin! in other countries or other eras.
(he boo* outlines screenwritin! for what & call +mainstream , film an
television+0 fictional feature films that are istribute nationally,
prime-time 3networ* an cable4 () movies an episoic series, an short
fictional films. Ee.re not tal*in! about ocumentaries, inustrials,
Saturay animation, aytime soaps, commercials, news, sports, or
weather. :ut a!ain, the !oal of all of those forms is to create an
emotional response in the auience, so many of the principles will
overlap.
& will tal* a lot about Hollywoo in this boo*. :y Hollywood & o not
mean the city in southern California that coul ma*e Soom an Gomorrah
blush. Gather & mean the power structure an purse strin!s of the film
inustry. So if you.re pursuin! Hollywoo, it coul mean that you.re
approachin! an investment !roup in /es Coines.
Binally, this boo* is fille with personal opinions. (he principles
which constitute !oo screenwritin! can be verifie by loo*in! at those
movies which have been commercially an financially successful by
virtue of their bo2 office returns or Nielsen ratin!s, or by loo*in! at
films which have !arnere awars, stron! wor of mouth, cult stanin!,
etcetera. :ut emotional response is purely9 personal, an in tal*in!
about how movies have succeee in creatin! emotion, &.m obviously
tal*in! to a !reat e2tent about how they create an emotional response
in me. So on.t be overly concerne with your a!reement or isa!reement
with my evaluation of a film. Bocus on usin! the e2amples to increase
your unerstanin! of how the principles involve apply. An in turn,
you shoul repeately verify the principles & outline by usin! your own
favorite movies, those which create a positive emotional response in
you.
$se an en-oy this boo* in whatever way is most helpful to you. Gea it
throu!h once, then focus on the sections where you.re feelin! wea*est.
,r use the chec*lists after you have one one or two rafts of that
facet of your own script. ,r rea the boo* -ust to ecie if
screenwritin! is for you. ,r lay it on your coffee table to convince
the woman own the hall that you really are in show business. ,r put it
uner the short le! of your typewriter stan to *eep it from wobblin!.
:ut at some point, put the boo* away. Screenwritin! boo*s, li*e
screenwritin! classes, run the ris* of becomin! a substitute for
writin! rather than a supplement to it. &t.s better to attempt your own
screenplay, then !o bac* to this boo* an its chec*lists after each
raft. (hen rea other screenwritin! boo*s or ta*e a writin! class to
!et aitional points of view prior to each screenplay you write.
12
Sir William K. Coe
&n other wors, somewhere alon! the line you.ve !ot to trust that you
have enou!h information. (hen you must call on all your coura!e, !et
out some paper, i! into your soul, an start writin!.
A-% Y(4 R%+239
(his year 37A@#4 more than 7@,### screenplays an teleplays will be
re!istere at the Eriter.s Guil of America-Eest. ,ut of all these,
less than @# films will be mae in Hollywoo. /espite this, the
ei!hties will be remembere as the ecae of the screenwriter. Core
people are writin! screenplays than ever before. An within the ne2t
few years, the number of people writin! for the film meium-film, (),
cable, an isc - will ouble an triple in si<e.
Ee have evolve into a visual society9 less than ;# years a!o, we were
still essentially a literary society. (hat chan!e with the !rowth of
television, an is now chan!in! a!ain as we move into the a!e of the
computer. Ee are in the mist of an information revolution. Chilren
!row up playin! vieo !ames, they learn how to pro!ram in !rae school.
(he mar*etplace for the screenwriter is chan!in!9 within this ecae
the nee for film writers will e2ploe. (he vast spectrum of cable will
stabili<e, an companies will soon be proucin! speciali<e material.
(he entire motion picture an television mar*et will be somethin! other
than what it is toay. No one *nows e2actly what this mar*et will be,
but one thin! is certain0 the opportunities for the screenwriter will
be enormous. &f you.re serious about writin! a screenplay, now is the
time to sharpen your s*ills an perfect your craft. (he future is now.
&t ta*es time, patience, effort, an commitment to write a screenplay.
Are you willin! to ma*e that commitment to yourselfH Are you willin! to
learn an ma*e mista*esH Are you willin! to o the best -ob you canH
Ehat.s really important about writin! a screenplay is oin! it. 1ou set
yourself a !oal, a tas*, an you achieve it. (hat.s what it.s all about.
Th% G(+& (6 + S'-%%1"-0t%-
(he primary !oal of any filmma*er is to %&0'0t %)(t0(1 in the auience
an reaer of the screenplay Ilove, hate, fear, passion, e2citement,
humorJ. &n orer to succee, your screenplay nees to accomplish the
followin! ob-ective0 enable a sympathetic character to overcome a
series of increasin!ly ifficult, seemin!ly insurmountable obstacles
an achieve a compellin! esire.
(he four sta!es of any screenplay are0 Story concept, Characters, 'lot
structure, &niviual scenes
A5(02 W-0t%-:# B&('$
(he !reat pitfall of screenwritin! is writers bloc*, which is roote
in fear of failure an esire for perfection. (o prevent bloc*,
alternatively brainstorm for a 5uantity of ieas an eit for 5uality.
/ont !et it ri!ht, !et it written. Keep an open min to allow
13
Sir William K. Coe
creativity to flow for your screenplays. Stay away from your own
-u!ments an opinions limitin! your ieas.
Th% L06% (6 + S'-%%1"-0t%-
Th%-% +-% t"( ;0* +25+1t+*%# t( #'-%%1"-0t01*:
- 1ou !et to tell stories for the movies.
- 1ou can ma*e a lot of money.
Th%-% +-% th-%% )+<(- 20#+25+1t+*%# t( #'-%%1"-0t01*:
- 1ou on.t !et to weave ma!ic with wors.
- 1ou have no control over what is one to your screenplay after it.s
sol.
- Screenwriters on.t ran* very hi!h in the film inustry.
I6 3(4 'h((#% t( 4-#4% #'-%%1"-0t01*. 3(4 #h(4&2:
- %stablish a re!imen.
- &mmerse yourself in movies.
- Ac5uire information on the film business.
- Start ma*in! contacts.
- Foin a writers. !roup.
- 'ursue other mar*ets for your wor*.
- Consier movin! to 6os An!eles 3but not yet4.
- 'erioically evaluate your !oals.
Th% P("%- (6 S'-%%1"-0t01*
Brom almost the first pa!e of this boo*, & have been tal*in! about the
nee to create emotion in a reaer an an auience. Bor you as a
screenwriter an for all filmma*ers, that is the primary !oal.
(here are two irect paths to elicitin! that emotional response in an
auience. ,ne is throu!h the hea. (he other is throu!h the !lans.
(he first path !ets people thin*in!, !ets their wheels turnin!.
(he secon path !ets their bloo racin!, !ets their -uices flowin!.

:oth paths are fine. (here is nothin! inherently !oo or ba out either
metho. :ut each, if use e2clusively, becomes esoteric. (hat is, each,
when use alone, limits your potential auience.

&f you !o strictly with the !lanular approach-tryin! -ust to !et
people fri!htene or turne on- you en up with splatter movies an
porno!raphy. An there is a limite auience for those.

&f you attempt only to !et people thin*in!, the result is at best a
provocative intellectual e2ercise that is seen by si2 people in a
colle!e basement. :ecause there is a limite auience for those films
as well.
(he tra!ey of the first situation is the abunance of films evoi of
any apparent thou!ht or any contribution to the human conition. (he
even !reater tra!ey of the secon situation is that filmma*ers with
1/
Sir William K. Coe
important ieas to offer humanity are unable to fin an auience or
even to !et their movies mae.
(he solution to these situations is combinin! the two approaches. &f
you can see the effectiveness of !ettin! people e2cite, fri!htene,
lau!hin!, an cryin! an then can use that ability to really !et them
thin*in!, then you have tappe into the immense power you can wiel as
an artist, a screenwriter, an a filmma*er.
(hat is what & call reachin! people throu!h the heart.
(hat is also what & wish for all of you reain! this boo*.
Now be -oyful, !et in touch with your own power, an start writin!.
16
Sir William K. Coe
STORY CONCEPT
%very story answers the 5uestion What if such and such happened? %20
Ehat if a thir-rate fi!hter ha a chance to fi!ht the heavywei!ht
champion of the worlH 3Rocky4
6eas to a plot structure 3a town terrori<e by a shar* in aws, !hosts
an emons pla!uin! New 1or* City in !host"usters4, or to a character
or characters 3an inestructible cybor! from the future in #he
#erminator, a !roup of former ?#s raicals in #he $ig %hill4. 1ou will
be loo*in! for a character to best enhance your plot or the plot
situation to best brin! out your character.
E8-%##01* th% St(-3 C(1'%t
A #t(-3 '(1'%t '+1 ;% %8-%##%2 01 + #01*&% #%1t%1'%: It is a story
about _ (character/subject) who wants to_ (action/predicate)
3respectively4. Can also inclue a character who wants somethin!
visible, even within this sentence0 &t is a story a"out a wealthy coat
hanger manufacturer who wants to "efriend a "um 'Down and out in
$e(erly Hills).
(he visible motivation on the part of the main character or characters
is the cornerstone of the entire screenplay. All = sta!es must
contribute to the main characters motivation 3a story revolves aroun
this person4.
F01201* St(-3 I2%+#
(o ori!inate story concepts for screenplays, it is almost always
necessary to stimulate your own thin*in! by observin!, recorin!, an
reactin! to all of the potential material that confronts you everyay,
an to use that material as a -umpin!-off point for your own
brainstormin! an creativity. Creativity comes an !oes, an sometimes
nees your *ic*in! to stir itL
Go to the followin! sources for ieas0
A2+t+t0(1# (6 ;(($#. &+3#. +12 #h(-t #t(-0%# = alreay provies a
plot, !et ri!hts to the wor*s. Consier these points0
Great literature oesnt necessarily mean !reat cinema. :a 5ualities
to brin! from boo*s0 rich, te2ture writin!9 lots of interior thou!hts9
feelin!s, an escriptions9 an e2pansive, convolute plot9 an an
abunance of symbol an alle!ory. Goo0 character an plot9 a style,
moo, te2ture, an structure of own. /ont assume because you li*e it
others will to.
1ou must be truer to your screenplay than to your ori!inal source. &f
you must alter or eliminate parts of the ori!inal, o it.
:e very wary of aaptin! your own novels an plays.
11
Sir William K. Coe
C(1t%)(-+-3 t-4% #t(-0%# = C(1#02%-:
A story isnt necessarily appropriate for aaptation for a
ocurama -ust because it is true.
A true story is often more effective as a small se!ment for () or
the li*e, not for features.
:e truer to your screenplay than ori!inal source. 1ou may have to
spice up events an characters while still maintainin! the
accuracy an etails of the true story.
H0#t(-0'+& %5%1t#
All principles for true stories also apply here.
Ehen all principle characters in your ramati<ation are ecease, then
there is no nee to obtain ri!hts to the story an are probably in the
public omain.
(he !reatest ae ifficulty with historical aaptations is
commercial. &t is a bi! cost in prouction an auiences !enerally li*e
to relate to contemporary characters an events.
$sin! a sin!le boo* as a source for a historical aaptation means you
still must obtain ri!hts to o so.
(he stron!est an most effective historical screenplays are those which
involve some contemporary issue, theme, or plot situation place in a
perio conte2t.
,ften the best use of historical events is as a -umpin!-off point for a
fictional story. %20 Hoosiers
H%+2&01%# M from newspapers, ma!a<ines, (), raio. 1ou ont care about
facts or etails as you will ta*e the matter in the irection you want
it 3Cars Attac*s4.
:est e2ample0 Karate Kid. (he proucer base it from a boy in the San
Bernano )alley who stoppe !ettin! pic*e on when he learne *arate.
(his story le to a movie which inclue romance, an a!in! ,*inawan
instructor, a transplate hi!h school stuent, an a climatic
tournament.
Combine two unrelate story topics.
P%-#(1+& %8%-0%1'% M Cost peoples e2periences are not at all
interestin! enou!h for a movie or can blin you from proper format.
Erite about situations an emotions with which youre familiar.
CA&N G$6%0 N%)%G %/&(, F$/G%, ,G :6,CK 1,$GS%6B AS 1,$ S%AGCH B,G AN/
G%C,G/ &/%ASLLL
S%&%'t01* th% ;%#t #t(-3 '(1'%t#
Select ieas from your recors with both commercial an artistic
potential. Commercial potential is the ability to convince the people
12
Sir William K. Coe
who ma*e movies an () shows that the movie of a screenplay will result
in profits or hi!h ratin!s9 artistic potential means that a screenplay
sets out to o somethin! of value an can succee on its own terms.
St(-3 C(1'%t Ch%'$&0#t
M4#t>H+5%:
7. H%-( M main character 3human, animal, machine, etc4 on screen most
of time, whose visible motivation rives the plot, an with whom the
auience is eeply involve
8. I2%1t060'+t0(1 - Geaer must ientify with hero. Geaer must put
self in characters shoes, e2perience emotion throu!h character
;. M(t05+t0(1 M An ob-ective which the hero hopes to achieve by the en
of the story by wanting something. /rives the plot forwar. %2amples0
finin! a treasure, !ettin! the !irl, stoppin! the *iller
=. O;#t+'&%# M Serious challen!es, hurles, an obstacles in pursuin!
motivation. Somethin! has to stan in the way of the main character
reachin! their motivation, there must be conflict.
>. C(4-+*% M to overcome obstacles. (he hero must be fri!htene of the
obstacles or somethin! must be on sta*e for the hero. (he auience will
stic* aroun to fin out is your hero fins what they nee or it is
unresolve.
?. A h0*h '(1'%t M story iea an title sufficient enou!h to raw in
auiences
". O-0*01+&0t3 +12 6+)0&0+-0t3 M somethin! never seen before. All
successful contemporary films raw on situations that have been
e2plore before0 isaster movies 3*rmageddon4, !an!ster movies 3$oy+ in
the Hood4. 1our elements must be ifferent enou!h to !rab an auience.
$se from a winner an be reay to efen your ieas familiarity an
ori!inality.
@. S%'(12 &%5%& (6 #%&& +12 #4;&(t#. Secon level of sell M !ives
story concept ae ori!inality an epth9 a secon story line, of
e5ual importance to your ori!inal story concept, which also involves
your hero an a secon, e5ually important visible motivation for your
hero. %20 ,-#- Nalien from outer space an Nboy an his o! 3secon
sell4. $sually the secon sell is love0 A marrie woman fi!hts to lose
wei!ht an meets another man an then loses wei!ht as this new man
!ives her confience to o so 3* .ew $eginning4, or better, An
alcoholic actress convicte of murer an tryin! to prove her
innocence, the secon sell is her wantin! a relationship with the e2-
cop who helps her 3#he Morning *fter4 .
A. F+)0&0+-0t3 (6 #%tt01* M urban or suburban parts of America in the
present. Auiences may fail to relate to forei!n places an times in
forei!n countries with no American culture. Some settin!s may not be
13
Sir William K. Coe
contemporary but familiar enou!h for a screenplay0 ol west, Eorl Ear
&&, an outer space
7#. G%1-%# ?C+t%*(-0%#@ M Erite movies in sellin! cate!ories. /ifficult
cate!oriesD0
Cusicals M all sin!in!, all ancin! 3/klahoma4
Eesterns
'erio pieces 3're-7A"#4
:io!raphies
Science fiction M special effects re5uires lots of money
Horror M :est for inepenents, stuios rarely prouce ori!inal
horror films
B%#t C+t%*(-0%#:
Action-aventure
Suspense-thriller
6ove story
Comey
/rama
Any combo of these
Core on this sub-ect later.
77. M%204) M Choose0 feature film, movie for television, series
episoe, short film
F%+t4-% 60&)# 5#. t5 )(50%#0 Beatures are more e2pensive, more
Npanoramic, more !raphic in re!ars to se2 an violence, less
formulaic, more comple20 Dick #racy, #otal Recall. () films are more
narrow-focuse, more topical or issue-oriente, an more stanari<e
in len!th, structure, etc.
78. C(#t M (he more e2pensive to ma*e the movie, the more ifficult to
be e2pecte. > (hin!s ma*e screenplays more e2pensive to film0 :i!
special effects, a hu!e cast, lots of e2otic locations, a perio or
historical settin!, inclement weather
7;. Ch+-+'t%- *-("th M ,ccurs when a characters search for coura!e
results in !reater *nowle!e, maturation, or actuali<ation. Core on
this sub-ect later.
7=. Th%)% M $niversal statement the screenplay ma*es about the human
conition9 that which an auience member can apply to their own life.
(he messa!e is a more political statement that connects irectly to the
plot an no application to the avera!e persons actions. Core on this
sub-ect later.
A-t0#t-3 5#. C())%-'0+&0t3
Erite movies people want to see.
14
Sir William K. Coe
Ch%'$&0#t t( 2%t%-)01% 06 #t(-3 h+# + '();( (6 +-t0#t-3 +12
'())%-'0+&0t3
7. /o & want to spen at least the ne2t si2 months of my life wor*in!
on the story ieaH
8. /oes this story have commercial potentialH
;. &f no, o you have the passion to see to it is writtenH Consier0
Eritin! shoul be personal fulfillin!
Cost screenplays ont !et sol anyway but serve as a sample of
your wor*
&f you o a !oo enou!h -ob from passion, eventually it !et
sol. (rue for 0tar Wars, ,-#-
M(206301* St(-3 C(1'%t
7. &f the concept is not provocative enou!h, can you a other elements
to !ive it more immeiate interest an a hi!her conceptH
8. Can you combine the initial concept with another iea to !ive it a
secon level of sell or aitional subplotsH
;. &f the settin! isnt particularly familiar, coul it be chan!e to
contemporary America without estroyin! the other aspects of the storyH
=. &f the story is similar to other films, can you create elements that
will a ori!inality to the familiarity of the conceptH
>. &f the cost of filmin! the story seems prohibitively hi!h, can the
cost be lowere by chan!in! the location or the perio or by reucin!
the number of seconary charactersH
ASSIGNMENTS
,ri!inate several ieas for possible stories. Keep a noteboo* an
recor potential plot ieas, character traits, or situations you
confront in your life. Go for 5uantity, not 5ualityL
Now focus on 5uality. (o o this, match your best ieas a!ainst
both chec*lists in chapter.
Bor each !oo iea, write0 &t 1the story2 is a story a"out 3
'character4su"5ect) who wants to3 'action4predicate)-
Now fill in the Story Concept chec*list for your best iea. (o
etermine whether an iea is !oo, use this moel0
o How soli is your story iea, premise, or conceptH
Eill it appeal to a mass auienceH
&s it freshH ori!inalH provocativeH commercialH
/oes hearin! it ma*e people say, +& want to see thatL+H
&s it lar!e enou!h in scope to appear on the silver screenH
/oes it have +le!s+ to stan on its own as a story without
bi! starsH
25
Sir William K. Coe
Bill out the story evelopment wor*sheet to the best of
your ability. Go bac* to the character profile after one
with character evelopment chapter.
&ma!ine how your movie will be avertise. (hen on a sheet of paper,
s*etch out the one-sheet 3movie poster4 for your movie.
&s there a stri*in! visual ima!e that will stop passersbyH
&s there a healine that plays off the title or conveys a hi!h
conceptH
Eill people want to see this movieH

21
Sir William K. Coe
,MY MOVIE/ STORY DEVELOPMENT
6 ,ssential ,lements7
CONFLICT - (he stru!!les an obstacles
PLOT - (he events an action
SETTING - (he worl of the story9 timeOplace
STRUCTURE - (he combination of all the elements
THEME - (he controllin! iea
MOOD!ATMOSPHERE - (he tone or feel
POINT OF VIEW - (he character we mainly view the +movie worl+ from.
CHARACTERS - (he inhabitants of your story
%H*R*%#,R 8R/F&9,07
Choose to write only what is e5uivalent for your script. Gemember 0 too
specific can cause castin! problemsL
NAC%0
Character0 hero, nemesis, reflect, romance, ma-or, seconary
:&,GGA'H10 'ast events
AG%0
H%&GH(0
E%&GH(0
:,/1 (1'%0
BAC% (1'%0
C,C'6%P&,N0
%1%S0
HA&G0
G%6&G&,N0
,G&%N(A(&,N0
GAC%0
C6,(H&NG S(16%0
S'%AK&NG S(16%0
G%N%GA6 /%C%AN,G0
CAG%%G0
'G%F$/&C%S0
:%S( Q$A6&(&%S0
E,GS( Q$A6&(&%S0
E%AKN%SS%S0
22
Sir William K. Coe
H,::&%S0
(A6%N(S0
:G&%B /%SCG&'(&,N0 what !oes in your script
89/#
:e!in by writin! a sin!le sentence ientifyin! the main character an
what they want or hope to accomplish.
Cy main character is R an they want R.
Cy main character is Fohnny an he wants to !rauate from law school.
Now write a concept, a three sentence structure alon! the lines of
be!innin! M mile M en.
Fohnny, a renec* rebel, moves out of his family farm to confront
colle!e life. He finally !rauates from uner!rauate school an heas
off to law school. He runs into problems where blossoms his first love.
Now e2pan each sentence into their own para!raph. 1ou are builin! the
structure of the movie.
23
Sir William K. Coe
Ch+-+'t%- D%5%&()%1t
&t is throu!h the characters your reaer will e2perience emotion.
Th% th-%% 6+'%t# (6 'h+-+'t%-
- Ph3#0'+& )+$%40 a!e, se2, appearance, isabilities
- P%-#(1+&0t30 intelli!ence, emotional ma*eup, etc.
- B+'$*-(4120 everythin! that happene to the character prior to his
appearance in the screenplay 3e2position4
D%5%&(01* Y(4- H%-(
(o create the hero which bests suits your story plot, etermine those
5ualities the character shoul possess to suit the lo!ic an reality of
basic plot. Create the necessary ientification with the hero for the
reaer. Cust a those iniviual facets to the character to ma*e him
or her ori!inal an provocative.
%reate a Rough /utline of :our Hero
&f you have no iea about your characters, follow these steps0
8 Ehat limits are place on this character by the plot situation
itselfH Cust the character possess a certain a!e, se2,
bac*!roun, level of intelli!ence, or personalityH
8 $sin! the sources from chapter 8 3healines, etc.4, as a stimuli
for character traits for your hero. :rainstorm rather than eit9
*eep an open min before narrowin! traits.
8 Gesearch the area of your story concept. ,bservin!, interviewin!,
an researchin! can help.
,sta"lish %haracter &dentification
(he auience an reaer must ientify with the hero of the story. (hese
principles must be use for main character but can be use for other
ones0
8 S3)+th3 M !ive auience a reason to feel sorry for the character
by bein! victim of misfortune9 sooner eploye the better
8 A%(+-23 M Get reaer to worry about character by puttin! them in
an!erous situation, e2amples0 threat of capture, e2posure,
embarrassment, or efeat
8 L0$%+;&% M Get reaer to li*e character0 at least 7 or combo of ;
ways0
8 7. Ca*e the character a !oo or nice person 3heroes of
Gremlins4
8 8. Ca*e the character funny 3$e(erly Hills %op4
8 ;. Ca*e the characters !oo at what they o, as the heroes in
9ethal Weapon
8 I))%20+t% 01t-(24't0(1 M Birst ten minutes9 the auience awaits
for someone to ientify an root for
2/
Sir William K. Coe
8 P(##%##0(1 (6 ("%- M ; forms0 7. 'ower over other people 3/on
Corleone !odfather) 8. 'ower to whatever nees to be one,
without hesitation no matter what stans in their way 3Ram"o,
Arnol Schwar<ene!!er in %ommando4 ;. 'ower to e2press ones
feelin!s espite opinions an acceptance of others 3Archie :un*er
in *ll in the Family4
8 A 6+)0&0+- #%tt01* M %ven if its somethin! people have hear but
may not themselves e2perience 3a farmhouse in rural America4.
8 F+)0&0+- 6&+"# +12 6(0;&%# M $neserve misfortune an a funny
character, respectively
Specific only to certain *ins of films0
8 A1 +-'h%t3+& #4%-h%-( M such as Superman, &niana Fones, Fames
:on. Ee present emotion throu!h their similarity to heroes of
myths, le!ens, an fairy tales
8 Th% %3%# (6 th% +420%1'% M (he auience learns information only
when the hero oes 3/arth )aer revealin! he is 6u*es father4 or
from someone observin! the hero, or create ientification with
one character an transfer to another
Make :our %haracters /riginal
Gesearch sub-ect area 3if about firefi!hters, tal* to real
firefi!hters4. Go a!ainst clichS by alterin! the physical ma*eup,
bac*!roun, an personality M Bor a cop, ont !o with a white stron!
!uy but the opposite. Chan!e all traits !iven to character to their
opposite 3still brainstormin!, so 5uality not 5uantity4. %20 %olum"o
an many characters in 8olice *cademy- 'air with opposite character M
:rin!s out more ieas, e20 'un*y :rewster an Fames :on. Cast the
character M &ma!ine a certain actor playin! the part an create the
character aroun them. $se other actors as well for well-rouneness M
never mention names.
Moti(ation
Ehat the character hopes to achieve by en of movie9 Specific way any
character, mostly hero, etermines plot M the one-line sentence from
Story Concept. Ehat hero esires etermines what story is about0
!host"usters M story about a former university teacher who wants to
earn money by !ettin! ri of !hosts.
(wo levels0 ,uter an inner
O4t%-: Ehat the character visibly hopes to accomplish by the en of the
movie9 rives plot of story an etermines basic story concept
3manatory4
I11%-: (he reason 3whyH4 for the outer motivation, which the character
thin*s will lea to self-worth 3optional4
Comparisons0
,uter &nner
26
Sir William K. Coe
)isible &nvisible
/esire for outwar /esire for self worth
accomplishment
Geveale throu!h action Geveale throu!h ialo!ue
Answers 5uestion0 Ehat Answers 5uestion, Ehy oes he want to o
thisH
&s this movie aboutH
Gelate to plot Gelate to character !rowth an theme
Geasons for accomplishin! a tas* 3wor*, school, etc4 iffers per person
as in real life. 'aths of self-worth0 reven!e, !ree, power
%onflict
&s whatever stans in the way from the hero achievin! his !oal9 sum of
all hurles an obstacles to reach ob-ective
#he sources of conflict are7
O4t%- M Nature or other characters
I11%- M Eithin the character
D%5%&(01* th% Oth%- Ch+-+'t%-# (6 Y(4- S'-%%1&+3
8rimary %haracters
1ou will be in one of these two situations0
7. 1ou may alreay have a cast of characters in min, youre
aaptin! a story, the lo!ic of the plot ictates certain
character types. Characters will function effectively if you *now
the basic function each fills in relation to hero
8. Cay have your hero wor*e out but have no iea who the other
characters in the story will be. Knowin! the basic cate!ories is
then helpful because you *now you must ori!inate people for your
story who will fulfill specific functions
3$sin! * .ightmare on ,lm 0treet as e2ample40
Four $asic %ategories of 8rimary %haracters
1. H%-( - Cain character, whose outer motivation rives plot
forwar, primary ob-ect an on screen most of time. Cust
possess some outer conflict an motivation 3Nancy4
2. N%)%#0# M Character who stans in the way of the hero
achievin! his or her outer motivation9 a villain, opponent,
or !oo !uy 3Brey Krue!er4
3. R%6&%'t0(1 M character who supports the heros outer
motivation 3her father4 or at least some basic situation at
the be!innin! of the screenplay. Can be frien, co-wor*er,
sie*ic*, spouse, mate, lover, etc. Create reflection
characters because it as creibility to your plot if your
hero has help in overcomin! the outer conflict, it !ives
the hero someone to tal* to, ma*in! it easier to reveal
bac*!roun, inner motivation, inner conflict, an theme or
to create anticipation
21
Sir William K. Coe
/. R()+1'% M character who is the se2ual or romantic ob-ect of
at least the heros outer motivation, an must always
support such motivation 3her boyfrien4. Auience must fall
in love or unerstan with character as well if hero oes
so.
Rules for %reating 8rimary %haracters
7. Characters must be people unless human or humanoi9 not an
animal, situation, or force of nature
8. &nner motivation an conflict may or may not be e2plore for any
of the primary characters. $sually one so for the hero, if at all
;. &t is not necessary to have a character in each cate!ory. Hero
an at least one other cate!ories a C$S(. All epens on your
story.
=. A character cannot fall into more than one cate!ory.
>. A character cannot chan!e cate!ories. /efine by the way they
function at the be!innin! of the film or first introuce.
Auiences as* themselves0
a. Eho am & rootin! for an what o they wantH 3hero
an motivation4
b. Eho is she up a!ainst 3nemesis4
c. Eho is !oin! to help her 3reflection4
. Eho will she fall in love with 3romance4
?. &t is possible to have more than one character in any of the
cate!ories. /uel an multiple heroes occur fre5uently 3Nancy, her
father4
Bor new writers, stic* to only sin!le cate!ories.
Rules When %reating .emesis7
7. Goo villains ma*e !oo movies M the stron!er an more
formiable, the better the story
8. Cust be visible an specific character, not a collective noun
3NCafia4, force of nature 3Ncancer4 or 5uality of life 3Nevil
in the worl4. &f comin! up a!ainst !overnment, terrorists,
etc., then use a specific character from these !roups as nemesis.
/oes not mean auience must *now nemesis ientity.
;. Cust show the final confrontation between your hero an nemesis
3most of time the clima2 M point hero succees or fails to
achieve outer motivation4
0econdary %haracters
Are all the other people in your screenplay, the characters you create
to a lo!ic, humor, comple2ity, te2ture, epth, an reality to your
screenplay after elineatin! your primary characters. 6et these
characters serves as many of the previous state functions but employ
them in terms of your heros outer motivations so not to confuse the
plot. Create them on an as neee basis for a perfect balance of
character evelopment.
22
Sir William K. Coe
Ch+-t01* Ch+-+'t%-. M(t05+t0(1. +12 C(16&0't
Characters0 ,.
Cotivation
,.
Conflict
&.Cotivation &.
Conflict
Hero Nancy (o live Bre
Krue!er
nOa nOa
Nemesis Bre
Krue!er
See*
reven!e
(eens
playin!
with him
Hes pisse
off
nOa
Geflection Bather (o help
his
au!hter
Society He loves her nOa
Gomance :oyfrien (o live Eante
for
murer he
int
commit
He loves her Bear of
bein!
foun
!uilty
Th%)%
(heme is universal9 it applies to everyone about human conition. &t
!rows out of plot ,N61. Eait until a few rafts before you efine it.
(hemes are optional. &t is a prescription to how one shoul live ones
life in orer to be more fulfille, more evolve, or a better person
3morality4
(heme emer!es when the heros similarity to the nemesis an ifference
from the reflection are reveale.
(here is somethin! insie motivatin! you to write, somethin! you want
to say. (his is the movie messa!e, calle theme. /ont focus on the
theme. (he resolution will verify the acceptability of your messa!e.
&ts somethin! youve been wantin! to say M the point of view of your
story. CH&NA(,EN theme0 1ou can !et away with murer if you have enou!h
money. (he theme is the writers view of how people shoul act in the
worl. (heme is what your movie is about, one thin!, a theme or iea,
an every scene an character is forme from the fountainhea. New
stories can also eal with thematic material. &n a few stories it may
be possible to create a thematic or symbolic character0 someone whose
purpose is to carry a theme, value, or even story messa!e, selom the
central character0 mathematician in F$GASS&C 'AGK.
(heme !rows out of the writers unconscious, is evelope throu!h the
characters unconscious, an is receive by the auiences unconscious.
(heme must !row out of the story concept9 it must never be impose on
it.
(heme is not a messa!e. A messa!e is a political statement which
applies to a specific !roup of people or a specific situation.
Several levels of meanin! in e2plorin! themes are possible0 symbol,
alle!ory, archetype, etc.
23
Sir William K. Coe
Ch+-+'t%- *-("th
Character !rowth occurs when the hero reco!ni<es her own similarity to
the nemesis an ifference from the reflection.
K%3# t( '-%+t01* '+t05+t01* 'h+-+'t%-#
* !oal and an /pposition
1our character wants a !oal M ramatic is specific an measurable.
/ealin! with life is not a !oal9 see*in! T7# million worth of a
historic artifact is. (he nature of a !oal reveals a lot about your
character.
(he !oal shoul not be easy to attain. (here must be opposition, which
creates conflict, which then ma*es rama. Conflict reveals character
an motivates people to learn. As*0 Ehat oes my character want an
what oes she fear mostH ,pposition will force her to face her fear.
(he opposition shoul be an iniviual or an iniviual representin! an
or!ani<ation. %P0 GH,S(:$S(%GS0 (he %'A is represente by a man who is
after the Ghostbusters.
Ehere a !roup opposes the central character, such as a !an!, focus on
one person in the !roup whos the !reatest threat to that character.
'ersonali<in! the opposition creates !reater rama an will elicit the
auiences sympathy for the central character. (he hero is efine by
their opposition. &t nee not be evil, -ust someone who has a !oo
attempt to bloc* your main characters !oal.
Ehen choosin! a nonhuman opposition, such as nature or monsters 3FAES4,
consier ain! a human opponent as well. A well-written story often
features three opponents.
Also !ive your character some relate inner rive or yearnin! that
either supports the !oal or is in opposition to it. (his nee may be
inwarly bloc*e by some character flaw.
Moti(ation
1our character must be motivate. As*0 Ehy oes my character want what
he wantsH Answer0 motivation. (he more personal, the better because the
auience will sympathi<e an ientify with more.
%20 G,CK1
Ehat is Goc*ys GoalH Specific9 wants to !o the istance with the champ
M 7> rouns.
EhyH (o prove hes not a bum.
Such motivation !ives the story its power.
24
Sir William K. Coe
$ack;story
:efore pa!e one, somethin! happens to your character M a bac*-story, a
brief history about a character. $sually, a bac*-story is not seen by
the auience, but is there, hauntin! the central character an
affectin! his actions. Sometimes only the writer *nows the bac*-story
3AS G,,/ AS &( G%(S4 but this allows the characters to seem fuller. &t
can be subtle0 in S(AGCAN, Karen Allens nee is to learn to live a!ain
now that her husban is ea. ,ccasionally, the auience is *nown the
bac*-story. %P0 C,N(AC( opens with the bac*-story.
#he Will to *ct
Action reveals character, an crisis reveals his true colors because a
person oes what he oes because of who he is. 'roblems an obstacles
reveals what hes mae of. Since actions spea* louer than wors, your
character will !enerally reveal more throu!h action than ialo!ue.
/ialo!ue can be action M Ehen /arth )aer tells 6u*e that he is his
father an that he shoul -oin him, thats an action.
* 8oint of <iew '8/<) and *ttitudes
%veryone has a belief system, perception of reality influence by past
e2perience, a point of view evelope over time. (wo people may react
in totally ifferent ways to the same stimulus, epenent upon their
perception. (heir point of view is e2presse in attitues. 1our
character has a past. As*0 Ehat is your characters point of view about
lifeH Ehat is your characters concept of loveH How oes he or she view
the opposite se2H Ehat is your characters attitue towar !rowin! olH
Se2H Ballin! rainH Grocery shoppin!H /ental hy!iene an re!ular
professional careH &s happiness a warm puppy or a warm !unH Give each
character their own set of facts, ifferent views an beliefs,
re!arless how that ',) s5uares with reality. Ehen a characters point
of view chan!es, thats character !rowth.
Room to !row
1our main character also has a point of view of self, calle self-
concept. &m a winnerU all of us act from this point of view an so o
your characters. Geali<ation is when the character has reali<e the
chan!e which has ta*en place.. $sually follows the Showown 3clima24
but can ta*e place urin! or -ust before Showown.
%P0 E&VAG/ ,B ,V0 /orothy reali<es there is no place li*e home.
Growth comes about throu!h aversity an opposition strivin! for a
!oal. ,nly throu!h conflict, ma*in! ecisions, an ta*in! actions. As*
yourself how your character learns or !rows. ,ften they will !row from
some form of slavery to some form of freeom 3(&(AN&C4, but can be from
eath to life 3S(AGCAN4. A character can learn to love 3GA&NCAN4 or
overcome prie 3/G&)&NG C&SS /A&S14 or become more principle 3AN
AC%G&CAN 'G%S&/%N(4.
35
Sir William K. Coe
&n some films, such as actionOaventures, thrillers, an others, the
main character may not !row. Fames :on oesnt !row9 he -ust
accomplishes his mission. &n most !enres character !rowth is esirable
an essential.
$elie(a"ility
/ramatic characters are interestin! usually because they are sin!le-
mine an focuse. Humans ten to run off on tan!ents. Ca*e your
ramatic an comeic characters seem as human as possible M ma*e us
care about them0
8 G05% th%) h4)+1 %)(t0(1#0 Allow the auiences emotions to
ientify with the feelin!s of your characters. A character is
empathi<e more when she fi!hts what she feels rather than when
she e2presses it.
8 G05% th%) h4)+1 t-+0t#0 Bocus on the core of your character M the
soul. Eho is sheH Ehat is her stron!est traitH 6oo* for a flaw
that mi!ht serve as contrast, to create inner conflict. 1ou ont
have to reveal character traits all at once. %ach scene shoul
reveal somethin! new about your central character. %ach contact
with a new character shes li!ht until the central character is
fully illuminate. &ntrouce your central character in normal
circumstances before the catalyst upsets that balance so that we
have a feel for whom this person is. (his can be one by other
characters tal*in! about the central character. &nclue
characteristics, problems, an imperfections that are familiar to
all humans M Hes a !rouch. (hese will ma*e your ramatic or
comeic character more believable an more human. An opposition
characters imperfections mi!ht be more irritatin! than enurin!.
1ou can also etermine astrolo!ical si!ns, personality an
psycholo!y tests. Get boo*s on these sub-ectsL
8 G05% th%) h4)+1 5+&4%#0 Give your characters positive values
3such as loyalty an a sense of -ustice in G,/BA(H%G4. :a !uy
central characters shoul be superior morally than others in
story. &f he brea*s the law, ma*e him less corrupt than the law.
Give your character a talent for what they o, anOor enearin!
personal style in how she oes it. Give her a moment alone to
reveal her !ooness. Confront your character with an in-ustice,
or place him in a ifficult situation or in -eopary. :e careful
not to ma*e him too much a victim.
8 G05% th%) h4)+1 20)%1#0(10 1our characters shoul have imension.
Avoi carboar characters an stereotypes M use epth. No one is
completely evil or !oo. (he most love characters in film have
epth an imension 3blooie faces, flaws, etc.4.
8 H%-(%# +12 50&&+01#0 /epenin! on nature, your character lies
somewhere between real life an cartoon. Some heroes are
swashbuc*lers with a hary flaw, others are ba all the way.
,ther films !o eeper. (he hero is often orinary who becomes a
hero on his -ob or on his way to somethin! entirely ifferent. An
orinary person becomes e2traorinary person or an e2traorinary
person comes to reali<e who he really is or finally fins his
way. %P0 AS G,,/ AS &( G%(S M Ehos the villainH (he best
villains or opposition characters believe they are oin! the
31
Sir William K. Coe
ri!ht thin!9 they woulnt characteri<e themselves as villains.
(he opposition character often has ifficulty reco!ni<in! another
persons view of reality or nees.
Details
/etails are little thin!s that mean a lot. &iosyncrasies, habits,
5uir*s, imperfections, an other characteri<ations will a a lot to
a character. (hey ma*e the character a istinct iniviual. 'ersonal
e2pressions ma*e a ifference. (iny characteri<ations 3Go!er
Gabbits stutter at N'lease4 ass believability an efinition of a
character. How oes your character hanle the little thin!sH &f its
ri!ht for your character, !ive them a speciali<e *nowle!e or
s*ill, such as computer hac*in! s*ills. 'rops have been use with
!oo effect M weapons 3&ny Fones whip4, costumes 3ball bearin!s in
AS G,,/ AS &( G%(S4. Coinciences shoul !enerally wor* a!ainst your
character M ma*e it ifficult for them to achieve !oal. /ont bail
her out at en as she shoul become the most active character in the
final act.
* Writer Who %ares
1our central character must have a life an voice of their own. Show
you care by researchin! to really *now your characters. ,bserve them
then emer!in! on the pa!e as real. (he best thin! is when the
characters ta*e over the story an tell you what they want to o. (o
research, observe people, notin! in a small noteboo*. Search your
min, your own e2perience, people youve *nown who can serve as
character prototypes, places youve seen, etc. &nvesti!ate, e2plore,
an create your characters bac*!roun0 eucational bac*!roun9
ethnic, cultural, an reli!ious roots9 a professional or wor*
history9 past an present social connections an a family of some
*in, an a particular way of spea*in!. (a*e trips to the library
for information, or to a place of business to unerstan your
characters occupation. &nterview someone of a particular ethnic
!roup, or even visit a nei!hborhoo. /ont assume you can !et by
cause you seen movies of same sub-ect matter. :uy someones lunch to
!et an interview. Erite a character bio!raphy or etaile character
profile to allow fully rawn characters. 1our characters physical
escription is little importance to the script M focus on physical
etails essential to the story9 a few lines or wors that !ives us
essence of the story, somethin! actors can act. 'hysiolo!y0 Ehat
*ins of emotions oes your character portrayH Ehat is her
ispositionH How oes he hanle relationshipsH &entify comple2es,
phobias, pet peeves, fears, secrets, attitues, beliefs, aictions,
pre-uices, inhibitions, frustrations, habits, superstitions, an
moral stans. &s your character e2troverte, introverte, a!!ressive
or passive, intuitive or analyticalH How oes he solve problemsH How
oes she eal with stressH &n what way is he screwe upH
R%6&%'t +12 +#$ B4%#t0(1#:
Ehat are my characters valuesH
Ehat oes my character o when she is all aloneH
32
Sir William K. Coe
Ehats the most traumatic thin! ever happene to my characterH
Ehat is the bi!!est secretH
Ehat is her most poi!nant momentH
Ehat are his hobbiesH
Ehat special abilities oes she haveH
Ehat is his eepest fearH
Ehat *in of unerwear oes she wearH
Ehich en of the toothpaste oes he s5uee<eH
Ehat is the worst thin! that coul happen to my characterH
3crisisH4
Ehat is the best thin! that coul happenH
Ehat is my character oin! toni!htH
Create aspects to the character that ma*es her stan apart from all
other movie characters. Give your character a contraiction or
traits that e2ist in opposition, such as a clumsy beautiful woman.
&entify one or more loveable imperfections as well. Certain thin!s
will stan out M select those that say the most about your character
an relate the best to your story. 1our character will be uni5ue an
multi-face. &t oesnt matter when you o the research urin! the
writin! process so lon! as it is one. 1ou coul wait till later to
fit emans of the script.
0trong 0upporting %ast
A more characters. %mphasi<e relationships. Some wor* best because of
opposite personalities, the characters are rivals, or similar interests
an !oals. &n your cast, at least one central character, one opposition
character, an a confiant 3sie*ic*4 whom your central character can
tal* to. (he confiant sometimes performs the aitional function of
lenin! contrast to central character. &n ramas, they can create
necessary comic relief, thou!h this can be one by other characters.
1oull probably want a love interest who may function in another role.
(hey may carry the theme or messa!e of the story0 e20 mathematician in
F$GASS&C 'AGK. Sometimes a shape-shifter as a twist to the story.
Have contrasts in characters an in many levels, from attitues to
methos to social status. %ach character must o somethin! to move the
story forwar.
G((2 Ch+-+'t%-
Cotivation, /ialo!ue, :elievability. Heart an soul an nervous system
of screenplay. (hrou!h characters viewers e2perience emotions.
What is character?
Action is character M what a person oes is what he is, not what he
says. A !oo character is mae up of bac*!roun, personality, conflict.
%specially ramatic nee, point of view, chan!e, an attitue.
33
Sir William K. Coe
D-+)+t0' 1%%2: Ehat your character wants to win, !ain, !et, or achieve
urin! course of story. Cust have conflict. Knowin! this nee hols the
elements of character in place.
P(01t (6 V0%": the way the character sees the worl. Nees a efinite
point of view to be !oo character. Eill act, not react, from point of
view.
Ch+1*%: /oes your character !o throu!h chan!e, if so what is itH
Att0t42%: Allows you to a imension to your characters. 'ositive )S
ne!ative, happy )S sa, etc.
T((&# (6 Ch+-+'t%-
$se anythin! to help you ma*e a character M ;2> cars, outline, etc. &t
must wor* for you.
Ch+-+'t%- ;0(*-+h3: Brom birth until time be!ins in screenplay. Helps
you form a character. Name, A!e, :irthplace, Gelationship with family,
early life, what traits are theyH %ucational level, life in school an
threw !rowin! up since birth. As help, write your own bio!raphy. /efine
personal, private, an professional aspects of life, incluin!
relationshipsOinteractions with other people.
R%#%+-'h: &nterview people for ieas. &nterview people who match your
character0 if plumber, interview a plumber. Bin boo*s on sub-ect. At
least ; boo*s. ,ther *ins of resources outsie of three boo*s.
D0+&(*4%: Erite lots an rewrite it to !et better. &t is a function of
character. $se tools to help M a tape recorer to recor people. 'eople
tal* in fra!ments, run-on sentences, incomplete thou!hts, chan!in! moo
an sub-ect with blin* of an eye. Goo, effective ialo!ue will move
the story forwar an *eep the reaer turnin! the pa!es. &t nees to
communicate facts an information to the reaer or auience. &t reveals
character. %2position will e2pose a character throu!h ialo!ue, voice-
overs on photos, etc. About one scene evote to e2position M too much
is ba. /ialo!ue establishes relationships between characters an
comments on action, connects scenes, ties script to!ether an ma*es a
very effective cinematic tool. 1ou must learn to !et to *now your
characters.
Th% V0#4+& D31+)0'# (6 Ch+-+'t%-
Bilm is a visual meium M you tell your story in pictures so we can see
the story. )isual action reveals character.
Bilm must convey thin!s about character.
Ph3#0'+& 2%#'-0t0(1: briefly escribe your character. /o not ta*e any
more than = sentences, an be specific. :e brief, luci, an to the
point. %20 &n cars, ont specify year, ma*e, moel, or color. Settin!
can also reveal character. Show thin!s about your character. $se the
ynamic interaction between picture an soun. /ont say what you show,
3/
Sir William K. Coe
-ust show it. Soun trac* an picture trac*s complements the other an
broaens your story an character. )oice-over is very effective
cinematic evice. Still photo!raphs, scrapboo*s, photo albums,
newspaper healines, an other mementos can create this *in of visual
ynamic.
&f you want to write a scene or se5uence showin! a series of scenes or
stills with ialo!ue voice-over, write the ialo!ue first without
re!ar to the visuals. Ca*e sure to ti!hten the ialo!ue as much as
possible. ,n another pa!e, inicate still pictures or scenes in the
orer which you want to use them. Bor stills, escribe on a ;2> car.
/ont use more than four or five stills in the se5uence. Ehen they are
written, ta*e a thir sheet an inter cut them. 'olish the scene,
weavin! wor an ima!e to!ether, ti!htly. Smooth out the transitions
until the se5uence flows.
(he flashbac* inter cuts a scene in the present with a scene from the
past. Bra!ments can fra!ment a scene, a whole scene, or most of the
movie. Blashbac*s are !enerally overuse. (hey nee only to e2pan your
story if you are inventive. Bilm oes in present time unless you nee
to reveal somethin! essential9 ont impee the flow of action.
Structure flashbac*s carefully.
,ther visual ynamics0 character writes in -ournal or iary, flash-
forwars, special effects.
6et the story an characters tell you what you can an cant use.
Ch((#01* + 1+)%
(he name you !ive your characters is important, so choose !oo, stron!
ones0 names evo*e certain feelin!s in an auience. (hin* of some0
&niana Fones, 'riscilla, :ruce Eayne, Borrest Gump, Calcolm P. Biel
,f /reams has Gay as its main character0 an orinary, nonescript name
for an orinary, nonescript, unmotivate &owa farmer. (helma an
6ouise0 an unusual name 3but sounin! li*e that of a typical Southern
American housewife4 an a fairly re!ular name -two e!rees of normality
for two far-from-orinary characters. Ehy o you thin* the main
character in Eitness is calle Fohn :oo*H
Gemember, some names are !eneration-specific0 for e2ample, Gose, Cay,
%thel, :lanche, Geor!e, Norman, Sharon, (racey, Kevin, Fason, Kylie,
Catt, (iffany, Amber, :uffy, etc.
Also, consier the way names can be use to unerscore an emotion0 a
character who has always been *nown by their last name mi!ht be annoye
by the pointe use of their first name, as woul callin! them, say,
Ci*e, when they insist on bein! aresse as Cichael9 the same applies
with nic*names. Eatch Scent ,f A Eoman an note its use of Charles,
Charlie an Chuc*ie9 similarly, the use of 6eonar an 6ennie in
Cemento.
&f you.ve seen the film &nsomnia you mi!ht have notice the ironic
choice of !ivin! the main character a name li*e Eill /ormer9 an
36
Sir William K. Coe
callin! one of the characters in Cinority Geport - a movie about si!ht
an foresi!ht -/r. &ris 3sic4 Hineman was no accient. 6i*ewise, in (he
(ruman Show, you have a prota!onist (ruman :urban* 3true-manO:urban*,
as in Hollywoo, California4 oppose by the Go-li*e presence of a
character name Christof. An the namin! of the main players in Goa (o
'erition Cichael 3Ci*e4 an Cichael Fr., while perhaps initially
confusin!, neatly reflects one of the movie.s themes0 the iea -the
fear -that the son will follow in his father.s footsteps as a !an!lan
assassin. (hese are all names carefully chosen.
(ip0 A !oo source of names is one of those boo*s that list names for
babies.
(ry to !ive each of your characters names that o not share the
same initial 3unless there is a vital plot reason for it4 or that soun
the same. (hree characters in the same story calle Gay, Gic*y an Ge!,
or Fac*, Fac5ues an Fa*e woul only confuse your auience 3especially
the Script Geaer4.
8opular .ames7
31
Sir William K. Coe
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32
Sir William K. Coe
ASSIGNMENTS
Erite full bio!raphies of all your characters, or main ones.
,utline the characters from birth until their appearance in your
screenplay to help you know your characters an write them more
effectively.
%nter the followin! information into this table0
Characters0 ,.
Cotivation
,.
Conflict
&.Cotivation &.
Conflict
Hero
Nemesis
Geflection
Gomance
&n four sentences, write a physical escription about each
character.
Bill out the followin! per ma-or character0
1our movie people have sociolo!ical, psycholo!ical, an physiolo!ical
characteristics. $se the followin! to provo*e your creative thou!ht.
S('0(&(*3
,ccupation %ucation Criminal recor
:irthplaceOupbrin!in! %thnic roots 'astOpresent home life
'olitical views Social status Hobbies
Affiliations 'rivate life Eor* history
Eor* environment 'ersonal life Geli!ion
Ph3#0(&(*3
Hei!htOwei!ht :uil or fi!ure Attractiveness
Appearance HairOeyes )oice 5uality
/efectsOscars HealthOstren!th Comple2ion
Clothin! 'hysical s*ills Athletic ability
P#3'h(&(*3
BearsOphobias Secrets Attitues
're-uices )aluesObeliefs &nhibitions
'et peeves Comple2es Aictions
Superstitions Habits Coral stans
Ambitions Cotivations (emperament
'ersonal problems &ma!ination 6i*esOisli*es
&ntelli!ence /isposition
Ca*e your best effort to write ialo!ue sai by your main
characters. /o not worry about formattin! an rules of ialo!ue.
(his will not be use in your screenplay, only as a tool for you
to !et to *now your characters more.
33
Sir William K. Coe
Binally, if you havent alreay one so, create names for your
characters.
Consier who your story revolves aroun. (his is your main
character, not necessarily a prota!onist. /oes your central
character have the followin!H
An outsie !oal that the auience will care aboutH
A powerful, personal motivation for achievin! the !oalH
An opposition character in a position of stren!th, capable of
oin! !reat ama!eH
(he will to act a!ainst opposition, an to learn an !rowH
o Human emotions, traits, values, an imperfections that
people can ientify withH
o A particular point of view of life, the worl, anOor
self, !ivin! rise to attituesH
/etails, e2tensions, iiosyncracies, anOor e2pressions that
are uni5uely hisOhersH
A life an voice 3ialo!ue4 of hisOher ownH
A *ey event from the past that has !iven rise to a character
flawH
An inner nee that heOshe may be unaware of at firstH
%valuate your other main characters 3an especially your opposition
character4 by this criteria. %ach shoul have at least a !oal or
intention in the story. (he more epth you can !ive them, the more
interestin! they will appear.
(hese are 5uestions to as* of any of your movie people0
How o you hanle stress, pressure, relationships, problems,
emotionH
Are you e2troverte or shyH intuitive or analyticalH active or
passiveH
Ehat.s your most traumatic e2perienceH most thrillin! e2perienceH
%ssentially, who are youH Ehat is at your coreH
Ehat is your ominant traitH
Ehat o you o an thin* when you.re alone an no one will *nowH
How o you feel about yourselfH
How o you feel about the other people in the storyH
Eho are the most important people in your lifeH
How o you relate to eachH
Ehat.s the worst 3an best4 thin! that coul happen to youH
Ehat are you oin! toni!htH tomorrowH
Ehere o you want to be ten years from nowH
Answer these 5uestions0
How oes your central character !row or chan!e throu!hout the
storyH
34
Sir William K. Coe
How is your character ifferent at the en of the storyH
Ehat oes heOshe *now at the en that heOshe i not *now at the
be!innin!H
Ehat is your character.s perception of realityH
/oes that perception chan!e by the en of the storyH
&s your prota!onist li*eableH
Eill the auience ientify with your central character on some
levelH
/oes your central character have epth, with both stren!ths an
wea*nessesH
Eill the two *ey roles attract starsH
Ehat is the theme or messa!e of your storyH
Ehat are you tryin! to sayH
Eill the en of your story say it for you without bein! preachyH
3(he theme may not be evient to you until later in your writin!.4
/5
Sir William K. Coe
St-4't4-%
P&(t St-4't4-%
(he plot structure involves the events of the story an the layout,
which etermines if structure is e2citin!. &t consists of specific
events in a movie an their position relative to one another. Goo
structure means the ri!ht thin! is happenin! at the ri!ht time. &f
events lac* interest, e2citement, humor, lo!ic, or relevance, or if
they occur in an orer without creatin! suspense, surprise,
anticipation, curiosity, or a clear resolution, then structure is wea*.
Structurin! your story involves brea*in! plot up into three acts an
ma*e use of specific structural evices.
#he #hree *cts
A't F: T( establish th% #%tt01*. 'h+-+'t%-#. #0t4+t0(1 +12 (4t%-
)(t05+t0(1 6(- h%-( ?%8(#0t0(1@
A't 2: T( Build th% h4-2&%#. (;#t+'&%#. '(16&0't#. #4#%1#%. +'%.
h4)(-. 'h+-+'t%- 2%5%&()%1t. +12 'h+-+'t%- -%5%&+t0(1# ?%+$@
A't G: T( Resolve %5%-3th01*. +-t0'4&+-&3 th% (4t%- )(t05+t0(1 +12
'(16&0't 6(- th% h%-( ?-%#(&4t0(1@
(he three sta!es to the heroes outer motivation etermine the three
acts of your screenplay.
(he acts shoul conform to this formula0 the W - X - W rule, that is to
say >#Y of the pa!es in your screenplay shoul evenly ivie between
act 7 an ;, while the other >#Y for act 8. &n episoic an () movies,
leave the auience with a feelin! of anticipation so they wont chan!e
channels urin! commercials rather than !ettin! the commercial brea* to
correspon to the three acts. (hese are not actually labele in your
screenplay as they serve only as theoretical brainstormin! moel only.
#wists and #urns
1ou !et from the be!innin! to the mile an such throu!h use of
turnin! points, also *nown as transition points, action points, plot
points, character crossroas. (urnin! points are twists an turns of
story. (hey are important events which complicate or reverses the
action0 cliffhan!ers, elations, crises. (hou!h there may be several,
the first bi! turnin! point N:i! %vent ens Act 7 3the be!innin!4 an
moves the auience to Act 8 3mile4. (his is the bi! event that
ramatically affects the central characters life. (he ne2t event is
movin! the auience from Act ; into the final showown, the crisis.
(his is the one that forces your character to ta*e the final action, or
actions, to resolve the story.
%2amples0 (&(AN&C0 Cain or central character0 Gose
:i! %vent0 She attempts to -ump off the ship an is
save by Fac*
/1
Sir William K. Coe
Crisis0 Separation of the lovers
S0t4+t0(1. '(16&0't. +12 -%#(&4t0(1
Make a !ood First &mpression
Hoo* the reaer an set forth the rules of the story. &f it captures
interest, the openin! scene is calle the hoo*, else the openin! scene.
(he first ima!e implies somethin! about your story M location, moo,
theme.
(he character of your story will inclue the atmosphere or moo ItoneJ,
location, emotional settin!, !enre.
%P0 GH,S(:$S(%GS0 A !host scares a librarian, a funny event. (hen we
see :ill Curray hittin! on a coe an pretens the coe has %S' an
nees him as support to unerstan this feature.
SCG%AC0 /rew :arrymore face with answerin! the 5ui< ri!ht or wron!,
an if wron!, eath occurs.
:our #wo Key %haracters
(he central 3main4, or pivotal, character, shoul be first introuce
an appear often in openin! scene. Also the primary opposition
character must be introuce sometime early.
(he prota!onist is the !oo !uy or hero, while the anta!onist is the
ba !uy or villain. $sually the prota!onist is the central character,
but can !o to anta!onist.
(o ma*e rama, create a stron! central character with a powerful !oal,
an then provie a stron! opposition character who tries to stop the
central character from achievin! the !oal 3conflict4.
#he %atalyst
Geaers nee to *now *in of story theyre reain!, the irection of
the story, who to root for. Somewhere in first 7# or 7> pa!es,
somethin! shoul happen to !ive the central character a !oal, esire,
mission, nee, or problem. ,ften referre to as &ncitin! &ncient, but
can be calle a catalyst.
%P0 &N/%'%N/%NC% /A10
Catalyst0 (he aliens arrive.
:i! %vent0 (hey blow up the white house.
Catalysts can also be the :i! %vent.
A !oo catalyst, besies !ivin! the central character a new problem or
esire, will often reveal somethin! of main conflict, story premise, or
situation. %20 Eill %.(. !et homeH Eill Goy Scheier !et FawsH
Foreshadowing
/2
Sir William K. Coe
1ou can !et away with almost anythin! if you foreshaow it, or set it
up, early in the story. Cuch of screenwritin! is settin! thin!s up for
a later payoff.
%2amples from (itanic0 (he sun*en ship, rooms, fireplace, safe9 Goses
comb9 How free<in! the water is9 Spittin! lessons then at her finances
face9 Fac*0 1oull ie warm in your be.
Boreshaowin! creates a sense of unity in a story an also become a
tool of economy, proviin! more than one use for an element.
Caution0 /ont provie too much information or e2position. ,nly !ive
the auience what they nee to unerstan the story without !ettin!
confuse.
#he 8inch and Rising %onflict
(he be!innin! ens with the :i! %vent. (he mile focuses primarily on
the conflict an complications of the story. (he central character
emer!es from Act 7 with a esire to o somethin! about the ifficult
situation create by the :i! %vent. Her action will li*ely fail,
forcin! her to ta*e new actions. (here will be many setbac*s in Act 8
an some brea*throu!hs or temporary triumphs.
Act 8 focuses on risin! conflict. /o not repeat conflict. Stron!
subplots that crisscross with the main plot will help you avoi
repetitive conflict.
At the pinch of the story, about half-way throu!h, another ma-or event
occurs. (he central character often becomes fully committe. &t can
also be the moment when the motivation to achieve the !oal becomes
fully clear, or the sta*es are raise. %2ample0 GH,S(0 'atric* Sway<e,
as a !host, learns his best frien ha him *ille. (&(AN&C0 'inch comes
when Gose ecies to -ilt her fiancS an !o with Fac*. (here is no
turnin! bac*, an eventually the ship stri*es an iceber!.
Brom the pinch on, the central character ta*es even stron!er actions,
perhaps even esperate actions that threaten to compromise her values.
,ne or more temporary triumphs arouse from the opposition., who now
shows his true stren!th. (here may be a ma-or setbac*, followe often
by a new revelation or inspiration.
(he conflict intensifies, the pace 5uic*ens until the worst thin! that
coul happen happens. (his is the crisis, the point when all seems
lost, or where the character faces a crucial ecision.
#he Resolution
(he clima2 or showown follows on the heels of the Crisis. ,ften,
somethin! or someone spurs the character on to the showown. (he !oal M
everythin! M is on the line, incluin! the theme or movie messa!e
anOor some important value. &ts not manatory to have car chases an
e2plosions in the final act.
/3
Sir William K. Coe
(he Showown is bi!!er than the :i! %vent. &ts the bi!!est event or
series of events in the movie because everythin! , up until now, has
le up to it. Some of the best movies have ene in saness or
bittersweet0 (itanic, Gone with the Ein, Slin! :lae.
Avoi the eus e2 machine enin! 3N!o from the machine4. &n ancient
Greece, at the en of the play or opera, the !os woul enter in some
sort of a contraption an solve all the mortals problems. %asy
solutions are not ramatic9 let your central character solve his own
solutions.
/ont en your screenplay sayin! &t was all a ream. :rin! closure to
the en9 ont leave the enin! open or ambi!uous.
/urin! this climatic scene or se5uence 3or afterwar4, the central
character reali<es somethin! new about their selves, or we see some
visible or spo*en evience of her !rowth. (he central character has
been throu!h a crucible, has shown !reat coura!e M physical, emotional,
anOor moral coura!e M an now the final result must be reveale to the
auience an unerstoo by the central character 3reali<ation4.
(heres the enouement, where all those looses ens are tie to!ether
an any remainin! subplots are resolve. :ACK (, (H% B$($G%0 How
Cartys family turn out, an the professor returns from the future with
a stunnin! new outfit.
Th% &(" 2("1 (1 h0*h '(1'%t
* #itillating #itle
(he title shoul be short enou!h to fit on the mar5uee. &eally it
conveys somethin! about the concept or theme. 6i*e the healine in an
a, the title must stop the reaer an pull him into the story.
%2ample0 S(AG EAGS. :a title0 GA&/%GS ,B (H% 6,S( AGK
An effective an titillatin! title can ma*e an important first
impression for your script, especially if it hints of a hi!h concept.
&ts !otta $e $ig
(he &ea is the *in!. &f it is a !reat iea, chances are it will be a
success. &/%AS AG% %)%G1(H&NGL Ehen you hear a !oo concept, you shoul
see a movie that can be sol. (hin!s to consier0
8 %asily unerstoo by an ei!hth-!raer
8 Can be encapsulate in a sentence or two
8 'rovocative an bi!
8 Character Z conflict Z hoo* 3the :i! %vent4
8 Souns li*e an Nevent movie with se5uel potential
8 &t has le!s M it can stan on its own without stars
8 &t will attract a bi! star
8 A fresh an hi!hly mar*etable iea
8 $ni5ue with familiar elements
//
Sir William K. Coe
Concept comes in many forms. &t can be presente as a premise
5uestion0 Ehat if 'eter 'an !rew up 3H,,K4. (he concept can be
e2presse as a lo!line. (his is a sin!le-sentence ()-Guie version of
your movie0 (errorists hi-ac* Air Borce ,ne 3A&G B,GC% ,N%4. Can also
be len!thy. Cust hoo* in the auience. (he concept is always a hoo*,
which is any brief statement, premise, or lo!line that hoo*s someone
into the story. %20 A Can ies an becomes his wifes !uarian an!el
3GH,S(4. (he concept is what hoo*s, or fails to hoo*, the a!ent or
proucer. Core on lo!lines later.
Stories are about characters with problems. Some of the best concepts
present somethin! e2traorinary happenin! to someone who is orinary,
someone -ust li*e us. (his is often the :i! %vent. (he best stories are
about a prota!onist who loses control of his or her life an who must
re!ain it9 they lose control because of the :i! %vent. Stron! or
character-focuse or fish-out-of the water 3a character is thrown into
a whole new situation or lifestyle M :%)%G61 H&66S C,'4. Successful
concepts combine somethin! familiar with somethin! ori!inal. 1ou can
have the blac* sheep out of the family 3someone wants to be ba4 or the
white sheep 3someone wants to be !oo4.
A !oo concept has universal appeal. Cost everyone can ientify with
it. Some concepts !ive us a pea* into a special worl. (he hi!her your
concept, the more for!ivin! a!ents an proucers will be with your
script.
Stories that are offbeat or provocative have an e2cellent chance of
bein! sol if theyre easily visuali<e an encapsulate in a few
wors. As* yourself Ehat is the core of my storyH Ehat ma*es my story
stan outH Ehat is the concept that will help people unerstan what
its outH
St(-3 &+3%-01*
!oals and .eeds
(he central character has a conscious !oal M what your central
character outwarly strives for. ,pposition ma*es it ifficult for the
person to reach a !oal, an it comes in form of a person who wants the
same !oal or irectly opposes your central characters !oal. :eneath it
looms a !reat unconscious nee. (he nee has to o with self-ima!e, or
finin! love, or livin! a better life M whatever the character nees to
be truly happy or fulfille. (his yearnin! sometimes runs counter to
the !oal an sometimes supports or motivates it. (he Crisis often
brin!s the nee into full consciousness.
$sually the nee is bloc*e from within by a character flaw. (his flaw
serves as the inner opposition to the inner nee. (his character flaw
is obvious to the auience, because we see the character hurtin!
people, incluin! himself. (he flaw is almost always a form of
selfishness, prie or !ree.
/6
Sir William K. Coe
(he flaw comes from the bac*-story. Somethin! happene before the movie
be!an that eeply hurt the character. Now he acts in inappropriate or
hurtful ways.
#wo 0tories in /ne
Screenplays tell two main stories0 outsieOaction story 3riven by the
!oal M also calle spine4 an insieOemotional story. (he
insieOemotional story usually erives from a relationship an
!enerally riven by the nee M also calle the heart of the story or
the emotional throu!h-line. (o fin the insieOemotional story, loo* in
the irection of the *ey relationship in the story. Sometimes there is
no insie story, no flaw, no nee, as in many thrillers,
actionOaventures, an horror movies. %ach story has its own turnin!
points an structure. ,ne is the main plot9 the other a subplot. (he
two stories shoul be intertwine syner!istically.
Cany scriptwriters miss this, an it is important that you stop an
e2amine your story M Are you missin! an action trac* for your wonerful
insie story to roll onH
%2ample0
@&'') %A,UI'& wantA a big contract Bor hiA onlC client# 'oD. In the EroceAA oB worFing with
'oD# he manageA to accomEliAh hiA miAAion anD eGen BinDA intimacC with hiA wiBe. Let?A taFe a
cloAer looF at thiA AtorC# Aince it haA not one bHt two BlawA anD two growth arcA. 9"atHrallC# the
BlawA are relateD.:
A't0(1 St(-3 E)(t0(1+& St(-3
Blaw Self-oubt. Can.t love an be
intimate.
Catalyst Client suffers in
hospital9 client.s son
accuses Ferry
of not carin!.
Ceets woman who
believes in him.
:i! %vent Bire Goes on a ate.
'inch Ferry accuses Go of
playin! without heart9
Go accuses him
of marryin! without
heart.
'roposes marria!e.
Crisis After refusin!
contract, Go is
apparently in-ure.
Eife separates from
Ferry because he
oesn.t love her.
Showown Go plays well, not
in-ure, !ets
interviewe, an !ets
bi! contract.
Ferry returns to his
wife.
Geali<ation At the two interviews,
Go reco!ni<es Ferry0
Ferry has fulfille
At the two interviews,
Go reco!ni<es Ferry0
Ferry has fulfille
/1
Sir William K. Coe
his mission, no lon!er
oubts himself, an
wants to be with his
wife.
his mission, no lon!er
oubts himself, an
wants to be with his
wife.
P&(t
'lot compromises the important events in a characters story. (he wors
plot, structure, an story are often use interchan!eably. 'lot !rows
from character because everythin! starts with a character who has a
!oal. Since this !oal is oppose, the character ta*es action. (he
resultin! conflict culminates in a crisis. Eill she winH Eill he loseH
Eill he !rowH Eill she eclineH (he answers will etermine your plot.
(here are two *ins of stories0 plot-riven stories an character-
riven stories. &n plot-riven stories, the focus is primarily on the
characters !oal an action M the spine of the story. &n character-
riven stories, the focus is primarily on character ynamics, a nee,
an a *ey relationship M the heart of the story.
,=amples of 8lot;Dri(en 0tories
8 Th% 'h+-+'t%- "01#0 (he character strives for a !oal an wins.
)ery simple an common. %P0 &N/%'%N/%NC% /A1, G,CK1, S&6%NC% ,B
(H% 6AC:S
8 Th% 'h+-+'t%- &(#%#0 A moral victory of some *in often results
epite the failure of a very sympathetic character. &n (&(AN&C,
Gose loses Fac* but her heart will !o on. IKelceys Aition0 A
N&GH(CAG% ,N %6C S(G%%(J
,=amples of %haracter;Dri(en 0tories4,motional story
8 Th% 'h+-+'t%- *-("# ;3 2(01* th% -0*ht th01*. (he character is
about to o the wron! thin!, but transforms into someone who
overcomes his or her flaw, an oes the ri!ht thin!. )ery
popular. IKelceys Aitions0 SCG,,G% aaptations an AS G,,/ AS
&( G%(SJ 6ove stories best for this plot because one or more
lovers !ive up somethin! for the other 3'G%((1 E,CAN4.
8 Th% 'h+-+'t%- *-("# 4. (hat is, they come of a!e while strivin!
for one or more !oals that are either achieve or not achieve M
oesnt matter. G,,/ E&66 H$N(&NG, H,,K, '6A(,,N
8 Th% 'h+-+'t%- &%+-1#. (he character learns what he or she nees
to be happy. E&VAG/ ,B ,V M /orothy fins out theres no place
li*e home.
8 Th% 'h+-+'t%- 6+0&# t( &%+-1. (he character fails to learn what
he or she nees to be happy. EAG ,B (H% G,S%S
8 Th% 'h+-+'t%- 2%'&01%#. ,ften, by strivin! to achieve a worthy
!oal. $NB,GG&)%N, C&(&V%N KAN%
$se for e2amples only. ,thers e2ist.
0u"plots
/2
Sir William K. Coe
(here is normally one plot. %verythin! else happenin! in the
characters life is a subplot. &n aition to the central characters
plot, all other characters have their own plot with a !oal, action,
crisis, an resolution0 subplots. %ach characters crisis may come at a
ifferent -uncture in the script or conver!e at the same crisis moment,
epenin! on the story. (he !reat secret to master-plottin! is to brin!
various subplots an main plot into conflict. Cost or all of the
subplots shoul cross the central characters main purpose. Ehen two
characters are at cross purposes, calle a unity of opposites. (o
ensure a conflict to the en, you nee unity of the central characters
main plot an the opposin! characters plot. (he unity e2ists when the
two plots are in irect opposition to each other, an compromise is
impossible, ensurin! a stru!!le to the en.
G%1-%
Genre is another characteristic of plottin!, each which carries certain
characteristics.
L(5% #t(-0%#
&n a romantic comey, the lovers meet 3Catalyst4, are force to be
to!ether or choose to be to!ether 3:i! %vent4, fall in love 3'inch4,
are separate 3Crisis4, after which one or both will chan!e in some
way, reform, an return to the belove 3Showown4. Cost often, this
results in a Character-Grows-by-/oin!-the-Gi!ht- (hin! 'lot. (his
cate!ory inclues +ate movies,+ a term populari<e by Feff Arch an
Nora %phron.s S6%%'6%SS &N S%A((6%. &n fact, in the film itself, guy
mo(ies are istin!uishe from chick flicks. A ate movie is a movie
that appeals to both !uys an chic*s
A't0(1!+25%1t4-%
Ca*e sure there is plenty of action an aventure. (hese stories
usually open with an e2citin! action se5uence, followe by some
e2position. Althou!h these can be suspenseful, the *ey to this !enre is
e2citin! action. (hese stories follow a Character-Eins 'lot an usually
en with a chase anOor plenty of violence. (he *ey to !oo action
scenes is reversals. ...&t.s li*e a !oo newsL ba news -o*e. (he ba
news is you !et thrown out of an airplane. (he !oo news is you.re
wearin! your parachute. (he ba news is the rip cor brea*s. (he !oo
news is you have a bac*up chute. (he ba news is you can.t reach the
cor. :ac* an forth li*e that until the character reaches the !roun.
Th-0&&%-#
(hrillers focus on suspense more than action. &n a thriller, an
orinary man or woman !ets involve in a situation that becomes life-
threatenin!. (he ba !uys esperately want the CacGuffin, a name
Hitchcoc* !ave to the plot-evice that often rives the thriller. &n
N,G(H :1 N,G(HE%S(, the CacGuffin is !overnment secrets. &n CHAGA/%,
it.s T8>#,### in stamps. Althou!h the characters are after the
CacGuffin, the auience cares more about the survival of the central
character. (his is because she cannot !et help, has been betraye in
some way, an cannot trust anyone. (he primary motivation is one of
survival, so there.s not much of a Character Geali<ation in the en.
/3
Sir William K. Coe
Cany thrillers on.t have a CacGuffin, but all thrillers isolate the
central character, put her life at constant ris*, an !et us to
ientify with her fears.
H(--(-
Scary movies iffer from the thriller in that the opposition is a
monster, or a monster- li*e human. (his !enre leans heavily on shoc*
an surprise. %2amples inclue FAES an SCG%AC. A6&%N also relies on
surprise, but the se5uel, A6&%NS, was wisely written as an
actionOaventure story, not another horror movie. &nstea of scarin!
us, Fames Cameron thrills us with e2citin! action. Naturally there are
horror elements in A6&%NS, but the focus of the movie is on action.
S'0%1'% 60't0(1
1es, A6&%N an A6&%NS were science fiction movies, but the horror an
actionOa- venture !enres ominate in each respective case. (hus, we
have hybri !enres0 HorrorOsci-fi an actionOsci-fi. :ACK (, (H% B$($G%
is a fantasy family rama, or a sci-fi comey, or a combination of all
four. (he point is that most science-fiction ta*es on the
characteristics of another !enre an moves it to another worl or time.
T-+5%&01* +1*%&
(his is a story about a character who solves the problems of the people
aroun him. He oesn.t !row much himself because he.s +perfect,+ but
other characters o9 an once they have, the an!el ries off into the
sunset. CAG1 ',''&NS, IKelceys Aition0 S&P(H S%NS%[, SHAN%, an 'A6%
G&/%G are e2amples.
D%t%'t05%!)3#t%-3
(he murer mystery opens with a murer. (hen, the police officer,
private etective, or retire novelist solves the case. Since solvin!
the case is primarily a mental e2ercise, there is often a voice-over
narration so we can be privy to the central character.s thou!hts, as in
CAGN$C, '.&. &f this central character is a private etective, he will
usually be portraye as one who operates on the frin!es of the law,
such as Fa*e Gittes in CH&NA(,EN. ,ften, etectives uncover a small
corruption that leas to a lar!er one. Cany etective stories contain
elements of +film noir.+
F0&) 1(0-
Bilm noir 3literally, +ni!ht film+4 escribes both a !enre an a
shootin! style-shaowy, cynical, an realistic - an a storyline that
features orinary people in over their heas, no heroes an villains
per se, but !enerally a stru!!le between !oo an evil within the
central character, often enin! unhappily. /,$:6% &N/%CN&(1, (H% 6A/1
BG,C SHANGHA&, (,$CH ,B %)&6, (H% :&G S6%%', /,A, (H% ',S(- CAN G&NGS
(E&C%, :,/1 H%A(, an 6.A. C,NB&/%N(&A6 are e2amples.
F0#h>(4t>(6>"+t%-
(his is a popular !enre because it creates so much potential for
conflict an fun. A character is abruptly ta*en out of her element an
force to a-ust to a new environment. (hus, Arnol Schwar<ene!!er, the
cop, becomes a *iner!arten teacher in K&N/%GGAG(%N C,'.
/4
Sir William K. Coe
,bviously, there are many !enres an combinations of !enres0
Gevisionist Eestern 3/ANC%S E&(H E,6)%S4, Screwball comey 3:G&NG&NG $'
:A:14, Historical epic 3" 1%AGS &N (&:%(, 6AEG%NC% ,B AGA:&A4, :uy
picture 3,$(GAG%,$S B,GEN%4, Cilieu 3A6&C% &N E,N/%G6AN/, C&/N&GH( &N
(H% GAG/%N ,B G,,/ AN/ %)&64, ActionOromance 3G,CANC&NG (H% S(,N%4, an
on an on. ,nce you choose your !enre, watch several representative
films. 1ou are not researchin! your story but unerstanin! what ma*es
the !enre wor*.
Oth%- T3%# (6 M(50%#: (here obviously are many other !roupin!s that
mi!ht be constructe. /iscussin! !enres of movies mi!ht -ust be a way
of escribin! the history of moviema*in! - a metho of !roupin! motion
pictures for whatever convenient nee arises for whatever iniviual or
!roup. Eithout tryin! to efine them, &.m listin! here a number of
other possible types.
Th% A-t F0&): Not a preferre Hollywoo (ype. H,E%)%G -- the
acceleration of cheaper vieo-to-film technolo!y ma*es this an
interestin! potential !enre to loo* at for the future.
Th% B&+'$ C()%23: A comey that uses eath an morbi oin!s as the
root of its humor. Surfaces re!ularly. Cost recent incarnations, <ery
$ad #hings an 8ulp Fiction-
Th% B4223 M(50%: Not a istinctive !enre. Geally escribes a vehicle
for two stars of relatively e5ual importance, althou!h one of them is
usually the main character. Gefor an Newman are the most well *nown
pairin! from the recent past.
Ehen these types of films wor*, they can be a cash cow for the stuios9
for e2ample, the +roa+ films of :in! Crosby an :ob Hope, the musicals
of Bre Astaire an Gin!er Go!ers, the wac*y oin!s of /ean Cartin an
Ferry 6ewis, Abbot an Costello, etc. &n toay.s mar*et there is
probably a pent-up appetite for female pairin!s, witness the phenomenal
success of #helma and 9ouise 3espite the sour +owner+ enin! --
someboy too* the enin! of :utch Cassiy an the Sunance Ki too
seriously. (hey shoul have chec*e out #he 0ting4.
Th% Gh(#t St(-3: ,bvious from its title, nees no efinition. (his type
of story, popular in the past, has been somewhat supplante by the
horror !enre. &nterestin! to us writers for its resur!ence with a twist
in the /emi Coore thriller !host- (estament to the writer.s ima!ination.
Th% H%0#t ?(- C+%-@: Sort of a +cross-cate!ori<ation.+ An intricately
planne theft by a !roup of people. %2amples0 /cean's ,le(en> #he
#homas %rown *ffair> #he !reat #rain Ro""ery> an more recently, one of
the !enres in #he ?sual 0uspects-
Th% P0'+-%#B4%: An episoic strin! of aventures by a hero who moves
from place to place. Stellar e2ample, #om ones> an more recently,
Forrest !ump-
65
Sir William K. Coe
,ther obvious types0
Th% H0#t(-0'+& D-+)+
Th% M4#0'+&
Th% W%#t%-1
So, enou!h analysis of !enre.
(ry to settle on a mi2 of two !enres for your story. (o start with,
that is. Keep the possibility open that you mi!ht be able to spice up
your story with little bits of a thir !enre, but -- procee with
caution. As an ol Hollywoo pro once !rowle at me, +Core than two
!enres is a mess.+
M(50%# th+t F0t th% G%1-%#!M(-% G%1-%#:
A't0(1 ?D0#+#t%-@: St(-0%# "h(#% '%1t-+& #t-4**&% &+3# (4t )+01&3
th-(4*h + '&+#h (6 h3#0'+& 6(-'%#.
=@ Hours
BaceO,ff
/ie Har
Air Borce ,ne
Furassic 'ar*
6ethal Eeapon
Geturn of the Fei 3also 0cience
Fiction)
Spee 3also a #hriller4
(itanic 3also a 9o(e story4
(he (erminator
(rue 6ies
(wister
A25%1t4-%: St(-0%# "h(#% '%1t-+& #t-4**&% &+3# (4t )+01&3 th-(4*h
%1'(41t%-# "0th 1%" H"(-&2#.H
Apollo 7;
(he /eep
Get Shorty 3e=traordinary "lend of
!angster> 9o(e> and %rime with a
twist4
&niana Fones an the (emple of /oom
3also an *ction picture4
6ittle :i! Can 3*lso ,pic4Myth)
6awrence of Arabia
Quest Bor Bire
Gain Can
Gobinson Crusoe
Eater Eorl
C()%23: St(-0%# "h(#% '%1t-+& #t-4**&% '+4#%# h0&+-0(4# -%#4&t#.
Ace )entura, 'et /etective 3also
*d(enture ; the name gi(es it away)
Analy<e (his
Annie Hall
:owfin!er
Brench Kiss
Honey, & Shrun* the Kis 'also
Fantasy)
My :est Brien.s Eein!
Nine to Bive
Sha*espeare in 6ove
(he Spy Eho Sha!!e Ce
Ehen Harry Cet Sally
Eor*in! Girl 'also 9o(e 0tory)
C()01*>(6>A*% D-+)+: St(-0%# "h(#% '%1t-+& #t-4**&% 0# +;(4t th% h%-(
601201* h0# (- h%- &+'% 01 th% "(-&2.
American :eauty
American Graffiti
(he :rea*fast Club
(he Grauate
(he 6ast 'icture Show
(he 6ion Kin!
Cy :rilliant Career
Gebel Eithout a Cause
Gis*y :usiness
Saturay Ni!ht Bever
Sha*espeare in 6ove 'also Romantic
%omedy)
Splenor in the Grass
(op Gun 3also *ction)
61
Sir William K. Coe
(he 'aper Chase
'retty &n 'in*
(he Eater :oy 3also %omedy)
C-0)%: St(-0%# "h(#% '%1t-+& #t-4**&% 0# +;(4t '+t'h01* + '-0)01+&.
=@ Hours
:asic &nstinct
Bar!o
Brench Connection
Ghost 3also 9o(e and #hriller4
6.A.Confiential
'atriot Games
'ulp Biction 3*lso $lack %omedy>
$ends the !enre a lot))
(he Stin!
(he $ntouchables
D%t%'t05% St(-3!C(4-t-(() D-+)+: St(-0%# "h(#% '%1t-+& #t-4**&% 0# t(
6012 (4t "h+t -%+&&3 h+%1%2 +12 th4# t( %8(#% th% t-4th.
Caine Cutiny
Chinatown
/eath an the Caien
A Bew Goo Cen
(he General.s /au!hter
&nherit the Ein
(he Caltese Balcon
'hilaelphia
Gear Einow
A (ime to Kill
(he )erict
)erti!o
E0'!M3th: St(-0%# "h(#% '%1t-+& #t-4**&% &+3# (4t 01 th% )02#t (6 +
'&+#h (6 *-%+t 6(-'%# (- 01 th% #"%% (6 *-%+t h0#t(-0'+& 'h+1*%.
Apocalypse Now
(he :irth of a Nation
:ri!e on the Giver Kwai
:utch Cassiy an the Sunance Ki
Ghani
(he Gofather
Gone Eith the Ein
(he Grapes of Erath
6awrence of Arabia 'also *d(enture)
0tar Wars
#he #en %ommandments
F+1t+#3: St(-0%# "h0'h +-% +10)+t%2. (- "h(#% '%1t-+& #t-4**&% &+3# (4t
01 t"( "(-&2# > th% H-%+&H "(-&2 +12 +1 0)+*01+-3 "(-&2.
A Connecticut 1an*ee in Kin!
Arthur.s Court
Alice in Eonerlan
Ant<
:i!
Ghostbusters
Heaven Can Eait
Cary 'oppins
(he Cas*
'eter 'an
Snow Ehite
(oy Story
(he Ei<ar of ,<
Eho Kille Go!er GabbitH
G+1*#t%-: St(-0%# "h(#% '%1t-+& #t-4**&% 0# ;%t"%%1 + '-0)01+& +12
#('0%t3. A '+4t0(1+-3 t+&%. -((t%2 01 + )+01 'h+-+'t%- "h( '())0t#
'-0)%# (This genre is often blended with il! "oir).
:alans
:onnie an Clye
:utch Cassiy an the Sunance Ki
/ea %n
/ea Can Eal*in!
(he Gofather 'also ,pic4Myth)
Goofellas
6a Bemme Ni*ita
C.
,ut of Si!ht 'also 9o(e 0tory)
Slin! :lae
(he $sual Suspects
H(--(-: St(-0%# "h(#% '%1t-+& #t-4**&% 6('4#%# (1 %#'+01* 6-() +12
%5%1t4+&&3 2%6%+t01* + M(1#t%- ?%0th%- h4)+1 (- 1(1>h4)+1@.
Alien
(he :lair Eitch 'ro-ect
Briay the (hirteenth
Halloween
& Know Ehat 1ou /i 6ast Summer
&t.s Alive
Kin! Kon!
Ni!htmare on %lm Street
'sycho
Scream
(remors
L(5% ?R()+1'%@: St(-0%# "h(#% '%1t-+& #t-4**&% 0# ;%t"%%1 t"( %(&% "h(
%+'h "+1t t( "01 (- $%% th% &(5% (6 th% (th%-.
62
Sir William K. Coe
Annie Hall
As Goo As &t Gets
Casablanca 'also ,pic4Myth)
Ghost
(he Grauate
&t Happene ,ne Ni!ht
Cic*ey :lue %yes
Nottin! Hill
'retty Eoman
Goman Holiay
(he Eay Ee Eere
Eutherin! Hei!hts
S'0%1'% F0't0(1: St(-0%# "h(#% '%1t-+& #t-4**&% 0# *%1%-+t%2 6-() th%
t%'h1(&(*3 +12 t((&# (6 + #'0%1t060'+&&3 0)+*01+;&% "(-&2.
8##7 A Space ,yssey
:ac* to the Buture
:lae Gunner 'also %rime)
%(0 (he %2tra (errestrial
(he Bifth %lement
Gattaca
(he Si2th Sense
Star!ate
Star Ears 'and all the se@uels or
pre@uels)
(he (erminator
(welve Con*eys
S('0+& D-+)+: St(-0%# "h(#% '%1t-+& #t-4**&% 0# ;%t"%%1 + Ch+)0(1 +12 +
-(;&%) (- 01<4#t0'% 01 #('0%t3. U#4+&&3 th% Ch+)0(1 h+# + %-#(1+&
#t+$% 01 th% (4t'()% (6 th% #t-4**&%.
A Civil Action
/ea Can Eal*in!
/r Stran!elove
Grapes of Erath
Kramer )s Kramer
Networ*
'hilaelphia 'also %ourtroom Drama)
Schinler.s 6ist
(o Kill a Coc*in!bir
Th-0&&%-: St(-0%# "h(#% '%1t-+& #t-4**&% 0t# +1 011('%1t h%-( +*+01#t +
&%th+& %1%)3 "h( 0# (4t t( $0&& h0) (- h%-.
(he Net
No Eay ,ut
North by Northwest 'also 9o(e 0tory)
Sleepin! Eith the %nemy
Ni!ht of the Hunter
(hree /ays of the Conor
Eait $ntil /ar*
Eitness 'also 9o(e 0tory)
M:#H
:eyon !enre an plot is myth. &n any story you write, it may help you
to unerstan the mytholo!ical -ourney. (he +hero.s -ourney,+ as
presente by Foseph Campbell, follows a particular pattern that may be
weave into the fabric of any story, re!arless of its !enre. Cany
stories contain elements of this mytholo!ical -ourney, while a few,
li*e S(AG EAGS an (H% E&VAG/ ,B ,V, can be calle myths because the
central character passes throu!h each sta!e of the hero.s -ourney.
:riefly, these are the sta!es in the hero.s -ourney0
(he hero lives ami orinary surrounin!s. (he Catalyst is actually a
call to aventure, but the hero is reluctant to hee the call. (his
coul be the moment when the hero receives her mission. She is !iven an
amulet or ai of some *in by an oler person, a mentor. Bor e2ample,
/orothy is !iven the ruby re slippers by a !oo witch. 6u*e is !iven
the li!ht saber by ,bi-Ean. Cany stories feature mentors, e.!., Gobin
Eilliams in G,,/ E&66 H$N(&NG an (ommy 6ee Fones in C%N &N :6ACK.
(he central character travels to the e2traorinary worl. (his is
followe by a series of tests an obstacles. (he hero often uner!oes a
eath e2perience an enters the secret hieout, the witch.s castle, the
eath star, the belly of the whale, or the innermost cave.
63
Sir William K. Coe
Binally, the hero sei<es the treasure an is chase bac* to the
orinary worl, where this treasure blesses the people. (he !rail heals
the lan. (he hero may be resurrecte in some way. 6u*e an Han are
honore at an awars ceremony. /orothy returns to her family. (he 6AS(
S(AGB&GH(%G is transfi!ure in front of the townspeople. ,s*ar
Schinler is resurrecte in a rin! ceremony.
As a writer, you may have hear a call to action, a call to write, but
hesitate. 1ou must hee the call. As you stru!!le, as you learn, an
as you write, you may very well wal* the path of the hero, overcome
obstacles, !ain allies, an become the ne2t !reat screenwriter. (he
hero.s -ourney may very well become your personal oyssey.
Th% St-4't4-+& Ch%'$&0#t
Gefer to this list with each successful raft.
7. %very scene, event, an character must contribute to the heros
outer motivation.
8. %arly in the screenplay, show the auience where the story is
!oin! to lea them.
;. :uil the conflict
/. Accelerate the pace of the story 3buils from the other4
e2positionrisin! actionpea*clima2resolution.
>. Create pea*s an valleys to the action an humor. Ehether
emotion, follow hi!h emotions with low emotions to prevent
boreom.
?. Create anticipation in the reaer.
". Give the auience superior position.3!ive auience information
that characters in film o not *now4
@. Surprise the auience an reverse the anticipation to increase
involvement9 preict total preictability.
A. Create curiosity in the reaer. Ca*e the reaer want to stic*
aroun to see how a problem is solve, etc. (he lon!er you
withhol somethin!, the lon!er anticipate it is.
7#.Boreshaow the ma-or events of a screenplay. 6ay !rounwor* for
characters actions early in film to ma*e them more creible
later. 'articularly important with clima2 3last obstacle an the
lo!ic to overcome it is believable4. :est to create important an
climatic scenes first, then bac* to previous scenes to fill in
information to foreshaow events.
77.%cho particular situations, ob-ects, an lines of ialo!ue to
illustrate character !rowth an chan!e. Gepeat an ob-ect or
situation or line of ialo!ue in your screenplay at re!ular
intervals throu!h the course of the story, an it will illustrate
chan!es your characters have e2perience.
78.'ose a threat to one of the characters.
7;.Ca*e the story creible. 6o!ical an believable within its own
set of rules. &f alter the rules of real life, they must be
state for the auience.
7=.(each the auience how to o somethin!, vicariously. (hey learn
it throu!h the character.
7>.Give the story both humor an seriousness.
6/
Sir William K. Coe
7?.Give the movie an effect openin!. Cust immeiately !rab
auiences emotions an establish tone an moo of your
screenplay an almost ri!ht away.
7".Give the story an effective enin!. &nclues two elements0 clima2
an enouement. &f your screenplay has secon level of sell, must
also have a secon clima2 for this plotline. /o N,( leave issue
unsolve M either character oes or oesnt achieve the !oal.
Some issues may be left unresolve so lon! as they o not inclue
the resolution of the heros outer motivation. (he enouement is
the emotional taperin! off perio that follows the clima2, a
series of scenes that carries the story to faeout. Allows the
auience to absorb the impact of your enin!. Can be len!thy.
%nin! must be one the auience accepts as the most emotionally
satisfyin! resolution of your story. Cannot be efeate M must
preserve an convey the i!nity of the human spirit an a sense
of hope or enli!htenment about the human conition. Happy
enin!s, while optional, o sell.
A #ypes of /penings7 %hoose B
1. #he hero action introduction opens with the hero immediately
in(ol(ed in some action se@uence 'Raiders of the 9ost *rk)-
Appropriate if only creatin! a superhero, a fantasy story, or if
the hero will lo!ically encounter action as a part of his
everyay life.
2. #he hero non;action introduction opens with the hero li(ing
e(eryday life "efore she is thrust into the e=traordinary
circumstances- Cust !rab the reaer emotionally in some other way.
;. (he outsie action openin! is use a lot in suspense thrillers
an action-aventures. ,pens with an action scene that oes not
inclue the hero then cuts to hero livin! their life before
plun!e into circumstances.
C- #he new arri(al opens with a character arri(ing for the first
time into a new situation-
6. 8rologue is a se@uence which occurs significantly prior to the
main story D months or years "efore- 3<ertigo> #he ,=orcist4.
Cain purpose is foreshaowin!, an can also create curiosity an
anticipation in the reaer.
1. Flash"acks "egins with a se@uence in the middle or end of the
story and then flashes "ack to re(eal the e(ents that led up to
that opening scene- :est use in narration narratin! a story that
happene a!o. 'revent openin! with flashbac*s M use prolo!ue.
2. Montages are a series of e(ents or actions> none of which "y
itself constitutes a scene> "ut which are strung together to
speed up the e=position- Create an ori!inal se5uence of events to
introuce hero.
Can combine the above, but main ob-ective is to pic* one that will !rab
reaers attention an establish tone of screenplay in most effective,
ori!inal way.
0tructure
66
Sir William K. Coe
Stron! line of ramatic action9 it !oes somewhere, moves forwar, step
by step, towar the resolution. &t hol everythin! to!ether.
A broa efinition0 (he relationship or or!ani<ation of the component
parts of a wor* of art or literature 3parts an whole9 whole is !reater
than sum of its parts4
A screenplay is a story tol in pictures, ialo!ue, an escription,
within the conte2t of ramatic literature. (hey are visual, you show us
not tell us.
/rama is conflict9 without conflict, there is no screenplay.
#reatment
Cust *now your own story. Ehats it aboutH Can it be sai in a few
sentencesH Erite a =-pa!e treatment to see your story with a sense of
overview an clarity that you will not have for many months.
Get an iea an research it. :oo*s, people, until you feel comfortable
with it. /o character wor*, an start writin!.
Eritin! shoul be an aventure, shroue in mystery an uncertainty,
blesse with ama<in! !race.
/ont be etaile in this treatment. Save it for later. Bor your use
an ieas only. Core on writin! treatments later.
Format7
X pa!e for openin! scene or se5uence
X pa!e for !eneral action of Act &
X pa!e for plot point at en of Act &
X pa!e for action of Act &&
X pa!e for plot point at en of Act &&
\ to 7 pa!e for Act &&&, resolution
Th% P+-+20*)
A moel, an e2ample, a conceptual scheme. 1ou plan what youre !oin! to
write but it may not wor* out that way. (his is ,* an !o with what new
ieas comes up. (his is a more sophisticate metho of plottin!, an
replaces the bi! event-crisis-catalyst-pinch techni5ue.
St(-0%# h+5% + ;%*01101*. )022&%. %12.
%ach act is a unit or bloc* of ramatic action, no matter len!th.
*ct &
S%t4# #t(-3: introuce main characters, establish ramatic premise,
create the situation, an lay out scenes an se5uences that buil an
e2pan the information of your story. Conte2t hols the content in
61
Sir William K. Coe
place, all the scenes, ialo!ue, escription, shots, an special
effects.
About p 8> a plot point occurs9 a plot point is an incient, episoe,
or event that hoo*s into the action an spins it aroun into another
irection M line of evelopment. &ts anythin! that moves the story
forwar. &t ta*es us into Act &&.
1our story must be establishe immeiately, within the first 7# pa!es.
#he First #en 8ages
1ou only !ot ten pa!es to !rab your reaer. Ca*e sure these are lean,
clean, an ti!ht. (hree elements0 who is the main character, what is
your story about 3premise4, an what are the circumstances surrounin!
the action.
#he 0econd and #hird #en pages
&n secon ten pa!es must follow focus of your main character. $se note
cars, ma*e sure main character is in every scene. Ca*e him active M
initiates the action an respons to premise of first ten pa!es. He
nees to ma*e ecisions as to where to !o or what to o. Cust move
story forwar. /ont be limite to rules of reality M !o with it. 6et
!o of the reality of the person, incient, or event. Bin the unreality
an use it. ,nly base them on persons, incients, an e2perience.
&n the thir ten pa!es we move up to the plot point at the en of Act
&, Nan incient, episoe, or event that hoo*s into action an spins it
aroun into another irection pa!es 8>-8" an ta*es you onto Act &&.
7
st
7# pa!es ] 8
n
7# pa!es ] ;
r
ten pa!es
]
setup main character follow focus efine the problem
ramatic premise, on main character 'lot 'oint &
ramatic situation Nthe problem
*ct &&
H%&2 t(*%th%- ;3 '(16-(1t+t0(1 ?'(16&0't@. Goes from 'lot & to 'lot &&.
1our main character will confront obstacles an conflicts that must be
resolve an overcome in orer for your character to achieve his or her
ramatic nee. Act && is where your character confronts an overcomes
3or not overcomes4 all obstacles to achieve his or her ramatic nee.
&f you *now what your main character wants to win, !ain, !et, or
achieve urin! the course of your screenplay 3the ramatic nee4, your
story becomes your character overcomin! all obstacles to achieve his or
her ramatic nee. Cost ifficult because is lon!est.
(he plot point at the en of Act && spins the story into Act &&&. Can
be any amount of plot points. Cust *now four thin!s before structure
iea0 enin!, be!innin!, plot point &, plot point &&.
62
Sir William K. Coe
(he new parai!m focuses on Act && into 8 parts, first half an secon
half. Eritin! is a processin! of as*in! the ri!ht 5uestions an waitin!
for the ri!ht answers.
Midpoint
Somethin! happens on pa!e ?# that helps esi!n an structure the action
of Act &&. ,nce mipoint is establishe, Act && can be bro*en own into
8 ;# pa!e units. (he first half !oes throu!h from plot point at the en
of Act & to the mipoint. (he secon half of Act && !oes from the
mipoint to the plot point at the en of Act &&. Allows you to have
more a firm !rasp on Act &&.
(he mipoint helps you esi!n, structure, an write the secon act of
your screenplay.
Ehen youre writin! Act &&, must *now where you are !oin!9 !ot to have
an enpoint, a !oal, a estination. Cust plan characters course of
action. Ehat happens to main character from plot point & to plot point
&&H 1ou have a irection, a line of evelopment. 1ou *now where youre
!oin! an what youre oin!, an your story.
Act & 3p 7-;#4 Act && 3p ;#-A#4 Act &&&
3p! A#-78#4
Birst half Secon half
:e!innin! ] mile ] en ]
C ] p
';#-?#, => p ?#-A#, ">
Setup ?# resolution
'lot point &, pp. 8>-8" confrontation 'lot point &&
'p @>-A#
Birst Half, Secon half0 /ramatic Conte2t an the 'inch
Ehat hols the first half to!etherH /ramatic conte2t M space that hols
content in place, then provie content. Now fin the time frame. &f
writin! in a perio of years, what o you showH (ime is conense into
space. 'assin! of time shown in seasonal chan!es of clothin!, ialo!ue
referencin! specific ays, or use of even li*e election, wein!,
funeral, etc. (he time frame for Act && *eeps your story in motion,
supportin! conte2t.. Gives you !reater structural support an enhances
the ramatic tension by eterminin! the obstacles your main character
nees to overcome in orer to achieve his or her ramatic nee. /o all
this for the secon half of Act &&. %ach half is separate an
inepenent thou!h compromise one act.
8inch
Keep story on trac*, half of each half must be one ma-or scene or
se5uence to tie it all to!ether. $sually theres a relationship between
pinch 7 an pinch 8, a story connection. 6ast thin!s to etermine
63
Sir William K. Coe
before writin!. Cust *now where you are an where you are !oin!. Keep
writin! no matter whether you li*e it or not.
Erite the Secon Act
'repare material. /raw story line on the parai!m. Separate Act && into
first an secon halves. %stablish time frame. (hen pinch & an lay
this all out in 7= ;2> cars. Start from 'lot 'oint & an !o to the
mipoint. 6ay cars out an free associate, few wors on car M short,
brief, simple, concise. Bin the elements, or components of the action
base on the ramatic conte2t. Erite first ten pa!es. /esi!n your
scenes. 1our conte2t is confrontation, your character is confrontin!
obstacles that *eep him an her from achievin! his or her ramatic
nee. Cove into the secon 7# pa!es. 1oure leain! into 'inch &, so
esi!n them carefully. Ehat scenes o you have to write before the
pitchH Erite 'inch 7. Fust write, its easy to cut out scenes. Gemember
to use visual ynamics 3seen throu!hout4. /ont escribe too much, an
ont en up with thic* para!raphs. 6eave wie mar!ins, left an ri!ht,
at top an bottom. Eant a lot of space on pa!e. :e sparse an simple in
escriptions, usin! no more than > or ? sentences for each. Cove into
the thir pa!es of the first half. /esi!n scenes with mipoint in min.
Keep movin! forwar, for!ettin! about perfect pa!es. Hol all chan!es
for the rewrite M here youll inte!rate all those chan!es youve mae
urin! the actual writin!. 1our character will not be tellin! you what
they want to o, where they want to !o. Go with the low M let it
happen. Erite the mipoint. Ca*e sure it is a lin* in the chain of
ramatic action, connectin! the first half of Act && with the secon
half of Act &&. 'repare secon half, then write it. /etermine the
ramatic conte2t, time frame, then pinch, all with 7= ;2> cars, Erite
in 7# pa!e units, movin! story forwar throu!h 'inch && to the plot
point at the en of Act &&. /ont rewrite now M youll o it later.
/ont become your own efeat M let the story !uie you. Have a piece of
paper that says NCritic on it so you can *eep trac* of self-criti5ues
as you write. Continue writin! your script. Aroun pa!e => or >#,
aroun 'inch &, you may fin your structure nees to be altere. &f you
nee to restructure your story, o it. Structure is fle2ible M scenes
an ialo!ue can be repositione or move. Ehen writin! the secon act,
story will chan!e. 6et it chan!e. 6et yourself a more ramatic
scenes. Ehen youre in the parai!m, you cant see the parai!m. :e
willin! to chan!e some of your elements to ma*e your story wor*.
*ct &&&
D%+&# "0th -%#(&4t0(1. 1ou must resolve your story. 1ou must *now how
it will en M will the character succee or fail, live or ie, etc.
Ehat is the resolution of your storyH Ehen you establish that, you can
ecie on the specific enin!. 1ou.ve always *nown your enin!, now you
can e2ecute it. :ut first, oes your enin! still wor*H &s it still
effectiveH /o you have to chan!e the enin! because of the chan!es
you.ve mae urin! the first two actsH Have you thou!ht of another
enin!, a new one, more ramatic, more visual than the first oneH /on.t
thin* too much about it, -ust o it. &f you try to fi!ure out the
+correct,+ the +ri!ht+ enin!, you.ll never o it. Choose an enin!
64
Sir William K. Coe
that wor*s, that fits your story. As you write it, you.ll fin out
whether it.s effective or not. (rust the process. &t.s lar!er than you
are9 li*e +the Borce,+ it will be with you if !o with it9 on.t fi!ht
it an on.t !et in the way by forcin! somethin! to wor* that oesn.t
wor*. Cany people as* if there.s a pinch or plot point in Act &&&.
Sometimes there is, it epens on the nees of your story. A *ey scene
may be neee to .connect., the resolution with the rest of your story
line. Gesolve character an story. /oes your character chan!e urin!
your screenplayH &f so, pay it off in Act &&&. Show it visually,
ramatically, to resolve your story.
Ehen you prepare Act &&&, the first thin! you must o is efine the
story elements. &solate them. (ry to fin a *ey scene that will hol
everythin!. (hen layout Act &&& on fourteen ; 2 > cars. Go over the
cars until you feel comfortable with the story.s pro!ression. (hen
start writin!. 1ou.ll fin you.ll be on automatic, comfortable with the
writin! an iscipline an story line. 1ou still won.t *now whether
it.s wor*in! or not, because you can.t see anythin!, but it feels !oo.
At this sta!e, it will be wor*in! in spite of your oubts or
insecurities. Fust *eep writin!. (rust the process. 6ay it own, scene
by scene, pa!e by pa!e. All you have to o to complete Act &&& is put
in time in front of the writin! pa, typewriter, or computer screen.
1ou may even start thin*in! about your ne2t screenplay. (hin!s will be
!oin! smoothly an easily until the last few pa!es of the script. (hen
you mi!ht feel stran!e, fin yourself. .blan*,+ not *nowin! what to
write an without any real esire to complete the screenplay. 1oull
loo* for, an fin, every e2cuse to avoi writin!. &t.s really very
funny9 after wee*s an months of preparation, research, commitment,
pain, toil, an trouble, after wee*s of self-oubt, fears, an
insecurities, after wee*s of wor*in! your ass off, you may suenly
want to chuc* it, with only a few pa!es to write. &t.s absur9 you
really can.t ta*e it too seriously. Ehat o you oH Ehat.s happenin! is
a common e2perience amon! writers. &t ori!inates below the level of
awareness. %motionally, you on.t want to en the screenplay. 1ou want
to han! on, not finish it. &t.s li*e a terrible relationship9 no matter
how ba it is, a terrible relationship is better than no relationship
at all.
(he same principle applies to writin! your screenplay. &t.s har to
en. &t.s been a !reat part of your life9 you thin* about it every ay,
your characters are li*e friens, you tal* about your story every
chance you !et. Eritin! has *ept you awa*e at ni!ht, cause you pain
an sufferin!, !iven you !reat satisfaction. ,f course you on.t want
to !ive it upL
Bor whatH &t.s only natural +to hol on.+ (here.s a lot of wor* left to
o on this screenplay. Ehen you finish this wors-on-paper raft,
you.re only a thir of the way throu!h the screenwritin! process.
1ou.re not one with anythin!9 the enin! of one thin! is always the
be!innin! of somethin! else. 1ou.ve !ot two more rafts to !o before
you complete this first-raft screenplay. Fust finish your script9
resolve it. An once you write +the en+ !ive yourself a pat on the
15
Sir William K. Coe
bac* an celebrate with a !lass of wine, or champa!ne, or whatever else
suits your isposition.
'ut your screenplay on the es* in front of you an see how many pa!es
you.ve written. (hen ta*e a wee* off. (he harest part of the
screenwritin! e2perience is complete. Now the wor* really be!ins.
ASSIGMENTS
:e!in by focusin! on the sub-ect, action, an character when
writin! an iea. (he sub-ect is the !uieline for you to follow
as you structure the action an character into a ramatic story
line. (a*e your iea an write it in three sentences accorin! to
action an character. :e !eneral, avoi etail.
Ne2t, from your one-sentence story, write out the plot in first
the three-act metho, in three para!raphs, one for the be!innin!,
one for the mile, an one for the en. ,bviously, you cannot
inclue all of the characters in this brief synopsis. ,nce this
is one, re-evaluate your story, then brea* it own into the
parai!m as such0
Act & 3p 7-;#4 Act && 3p ;#-A#4 Act &&&
3p! A#-78#4
Birst half Secon half
:e!innin! ] mile ] en ]
C ] p
';#-?#, => p ?#-A#, ">
Setup ?# resolution
'lot point &, pp. 8>-8" confrontation 'lot point &&
'p @>-A#
Now write the lo!line for your movie. &t shoul reflect character
an plot as i the e2ample !iven for *ir Force /ne.
Now evise a title for your movie. $se these !uielines to help0
o /o you have a wor*in! title that inspires youH
o Eill this title titillate the auienceH &s it a +!rabber+H
o /oes it convey somethin! of your story concept or themeH
o /oes it con-ure up an ima!e or an emotionH
o &s it short enou!h to appear on a mar5ueeH 3Not always
necessary.4
Erite a four-pa!e treatment 3ouble-space4. Summari<e the be!innin! of
your story in one pa!e, the mile in two pa!es, an the en in one
pa!e. Bocus on two to four main characters, the *ey events 3plot
points4, an the emotional unercurrent of the story. Althou!h somewhat
ifficult, this e2ercise will help tremenously in layin! a stron!
founation for your story. Now answer these 5uestions0
11
Sir William K. Coe
o &s the central conflict of the story clearly efineH
o Are the character.s !oal an nee clearH
o Are the sta*es of the story bi! enou!h for a commercial
movieH
o /oes the story evo*e an emotional responseH
o Eill the auience cry, !et an!ry, lau!h, !et scare, fall
in love, !et e2cite, etc.H
o Ehat ma*es this story uni5ue, fresh, an ori!inalH
o &s your story too preictableH Have we seen this beforeH
o Are the facts of the story plausibleH 3(hey on.t have to
be possible, -ust plausible.4
o Eill people be emotionally satisfie at the enH
&entify the parameters of your story.
o Ehat is the !enreH 3ActionOaventure, thriller, romantic
comey, etc.4
o Ehat is the time an settin!H
o Ehat is the emotional atmosphere, an the mooH
o Ehat, if any, story or character limits e2istH
Core on treatments later.
&ts time to write your screenplays action. ,n each sin!le ;2> car,
write out the full story. Ehen the atmosphere, settin!, etc., chan!es,
this is time for a new car 3as you will learn you are ma*in! the
iniviual scenes without re!ar to format, which youll learn later4.
(hese cars shoul then be place in their ri!ht position on the
parai!m 3you may nee to put the parai!m on poster boar for more
room. /o not write ialo!ue -ust yet unless you fin it absolutely
necessary. ,n the top of the car, !ive the location an time of ay or
season, such as K%6C%1S H,$S% M C&/N&GH(. (his will save you a lot of
time when you reformat these cars in the ne2t chapter. 6oo* at your
other movie people9 ientify their !oals. (heir !oals will rive their
iniviual plots 3actually subplots4. /o these various plot lines
intersect, resultin! in ae5uate conflict for rama or comeyH 1ou can
use the lower ri!ht-han corner for pacin! an trac*in! plots. Some
writers use a hi!hli!hter an ientify plots by color. :lue is the
action story, re is the love story, an so on. 1ou can ientify scenes
as fast or slow, action or ialo!ue. &f you iscover that you have four
ialo!ue scenes in a row, all with the same characters, you can a-ust
this pacin! problem by movin! scenes aroun, cross-cuttin! with action
scenes, conensin!, or even omittin! an unnecessary scene. ,nce
complete, your step outline will become the basis for writin! your
script. Core on step outlines later.
Now that your step outline is complete, as* yourself these 5uestions0
12
Sir William K. Coe
Are your scenes well paceH
/o the ma-or turnin! points come at about the ri!ht timeH
/o thin!s -ust happen, or is there a cause-an-effect
relationship between character actionsH
/o the subplots intersect with the main plot, creatin! new
complicationsH
Are your characters. actions motivate, or o they e2ist -ust
to ma*e the story wor*H
/oes action, conflict, an ramatic tension buil, or -ust
repeat an become staticH
Are your central an opposition characters force to ta*e
stron!er an stron!er actionsH
/oes the conflict rise naturally to a crisisOclima2H
/ont for!et to choose an openin! from the list of openin!s foun
in this chapter. %ach scene must have a be!innin!, mile, an
en. (his is similar to the step outline.
Binally, from the list of !enres foun in this chapter, etermine
which !enres best fit your movie an note it. 1ou will later use
this information at a later ate.
13
Sir William K. Coe
S'%1%#
H(" t( )+$% + #'%1%
Screenplays are comprise of acts, bro*en into se5uences, into scenes,
an into beats. Scene is a ramatic unit consistin! of the camera
placement 3&N(%G&,G or %P(%G&,G4, a location, an time. Ehen one of
these elements chan!es, the scene chan!es.
H%+201*#
0cene Headings
6ocation of camera0 &N(. for interior 3inoors4, %P(. for e2terior,
&N(.O%P(. for both.
6ocation of scene0 K&(CH%N - . Can inclue season, ream, etc. after
time.
(ime0 /A1ON&GH( are preferre or a real time. ,thers0 C,N(&N$,$S0 the
ne2t scene ta*es place same time previous i9 6A(%G0 passa!e of time.
%2amples0
&N(. K&(CH%N M /A1
%P(. (,K1, :A1 M (E&6&GH( M S$CC%G, 7A=>
Space three times after scenes.
Montage
Se5uence of brief shorts e2pressin! the same or similar sin!le iea0
passa!e of time, stream of consciousness
C,N(AG% M C1 /G%AC
-- A clown wal*s up to me an spits in my eye.
-- A par* - A fly -umps off a cliff
%n with a new scene heain!. Bocus is on beats of action but o*ay to
a ialo!ue.
0eries of 0hots
Similar to monta!e, but of 5uic* shots that tell a story leas to
ramatic resolution or action
S%G&%S ,B SH,(S M (H% $N&)%GS%
A4 (he earth spins.
:4 Cars rotates.
1/
Sir William K. Coe
&N(. :%/G,,C - /A1
$se sparin!ly, often interchan!eable.
Flash"acks4Dreams
,ften abuse. $se only when neee to move the story forwar.
&N(. :%/G,,C M /A1 - B6ASH:ACK
(he *iller stal*s the victim, then stabs them to eath.
&N(. :%/G,,C M /A1 M 'G%S%N( (%NS% IenJ
&nserts
(o raw special attention to a prop.
&NS%G( M (H% 6%((%G
N/ear, Iinente li*e ialo!J
(his is a letter.
&N(. :%/G,,C M N&GH( IenJ
D%#'-0t0(1
6imit para!raphs to = lines, o not inent. Keep it to only what we
nee. ,ne para!raph per beat of action or ima!e. (ry not to en a pa!e
in mi-sentence or in mi-speech.
%haracter First *ppearances
CA'S when first introuce. 'ossessive form has a small-cap Ns. Goes
for when characters have more than one name, such as E,CAN then (%G&.
%haracter Descriptions
:rief, only about nature of character. $se when first introuce M o
not use license names an o not write so much it restricts cast.
%haracter .ames
Characters with one or two lines of ialo!ue !enerally not !iven names.
All others o. Avoi ,BB&C%G 7U etc. $se on-two wor escriptors0 CH$:1
,BB&C%G.
Redundancies
Avoi sayin! thin!s more than once.
16
Sir William K. Coe
&N(. H,$S% M /A1
(hey enter the house.
0&!.0> .,W0 H,*D9&.,0> 0/.!0> $//K0> M*!*Z&.,0> ./#,0> 9,##,R0
'ut in caps.
0ounds
$se only important souns an put in caps. ,ptional.
0pecial ,ffects> #ransitions> ,diting Directions> Music> %amera
Directions
Avoi unless important, then put in caps. Camera irections0 C6,S%-$',
%C$ 3%P(G%C%-C6,S%$'4, E% S%%. (ransitions are mar!ine as outline in
mar!ins.
0u"titles40upers7
Superimpose on screen to a special meanin! to what we see or hear.
S$'%G0 Nthis is a subtitle.
(ips0
/ont intrue. Show it ont tell it M Can he o itH
C,N(&N$%/OC,G% no lon!er use in splittin! ialo!ue an scene pa!e-
brea*s.
Keys to !reat 0cenes
%ach scene shoul move the story forwar in terms of both plot an
character. (he scene you are now writin! shoul be motivate by a
previous scene, an shoul motivate the ne2t. ,ne creates anticipation
for another in cause an effect. &f the central character !ets involve
your scene is probably movin! the story forwar. All scenes shoul
irect us to the Showown at the en, which is the bi!!est scene, or
se5uence of scenes, in the movie. Ehat is the payoff for this sceneH
Eho o & nee this sceneH Ehat is my purpose for this sceneH /oes the
scene reveal somethin! new about a character anOor storyH At the en,
oes the auience want to *now what happens ne2tH
Never tell what you can show. :e as visual as possible. Gather than
someone tal*in! about someone oin! somethin!, show us that person
showin! us that thin!.
Avoi tal*in! heas. A events behin -ust two people tal*in!.
%very ramatic unit has a be!innin!, mile, an en.
11
Sir William K. Coe
Start the scene as close to the en of the scene as possible. Cut out
unnecessary items. Challen!e any scene that runs over two pa!es. Some
scene shoul be lon!. 1ou may fin ways to improve them an shorten
them, stren!thenin! pace of your story.
'ace your scenes. 'rovies pea*s an valleys of emotion an tension,
with pea*s ascenin! ownwar a climatic conclusion. Bollow action
scenes with ialo!ue scenes. Contrast heavy scenes with li!ht scenes.
Ca*e sure pace 5uic*ens as you close in on the Crisis an Showown.
/ont focus on action an events.
Scenes shoul culminate in somethin! ramatic M a ecision or imminent
ecision. Coul be a reversal, cliffhan!er, or revelation M some event
that ma*es us want to see whats !oin! on ne2t. (wists an turns in
plot are essential. /o not allow it to pro!ress the way the auience
e2pects it to. Scenes shoul en with a punch, with some *in of
tension that leas us to another scene. &n ialo!ue scenes, !enerally
the last line shoul be the stron!est.
Strive to create effective transitions between scenes. Not eitin!
transitions. Bin ways to fit the scenes to!ether. 1ou lin* your scenes
with transitions only when appropriate. (ransitions can be visual,
verbal, thematic, an so on. &ts o*ay to sharply contrast scenes. &f
it moves the story forwar, use it. Strai!ht cuts from one scene to
ne2t is the norm. Give the story cohesion.
%ach scene shoul contain a efinite emotion or moo. Bocus on that
emotion as you craft the scene. Ehat is my characters intention or
!oal in this sceneH Ehat is my characters feelin!H Ehat is my
characters attitueH
Bocus the scene on well motivate conflict. %ven in less ramatic
scenes, a conflict shoul e2ist, re!arless of how minor or subtle it
is. (wo people with same !oal often isa!ree or bother the other. %ven
in love scenes, there may be some resistance at the be!innin!. Conflict
is one of the tools to buil suspense.
B%+t#
Scenes are mae up of .beats.. %ven the shortest movie scene will have
several beats within it. Scenes in plays run much lon!er an may
contain o<ens or even hunres of small beats that reveal character
nuances, enhance conflict an move the plot alon!.
A beat is a containe moment. (he beat chan!es when somethin! happens
to chan!e the moo or the intent of the characters.
/irectors an actors brea* their scene into beats to help them
unerstan the emotion an subte2t of the scene an so they can wrin!
the most rama an entertainment from each moment in the scene.
A munane e2ample of a beat brea*own within a scene0
A /etective wal*s into an interro!ation room to confront a Suspect.
12
Sir William K. Coe
:eat one0 (he silent interchan!e that occurs as the /etective enters
an faces the Suspect.
:eat two0 (he Suspect haran!ues the /etective for ma*in! him wait so
lon!.
:eat three0 (he /etective respons to this rant by holin! up a piece
of evience that connects the Suspect with the crime -- a blooy shirt
maybe.
:eat four0 (his physical evience 5uiets the Suspect temporarily. He
stews as he contemplates how to e2plain away the blooy shirt.
:eat five0 (he /etective !oes on the offensive, probin! eeper with
5uestions about the shirt.
:eat si20 (he Suspect stops stewin! an starts sweatin!.
:eat seven0 (he /etective circles the suspect as he tal*s, movin! in
closer, invain! the Suspect.s personal space. &t appears that the
Suspect is about to .brea*..
:eat ei!ht0 &nstea of brea*in!, suenly the Suspect !rabs a pencil
from the /etective.s poc*et an stabs him in the eye with it --
Great scenes have several beats with surprises an tiny twists of
emotion, ialo!ue, !esture or action that reveal plot, character an
emotion.
6oo* at a scene you.ve written that you feel wor*s well. :rea* it own
into beats, you.ll see why it wor*s. (here is probably plenty !oin! on
to *eep the auience en!a!e with the characters an their conflict.
6i*ewise, if you have scenes that aren.t wor*in!, brea* them into beats
an you mi!ht iscover why. 1ou nee beats that will surprise an
thrill your auience as they reveal the nuances of the characters an
their conflict.
T((&# 6(- ;40&201* S4#%1#%
,(oke emotion
Create characters we li*e. (hey Cust be believable since they act as a
conuit throu!h which emotion can pass to us. Ee nee to feel what they
feel.
%reate %onflict
Gisin! conflict creates suspense. Conflict is rama, two committe
forces in conflict will always hei!hten suspense.
8ro(ide /pposition
13
Sir William K. Coe
Give central character a powerful opposition, then force character to
battle this foe. (his opposition shoul be in a position of stren!th,
capable of oin! ama!e.
$uild ,=pectation
Create e2pectation for trouble. (he auience shoul e2pect somethin! to
happen.
&ncrease tension
'ut the auience in a superior position. Ca*e them *now somethin! the
characters ont.
?se surprise
(hrow an occasional twist, or suen turn of events.
%reate immediacy
Ehen somethin! vital is at sta*e for a character, that somethin!
becomes vital to us, the auience, as well. &t can be the physical
safety of the worl, moral reemption of a -uvenile elin5uent,
emotional fulfillment of two lovers who fin each other, protection of
a secret ocument, or triumph of value. (he hi!her the sta*es, the more
intense the suspense.
,sta"lish conse@uences
Closely relate to immeiacy is the establishment of terrible
conse5uences if the central character oes not achieve their !oal.
9imit time
'ut a tic*in! cloc* on it. /ealine create suspense because they
introuce aitional opposition M time.
Maintain dou"t
&f there is reasonable oubt about how a scene or movie is !oin! to
en, the suspense is intensifie.
9ea(e them laughing 'comedies)
Have stron! story an characters than on !a!s. Comey is rama in
is!uise. Have conflict. Comey re5uires clarity an !oo timin! M a
sense of humor. 6ove situations an other personal situations are easy
for us to ientify with an are ripe for comey. (hats one reason the
family situation comey has one so well. Comey ma*es !oo use of
surprise an reversals, in revealin! the truth about people,
situations, an life. Comey !enerally ta*es a point of view throu!h
14
Sir William K. Coe
e2a!!eration, eception, overstatement, unerstatement, contrast,
paroy, a riiculous point of view, or obsession. Comey characters
nee to present the same contrasts that ramatic characters o. Comey
presents people with pretenses or facaes, then removes them little by
little.
W-0t01* D0+&(*4%
Contains ; parts0 Character caption, actors irection, an ialo!ue.
%haracter caption
(he character name, in all caps. (he actual name use throu!hout.
*ctorEs Directions
'arenthetically9 Avoi tellin! actors how to act. $se to refer to a
person in a !roup. 3to (im4
Dialogue
&nente, ra!!e ri!ht mar!in. :rief, conveys one thou!ht. Bra!ments
o*ay, 7-8 sentences. Avoi lon! speeches.
Avoi C,N(/ an C,G% an continuin!.
/ff;screen
$se when a character is spea*in! offscreen but in the scene K%6C%1
3,S4
<oice /(er
&nicates spea*er is off screen an not in scene9 best for narrations.
K%6C%1 3),4
/(erlapping Dialogue
Spea*in! at same time. &nicate Nsimultaneous in characters
parenthetical.
#elephone> Radio> Walky;talkies> etc- <oice
$se ),.
#elephone %on(ersations
$se &N(%GC$( M cross into two peoples conversations. See people at
same time.
&N(%GC$( M /A/S H,$S%OC1 H,$S% 3two scenes at once4
&N(%GC$( (%6%'H,N% C,N)%GSA(&,N M /A/ AN/ C%
ActionOialo!ue
%n with new scene
W-0t01* G-%+t D0+&(*4%
25
Sir William K. Coe
What Dialogue &s
,nly souns li*e real-life speech. Core focuse, less ramblin!. 'ull
out Nans an Nuhs. &t is or!ani<e an has irection but retains the
style of real-life speech. Ca*e it lean an short. Avoi lon! speeches.
,ne or two lines. Cust be unerstoo first time. As* is there a better,
leaner way to say thisH Am & writin! more but the auience en-oyin! it
lessH Fustify lon! speeches. :e patient. &t may ta*e a while for
ialo!ue to brea* throu!h. Goo iea to write it last. Know characters
well enou!h they spea* with own voice.
6 ,lements of the (oice7
7. (he te2t or wors
8. (he subte2t, or meanin! of wors
;. Grammar an synta2
=. )ocabulary
>. Accent anOor re!ional or forei!n influences
?. Slan!
". 'rofessional -ar!on
@. Spea*in! style, rhythm an sentence len!th
&tEs not what you say "ut how you say it
Subte2t !ives writers the most fits. &t is whats uner the te2t,
between the lines, the emotional content of wors, whats really meant.
Actors !et motivation throu!h subte2t. $sually the conte2t su!!ests
the subte2t. (he !oal is the te2t of the story an the inner nee is
subte2t of story, or emotional throu!h-line. &t follows the subte2t of
ialo!ue in a scene will often erive from the characters unerlyin!
nee or rive in the scene. &nirect is !oo. Subte2t has to o with
true intention of character. 6ess ialo!ue may be more NGo ahea ma*e
my ay vs. N&f you shoot her &ll be real !la because &m !onna en-oy
*illin! you. Ehen writin! ialo!ue *eep in min the characters
attitues, point of view, feelin!s, thou!hts, an unerlyin! nee or
rive. (ry to say one thin! by sayin! somethin! else. /ont ma*e every
line a subte2t, -ust enou!h.
Writing $etter Dialogue
Gea your ialo!ue out lou or have members of a writin! !roup rea it
to you. 1oull hear what wor*s an what oesnt. &s the ialo!ue too on
the nose too irectH Eithout an implie meanin! or subte2tH :e aware of
rhythm. Some characters terse an staccato9 some lyrical an ele!ant.
%ach character has style of speech. Give us a flavor if character
spea*s with accent or ialect. Avoi ),&C% ,)%G narration. Avoi
chitchat, introuctions. Ca*e a purpose. /ialo!ue shoul move the story
forwar an reveal somethin! about the characters attitues,
perceptions, an values. %very ialo!ue scene shoul involve conflict,
even if -ust passive resistance. :ac* an forth, li*e a contest.
1ou can write better ialo!ue than you are writin! now. Here.s how0
21
Sir William K. Coe
7. Ca*e sure that the ma-ority of your e2position 3thin!s you nee
the auience to *now4 is tol visually. ,nly put e2position in ialo!ue
when you have no other alternative. Ehen you o have to put e2position
in ialo!ue, try to put it in the mouths of supportin! characters, not
your main characters.
8. Eherever possible be!in a scene as lon! after the characters have
starte tal*in! as possible. (ry not to let your characters tal* about
thin!s the auience alreay *nows, or woul have !uesse.
;. %n your scenes before the auience *nows the outcome of the last
beat of the scene. ,ften the last beat of a scene is visual, but if the
last beat is a ialo!ue e2chan!e, resist the temptation to write a line
that tells the auience what will happen ne2t, or what the Hero has
ecie to o about a ilemma, or what the )illain has in store, etc.
etc.
=. /ialo!ue wor*s best when it e2presses the unerlyin! attitues of
the characters. (his means you have to KN,E what the attitues of your
characters are.
>. /ialo!ue wor*s best when it.s short. At least you have less
chance to +rop a clin*er.+
?. /ialo!ue wor*s best when, li*e the iceber!, it.s supporte by
hien substance beneath the surface. Actors refer to this hien
substance as subte2t. Goo actors, when they stuy your screenplay to
prepare their characteri<ation will try to euce the nature of their
character.s subte2t. &f you haven.t really conveye any subte2t,
they.ll try their amneest to supply it for you, but they.ll !ive you
a much eeper performance if you write lines so that the reaer senses
that the character means somethin! other than, or more than, the
literal wors bein! spo*en.
Ehen a line has no subte2t whatsoever, the line is sai to be +too on
the nose.+
". Ca*e sure that every line is base upon character N%%/.
Simplifie, this means that a character says a line because he has a
nee to convey an iea or e2press an emotion to another character or
characters, or nees to convince another character or characters to
ta*e action, or chan!e their behavior
,r
A character says a line because he nees to *now somethin! another
character *nows or nees to elicit a reaction from another character.
@. /o not let your characters as* 5uestions to which the answer is a
simple +yes+ or +no+ unless you.re writin! a courtroom rama or an
interro!ation scene 3an even then try to fin other ways4. (he reason
is that you write yourself into a bo2 of yes.s an no.s an ull
ialo!ue.
A. $se colorful speech to paint the attitue of your characters, but
ma*e it soun natural an not force.
7#. Set up your scenes so that each spea*in! character has an
ob-ective he or she is ea!er to pursue in the scene. Fot own the scene
ob-ective of each character an *eep it besie you at the computer.
(hen write each character.s ialo!ue with his or her iniviual scene
ob-ective unerlyin! it.
22
Sir William K. Coe
77. Ca*e sure your ialo!ue is +about somethin!.+ Seems obviousH Not
necessarily. (hin* about this0 every piece of ialo!ue between two or
more characters is in some way a stru!!le for power of one *in or
another.
6oo* at your ialo!ue. &s it about a stru!!le for power between the
charactersH 'ower means all *ins of interaction. A character can
stru!!le for the power to ma*e another love her, or obey her, or
promote her, or ally with her.
A character can stru!!le for the power to convince others to follow
him, or to estroy somethin!, or to *eep wor*in! when all seems lost,
or to have coura!e in the face of terror. A character can stru!!le to
eny the power of another, to be left in peace, to let him live, to
*eep a secret., to set him free, etc. etc. Ehat are the power stru!!les
about in your ialo!ueH 1ou N%%/ (, KN,E to write !oo ialo!ue.
,=citing ,=position
Communicate the facts of the story M e2position. Ca*e it e2citin!. Cost
comes out from the be!innin! of the story. /ont !ive anymore than
necessary for the story. 6et characters *eep secrets as lon! as they
can. ,ften savin! up e2position an usin! it in crucial moments will
ma*e it more e2citin! an even transform it into a turnin! point. Some
e2position can be creatively plante in love, action, or comey scenes
because you alreay have the auiences attention. &t shoul come forth
naturally an not tac*e onto a scene. Selom tell a character what
they alreay *now0 Eeve been marrie for ten years now, honey. /ont
!et too e2citin!. Keep the auiences attention on the ialo!ue. Have
characters ar!ue over it. Some e2position can be better than ialo!ue,
this can be better.
Flash"acks
About A>Y of flashbac* in unsol scripts oesnt wor*. $sually use for
cheap e2position, selom moves story forwar. $se only if moves the
story forwar, motivates the story. /ont ta*e us to past until we care
about whats happenin! in the future. Avoi lon! flashbac*s an ream
se5uences. $se a transitional evice0 an ob-ect, place, son!, visual
ima!e, color, phrase, or incient. Quic* flashes are the safest. (ry a
more creative way than flashbac*s.
ASSIGNMENTS
Convert each car from last chapter into a scene usin! proper
format as previously escribe.
Now write the ialo!ue your characters will say throu!hout your
story. A!ain, ont for!et be!innin!, mile, or enL 'ut the
ialo!ue on note-cars an attach it to the proper scenes.
23
Sir William K. Coe
F(-)+t St3&% G402%
F05% ;+#0' -01'0&%# (6 #'%1% "-0t01*
7. 1ou must create a movie in the min of the reaer.
8. Nothin! !oes on the pa!e that oesnt !o on the screen.
;. (here are three uses for any screenplay0 as a proposal9 as a
blueprint 3shootin! script49 an as a recor, for postprouction.
=. (here must be nothin! in the screenplay which you *now you can
improve.
>. &mproper format reuces the reaers emotional involvement.
Screenplays are always written in present tense.
W-0t01* D%#'-0t0(1#
Erite character an settin! escription that is concise, clever,
provocative, an etaile an that conveys the essence of a character
or settin!, rather than mere physical escription, which mi!ht limit
castin!. (wo or three wor phrases for character an settin! best. %20
Nan a!in!, usty $nerwoo N,( Ntypewriter9 for characters, escribe
clothin!, hair style, movement, surrounin!s, habits, or physical
etails 3scars, eformities, or e2pressions, attitues, limite
reference to bac*!roun. %20 3from :oy Heat4 (%//1 6A$GS%N, roc* an
roll arsonistU Another e20 %arls every movement pro-ects the ten years
hes spent pumpin! iron 3limite bac*!roun reference4.,nly !o into
etail if necessary for plot. Never mention actor namesL
W-0t01* A't0(1
&n writin! action, your primary !oal is clarity. $se everyay,
strai!htforwar lan!ua!e 3a hi!h school reain! level4. Stay away from
convolute wors an phrases, e2cessive technical -ar!on, an
impressive but teious vocabulary. 6en!then the action an escription
passa!es, not the ialo!ue or unnecessary scenes. $se action wors.
&nstea of N!o, use wal*, run, crawl, fly leap, hurtle, art, or
shuffle own the street. Give your action scenes to someone to rea. &f
the reaer confuses somethin!, chan!e it to ma*e it better.
/o N,( write0 (hey -ump into their cars an there is a terrific chase.
&nstea0
As the blac* limousine comes racin! towar Fimmie, he leaps onto the
sieboar of a passin! ice cream wa!on. ,penin! the oor of the movin!
truc*, he pushes the startle river off the seat an !uns the
accelerator.
(he limousine fishtails towar Fimmie an the truc*, sieswipin! a
li!ht pole an narrowly missin! a youn! !irl on her tricycle.
2/
Sir William K. Coe
Soon the limo is bearin! own on Fimmie.s truc* at close to A# miles an
hour as he thuners towar an irri!ation itch...
D0+&(*4%
As* the followin! 5uestions about any scene before writin! ialo!ue0
- Ehat is my ob-ectiveH
- How will the scene enH
- Ehat is each characters ob-ectiveH
- Ehat is each characters attitueH
- How will the scene be!inH
Th% R%"-0t%
Eritin! a screenplay is a process. Cany people writin! their first
screenplay believe that all they have to o is write it, then have it
type up an sent out. Nothin! is further from the truth. Eritin! is a
ay-by-ay -ob, three to five hours a ay, five ays a wee*, typin!
pa!es over an over a!ain, cuttin! strips of paper an pastin! them on
the master pa!es. Gewritin! your screenplay is necessary9 it corrects
the chan!es you.ve mae urin! the first wors-on-paper raft, then
clarifies an efines your story an sharpens your characters an
situations.
Eritin! a first-raft screenplay is one in three sta!es9 first, the
wors-on-paper raft, which you.ve -ust finishe9 secon, the
+mechanical+ sta!e, where you correct chan!es mae urin! the writin!,
an thir, the +polish+ sta!e.
Ehen you complete the first wors-on-paper raft, you.re reay to be!in
the secon sta!e, the +mechanical+ sta!e9 you.ll correct the chan!es
you mae urin! the first sta!e, brin! the script to len!th, ti!hten up
the ramatic tension, an sharpen the focus of your main character. &n
this sta!e of the screenwritin! process you.re !oin! to be chan!in!
thin!s, a lot of thin!s9 you.ll rewrite @# percent of Act &, about ?#
percent of the first half of Act &&, about 8> percent of the secon
half of Act &&, an about 7# or 7> percent of Act &&&. (hen you.ll !o
into the thir sta!e of the first raft, polishin!, accentin!,
te2turin! each scene, chan!in! a wor here, a wor there, a sentence
here, a scene there, sometimes rewritin! a scene some 7# or 7> times
to ma*e it ri!ht. After you finish the first wors-on-paper raft, an
ta*e a wee* to 7# ays off, it.s time to !et bac* to wor* an be!in the
secon sta!e of your screenplay. (his rewrite of the first wors-on-
paper raft is the +mechanical+ raft. (hat.s -ust what it is. /on.t
e2pect creative inspiration to !uie you, because you.re !oin! to be
correctin! all those chan!es you mae in the first an secon act so
your story line pro!resses from be!innin! to en. 1ou.ve !ot to set it
up properly, a new scenes that ma*e it wor*, an elete those scenes
that on.t. 1ou.re !oin! to be typin! a lot in this raft, so be
prepare for it. (he first thin! you have to o is see what you.ve !ot.
1ou probably on.t *now or remember what you i in the first act9 when
you.re in the parai!m, you can.t see the parai!m. 1ou have no
overview, no ob-ective perspective about what you.ve one or not one.
(he first thin! you have to o is !et an overview. (he way to o that
26
Sir William K. Coe
is rea the entire first raft in one sittin! from be!innin! to en. /o
not ta*e notes or write in the mar!ins about the chan!es you want to
ma*e.
1ou mi!ht e2perience several emotional swin!s0 +(his is the worst thin!
&.ve ever rea,+ is the most common response. +&t.s -ust awful,
terrible.+ 1our attitue shoul be simple0 you *now your script nees
wor*, so you on.t nee anyone to tell you what you alreay *now. How
!oo or ba it is at this sta!e is absolutely irrelevant. Ehat happens
most of the time is that you !et on a roller coaster9 you.ll li*e some
of it, you.ll hate some of it.
A rewrite is essential to ma*e what you.ve written better. Accept it,
on.t ar!ue with it, an on.t fi!ht it. (hat.s -ust the way it is.
Noboy ever tol you writin! a screenplay was !oin! to be a piece of
ca*e.
Ehen you complete reain! the wors-on-paper raft, thin* about it.
Ca*e mental notes, nothin! else. Notice what you have to o to set up
those chan!es you mae urin! Act &&, an any other thin!s you nee to
o to ma*e the script wor*. (hin* about it a few hours, or better yet,
let it coo* overni!ht. 1ou on.t nee to ma*e any clearcut or efine
ecisions at this point. 1ou.ll be wor*in! in ;#-pa!e units of action.
1ou.ll rewrite Act &, then the first half of Act &&, then the secon
half of Act &&, an then Act &&&. 1ou.ll o most of the wor* in Act &.
1ou.re !oin! to rewrite about @# percent of this material.
Now rea Act & an ma*e e2tensive notes, either on the mar!in or on a
pa. Any ialo!ue chan!es, scene chan!es, or shifts in action, plot, or
character, will nee to be inte!rate into the script as a whole. Ehen
you *now the chan!es you want to ma*e, o new scene cars for Act &.
Some scenes will be o*ay the way they are9 some will not. Fust ta*e
your ; 2 > cars an lay them out for the new Act &. 1ou.ll probably
nee to write about five or si2 new scenes, chan!e some of the ialo!ue
in several scenes, an then polish, trim, an cut to len!th. (his
process shoul ta*e about two wee*s. $sually, Act & ta*es the lon!est
time of the rewrite. Gewritin! the first act will be easier than you
thou!ht it woul be. 1ou.ve alreay establishe your writin!
iscipline, an you *now your story, so the e2ecution of these chan!es
shoul be easy an natural. Sometimes you mi!ht have ifficulty
eciin! what to o, especially if Act & is too lon!. &f that happens,
you mi!ht nee to transfer a few scenes from Act & to Act &&. Fust o
the rewrite for Act &. Eor* in to-pa!e units, an strive for clarity
an simplicity of visual ima!e. (ell your story, one scene at a time,
one pa!e at a time. Concentrate on openin! up your story visually.
1ou.ll fin in Act & you ha a tenency to tell most of your story with
ialo!ue. 1ou.ll +tal*+ your story. Bor e2ample, your character may be
rivin! a car an see a -ewelry store. +& nee a -ae rin!,+ your
character says to her mother. +6et.s stop.+ 1ou en the scene an then
cut to the ne2t scene, where she shows off her new -ae rin! at a
party. (his time show it9 !o insie the store, show your character
stanin! at the counter buyin! the rin!, then cut to the party scene.
Show your character wal*in! in the par*, -o!!in! on the streets. (hin*
visually9 be aware of cinematic transitions, how you !o from one scene
21
Sir William K. Coe
into another9 watch your lea ins an lea outs. Ehen you finish Act &,
!o bac* an clean it up a bit. 'olish a scene or retype some pa!es, cut
out a few lines of ialo!ue to ma*e it clearer an ti!hter. /on.t spen
too much time on it9 it.s important to move forwar throu!h the
screenplay9 always wor* from be!innin! to en, be!innin! to en.
Cove on to the first half of Act &&. Gea it an ta*e notes on what you
nee to o to ma*e it wor*. 1ou.ll fin you.ll be chan!in! about ?#
percent of the first half. /etermine the chan!es you want to ma*e, then
layout this section on ; P > cars, -ust li*e Act &.
Know your ramatic conte2t9 ma*e sure 'inch & is clean an ti!ht an
the mipoint clear an efine. &f you nee to o anythin! to ma*e your
story wor*, o it.
(ell your story visually. (ry to cut own your ialo!ue scenes by
focusin! on the visual ynamics. 6et 'inch & *eep your story on trac*.
/oes the mipoint still wor* effectivelyH &s it too lon! or too shortH
/o you nee to reefine it visuallyH Erite the mipoint. 1ou.ll spen a
wee* or two on this section. Cove on to the secon half of Act &&. Gea
it throu!h. Ca*e notes on what you nee to o to correct the chan!es.
Structure the secon half on fourteen ; 2 > cars. ,nce you *now what
you nee to o, e2ecute it simply, *eepin! the ramatic conte2t an
time frame clearly in min. 1ou probably won.t have to chan!e more than
8>-;# percent of the secon half of Act &&. Keep your story on trac*.
Bollow your main character throu!h the evelopment of your story9 move
forwar throu!h 'inch && an 'lot 'oint &&. Ehen you finishe, on.t
spen too much time polishin! this section because you.ll spen a lot
of time in oubt an confusion, an the creative ur!e mi!ht isappear.
(his section will only ta*e you about a wee* to correct.
&n Act &&&, you.ll only nee to rewrite about 7#-7> percent of the
wors-on-paper raft. (his will ta*e you about a wee*. 1ou mi!ht want
to clean up an efine your enin!, refocus the resolution. (he actual
writin! process itself at this time is clear-cut an simple to hanle9
you *now e2actly what you have to o to finish it. &f you have a lar!e
action se5uence for your enin!- li*e the estruction of the new /eath
Star in Geturn of the Fei-you may want to raw a picture or
+storyboar+ what will happen.
A screenplay is a story tol in pictures, ialo!ue, an escription. &t
in.t matter that & was ma*in! up a location9 if the film was mae,
the script woul be chan!e to fit the actual location site. /on.t
worry about whether the +e2act+ location e2ists9 simply be clear about
what you want to write, then write it. 1ou shoul be able to finish
this +mechanical+ raft of your screenplay in about four to five wee*s,
an it shoul en up bein! anywhere from 77# to 78# pa!es, no lon!er.
1our story line shoul be clear, with all the necessary chan!es fuse
into an or!anic story line from be!innin! to en. 1ou may or may not
want to ta*e a few ays or a wee* off. /o what you want. 1ou.re reay
to move into the thir, or polish, sta!e of your first-raft screenplay.
(his is where you.ll really write your screenplay. 1ou.ll be typin! a
lot. (he process of rewritin! entails more typin! than writin!. 1ou.ll
22
Sir William K. Coe
move three lines from a scene in Act & to another scene in the first
half of Act &&. 1ou may type it up on a strip of paper an paste it on
the pa!e. 1ou.ll bri!e one scene with another scene, an rop the
transition9 you.ll telescope scenes9 that is, you may ta*e a scene from
Act &, combine it with a scene in Act &&, an en up with a scene
shorter than either. 1ou.ll accent, polish, hone, ti!hten, an te2ture
your script9 it.s the most important sta!e of the screenwritin!
e2perience. 1ou.ll notice rhythm of action, you.ll see places where a
+pause,+ or a +beat+ will stren!then the suspense of your scene. 1ou.ll
rewor9 +he loo*s at the woman across from him,+ may become +he re!ars
her 5uestionin!ly.+ 1ou.ll sharpen visual ima!es by ain! a-ectives,
ti!hten an conense ialo!ue by cuttin! wors from speeches, sometimes
whole sentences, occasionally chun*s of ialo!ue.
A!ain, wor* in ;#-pa!e units of action9 o Act &, then the first half
of Act &&, then the secon half of Act &&, then Act &&&. Eor*in! in
units li*e this allows you to control your story an move forwar, step
by step, towar the resolution.
Goo structure, remember, is the relationship between the parts an the
whole9 it is li*e an ice cube an water, or fire an its heat. As
you.re polishin! your screenplay, you.ll subue the structural elements
until they are inte!ral to the story.
'olish Act &. Gea it, typin! an cleanin! it up as you move throu!h
scenes an pa!es. Cross out a sentence here, a a few wors there,
bri!e this para!raph with this line of ialo!ue, an so on. (i!hten,
trim, conense, polish, cut, cut, an cut some more. Cost new writers
on.t li*e to cut wors-or para!raphs-but you.ve !ot to be ruthless in
this sta!e. &f you.re wonerin! whether you shoul *eep this ialo!ue,
para!raph, escription, or scene, chances are you.ll nee to cut it.
(he purpose of the polish sta!e is to ma*e it the best screenplay you
can. How o you *now when the rewrite.s oneH Ehen can you lay own
your pa!es an say +&.ve complete the first raft of my screenplay+H
&t.s a ifficult 5uestion. 1ou never really *now, but there are certain
si!ns to loo* for. Birst of all, unerstan that your script will never
be perfect. (here will always be a few scenes that on.t wor*. No
matter how many times you write an rewrite, they.ll never be ri!ht.
1ou.ll have to let those scenes !o.
Th% G((2 R%+2
(he writer.s -ob is to *eep the reaer turnin! pa!es. Ehat oes the
reaer loo* forH
Story, character, an style, first an foremost. (he first thin! that
attracts me is the writin! style, the way the wors are put own on
paper0 lean, ti!ht, crisp, an visual. (hen the premise. /oes it !rab
my attentionH &s it interestin!H How is the script set up in terms of
story, an visual ynamicsH Are the characters well-roune an three-
imensionalH &s there enou!h information presente urin! the first ten
pa!es to ma*e me want to continue reain!H Ehen you fin a +!oo rea,+
you *now it9 there.s a certain e2citement an ener!y on the first pa!e.
23
Sir William K. Coe
'eople hate to rea in Hollywoo, yet everyboy loves to rea a !oo
screenplay. (hin!s never chan!e in that respect.
A reaer.s evaluation sheet from a ma-or film company0
G%NG%0
:rief S1N,'S&S0 a four- or five-line escription of what the story is
about9 the sub-ect of the screenplay.
/etaile Summary0 one-an-a-half pa!e etaile summary of the story, in
epth an etail
& - Character
A4 /esi!n0
:4 /evelopment0
&&-/ialo!ue
&&&. Structure
A4 /esi!n0
:4 /evelopment0
C4 'acin!0
/4 Gesolution0
Geaer.s recommenation0
Ehat.s the reaer !oin! to say about your screenplayH As an e2ercise
you mi!ht want to familiari<e yourself with this evaluation. (his is
where the reaer comes from. Brom his or her point of view there.s
always another script to rea9 usually the pile on the es* is about
two feet hi!h. %veryboy.s writin! screenplays, an when the reaers
rea the scripts, AA times out of 7## they are isappointe.
E+'h R%"-0t%
Eith each successive rewrite, polish the ialo!ue so that it0
- Contributes to the scenes ob-ective an the overall outer motivation
for your hero
- &s consistent with the characters
- Geveals character bac*!roun, inner motivation or conflict, or theme,
when appropriate
- &s as clever, funny, ori!inal, provocative, interestin!, an
en-oyable to rea as is appropriate
S%'(12 +12 Th0-2 D-+6t C()&%t%2
Ehen the secon or thir raft is complete, apply the followin!
chec*list0
- How oes the scene contribute to the heros outer motivationH
- /oes the scene possess a be!innin!, mile, an an enH
- /oes the scene thrust the reaer into the followin! scenesH
- Ehat is each characters ob-ectiveH
- Ehat is each characters attitueH
24
Sir William K. Coe
- /oes the scene contain action, not -ust ialo!ueH
- /oes the scene serve multiple functionsH A sin!le scene can employ0
character bac*!roun, inner motivation, inner conflict an
ientification, theme, humor, e2position, an structural evices
3superior positionin!, foreshaowin!, echoin!, etc.4. Some scenes
shoul contain nothin! but action.
Chart the script as follows0
Scenes0 7 &N( M
C1 H,$S%
8 ;
/escription
Hero
Gomance
Nemesis
Geflection
Ca-or
seconary
,ther
seconary
&entification
Structural
evices
Coe0
/escribe the scenes for each cate!ory.
(he coe allows you to !raph out elements. Bor e2ample, NPP is
e2position, NLL for action 3NLLLL can mean a lot of action4 an
NHaha for humor.
/o the nees of other primaries0
7. Are your Gomance, Nemesis, an Geflection efine in terms of the
Hero.s outer motivation when they are introuceH
8. Are all of your primary characters introuce by the be!innin! of
Act 8H
;. ,nce a primary character is introuce, are there any lon! !aps on
the chart where the character oesn.t appearH (his is a an!er si!nal.
A primary character must appear re!ularly throu!hout the screenplay
unless the character ies. ,therwise, the character is not fulfillin!
her necessary function.
=. &s there an +arc+ to each primary character.s storyH &n other wors,
o your Nemesis, Geflection, an Gomance all possess clear outer
motivations, an are those esires built up an resolve by the en of
the screenplayH
>. /o the primary characters other than the hero interactH (his won.t
always occur, but as a !eneral rule, your screenplay will be stron!er
if your reflection, nemesis, anOor romance confront each other. Such
scenes will provie opportunities for ae conflict, humor, an
character revelation an will help prevent a monotonous story line
involvin! only your hero.
?. /oes each of your primary characters have at least one +bi! moment+H
&t.s nice if you can create a particularly ramatic, funny, or
35
Sir William K. Coe
revealin! scene or two for characters besies your hero. As with the
previous item on this list, such moments will a epth, te2ture, an
emotional involvement to your screenplay.
Such scenes can also help commercially, when it.s time to cast the
movie.
A;(4t F(-)+t#
(here is no such thin! as THE correct format. (hat.s why every boo* on
formattin! has sli!htly ifferent formattin! rules.
BUT 3a bi! but4, there is -(%- format.
Ehat oes this meanH Simply, that there.s not -ust (1% way to format
scripts, but a ran!e of ways that are acceptable. Some boo*s say that a
film script.s left mar!in shoul be 7.>+. ,thers say that it shoul be
7."+ :oth of those are ri!ht. Noboy.s !oin! to loo* at your script,
pull out a ruler an scream, +,ne point si2-four inchesL 1ou.ll never
wor* in this town a!ainL+ :ut a 7+ left mar!in... that.s not ri!ht.
(hat.s out of the acceptable ran!e an coul piss off a proucer who
thin*s you.re tryin! to tric* him into thin*in! your script is shorter
than it really is.
Ehy is there a ran!e an not a sin!le wayH Eho *nows. &niviual
preference, often. Chan!in! tastes over time, usually. :ut sometimes
it.s a more obno2ious reason. Some () shows have a uni5ue format -ust
so they can tell if a writer submittin! to that show has one her
homewor*. &f the writer.s script is not in that uni5ue format, the
proucers can say to themselves, +Eell, we.re obviously not important
enou!h for the writer to have chec*e to see how WE o itL No than*
you.+ &t.s petty, but it.s true. /on.t worry, thou!h, we.ll tell you
how to avoi that situation.
6i*e most rules, the ones in here are meant to be use whenever
possible, but bro*en when necessary. None of this is etche in stone,
but you can.t !o wron! by followin! it reli!iously. &f you have a
really !oo reason for oin! it ifferently9 if that rule-brea*in!
formattin! choice tells your story better than anythin! we escribe...
!o for it. Fust on.t be cavalier an thin* that you.re story is uni5ue
an, therefore N%%/S uni5ue formattin!. Gemember, the os are that the
!reatest scripts you can thin* of were written usin! these rules, not
some weir, ranom ones.
Brom the formattin! an style stanpoint, a script is nothin! but a
collection of elements. Brom the element stanpoint, the *ey to
successful formattin! an powerful writin! is *nowin! what the elements
are, how an when to use them an how they shoul loo*.
P-%#%1t+t0(1 = Th01*# t( D( AFTER Y(4:-% D(1%
&f a proucer or such re5uest a certain format, use itL Chec* with
screenplays written by the stuio to write yours that way.
31
Sir William K. Coe
9ist of .o;.os7
No fancy covers, artwor*, illustrations, storyboars.
/ont number the scenes.
No -ustifie ri!ht mar!ins.
/ont write C,N(&N$%/ at the top an bottom of each pa!e.
/ont bol or italici<e.
Avoi camera an eitin! irections
/ont use a ot-matri2 printer. 'hotocopies are o*ay.
/ont ate your script.
/ont mention a raft.
No su!!este cast list or character bios unless re5ueste.
No list of characters or sets.
/ont inclue a synopsis unless re5ueste.
/ont inclue a bu!et.
No heaers or footers e2cept pa!e numbers.
Font7 Courier, 78 point, 7# characters per inch 3hori<ontally4.
$inding48rinting7
> 8# lb. @ X by 77 in. ;-hole punche white paper
- (wo sheets of car stoc* plain color, 77#lbs @ X by 77 in., front an
bac* of screenplay. $se only two brass bras M top an bottom. 6eave
the mile hole empty.
Screenplay or!ani<e as such0 front stoc* sheet, title pa!e, script,
an bac* stoc* sheet, all ;-hole punche.
9ength7 7##-77# pa!es
8age .um"ers7 7 in from ri!ht e!e, X in from top, written as 7>. 3with
perio4. Not on first pa!e.
#he #itle 8age7
Center title, 5uotes are optional. 1our aress or phone number shoul
appear in lower left or ri!ht corner. &f you want to inclue EGA
information, o so at the bottom, opposite your personal information.
NC1 (&(6%
by
Cy Name
#he First 8age7 :e!in with BA/% &N0 37.> in from left4. No pa!e number.
32
Sir William K. Coe
%redits7 A!ainst, but treat li*e scene heain!s. :%G&N CG%/&(S an %N/
CG%/&(S
9ast 8age7 (riple-space. BA/% ,$( written before.
M+-*01# +12 S+'01*
#he actual margin settings are
Margins7
L%6t0 7.> in
R0*ht0 .>-7in 3@ in from left, ra!!e not -ustifie4
T(0 7 in
B(tt()0 7 in
Ca*e sure ialo!ue oes not e2ten beyon ?.# inches from left.
E&%)%1t L%6t M+-*01
?6-() &%6t %2*%@
R0*ht M+-*01
?6-() -0*ht
%2*%@
S+'01*
?;%6(-%!"0th01@
A't0(1 7.>+ 7+ /oubleOSin!le
S'%1% H%+201* 7.>+ 7+ /oubleOSin!le
Ch+-+'t%- N+)% ;.>+ 8+ /oubleO
P+-%1th%t0'+& ;+ ;.>+ Sin!leOSin!le
D0+&(*4% 8.>+ ;+ Sin!leOSin!le
Sh(t 7.>+ 7+ /oubleOSin!le
T-+1#0t0(1 >.>+ 7+ /oubleO/ouble
P+*% N4);%- X in from top 7 nOa
D4+&>C(&4)1
D0+&(*4%
L%6t M+-*01
?6-() &%6t %2*%@
R0*ht M+-*01
?6-() &%6t %2*%@
S+'01*
?;%6(-%!"0th01@
Ch+-+'t%- N+)% F 8.">+ ;.">+ /oubleO
P+-%1th%t0'+& F 8.8>+ =.>+ Sin!leOSin!le
D0+&(*4% F 8+ =+ Sin!leOSin!le

Ch+-+'t%- N+)% 2 >.">+ .">+ /oubleO
P+-%1th%t0'+& 2 >.8>+ 7.8>+ Sin!leOSin!le
D0+&(*4% 2 >+ 7+ Sin!leOSin!le
P+*% B-%+$#:
(he first script line on every pa!e shoul be 7+ from the top of the
pa!e. (he Heaer, if any, is 7O8+ from the top.
33
Sir William K. Coe
Never en a pa!e with a Scene Heain!... unless another Scene Heain!
is the first thin! at the top of the ne2t pa!e.
Never en a pa!e with a Shot... unless another Shot is the first thin!
at the top of the ne2t pa!e.
Never start a pa!e with a (ransition.
&f you nee to put a pa!e brea* in the mile of some Action, you can
only brea* the pa!e after at least 8 lines of Action, an only at the
en of a sentence. Some stuios also insist that the Action at the top
of the ne2t pa!e have at least 8 lines as well. &f you can.t split the
Action to fit this rule, on.t split it an move the entire Action onto
the ne2t pa!e 3some people will ar!ue that you on.t nee to split
Action -- -ust move it to the ne2t pa!e. Ehy woul you o this when it
mi!ht unnecessarily a pa!es to your scriptH4.
Never put a pa!e brea* between a Scene Heain! an a Cast 6ist 3in ()
an Sitcom scripts4.
Never put a pa!e brea* after a Cast 6ist element.
Never put a pa!e brea* before an %N/ ,B AC( or %N/ ,B SC%N% inicator.
Never put a pa!e brea* after a Character Name.
&f you have a 'arenthetical irectly uner a Character name, never put
a pa!e brea* after that 'arenthetical.
&f you nee a pa!e brea* in the mile of /ialo!ue, you can only brea*
the pa!e after at least 8 lines of /ialo!ue, an only at the en of the
sentence. &f you have a 'arenthetical in the mile of some /ialo!ue,
li*e this0
H&66AG1
& really wante to be 'resient myself,
but & *new that there was no way...
3beat4
$nless... well, & couln.t o that, now
coul &H
... you cannot put a pa!e brea* after the 'arenthetical, but you have
the option of puttin! one before it if you nee to 3in other wors,
it.s a vali place to put a pa!e brea*, but it.s your own stylistic
choice as to whether you o -- we o4. Ge!arless, when you split
/ialo!ue with a pa!e brea*, put the wor +more+ or +C,G%+ in
parenthesis on the line after the /ialo!ue in the same mar!ins as the
Character Name. (hen, at the top of the ne2t pa!e, repeat the Character
Name before the /ialo!ue an a the %2tension 3C,N(./4 or 3cont.4.
&t.s a personal preference for whether you use the uppercase or
lowercase +cont.+ an +more.+
ASSIGNMENTS
3/
Sir William K. Coe
(his is it. 1ouve mae it to the final sta!es of screenwritin!,
an it is time to write your first raft. 'ut everythin! in
proper orer, which shoul alreay be one, an be!in writin!
out your screenplay, scene by scene in a screenwritin! pro!ram
or wor processin! pro!ram. Eith a screenwritin! pro!ram, you
ont nee to worry about formats because it oes it for youL
Apply all chec*lists from previous chapters an this chapter
a!ainst your screenplay to ma*e sure its written correctly.
Gea your script an fill out the reaers sheet !iven in this
chapter. Now !ive your script to someone to rea with the
reaers sheet an match it a!ainst yours. Ehats ifferent an
whyH
&t is absolutely imperative that you o the followin! upon
completion of the first raft.
7. (a*e at least two wee*s off from your script. 6et it
ferment for a while. 1ou will be much more ob-ective for
the pre-revision analysis 3Chec*points 8#-8=4. /urin! this
time you may want to rea a boo*, !o to a seminar, see
movies of the same !enre, or rea scripts, or turn your
attention to other thin!s.
8. Gewar yourself in some way that ma*es you feel !oo
about bein! the ne2t !reat screenwriter.
:efore writin! the secon raft, consier lettin! your hot property
cool off. Sit on it a couple of wee*s, then craft your secon raft
from your hea. Here, you become a script sur!eon. Ehittle own the
ialo!ue9 remove unnecessary narration, flashbac*s, ream se5uences,
an so on. 1ou become an analyst in every way you can efine that wor.
,nce this wor* is complete, polish your script until you are reay to
present your woner to Hollywoo. (he followin! chec*points will help
you evaluate your revisions.
Apply this chec*list to the script was the first raft is complete0
&s your script too technical, too comple2, or too ifficult to
unerstanH
Eill your script re5uire a hu!e bu!et with unshootable scenes,
such as hers of camels crossin! the San /ie!o BreewayH ,ther
possible bi! bu!et problems0 special effects, perio settin!s,
e2otic locations, too many arenas or locations, lar!e cast,
water, an animals.
&s your script.s bu!et about ri!ht for its mar*etH
Have you followe the rules of formattin! an presentationH
Have you written thou!hts, feelin!s, memories, or anythin! else
that cannot appear on the screenH
/ialo!ue
36
Sir William K. Coe
&s the ialo!ue +too on the nose+H
/o your characters say e2actly what they feelH
/oes each character spea* with hisOher own voice, vocabulary,
slan!, rhythm, an styleH
&s the ialo!ue crisp, ori!inal, clever, compellin!, an leanH
Are iniviual speeches too lon! or encumbere with more than one
thou!htH
/oes the story rely too heavily on ialo!ueH
Are your ialo!ue scenes too lon!H
Are there too many scenes with tal*in! heasH
Are you tellin! when you coul be showin!H
&s the comey trying to be funny, or is it naturally funnyH
%2position
Are you borin! your auience by tellin! too much too soonH
Are you confusin! your auience with too little informationH
Are you !ivin! your auience -ust enou!h e2position to *eep them
on the e!e of their seatsH
&s your e2position reveale throu!h conflict or throu!h static
ialo!ueH
Have you use flashbac*s as a crutch or as a means to move the
story forwarH
Character an story
Eill the reaer root for your heroH
Eill the reaer have an emotional ientification with the heroH
Are your characters believableH Are they humans with imensionH
/o your characters come across as retreas whom we.ve seen beforeH
/o any of your characters !row or chan!e throu!hout the storyH
&s there a moment at the en when this !rowth will be reco!ni<e
by the reaerH
Ehen will the reaer cryH
&s the story too !immic*y, relyin! too heavily on nuity,
violence, shoc*, or special effectsH
Eill the first >-7# pa!es capture the reaer.s interestH
/o the first 8#-;# pa!es set up the central conflictH
/oes the mile buil in intensity towar the Showown at the enH
&s the story, plot, or enin! too preictableH
Are all the loose ens tie up in the enouement 3the resolution
after the Showown4H
31
Sir William K. Coe
Sometimes it -ust oesn.t wor*. 1ou have story problems, character
problems, an you.re not 5uite sure how to solve them. Ehen you are
bloc*e or you sense somethin! is wron!, what can you oH
7. /on.t panic. Ee all !o throu!h this. Geali<e that you have the
ability to solve your problems.
8. (a*e two wee*s off. /on.t worry about it. 1ou may !et inspiration
urin! this perio because you will be more rela2e.
;. Gea a boo*9 !o to a seminar9 flic* out. Cany of my +brea*throu!hs+
have come on the plane while reain! a boo* about writin!.
=. ,ften you actually *now where the trouble is. 1ou have a !nawin!
feelin! insie about somethin! in your story, or perhaps a sense that
+somethin!+ is wron!, but you i!nore it because you on.t want to o a
ma-or rewrite. &n my script-analysis wor*, & on.t *now how many times
a writer has tol me the followin!0 +& *ina *new w^7at was wron!, but
& !uess & neee you to confirm it.+ (he point is this0 1ou have an
inner sense that you must learn to trust, even when it ma*es the
writin! process un- comfortable an the rewritin! painful. Ehen you
rea your script throu!h, if you naturally stop reain! at some point,
that often si!nals a problem.
s. Get feebac* from other writers or consier usin! a
script consultant.
?. Stuy mytholo!y 3Christopher )o!ler.s Writer's ourney) an
unerstan your !enre.
". Gevise your four-pa!e treatment. Sometimes this helps you focus an
!et bac* on trac*.
@. As* stupi 5uestions. /on.t be afrai to challen!e your own ieas.
As* +Ehat ifH+ Nothin! is sacre. Anythin! !oes. Caybe your hero shoul
be the villain.
A. Ehen revisin!, if solvin! one problem also solves another problem,
you.re on the ri!ht trac*.
7#. Create a CharacterOAction Gri. %ssentially, this is a mini step-
outline, constructe on a few sheets of paper. $se it to ientify each
character.s purpose an actions in the story. Cost writers use it for
their five to seven main characters. & recommen use of the Gri after
32
Sir William K. Coe
the first raft or when you are stuc*. :ut you are the captain of your
ship. $se it when you wish or not at all.
33
Sir William K. Coe
CHAGAC(%G AC(&,N GG&/ - Character an Story
(itle, !enre, concept
(heme or messa!e
NAC% ,B CHAGAC(%G0
Gole, purpose in story
,ccupation
Conscious !oal
'ersonal motivation
&nner nee
Blaw bloc*in! nee
:ac*story
/ominant, core trait
,ther !oo _ ba
traits
&mperfections, 5uir*s
S*ills, *nowle!e, props
'oint of view, attitues
/ialo!ue style
'hysiolo!y
'sycholo!y, Sociolo!y
Gelationship wOothers
Catalyst
:i! %vent
Crisis
Showown
Geali<ation
/enouement
34
Sir William K. Coe
CHAGAC(%GL AC(&,N GG&/ - Actions
45
Sir William K. Coe
CharacterOaction !ri e2ample
& create the followin! as a small e2ample of how to use the Gri. &
create only three characters. & won.t ta*e you throu!h the entire
!ri with them, nor will & outline the entire story. & -ust want to
!ive you a feel for the Gri.s use. 1ou will want to list every
important action of your main characters from the be!innin! to the
en of the story.
CHAGAC(%GOAC(&,N GG&/ -Character an Story
Char0 Fim Sally Ca2
Gole0 Central characterOhero 6ove interest, 8n opp. Cain opposition
,cc0 &nvesti!ative -ournalist Animal ri!hts avocate Circus owner
Goal0 %2ploit :limpo the %lephant Save :limpo the %lephant `7 Circus
Act in $.S.
for a story from e2ploitation
Cotiv0 Salva!e career :limpo saves her life 3later4 'rove he.s not a
loser Nee0 :e more carin! (rust an love Fim Gespect animals
Blaw0 Anythin! for a story ,nly trusts animals &nhumane
CHAGAC(%GOAC(&,N GG&/ -Actions
F&C SA661 CAP
Bire, but then !ets last chance
/umpe by Sally /umps Fim9 can.t trust him Ehips :limpo
Kinaps :limpo9 chase Chases Sally
Hies :limpo in Fim.s yar
Ne2t mornin!0 Bins :limpo
Continue outlinin! your characters. actions to the en. Ehen the Gri
is complete, you will be able to see your entire story on 7-; pa!es.
(he structure, pacin!, motivation, an plot lines will be easier to
wor* with.
41
Sir William K. Coe
M+-$%t01*
Th-%% $%3# t( )+-$%t01* 3(4-#%&6 +# + #'-%%1"-0t%-
- (ry everythin!
- /on.t listen to statistics
- Knowle!e is power
T"( #(4-'%# (6 016(-)+t0(1 -%*+-201* "h( th%
%(&% 01 ("%- +-%
- 'rimary research 3contacts4 M tell anyone who as*s what you o for a
livin! youre a screenwriter9 as* for favors
- Seconary research 3the meia4
F(4- '+t%*(-0%# (6 %(&% 01 ("%-
- A!ent or attorney
- &nepenent proucers who evelop pro-ects
- %lements 3ma-or stars or irectors4
- Binanciers 3stuios, networ*s, investors, an !rant-funin! a!encies4
1ou must approach all four cate!ories of people simultaneously.
Wh+t t( D( Wh%1 C()&%t%2
:efore approachin! anyone with your screenplay, be sure it is !oo
enou!h to present by !ettin! a positive response to it from at least
two out of five people whose -u!ment you trust. After your screenplay
is complete, stay away from it for a few wee*s to allow yourself to
become ob-ective when you review your screenplay to etermine if it
wor*s. Ehen its as !oo as you can ma*e it, ma*e ei!ht copies an
istribute them as follows0
8 'ut the ori!inal someplace safe in case your house burns own.
8 Keep the first copy.
8 Ge!ister the secon copy to $S Copyri!ht ,ffice.
8 Ge!ister the thir copy with the Eriters Guil of America.
8 Give the last > copies to someone you can trust, ma-or
consieration to an evaluator. &f you !et even 8 positive
responses, !o ahea an sen it to an a!ent.
8 Copyri!ht an re!ister the new one.
8 Gecor every contact you come into. Ca*e sure each screenplay is
complete before senin! it to each contact, else you can lessen
your chance if you sen your screenplay to the same person a!ain.
F01201* +1 A*%1t
Gesearch a!ents usin! contacts, the meia, the Eriters Guil of America
list of a!encies, other publishe lists of a!ents, an the Guil.s
a!ency epartment.
42
Sir William K. Coe
*gents look for three things in a potential client7
8 A writer who will ma*e money
8 Someone with career potential
8 Someone who won.t a to their problems
1ou will want three thin!s in a potential a!ent0
8 Someone to !uie your career
8 Someone with power in the film business
8 Someone who can ne!otiate
Approach a!ents with0
8 A recommenation or referral
8 A letter of approach M 7 p!, polite, irect, to the point. 'arts0
(he purpose M tell what meium it is for, youre loo*in! for
representation, if secon or thir, say so9 A personali<e
comment M if you came to them because of a frien or client they
represent, say so9 /escription of the screenplay M e2tent up to
you, mention !enre. &f an unpopular !enre, mention what !rabbe
you or ont mention it at all.9 Geference to the script as a
writin! sample, an e2cellent one, to show that you want wor* not
-ust sellin! this screenplay9 ,ffer to si!n release forms M these
protect them in case they ma*e a movie similar to your iea9 1our
:ac*!roun M screenwriter-specific, brief, any publications,
awars, honors in film an writin!, sub-ect of screenplay9 1our
location M say you can return to 6A whenever necessary9 Buture
contact M say you will be contactin! them in the ne2t few ays to
iscuss the situation further. Core on 5uery letters later.
Bollow-up call0 Eait a few ays for them to !et it an call
in mile of the wee*. :e nice to secretaries as they are
your lin* to the a!ent an coul become your a!ent someay.
&f tol they are not reain! unsolicite screenplays, as*
for other a!ents or if he will rea the screenplay
8 A col phone call
8 /roppin! in to the office
8 /, N,( S$:C&( 1,$G SCG%%N'6A1 $N(&6 (,6/ S,L
(he ob-ect of approachin! an a!ent is to !et someone at the a!ency to
rea your screenplay. &f one a!rees to rea your screenplay sen a
than* you letter reminin! them of your conversation, an always chec*
up your status once a month until you !et a response.
&f an a!ent is intereste in you as a writer, meet with the a!ent, an
at least as* the followin! two 5uestions0
8 Ehat i you thin* of my scriptH
8 Eho else o you representH
/ont be afrai to mention your career !oals an ob-ectives.
&f you si!n with an a!ent, he receives 7# percent of all your
earnin!s as a screenwriter.
An attorney can be hire to represent you instea of an a!ent, usually
for a fee rather than a percenta!e.
43
Sir William K. Coe
A-(+'h P-(24't0(1 C()+10%# +12 (th%- W+3# (6 F01+1'%
$se the same process for concurrently approachin! proucers, elements,
an financiers.
Gesearch proucers throu!h articles, interviews, publishe irectories,
film creits, an contacts. (hen approach them throu!h their heas of
evelopment. /o the same with ; screenwriters from movie creits an
as* the EGA who represents them.
Cost elements have their own prouction companies, are approache in
the same way as other inepenent proucers. ,therwise !o throu!h their
representatives or obtain personal prouctions.
/o not approach stuios or networ*s at lower than level of story
eitor.
Approach other financiers with your screenplay, a bu brea*own, an a
prospectus or !rant application.
Never let your business activities interfere with your writin!.
Ge-ect all re-ections an *eep writin!L
Th% S'-%%1"-0t%-:# D%+&
#hree ways for a screenwriter to earn money
8 Sale of the screenplay
8 A evelopment eal
8 A salarie staff writer position
Sale of the screenplay is base on an optionOpurchase eal.
An option is the e2clusive ri!ht to purchase property for a
preetermine amount of money over a finite perio of time.
(he ne!otiable elements of an optionOpurchase eal inclue0
8 ,ption price
8 'urchase price
8 ,ption perio
8 Genewal clause
8 %2clusivity
8 Guarantee rewrites
8 :onuses
8 'ercenta!e of net profits
8 'articipation in se5uels, spin-offs, an rema*es
8 Ancillary ri!hts 3merchanisin!4
8 (urnaroun clause
&n a evelopment eal, the screenwriter is hire by a proucer or
financier to write a screenplay base on the iea, or on a story
concept controlle by the proucer.
4/
Sir William K. Coe
A pitch is a verbal presentation of a film story. Core about pitches
an premises later.
A step eal is a evelopment eal outlinin! each sta!e in the process-
treatment, screenplay, rewrites- plus the fee pai at each sta!e an
the amount you are !uarantee before the pro-ect can be iscontinue or
another writer hire.
Staff writers, story eitors, an proucers for episoic television
series can receive both !uarantee salaries an ne!otiate fees for the
episoes they write, plus royalties for rebroacasts.
Y(4- St-+t%*0' M+-$%t01* P&+1
8rinciples
S%*)%1t+t0(1: ientifyin! the mar*et se!ments that seem best for your
script.
D066%-%1t0+t0(1: How you mar*et yourself from other writers competin!
for that same mar*et se!ment. 3Ehat !ives you that competitive e!eH4
(hree steps to plannin!0 purpose, auience, an strate!y.
8urpose
Ehat you want to accomplish from the point of view of your auience.
*udience
&entify the iniviual you wish to sell your script to. $nerstan his
or her company. Ehat are they loo*in! for now or bou!ht in the pastH
Query letters vs. phone callsH Ehats their mar*etH
0trategy
/erives from their nees, their ieas into your scripts. Ehat o you
nee to put in a 5uery to hoo* them, how will your wor* benefit themH
(here are features an benefits.
F%+t4-%# > (he lo!ical ar!ument.
B%1%60t# M (he emotional ar!ument.
Ehat benefits them an will !et their emotionsH
High %oncept
Bin those few wors that will hoo* the a!ent or proucer, or tell your
story, in 8> wors or less.
46
Sir William K. Coe
$se local resources, even newspaper, television networ*s, etc. as
bac*oors to Hollywoo.
T((&# 6(- S%&&01*
:efore you can sell your screenplay, or even sen it to a!ents, you
nee to evelop some mar*etin! tools usin! what you alreay *now. &ts
time to rewrite your lo!line, pitch, premise, synopsis, an treatment.
9ogline
6o!line techni5ues vary amon! screenwriters but most will a!ree with
this warnin! from the American Association of Screenwriters, +&f you
can.t say it in three sentences, you on.t *now what your script is
about.+
/on.t limit yourself to the set-up or the plot, emphasi<e the uni5ue
elements of your script that enable auiences to connect with the
situation an ientify with the hero. (hin* of the lo!line as a
commercial for your movie.
6,G6&N% B,G A CHAGAC(%G-/G&)%N /GACA0 GA&N CAN
(he set-up0 A youn!, self-centere hotshot !oes home for his father.s
funeral an learns he.s been cut out of the will. (he family wealth
!oes to an oler siblin! - an autistic brother he never *new he ha.
&ma!ine we were ma*in! a commercial for GA&N CAN. Ehat clips woul we
useH
(o create &/%N(&B&CA(&,N with the star we. show moments emphasi<in!
the contrast between the brothers an ramati<e the star.s frustration
with this une2pecte obstacle to his ambitions.
(o create C,NN%C(&,N with the star.s situation we. show the AC(&,N he
ta*es to !et what he wants -- the family money. How oes he try to !et
control of the inheritanceH He *inaps the autistic brother. Since the
brother is afrai to fly, they rive cross-country. (hey visit places
36as )e!as, fancy shoppin! malls4 where the hotshot feels at home but
which the autistic brother fins challen!in! - comically an touchin!ly.
(o hi!hli!ht the ',(%N(&A6 CG&S&S the hero faces, we. focus on moments
that ramati<e the une2pecte relationship evelopin! between the
brothers as the hotshot reali<es how unusual his .savant. brother is.
(o emphasi<e what.s at G&SK for the hotshot, we. hint at the secret
that bins them an threatens the !raniose plans he has mae.
6,G6&N% B,G GA&N CAN0
A self-centere hotshot returns home for his father.s funeral an
learns the family inheritance !oes to an autistic brother he never *new
he ha. (he hotshot *inaps this oler brother an rives him cross-
country hopin! to !ain his confience an !et control of the family
money. (he -ourney reveals an unusual imension to the brother.s autism
41
Sir William K. Coe
that spar*s their relationship an unloc*s a ramatic chilhoo secret
that chan!es everythin!.
6,G6&N% B,G A '6,(-/G&)%N C,C%/10 S,C% 6&K% &( H,(
(he set-up0 (wo male musicians witness the St. )alentine.s /ay
massacre. Ehen the mobsters pursue them, they try to elue them by
-oinin! an all-!irl ban heae for a !i! in Ciami.
Ehat film clips woul we use to create a commercial for this classic
comeyH
Ee. emphasi<e the acceleratin! C,C&C C,C'6&CA(&,NS that result from
the cross-ressin!0
(he sa2 player falls so har for a se2y !irl in the ban that he
creates a new male ientity so he can pursue her.
(he bass file player stru!!les to *eep from blowin! their cover as he
o!es the comical romantic avances of an a!in!, nearsi!hte playboy.
Ee. want to reveal the /ANG%G,$S C,C'6&CA(&,NS that the mob massacre
promise upfront. Ee must reveal that the mobsters show up at the Ciami
resort where the .!irls. have a !i! because their arrival complicates
the love stories an pressures the heroes.
6,G6&N% B,G S,C% 6&K% &( H,(0
(wo male musicians accientally witness the St. )alentines. /ay
massacre9 an to elue the mobsters who pursue them, they ress in ra!
an -oin an all-!irl ban heae for Ciami. ,ne of them falls for a
se2y sin!er an poses as a Ciami playboy so he can woo her9 he
convinces his pal to o!e the amorous avances of the rather
nearsi!hte Ciami playboy he impersonates. 6ove con5uers all -- till
the mobsters show up at the same Ciami resort for a convention.
CH%CK6&S( B,G 1,$G 6,G6&N%
Geveal the star.s S&($A(&,N
Geveal the important C,C'6&CA(&,NS
/escribe the AC(&,N the star ta*es
/escribe the star.s CG&S&S ecision
Hint at the C6&CAP - the an!er, the .showown.
Hint at the star.s potential (GANSB,GCA(&,N
&entify S&VV6%0 se2, !ree, humor, an!er, thrills, satisfaction
&entify G%NG%
Keep it to three sentences
$se present tense
#he 8itch
Cany writers fear pitchin! their stories, if they wante to perform for
an auience, they woul not have chosen a solitary profession li*e
writin!. Script writin! may be a solitary pursuit when you face the
blan* pa!e9 but once you put somethin! ma!ic on that blan* pa!e,
everyboy wants to !et into the act.
42
Sir William K. Coe
Eor*in! writers often pitch their stories while they.re in the mist of
writin! their screenplays. %ven after they sell the script, they have
to pitch it to the irector an the actors. All successful
screenwriters learn how to pitch effectively, it.s part of the -ob
escription.
'GAC(&C% 1,$G '&(CH
(his seems ruimentary, but some writers !et cau!ht up in the
omnipotent throes of the creative process an believe they can win! it.
Spare yourself an your auience some a!ony -- /,N.( win! it.
&NS&/%G (&'0 'ractice pitchin! to a pal or writin! partner. 'itch a
screenplay you.ve alreay written or a movie you.ve seen before you
practice pitchin! your new story. 6eave the auience with the
impression that they.ve seen your movie or at least a tantali<in!
trailer of your movie.
EHA( (, &NC6$/% &N 1,$G '&(CH
(he pitch shoul be about 7# minutes ma2. (his leaves time for
feebac*. (he initial pitch must answer these 5uestions0
74 Eho is the movie aboutH
Give the impression the movie centers on ,N% character, the most
interestin! character -- the S(AG. Covies are star-riven. %ven low-
bu!et inepenent proucers hope the un*nown actor they cast in the
lea will become a star or at least loo* li*e a star in this movie.
84 Ehat happens to the starH
&nclue the arena of the story an the basic situation of the
star.
(ell where the star is 3emotionally, physically, mentally4 at the
be!innin!.
(ell where heOshe !oes 3emotionally, physically, mentally4 urin!
the movie.
%2plain where the star ens up 3emotionally, physically,
mentally4 by the clima2.
/escribe how the star.s crisis chan!es him or her in some
funamental way.
%mphasi<e the conflicts 3internal an e2ternal4 the star faces.
;4 Ehat !ets in the wayH
a Hi!hli!ht ma-or ,:S(AC6%S 3inanimate or physical situations4.
a /escribe important A/)%GSAG&%S 3characters4 that try to prevent the
star !ettin! what they want. (hese bloc*ers shoul be worthy opponents,
otherwise overcomin! them won.t be satisfyin!.
43
Sir William K. Coe
=4 Ehat.s at sta*eH
/escribe a few ramatic moments in etail. Choose moments involvin! the
star where the conflicts escalate or the crisis becomes more
complicate. Ca*e it clear the star resolves the climactic crisis or is
actively involve in resolvin! it.
$S% 1,$G G%NG% (, S%66 1,$G '&(CH
Know the !enre of your movie -- movies are sol to auiences by !enre.
1our pitch auience is intereste in how they will mar*et the movie as
well as how they will ma*e it. /on.t tell them how to mar*et it, -ust
ma*e it clear that it is CAGK%(A:6%.
%C'HAS&V% S(AG Q$A6&(&%S
'resent your story to emphasi<e the 5ualities that will attract the
star. Here are some !eneral !uielines0
74 Stars usually respon to an interestin!, well-evelope character
cau!ht up in a compellin! situation with potential for e2citin!
conflict.
84 Stars instinctively want to play a character who ta*es action
within the story that leas to the resolution of the climactic
conflict. /uh.
%C'HAS&V% Q$A6&(&%S (HA( C&GH( A((GAC( A S$CC%SSB$6 /&G%C(,G.
(o attract a irector you must lay out a compellin! story that can be
tol visually. :y this & on.t mean special effects an stunnin!
scenery. (he story must unfol visually9 the emotion conveye visually,
the an!er represente visually an so on. 1our pitch
emonstrates this by the action you choose to escribe an the way
you.ve ramati<e an resolve the conflicts
/%(A&6S, /%(A&6S, /%(A&6S
How etaile shoul you beH /on.t become mire in miniscule movements
of plot. Give them a movie trailer not a summary of the movie.
Fuery 9etter
Some writers mista*enly believe a 5uery letter shoul as* permission to
sen their script. (hat sets you up for a lot of re-ection. 1our 5uery
letter has a much more subtle purpose M to ientify those who will
respon to your movie.
H,E (, :%G&N
Bormat0 Query letters run one pa!e or less, sin!le-space in a reaable
font on business-li*e stationery.
44
Sir William K. Coe
Salutation0 Erite to a tar!ete iniviual, not a company. (his tar!et
shoul be someone appropriate for your story.
AN(&C&'A(% (H%&G Q$%S(&,NS0
,ften, you ont personally *now the tar!et of your 5uery. An they
certainly ont *now you. 'ut them at ease by answerin! the first
5uestion on their min M
EH1 AG% 1,$ :,(H%G&NG C%H
1our openin! para!raph shoul clarify why you have chosen to 5uery this
particular person. /efine how the script mi!ht meet their nees. &f an
establishe film professional referre you to this person, tell them
this upfront.
,KA1U S, EHA( &S 1,$G C,)&% A:,$(H
& *now this part of the letter sets stomachs churnin!. Eriters believe
the entire future of their script rests on what they put into these few
escriptive sentences.
Gela2L No one sells a movie script off a 5uery letter. All this letter
has to o is entice them to ta*e a loo* at the script. (his first
contact be!ins a conversation that hopefully evelops into a wor*in!
relationship.
,r!ani<e your pitch into two para!raphs0
(he Covie (railer
(he first pitch para!raph acts as a trailer for your movie. (ease the
reaer into wantin! to see your movie script, -ust li*e movie trailers
entice the auience to come bac* to see the ne2t attraction. &ntrouce
your !enre, the main characters, the lea characters situation, the
main obstacles an ma-or aversary an how the lea plans to overcome
them. Hint at the enin! without !ivin! it away.
(he Covie 'oster
(he secon pitch para!raph promotes your script by hi!hli!htin! vital
elements that reveal uni5ue mar*etin! an!les which ma*e your movie
special. (hin* of it as the poster for your movie. Here are some brief
e2amples of story elements worth emphasi<in!0
',(%N( (H%C%S0 (he movie E&(N%SS ha a provocative theme M /o you
resort to violence in orer to *eep the peaceH
$N%P'%C(%/ (E&S(S0 (he alien in %.(. is not a conventional e2tra-
terrestrial intent on con5uerin! earth9 hes a fri!htene, homesic*,
loveable creature who was strane here accientally. Hes not the
aversary in the movie, the mis!uie aults are.
G%NG% B6&'-B6,'0 (H% B$66 C,N(1 is an a-typical male bonin! movie 3no
violence or contact sports4 where the men recover their prie by barin!
their souls as well as their boies.
155
Sir William K. Coe
'G%SS$G% C,,K%G0 Some movies use evices to raise the sta*es. C&GAC6%
,N ;=(H S(G%%( has a tic*in! cloc* M Kris Krin!le nees to be release
from -ail by Christmas %ve. (&(AN&C e2ploits our *nowle!e that the bi!
boat sin*s an sets us wonerin! which passen!ers will survive.
EH, AG% 1,$H AN/ EH1 SH,$6/ & CAG%H
(his para!raph shoul reveal your creentials. &nclue relevant
bac*!roun information0 scripts sol or optione, filmma*in!
e2perience, publishin! creits.
&f you have no writin! creits, focus on relevant accomplishments0
script contests or writin! pro!rams you have complete. &f you have
personal e2perience relevant to your story, the settin! or the crisis
of your hero, inclue that9 but :% :G&%B.
A a uni5ue an memorable etail that will ma*e you attractive to the
a!ent or proucer. Some writers tar!et film pros from their alma mater.
,thers mention uni5ue hobbies, personal e2periences or establishe
careers in other fiels that !ive them a special point of view.
/,N.( B,GG%( (H% HAN/SHAK%
&nvite them to rea your script an tell them how to !et a copy. Some
writers inclue a self-aresse stampe postcar for a reply.
)&(A6 /%(A&60 &nclue your contact information 3or your a!ents4L
EHA( (, 6%A)% ,$( ,B 1,$G Q$%G1 0
(HG%A(S0 Gesist the ur!e to be!, whine, complain, fabricate or
threaten.
C1N&C&SC0 Avoi statements li*e this0 +1oure my 8#Ath submission an
youll probably blow me off royally li*e the rest of them iU+
N%GA(&)&(10 Gesist efeatist !eneralities0 +Eith 7##,### scripts
floatin! aroun Hollywoo, & oubt youll pay attention to mineU+
'&(10 /ont as* for pity0 +& have three youn! chilren, my health
covera!e e2pire, the transmission blew on my (oyota an my husban
-ust wal*e out on meU+
B,GCA(
(he presentation of your letter can be as important as your content. A
traitional 3paper4 5uery shoul inclue the followin! elements0
A ecent letterhea. At the very least, your name an aress an other
contact information shoul be printe at the top of your letter 3N,( at
the bottom or uner your si!nature4 in an attractive font. 1ou can have
an ine2pensive letterhea esi!ne an typeset at your local printin!
shop, or online throu!h i'rint.com. ,r, esi!n your own on your
computer.
151
Sir William K. Coe
A business-style boy. Always inclue a blan* line between para!raphs,
an on.t inent more than five spaces 3if at all4.
A formal salutation. /on.t aress the eitor by first name unless you
*now himOher personally.
Clean, proofrea copy. /on.t rely on your spellchec*er9 review your
5uery yourself before mailin! it out.
Quality paper. $se at least 8#-lb. bon paper for 5ueries. Some writers
li*e to use fancier papers -- parchment, linen, etc. -- on the theory
that a nicer paper with a professional tint will stan out amist all
the white paper on an eitor.s es*. /on.t !o to +colors+ however --
pin* paper an blue type scream for re-ection.
A SAS% 3self-aresse stampe envelope4. /on.t use +insert+ envelopes9
fol a full-si<e business envelope 3`7#4 in thirs an use that. :e
sure it has ae5uate posta!e. &f you are submittin! a 5uery from
another country, be sure that your SAS% has the correct posta!e for the
tar!et country -- or else inclue an appropriate number if &GCs
3international reply coupons4.
(H% 6AS( E,G/
Bor better results, focus on the AC(&,N you want the reaer to ta*e
after reain! the letter. S$:(6% H&N(0 1ou want them to thin* -- Hey,
we o not want to miss out on this script, lets ta*e a loo* at it.
0ynopsis
%ven when many writers unerstan their story.s premise, they have a
tenency to revert to offerin! e2amples of the activities of their
characters an plot evices when as*e to escribe their story. Ehile
characters an plot are a manifestation of a story, they o not
accurately reflect what a story itself is about. (he purpose of this
essay is to lay out the principles of writin! a story synopsis0
unerstanin! what a story is that en!a!es an auience
writin! a synopsis that reflects a story.s movement to
fulfillment
unerstanin! the ifference between a synopsis of a story an an
outline of character !oals an plot evice
Ehen a writer is able to write a story synopsis that accurately
reflects the issues at sta*e in their story, they can escribe their
story in a ramatic, compellin! manner.
W-0t01* A S31(#0#
Cany writers confuse this issue of escribin! a story by outlinin! the
actions of their characters because they come to their story throu!h
some character or plot evice. (o escribe a story, however, is a
separate issue from writin! about a character.s !oals. Bor e2ample, the
152
Sir William K. Coe
story #he Hunt for Red /cto"er is about 6-%%2() 2%6%+t01* (-%##0(1.
(his is the ramatic issue at the core of the story. (hrou!h resolvin!
what.s at sta*e in the story -- this issue of freeom efeatin!
oppression -- in a ramatic way, the story offers an auience a
fulfillin! e2perience.
(o escribe #he Hunt For Red /cto"er, then, is not the same as tal*in!
about the actions of its main character, Gamius. A synopsis of #he Hunt
For Red /cto"er mi!ht be!in,
HTh% H41t F(- R%2 O't(;%-H 0# th% #t(-3 (6 (1% )+1I# B4%#t t( ;% 6-%%
(6 th% #3#t%) th+t (-%##%# h0).H
Note, the first line of the synopsis ientifies what.s at sta*e in the
story, freeom efeatin! oppression. ,ne shoul avoi writin!,
G#he Hunt For Red /cto"er is the story of Ramius> the commander of a
0o(iet nuclear;missile armed su"marine who uses the su"marine he
commands to flee to *merica-G
Gamius manifests the story, but the story itself is about this issue of
freeom efeatin! oppression. :ecause reaers esire to e2perience this
#t(-3I# fulfillment, they are rawn to the story.
So a story.s synopsis shoul ma*e it clear what.s at sta*e in the story
0t#%&6, first, before introucin! the story.s characters. Characters in
a story have a purpose that is !iven meanin! by what.s at sta*e in the
story.
HT( *+01 h0# 6-%%2(). R+)04# #%t# 01t( )(t0(1 + &+1 t( %#'+% t(
A)%-0'+ 01 th% R%2 O't(;%-.H
Note that R+)04#, as a character, is escribe in his relationship to
the issue at sta*e in the story, 6-%%2(). (his continues this process
of the synopsis escribin! the story itself. ,ne shoul avoi writin!,
G*s the story opens> Ramius sets in motion a plan to escape to *merica
in the Red /cto"er-G
(his offers a escription of the story.s main character, an the
story.s plot, but it oesn.t su!!est the connection between Gamius.
actions, the story.s plot, an what.s at sta*e in the story itself.
HR+)04# h+# &(1* h+t%2 h0# (-%##(-#. th% '())410#t +-t3 th+t -4&%#
R4##0+ +12 h0# 1+t05% E#t(10+. ;4t h%I# ;%%1 h%&2 01 'h%'$ "h0&% h0#
"06% "+# +&05%. W0th h%- +##01*. h% h+# 1( -%#t-+01t# (1 h0# 2%#0-% t(
;% 6-%%.H
(his !ives us a sense of why Gamius esires to be free0 it is to escape
the oppression of his communist masters, whom he loathes. %ven thou!h
this appears to be escribin! Gamius, it.s escribin! him in a way that
153
Sir William K. Coe
ma*es clear his relationship to the story itself, an its premise about
freeom efeatin! oppression.
,ne shoul avoi writin!,
GRamius wants to pay "ack the communists for what they ha(e done to his
homeland> ,stonia-G
(his e2plains why Gamius acts, an it.s true, but it oesn.t tie his
actions into the story.s unerlyin! premise.
HT( #%t 01t( )(t0(1 h0# &(t t( %#'+% t( A)%-0'+ +12 6-%%2(). R+)04#
)4#t -0#$ $0&&01* h0# (&0t0'+& (660'%-. th%1 t-4#t th+t h0# '-%" "0&&
;&012&3 6(&&(" h0# (-2%-# ;%'+4#% h%I# th%0- '+t+01. R+)04# 2(%# th0#
$1("01* th+t 06 h% +'t# #4#0'0(4#&3. (1% (6 th% '-%" h+# (-2%-# t(
$0&& h0).H
(his escription continues to tie Gamius. actions into the story.s
unerlyin! premise. (hat Gamius can act to !ain his freeom, but he
must ta*e -0#$#. &t is the nature of a story that it creates rama over
its outcome. So a synopsis shoul offer an iea about what sets out a
story.s rama. Ne2t, by the very fact that Gamius is part of an
oppressive system !uarantees his orers will be obeye. (hus, this
escription of the story ties these elements into its premise about
freeom an oppression. (hir, the synopsis raises a ramatic issue
that plays out throu!h the story0 how lon! can Gamius hie from his
assassin his true purposeH
Avoi writin!,
GRamius kills the Red /cto"er's political officer> and then gi(es his
crew orders he knows they will follow "ecause he's their captain-G
(he above merely escribes the actions of Gamius, without tyin! them
into the story.s unerlyin! premise. An, without !ivin! a stron!
su!!estion of the rama over the story.s course an outcome.
HK0&&01* th% (&0t0'+& (660'%- 0# (1&3 + 60-#t #t%. N%8t. R+)04# )4#t
+5(02 2%t%'t0(1 ;3 h0# 6%&&(" #4;)+-01%-# "h%1 th%3 +-% (-2%-%2 t( 6012
+12 2%t+01 h0)...&+t%-. t( 6012 +12 2%#t-(3 h0). F(- h0# '())410#t
(-%##(-# 6%+- "h+t + 6-%% )+1 +-)%2 "0th 14'&%+- )0##0&%# )0*ht 2(.H
Note the repetition of the story.s main theme, freeom, an the
escalation of the rama over the story.s outcome0 Gamius is now
actively hunte an feare by his oppressors. Note how this synopsis
presents that each step that Gamius !ains to be free, he oubles the
efforts others ta*e to stop him. (his, in brief, is the purpose of the
story.s plot, to increase the rama over the story.s outcome.
Avoi writin!,
15/
Sir William K. Coe
GRamius outmaneu(ers the 0o(iet su"marines sent to find him> captained
"y men he has trained- &n Moscow> those in the military and communist
party "egin to fear what Ramius might "e planning> and plot his
destruction-G
(he above fails to irectly state +why+ the men in Coscow fear Gamius.
HR+)04# (4t)+1%45%-01* th% #(50%t #4;)+-01% 6&%%t ;-01*# +;(4t +1 (-2%-
th+t th% #(50%t #4-6+'% 1+53 6012 +1 2%#t-(3 h0). Th% S(50%t 1+53 *(01*
(1 +&%-t 01 th% At&+1t0' 4t# th% A)%-0'+1# (1 th% +&%-t. Wh%1 th%3
&%+-1 th+t + 14'&%+->+-)%2 #4;)+-01% 0# (1 + '(4-#% t("+-2 A)%-0'+.
2%'0#0(1# )4#t ;% )+2% +;(4t th% 1+t4-% (6 th% S(50%t th-%+t. +12. 06
th% R%2 O't(;%- 0# + -(*4% #4;)+-01%. th% A)%-0'+1# #h(4&2 2%#t-(3 0t.
T%1#0(1# %#'+&+t% 01 W+#h01*t(1 D.C. +12 M(#'(". B4t CIA +1+&3#t A+'$
R3+1 #4#%'t# R+)04#I t-4% 4-(#%. B%'+4#% h% (%-+t%# 01 + 6-%%
#3#t%). h0# '(41'0& 0# *05%1 "%0*ht +12 &0#t%1%2 t(.H
Note how this synopsis introuces Fac* Gyan, the other main character
of the story. His actions are tie to the fact that Fac* is listene to
because he operates in a free system. (hus, the escription of Fac*
also ties his actions into the story.s unerlyin! premise.
Avoi writin!,
GRamius outmaneu(ering the so(iet su"marine fleet puts the so(iet
*tlantic fleet onto full alert to find
and destroy him- *n *merican attack su"marine that has picked up
Ramius' trail passes along information a"out the Red /cto"er- #he
*merican sailors are intelligent> capa"le> and a"le to think for
themsel(es> in contrast to the so(iet counterparts- &n Washington D-%->
%&* analyst ack Ryan suspects that Ramius' purpose may not "e what it
appears- He is a strong> charismatic man> and his opinion is listened
to- &n "oth Washington and Moscow> tensions mount-G
(he above is o*ay, but it oesn.t clear continue to ientify what.s at
sta*e in the story.
HR+)04# +12 th% R%2 O't(;%- 1+--("&3 +5(02 ;%01* 2%#t-(3%2 ;3 + #(50%t
+tt+'$ #4;)+-01%. B4t 1(" th% A)%-0'+1 )0&0t+-3 )4#t )+$% + 2%'0#0(1:
#h(4&2 R+)04#. + -(*4% )0&0t+-3 '())+12%-. ;% 2%#t-(3%29 I# h% + th-%+t
t( A)%-0'+9 A+'$ R3+1 4t# 01t( +'t0(1 + &+1 t( -(5% th+t R+)04# 0#
+tt%)t01* t( %#'+% t( A)%-0'+. +12 ;-01*01* + t-%)%12(4# -0C%: + 1%"
t3% (6 #4;)+-01% "0th + -%5(&4t0(1+-3 -(4&#0(1 #3#t%).H
A!ain, this ties Gamius. action to this battle between freeom an
oppression.
(o conclue,
HI1 + '&0)+'t0' '(16-(1t+t0(1. A+'$ R3+1 ;(+-2# th% R%2 O't(;%- +12 0#
+;&% t( $0&& th% KGB +##+##01 h41t01* R+)04#. W(-$01* "0th R+)04#. th%
156
Sir William K. Coe
t"( )%1 +-% +;&% t( #t+*% +1 H%8&(#0(1H +12 #01$01* (6 th% R%2 O't(;%-
"0t1%##%2 ;3 0t# '-%". "h( h+5% ;%%1 0'$%2 4 ;3 A)%-0'+1 5%##%&#. Th%
'-%" "0&& th4# -%(-t th+t R+)04# 0# 2%+2. th% R%2 O't(;%- #41$. B4t
"(-$01* t(*%th%- +12 +02%2 ;3 th% 01*%140t3 (6 th% A)%-0'+1 )0&0t+-3.
th%3 )%-%&3 H#t+*%H th+t th+t th% R%2 O't(;%-. th% S(50%t U10(1I# )(#t
+25+1'%2 #4;)+-01%. h+# ;%%1 #41$.
HTh-(4*h h0# 412%10+;&% '(4-+*%. +12 th% +02 (6 A+'$ R3+1 +12 (th%-
A)%-0'+1#. R+)04# *+01# h0# 6-%%2().
HTh% H41t F(- R%2 O't(;%- 0# + 2-+)+t0'. '()%&&01* #t(-3 +;(4t h(" th%
5+&4%# (6 6-%%2() 2%6%+t (-%##0(1.H
(he synopsis ens with a reiteration of what.s at sta*e in this story,
an the story.s fulfillment.
At each step of this synopsis, the synopsis has been clear about what.s
at sta*e in the #t(-3. (o simply escribe the actions of a story.s
characters an its plot evices in a synopsis is to leave out what
actually en!a!es the interest of an auience0 the ramatic playin! out
of what.s at sta*e in the story revolvin! aroun a ramatic issue or
iea that has en!a!e the interest of its auience.
(he ability to write a synopsis that clearly escribes what.s at sta*e
in a story an a story.s fulfillment helps a writer brin! out the true
ramatic issue or iea at the heart of their story. Such a synopsis
answers not only the 5uestion of +how,+ but the eeper 5uestion of
+why+ an auience shoul care about a particular story an its outcome.
#reatment
A premise is an iea for a story9 the set-up or situation, with little
or no story implie. Garely written own to be presente.
A synopsis can be one lon! para!raph, or several para!raphs9 probably
no more than a pa!e-an-a-half in len!th9 usually less, usually focuse
on plot. &t.s often a concise istillation of a story that e2ists in
lon!er form, such as the synopsis of a script foun in a covera!e.
A treatment is a full e2ploration of a story. Covers character, plot,
settin!, theme9 clarifies the intent of the writer. Can contain
character escriptions, a synopsis, or statements on theme an tone.
Attempts to convey the film!oin! e2perience throu!h to the story.s en9
may use bits of *ey ialo!. $sually more than three pa!es9 avera!e is
seven to twelve.
,ccasionally, you.ll !et a proucer or a evelopment person who wants
you to !ive them a treatment so they can use it as a !uie to pitch to
their boss or the company they have a eal with. /on.t be surprise if,
after you !ive them the five pa!es, they as* you to conense it into
one or two.
151
Sir William K. Coe
(reatments are A6EA1S written in the present tense an sin!le-space.
(hey are the broa stro*es of the story an tell about the settin! of
the story, the characters in the story, the plot points of the story
3turnin! points4, the most ramatic scenes in the story, an from whose
point of view the story is tol.
(here are several techni5ues for ma*in! your treatment more reaable.
,ne is to use heain!s in all caps so any e2ecutive can easily follow
the story 3li*e chapter heain!s in a boo*4.
Another techni5ue is to label the information that you are !ivin! them.
Some fre5uently use labels are C,NC%'(, (,N%, CHAGAC(%GS, (H%C%, '6,(,
an G%S,6$(&,N. Ca*e sure your act brea*s or turnin! points are clear
but on.t label them.
&f you choose to inclue any ramatic pieces of ialo!ue, write them in
prose, i.e. +she tells him that she.s leavin!+ or *eep the ialo!ue to
a minimum an place in 5uotes U +&t.s over.+
:e sure to place character names in all caps when first introuce.
Ehen writin! a treatment, thin* )&S$A6. 'aint us a picture of the
scenes. & li*e to start a treatment with a wor picture of the settin!.
Somethin! li*e this0
&t.s hot. Not -ust hot. Killer hot. Steam rises from the street. Hu!e,
blac* clous roll into the city that refuses to ie. 'alm trees ben
almost in half. Suenly, the s*ies open up above NASA hea5uarters.
$se wors that appeal to the senses when writin! treatments. Althou!h
the primary sense that you.ll want to use is visual, on.t for!et
auitory an sensual 3touch4 wors. (he EH&G of the helicopter blaes
as the chopper lifts offU
Cany screenwriters prefer startin! with an action se5uence.
Bor e2ample0 (he S$) careens aroun the corner9 a !irl -umps from the
front seat. /on.t you want to *now what happens ne2tH
A treatment is written in prose form in para!raphs that are separate
by a line of space. All para!raphs shoul be short.
(reatments for television cover seven acts, while treatments for
feature films usually cover three acts. Bre5uently, screenwriters are
as*e to write a treatment when a prouction company or stuio has
obtaine the ri!hts to a true story or has optione the film ri!hts to
a novel. &n both cases, the e2ecutive wants to *now what the writer.s
ta*e woul be on this pro-ect.
Eho is the main characterH Ehat oes heOshe wantH How will the film
iffer from the boo* or true storyH (here.s a fine line to wal* here.
1ou want to show that you have an active ima!ination, but on.t stray
too far from what they purchase.
152
Sir William K. Coe
A treatment is no place to try an impress your colle!e %n!lish
professor. /on.t use bi! wors or soun pretentious. Grab a hammer from
the toolbo2 an nail own some simple, eclarative lan!ua!e.
/on.t rown us with etails about the story. 1ou.ll bore us to eath
an you won.t ma*e a sale. Know what the theme or point of your story
is an rive it home. Ca*e us relate to it. Ehat about your story hoo*s
us, ma*es us want to hear moreH
Here are the components of a !oo treatment0
7. Start with an openin! that hoo*s the reaer.
8. &ntrouce the reaer to your prota!onist an ma*e sure that we care
about this person.
;. Show us what the main conflict of the story is an what type of
story we.re reain! 3rama, suspense, action, comey, etc.4
=. Give us the story line 3spine4 an structure of the story. (his
section shoul inclue the ma-or scenes of the movie an the turnin!
points 3act brea*s4.
>. %n with a *noc*out enin! that ma*es us want to shout +1%SL+
Gemember the !oal of your treatment is to !et them intereste an
wantin! more. (hen, they.ll call you for a meetin!.
&f it.s at all possible, try to procee to the screenplay without
writin! a treatment at all.
0tep /utline
,*ay, this is more a evelopment tool, but & still felt the nee to put
it here with the rest of the tools of the trae.
A step outline is a scene by scene outline with 3little or4 no ialo!ue
that is the intermeiate form between the treatment 3or synopsis4 an
the script. &f your treatment is well written, you can easily e2panO
elaborate it into a synopsis. &f your synopsis is well written,
virtually each sentence will become a scene, an a list of the scenes
is the basis of your step outline, an ultimately of your script.
%2pan each sentence into a synopsis of the scene it will become,
*eepin! it in prose, not ialo!ue. (he step outline once complete is
the basis of the screenplay. Simply translate the prose into ialo!ue
an escription, an viola-- there you have it.
:y now, you have an iea of what you want your movie to be about. Now
its time to !ive your story some structure. (o clearly efine a
be!innin!, mile, an enin!. (hen we can start piecin! the bones
to!ether an buil the s*eleton of your script, also *nown as the step
outline.
How o you create a step-outlineH
Birst, you.re !oin! to nee a couple of thin!s0
'atience
153
Sir William K. Coe
=#-?# ine2 cars or three blan* sheets of paper
'en, 'encil, or Computer
'lot Summary - 3iea4 for you movie
:asic ,utline 3optional4
&t.s a !oo iea to create a basic outline as well, consierin! you
nee your ma-or turnin! points in orer to write your scenes. :elow is
an e2ample of a basic outline to help you !et starte.
(he Shawshan* Geemption 3:asic ,utline _ Ca-or (urnin! 'oints4
(he setup
AC( ,N%
Any.s convicte of murer an enters Shawshan*
'6,( ',&N( ,N%
Any as*s Ge for the Goc* Hammer
(he Conflict
AC( (E,
Birst Half0 Any aapts to prison life an forms a relationship with
Ge, the man who can !et anythin!
Secon Half0 Any tells Ge about the Earen an fins out who *ille
his wife. Hope for freeom
'6,( ',&N( (E,
Any escapes from Shawshan*
(he Gesolution
AC( (HG%%
Any an Ge reunite in Ce2ico
DD(his is the story you will always be tellin!. 'in your premise on
your bulletin boar or even your forehea so you never lose trac* of
the irection of the story.
& offer you eleven 5uestions with e2planations an by answerin! them
with your concept in min you will have the basic structure of you
movie.
7.Ehat is the set-upH (he openin! of your script must raw the
prospective auience into the initial settin! of the story. 1ou must
reveal the everyay life of your hero or prota!onist. An you must
allow the auience to establish an ientity with the character by
ma*in! him or her sympathetic, threatene, funny, li*eable, an or
powerful.
8.Ehat is the opportunityH (his is the first turnin! point in the
story. :y the en of the en of the first ten percent of your script,
your hero must be presente with an opportunity that will create a
visible esire, an start the character on a -ourney.
154
Sir William K. Coe
;.Ehat is the new situationH (he hero must react to a new situation or
problem that resulte from the opportunity. (he hero must formulate a
plan an efine an overall !oal. ,ften, the opportunity leas the
character to a new location an enters the new situation willin!ly,
with a feelin! of e2citement an anticipation. (he character also
believes that the new problem can be easily solve.
=. How o the plans chan!eH (his is the secon turnin! point in the
script an must ta*e place by the en of the first twenty five percent
of the script. Somethin! must happen to the hero that over shaows the
ori!inal !oal into a !reater esire an !oal with a clearly efine en
point.
>. Ehat pro!ress oes the hero ma*eH (he hero is ma*in! pro!ress towar
the new esire. His or her plan seems to e wor*in! as action is ta*en
to achieve the !oal. (he character overcomes all obstacles as the
approach.
?.Ehat is your point of no returnH (his is the thir turnin! point in
the story. At the e2act mipoint of the script, the hero must full
commit to achievin! the esire !oal. (he option of turnin! bac* or
!ivin! up on the plans is no lon!er available.
". Ehat are the complications an what is at sta*eH 1ou must reveal
some of the complications the character is facin!. Achievin! the
visible !oal becomes increasin!ly ifficult. Geveal what the hero can
lose if he fails. 1ou must buil your conflict but also allow success
to be within the heros !rasp.
@. Ehat is the ma-or set bac*H (his is the fourth turnin! point in the
story. Seventy five percent into the story somethin! must happen to the
hero an his plans that ma*es it seem to the auience that all is lost.
(he hero is face with a o or ie ecision.
A.Ehat is the plan of last resortH Geveal the heros final plan. (he
hero cant 5uit, he must ris* everythin! to achieve the ultimate !oal.
(he conflict must be overwhelmin!. (he pace must be accelerate. &t
must seem that everythin! is wor*in! a!ainst the hero.
7#. Ehat is the clima2H (his is the final turnin! point in the story
an must ta*e place by the last A# to AA percent of the story. (he hero
must face the bi!!est obstacle yet. $sin! all his *nowle!e ac5uire
throu!h his -ourney he must etermine his own fate. A visual finish
line must be resolve.
77. Ehat is the aftermathH (his is where you reveal the new lie of the
hero. Show what awaits the hero now that the -ourney is over.
:y answerin! these 5uestions, you will have all the necessary
information to complete your step outline. (he step outline is a
se5uential orerin! of your scripts scenes. A rama will consist of
appro2imately ;# steps an an action O aventure will consist of
appro2imately =# steps.
115
Sir William K. Coe
Steps 7-> shoul be your set up, the be!innin! of your story. Steps ?-
8>, for a rama, ?-;>, for an action O aventure, will be your
complications. An the remainin! steps are where you reveal your enin!
an aftermath of the story.
Creatin! a Step-,utlineL
(here are usually forty to si2ty scenes in a movie. %ach ine2 car
will represent one scene in your movie. ,n one sie of the ine2 car
tell yourself what the scene is about, an on the other sie ientify
whether it.s a ma-or turnin! point li*e the incitin! incient, first
act clima2, or resolution. &ne2 cars are !reat because you can
rearran!e scenes in your story without havin! to rewrite everythin!. &f
you.re usin! re!ular paper, that.s ,K, -ust be prepare for possible
rewrites. %very writer has a uni5ue way of wor*in!. Bin what.s best
for you. %ach step in your outline consists of a one or two sentence
statement clearly escribin! what happens in the scene. /on.t worry
about fancy writin! because the step-outline is strictly for your eyes
only. Gemember, this is your roamap to tellin! a hi!h 5uality story.
&.ve bro*en own a movie that you.ve probably seen so that you can
follow how the outline coul have been written. 1ou can follow the
step-outline an see how the story unfols into a be!innin!, mile,
an en.
111
Sir William K. Coe
P-(<%'t P&+1
(itle0
GenreOescription0
#arget Market
Ehat is the best mar*et for your scriptH
Ehat is the best venue for your pro-ectH 3Ehere similar proucts can be
foun4
6ist proucers an prouction companies that prouce for this mar*et.
&f appropriate for your mar*et, list the actors or actresses you feel
woul best fill as cast to your movie.
6ist potential irection for your pro-ect.
6ist iniviual a!ents if you plan to sell to a!ents.
Making %ontacts
Eho in the film business has rea your wor* an respone favorablyH
Eho o you *now in business you can refer you to someone else otherwise
helpfulH
6ist friens, family, associates, etc. who mi!ht have business contacts.
6ist places you can !o to networ*0 writers !roups, clubs, seminars,
etc.
6ist other mar*etin! research sources 3traes, irectories4.
6ist other ieas that mi!ht be ri!ht for your script, such as contests.
112
Sir William K. Coe
P(#0t0(101* St-+t%*0%#
3not part of plan, only to help4
How is your pro-ect similar to other pro-ects in the meium you have
chosenH
How is it ori!inalH Ehat fresh twists oes it aH
/raw a movie poster an a for your movie. How will it be solH
Which of your script's pluses can you emphasi+e in the selling process?
Commerciality-Eill the resultin! movie be a cinch to mar*etH
A role that an +A+ actor or actress will covet.
A story that is visual, active, an fresh, that oesn.t rewor*
other movies.
An enin! that is emotionally satisfyin!.
A character 3an characters4 that is believable an interestin!.
A script that is not too similar to a recent failure, yet has
somethin! in common with a past success.
A script that is in correct spec format, an that flows li*e a
river when rea.
A one-sentence concept, hoo*, or lo!line that says, +(his is a
movie. :uy meL+
A concise, har-hittin!, saliva-inucin! 5uery letter.
Eill the resultin! bu!et be unreasonable for the !enre, with a o<en
far-flun! locations shot entirely at ni!ht in the water with animals
an chilren, an with hunres of special effects an opticals.
What personal pluses do you "ring to the ta"le?
%nthusiasm.
,b-ectivity-Can you separate your e!o from your wor*, or are
you efensiveH
Ambition-/o you love the business an want a full-time writin!
careerH
Grace-/o people en-oy wor*in! with youH tal*in! to youH meetin!
youH
113
Sir William K. Coe
IDENTIFYING PROSPECTS
(he ne2t step in your plan-once you have complete the above wor*sheets
an the +positionin!+ wor*sheets that follow-is to be!in your mar*etin!
research an networ*in!. 1ou will also be!in to approach people you
suspect mi!ht *now someone in the inustry.
Now, select your best prospects 3proucers, talent, irectors, a!ents,
an contacts4. Generally, you will wor* with about ei!ht people at a
time. 1ou will not contact any of them until you have one your
homewor* 3complete the wor*sheets4.
Name (itle
Company
:uyin! 3anOor other4 history
:u!et ran!e 3if applicable4
Current neesOwants
How heOshe prefers to be contacte
Name (itle
Company
:uyin! 3anOor other4 history
:u!et ran!e 3if applicable4
Current neesOwants
How heOshe prefers to be contacte
11/
Sir William K. Coe
W%%$&3 A't0(1 P&+1
Cain !oal
Key milestones 7
8
;
(ime commitment
Ehat specific actions will ta*e you this wee* to achieve your
milestonesH
Car*etin! research
Ceetin!s, pitches, !roups, networ*s
Query letters
Col calls
Bollow-ups
Contests
,ther
,ther
,ther
Notes0
ASSIGMENTS
Complete all plans an other ocuments within this chapter.
Contact a!ents an prouction companies an sen your scripts
when as*e.
:efore you submit your script, o the followin!0
Get feebac* from writers. !roup members.
Consier hirin! a professional reaer or script analyst.
Ca*e a-ustments. &s your script a +!oo rea+H
:e sure the script loo*s 7##Y professional an that it is
formatte correctly. Ge!ister your script with the Eriters Guil
of America an copyri!ht with the Copyri!ht ,ffice.
116
Sir William K. Coe
A%1208
S+)&% S'-%%1&+3 O%101*
BA/% &N
Sunli!ht spills throu!h the narrow blins of a lar!e winow an own
onto a plush re carpet. A vibrator is hear hummin! in the bac*!roun
alon! with the voices of a man an a woman, B6,1/ (H$GS:1 an :AC:&
SHAG'S(%&N.
:AC:& ,.S.
Eier... ,h, please... ,pen wierL
(he man.s response is a !arble, inauible !roan.
B6,1/ ,.S.
Gowrafrooahara.
(he camera moves up from the carpet to reveal the feet an le!s of the
man, twistin! an writhin! in a hori<ontal position on an e2tene
loun!e chair. (hey are clothe in blac* win! tips, brown soc*s, an
!ray polyester slac*s. /rape over the man.s le!s is one of the woman.s
shapely calves, hi!hli!hte by her sheer white hose an white shoes.
Covin! up the two intertwine boies, we see that the woman is rape
over the man.s chest an is massa!in! his !ums with the rubber tip of
an electric ental vibrator, while he s5uirms apprehensively in a
ental chair.
:AC:&
1ou.ve !ot to start flossin! more, Cr. (hursby.
She pushes her fin!ers eeper into his mouth.
:AC:& 3Cont.4
Ee on.t want to let Cr. 'la5ue !et the best of Cr. Colar now, o weH
B6,1/
3lon!in!ly4
Bruhroorahayia.
Ee move into a C6,S%-$' of Bloy.s han as it !rips the arm of the
chair passionately.
C$( (,0
%P( - C&(1 'AGK - N&GH(
Bloy is sittin! on a lonely par* bench, loo*in! istrau!ht an
ishevele. He is surroune by pi!eons an is clutchin! an ol
toothbrush. He stares blan*ly into space.
111
Sir William K. Coe
B6,1/ ).,.
Cy life issolve the ay & met her.
112
Sir William K. Coe
P+-+20*) St-4't4-%
113
Sir William K. Coe
St% O4t&01%
74 &nsie a house
a4 A photo of a lovin! family. &n bac*!roun, we can hear the soun
of a chilren.s party in pro!ress.
b4 &nto the party steps Seamus, a tall, !oo-loo*in! man in his mi-
thirties.
c4 (he family ma*es a fuss of him. (he *is sit on his lap an *iss
him. He is a popular an familiar !uy.
4 (he father of the family ta*es Seamus to one sie.
e4 A little later, one of the little *is loo*s out of the winow
an watches as her father is shot by Seamus.
f4 Seamus wal*s off
84 Seattle city center
a4 (he tall builin!s frame a!ainst the mountain bac*rops twin*le
unerneath the canopy of a serene us*. $nerneath an unerscorin! all
this, we hear the strains of :ruc*ner.s 8n Symphony.
b4 Ee start to rop slowly, till eventually a lar!e hall comes into
view, fillin! frame.
;4 Seattle symphony hall
a4 (he conuctor cuts his baton throu!h the air as he !uies the
Seattle Symphony throu!h a thumpin! alle!ro section.
b4 'ushin! past various musicians, we finally lan on a beautiful
woman cellist in her late twenties. (his is Kate Gerar.
c4 As the music buils to cresceno, she loo*s up an sees a
familiar face in the auience. &t.s a youn! man of similar a!e to Kate.
She smiles at him.
4 ,utsie, Kate, cello case in han, runs own the steps of the
concert hall an flies into the arms of the youn! man. (hey hu! an
*iss.
e4 She as*s him when he !ot in.
f4 He tells her he.s been bac* -ust over a wee*.
!4 She playfully starts to beat up on him. (his is %ri*, her brother.
=4 Apartment :loc*
a4 Kate is wal*in! a few paces behin %ri* as he wal*s own the
corrior towar the oor of his apartment.
b4 :alancin! an enormous pi<<a bo2 an a bottle of wine, %ri* opens
the oor to his sparsely-furnishe apartment.
c4 He *neels own, his eyes comin! into line with a fine cotton
threa stretche out across the oorway about *nee hei!ht9 the threa
bein! hoo*e aroun a small tac*. Seein! that it is still intact, he
5uic*ly unwins the cotton an lets it fall to the floor.
4 A beat later, he steps asie to let Kate step throu!h the oor
with her cello in tow.
e4 &nsie the room she comments on how sparsely furnishe the place
is.
f4 He tells her hes only been bac* a few ays.
!4 She as*s him what new -ob is he up to now.
h4 He lifts up a hu!e envelope an tells her it.s a travel boo* that
he has been wor*in! on for some time. Kate is impresse.
114
Sir William K. Coe
i4 He tells her that it is finishe an that he has a publisher here
in town intereste in buyin! it M which is the reason for him comin!
bac*.
-4 She seems please for him.
*4 He tells her that it shoul have been maile toay.
>4 %ri*s Car
a4 /rivin! Kate home, %ri* as*s her if she still has +a.s ol
tub-- her fathers boat. He as*s her if he coul use it on the
wee*en.
b4 She lau!hs. +Ehat.s all the bi! interest in sailin! a!ainH+ +(he
last time he went sailin! was when we were *is.+
c4 %ri* tells her he has chan!e his min. (hat he.s been stuc* in a
car - lan loc*e - an that he -ust wants some time to himself.
4 %ri* tells her that if it.s o*ay with her, he.ll come over
sometime over the wee*en an pic* up the *eys to the boat.
e4 She tells him that its no problem, !ets out of the car an
watches him rive off.
?4 %ri*s Apartment
a4 %ri* opens the oor to his apartment.
b4 He stans for a moment in the oorway an a!ain *neels to chec*
the cotton alarm system. :ut this time the cotton has been bro*en.
c4 He stiffens an fin!ers the limp cotton between his fin!ers.
4 He enters the apartment an surveys the room. Nothin! loo*s as
if it.s been isturbe.
e4 He calls Kate, who is awa*ene from her sleep by the call.
f4 %ri* tells her he.s comin! over ri!ht now for the *eys to the
boat.
!4 She sleepily a!rees an tells him to come over an collect them.
"4 Fohnson Quaysie
a4 %ri* !ets into a small sloop. Brom his emeanor, he is no !reat
yachtsman.
b4 ,n the hori<on the clous loo* thic* as we push in close to the
boat, so close we can ma*e out its name, (he Cary Cay.
@4 Harbor 'atrol hut
a4 (he ne2t ay a youn! harbor patrolman - feet up on the table - is
watchin! ().
b4 /istracte by the bu<< of the phone. He pic*s it up an answers
it.
A4 ,ut at Sea
a4 Somewhere out at sea, we see a couple in a boat. (hey loo*
concerne.
b4 Surrounin! their boat is the wrec*a!e of another boat - the
nameplate, (he Cary Cay can be seen floatin!.
7#4 'olice Station
a4 Kate stans listenin! to a etective insie a police station.
b4 Her youn! au!hter blithely stares out at her tearful mother,
cryin! silently behin an office ivie.
125
Sir William K. Coe
c4 (he etective tells Kate that they foun the boat somewhere off
'a5uaw &slan, but not %ri*s boy.
4 He tells her some of his clothes where foun an that.s how they
mana!e to contact her.
e4 (he etective tells her that his boy may alreay have been
washe out to sea with the stron! mornin! current, but they.re !oin! to
*eep searchin!.
f4 He as*s her whether or not her brother was epresse, implyin! he
mi!ht have wante to ta*e his own life.
!4 She tells him %ri* seeme full of life the last time she saw him.
h4 (he etective continues an as*s why woul a !uy want to ta*e out
a boat that he coul barely hanle into an obvious on comin! storm.
i4 (his sets her min racin!.
121
Sir William K. Coe
St% O4t&01%
'remise0 A youn! ban*er is wron!ly convicte of a murer an sentence
to life in prison. After brin!in! hope an resourcefulness to the
entire prison he escapes uner arin! an almost impossible
circumstances to recapture the freeom he was enie for twenty-years.
(he Shawshan* Geemption 3A 'ossible Step-,utline4
AC( ,N%
Scene ,ne0 Any 3our hero4 fins himself on trial for a murer he i
not commit.
Scene (wo0 Any.s convicte of murerin! his wife an her lover.
Scene (hree0 At the prison we meet +Ge+, a man who.s been
institutionali<e most of his life. (he man who can !et anythin!.
Scene Bour0 Any an the new set of prisoners arrive to!ether at the
Shawshan* state prison uner intimiatin! an unpleasant circumstances.
Scene Bive0 (he new inmates meet the waren who turns his bac* on any
in-ustice an claims to live by the :ible.
Scene Si20 /urin! Any.s first ni!ht in the prison the !uars beat to
eath an inmate for cryin! to louly. Any *eeps to himself.
'lot 'oint ,ne
Scene Seven0 Eee*s later, Any tal*s to +Ge+, he trusts him. Any as*s
him to !et him a small roc* hammer.
AC( (E, - B&GS( HA6B
Scene %i!ht0 Any is rape an beat by a !roup of men calle +(he
6aies+. &t won.t be the last time. He aapts to prison life.
Scene Nine0 Any !ives ta2 avice to the hea !uar as*in! only in
return a few beers for his cowor*ers. Any is establishin! his
relationships with the !uars an fellow inmates.
Scene (en0 6ate at ni!ht when li!hts are out Any slowly be!ins pic*in!
away at the wall in his cell.
Scene %leven0 Any as*s Ge for a Gita Hayworth poster. Ge assumes
it.s for entertainment.
Scene (welve0 (he laies beat Any to a pulp an he.s in the infirmary
for a month.
Scene (hirteen0 (he !uars beat the hea 6ay almost *illin! him, an a
!roup of inmates collect roc*s for Any. (hey li*e him an trust him.
Scene Bourteen0 (he waren hears of Any.s ta2 s*ill an puts the
feelers out on him. (he waren is up to somethin!.
Scene Bifteen0 (he waren sens Any own to the library to wor* with
ol man :roo*s. (he waren wants Any close to him. Any continues to
help the !uars with their money an ta2es.
Scene Si2teen0 :roo*s fins out he.s bein! release an !oes cra<y.
He.s spent his whole life in prison an oesn.t thin* he can survive on
the outsie.
Scene Seventeen0 :roo*s is release an han!s himself alone in his
apartment.
122
Sir William K. Coe
Scene %i!hteen0 After si2 years of writin! letters Any finally
receives a little bit of money to start a library in the prison.
Creatin! hope for the inmates.
Cipoint
Scene Nineteen0 (he opportunity arises for Any to hear some music an
he plays it for the entire prison. (he hole is worth the soun an
memory of music for Any. &t !ives him hope.
AC( (E, - S%C,N/ HA6B
Scene (wenty0 Ge tells Any his stories of hope are pointless. Ge
once a!ain is enie parole.
Scene (wenty-one0 Any !ives Ge a !ift of music, showin! him that hope
oes e2ist if you allow it to.
Scene (wenty-two0 (he waren tal*s to Any about oin! boo*s for him.
Any receives enou!h money to buil a real library an they name it
after :roo*s.
Scene (wenty-three0 (he waren is runnin! a money scam throu!h the
prison an Any is his tic*et to millions.
Scene (wenty-four0 A youn! prisoner name (ommy arrives at the prison.
All the !uys incluin! Any ta*e a li*in! to him.
Scene (wenty-five0 (ommy tells Ge an Any the name of the prisoner
who *ille Any.s wife an lover.
Scene (wenty-si20 Any tells the Earen who won.t help Any.
Scene (wenty-seven0 (he waren has youn! (ommy *ille so Any can.t !et
out of prison.
Scene (wenty-ei!ht0 (he waren puts Any in the hole. (he waren
oesn.t trust Any !ettin! out, he *nows too much.
Scene (wenty-nine0 Any tal*s to Ge about !oin! to Ce2ico. He hints to
Ge that he oesn.t plan on stayin! in prison much lon!er.
Scene (hirty0 Ge an the !an! thin* Any is !oin! to *ill himself.
He.s been actin! stran!ely.
'lot 'oint (wo
Scene (hirty-one0 /urin! cell chec* Any is missin!. (he waren is
frantic. Any will efinitely !o to the police about the corruption at
Shawshan*.
Scene (hirty-two0 Hien behin a poster in Any.s cell is the hole he
escape out of. He spent twenty years i!!in! it.
Scene (hirty-three0 Any escapes an collects the waren.s money. (he
police are on their way to Shawshan*.
Scene (hirty-four0 (he waren woul rather ie then !o to prison. He
*ills himself before the cops can !et to him.
Scene (hirty-five0 Ge !ets out on parole.
Scene (hirty-si20 He is release from prison but not before he receives
wor from Any.
Scene (hirty-seven0 Ge hates the outsie worl. He misses the worl he
*nows - prison. He remembers the promise he mae to Any.
Scene (hirty-ei!ht0 Any invites Ge to Ce2ico, !ivin! him money.
Scene (hirty-nine0 Ge ecie he can ma*e it on the outsie an
travels to fin Any.
123
Sir William K. Coe
AC( (HG%%
Scene Borty0 Ge an Any are reunite in Ce2ico.
12/
Sir William K. Coe
St% O4t&01%
$A'K 0A'K
bC SallC Screenwriter
Act I
1: $eAert. +ot. A taIi cab crHiAeA Down a Dirt roaD.
2: $'I-&' AwerGeA to miAA tortoiAe in roaD. ThiA awaFenA the EaAAenger# $&'&K +!0KI"S.
+e aAFA the DriGer how mHch BHrther to carniGal. Cabbie DoeAn?t AEeaF &ngliAh.
3: A carneC worFer BiIeA the BlaE oB the Big ToE to JAnnie?A AmHAement !?'ama.J AroHnD the
large tent are Amaller tentA which contain either BooD AerGiceA or gameA. 0arFeD behinD the tentA
are trHcFA anD trailerA.
/: The taIi crHiAeA Down the main Atreet oB the Amall TeIaA town.
6: The cab AtoEA at the entrance to the EarF. $ereF EaCA the DriGer anD walFA towarD the tentA.
1: ST&0+A"I& WI"T&'S# a ticFet taFer# greetA $ereF. She BlirtA with him. +e eIElainA he iA
looFing Bor worF. SteEhanie DirectA him to the carniGal?A manager.
2: $ereF BinDA +&'B "!''IS# the rHggeD anD AHrlC manager. +erb hireA $ereF to rHn the illegal
carD gameA Bor the Jhigh rollingJ localA. BHt $ereF mHAt get Binal aEEroGal Brom owner in the
morning.
3: $ereF AEenDA the night AleeEing oGer with the animalA in a Eile oB haC.
4: In the morning# $ereF iA introDHceD to the owner# A""I& $U"CA". It?A hiA eI8girlBrienD.
$ereF iA reaDC to walF bHt Ahe conGinceA him to AtaC# Fnowing he?ll maFe her a lot oB moneC.
TheC agree to aGoiD each other aA beAt aA EoAAible.
15: +erb AhowA $ereF the tent he?ll be worFing in. $ereF haA to clean it oHt anD Aet thingA HE
himAelB. &GerCone mHAt carrC their own weight# +erb eIElainA. "o eIceEtionA.
11: $ereF aAFA aroHnD the area Bor an eItra table anD a broom.
12: +e meetA @I%%) the JwhiEEing boCJ Bor the comEanC. @immC KHicFlC eIElainA the laC oB the
lanD. +e alAo BinDA him all the AtHBB he neeDA to Aet HE hiA tent.

AnD Ao on....
126
Sir William K. Coe
T-%+t)%1t
+Cary Cay+
by Amy Screenwriter
&nsie a house we see a photo of a lovin! family. &n bac*!roun, we can
hear the soun of a chilren.s party in pro!ress. &nto the party steps
Seamus, a tall, !oo-loo*in! man in his mi-thirties. (he family ma*es
a fuss of him, the *is sit on his lap an *iss him. He is a popular
an familiar !uy. (he father of the family ta*es Seamus to one sie. A
little later, one of the little *is loo*s out of the winow an
watches as her father is !unne own by Seamus.
Seattle city center. (he tall builin!s frame a!ainst the mountain
bac*rops twin*le unerneath the canopy of a serene us*. $nerneath
an unerscorin! all this, we hear the strains of :ruc*ner.s 8n
Symphony. Ee start to rop slowly, till eventually a lar!e hall comes
into view, fillin! frame.

Seattle symphony hall. (he conuctor cuts his baton throu!h the air as
he !uies the Seattle Symphony throu!h a thumpin! alle!ro section.
'ushin! past various musicians, we finally lan on a beautiful woman
cellist in her late twenties. (his is Kate Gerar. As the music buils
to cresceno, she loo*s up an sees a familiar face in the auience.
&t.s a youn! man of similar a!e to Kate. She smiles at him.
,utsie, Kate, cello case in han, runs own the steps of the concert
hall an flies into the arms of the youn! man. (hey hu! an *iss. She
as*s him when he !ot in. He tells her he.s been bac* -ust over a wee*.
She playfully starts to beat up on him. (his is %ri*, her brother. He
as*s her if she.s hun!ry. :ut before she can reply the heavens open up
an a ownpour be!ins.

Kate is wal*in! a few paces behin %ri* as he wal*s own the corrior
towar the oor of his apartment. :alancin! an enormous pi<<a bo2 an a
bottle of wine, %ri* opens the oor to his sparsely-furnishe
apartment. He *neels own, his eyes comin! into line with a fine cotton
threa stretche out across the oorway about *nee hei!ht9 the threa
bein! hoo*e aroun a small tac*. Seein! that it is still intact, he
5uic*ly unwins the cotton an lets it fall to the floor. A beat later,
he steps asie to let Kate step throu!h the oor with her cello in tow.
&nsie the room she comments on how sparsely furnishe the place is.
Eell, &.ve only been here a few ays, he tells her. & -ust !ot
everythin! bac* from stora!e. She as*s him what new -ob is he up to
now. Kate tells him she can never seem to *eep trac* of all the -obs
hes ha. He lifts up a hu!e envelope an tells her it.s a travel boo*
that he has been wor*in! on for some time. Kate is impresse. He tells
her that it is finishe an that he has a publisher here in town
intereste in buyin! it M which is the reason for him comin! bac*. She
seems please for him. He tells her that it shoul have been maile
toay.
121
Sir William K. Coe
/rivin! Kate home, %ri* as*s her if she still has +a.s ol tub --
her fathers boat. He as*s her if he coul use it on the wee*en. She
lau!hs. +Ehat.s all the bi! interest in sailin! a!ainH+ +(he last time
he went sailin! was when we were *is.+ %ri* tells her he has chan!e
his min. (hat he.s been stuc* in a car - lan loc*e - an that he
-ust wants some time to himself. %ri* tells her that if it.s o*ay with
her, he.ll come over sometime over the wee*en an pic* up the *eys to
the boat. She tells him that its no problem. She !ets out of the car
an watches him rive off.
:ac* home, %ri* opens the oor to his apartment. He stans for a moment
in the oorway an a!ain *neels to chec* the cotton alarm system. :ut
this time the cotton has been bro*en. He immeiately stiffens an
fin!ers the limp cotton between his fin!ers. He enters the apartment
an surveys the room. Nothin! loo*s as if it.s been isturbe. He
rushes to the phone an calls Kate, who is awa*ene from her sleep by
the call. He tells her he.s comin! over ri!ht now for the *eys to the
boat. She a!rees an tells him to come over an collect them. She
loo*s a little concerne. She as*s him if he.s all ri!ht. He tells her
everythin! is fine but he -ust can.t seem to sleep. She puts the phone
own an falls bac* onto her pillow.
(he ne2t ay at Fohnson 5uaysie we see %ri* settin! out in a small
sloop. Brom his emeanor, he is no !reat yachtsman. ,n the hori<on
the clous loo* thic* as we push in close to the boat, so close we can
ma*e out its name, (he Cary Cay.
(he ne2t ay a youn! harbor patrolman - feet up on the table - is
watchin! a tiny personal (). Suenly istracte by the bu<< of the
phone. He pic*s it up an answers it.
Somewhere out at sea, we see a couple in a boat. Surrounin! their boat
is the wrec*a!e - the boats nameplate, (he Cary Cay.
Kate stans listenin! to a etective insie a police station. Her youn!
au!hter blithely stares out at her tearful mother, cryin! silently
behin an office ivie. (he etective tells Kate that they foun the
boat somewhere off 'a5uaw &slan, but not %ri*s boy. He tells her
some of his clothes where foun an that.s how they mana!e to contact
her. (he etective tells her that his boy may alreay have been washe
out to sea with the stron! mornin! current, but they.re !oin! to *eep
searchin!. He as*s her whether or not her brother was epresse,
implyin! he mi!ht have wante to ta*e his own life. She tells him %ri*
seeme full of life the last time she saw him. (he etective continues
an as*s why woul a !uy want to ta*e out a boat that he coul barely
hanle into an obvious on comin! storm. (his sets her min racin!.
122
Sir William K. Coe
T-%+t)%1t
S1N,'S&S ,B +SA661 H%C&NGS0 AN AC%G&CAN SCAN/A6+
'art ,ne
Conticello, Charlottesville, )a., 7"@"
After Sally Hemin!s. sister, Critta 3Klea Scott4, !ives birth to a son
by Fefferson.s mean-spirite nephew, 'eter Carr 3Chris Staffor4, her
mother, :etty 3/iahann Carroll4, the matriarch of the Hemin!s family of
Fefferson house servants, informs Sally 3Carmen %-o!o4 that she will
soon escort Fefferson.s au!hter, 'olly 3Fessica (ownsen4, to 'aris to
-oin Fefferson -- who is servin! there as Ambassaor to Brance.
Fefferson.s other au!hter, Cartha 3Care Einnin!ham4, is alreay in
'aris. Sally resists !oin! an leavin! her boyfrien, Henry 36arry
Gilliar Fr.4, but :etty insists it.s a privile!e to !o. Her son, Fames
3Cario )an 'eebles4, who is servin! as a chef in 'aris for Fefferson,
has !otten wor to :etty that +Ne!roes+ are free in Brance.
&n 'aris, Fames enthusiastically welcomes Sally, who is surprise by
the well-appointe 5uarters an well-mae outfits that await her there.
She also fins it unusual that the white servants are followin! Fames.
orers. Fames tells the somewhat overwhelme Sally that she will
benefit !reatly from the freeoms an eucational opportunities there
while servin! as a mai. At Fefferson.s inner party with !uests such
as (homas 'aine 3Kevin Conway4, 'ierre /u 'ont 3'aul Kanel4 an 6ay
Cosway 3Kelly Gutherfor4, Fefferson first sees Sally -- an is
surprise by how much she has !rown to loo* li*e his belove late wife.
6ater, Fefferson tells Sally that he plans to eucate her.
'assin! by a rally with Fames, Sally first learns how much the Brench
peasants are sufferin! uner the Brench *in! an 5ueen. At a inner
party that follows, 6ay Cosway, who is frustrate that Fefferson isn.t
!ivin! her a romantic commitment, informs him that she has ecie to
epart to 6onon to reconcile with her husban. ,ver the ne2t nine
months, Sally an 'olly are schoole to!ether. Sally is coache on the
manners of society an learns to rea an write in Brench an %n!lish.
Sally as*s Fefferson if when he wrote +All men are create e5ual+ in
(he /eclaration of &nepenence, i he also mean slavesH He respons
that +slavery is an abomination an there.s no easy answer+ -- an
recommens that she rea (homas 'aine.s pamphlet +Common Sense+
Servin! as an attenant to Cartha an 'olly at a party at )ersailles,
Sally surprises 'aine by 5uotin! from +Common Sense.+ 6ater, 'aine
remar*s that the eucate Sally shows how all slaves, if free, coul
become prouctive members of society. He encoura!es Fefferson to return
to the States an use his influence to push an anti-slavery bill
throu!h Con!ress. Fefferson an Sally share a romantic moment urin! a
brief ance at the party -- which is interrupte by a !ran entrance by
hosts Kin! 6ouis P)& an Carie Antoinette. After Cartha an 'olly leave
for boarin! school at a convent, Fefferson amits to
123
Sir William K. Coe
Sally that he has feelin!s for her. (heir romance be!ins shortly
thereafter.
(hree months later, the an!erous conitions of the Brench Gevolution
force Fefferson to retrieve his au!hters an prepare to return to
Conticello. Sally informs Fefferson that she is pre!nant. Fames
entreats Sally to remain with him in Brance an is baffle by her
choice to !ive up her an her future chil.s freeom in orer to remain
by Fefferson.s sie. :efore ma*in! the ecision, however, Sally tells
Fefferson she won.t !ive birth to a slave -- an !ives him her
conition for returnin!. Fames reluctantly returns with Sally to the
$nite States -- an is promise freeom from Fefferson prior to their
eparture.
$pon their arrival at Conticello, the outspo*en :etty is an!ry an
saene to see that Sally is followin! in her own footsteps -- for
:etty ha become pre!nant by her owner, Caster Eayles. A for!ivin!
Henry offers to help raise Sally.s unborn baby -- an is heartbro*en
when Sally tells him she.s in love with the baby.s father. Ceanwhile,
the isheartene Fames fins it harer than ever to ta*e orers from
Fefferson.s belli!erent nephew.
At a welcome home party -- which also serves as a con!ratulatory party
re!arin! Fefferson.s newly assi!ne post as secretary of state --
Cartha becomes reac5uainte with her cousin, (homas Cann Ganolph
3Vel-*o &vane*4, who is obviously attracte to her. Shortly before
Fefferson.s eparture from Conticello, Sally !ives birth to his son. He
loo*s white an is name (homas Fefferson Hemin!s.
,ne year later, Cartha marries Ganolph an moves to his plantation
with a !ift of 8# slaves -- incluin! Henry. Ehen Henry an other
slaves are temporarily transferre to Conticello, he tells Sally that
Ganolph is cra<y -- that he mutters an for!ets to put on his clothes.
Sally secretly be!ins to teach Henry to rea. Cartha comes to
Conticello to !ive birth, but her chil is stillborn.
Sally shephers an abuse runaway slave from a nearby plantation an
when she is cau!ht by the slave.s master, she must call herself
Fefferson.s property in orer to escape from his clutches. (he ne2t
ay, Fefferson tells her he has hane the presient his resi!nation
an will remain at Conticello.
/urin! the course of the ne2t four years, !oo times inclue the birth
of Cartha an Sally.s baby !irls an Fefferson.s plans for a ome
Conticello. :ut sa times soon follow as Sally.s baby falls ill an
ies -- an Fames, who ha lost his spirit an starte rin*in! upon
his return to the plantation, finally tells Fefferson that he will be
leavin! as per their a!reement in 'aris. ,ne year later, 'olly
marries Fac* %ppes 3/u*e 6afoon4 an Fefferson !ives them a plantation
an +twenty-si2 slaves in service to 3their4 happiness.+
Henry tells Sally that he wants to ta*e part in slave revolts. Ehen she
says that *illin! is wron!, Henry respons that a somewhat pampere
Hemin!s house slave wouln.t unerstan. He also tells her that )ice
124
Sir William K. Coe
'resient Fefferson spens time with a woman name Car!aret :ayar
Smith when he is in /.C. Ehen Sally confronts Fefferson about Car!aret,
he says she.s -ust a social companion. She says she.s *eepin! similar
company which enra!es him. Ehen Henry !ets cau!ht amon! a !roup of
arme escape slaves, the local authorities en up *illin! him -- to
Sally.s horror. Sally emans an answer on where Fefferson stans on
slavery. He references his first raft of (he /eclaration of
&nepenence. She says that he must try a!ain to en it.
Sally !ives birth to another son 3:everly4 an Fefferson ecies to
run for presient. At Conticello, Fefferson hosts a inner for Fames
an /olly Caison 3Geno Goop an Kathryn Ceisle4 an Gichmon Gecorer
writer Fames Callener 3Gene Auber-onois4. (he smarmy Callener ma*es a
point of commentin! on how they are bein! serve by fair-s*inne, re-
haire slaves. Callener then unsuccessfully tries to blac*mail
Fefferson for a position of post master of )ir!inia in e2chan!e for not
writin! about Fefferson.s slave chilren. Sally an Fefferson.s
au!hter, Harriet, is born the year Fefferson becomes the
thir presient of the $.S. Bollowin! his election, Callener runs
scanalous stories about Fefferson an Sally, but Fefferson steafastly
refuses to iscuss it. Caison be!s him to eny the claims -- but
Fefferson will not. Cartha ur!es Fefferson to sell Sally to brin! an
en to the speculation an protect his le!acy. Beelin! that he is to
blame for the scanal, their chil (om 3Fesse (yler Ber!uson4 chooses
to run away -- nearly brea*in! Sally.s heart.
'art (wo
Conticello, Charlottesville, )a., 7@#8
Cartha tries to unite the family to en the rumors of Fefferson.s
relationship with Sally. $nbe*nownst to Fefferson -- who is livin! in
Eashin!ton, /.C. as presient -- Cartha wor*s to ri the house of any
letters an evience of the liaison.
6ater, a run* Fames crosses Callener.s path an ma*es a scene while
warnin! him to stop efamin! his sister. Fames is then seen ta*in! his
own life an is burie at Conticello. Sally.s eulo!y notes that Fames.
s*ills, eucation, manners an ultimate freeom were not enou!h to !et
him the respect he esire -- which is why he ie in espair.
Ehen Gabriel 6illy 3Car* Foy4, a hire white slave master, starts to
hit the slaves -- an eventually Sally -- Fefferson.s nephew, Samuel
Carr 3'eter :rabury4, fires him on the spot. 6ily then orchestrates a
ruse to !et Sally -- after which he sava!ely beats an whips her.
Samuel ens up rescuin! her -- an her family nurses her bac* to
health. Ceanwhile, Fefferson prouly writes to Sally of the
finali<ation of the 6ouisiana 'urchase. Shortly thereafter Callener
is foun rowne in the shallow part of a river.
Concerne about 'olly.s failin! health, Fefferson returns to
Conticello. Samuel tells Sally that Fefferson oesn.t care for her. He
!ives her some specific Fefferson writin!s an ma*es an unwante
avance. Sally reas the ne!ative observations Fefferson mae about
135
Sir William K. Coe
blac*s 8> years earlier an shares her is!ust with Fefferson. He
counters that he was i!norant when he wrote it -- an
eclares his love for her.
&n the ne2t 78 years, 'olly an :etty ie, Sally an Fefferson have two
more sons 3Caison an %ston4, an after servin! two terms as
presient, Fefferson a!ain retires to Conticello. :ecause of a lon!
rou!ht, Conticello has not been prosperous in years. However,
Fefferson cannot contain his enthusiasm re!arin! retirement, the
completion of the ome at Conticello an the be!innin! of his ne2t
pro-ect -- the creation of the $niversity of )ir!inia.
Ehen Fefferson.s builers come to collect money he oesn.t have,
Fefferson hols out hope that he will be able to !et his ol frien
/u'ont to bac* the university urin! his upcomin! visit. /u'ont brin!s
his son 3/avi :ri!ewater4 an his American nephew, Eilliam Ale2aner
3Vachary Kni!hton4. Eilliam mista*es Sally.s au!hter, Harriet 3Amelia
Heinle4, for a Ganolph -- which she oes not correct. Sally tells
Harriet not to eny who she is -- but Harriet e2claims that she wants
to have a full an free life.
Ehen Ale2aner learns Harriet.s true ientity, he cruelly an publicly
re-ects her. Ceanwhile, Fefferson an /u'ont finally reali<e that while
Fefferson.s been see*in! money from /u'ont for the university -- /u'ont
has been wantin! Fefferson to invest in !unpower. After a !oo lau!h
at the irony, /u'ont prepares to leave -- after statin! his
embarrassment at Ale2aner.s behavior.
Bive years later, to avoi complete financial ruin, Fefferson is force
to sell most of his possessions. (he sale inclues the pri<e boo*s in
his library -- which will replace boo*s that were estroye when the
:ritish burne the National 6ibrary in 7@78. &nformin! Fefferson that
he is ban*rupt, Cartha convinces the esponent Fefferson that he must
sell some of his slaves.
&n an emotional moment, Fefferson !athers many of the slaves an tells
them that he has faile them in freeom -- an that his Conticello
reams faile because they were base on the ine5uity of slavery. He
then informs them that they will be sol. After the tear-fille slave
auction, Harriet an :everly ecie to leave Conticello. Fefferson
!ives them money an ma*es sure they are properly escorte to the
sta!ecoach in Charlottesville.
Bour years later, Sally.s son, (om 3Sean 'ratt4, finally comes bac* to
her -- offerin! to ta*e her bac* to his home an family. Sally tells
him that Conticello is as much a home to the Hemin!s as it is to the
Feffersons. She can.t leave it -- nor woul she want to leave
Fefferson.
Cartha brin!s Fefferson the unsettlin! news that the ban* is
foreclosin! on Conticello. Fefferson falls ill, an after once more
eclarin! his love for Sally, he ies on Fuly =, 7@8? -- the >#th
anniversary of the /eclaration of &nepenence. Cartha brin!s Sally
Fefferson.s will -- eclarin! that there were no inheritances. However,
131
Sir William K. Coe
he was able to affor to free five slaves -- incluin! Sally.s sons,
Caison an %ston. Cartha says she will overloo* the fact that
Sally is not mentione, since her father wouln.t have wante to
separate Sally from her family. Sally reveals to a surprise Cartha
that she.s been free since 'aris -- an tells her they.re more ali*e
than Cartha woul li*e to believe. &n fact, since Sally.s father was
Cartha.s !ranfather -- they.re truly family. (he two finally connect
for a moment before embar*in! upon their separate futures.
132
Sir William K. Coe
74%-3 L%tt%-
Amy Screenwriter
7?### )entura :lv
%ncino, CA A7=;?
Fune 7st 7AAA
Fim Barrah
A!ency Bor Gifte Eriters
;=78 Eilshire :lv, Suite 8##
:everly Hills, CA A#87#
/ear Fim,
Keep the paragraphs short> punchy> warm and not too formal- 0ay what
youEre looking for and gi(e a "rief description of your script-
& am loo*in! for representation as a screenwriter an woul li*e to
sen you my new screenplay, Cary Cay. (he script is a mysterious
-ourney throu!h the bi<arre an surreal worl of our prota!onists
brother. Eitness to a murer, she becomes embroile in a conspiracy
that will sha*e the founations of all she has come to believe in.
#ell the person reading the letter that this is not your first effort
and that you ha(e a certain amount of e=perience- .e(er tell an
agent4production company this is your first scriptHthis is a sure way
of ha(ing your work tossed in the trash "efore itEs e(en "een read-
As well as writin! Cary Cay, &ve written three other screenplays, one
of which place thir in the Acme &nternational Screenwritin!
Competition. & have also ha a number of short stories publishe in the
Spo*ane 'ress Conthly.

Finish "y telling the person why you feel your script is different-
DonEt tell them if they read your script you will split the money with
themI Remem"er> this letter will pro"a"ly ha(e "een the tenth @uery
letter this person has read that morning> so keep it "rief> positi(e
and up"eat-
Cary Cay, & feel, is a uni5ue script with an important messa!e that
toays movie-!oin! crow will reaily warm to an fin !rippin!. (his
is my best wor* an eserves my best efforts to !et it mae. & feel
your a!encyOprouction company woul be perfect for this material.
%nclose is a self-aresse post car. :es> you want to read Mary May-
/r .o> youEre not interested-
& loo* forwar to your reply.
Sincerely,
Amy Screenwriter
%nclosure
133
Sir William K. Coe
74%-3 L%tt%-
@Hne 35# 1444

+ollCwooD 0roDHcer
+ollCwooD 0roDHction ComEanC
123/ +ollCwooD BlGD.# 0enthoHAe SHite
+ollCwooD# CA 455/1

$ear +ollCwooD 0roDHcer#
I recentlC comEleteD mC thirD AcreenElaC entitleD# J%C irAt Big Sale.J LaAt Cear# I waA a BinaliAt in
the '&ALL) BI, SC'&&"W'ITI", C!"T&ST aA well aA reaching the thirD roHnD oB T+AT
!T+&' '&ALL) BI, C!"T&ST. I woHlD liFe to Aee iB CoH woHlD conAiDer reaDing mC lateAt
worF.
J%C irAt Big SaleJ iA the AtorC oB a CoHng# aAEiring Acreenwriter who moGeA to LoA AngeleA Brom
the &aAt coaAt to FicF Atart hiA writing career. While walFing aroHnD the citC looFing Bor
inAEiration# he BinDA himAelB caHght HE in a Elot to blow HE the %ann?A ChineAe Theater. The
writer becomeA a real liBe action hero aA he BightA to AaGe the aHDience inAiDe Brom the terroriAt.
+e iA able to AaGe the DaC# anD all oB thiA becomeA the baAiA Bor hiA BirAt AcreenElaC which AellA Bor
L15 million DollarA.
IB CoH are intereAteD in thiA action8comeDC# EleaAe contact me at7
SallC Screenwriter
6123 %aEle $riGe
AnCwhere# USA 123/6
444866681212
AallCAcreenMe8mail.com
SincerelC#

SallC Screenwriter
13/
Sir William K. Coe
74%-3 L%tt%-
)oHr name
ADDreAA
$ate
&IecHtiGe?A name
&IecHtiGe?A title
ADDreAA oB comEanC
$ear %r. or %A. &IecHtiGe7 9HAe a colon# not comma:
Begin with a BrienDlC greeting anD;or attention8grabbing line aboHt CoHr AcriEt. ContinHe with a
Aentence AHch aA7 JI haGe NHAt comEleteD the BeatHre AcreenElaC OtitleP that I woHlD liFe to AHbmit
to CoH Bor CoHr conAiDeration.J IB aEEroEriate# inclHDe inBormation aboHt whC CoHr EroNect maC be
the right match Bor their comEanC.
$eAcribe CoHr AcriEt in three to BoHr AentenceA. State the genre# who the main characterA are#
HAing their actHal nameA# what their maNor obAtacle iA# anD how theC Elan to oGercome it. $on?t
giGe awaC the enDing.
,iGe a brieB one8EaragraEh bio AtreAAing CoHr Acreenwriting or Bilm bacFgroHnD. or eIamEle7 JI
am a recent graDHate oBJ or J%C creDitA inclHDe7 Oname BilmA or AcriEtA anD awarDAP.J AlAo# aDD
Aomething HniKHe aboHt CoHrAelB that maFeA CoH attractiGe to the EroDHction comEanC# AtHDio# or
agent.
CloAing EaragraEh. Two AimEle AentenceA will Do. or eIamEle7 J&ncloAeD CoH will BinD a AelB8
aDDreAAeD AtamEeD enGeloEe Bor CoHr reElC. I looF BorwarD to hearing Brom CoH Aoon.J
SincerelC#
"ame
0hone nHmber
136
Sir William K. Coe
74%-3 L%tt%-
2;25;5/
%r. SHcceAABHl Agent
SHcceAA AgencC
123/ LHcFC AGe.
0roAEeroHA SEringA# CA. 123/6
9The aboGe aDDreAA AhoHlD be Aingle8AEaceD not DoHble:
$ear %r. Agent#
I am cHrrentlC AeeFing reEreAentation Bor mC original Bilm AcriEt# LHcF oB the $raw. The AcriEt won
the "ew ScreenElaC ConteAt in ,ranDAtanD# "ew )orF# laAt Cear# anD it haA receiGeD two awarDA
Aince then. The AtorC originateD DHring mC Atint aA a NoHrnaliAt Bor the ,ranDAtanD TimeA.
In LHcF oB the $raw# energetic CoHng reEorter# Ace $obAon# BinDA eGiDence linFing a Erominent
"ew )orFer to a Atring oB banF robberieA. It.A a BirAt8time NoHrnaliAt.A Dream come trHe# eIceEt Bor
one minor Detail. The thieB in KHeAtion haEEenA to be hiA Bather# anD hiA boAA. LHcF oB the $raw iA
a comEelling looF at one man.A AtrHggle to chooAe between BamilC loCaltC anD NHAtice.
I.D liFe to AenD the comElete AcriEt Bor CoHr reGiew. I.Ge encloAeD a EoAt carD Bor CoHr reElC# or CoH
maC call me at 9123: /6182345. ThanF CoH Bor CoHr time anD conAiDeration.
SincerelC#
9CoHr AignatHre here:
@ane $oe
131
Sir William K. Coe
St-4't4-% T+;&%
ACTION!PLOT POINT!DESCRIPTION
PG J# IN
F20>PG
SCRIPT9
SETUP: Eho is the character, what is the place, time, moo,
si<eOscopeOfeelin!, point of view. Ehat.s the story aboutH
Ehose story is itH Ehat oes hero want, an what.s stoppin!
hero from !ettin! itH /o we li*e hero an care if heOshe !ets
what she wantsH Ehat happens ne2t
7 - 78
CENTRAL 7UESTION POINT: Ehat is the central 5uestion, the
theme, the main issue the movie is !oin! to answerH
;
NEW OPPORTUNITY: Somethin! that happens to steer events in a
particular irection
78
CHOICE OF PATH0 :ase on the new opportunity, the hero be!ins
ta*in! steps towar a !eneral !oal
78 - ;#
CHANGE OF PLANS!TURNING POINT: what event throws hero a curve,
forces response or reaction, sets the hero.s planO!oal,
efines the hero.s new pathway for Act &&H General !oal3s4
become specific.
;#
PROGRESS: 'lans to achieve !oals are wor*in!. (here are
conflicts but thin!s are !oin! pretty well. Hero is chan!in!,
circumstances are chan!in! an sta*es !et hi!her.
;#-?#
MOVING FORWARD METAPHOR: A small scene with symbolic
overtones, showin! the character.s !rowth, an !ivin! us a
clue to the resolution
=>
POINT OF NO RETURN0 Somethin! happens so that hero, if pushin!
forwar an committin!, a!ainst all os, to !oal, cannot
return to where heOshe was in the setup. Sometimes, here the
e2ternal !oal has become internalOpersonal, an pursuin! it
will chan!e the hero.
?#
POST>POINT MOMENT: A li!hter moment, which typically follows
the ',&N( ,B N, G%($GN. /oesn.t further action, but shows how
hero is chan!in!, then obstacles start to escalate
?#Z
COMPLICATIONS AND HIGHER STAKES: (he !oal becomes even harer
to achieve. &t loo*s li*e it will ta*e everythin! to o this,
harer than thou!ht, but hero wants it more because it.s
harer.
?# - A#
ALL HOPE IS LOST! MAAOR SETBACK!THE BIG GLOOM! GIVING UP
POINT: (he !reatest setbac*. &t appears that hero may not
achieve !oal, hero about to !ive up, but somethin! happens
that chan!es everythin!, an event that !ives a chance at a
!oal hero in.t *now heOshe ha
A#
FINAL PUSH >>K ONE SPECIFIC ACTION: Binal intensification of
the hero.s pursuit of the !oal, which usually becomes focuse
here into achievin! one specific action. An event occurs that
eucates the hero, an starts the resolution. Hero may be
!ettin! somethin! more or ifferent from what heOshe set out
A# - 7#@
132
Sir William K. Coe
to !et, hero has learne somethin! an is chan!e by it, a new
complications sets inH
CLIMAE: Hero is close, can see !oal, final obstacle, has to
!ive up everythin! in pursuit of the !oal, crisis point where
all is in -eopary, final moment, all or nothin! . Hero
achieves or fails to achieve the !oal, an outer motivation is
clearly resolve, often throu!h confrontation with a
+nemesis.+
7#@ - 77=
DENOUEMENT0 Ehat is the outcome, resolution, hero.s new lifeH 7#@ - 77=
THE END 78#
133
Sir William K. Coe
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7?" Church St.
(iverton, G& #8@"@

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Sir William K. Coe
Ba20 3;7#4 8"@-?""#

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:uilin! A `=#=
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141
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(elephone0 3;7#4 ;=@-@7"7

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Carlsba, CA A8##A
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(oluca 6a*e, CA A7?#8
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Sir William K. Coe
Ba20 3;7#4 A7=-=>>?

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(elephone0 3;8;4 A??-==##
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Santa Conica, CA A#=#;
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8A8A 'anthersville G. `18?
/ecatur, GA ;##;=
(elephone0 3=#=4 8=;-=8A7

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Carina /el Gay, CA A#8A8
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'.,. :o2 ?#?
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:urban*, CA A7>#8
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New 1or*, N1 7##77
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(elephone0 38784 ?">-8"@=
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'ittsbur!h, 'A 7>87"
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7>" E. >"th Street `"##
New 1or*, N1 7##7A
(elephone0 38784 @@A-@?8?
Ba20 38784 ?A?-#?>#

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%ast Strousbur!, 'A 7@;#7
(elephone0 3"7"4 ?8A-?>=8

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7;>8> )entura :lv.
(elephone0 3@7@4 A#"-7788
Ba20 3@7@4 A#"-77?@
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W-0*ht C(1'%t
7?78 E. ,live Avenue, Suite 8#>
:urban*, CA A7>#?
(elephone0 3@7@4 A>=-@A=;
Ba20 3@7@4 A>=-A;"#

W-0t%-# A*%1'3
@8 Eashin!ton 'l. `7%
New 1or*, N1 7##77

W-0t%-# H(4#%
146
Sir William K. Coe
87 E. 8?th St.
New 1or*, N1 7##7#
(elephone0 38784 ?@>-8=##
Ba20 38784 ?@>-7"@7

W-0t%-# Sh(
7#7 Bifth Avenue
New 1or*, N1 7###;
(elephone0 38784 8>>-?>7>
Ba20 38784 ?A7-A=7@

W-0t%-#t(-%
8##= Goc*le!e G. N%
Atlanta, GA ;#;8=
(elephone0 3=#=4 @"=-?8?#

W3&0% A*%1'3
8># E. >"th St. Suite 877=
New 1or*, N1 7#7#"
(elephone0 38784 8=?-##?A
Ba20 38784 >@?-@A>;

W3)+1 M+1+*%)%1t
7== S. :everly /rive, Suite ?#7
(elephone0 3;7#4 @>@-"777
Ba20 3;7#4 @>@-#@>8

D02%!P%--3 E1t%-t+01)%1t
A7## Eilshire :lv. Suite ?7>%
(elephone0 3;7#4 @@"-8AAA
Ba20 3;7#4 @@"-8AA>
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(his list is provie without warranty. Sir Eilliam K. Coe has no
relationship to any of the a!encies liste here, an & can.t vouch for
their effectiveness or inte!rity. Althou!h &.ve mae every effort to
ensure the accuracy of these listin!s, &m not responsible for any
inavertent errors or omissions.
141
Sir William K. Coe
L0#t (6 P-(24't0(1 C()+10%#
1/42 0ictHreA9ChriA ColHmbHA:
c;o Warner BrotherA
/555 Warner BlGD.# BlDg. 3
BHrbanF# CA 41622
313846/8/434
3 'ing CircHA ilmA
3144 WilAhire BlGD# Ste 12/5
LoA AngeleA# CA 45515
9213: 26183355 tel
9213: 26183365 BaI
3am 0ictHreA
0.!. BoI 134
San ,abriel# CA 41223
121823685556
aI7 3548/118342/
www.3amEictHreA.com
&8mail7 KHerCM3amEictHreA.com
/5 AcreA Q A %Hle ilmworFA# Inc. 9SEiFe Lee:
12/ $eKalb AGe.
BrooFlCn# ") 11212
213812/83253
315822182111
M'aDical %eDia
/36 +HDAon St.
"ew )orF# ") 1551/
2128/1281655
A Q & TeleGiAion "etworFA
236 &. /6th Street
"ew )orF# ") 15512
212821581/55
www.AanD&.com
A BanD AEart 9QHentin Tarantino:
2411 BeGerlC BlGD.
LoA AngeleA# CA 455/3
32384618/155
A +aEEC 0lace 9Lance BaAA:
16 BrooFA AGenHe
-enice# CA 45241
3158/6585665
www.haEECElaceonline.com
142
Sir William K. Coe
AbanDon &ntertainment
136 W. 65thSt.# Ste 2356
"ew )orF# ") 15525
21282/18///6
212834283311 BaI
www.abanDonent.com
AcaEella 0ictHreA
3221 %elroAe AGe. Ste 151
323823283255 tel
323823283215 BaI
Act III 0roDHctionA 9"orman Lear:
155 ". CreAcent $r. Ste 265
BeGerlC +illA# CA 45215
31583368/111 tel
31583368/1/3 BaI
Agamemnon ilmA Inc.
165 ". BronAon AGe. Ste. B8226
LoA AngeleA# CA 4555/
32384158/511
Alcon &ntertainment
15345 Santa %onica BlGD# Ste 265
3158234835/5
315823483515 BaI
Alliance AtlantiA %otion 0ictHre ,roHE
353 WilAhire BlGD.# Ste. 355
Santa %onica# CA 45/51
315834483555
httE7;;www.allianceatlantiA.com;%otion0ictHreA;
AllieD ilmmaFerA 9@aFe &bertA:
KenthoHAe
1/812 %arFetElace
,reat TitchBielD Street
LonDon# &nglanD W1W3A@
9//:252813181111
blacFbirD.BilmAMEathe8HF.com
or
4155 WilAhire BlGD.# SHite /26 &aAt
315836386355
AlEhaGille 9Sean $aniel;@im @acFA:
6666 %elroAe AGe.# $e%ille BlDg.
+ollCwooD# CA 45533
32384618/353
143
Sir William K. Coe
A% 0roDHctionA Q %anagement 9Ann8%argaret;BHrt 'eCnolDA:
3344 BeGerlC BlGD. Ste. 213
315822684531
315822684532 BaI
Amen 'a 9WeAleC SniEeA:
625 WaAhington BlGD. R313
%arina $el 'eC# CA 45242
31582/181615
315866581432 BaI
American &mEirical 0roDHctionA 9WeA AnDerAon:
31 &aAt 23rD St.# 1th loor
"ew )orF# ") 15515
2128/2681221
American <oetroEe 9ranciA CoEEola;reD HchA:
12/2 %ilner 'D.
323836183353
323836183353 BaI
httE7;;www.SoetroEe.com
Angel ArF 0roDHctionA 9@aAon AleIanDer:
65/2 WilAhire BlGD.
313865383333
AngrC $ragon &nt. 9$ean Cain:
15252 WaAhington BlGD.
CHlGer CitC# CA 45232
31582//81441
AngrC ilmA# Inc. 9$on %HrEhC:
ColHmbia 0ictHreA
15252 WaAhington BlGD.# 0oitier 3251
31582//82645
31582//82515 BaI
AEatow 0roDHctionA
2455 W. !lCmEic BlGD.# Ste 1/1
Santa %onica# CA 45/5/
315826682521
315826682526 BaI
AEoAtle 0ictHreA 9$eniA LearC:
1142 BroaDwaC# Ste. 451
"ew )orF# ") 15514
21286/18/323
&8mail7 aEoAtleEiIMaol.com
144
Sir William K. Coe
AEEian WaC 9LeonarDo $iCaErio:
4266 SHnAet BlGD.# R116
WeAt +ollCwooD# CA 45514
315835581345
AEEleAeeD &ntertainment
4351 AmeAtaC AGe.
313821381555
313844383225
www.aEEleAeeDentertainment.com
ArenaA &ntertainment
3515 +ollCwooD BoHleGarD
323.165.5161
inBoMarenaAgroHE.com
www.arenaAgroHE.com
ArtiAan &ntertainment
2255 ColoraDo BlGD.# 2nD loor
3158//484255
3158266834/5 BaI
httE7;;www.artiAanent.com
ArtiAtA? ColonC# The
261 S. 'obertAon BlGD# Ste 1655
315822583355
www.theartiAtAcolonC.com
AAiA 0roDHctionA 9@eBB BriDgeA:
255 ". Larchmont BlGD# Ste 2
32383218/245
32383218/3/2 BaI
Atelier 0ictHreA
235 S. BeGerlC $r. R655
323833382222
www.atelierEiI.com
AtFinAon WaC ilmA 9Sam WaterAon:
1121 Santa %onica BlGD.# SHite 251
3238/168365
3238/16833// BaI
Atlantic Streamline
1323 A ThirD Street
255
Sir William K. Coe
315831484311
&8mail7 inBoMatlanticAtreamline.com
www.atlanticAtreamline.com
AtlaA &ntertainment 9CharleA 'oGen:
4255 SHnAet BlGD.
31582318/455
Atman &ntertainment
2411 BeGerlC BlGD. 3rD l
32384618/155
Attract %eDia
Attn7 0aHl LinDAeC# "ew 0roNectA
133 WagAtaBB Lane
@acFADale
"ottingham
&nglanD
",11 6@"
&8mail7 AcriEtAMattract.co.HF
AHrora 0roDHctionA
31/2 %elroAe AGe. Ste 255
315836/81455
315836/85633
AHtomatic 0ictHreA
6226 WilAhire BlGD# Ste. 626
323843681355
3238436835/5 BaI
AGenHe 0ictHreA
315844181355
3158/238/321 BaI
AIial &ntertainment
25 WeAt 21At Street# 3th loor
"ew )orF# ") 15515
www.aIialentertainment.com
BaDham Co.# The 9@ohn BaDham:
33// ClereDon 'oaD
313844584/46
251
Sir William K. Coe
&8mail7 DeGeloEmentMbaDhamcomEanC.com
www.baDhamcomEanC.com
BaFHla 0roDHctionA# Inc. 9Scott BaFHla:
6666 %elroAe AGe.
323846183535
BallEarF 0roDHctionA
0! BoI 653
-enice# CA 4524/
315832281323
315862284121 BaI
BallChoo# Inc.
1233 WeDgewooD 0lace
323832/83341
Baltimore;SEring CreeF 0ictHreA# LLC
9BarrC LeGinAon;0aHla WeinAtein:
/555 Warner BlGD.
BHrbanF# CA 4162285213
313846/81215
www.LeGinAon.com
BarnAtorm ilmA 9TonC Bill:
23 %arFet St.
-enice# CA 45241
315834186432
BaHm 0roDHctionA# Carol
3344 BeGerlC BlGD.# Ste 221
31586658/626
315866582533 BaI
BaHmgarten %erimA 0roDHctionA# Inc.
11/5 S. SeEHlGeDa R213
315844181336
315844181342 BaI
BaC ilmA 9%ichael BaC:
131 ColoraDo AGe.
315831481616
315831481625 BaI
BaSmarF# Inc. 9BaS LHhrman:
15251 W. 0ico BlGD.
252
Sir William K. Coe
315831486//3
Beacon CommHnicationA
125 BroaDwaC R255
315821582555
315821582565 BaI
BeDBorD allA Co. 9&D <wicF:
/54 Santa %onica BlGD.# 0+
Santa %onica# Ca 45/51
315834/86522
315834/86326 BaI
Bel8Air &ntertainment 9SteGe 'eHther:
BHrbanF# CA 41622
313846/8/5/5
313846/82333 BaI
BenDerAEinF
1236 )Hcca St.
+ollCwooD# CA 45523
32383/6811/5 tel
3238612863/2 BaI
Bennett 0roDHctionA# +arGe
0! BoI 326
315835182143
Berg &ntertainment
2/21 BeGerlC BlGD.
323843584436
32384358443/ BaI
Berman 0roDHctionA# 'icF
6666 %elroAe AGe.# St.. 232
323846186532
323831281521 BaI
BernAtein 0roDHctionA# @aC
0! BoI 11/3
315836381/36
315836381152 BaI
BlacF SheeE &ntertainment
/513 'aDBorD AGe.
253
Sir William K. Coe
StHDio CitC# CA 4115/
313821482222
313821482223 BaI
BlinDing &Dge 0ictHreA 9%. "ight ShCamalan:
0.!. BoI 152
ConAhohocFen# 0A 14/23
115826184255
115821584324 BaI
BlHe BaC 0roDHctionA 9'oD Liber:
1114 ColoraDo AGe.# Ste. 155
3158//58445/
BlHe Collar 0roDHctionA
15/1 "orth ormoAa AGe.
Santa %onica &aAt BHilDing
SHite 251
WeAt +ollCwooD# CA 455/1
323836582635
3238 36582631 BaI
BlHe 'elieB 9$iane Keaton:
16215 -entHra BlGD.# Ste 15/5
Sherman !aFA# CA 41/53
315832281/43
315832281643 BaI
BlHe 'iDer 0ictHreA
1155 'oAecranA AGe.# BlDg. 1B# 3rD l
%anhattan Beach# CA 45211
315822283353
31582228333/ BaI
httE7;;www.blHeriDerEictHreA.com
BlHe THliE 0roDHctionA 9@an $e Bont:
1253 BerFeleC Street
315863281632
315863281642 BaI
inBoMblHetHliEEroD.com
BlHe WolB 0roDHctionA 9'obin WilliamA:
0. !. BoI 215625
San ranciAco# CaliBornia 4/121
/16811381455
Bob Q Alice 0roDHctionA 9Bonnie +Hnt:
11143 San -icente BlGD.
315821582464
25/
Sir William K. Coe
BoDega BaC 0roDA.# Inc. 9%ichael %HrEhC:
0.!. BoI 12333
315822383162
315822186631 BaI
www.boDegabaC.net
Bona iDe 0roDHctionA
3344 BeGerlC BlGD. Ste. 35/
315822381232
315822382321 BaI
BoIing Cat 0roDHctionA 9Tim Allen:
11655 +art St.
"orth +ollCwooD# CA 41156
31382168/325
31382168/426 BaI
BoS 0roDHctionA 9Bo <enga:
1132 ". Sierra Bonita AGenHe
LoA AngeleA# CaliBornia 455/182311
323832183232
323832183231 BaI
BraGe "ew ilmA
14/3 ". -an "eAA AGenHe
LoA AngeleA# CaliBornia 45513
323841284413
323841284453 BaI
Bregman 0roDHctionA 8 IAC 0roDA.. 9%artinQ%ichael Bregman:
165 &. 62th St. 0enthoHAe 1A
")# ") 15522
2128/2181111
BrillAtein8,reC &ntertainment
4165 WilAhire BlGD# Ste 365
315822681136
315822681135 BaI
BrooFABilmA# LtD. 9%el BrooFA:
4331 W. WaAhington BlGD.
315825283242
315825283226 BaI
BrooFwell;%c"amara &ntertainment
c;o +ollCwooD Center StHDioA
15/5 ". LaA 0almaA# BlDg. R33# 2nD loor
256
Sir William K. Coe
+ollCwooD# CA 45533
323831583434
BrownhoHAe 0roDHctionA 9WhitneC +oHAton:
c;o Walt $iAneC StHDioA
655 S. BHena -iAta Street
BHrbanF# CA 41621
313861583462
BrHcFheimer ilmA# @errC
1131 15th Street
315811/81215
BHbble actorC# The
33/5 WilAhire BlGD.# 3rD loor
315836383555
315836383244 BaI
BHngalow 23 0roDHctionA
6666 %elroAe AGe.# LaAFC BlDg. R255
32384618///5
323831282545 BaI
BHtcherA 'Hn ilmA 9'obert $HGall:
15/1 ". ormoAa AGe.# Santa %onica BlDg.
323836582253
3238365822/1 BaI
C82 0ictHreA
2353 BroaDwaC
315831681555
315832385//3 BaI
C3 &ntertainment# Inc.
1226 -ictorC BlGD.
,lenDale# CA 41251
313846181332
31382/185122 9BaI:
KHerCMc3entertainment.com
www.c3entertainment.com
C;W 0roDHctionA 9Tom CrHiAeA? co.:
6666 %elroAe AGe.
+ollCwooD# CA 45533
323846183144
323831281265 9BaI:
251
Sir William K. Coe
CalleC 0roDHctionA# @ohn
15252 WeAt WaAhington BlGD. Lean BlDg.# SHite 114
31582//82222
31582//8/525 9BaI:
Cannell StHDioA
2533 +ollCwooD BlGD.# Ste. 155
+ollCwooD# CA 45523
3238/1686355
323836182345 BaI
CaEital ArtA &ntertainment
124/1 -entHra BlGD.
&ncino# CA 41311
31383/383465
CaEEa 0roDHctionA 9%artin ScorAeAe;Barbara $e ina:
//6 0arF AGe.
"ew )orF# "ew )orF 15522
212845183355
CaEAtone 0ictHreA
2553 "orth BerenDo Street
323811683123
CarlCle 0roDA. Q %gmt
2565 LaHrel CanCon 'oaD
32383/38/415
3238165832/4 BaI
Carter ComEanC# The ThomaA
3555 W. !lCmEic BlGD.
315821/83445
315821/83441 BaI
CaAeC SilGer 0roDHctionA 9BormerlC ,one iAhin? 0roDA.:
1/11 6th Street# SHite 255
315861183265
315861183261 BaI
CaAtle 'ocF &ntertainment
336 ". %aEle $r.# St.. 136
315823682355
3158236823/6 BaI
252
Sir William K. Coe
CatBiAh 0roDHctionA 9@ameA Keach Q @ane SeCmoHr:
23362 0aciBic CoaAt +ighwaC# Ste. 313
%alibH# CA 45216
3158/6181126
315821/841/3 BaI
Cecchi ,ori 0ictHreA
11445 San -icente BlGD.# Ste 255
3158//28/222
3158//284652 BaI
CentroEoliA &ntertainment 9'olanD &mmerich:
1//6 ". StanleC# 3rD loor
323836581212
323836581251 BaI
Chancellor &ntertainment
15155 +olman AGe.# Ste 1
3158/2/8/621
3158/2584223 BaI
ChartoBB 0roDHctionA
1265 SiIth St.# Ste. 151
315831481415
315831483/14 BaI
CheCenne &nterEriAeA 9BrHce WilliA:
/51 WilAhire BoHleGarD
Santa %onica# CaliBornia 45/51
3158/6686555
315813383555
ChicF licFA
111 ". 'obertAon BlGD.# Ste. /55
3158412816/1
315836/85333 BaI
Cinergi 0ictHreA &ntertainment Inc.
2353 BroaDwaC
Santa %onica# CA 45/5/82411
315831681555
315832385//3 BaI
Cinetel ilmA
3266 SHnAet BlGD.
253
Sir William K. Coe
323816/8/555
323816581/55 BaI
CineGille International# Inc.
3/55 AriEort AGe.
315834282165
315834282166 BaI
ClaAAic ilmA# Inc
1/22 SHnAet BlGD.
+ollCwooD# CA 45523
323841282366
323841283523 BaI
Clean BreaF 0roDHctionA 9Tom ArnolD:
1/5/1 AHbreC 'D.
313844681221
313844685534 BaI
CloHD 4 %eDia ,roHE# LLC
313865184422
ColliAion &ntertainment
1312 StanBorD St. 2nD loor
315831685123
315831685133 BaI
ColombC ilmA
2115 %ain Street# SHite 352
315834483331
315834281323 BaI
ComEanC ilmA
2124 %ain Street# Ste 112
315834482655
315834482633 BaI
ConceEt &ntertainment
Attn7 $aGiD aigenblHm# &Ge La$He
43/3 CiGic Center $riGe# 3rD loor
9315: 22181122
9315: 22184/22 BaI
&mail7 enKHirieAMconceEtentertainment.biS
ConcorDe8"ew +oriSonA CorE. 9'oger Corman:
11155 San -icente BlGD.
254
Sir William K. Coe
315832581233
315825281311 BaI
ConcoHrAe 0roDHctionA 9%arF 'CDell:
121 0ier AGenHe R36/
315835185652
ConAtantin ilm $eGeloEment# Inc.
4255 SHnAet BlGD# Ste 235
31582/285356
31582/285356 BaI
ConHnDrHm &ntertainment 9BobbC Q 0eter arrellC:
326 WilAhire BlGD.# Ste 251
315831482355
315831482353 BaI
CornHcoEia 0ictHreA
15434 BlHBBAiDe $r.# Ste 3/1/
313843682225
CoAmic &ntertainment
315822683535
CraGen;%aDDalena ilmA
113/1 -entHra BlGD.# Ste 253
313826285142
313826281234 BaI
CrHAaDer &ntertainment
1328B LaAFC $r.
31582/381315
31582/381325 BaI
CriAEC ilmA
4213 Santa %onica BlGD. SHite 251
315866581/2/
315866581/26 BaI
CrCAtal SFC# LLC
1451 AGenHe oB the StarA# R156
31583/385223
315866384346 BaI
215
Sir William K. Coe
CHbe -iAion
2455 WeAt !lCmEic BoHleGarD
315826682555
$arF +orAe &ntertainment
/21 S. BeGerlC $riGe
31582348/261
$arFwooDA 0roDHctionA 9ranF $arabont:
15/1 ". ormoAa AGe. S%& R153
323836582/42
323836582/41 BaI
$aGiD LaDD ilmA
%,%
2/65 BroaDwaC Street
3158//483/15
315863183222
$aGiA &ntertainment Co. 9@ohn $aGiA:
2121 AGe. oB the StarA# St.. 2455
315866183665
$e LaHrentiiA ComEanC# $ino
155 UniGerAal CitC 0laSa# BHngalow 6146
UniGerAal CItC# CA 41153
313822282111
313831186611 BaI
$e Line 0ictHreA
0aramoHnt 0ictHreA
6666 %elroAe AGe.
323846183255
323831281351 BaI
$ee,ee &ntertainment
313 ". La Cienega BlGD.
315816285444
315816285213 BaI
$eeE 'iGer 0roDHctionA
155 ". CreAcent $r. Ste 365
3158/3281355
3158/3281351 BaI
211
Sir William K. Coe
$elaware 0ictHreA
165 ". BroAnan AGe.
+ollCwooD# CA 4555/
32384158/662
32384158/661 BaI
$eAtinC orce 0roDA.
233 WilAhire BlGD. Ste. /55
3158//485521
315823/81322 BaI
$i "oGi 0ictHreA 9$eniAe $i "oGi:
3115 %ain St. R225
315863181366
315834485/44 BaI
$imenAion ilmA
326 ,reenwich Street
"ew )orF# ") 15513
21284/183355
21284/1834/4 BaI
$onnerA? ComEanC# The
4/16 WilAhire BlGD.# SHite /25
31582228/155
31582228/115 BaI
$reCBHAA;@ameA 0roDA.
The Lot
15/1 ". ormoAa AGe.# 0icFBorD BlDg. 'm 115
3238365831/5
3238365831/1 BaI
&agle "ation ilmA 9Le-ar BHrton:
136/2 -entHra BlGD.# Ste. 254
323846186434
&DmonDA &ntertainment 9Kenneth JBabCBaceJ &DmonDA:
1136 ". CahHenga BlGD.
323831581665
32383158166/ BaI
&l $oraDo 0ictHreA 9Alec BalDwin:
226 AriSona AGe.# Ste. 155
212
Sir William K. Coe
3158/638/355
3158/638/352 BaI
&lectric &ntertainment 9$ean $eGlin:
6252 %elroAe AGe.
+ollCwooD# Ca 45533
323831281355
3238/1282235 BaI
www.electric8entertainment.com
&nergC 9BrooFlCn WeaGer:
444 ". $ohenC $r. R211
LoA AngeleA 45514
315822/83//5
httE7;;www.energCentertainment.net
TirAt looF Deal with SonC baAeD !riginal ilmA9"eal %oritS:
&AcaEe ArtiAtA
SonC 0ictHreA
31582//83333
31582//82161 BaI
&AEaraSa8KatS 0roDHctionA;%aCa 0ictHreA
3535 AnDrita St
315823183225
315823183222 BaI
&GanA Co.# The 'obert
0aramoHnt 0ictHreA
6666 %elroAe AGe.# LHbitAch R112
323846183355
323831285525 BaI
&GerCman 0ictHreA 9@aC 'oach# Director:
15251 WeAt 0ico BlGD.
31583148/255
315841485333 BaI
&GolHtion &ntertainment
451 ". +ighlanD AGe.
323836583232
323836585621 BaI
ace 0roDHctionA;@ennilinD 0roDHctionA 9BillC CrCAtal:
CaAtle 'ocF &ntertainment
336 ". %aEle $r.# Ste 136
213
Sir William K. Coe
315823682355
arrell;%inoBB 0roDA. 9%iFe arrell:
1/511 -entHra BlGD.# Ste. /51
313823486211
313823482/64 BaI
elDman Co.# &DwarD S.
15/1 ". ormoAa AGe.# Santa %onica &aAt# Ste. 215
323836582166
3238365821/4 BaI
,% &ntertainment 9ranF %ancHAo# @r.:
315 ". Canon $r.# Ste. 323
315825684455
315825684454 BaI
ielDA 0roDHctionA# ADam
3344 BeGerlC BlGD.# SHite 321
W. +ollCwooD# CA 455/3
315836484355
31583648/246 BaI
iBtC Cannon &ntertainment 9%iFe "ewell:
1465 Sawtelle BlGD.# Ste 333
31582//8/122
ilmcolonC# LtD.
155 ". CreAcent $r.# Ste. 126
3158/3281251
3158/3281256 BaI
ine Line eatHreA
111 ". 'obertAon BlGD. Ste 255
21281/48/355
315836/86311
315816481/63 BaI
inerman 0roDA.# WenDC
15252 W. WaAhington BlGD.#
31582//83355
31582//83/33 BaI
21/
Sir William K. Coe
ireworFA &ntertainment
/21 S. BeGerlC $r.
31582348/255
31582348/2/2 BaI
irAt KiAA 0roDHctionA 9Alicia SilGerAtone:
/13 "orth CamDen $riGe# SHite 255
315831586111
irAt LooF %eDia
3555 SHnAet BlGD.
323833281555
latiron ilmA
4224 SHnAet BlGD.# Ste 153
315822181664
www.BlatironBilmA.com
lower ilmA# Inc. 9$rew BarrCmore:
315823685255
315823685322 BaI
lHtie &ntertainment
4355 WilAhire BlGD# SHite 333
31582/281155
31582/281122 BaI
www.lHtie&nt.com
lCing reeholD 0roDHctionA 90atricF Stewart:
233 WilAhire BlGD.# SHite 155
3158/64831/2
315823583622 BaI
ortiA ilmA 9SanDra BHllocF:
3631 Santa %onica BlGD# Ste. 1
W. +ollCwooD# CA 45514
31581648/633
31581648/323 BaI
orwarD 0aAA 9%ichael %ann# Director:
12233 !lCmEic BlGD.# Ste 3/5
315825282323
216
Sir William K. Coe
oAter 0roDHctionA# $aGiD
15/1 ". ormoAa AGe.# ormoAa BlDg# Ste 211
323836582215
323836582212 BaI
BoAterBlicFAMaol.com
oHnDation &ntertainment
3222 %otor AGe.# 2nD l
315825/8/131
315825/8/153 BaI
www.BoHnDent.com
oHnDrC CaEital 9'obert ,reenhHt# EroDHcer:
1/5 W. 62th Street
212842284642
212842284626 BaI
.'. 0roDHctionA 9reD 'ooA# EroDHcer:
2435 BeGerlC ,len Circle# St.e 255
3158/2584212
3158/258/456 BaI
ranchiAe 0ictHreA Inc.
32383/383///
323832281//2 BaI
HrthHr ilmA 9%ichael $oHglaA:
155 UniGerAal CitC 0laSa# BlDg. 1325
UniGerAal CitC# CA 41153
313822281255
313831181223 BaI
"" P#$%&$ '()$ )*%) +$ ,( (-. /$&) )( 0$$1 )*$ 1%2$ -1,%)$, %', %33-.%)$4 /-) %,,.$&&$&
3%' 5.$6-$')#7 3*%'2$ 8+9)*(-) (-. 0'(+9'2 9): &( 9) 9& /$&) )( 3*$30 +9)* )*$ 3(;1%'7
59.&) )( ;%0$ &-.$ )*$7 *%<$ '() ;(<$,=
,aClorD ilmA
/555 Warner BlGD. BlDg. 1/3
BHrbanF# CA 41622
313846/83655
,ene SimmonA ComEanC# The
0.!. BoI 11526
31583648114/
315836482131 BaI
211
Sir William K. Coe
,eorge Street 0ictHreA 9ChriA !?$onnell:
3316 +HgheA AGe. Ste. 3
31583/18/311
315825/81315 BaI
,erber 0ictHreA
4/16 WilAhire BlGD.# SHite 313
315833686335
315833686331 BaI
,hettoSHbHrbia &ntertainment
/336 -an "HCA BlGD.# SHite 111
31382/48/425
,illen Q 0rice
2/26 !aFwooD AGe.
3238166835/2
3238166835/2 BaI
,iraBBe 0roDHctionA 9@aC %ohr:
655 S. BHena -iAta St.
BHrbanF# CA 41621
313861581655
31386158//11 aI
,itteA# Inc.
15252 W. WaAhington BlGD. 0oitier R1255
CHlGer CItC# CA 4523283146
31582//8/333
31582//81211 BaI
,lobal "etworF 0ictHreA
2// iBth AGe.2 l.# SHite A216
212835284362 9'icarDo CorDero8Chairman:
www.cheSriAKHe.com
,oat CaC 0roDHctionA 9SigoHrneC WeaGer:
0.!. BoI 33
"ew )orF# "ew )orF# 15165
2128/2183243
2128/218324/ BaI
,oatAingerA# The 9+arGeC Keitel:
122 W. BroaDwaC# 2nD loor
"ew )orF# ") 15513
2128411835/6
21284118/312 BaI
212
Sir William K. Coe
,oeEE Circle 0roDHctionA 9@onathan raFeA:
15445 WilAhire BlGD.# 11th loor
323816583342
,olchan 0roDHctionA# reDeric
15445 WilAhire BlGD.# 1/th loor
315825383626
31582538121/ BaI
,olDcreAt ilmA International# Inc.
12/5 !liGe
32381658/661
323816583631 BaI
,olDAtein Co.# The
11// CoHrtneC AGe.
315816484611
315816483224 BaI
,olDwCn 0roDHctionA# @ohn
6666 %elroAe AGenHe
+ollCwooD# CA 45533
32384618656/
,ooD %achine
/12 Canal# /th loor
"ew )orF# ") 15513
21283/384235
21283/3841/6 BaI
,ooDman8'oAen 0roDHctionA
/21 SoHth BeGerlC $riGe
31582348/663
,orDan ComEanC# %arF
12255 W. !lCmEic BlGD.# Ste 265
31584/381/51
31584/381/52 BaI
,orDon 0roDHctionA# $an
25158$ AGe. LoA ArboleA# R261
ThoHAanD !aFA# CA 41312
3568/4182611
,racie ilmA 9@ameA L. BrooFA:
15252 W. WaAhington BlGD.# 0oitier BlDg.
213
Sir William K. Coe
31582//8/222
31582//81635 BaI
,raDe A &ntertainment
313 ". La Cienega BlGD.
315836383155
DeGeloEmentMgraDeaent.com
,raham;'oAenSweig ilmA
1344 WilAhire BlGD. Ste 615
323823281333
323823281412 BaI
,rammnet 0roDHctionA 9KelAeC ,rammer:
6666 %elroAe AGenHe# LHcC BHngalow
3238461866/2
323831281/33 BaI
,ran -ia 0roDHctionA 9%arF @ohnAon:
4365 CiGic Center $riGe# SHite 155
315822283622
,reen %oon 0roDHctionA 9Antonio BanDeraA;%elanie ,riBBith:
11213 Barrington Ct. Ste. 322
3158/2183355
3158/2183522 BaI
,reenAtreet ilmA# Inc.
4 $eAbroAAeA St.# 2nD l.
"ew )orF# ") 15513
21283/3815/4
21283/38522/ BaI
+aineA ComEanC# 'anDa
42/2 BeGerlC BlGD.# St. 255
313821581123
313821581126 BaI
+allwaC 0ictHreA
/424 WilAhire BoHleGarD# SHite 333
323843284215
323843284222 BaI
214
Sir William K. Coe
+amSeh %CAtiKHe ilmA
11 BlaneC Street
SwamEAcott# %A 51452826/1
231864181231
231864482/2/ BaI
SiaDMhamSehmCAtiKHeBilmA.com
+anDErint &ntertainment
1155 ,lenDon AGe. Ste 1555
LoA AngeleA# Ca 4552/
3158/318//55
3158/318//14 BaI
+aEEC %aDiAon 0roDHctionA 9ADam SanDler:
15252 WeAt WaAhington BlGD.# @HDC ,arlanD BlDg.
31582//83155
+arEo ilmA# Inc. 9!Erah WinBreC:
3/6 ". %aEle $r.# Ste. 316
315822386664
+art8SharE &ntertainment
335 LaBaCette St.# Ate 35/
"ew )orF# ") 15553
2128/2682666
2128/2681212 BaI
+arGeC &ntertainment ComEanC
11336 W. !lCmEic BlGD. R665&
3158///8/155
3158///8/151 BaI
+B! ilmA
25/4 CentHrC 0arF &aAt# St.. 3155
315825184255
www.hbo.com;BilmA
+eel Q Toe ilmA 90aHl AttanaAio:
2563 BroaDwaC
315821/81311
315821/81316 BaI
+ill 0roDHctionA# $ebra
1265 1th St.# St.. 256
315831485562
315821583652 BaI
225
Sir William K. Coe
+oBBlHnD 0olone
4/16 WilAhire BlGD.# Ste 325
315836481421
315836482265 BaI
+orAeAhoe BaC 0roDA.
11416 -enice BlGD.# SHite 256
315861182365
3158611823/4 BaI
+HngrC %an ilmA
/23 BroaDwaC# 1th l.
"ew )orF# ") 15513
212812686155
212812686144 BaI
+CamA 0roDHctionA# Inc. # 0eter
1/63 ThirD St. Ste. 316
Santa %oncia# CA 45/51
315834381663
31583438166/ BaI
+CDe 0arF &ntertainment
2/65 BroaDwaC Street
3158//483141
3158//483361 BaI
Icon 0roDHctionA# Inc. 9%el ,ibAon:
353 WilAhire BlGD.# /th loor
3158/3/82355
3158/3/82322 BaI
ImagemoGerA 9'obert <emecFiA:
155 UniGerAal CitC 0laSa# BlDg. /3/
313823383313
313823383333 BaI
Imagine &ntertainment 9'on +owarD Q Brian ,raSer:
4/16 WilAhire BlGD.# 2th loor
315836382555
315836382525 BaI
Incognito &ntertainment
4//5 Santa %onica BlGD.# SHite 352
221
Sir William K. Coe
31582/181655
31582/185/14 BaI
InDelible 0ictHreA 9Art LinAon:
214 'oAe AGenHe
-enice# CA 45241
315834486144
InDican 0roDHctionA 9@Hlia !rmonD:
2616 BroaDwaC# Ste 133
"ew )orF# ") 15526
212811181655
212811184633 BaI
InDHAtrC &ntertainment 9Keith ADDiA Q "icF WechAler:
466 S. Carrilo $r.# 3rD loor
323846/84555
323846/85445 BaI
Initial &ntertainment ,roHE
315831681222
315831681223 BaI
IntermeDia ilmA
315822285552
315822285553 BaI
www.intermeDiaBilm.com
IriAh $reamtime 90ierce BroAnan:
2/65 BroaDwaC# Ste. &86521
3158//483/11
315863183133 BaI
IItlan 0roDHctionA 9!liGer Stone:
1252 /th Street
315834685626
315834681631 BaI
@acobAon ComEanC# The 9Tom @acobAon:
BHrbanF# CA 41621
313861581155
3138166832/1 BaI
222
Sir William K. Coe
@erAeC ilmA 9$annC $e -ito:
0! BoI /412/1
315866583255
315866583215 BaI
@im +enAon 0ictHreA
1/11 "orth La Brea AGenHe
+ollCwooD# CA 45523
323835281655
@inFA;Cohen ComEanC# The
155 UniGerAal CitC 0laIa
313823384335
3138233843/3 BaI
@ohnAon 0roDHctionA# $on
315833281551
@oAeEhAon &ntertainment
15251 W. 0ico BlGD.# BlDg. 65
315831482651
315841485343 BaI
@oGC @Hnior &nterEriAeA LtD
31 KinglC Street
LonDon
W1' 6LA# UK
@Hnction &ntertainment 9@on THrtletaHb:
4116 Brighton WaC# Ste 325
31582/184244
31582/18332/ aI
KaElan;0errone &ntertainment 9Aaron KaElan Q Sean 0errone:
AAtaire BlDg. SHite R3553
31582//81131
31582//82161 9BaI:
KatalCAt ilmA
1133 21th Street# 2nD l.
315845282231
315845282/61 BaI
223
Sir William K. Coe
KatS 0roDA.# %artC
3555 !lCmEic BlGD.
315821/834/3
315821/834/4 BaI
KelleC 0roDHctionA# $aGiD &.
'aleigh %anhattan Beach StHDioA
1155 'oAecranA AGe.# BlDg. /B
%anhattan Beach# CA 45211
315822282255
KenneDC;%arAhall ComEanC
114 AriSona AGenHe
315816183/55
315816183/35 BaI
Killer ilmA# Inc.
335 LaCBaCette St.# R352
2128/2383465
2128/2381162 BaI
KingAgate ilmA# Inc. 9"icF "olte:
346/ W. 0ico # 2nD l
315823186335
315823182133 BaI
Kinowelt ilm 0roDHction UK
338/2 WhitBielD St
LonDon
W1T 2A0
U//8252841185162
KirAchner 0roDHctionA# $aGiD
/55 SoHth @Hne Street
323843485235
KleiAer 0roDA.# 'anDal
3565 'HnCon CanCon 'D.
323836586611
32383658152/ BaI
Kline 0roDHctionA# ADam
/663 ,lencoe AGenHe# SHite 255
%arina $el 'eC# CA 45252
315831/82555
arFEiIMaol.com
22/
Sir William K. Coe
KonraD 0ictHreA
31582//83666
31582//85666 BaI
KoEelAon &ntertainment 9ArnolD Q Anne KoEelAon:
3615 SHnAet BlGD.# SHite 155
315831583255
315831583251 BaI
KoAberg 0roDA.# 'obert
1/33 ". ,ower St.# BoI 15
+ollCwooD# CA 45523
3238/138/613
6358/3383262 BaI
Krainin 0roDHctionA# Inc.
26211 SHmmerhill Ln
SteGenAon 'anch# CA 41331
3/6836485//6
3/6836485//1 BaI
or
3138213832/2 9Goice anD BaI:
Krane ,roHE# The @onathan
3533 SHnAet BlGD.# Ste. 1265
3158223851/2
315822385426 BaI
KHAhner8LocFe ComEanC# The
3/1 WooDacreA 'oaD
315834683/33
La LHna ilmA
336 ". %aEle $r.# Ste 236
315823684141
315823684141 BaI
LaDD ComEanC# The 9Alan LaDD# @r.:
4/16 WilAhire BlGD# Ste 415
315822282515
315822282511 BaI
LaFeAhore &ntertainment ,roHE
6666 %elroAe AGe.# ,loria SwanAon BlDg.
226
Sir William K. Coe
31584618/222
315831281145 BaI
Lang SCne ilmA# Inc.
1651 BroaDwaC# SHite 1355
"ew )orF# ") 15531
21284//84545
LangSCneilmAMCahoo.com
Larger Than LiBe 0roDHctionA
155 UniGerAal CitC 0laSa# BlDg. 6133
31382228/55/
313831186122 BaI
Largo &ntertainment
2524 CentHrC 0arF &aAt# Ste. /126
315825385566
3158253526/ BaI
LaSalle +ollanD
1/1 W. 23th Stree# SHite 355
"ew )orF# ") 15551
9212: 6/18///3
9212: 61384166
www.laAallehollanD.com
LeaHDoHce ilmA
1121 WilcoI AGe. R /2/
3238/14836/1
www.leaHDoHceBilmA.com
LeGinAon;ontana ComEanC# The 9BarrC LeGinAon:
136 Broome Street
"ew )orF# ") 15552
212836383254
Licht;%Heller ilm CorE
132 S. LaAFC $r.# Ste 255
315825686655
315825686645 BaI
LighthoHAe 0roDHctionA
125 &l Camino $r# Ste 212
31583648/423
315836482611 BaI
221
Sir William K. Coe
LightAtorm &ntertainment 9@ameA Cameron:
414 Santa %onica BlGD.
315816181155
315816181152 BaI
Lion 'ocF 0roDHctionA 9@ohn Woo anD Terence Chang:
2125 ColoraDo AGenHe# SHite 226
315835482435
315835481161 BaI
LionA ,ate &ntertainment CorE.
/663 ,lencoe AGe. Ste 255
%arina Del 'eC# CA 45242
315831/82555
315834285262 BaI
LiGe 0lanet# Inc. 9Ben ABBlecF# %att $amon# ChriA %oore# Sean BaileC:
21// 35th Street# SHite 151
315811/82/55
315811/82/51 9BaI:
www.liGeElanet.com
Lobell 0roDHctionA# %iFe
1/2/ ". CreAcent +eightA BlGD.# SHite 21
323832282415
Longbow 0roDHctionA
/131 SHnAweEt $riGe# Ste. 155
313821281155
LoGe SEell &ntertainment 9@enniBer LoGe +ewitt:
/513 'aDBorD AGe.# R213
313826/86/63
313826/86/13 BaI
LHciD ilm 9'Can 0hilliEEe:
4365 CiGic Center $riGe
315822283631
%aD Chance
/555 Warner BlGD.# BHngalow 3
BHrbanF# CA 41622
313846/83353
313846/83//2 BaI
222
Sir William K. Coe
%alEaAo 0roDA. 9Clint &aAtwooD:
c;o Warner BroA.
/555 Warner BlGD# BlDg. 31
313846/83312
313846/8/353 BaI
%anDalaC 0ictHreA
/261 WilAhire BlGD# 3rD loor
32386/48/355
32386/48 4332 BaI
%anDolin &ntertainment
12215 1;2 "ebraFAa AGenHe
31584/38/36/
%anDC ilmA# Inc. 9LeonarD ,olDberg:
4251 WilAhire BlGD.# R251
31582/185655
31582/185365 BaI
%anhattan 0roNect LtD.# The
1226 BroaDwaC# Ste /15
"ew )orF# ") 1551481453
2128263826/1
2128263826/1 BaI
%ania 0roDHctionA
0! BoI 352
-enice# CA 4524/
315834482122 BaI
&8mail7 DeGeloEmentMmania.com
WebAite7www.mania.com
"oteA7 Sci8Bi# BantaAC# Q horror
%aniBeAt ilm ComEanC
114 13th Street
31583448666/
315834486663 BaI
%arF 0roDA.# LaHrence
15252 W. WaAhington BlGD.# 0oiter BlDg. Ste. 3111
31582//86234
%armont 0roDA# Inc
16/3 $og Team 'oaD
"ew +aGen# -T 56/22
223
Sir William K. Coe
352833382/11
352833382666
marEroDMearthlinF.net
%arAtar 0roDA.
33/5 WilAhire BlGD# R152
315836383215
315832581365 BaI
%arGel StHDioA Inc.
15/2/ Santa %onica BlGD.# Ste 251
315823/83441
315823/83/31 BaI
%aterial 9@orge SaralegHi:
3555 !lCmEic BlGD.# SHite 2311
315844386323
315844386322 BaI
%atthaH ComEanC# The 9CharleA %atthaH:
11111 San -icente BlGD# R154
3158/6/83355
www.matthaH.com
%aGericF ilmA 9%aDonna:
43/3 CiGic Center $riGe
315822181122
315822184/22 BaI
%aChem 0ictHreA
226 AriSona AGe. Ste. 352
315834386556
315834386512 BaI
%eDia 3 &ntertainment
1326 CentHrC 0arF &aAt# Ste 2555
315822183355
315822183365 BaI
%eerAon8KriFeA
/22 ". Canon $r.# Ste 211
315836385662
31583638566/ BaI
224
Sir William K. Coe
%enDel 0roDHctionA# BarrC
155 UniGerAal CitC 0laSa# BHg. 6113
313823383521
31382338/525 BaI
%eno ilm Co. 9,HA -an Sant:
122 +HDAon Street# 6th loor
"ew )orF# ") 15513
1/1811381215
%erchant8IGorC 9IAmail %erchant Q @ameA IGorC:
265 W. 62th St.# Ste. 1326
2128632835/4
2128/6484251
%erG ,riBBin &ntertainment
4315 WilAhire BlGD.
315833683115
315833683112 BaI
%eAtreA 0roDHctionA# 'icarDo
116 Barrington WalF
3158/22832/2
3158/2283216 BaI
%etaBilmicA# Inc
/265 WilAhire BlGD.
313823/84325
%eCer 0roDHctionA.# 0atricia K.
611 +ill St. Ste 313
315834285/22
315821/83424 BaI
EF.meCerMGeriSon.net
%iDDle orF 0roDA.
351 ". Canon $riGe# SHite 223
BeGerlC +illA# CA 4552/
31582218/255
315822183255 BaI
%iFe?A %oGieA 9%ichael 0eCAer:
122 ". LaA 0almaA
3238/128/145
3238/128/144 BaI
235
Sir William K. Coe
%inDBire &ntertainment
32/5 !GerlanD AGe.# SHite &
315825/8//31
315825/86332 BaI
www.minDBireentertainment.com
%iracle 0ictHreA 9A. Kitman +o:
315834283511
%irage &nterEriAeA 9SCDneC 0ollacF;AnthonC %inghella:
233 S. BeGerlC $r. Ste 255
315833382335
315833382325 BaI
%iAher ilmA
155 UniGerAal CitC 0laSa
313822285666
313823386254 BaI
%ontecito 0ictHre ComEanC# The 9IGan 'eitman Q Tom 0ollocF:
1/32 &aAt -alleC 'oaD# SHite /22
%ontecito# CA 43153
356861683645
356861681343 BaI
%organ CreeF 0roDHctionA
3158/328/3/3
3158/328/3// BaI
www.morgancreeF.com
%orra# BreSner# Steinberg# Q TenenbaHm
3/6 ". %aEle $riGe# SHite 255
315833681325
31583368133/ BaI
%oAaic %eDia ,roHE
4255 SHnAet BlGD. 15th loor
31582318/455
315822282136 BaI
%oAtow;Lieberman
155 UniGerAal CitC 0laSa# BHng /111
231
Sir William K. Coe
31382228////
313831181323 BaI
%otion 0ictHre CorE. oB America
1/51 !cean AGe. Ste. 351
315831484655
315831484651 BaI
%oHnt ilm ComEanC 9Thom %oHnt:
4114 SHnAet BlGD.
315823386445
315823386441 BaI
%r. %HDD 9@ohn %alFoGich:
6226 WilAhire BlGD.# Ste 15/
323843286161
323843286111 BaI
%Htant &nemC# Inc. 9@oAA WheDon:
1355 Stewart Street
315862486135
315862486335 BaI
%HtHal ilm ComEanC 9%arF ,orDon Q ,arC LeGinAohn:
165 ". BronAon AGe.# Clinton BHilDing
+ollCwooD# CA 4555/
323832186145
323832186134 BaI
"aaila &ntertainment 9+CEe WilliamA:
2115 BroaDwaC# SHite A
315826685111
315826685112 BaI
"eHBelD 0roDHctionA# %ace
4155 WilAhire BoHleGarD# SHite 612 9&aAt Tower:
BeGerlC +illA# CaliBornia 45212
3158/5181313
3158/5181311 BaI
"ew Crime 0roDHctionA 9@ohn CHAacF:
666 'oAe AGe.
-enice# CA 45241
315834182144
31583418/2/4 BaI
232
Sir William K. Coe
"ew 'egencC 0roDA. 9Arnon %ilchan:
15251 W. 0ico BlGD. BlDg. 12
315831483355
315841485/25 BaI
"ewman &ntertainment# -incent
33/5 WilAhire BlGD.# 3rD loor
315836383565
315836383234 BaI
"ewmarFet CaEital ,roHE
252 ". Canon $riGe.
315836382/22
315836382/23 BaI
"ine )arDA &ntertainment
3635 WilAhire BlGD. # 6th loor
315823481533
315823481233 BaI

"o +anDA 0roDHctionA
4 $eAbroAAeA Street# 2nD loor
"ew )orF# ") 15513
2128154854/2 BaI
&mail7 emailMnohanDAEroDHctionA.com
www.nohanDAEroDHctionA.com
"H Image 9AGi Lerner:
1/23 WilAhire BlGD.
315833381455
"Hance 0roDA. 90aHl 'eiAer:
/5/4 'aDBorD AGe.
313826/86/3/
313826/86/36 BaI
"Hmenorean ilmA
12435 -entHra BlGD.# R325
313821383242
&8mail7inBoM"HmenoreanilmA.com
www.nHmenoreanBilmA.com
!bAt 0roDA.# LCnDa
6666 %elroAe AGe.# BlDg. 215
+ollCwooD# CA 45533
233
Sir William K. Coe
3238461832//
323831282232 BaI
!BBroaD &ntertainment
6666 %elroAe AGe.# BlDg. 254
+ollCwooD# CA 45533
32384618//26
323831281125 BaI
!liGer 0roDHctionA# Lin
3221 BeGerlC BlGD.
323823281/46
www.linoliGerEroDHctionA.com
!lmoA 0roDHctionA# Inc. 9&DwarD @ameA !lmoA:
655 S. BHena -iAta Street
!lD Animation BlDg.
BHrbanF# CA 41621
313861583161
313861583166 BaI
!riginal ilm 9"eal %oritS:
25/6 S. Barrington AGenHe
3158//684555
3158//684141 BaI
!Ht oB the BlHe...&ntertainment
15252 W. WaAhington BlGD# AAtaire BlDg# R1255
31582//82311
31582//81634 BaI
!HtaSite "ew %eDia StHDioA
1544 ,ainarD Street
CreAcent CitC# CaliBornia 46631
2528/1681661
333842683334
2528/1681661 BaI
httE7;;www.oHtaAite.com
aDminMoHtaAite.com
!HterbanFA &ntertainment 9KeGin WilliamAon:
3555 SHnAet BlGD.# 3rD loor
323816/83255
323816/83242 BaI
!HtBit %anagement;"oci 0citHreA# The
www.nociEictHreA.com
23/
Sir William K. Coe
&8mail7 moGiegoAABilmMaol.com
"ote7 0leaAe email 26 worD ACnoEAiA
!Htlaw 0roDHctionA
4166 SHnAet BlGD.
315822282555
315822282515 BaI
www.oHtlawBilm.com
!GerbrooF &ntertainment 9Will Smith:
/65 "orth 'oIbHrC $riGe# /th loor
3158/3282/55
!ICgen %eDia
26 "inth AGe.
"ew )orF# ") 15511
212816182555
212816182544 BaI
0aciBica &ntertainment# Inc.
315866583355
315866583351 BaI
0alomar 0ictHreA
6162 WilAhire BlGD.# 6th loor
323862682455
0anDemoniHm 9Bill %echanic:
155 ". CreAcent $riGe# SHite 1/3
31583368/533
0anDora ilmA
/555 Warner BlGD. BlDg. 1/3
BHrbanF# CA 41622
313846/83155
313846/82213 BaI
0ariah 9,aGin 0olone:
4/16 WilAhire BlGD.# Set. 325
315836481421
315836482265 BaI
0arFwaC 0roDHctionA 90ennC %arAhall:
155 UniGerAal CitC 0laSa# BlDg. 1325 &. Ste 3B
236
Sir William K. Coe
313822283316
313823382416 BaI
0enn?A ComEanC# <aF
Twentieth CentHrC oI
15251 W. 0ico# BlDg. 31 'm 353
315831482315
3158414852/4 BaI
0ermHt 0reAentationA 9$aGiD 0ermHt:
4165 WilAhire BlGD.# Ste. 2/2
31582/382242
31582/382242 BaI
0BeBBer ilm
Walt $iAneC StHDioA
655 S. BHena -iAta BlGD.# Animation BlDg.
BHrbanF# CA 41621
313861583122
31383/382/36 BaI
0haAe I 0roDHctionA 9@oe WiSan:
3215 ClHb $r.
31583/283/51
315823585/16 BaI
0hoeniI 0ictHreA
15252 W. WaAhington BlGD.# ranFoGich
31582//81155
315833483416 BaI
0inF SliE 0ictHreA 9%aI Wong:
131/ ". CoronaDo Street
2138/3382155
0lan B 9BraD 0itt anD @enniBer AniAton:
315822681136
0latinHm $HneA 9%ichael BaC:
131 ColoraDo AGe.
315834/84255
0latt 0roDHctionA# %arc
UniGerAal StHDioA
231
Sir William K. Coe
155 UniGerAal CitC 0laSa# BHngalow 613/
313822283311
313831181363 BaI
0lHm 0ictHreA
36 iBth AGenHe# 12th loor
"ew )orF# ") 15553
212832481611
2128434822// BaI
0reAAman ilm CorE.# &DwarD '.
11/3 "orth WilcoI AGenHe
+ollCwooD# CA 45523
323832183333
0rettC 0ictHreA 9"eil LaBHte:
155 UniGerAal CitC 0laSa# BlDg. 2362 A 3rD loor
3313823385421
3138311853/2 aI
0rotoSoa 0ictHreA
/33 W. 32th St.# Ste 6,
"ew )orF# ") 15513
21282//83314
21282//83236 aI
0Hnch 0roDHctionA 9$HAtin +oBBman:
11111 San -incente BlGD.# SHite 222
3158//28/333
3158//28/33/ BaI
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15455 WilAhire BlGD# Ste 1/55
315825383626
31582538121/ BaI
'aDiant 0ictHreA 9WolBgang 0eterAon Q ,ail KatS:
41/ %ontana AGe.# 2nD loor
315816181/55
315816181/53 BaI
'anAhohoBB 0roDHctionA# Inc. %artin
/55 S. BeGerlC $r. Ste 353
232
Sir William K. Coe
315866182135
31586618254/ BaI
'at &ntertainment 9Brett 'atner:
LoA AngeleA# C 45514
315822386555
315831584261 BaI
'ecorDeD 0ictHre ComEanC
2551 %elroAe AGe.
323843285233
32384318/413 BaI
'eD BirD 0roDHctionA 9$ebbie Allen:
3123 +aCDen AGenHe
315825281211
'eD +en 0roDHctionA 9StHart ,orDon:
3152 W. %agnolia# SHite L
BHrbanF# CA 41656
313861383155
313823281132 BaI
'eD +oHr ilmA 9Ben Stiller:
143 ". 'obertAon BlGD.
315823482616
315823486433 BaI
'eD !m ilmA 9@Hlia 'obertA:
11 W. 14th St.# 12th l.
"ew )orF # ") 15511
21282/382455
21282/382423 BaI
'eD StroFeA &ntertainment 9,arth BrooFA:
4/16 WilAhire BlGD. Ste.314
315823182332
315823182322 BaI
'eD Wagon 0roDA. 9$oHg WicF Q LHcC iAher:
15252 W. WaAhington BlGD.#+eEbHrn WeAt
31582//8//11
31582//81/35 BaI
233
Sir William K. Coe
'ehme 0roDHctionA 9'obert 'ehme:
15461 V WeCbHrn AGe.
315832/83321
315832/86/64 BaI
'einer;,reiAman 9'ob 'einer:
336 ". %aEle $riGe# SHite 136
315823682355
'enaiAAance 0ictHreA 9Sam 'aimi:
316 S. BeGerlC $riGe# SHite 2111
315823683455
315823684121 BaI
'enBielD 0roDA. 9@oe $ante:
15/1 ". ormoAa AGe# WriterA BlDg. 321
323836583456
323836583452 BaI
'eEerage 9@ean8@acKHeA AnnaHD:
333 S. BeGerlC $riGe.# Ste 155
315866281226
315866281221 BaI
'eGelationA &ntertainment 9%organ reeman:
351 AriSona AGe.# Ste. 353
315834/83131
315834/83133 BaI
'eGolHtion StHDioA 9@oe 'oth:
315826682555
'K! 0ictHreA# Inc.
1326 CentHrC 0arF &aAt# Ste 21/5
315822285252
315822182/45 BaI
'oAcoe &nterEriAeA# Inc
3158//48/511
315821/8/163 BaI
234
Sir William K. Coe
'oHnDtable InF
1111 Santa %onica BlGD.# Ste 252
+ollCwooD# CA 45533
3238/118/1/1
3238/118/1/5 BaI
'HDDC %organ !rganiSation# Inc.# The
315822182143
315822384423 BaI
'HDin 0roDA.# Scott
6666 %elroAe AGe.# $e%ille BlDg.
32384618/155
323831285212 BaI
Saban &ntertainment
15415 WilAhire BlGD.
315823686155
315823686152 BaI
SamHelAon 0roDA. LimiteD
15/51 WCton $r.
315825381555
315825382354 BaI
SanDboI &ntertainment
111 ". 'EobertAon BlGD.# Ste /55
315841281/61
315816481/26 BaI
SarFiAAian 0roDHctionA# ArthHr
4266 SHnAet BlGD.# Ste 3/5
315833681/31
315843182355 BaI
SatHrn ilmA 9"icholaA Cage:
315833285455
31582/382416 BaI
SchericF AAAociateA
1465 Sawtelle BlGD.# SHite 232
2/5
Sir William K. Coe
&8mail7 inBoMAchericF.com
"ote7 0leaAe aDDreAA KHerieA to J$eGeloEment %anager.J
SchiBB 0roDHctionA# 0aHl
3555 W. !lCmEic BlGD.# BlDg 2 Ste 1/21
315821/8341/
315821/83413 BaI
SchroeDer &nterainment# ADam
/555 Warner BlGD.
BHrbanF# CA 41622
313846/86122
SchHmacher 0roDA.# @oel
/555 Warner BlGD.
BHrbanF# CA 41622
313846/81155
315846/8/1/2 BaI
Scott ree 0roDHctionA 9'iDleC Q TonC Scott:
13/ ". La 0eer $r.
315831582265
315831582261 BaI
Screen ,emA
31582//8/555
Section &ight 9,eorge ClooneC Q SteGen SoDerbergh:
/555 Warner BroA.# BlDg. 16
BHrbanF# CA 41622
313846/8/315
SeraEhim ilmA 9CliGe BarFer:
1151 ArgCle St.
+ollCwooD# CA 45523
3238/12853/5
3238/1284411 BaI
www.cliGebarFer.com
SeGen ArtA 0ictHreA
4646 WilAhire BlGD.# 0enthoHAe
315833283335
3158332833/5 BaI
ShaDC AcreA &ntertainment
2/1
Sir William K. Coe
31382228///1
313831181112 BaI
ShonFCte 0roDHctioinA# Inc. 9Sean )oHng:
2124 %ain Street 0%B 124
&8mail7 EoAtmaAterMAeanCoHng.com
Shoreline &ntertainment# Inc.
1326 CentHrC 0arF &aAt# SHite 155
315866182515
315825185224 9aI:
SignatHre ilmA; %illenniHm $ance ComEleI
6113 LanFerAhim BlGD.
". +ollCwooD# CA 41151
313826282441
313826283331 BaI
SilGer 0ictHreA 9@oel SilGer:
313846/8//45
313846/83232 BaI
Simian ilmA 9+Hgh ,rant;&liSabeth +HrleC:
336 ". %aEle $riGe# SHite 336
315823682321
Simon 0roDHctionA# 'anDC
1113 ". +illcreAt 'D
315822/82//5
315822/84354 BaI
SimonDA Co.# The 'obert
1444 AGenHe oB the StarA# Ste 2365
315823482255
315825186443 BaI
Single Cell 0ictHreA 9%ichael StiEe:
1511 ". 0alm AGe
WeAt +olCwooD# CA 45514
315831582155
315831582511 BaI
SirF 0roDHctionA
2/15 Lemoine AGe# 3rD loor
ort Lee# "@ 5252/
25184//85432
2/2
Sir William K. Coe
&8mail7 AirFEroDMCahoo.com
www.AirFEroDHctionA.com
SFClarF &ntertainment ; ' Q ' ilmA
12/56 -enice BlGD.# SHite 232
315834582164
3158/5283223 BaI
SFClarF ilmA
1123 0aciBic St. Ste. ,
315834186263
315834186263 T61
S"L StHDioA 9LA:
6666 %elroAe AGenHe
323846186224
323831283156 BaI
Solo !ne 0roDHctionA 9%arlee %atlin:
3238163832/3
SommerA ComEanC# The 9SteEhen SommerA Q Bob $HcAaC:
25/ Santa %onica BlGD.# SHite A
315841284255
SEanFC 0ictHreA# Inc. 9TeD $emme:
15/1 ". ormoAa AGe. 0icBorD BlDg. 'm. 144
WeAt +olCwooD# CA 455/1
323836582233
3238365822/6 BaI
SEelling ilmA
6255 WilAhire BlGD.# St.. 326
323841686255
SEring CreeF 0roDHctionA 90aHla WeinAtein:
336 ". %aEle $r.# Ste 254
315822584555
315822584551 BaI
SECglaAA &ntertainment ,roHE 9'oger BirnbaHm:
15455 WilAhire BlGD.# 15th l
3158//386355
2/3
Sir William K. Coe
3158//386412 aI
www.AECglaAAentertainment.com
StamEeDe &ntertainment 9'on UnDerwooD:
3555 W. !lCmEic BlGD.# BlDg 3
315866284422
Stone -illage 0roDHctionA 9Scott SteinDorBB:
1531 Carol $riGe# SHite 352
315825681334
315825681313 BaI
Storm &ntertainment
315816182655
315816182615 BaI
StorCline &ntertainment
!lD Animation BlDg. Ste 3$
BHrbanF# CA 41621
313861582423
3138615861/6 BaI
StriFe &ntertainment
3555 WeAt !lCmEic BoHleGarD
315831685665
SHDDen Storm 0roDHctionA
1 $eer 0arF CreAcent# SHite 253
Toronto# !ntario %/- 3C/
/118422843/2
inBoMAHDDenAtorm.ca
www.AHDDenAtorm.ca
SHnDance InAtitHte
315831581431
315831581414
Tall TreeA 0roDHctionA
2263 SHnAet BlGD.
323832381111
323832381112 BaI
2//
Sir William K. Coe
TaEeAtrC ilmA# Inc.
4323 CiGic Center $r.
315822681141
315822681211 BaI
TaClor %aDe ilmA
1225 Stone CanCon 'D.
3158/2281213
3158/2283143 BaI
Team ToDD
2455 !lCmEic BlGD
315826682216
315826682222 BaI
&8mail7 teamtoDDMaol.com
Ten Thirteen 0roDHctionA 9ChriA Carter:
0! BoI 455
315831481155
TI, 0roDHctionA# Inc.
313 22282232
313 23386111 BaI
TiAch Co.# The SteGe
15252 W. WaAhington BlGD.# AAtaire BlDg.
31582//81112
Tollin;'obbinA 0roDHctionA
15415 -entHra BlGD.# 2nD loor
31382118655/
Totem 0roDA. 9TonC Scott:
32381658/44/
323816581411 BaI
Tribeca 0roDHctionA 9'obert $e "iro:
326 ,reenwich St. 3th Bloor
"ew )orF# ") 15513
21284/18/555
21284/18/5// BaI
2/6
Sir William K. Coe
Trigger Street 0roDHctionA 9KeGin SEaceC:
266 A "orth La Cienega BlGD.
315831581112
315831581111 BaI
www.triggerAtreet.com
TrilogC &ntertainment ,roHE
315816184233
315816184232 BaI
Troma# Inc.
c;o Troma BlDg.
233 4th AGenHe
"ew )orF# ") 15514
21282628/666
www.tromaGille.com
TrHe BlHe 0roDHctionA 9KirAtie AlleC:
0! BoI 22122
323811184141
323811184145 BaI
THrman8%orriAAeC ComEanC# The
TCEe A ilmA
155 UniGerAal CitC 0laSa BHilDing 1325# SHite 2&
313822281222
UBlanD 0roDHctionA
63/ 21At St.
315816183531
315816183523 BaI
UnDerworlD &ntertainment 9+HgheA BrotherA:
1324 0aliAaDeA Beach 'oaD
315834384443
315834381611 BaI
UEBront 0roDHctionA
123/1 SoHth +awthorne BlGD.# R242
+awthorne# CA 45265
&mail7 ilmnHMCahoo.com
Web Aite7 www.HEBrontEroDHctionA.com
2/1
Sir William K. Coe
-alhalla %otion 0ictHreA 9,ale Anne +HrD:
3635 WilAhire BlGD# Ste /55
315831583635
315831583631 BaI
-angHarD ilmA
315831583534
315833383512 BaI
-aHlt Inc.# The
1331 Centinela AGe.# 2nD l
315831685512
315831684322 BaI
-ertigo &ntertainment
43/3 CiGic Center $riGe# %eSSanine LeGel
315823386125
315822386246 BaI
-ictor Q ,raiA 0roDHctionA
2432 WilAhire BlGD.# Ste. 252
315832383334
315832384633 BaI
-iew AAFew 0roDHctionA# Inc.
111 BroaD Street
'eD BanF# "@ 52251
23283/281433
23283/283222 BaI
-illage 'oaDAhow 0ictHreA
3/55 'iGerAiDe $r. Ste 455
BHrbanF# CA 41656
313821581555
313821581551 BaI
WachA ComEanC# The 'obert $.
3/6 ". %aEle $r.# Ste 124
315822181123
315822186622 BaI
WeeD 'oaD 0ictHreA 9AFiGa ,olDAman:
/555 Warner BlGD.# BlDg. 31 Ste. R116
BHrbanF# CA 41622
2/2
Sir William K. Coe
313846/83321
313846/83511 BaI
WeintraHb 0roDHction# @errC
/555 Warner BlGD.# BHngalow 1
BHrbanF# CA# 4162285551
313846/82655
313846/81344 BaI
WheelhoHAe 9'anDall Wallace:
16/1/ -entHra BlGD.
3138/1183644
313845285314 BaI
White WolB 0roDHctionA
2432 WilAhire BlGD. Ste 251
315832482655
315863185212 BaI
WilDwooD &nterEriAeA# Inc;
SoHth orF 0ictHreA 9'obert 'eDBorD:
1151 %ontana AGe.# Ste &
315834686166
315834683426 BaI
WinD $ancer 0roDHction ,roHE
255 W. 62th St.# Ste 151
"ew )orF# ") 15514
21282168/222
21282168/226 BaI
WinFler ilmA 9Irwin WinFler:
211 S. BeGerlC $r.# Ste. 255
315836386235
315836386244 BaI
WinAton 0roDHctionA# Stan
2523 -alNean AGenHe
-an "HCA# CA 41/51
313845286134
Witt8ThomaA ilmA
11451 Santa %onica BlGD Ste.641
WeAt LoA AngeleA# CA 45526
3158/228155/
3158/2186516 BaI
EwittEroDHctionAMaol.com
2/3
Sir William K. Coe
WolEer !rganiSation
/555 Warner BlGD.# BlDg. 1/
BHrbanF# CA 41622
313846/81/21
313846/81643 BaI
WorFing Title ilmA
4225 WilAhire BlGD.# /th l
315822283155
3158222862/3 BaI
WCchwooD 0roDHtionA 9Simon WeAt:
6666 %elroAe AGenHe
+ollCwooD# CA 45533
32384618344/
)aF )aF 0ictHreA 9%imi LeDer:
/555 Warner BlGD.# BlDg 133
BHrbanF# CA 41622
313846/83311
313846/8111/ BaI
)orFtown 0roDA.# Inc. 9"orman @ewiAon:
13 ,loHceAter Lane# 6th l
Toronto# !" %/) 1L6 CanaDa
/11842382232
/11842383635 BaI
<anHcF Co.# The 9'icharD Q Lili ini <anHcF:
4/16 WilAhire BlGD.# Ste 435
BeGelrC +illA# CA 45212
315822/85211
315822384212 BaI
<iAFin 0roDHctionA# LaHra
31582//82323
31582//85523 BaI
<ollo 0roDHctionA# Inc.
262 W. 62nD St.# 2nD l
"ew )orF# ") 15514
212846281355
212846281316 BaI
<HcFer 0roDHctionA 9@errC <HcFer:
1265 1th St.# SHite 251
315816184252
315816184225 BaI
2/4
Sir William K. Coe
<HcFer;"etter 0roDHctionA 9$aGiD <HcFer:
1/11 6th St.# Ste. /52
315834/811//
315834481222 BaI
InDeEenDent 0roDHction ComEanieA7
AIRCRAFT PICTURES
63 Shannon St.
Toronto# !ntario %1@ 2&2 CanaDa
tel7 /11863184124
BaI7 /11863184123
www.aircraBtEictHreA.com
email7 inBoMaircraBtEictHreA.com
ALLIANCE ATLANTIS COMMUNICATIONS CORPORATION
121 Bloor St. &aAt# Ste. 1655
Toronto# !nt. %/W 3%6 CA"A$A
/1184128112/
aI7 /11841585421
www.allianceatlantiA.com
&8mail7 inBoMallianceatlantiA.com
ALLIANCE ATLANTIS COMMUNICATIONS CORPORATION8US:
Santa %onica# CA 45/51 U.S.A
315834483555
aI7 315834483155
ALLIANCE FILM>ORKS
0.!. BoI 323253
SoHth loriDa# l. 3353
46/8/3282332
aI7 46/8/3282344
www.allianceBilmworFA.com
&8mail7 inBoMallianceBilmwoFA.com
ALLIED ENTERTAINMENT GROUP
3344 BeGerlC BlGD.# SHite 411
315822185253
aI7 315822185251
AMERICAN CINEMA INTERNATIONAL
/1/5 LanFerAhim BlGD.# SHite 655
". +ollCwooD# CA 41152 U.S.A.
313843683655
aI7 31384368/3/6
265
Sir William K. Coe
AMERICAN >ORLD PICTURES
1366 ToEanga CanCon BlGD.# Ste. /23
WooDlanD +illA# CA 41312 U.S.A
313821681/35
aI7 313821681531
AMESELL ENTERTAINMENT
12551 -entHra 0lace# SHite /5/
313821183655
aI7 31321182323
ARCHLIGHT PICTURES
1251;34 %cLaren St.
"orth SCDneC 2515
AHAtralia
91182: 446683326
ARAMA ENTERTAINMENT4 INC=
1353/ -entHra BlGD.# SHite /36
&ncino# CA 41311 U.S.A
313823381/55
aI7 3138445843//
&8mail7 aramaentMaol.com
ARTISAN ENTERTAINMENT
2255 ColoraDo AGenHe# 2nD loor
Santa %onica# CA 45/5/ U.S.A
3158//484255
aI7 3158266833/5
www.artiAanent.com
ARTIST VIE> ENTERTAINMENT
12655 'iGerAiDe $riGe# SHite 251
"orth +ollCwooD# CA 41152
313826282/35
aI7 313826284334
ASSOCIATED TELEVISION INTERNATIONAL
//51 WilAhire BlGD.
LoA AngeleA# CA 45515 U.S.A
323866186155
aI7 323866186115
&8mail7 aAAociateDtGMmAn.com
ASYLUM4 THE
1121 SHnAet BlGD.# BlDg. 1643
+ollCwooD# CaliBornia 45523
3238/1381626
AURA ENTERTAINMENT
4365 WilAhire BlGD.# SHite /55
261
Sir William K. Coe
315822384442
BEYOND FILMS4 LTD=
63866 BriAbane Street
SHrrC +illA# "SW 2515
AHAtralia
91182: 321282555
www.beConD.com.aH
BLUE RIDER PICTURES
2355 23th Street# SHite 156
Santa %onica# CA 45/56 U.S.A.
315831/832/1
aI7 31586318/362
www.blHeriDerEictHreA.com
CAPELLA INTERNATIONAL4 INC=
42/2 BeGerlC BlGD.# SHite 235
BeGerlC +illA# CA 4521583215 U.S.A
31582/28/255
aI7 31582/28/251
CARLTON INTERNATIONAL MEDIA4 INC=
12211 -entHra BlGD.# SHite 355
StHDio CitC# CA 4115/ U.S.A
313826381313
aI7 313826381333
www.carltonint.co.HF
&8mail7 enKHirieAMcarltonint.co.HF
CANARY FILMS
236 & 46th Street# 16m
"ew )orF# ") 15123 U.S.A
&8mail7 NlAchweitSerMearthlinF.net
www.canarCBilmAnCc.com
CASTLE HILL PRODUCTIONS INC=?CINEVEST
1/1/ AGenHe oB the AmericaA# 16th loor
"ew )orF# ") 15514 U.S.A
212833385535
aI7 21281//85461
CECCHI GORI GROUP
11445 San -icente BlGD.# SHite 255
LoA AngeleA# CA 455/4 U.S.A
3158//28/222
aI7 3158//284652
&8mail7 mAalGoMearthlinF.net
CELESTIAL PICTURES
Shaw ADminiAtration BlDg.# Lot 225
262
Sir William K. Coe
Clear Water BaC 'oaD
Kowloon# +ong Kong
9362: 242281111
CINE EXCEL ENTERTAINMENT
1152 "orth ScreenlanD $riGe
BHrbanF# CA 41656 U.S.A
31383/38//23
aI7 31383/381645
www.cineeIcel.com
&8mail7 inBoMcineeIcel.com
CINETEL FILMS4 INC=
3266 W. SHnAet BlGD.
LoA AngeleA# CA 455/182/32 U.S.A
323816/8/555
aI7 323816581/55
CONCORDE@NE> HORIAONS4 CORP=
11155 San -incente BlGD.
315832581233
aI7 315825281311
www.newconcorDe.com
CONBUISTADOR ENTERTAINMENT
155 lower Street# SHite 6
-enice# CaliBornia 45241
315834184142
COREY MARR PRODUCTIONS4 INC=
&8mail7 inBoMcoreCmarr.com
CREATIVE LIGHT >ORLD>IDE
323816384111
aI7 323816384114
www.creatiGelightworlDwiDe.com
CRO>N INTERNATIONAL PICTURES4 INC=
3251 WilAhire BlGD.
315816281255
aI7 31581628//34
www.crownintlEictHreA.com
&8mail7 crownMcrownintlEictHreA.com
90leaAe note 8 theC Do not acceEt HnAoliciteD AcreenElaCA Gia email:
CRYSTAL SKY4 LLC
1451 AGenHe oB the StarA# SHite 156
263
Sir William K. Coe
31583/385223
aI7 315866384346
CURB ENTERTAINMENT INTERNATIONAL
3452 WeAt AlameDa AGenHe
31383/383635
aI7 313861181214
&8mail7 cHrbBilmMearthlinF.net
DISTANT HORIAON4 LTD=
3232 SHnAet BlGD.# SHite A
32383/38/1/5
aI7 32383/38/1//
DIVERSA FILMS
242/ %iAAion Bonita $r.
San $iego# CA 42125
11482318333/
aI 11482318332/
&8mail7 Farl.FoSaFMhome.com
DC= DONNELLY PRODUCTIONS GROUP LTD=
0,$C.T-
0! BoI 265
12/6 SoHth 0owerline 'D.
0omEano Beach# L 33514 U.S.A
3/2823382413
&8mail7 DNDEroDHctionAMEeoEleEc.com
DOUBLE TREE ENTERTAINMENT
4151 Santa %onica BlGD.# 3rD loor
3158364811//
aI7 315836481165
DREAM ENTERTAINMENT
3/34 W. 3rD. Street# SHite 1531
323816686651
aI7 323816686153
www.DiGerAaBilmA.com
&8mail7 $ream&nterMaol.com
FILMFOUR INTERNATIONAL
21823 Charlotte Street
LonDon# W10 1L( U"IT&$ KI",$!%
//8252831382255
aI7 //8252831382211
www.BilmBoHr.com
&8mail7 BilmBoHrintlMchannel/.co.HF
26/
Sir William K. Coe
FIRE>ORKS PICTURES
/21 SoHth BeGerlC $riGe
31582348/255
aI7 31582348/2/2
www.watchBireworFA.com
&8mail7 inBoMBireworFAEiI.com
FOCUS FEATURES
/12 Canal Street# 12th loor
"ew )orF# ") 15513
21283/384235
31583368//55 9LA:
aI7 21286348/544
FRANCHISE PICTURES LLC
3223 SHnAet BlGD.
32383/383///
aI7 323832282116
GIANTS ENTERTAINMENT
15155 WilhAire BlGD.# SHite 651
LoA AngeleA# CA 4552/ U.S.A
315816286/55
aI7 31586148/555
GIRLIE GIRL PRODUCTIONS
1255 +illEarF $riGe# SHite 352
323836181251
aI7 323836181213
&8mail7 inBoMgirliegirlEroDHctionA.com
www.girliegirlEroDHctionA.com
GOLCHAN PRODUCTIONS4 FREDRIC
1//2 ". +aCworth AGe.
3232816181122
GOOD MACHINE INTERNATIONAL4 INC=
/12 Canal Street# /th loor
"ew )orF# ") 15513 U.S.A
21283/384235
aI7 21283/382/12
www.gooDmachine.com
&8mail7 inBoMgooDmachine.com
GREEN COMMUNICATIONS
266 0arFAiDe $riGe
San ernanDo# CA 413/5 U.S.A
313866285565
266
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aI7 313866285561
www.greenBilmA.com
&8mail7 inBoMgreenBilmA.com
HIGHLAND MYST ENTERTAINMENT
0.!. BoI 25111
ort Worth# TeIaA 21152
312862384346
www.highlanDmCAt.com
HORIAON ENTERTAINMENT4 INC=
15/5 +amilton Street# SHite 256
-ancoHGer# BC -1B 2'4 CA"A$A
15/813281252
aI7 15/813281152
www.BilmhoriSon.com
&8mail7 rhAMBilmhoriSon.com
IMAGEMAKER FILMS
611 23th AGenHe
-enice# CA 45241 U.S.A
aI7 315835281552
www.Image%aFerilmA.com
IMPULSE PRODUCTIONS
U/6 /3 63 21 23
aI7 U/6 /3 63 21 24
mailMimEHlAeBilmA.com
www.imEHlAeBilmA.com
INITIAL ENTERTAINMENT GROUP4 INC=
3555 W. !lCmEic BlGD.# SHite 1665
315831681222
aI7 315831681223
www.initial8ent.com
INSCRIPTION FILMS
/13 ". CamDen $riGe# SHite 255
3158315821/3
aI7 315831582155
INSOMNIA MEDIA GROUP
11111 Santa %onica BlGD SHite 1265
3158/3581653
aI7 31582318/322
www.inAomniameDia.com
INSPIRED FILMS
265 &. CaliBornia St.
261
Sir William K. Coe
@acFAonGille# !' 42635 U.S.A
inAEireDWDeGeloEmentMCahoo.com
www.inAEireDBilmA.net
INTERMEDIA?I=S= FILM DISTRIBUTION
4365 CiGic Center $riGe# Ste. 155
315835483/55
aI7 31583238/132
www.intermeDiaBilm.com
INTERNATIONAL FILM GROUP
2415 IGanhoe AGenHe# SHite 624
La @olla# CA 42532 U.S.A.
363866182315
aI7 363866182111
httE7;;www.iBgBilmA.com
CONESING PICTURES4 INC=
1133 ChamborD CoHrt
!rlanDo# L 32326 U.S.A.
www.NoneAingEictHreA.com
&8mail7 NoneAingMNoneAingEictHreA.com
KELLER ENTERTAINMENT GROUP
1/226 -entHra BlGD.
Sherman !aFA# CA 41/23 U.S.A
31384318/465
aI7 31386518122/
&8mail7 NimEeri156Maol.com
LAKESHORE INTERNATIONAL
6666 %elroAe AGe.# ,loria SwanAon# / loor
+ollCwooD# CA 45533 U.S.A
32384618/222
aI7 323831281/61
www.laFeAhoreentertainment.com
L=I=F=T= PRODUCTION SERVES
316 Canal Street
"ew !rleanA# LA 25135 U.S.A
65/86168LIT
aI7 65/861686/11
www.liBt8la.com
&mail7 @ohnMliBt8la.com
LIONS GATE FILMS INTERNATIONAL
/663 ,lencoe AGenHe# SHite 255
%arina Del 'eC# CA 45242 U.S.A
315831/82555
aI7 315834285262
262
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MAINLINE RELEASING
1351 AGenHe oB the StarA# SHite 1536
315823181551
aI7 315823185635
www.mainlinereleaAing.com
&8mail7 inBoMmainlinereleaAing.com
MANDEVILLE FILMS4 INC=
0.!. BoI 626
CamEbellGille# !ntario# L5081B5 CanaDa
www.manDeGilleBilmA.com
&8mail7 manDeGilleBilmAMhotmail.com
MANMADE ENTERTAINMENT PRODUCTIONS4 INC
/132 Saloma AGe.
Sherman !aFA# Sherman !aFA U.S.A
313.233./333
www.manmaDeentertainment.net
&8mail7 AHbmiAAionAMmanmaDeentertainment.net
T0leaAe inclHDe genre in AHbNect line when AHbmitting.
MDP >ORLD>IDE
315822183355
aI7 315822183365
METROPOLIS FILMS 8S)$1*$' R7,$.:
235 0arF aGenHe# 15th Bloor
"ew )orF ") 1511485551
1/18/3686633
212835383525 BaI
&8mail7 metroEoliABilmAMaol.com
www.metroEoliA8BilmA.com
MINDS EYE FILMS
2 +aSleDene 'oaD
lonDon W/ 3@B &",LA"$
U // 95: 525 3446 2/32
aI7 U // 95: 525 3446 6141
inBoMminDAeCeBilmA.com
www.minDAeCeBilmA.com
MODERN ENTERTAINMENT
11266 -entHra BlGD.# SHite 1155
&ncino# CA 41/31 U.S.A
263
Sir William K. Coe
313833185///
aI7 31382238324/
MOONSTONE ENTERTAINMENT
0.!. BoI 2/55
StHDio CitC# CA 4111/ U.S.A
313843683553
aI7 313843683554
MYRIAD PICTURES
/56 S. BeGerlC $riGe# 6th loor
31582248/555
aI7 31582248/551
www.mCriaDEictHreA.com
NITE O>L PRODUCTIONS4 LTD
Attention7 Sonia Satra
1/54 ArmacoAt AGenHe# SHite 1
&8mail7 U0B&ATmagMaol.com
www.niteowlEroDHctionAltD.com
NORTH BY NORTH>EST ENTERTAINMENT
Attention7 Kim BeattC
453 W. BroaDwaC
SEoFane# WA 44251
654832/824/4
aI7 654842481231
&8mail7 FbeattCMnInw.net
www.nInw.net
ODYSEEY ENTERTAINMENT
1 BerFeleC Street
LonDon W1@ 3B@
UK
9//8252: 511833/2
OMEGA ENTERTAINMENT4 LTD=
3215 Shoreham $riGe
315836685611
aI7 3158162825//
httE7;;www.omegaEic.com;home.htm
OPEN CITY FILMS
// +HDAon Street
"ew )orF# ") 15513 U.S.A
212863283355
aI7 212863281465
264
Sir William K. Coe
ORIGINAL SIX PRODUCTIONS4 LTD=
Attn7 StHart awcett ; SteGe !rton
1/ Lilac WaC
&aAt ,oAcote# LeiceAter L&2 &nglanD
U// 111 215 /111
httE7;;www.originalAiIEroDHctionA.com
OVERSEAS FILMGROUP?FIRST LOOK PICTURES
3355 SHnAet BlGD.# SHite 352
315836681144
aI7 315836685214
www.oBg.com
&8mail7 inBoMoBg.com
PANDORA
US !BBice7
/555 Warner BlGD.# BlDg. 1/3. SHite 255
BHrbanF# CA 41622 U.S.A.
313846/866/4
aI7 313846/82213
PORCHLIGHT ENTERTAINMENT
11222 %iAAiAAiEEi AGe.
3158/2283/55
PROMARK ENTERTAINMENT GROUP
3644 CahHenga BlGD. WeAt
323832385/5/
aI7 323832385/31
RENAISSANCE FILMS4 LTD=
3/836 BerwicF Street
LonDon# W1- 3'0 U"IT&$ KI",$!%
//8252823286145
aI7 //8252823286155
www.renaiAAance8BilmA.com
&8mail7 inBoMrenaiAAance8BilmA.com
SCREEN MEDIA VENTURES4 LLC
262 ThirD AGenHe# 2nD loor
"ew )orF# ") 15512 U.S.A
212835381245
aI7 212835381241
SENATOR FILM INTERNATIONAL
3111 WilAhire BlGD.
315831581//1
aI7 315831581//2
215
Sir William K. Coe
SHO>CASE ENTERTAINMENT4 INC=
Warner Center
21355 !InarD St# SHite 165
WooDlanD +illA# CA 41312 U.S.A
313821682556
aI7 313821682554
SPLENDID PICTURES
2435 ". BeGerlC ,len Circle# SHite 355
Bel Air# CA 45522
3158/2686455
aI7 3158/2686451
STAG FILMS
1551 ". Sierra Bonita AGe.
323832/82214
&mail7 EroDMAtag8BilmA.com
www.Atag8BilmA.com
STAR>AY INTERNATIONAL
3158/6381252
aI7 3158/6381152
STORM ENTERTAINMENT
315816182655
aI7 315816182615
SUMMIT ENTERTAINMENT
1135 Stewart Street# SHite 125
315835483/55
aI7 31583238/132
STUDIOCANAL FRANCE
351 ". Canon $riGe# SHite 252
31582/28544/
aI7 31582/285443
TAURUS ENTERTAINMENT COMPANY
6331 SHnAet BlGD.
+ollCwooD# CA 45523 U.S.A
323831585352
aI7 32383158533/
www.taHrHA8entertainment.com
211
Sir William K. Coe
TOMORRO> FILM CORPORATION
4265 WilAhire BlGD.
315833682455
aI7 315833682445
TRI@HUGHES ENTERTAINMENT GROUP
11151 WilAhire BlGD. 6th loor
LoA AngeleA CA 45526 U.S.A
315823681/64
www.trihHgheA.com
TROMA ENTERTAINMENT4 INC=
The Troma BHilDing
233 "inth AGenHe
"ew )orF# ") 15514 U.S.A
21282628/666
aI7 212834484336
www.troma.com
USA FILMS
16 BleecFer Street# 2nD loor
")# ") 15512 U.S.A
21286348/555
aI7 21286348/544
www.HAaBilmA.com
VILLAGE ROADSHO> PICTURES INTL=
3/55 'iGerAiDe $riGe# SHite 455
313821581555
aI7 313821581551
www.Gillage.com.aH
VORTEX PICTURES
4/25 WilAhire BlGD.# SHite 265
315822381/65
aI7 315822385336
>ALKING BEAR ENTERTAINMENT
23/ CroAA CoHntrC LooE
WeAterGille# !+ /3531
11/834483114
httE7;;www.wbei.com
&mail7 EoAtmaAterMwbei.com
XEOLUX
1265 SiIth Street# SHite 356
Santa %onica# CA 45/51 U.S.A
315862181333
aI7 31586218133/
212
Sir William K. Coe
www.IeolHI.com
&mail7 inBoMIeolHI.com
0roDHction ComEanieA7
C(#-;/9% P93)-.$&
31582//8/555
httE7;;www.AEe.AonC.com
D.$%;+(.0& SKG
1555 lower Street
,lenDale# CA 41251
313814686555
httE7;;www.DreamworFA.com
F(D S$%.3*#92*)
15251 W. 0ico BlGD.
315831482364
H(##7+((, P93)-.$&
BHrbanF# CA 41621
313861581555
M$).(@G(#,+7'@M%7$. P93)-.$&
15265 ConAtellation BlGD.
3158//483555
httE7;;www.mgm.com
M9.%;%D F9#;&
c;o Tribeca ilm Center
326 ,reenwich Street
"ew )orF# ") 1551382333
or
3/34 SHnAet BlGD.
32383228/255
httE7;;www.miramaI.com
N$+ L9'$ C9'$;%
111 ". 'obertAon BlGD.# St.. 255
315836/86311
httE7;;www.newline.com
P%.%;(-') P93)-.$&
6666 %elroAe AGe.
213
Sir William K. Coe
323846186555
httE7;;www.EaramoHnt.com
RKO P93)-.$&
1326 CentHrC 0arF &aAt# St.. 21/5
315822285252
T+$')9$)* C$')-.7 F(D
15251 W. 0ico BlGD.
315831481555
httE7;;www.BoI.com
U'9<$.&%# P93)-.$&
UniGerAal CitC# Ca 4115381536
313822281555
httE7;;www.HniGerAalEictHreA.com
>%#) D9&'$7 P93)-.$&?T(-3*&)('$
655 S BHena -iAta St.
313861581555
httE7;;www.DiAneC.com
>%.'$. B.()*$.& P93)-.$&
/555 Warner BlGD.
313846/81555
httE7;;www.warnerbroA.com
21/
Sir William K. Coe
C())(1 F(-)# Y(4:&& E1'(41t%-
Gelease Borm0
/A(%0RRRRRRRRRRRRRRRRRRRRRRRR
/ear RRRRRRRRRRRRRRRRRRRRRRRRRRRRRR,
& am submittin! to you the followin! material
3hereafter referre to as +(he Caterial+4

(&(6%0 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
B,GC ,B CA(%G&A60 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
3e.!. screenplay, treatment, outline4

'G&NC&'A6 CHAGAC(%GS0 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
:G&%B S$CCAG1 ,B '6,(0 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
EG&(%GS G$&6/ ,B AC%G&CA G%G&S(GA(&,N ` RRRRRRRRRRRRRRRR
& am submittin! to you herewith certain written material 3the
+Caterial+4
ientifie above.
& reco!ni<e that your files are replete with ieas an stories for
theatrical motion pictures an television pro!rams, an that new
ieas for motion pictures an television pro!rams are constantly
bein! submitte to you or bein! evelope by you. & also reco!ni<e
that many stories an ieas are similar an often ifferent stories
an ieas relate to one or more common unerlyin! themes.
&n consieration of the fore!oin! an your a!reein! to accept an
review the Caterial, & a!ree to the followin!0
216
Sir William K. Coe
& ac*nowle!e that the Caterial was create an written by me
without any su!!estion or re5uest from you that & write or create the
Caterial.
1ou a!ree that you will not use the Caterial or any part thereof unless
you either0
enter into an a!reement with me !rantin! you the ri!ht to use the
Caterial or etermine in !oo faith that you have the inepenent
le!al ri!ht without my consent to use all or any part of 3or any
features
or elements in the Caterial either because 3i4 & o not own or control
such Caterial or such features or elements, or 3ii4 the Caterial or
features or elements use by you an claime by me to be the Caterial
or emboie in the Caterial is in the public omain, is not new or
novel, is not le!ally protecte or protectable, or was inepenently
evelope by you or obtaine by you from other sources incluin!
your own employees.
& hereby ac*nowle!e an a!ree as follows0
a.& warrant that & am the sole owner an author of the above
escribe material an that & have the full ri!ht an authori<ation to
submit the material to you.
b.& a!ree that any part of the submitte material which is not novel
or
ori!inal an not le!ally 'rotecte may be use by you without any
liability on your part to me an that nothin! herein shall place you
in any ifferent position with respect to such non-novel or
non-ori!inal material by reason hereof.
c.1ou shall not be uner any obli!ation to me with respect to the
submitte material e2cept as may later be set forth in a fully
e2ecute written a!reement between us.
.& reali<e that you may have ha access to anOor may have
inepenently create or have ha create ieas, themes, formats
anOor other materials which may be similar to the theme, plot, iea,
format or other element of the material now bein! submitte by me an
& a!ree that & will not be entitle to any compensation by reason of
the use by you of such similar material.
& have retaine a copy of the Caterial an a!ree that you shall not be
obli!ate to return the Caterial to me, an & release you from all
liability
if the Caterial is lost, misplace, stolen or estroye.
& ac*nowle!e that you are uner no obli!ation to use the Caterial in
any manner. & further represent an warrant that the material is
ori!inal
with me, that & am the author an sole an e2clusive owner of the
Caterial an of all ri!hts in an to the Caterial, an that & have full
power an authority to submit the Caterial to you on the fore!oin!
terms
an conitions, each an all of which shall be binin! on me, my
a!ents,
211
Sir William K. Coe
heirs, successors, licensees an assi!ns.
Si!ne0 RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
31our Si!nature4
I&f co-authore, co-author shoul si!n too0RRRRRRRRRRRRRRRRRRRRRJ
Geceive by0RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
/ate Geceive0RRRRRRRRRRRRRRRR
6ife Gi!hts Contract0
(his is a sample of the contract you mi!ht use if someone a!rees to let
you write a script involvin! their true story.
&, RRRRRRRRRRRRRRRR, hereby irrevocably consent an a!ree that you,
RRRRRRRRRRRRRRRR, an your successors, licensees, an assi!ns in
perpetuity an throu!hout the universe have the ri!ht to use,
fictionali<e, anOor e2ploit in whole or in part my life story, my
name, li*eness, poses, statements, writin!s, photo!raphs, anecotes,
acts, appearances, an voices. & unerstan an a!ree that you may
portray me an my life story in any manner an by any actorOactors,
uner my name or any other name. & hereby waive any ob-ection that &
may have that your use of such material may be efamatory, constitute
an invasion of privacy, or otherwise violate any ri!ht which & may have
in connection with such material. & hereby waive any ri!ht to brin!
an prosecute an action for efamation, invasion of privacy, ri!ht of
publicity, or any similar action, whether my life story is use by you
or your successors, licensees, or assi!ns.
1ou will have the ri!ht to a to, subtract from, arran!e, alter, an
revise my life story an all materials relatin! thereto in any manner
an to combine such materials with materials relatin! thereto in any
manner an hereby waive any ri!hts of +roit moral+ that you may have
in my life story. All ri!hts, licenses, an privile!es !rante to you
shall be cumulative, an you may e2ercise or use any of sai ri!hts,
licenses, an privile!es separately from, simultaneously with, or in
connection with any other such ri!hts, licenses, an privile!es.
& !rant you an your successors, licensees, an assi!ns in perpetuity
an throu!hout the universe all motion picture ri!hts 3incluin!,
without limitation, all silent, soun, ialo!ue, tal*in!, an musical
motion picture ri!hts4, all television ri!hts, rema*e an se5uel
ri!hts, noveli<ation ri!hts, an all allie, ancillary, corollary
ri!hts, subsiiary, merchanisin! ri!hts incluin!, without limitation,
vieocassette, vieois*, sountrac* interactive, online which may be
prouce in any an all meia, now *nown or evise in the future in
any an all lan!ua!es, an any an all other ri!hts pertainin! thereto,
212
Sir William K. Coe
an the ri!ht to e2ploit the aforesai ri!hts in any manner an by all
means, whether now *nown or hereafter evise.
ACC%'(%/ AN/ AGG%%/0
RRRRRRRRRRRRRRRRRRRRRRRRRRR
Si!nature
Name
/ate

RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
Si!nature
RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
Name
RRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRRR
/ate
Screenplay ,ption Contract0
(itle of screenplay
Author
'roucer
(his letter, when si!ne an ate by you, RRRRRRRRRRRRRRRR, an
returne by mail to me, RRRRRRRRRRRRRRRRR, will confirm the a!reement
between you an & re!arin! any an all motion picture, television,
broacast, home vieo, rema*e, se5uel, C/-Gom an all other computer-
assiste forms of meia, merchanisin!, allie, subsiiary an
ancillary ri!hts now *nown or hereafter invente throu!hout the
universe an in any an all lan!ua!es 3e2clusive of boo* publishin!4 to
the screenplay written by you calle RRRRRRRRRRRRRRRRRRRRRRRRRRRRR.
,'(&,N
&n return for TRRRRRR, evelopment services an other valuable
consieration, receipt of which is hereby ac*nowle!e, you hereby
!rant me the e2clusive option to purchase the Gi!hts to the screenplay
for an e2clusive perio of RRR months from the ate of my receipt of
213
Sir William K. Coe
this si!ne contract. &t is also a!ree that the option may be
automatically e2tene without any aitional consieration at the en
of RRR months for an aitional RRR ays by !ivin! notice if there are
ne!otiations with a buyer in orer to conclue ne!otiations. (he
option may be e2tene on the same terms for an aitional RRR months
upon mutual written consent.
&f the property is set up with a prouction company, the option may be
automatically e2tene for a perio of RRR months upon notice an
payment to you of TRRRRRRRRR. (hereafter, the option may be e2tene
for an aitional RRR months upon notice an payment to you of TRRRRRRR.
'$GCHAS% 'G&C%
7. (heatrical Cotion 'icture
&f the initial release is a theatrical motion picture, the purchase
price is RRY of the +irect approve bu!et+ 3i.e. e2cluin! le!al,
interest, contin!ency, overhea, an completion !uarantees4 with a
floor of TRRRRRRRRRR an a ceilin! of TRRRRRRRRRRR.
8. (elevision Covie
Networ*0 &f the initial release is a television movie for a $.S.
networ* 3A:C, C:S, N:C, B:N4 the purchase price is TRRRRRRRRRRR.
Cable0 &f the initial release is a television movie for a cable or
non-networ* broacast, the purchase price is TRRRRRRRRRRRRRR.
;. Se5uels, 're5uels, Spinoffs
>#Y of ori!inal.
=. Gema*es
;; 7O;Y of ori!inal
>. (elevision series
Bor a $.S. broacast networ* 3A:C, N:C, C:S, B:N4 prime time series,
payments will be TRRRRRRR per prouce episoe of up to ;# minutes9
TRRRRRRRR per prouce episoe up to ?# minutes9 TRRRRRRRRRRR over ?#
minutes.
Bor a series on any other broacast or cable entity, payments will be
TRRRRRRR up to ;# minutes9 TRRRRRRRRR up to ?# minutes9 TRRRRRRRRR over
?# minutes.
EG&(&NG S%G)&C%S
214
Sir William K. Coe
An aitional writin! services shall be pai accorin! to appropriate
EGA minimums.
'G,B&( 'AG(&C&'A(&,N
RRRY of 7##Y of net profits from all sources to RRRRRRRRRRRR3'rouction
Company.4
1ou warrant that you, RRRRRRRRRRRR, have 3aR e2clusive 7##Y ownership
of the Gi!hts free an clear of any claim, ri!ht, averse interest or
encumbrance an 3b4 the authority an unencumbere ri!ht to enter into
this A!reement an !rant the Gi!hts to me.
$ntil such time as we e2ecute a more etaile ocument incorporatin!
these an other provisions stanar for such a!reements in the
entertainment inustry, this will constitute an a!reement binin! on
RRRRRRRRRRRR an RRRRRRRRRRRR an their respective successors, assi!ns,
heirs, an le!al representatives. RRRRRRRRRRRR 3'roucer4 shall
consult with you or your representative re!arin! the assi!nment of the
A!reement but shall have at her sole iscretion the ri!ht to assi!n
this A!reement or any of her ri!hts hereuner, but no such assi!nment
shall relieve her of her obli!ations hereuner unless the assi!nee
assumes all such obli!ations in writin!.
(his A!reement constitutes the entire unerstanin! between us with
respect to the sub-ect matter hereof an no moification of this
A!reement shall be effective unless it is in writin! e2ecute by us
both. Nothin! containe herein shall be eeme to create or constitute
a partnership between or -oint venture by us. (his A!reement shall be
construe in accorance with the laws of the State of RRRRRRRRR
applicable to contracts ne!otiate, e2ecute, an to be wholly
performe within sai state. Geference to RRRRRRRRRRRRRRR3proucer4
shall inclue RRRRRRRRRRRRRRRR3prouction company4 an conversely.

ACC%'(%/ AN/ AGG%%/0
RRRRRRRRRRRRRRRRRRRRRRRRRRRRR
Name
/ate

Name
/ate
225
Sir William K. Coe
221
Sir William K. Coe
C(3-0*ht01* S'-%%1&+3#
M+13 "-0t%-# +-% '(1'%-1%2 th+t #()%(1% "0&& #t%+& th%0- "(-$. ,ther
writers want to use concepts or situations create by someone else.
(his pa!e attempts to e2plain how writers can best protect their own
wor*, while shamelessly stealin! other people.s ieas.
Copyri!ht is a concept that has evelope in force an sophistication
for the past four hunre years or so. &n Classical times, authors
wrote for fame9 they ha no way of !ettin! royalties when boo*s were
copie by han.
Eith the invention of the printin! press came the possibility of
!ettin! pai royalties. :ut %li<abethan %n!lan ha no copyri!ht laws.
Go!ue publishers woul re!ularly sen people with e2tremely !oo
memories 3memories were much better then4 to see plays by popular
authors such as Sha*espeare. (hey woul come home, write own as much
of the ialo!ue as they coul remember, an the publisher woul try to
!et a folio out before the le!itimate owner of the wor* publishe a
clean copy. (hey also bribe actors to steal scripts, which re5uire
the playwri!ht to write out separate copies of the play for each actor,
with only the parts they neee to have. ,nly after the publication of
many +ba folios+ i Sha*espeare publish his own copies of his plays,
ris*in! that someone woul buy his +!oo folio+ an put on his play
without payin! him.
Current copyri!ht law is stron! but finic*y.
What is copyright?
Copyri!ht is the ri!ht of the author to control who can publish his or
her wor*. &t e2ists from the moment he creates somethin! copyri!htable,
an can be sol, license or !iven to another party.
(here are four main criteria for eterminin! what is copyri!htable0
(he wor* must be ori!inal. &f you stole your plot from
Sha*espeare, you can.t copyri!ht that plot, only the ways you
creatively eparte from Sha*espeare.s wor*.
&t must be the inepenent e2pression of an author. ,nly the
e2pression, not the unerlyin! ieas, are protecte. Bor e2ample,
your specific ialo!ue, the se5uence of scenes or visual ima!es,
your characters, all can be protecte. 1our concept can not be
protecte. Ehat.s an iea, an what.s the e2pression of an iea,
is a matter the courts ecie case by case, but if it can be tol
in two sentences, my bet is it.s an iea.
(he wor* must be of a non-utilitarian nature. 1ou can.t copyri!ht
a contract or instruction manual.
(he wor* must be fi2e in a tan!ible meium of e2pression, i.e.
on paper, computer is*, ma!netic tape, or stone tablets, not

222
Sir William K. Coe
-ust somethin! you sai over lunch.

How do & enforce my copyright?
(here are two ways people protect their copyri!ht in the
entertainment inustry.
(he Eriter.s Guil of America 3EGA4 will, for your T8# chec*, archive
a copy of your wor* 3screenplay or synopsis4, an sen you bac* a
slip with a re!istration number on it, proviin! inepenent proof
that you wrote a screenplay or story at a certain time. (his can be
useful if someone later steals your iea or screenplay, but0
(he re!istration lasts only > years, then has to be upate.
(he re!istration has no le!al meanin!, e2cept as evience.
A better way to protect your screenplay is to re!ister it with the
Ge!istrar of Copyri!ht. 1ou o so by senin! it to the 6ibrary of
Con!ress in Eashin!ton, /C. &t is then archive by the 6ibrar of
Con!ress in perpetuity, which is why the 6oC is the lar!est library
in the worl.
(here are important le!al ifferences to the two services. (he
6ibrary of Con!ress provies a le!al re!istration of copyri!ht uner
feeral law. (he EGA provies only a private-party service with no
le!al effect. &t is !oo for evience, but it is not statutory. (he
le!al ifference between evience an a statutory re!istration is the
ifference between havin! a contract that says you bou!ht a house
3evience4, an havin! the title ee re!istere in your name with
the state !overnment 3statutory4.
(he le!al istinction is important. &f someone steals your screenplay
an you can prove it 3evience4, you are entitle to ama!es. :ut you
have to prove you have been ama!e, an you have to prove how much
you have been ama!e, usually by measurin! how much money you woul
have mae if the other !uy han.t stolen your wor*. :ut if you have
re!istere with the 6oC, you can be aware statutory ama!es. (hat
means that the statute fi2es a certain minimum amount of ama!es
which you will be reware even if you can.t prove you woul have
mae any money if your wor* ha not been stolen. 1ou on.t nee to
prove you were hurt, or that the other !uy mae any money. 1ou only
nee to prove that he stole your iea an +publishe+ it.

(o re!ister a wor* at the 6oC, you nee a form 'A, which you can
orer by phone at 38#84 "#" A7##. (his
&s permanent, an
&s a le!al an statutory re!istration with the $S !overnment.

223
Sir William K. Coe
1ou can also ownloa a form 'A in '/B format.
/ownloa Borm 'A with instructions.
/ownloa Borm 'A without instructions.
/ownloa Short Borm 'A.
1ou will nee Acrobat Geaer, which you can ownloa free on the Net0
Bor more information on copyri!ht in the $S, chec* out the 6oC
itself.
Note that poppin! a script in the mail an mailin! it to yourself
3so-calle +poor man.s copyri!ht+4 is completely useless. Ehat is to
prevent you from mailin! yourself an envelope toay an then puttin!
a ifferent script in it ten years from nowH
1ou o not nee to be a $S citi<en to copyri!ht a wor* at the 6ibrary
of Con!ress. However, if you copyri!ht your wor* in most nations,
your wor* is effectively copyri!hte in the $S, & believe. Bor
e2ample, if you copyri!ht your wor* in Brance, you may consier it
protecte in the $nite States by virtue of various international
copyri!ht conventions. &f you live in a recent nation such as
Croatia, or a nation on poor terms with the $S such as Cuba, North
Korea or 6ibya, then you will nee to copyri!ht your wor* here in
orer to be protecte. ,f course if youcre a writer, youc better !et
out of Cuba, North Korea or 6ibya as fast as you can before you say
somethin! someone oesnct li*e.
Althou!h you can.t copyri!ht an iea, you can protect your iea
contractually. &f you a!ree with someone that, if they use your iea,
they have to buy it from you first, then you have a contract. &f they
steal your iea, you can sue them for breach of contract -- even if
it isn.t an ori!inal iea an you never wrote it own. A written
contract is the safest way to o this, but an oral contract is
le!ally all you nee, thou!h practically, it.s usually not worth the
paper it.s written on. 1ou can create a le!al an enforceable oral
contract by sayin!, +&f you use this, & wanna !et pai, o*ayH+ in
front of witnesses who will testify to what you sai in court.
(he truth is, most proucers in Hollywoo are far too busy to steal
your iea. Ehen you.re ma*in! a T;# million picture, it.s rarely
worth the hassle to steal someone.s iea when you can buy it for
T>#,###.
:efore 7A@A, you were obli!e to put a copyri!ht notice on your wor*.
1ou no lon!er have to o so. However, the copyri!ht infrin!er may
claim she infrin!e +innocently+ unless you put the notice on.
:y the way, you only have to copyri!ht your wor* once. %ven if you
revise it, by protectin! the plot an characters, you are essentially
!uaranteein! that anyone who steals from a later wor* will run afoul
of your copyri!ht. &f you chan!e the wor* so completely that someone
22/
Sir William K. Coe
coul steal from it without stealin! from the ori!inal, thatcs when
you nee to copyri!ht the wor* a!ain..

What if you want to write something "ased on someone else's work?
1ou may not le!ally istribute somethin! that incorporates copyri!hte
wor* that someone else owns, unless they !ive you permission. &f you
o, they are entitle to sue you for money ama!es, an then also
en-oin you 3stop you4 from istributin! it any further.
(wo e2ceptions are +fair use,+ which allows you to use brief
5uotations9 an paroy. 1ou can, for e2ample, istribute a poster for
+Starr Ears+ in which the evil Kenneth Starr appears as /arth )aer,
usin! the e2act style an format of the ori!inal Star Ears poster. 1ou
can 5uote a short phrase from a son! in a movie without permission from
the owner of the copyri!ht of the son!, but if you have a character
sin!in! the son! or if you use any part of an actual recorin! of a
son!, you will nee permission, which will !enerally cost a lot of
money. +Happy :irthay,+ by the way, is still uner copyri!htL
1ou can base your wor* on other people.s wor* that has fallen out of
copyri!ht, or which is not copyri!htable. Eor* that is not
copyri!htable inclues, for e2ample, a premise, a concept, or a basic
plot. &n other wors you can write a script about a little !irl who is
whis*e away to a ma!ical lan an, oppose by evil creatures an
helpe by wonerful allies, tries to !et home. :ut from the moment the
allies inclue a (in Eooman, a Cowarly 6ion, or a Scarecrow, you have
infrin!e on the copyri!ht of the 6. Bran* :aum estate. 1ou also can.t
have the (in Eooman show up in a ream se5uence in a rama you wrote9
the character himself is uner copyri!ht.
,nce enou!h time has lapse, the ri!hts to the boo* (he Ei<ar of ,<
lapse, an become +public omain.+ At that moment, anyone can ma*e a
movie of (he Ei<ar of ,<. However, they can.t use any etails invente
for the 7A;A movie starrin! Fuy Garlan9 these are still uner
copyri!ht.
'rior to 7A"@, the author of a wor* ha a copyri!ht for 8@ years, an
coul renew it for an aitional 8@ years. (his has now been e2tene
to =" years, for a total of "> years. So, as of this writin!, a wor*
that is oler that "> years 3i.e. written in 7A7; or before4 is now
public omain. $ner 'ublic 6aw 7#8-;#", any wor* create in 7A?# or
later is automatically renewe for =" years.
&n the case of wor*s written now, copyri!ht lasts "# years after the
eath of the author, or in the case of multiple authors, of the last
survivin! author. A +wor* for hire+ lasts A> years from publication or
78# years from authorship. 3(hese terms were e2tene in ,ctober, 7AA@9
they use to be >#, "> an 7## years.4 A +wor* for hire+ e2ists when a
writer is hire by a company to write somethin! for them, for e2ample a
226
Sir William K. Coe
television staff writer9 in this case the +author+ is le!ally
consiere to be the company payin! the bill.
221
Sir William K. Coe
,loAAarC
A P+*% - A revise pa!e that e2tens beyon the ori!inal pa!e, !oin!
onto a secon pa!e. 3i.e. 'a!e 7, 7A, 8, ;, ;A4
A;;-%50+t0(1# - shortcuts use in scripts such ).,., ,.C.,
A't - A lar!e ivision of a full-len!th play, separate from the other
act or acts by an intermission.
A't!S'%1% H%+201* - Centere, all CA'S heain! at the start of an act
or scene. Act numbers are written in Goman numerals, scene numbers in
orinals.
A't01* E20t0(1 - A publishe play script, typically for use in
prouctions in the amateur mar*et or as reain! copies. ,ften has a
list of prop list or set esi!n s*etches.
A't0(1 - (he movin! pictures we see on screen. Also, the irection
!iven by a irector inicatin! that filmin! be!ins.
+2 &0; - /ialo!ue in which the characters or actors ma*e up what they
say in real time on the movie set or on sta!e. Brom the 6atin a
libitum, +in accorance with esire.+
A*+01#t - A term escribin! the ultimate potential payay for a writer
in a film eal. T=##,### a!ainst T@##,### means that the writer is pai
T=##,### when the script is finishe 3throu!h rewrite an polish49 when
an if the movie !oes into prouction, the writer !ets an aitional
T=##,###.
A*%1t S4;)0##0(1 - A metho of play submission, in which a theater
re5uires that a script be submitte by a reco!ni<e literary a!ent.
A&+1 S)0th%% - A fictional name ta*en by a writer or irector who
oesn.t want their real name creite on a film.
A1*&% - A particular camera placement.
A-(5%2 "-0t%- - A writer whom a television networ* trusts to eliver
a !oo script once hire.
A-;0t-+t0(1 - :inin! a-uication by members of a Eriters Guil of
America committee re!arin! proper onscreen writer creit of a movie9
arbitration is available only to EGA members or potential EGA members.
A-t0#t0' D0-%'t(- - A theater company.s chief artistic officer an
usually the last stop before a play is selecte for prouction.
222
Sir William K. Coe
A##('0+t% A-t0#t0' D0-%'t(- - An artistic officer of a theater company,
fre5uently a irector an often secon to the Artistic /irector,
inte!rally involve with its artistic ecisions.
At R0#% D%#'-0t0(1 - A sta!e irection at the be!innin! of an act or a
scene that escribes what is on sta!e literally +at rise+ of the
curtain, or more commonly in contemporary theater, as the li!hts come
up.
Att+'h%2 - A!reement by name actors anOor a irector to be a part of
the ma*in! of a movie.
A420(!V0#4+& S'-0t - A ual column screenplay with vieo escription
on the left an auio an ialo!ue on the ri!ht, use in avertisin!,
corporate vieos, ocumentaries an trainin! films.
;.*. - Abbreviation for +bac*!roun+ 3i.e. &n the b.!., *is are
fi!htin!4.
B+'$ D((- P0&(t - A two-hour () movie that is a setup for a () series
if ratin!s warrant further prouction.
B+'$ E12 - 'ayment on a movie pro-ect when profits are reali<e.
B+'$ St(-3 - %2periences of a main character ta*in! place prior to the
main action, which contribute to character motivations an reactions.
B+1$+;&% - A person who can !et a pro-ect finance solely by havin!
their name is attache.
B%+t - A parenthetically note pause interruptin! ialo!ue, enote by
3beat4, for the purpose of inicatin! a si!nificant shift in the
irection of a scene, much in the way that a hin!e connects a series of
oors.
B%+t Sh%%t - An abbreviate escription of the main events in a
screenplay or story.
B0&& - (he play or plays that to!ether constitute what the auience is
seein! at any one sittin!. Short for +playbill.+
B01201* - Ehat literally hols the script to!ether. As a writer
submittin! your manuscript, you mi!ht use either bras with carstoc*
covers or one of a number of other pre-mae folers 3all available from
(he Eriters Store4.
B&+'$ B(8 - A fle2ible theater space name for its appearance.
B&+'$(4t - A common sta!e irection at the en of a scene or an act.
223
Sir William K. Coe
B(($ - (he story an the non-musical portion 3ialo!ue, sta!e
irections4 of a theatrical musical.
B-+2# - :rass fasteners use to bin a screenplay printe on three-hole
paper, with Acco `> soli brass bras !enerally accepte as havin! the
hi!hest 5uality.
B4) - A troublesome element in a script that ne!atively eflects the
reaer.s attention away from the story.
B4tt(1 - A () writin! term referrin! to a witty line that +tops off+ a
scene.
C+;&% - A cable television networ* such as H:,, or cable television in
!eneral.
C+#t - (he characters who are physically present in the play or film.
(hese are the roles for which actors will be neee. Ehen we tal* about
a role in a sta!eplay as bein! ouble-cast with another, it means that
the same actor is e2pecte to play both roles. (his happens in film as
well 3e.!. %ie Curphy4, but only rarely.
C+#t P+*% - A pa!e that typically follows the (itle 'a!e of a play,
listin! the characters, with very brief escriptions of each.
C%1t%- ?St+*%@ - (he center of the performance space, use for
placement of the actors an the set.
CGI - Computer Generate &ma!e9 a term enotin! that computers will be
use to !enerate the full ima!ery.
Ch+-+'t%- - Any personifie entity appearin! in a film or a play.
Ch+-+'t%- +-' - (he emotional pro!ress of the characters urin! the
story.
Ch+-+'t%- 1+)% - Ehen any character spea*s, his or her name appears on
the line precein! the ialo!ue. &n screenplays, the name is tabbe to
a location that is rou!hly in the center of the line. &n playwritin!,
typically the name is centere, but with the avent of screenwritin!
software that automatically positions the character name correctly, it
has become acceptable to use a similar format for character names in
sta!eplays.
Ch%+t + #'-0t - Bu!in! the mar!ins an spacin! of a screenplay on a
pa!e 3usually with a software pro!ram4 in an attempt to fool the reaer
into thin*in! the script is shorter than it really is.
C&(#% U - A very close camera an!le on a character or ob-ect.
224
Sir William K. Coe
C())0##0(1 - A play for which a theater company !ives a playwri!ht
money to write, typically with the unerstanin! that the theater will
have the ri!ht of first refusal to premiere it.
C()&0'+t0(1 - (he secon act of a three-act ramatic structure, in
which +the plot thic*ens,+ pea*in! at its en.
C(16&0't - (he heart of rama9 someone wants somethin! an people an
thin!s *eep !ettin! in the way of them achievin! the !oal. At times,
the obstacles can be common to both the hero an villain, an the
ultimate !oal a lauable one for both parties.
C(1t01401* D0+&(*4% - /ialo!ue spo*en by the same character that
continues uninterrupte onto the ne2t pa!e, mar*e with a 3cont.4 in a
sta!e play.
C(1t014(4# A't0(1 - &nclue in the scene heain! when movin! from one
scene to the ne2t, as the action continues.
C(3-0*ht - 'roof of ownership of an artistic property that comes with
re!isterin! your script throu!h the $nite States Ge!ister of
Copyri!hts.
C(3-0*ht N(t0'% - 'lacin! d1our Name on the (itle 'a!e of a script.
C(4-0%- F2 0t'h - (he main font in use in the $.S. by both publishers
an the Hollywoo film inustry.
D%#0*1%- - (heater professional whose -ob it is to envision any of the
followin! elements in a play0 costumes, sets, li!hts, soun or
properties.
D%5%&()%1t - (he process of preparin! a script for prouction.
D%5%&()%1t H%&& - (he reae creative eath malaise that occurs when
the evelopment process lasts too lon!.
D0+&(*4% - (he speeches between characters in a film or a play.
D0-%'t S(&0'0t+t0(1 - Ehen a theater contacts a playwri!ht or his a!ent
about submittin! a script. (heaters that use this metho typically o
not want the playwri!ht to initiate the contact.
D0-%'t0(1. St+*% D0-%'t0(1 - 3See Sta!e /irections in Gevise above.4
D0-%'t(- - &n a sta!eplay, the iniviual responsible for sta!in! 3i.e.
placin! in the space or +bloc*in!+4 the actors, sculptin! an
coorinatin! their performances, an ma*in! sure they fit with the
esi!n elements into a coherent vision of the play. &n a musical, there
will typically be a separate musical irector responsible for the
musical elements of the show. &n a /ramatists Guil contract, the
235
Sir William K. Coe
playwri!ht has approval over the choice of irector 3an the cast an
esi!ners4. &n film, the irector carries out the uties of a sta!e
irector an then some 3e.!. choosin! the shot list4, with consierably
more say-so over the final prouct.
D("1#t+*% - (he part of the sta!e closest to the auience, so name
because when sta!es were ra*e 3slante4, an actor wal*in! towar the
auience was literally wal*in! own. Calle +/own+ for short.
D-+6t - A version of a play. %ach raft of rewritesOrevisions shoul be
numbere ifferently.
D-+)+t0#t# G40&2 (6 A)%-0'+ - (he professional or!ani<ation of
playwri!hts, composers an lyricists, base in New 1or*.
D4+& D0+&(* - Ehen two characters spea* simultaneously
E)h+#0C%2 D0+&(*4% - /ialo!ue that the playwri!ht wants stresse,
usually ientifie with italics.
E#t+;&0#h01* Sh(t - A cinematic shot that establishes a certain
location or area.
E5%101*>L%1*th P&+3 - A play that constitutes a full evenin! of theater
on its own 3a.*.a. Bull-6en!th 'lay4.
E5%1t - Ehat precipitates a play. Bor e2ample, :i! /ay.s birthay is
the event in Cat on a Hot (in Goof.
E8(#0t0(1 - (he first act of a ramatic structure, in which the main
conflict an characters are +e2pose+ or reveale. Also, any
information about the characters, conflict or worl of the play.
EET. - ,utoors.
E8t%1#0(1 - A technical note place irectly to the ri!ht of the
Character name that enotes H,E the character.s voice is hear. Bor
e2ample, ,.S. is an e2tension that stans for ,ff-Screen.
6.*. - Abbreviation for +fore!roun+ 3i.e. &n the f.!., *is are
fi!htin!4.
F%+t4-% F0&) - A movie mae primarily for istribution in theaters.
FLASHBACK - A scene from the past that interrupts the action to e2plain
motivation or reaction of a character to the immeiate scene.
F(1t - (he loo* of the printe te2t on the pa!e. Bor screenplays,
Courier 78 point is the stanar 3a fi2e font which in practical terms
means than an l or an m, althou!h the m bein! wier, occupy the same
with of space4. Bor sta!eplays, while Courier 78 point is often use,
231
Sir William K. Coe
(imes Goman an other proportional space, clearly reaable fonts are
also acceptable. 3'roportional space fonts ma*e a-ustments for
s*innier letters9 te2t usually ta*es less space.4
F(-)4&+ - Core commonly use in the worl of film than for escribin!
the sta!e, it usually refers to a +sure-fire+ metho of structurin! a
script 3i.e. it must inclue certain elements an arrive at a certain
enin!4. Bor e2ample, there have been a slew of movies where a !roup of
misfits are thrown to!ether an ultimately become the /avi that slays
Goliath on the athletic fiel 3e.!. #he $ad .ews $ears4.
FREEDE FRAME - (he ima!e on the screen stops, free<es an becomes a
still shot.
F4&&>L%1*th P&+3 - Also *nown as an %venin! 6en!th 'lay, a play that
constitutes a full evenin! of theater.
G%1-% - (he cate!ory a story or script falls into - such as0 thriller,
romantic comey, action, screwball comey
G-%%1 L0*ht - A pro-ect ,Ke for prouction.
H%+2%- - An element of a 'rouction Script occupyin! the same line as
the pa!e number, which is on the ri!ht an .>+ from the top. 'rinte on
every script pa!e, heaer information inclues the ate of a revision
an the color of the pa!e.
H%+t - 'ositive !ossip about a pro-ect on the Hollywoo !rapevine.
H0*h '(1'%t - A brief statement of a movie.s basic iea that is felt
to have tremenous public appeal.
H0 ('$%t - A casual relationship with an establishe a!ent in lieu of
a si!ne, formal a!reement of representation.
H(($ - A term borrowe from son!writin! that escribes that thin! that
catches the public.s attention an *eeps them intereste in the flow of
a story.
I1 th% R(412 - A type of theater space in which the auience is,
usually in a circular confi!uration, on all sies of the playin! area.
I120% - A prouction company inepenent of ma-or film stuio financin!.
INT. - &noors.
I1t%-'4t - A script instruction enotin! that the action moves bac* an
forth between two or more scenes.
232
Sir William K. Coe
I1t%-)0##0(1 - A brea* between acts or scenes of the play to allow for
set chan!es, an for the auience to !o to the bathroom, stretch an
buy concessions.
I1t%--4t - Ehen one character cuts off another character.s ialo!ue,
sometimes mar*e with an ... but better mar*e with an em ash 3--4.
L%6t - ,n sta!e, the actors. left, assumin! they are facin! the
auience. Short for Sta!e 6eft.
L0*ht# F+2% - A common sta!e irection to en a scene or an act.
L01% R%+201* - Ehen a irector or playwri!ht !ives an actor a specific
way to perform a line of ialo!ue.
L0t%-+-3 M+1+*%- - (he artistic officer of a theater in char!e of at
least the first sta!es of reviewin! scripts for possible prouction.
She may have ramatur! responsibilities as well.
L0t%-+-3 O660'% - $sually heae by the literary mana!er an often
staffe with interns an in-house or freelance reaers. (ypically the
place to irect script submissions an in5uiries.
L('$%2 P+*%# - A software term for finali<e screenplay pa!es that are
hane out to the epartment heas an talent in preparation for
prouction.
L(*&01% - A +8> wors or less+ escription of a screenplay.
L3-0'# - (he wors that are sun! by characters in a musical.
M.O.S. - Eithout soun, so escribe because a German-born irector
wantin! a scene with no soun tol the crew to shoot +mit out soun.+
M+14#'-0t - A script before it has been publishe.
M+14#'-0t F(-)+t - (he ieal submission format in the $nite States
an in a number of other countries, with character names centere an
CA'S before their ialo!ue, an inente sta!e irections.
M+#t%- S'%1% S'-0t - A script formatte without scene numberin! 3the
usual format for a spec screenplay4.
M+t'h C4t - A transition in which somethin! in the scene that follows
in some way irectly matches a character or ob-ect in the previous
scene.
M010#%-0%# - A lon!-form movie of three hours or more shown on
successive ni!hts or wee*s on $.S. television networ*s.
233
Sir William K. Coe
M(1t+*% - A cinematic evice use to show a series of scenes, all
relate an builin! to some conclusion.
M(50% (6 th% W%%$ - Also *nown as an +C,E,+ a movie mae primarily for
broacast on a television or cable networ*.
M4&t0)%20+ - Eritin! an filmma*in! encompassin! more than one meium
at a time which, script-wise, usually refers to C/-G,C !ames or
&nternet-base pro!rammin!.
M4&t0&% C+#t01* - Ehen an actor plays more than one character.
M4#0'+& - A play in which son!s an music are an inte!ral part of the
ramatic structure.
M4#0'+& N4);%-# P+*% - A pa!e in a musical script, usually followin!
the Cast 'a!e, that lists the musical numbers, ivie by act, an the
characters that sin! in them.
N(t%# - &eas about a screenplay share with a screenwriter by someone
responsible for movin! the script forwar into prouction, which the
screenwriter is !enerally e2pecte to use to revise the screenplay. A
similar parai!m e2ists on sta!e, with notes comin! most often from the
ramatur! or irector.
N4);%-%2 S'%1%# - Numbers that appear to the ri!ht an left of the
scene heain! to ai the Assistant /irector in brea*in! own the scenes
for scheulin! an prouction.
O.C. - Abbreviation for ,ff Camera, enotin! that the spea*er is
resient within the scene but not seen by the camera.
O.S. - Abbreviation for ,ff Screen, enotin! that the spea*er is not
resient within the scene.
O66 - Short for offsta!e. (ypically written as 3off4 ne2t to a
character name when a character spea*in! ialo!ue is offsta!e while she
spea*s.
O1%>A't P&+3 - (echnically, a play that has only one act, but in more
common usa!e, a play that is not an evenin! unto itself but instea
usually runs no more than an hour. A common arran!ement is to prouce
three half-hour lon! one-acts on the same bill.
O1%>h(4- E0#(20' - A screenplay for a television show whose episoes
fill a one-hour time slot, wee* to wee*.
O%101* C-%20t# - ,nscreen te2t escribin! the most important people
involve in the ma*in! of a movie.
23/
Sir William K. Coe
Ot0(1 - (he securin! of the ri!hts to a screenplay for a !iven len!th
of time.
P+'$+*% - (he assembly of the basic elements necessary to secure
financin! for a film.
PAN - A camera irection inicatin! a stationary camera that pivots
bac* an forth or up an own.
P+-%1th%t0'+& - Also *nown as a +wryly+ because of the propensity of
amateur screenwriters to try to accent a character.s speech -- as in
:,: 3wryly4 -- an inflection to a speech note by a writer. ,f course,
in sta!eplays, all sta!e irections 3at least in Canuscript Bormat4 are
in parentheses, but +irectin! off the pa!e,+ as it.s often calle, is
e5ually frowne upon.
P+## - A re-ection of a property by a potential proucer or an a!ent.
P0t'h - (o verbally escribe a property to a potential buyer in the
hope it will be bou!ht.
P&+3 - Sometimes *nown as a sta!eplay, it.s a prouction which is meant
to be performe on sta!e in front of a live auience.
P&+3"-0*ht - A person who writes sta!e plays.
P&+3"-0t01* - (he craft or act of writin! scripts for the sta!e 3i.e.
the live theater4.
P(01t# - 'ercenta!e participation in the profits of a film.
P(&0#h - &n theory, to rewrite a few scenes in a script to improve
them. &n practice, a screenwriter is often e2pecte to o a complete
rewrite of a script for the price of a polish.
POV - 'oint of )iew9 a camera an!le place so as to seem the camera is
the eyes of a character.
P-(24'%- - (he person or entity financially responsible for a sta!e or
film prouction.
P-(24't0(1 S'-0t - A script in which no more ma-or chan!es or rewrites
is anticipate to occur, which is use ay by ay for filmin! on a
movie set.
P-(6%##0(1+& R%'())%12+t0(1 - A metho of submission in which a writer
may submit a full script if it.s accompanie by a theater professional
3typically a literary mana!er or artistic irector, thou!h sometimes a
irector is acceptable as well4.
236
Sir William K. Coe
P-(%-t3 - Any intellectual property in any form 3incluin! a play or
screenplay4 that mi!ht form the basis of a movie. &n theater, usually
calle a +prop,+ an item 3e.!. a !un, spoon, hairbrush, etc.4 that can
hel by one of the characters.
P-(#'%104) - A type of sta!e in which the actors play opposite the
auience, from which they are separate. Cost hi!h school auitoriums
are prosceniums.
P4;&0#h%2 P&+3 F(-)+t - (he format typically foun in an Actin!
%ition, meant to save space, in which the character names are on the
left an sta!e irections occur on the same lines as ialo!ue.
74%-3 - A metho of submission in which a writer approaches a theater
with a brief letter, accompanie by a synopsis an sample pa!es.
R+$% - A sta!e that is slante so that as an actor moves away from the
auience, he !ets hi!her. Bew contemporary theaters have ra*e sta!es.
&t.s more li*ely that the house 3i.e. where the auience sits4 will be
ra*e.
R%+2%- ?+$+ S'-0t R%+2%-@ - A person who reas screenplays for a
prouction company or sta!eplays for a theater company an writes a
report about them, often bein! pai per report.
R%+201* - A +performance+ of a play in which the actors are script-in-
han. &t coul either ta*e place aroun a table 3calle a +table
reain!+4 or with some bloc*in! or sta!in! 3a +sta!e reain!+4.
R%*0#t%- (6 C(3-0*ht# - (he $S !overnment office that re!isters
intellectual property 3e.!. scripts4, necessary prior to filin! a claim
for copyri!ht infrin!ement in court.
R%&%+#% - A le!al ocument !iven to unrepresente writers for si!nin!
by a!ents, proucers or prouction companies, absolvin! sai entities
of le!al liability.
R%#(&4t0(1 - (he thir act of a ramatic structure, in which the
conflict comes to some *in of conclusion0 the prota!onist either !ets
it or oesn.t.
R%5%-#+& - A place in the plot where a character achieves the opposite
of his aim, resultin! in a chan!e from !oo fortune to ba fortune.
R%50#%2 P+*%# - Chan!es are mae to the script after the initial
circulation of the 'rouction Script, which are ifferent in color an
incorporate into the script without isplacin! or rearran!in! the
ori!inal, unrevise pa!es.
R0*ht - ,n sta!e, the actors. ri!ht, assumin! they are facin! the
auience. Short for Sta!e Gi!ht.
231
Sir William K. Coe
R()+1t0' '()%23 - Also *nown as a +romcom,+ a comeic movie in which
the main story resolves aroun a romance.
S'%1% - Action ta*in! place in one location an in a istinct time that
3hopefully4 moves the story to the ne2t element of the story.
S'%1% H%+201* - A short escription of the location an time of ay of
a scene, also *nown as a +slu!line.+ Bor e2ample0 %P(. C,$N(A&N CA:&N -
/A1 woul enote that the action ta*es place outsie a mountain cabin
urin! ayli!ht hours.
S'-%%1"-0t%- - (he most important an most abuse person in Hollywoo.
(he screenwriter writes the script that provies the founation for the
film, thou!h it may !o throu!h any number of chan!es, both in the
rewritin! process before prouction, urin! prouction, an in the
eitin! process afterwar. Ehile in the worl of theater, there is
usually only one playwri!ht on any !iven play 3or one collaborative
team4, in film there may be many screenwriters throu!hout the life of a
pro-ect.
S'-0t - (he blueprint or roamap that outlines a movie story throu!h
visual escriptions, actions of characters an their ialo!ue. (he term
+script+ also applies to sta!eplays as well.
S'-0t '(5%- - Ehat protects the script on its travels between the
writer an its many potential reaers. (he Eriters Store carries a
number of acceptable covers.
S'-0t -%+2%- - 3See above as Geaer.4
S'-0t W-0t01* S(6t"+-% - Computer software esi!ne specifically to
format an aie in the writin! of screenplays an teleplays.
S%'4-%&3 B(412 S'-0t - (ypically, a sta!eplay contest.s re5uest that a
script be more firmly boun than bras will o. %ither it is literally
boun, or it is securely hel in a foler.
S%t - (he physical elements that are constructe or arran!e to create
a sense of place.
S%tt01* - (he time an place of a play or screenplay.
S'-%%101* - (he showin! of a film for test auiences anOor people
involve in the ma*in! of the movie.
SFE - Abbreviation for Soun %ffects.
Sh((t01* S'-0t - A script that has been prepare to be put into
prouction.
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Sir William K. Coe
Sh(t - Ehat the camera sees. Bor e2ample, (GACK&NG SH,( woul mean that
the camera is followin! a character or character as he wal*s in a
scene. E&/% SH,( woul mean that we see every character that appears in
the scene, all at once.
Sh("-411%- - A writerOproucer ultimately responsible for the
prouction of a () series, wee* to wee*.
S0)4&t+1%(4# D0+&(*4% - Ehen two characters spea* at the same time,
written in two columns sie by sie.
S0t4+t0(1 '()%23 - Also *nown as a +sitcom,+ a normally ;#-minute 3in
the $nite States4 comeic television show revolvin! aroun funny
situations the main characters repeately fall into.
S&4*&01% - Another name for the SC%N% H%A/&NG
SMASH CUT - A 5uic* or suen cut from one scene to another.
S(+ O%-+ - /aytime ramas so name because they were ori!inally
sponsore by the ma*ers of launry eter!ent in the early ays of
television.
S%' S'-0t - A script written without bein! commissione on the
speculative hope that it will be sol.
SPFE - Abbreviation for Special %ffects.
S&0t S'-%%1 - A screen with ifferent scenes ta*in! place in two or
more sections9 the scenes are usually interactive, as in the epiction
of two sies of a phone conversation.
St+*% '%1t%- - Core commonly *nown as Center Sta!e, it is the center of
the performance space, use for placement of the actors an the set.
St+*% D0-%'t0(1# - &n a sta!eplay, the instructions in the te2t for the
actors 3e.!. entrances, e2it, si!nificant actions or business4 an
sta!e crew 3e.!. li!hts fae4. Also, in a musical, the person who
irecte the non-musical elements of the show may be creite with
+Sta!e /irection+ to istin!uish him from the Cusic /irector, who will
be creite with +Cusic /irection.+
St+*% L%6t - ,n sta!e, the actors. left, assumin! they are facin! the
auience. +6eft+ for short.
St+*% R0*ht - ,n sta!e, the actors. ri!ht, assumin! they are facin! the
auience. +Gi!ht+ for short.
St('$ Sh(t - A se5uence of film previously shot an available for
purchase an use from a film library.
233
Sir William K. Coe
S4;)0##0(1 - Name for a script once it is submitte to proucers or
a!ents.
S4**%#t%2 S%tt01* - A settin! on sta!e in which a few set pieces or
li!htin! or other technical elements ta*e the place of elaborate set
construction.
SUPER - Abbreviation for +superimpose+ meanin! the layin! one ima!e on
top of another, usually wors over a filme scene 3i.e. :erlin, 7A=>4.
S31(#0# - A two to three pa!e, ouble-space escription of a
screenplay.
T+* - A short scene at the en of a movie that usually provies some
upbeat aition to the clima2.
T%'h10'+& D%)+12# - (he e2tent to which a play re5uires specific
li!htin!, soun, sets, etc. 'lays with minimal technical emans are
easier an less e2pensive to prouce.
T%1>M014t% P&+3 - A complete play, with a be!innin!, mile an en,
esi!ne to play in ten minutes.
Th% B4#01%## - Show business in !eneral9 more specifically, Hollywoo
moviema*in! an television business.
Th-0&&%- - A fast-pace, hi!h sta*es crime story in which the
prota!onist is !enerally in an!er at every turn, with the most an!er
comin! in the final confrontation with the anta!onist.
Th-4#t - A sta!e confi!uration in which the playin! area protrues into
the auience9 the actors have auience on three sies of them.
T0'$01* C&('$ - A ramatic evice in which some event loomin! in the
near future re5uires that the conflict reach a speey resolution
3hence, the tic*in! cloc*4.
TITLE - (e2t that appears onscreen enotin! a *ey element of the movie,
a chan!e of location or ate, or person involve in the ma*in! of the
movie.
T0t&% P+*% - A pa!e of the script that contains the title an the
author.s contact information.
T(4-01* P&+3 - A play with minimal technical emans that is meant to
be easily pac*e up an move from one performance space to another.
T-+1#0t0(1 - A script notation enotin! an eitin! transition within
the tellin! of a story. Bor e2ample, /&SS,6)% (,0 means the action
seems to blur an refocus into another scene, an is !enerally use to
enote a passa!e of time.
234
Sir William K. Coe
T-%+t)%1t - A scene by scene escription of a screenplay, minus all or
most of the ialo!ue.
T"%+$ - A minor chan!e mae in a scene or portion of a screenplay or a
sta!eplay.
U1#(&0'0t%2 S'-0t - A metho of script submission in which the writer
sens the script, without prior contact, to the theater or prouction
company. Some theaters allow this, most on.t-an very few film
prouction companies, for liability reasons, can rea unsolicite
materials.
U#t+*% - (he part of the sta!e farthest from the auience, so name
because when sta!es were ra*e 3slante4, an actor wal*in! away from
the auience was literally wal*in! up. Calle +$p+ for short.
V.O. - Abbreviation for )oice ,ver, enotin! that the spea*er is
narratin! the action onscreen.
WGA S0*1+t(-3 - An a!ent, proucer or prouction company that has
si!ne an a!reement to abie by establishe a!reements with the Eriters
Guil of America.
W(-$#h( - A evelopmental +prouction+ of a play, with a si!nificant
amount of rehearsal, but with less fully reali<e prouction values
3e.!. set4 than a full prouction.
W-0t%-# G40&2 (6 A)%-0'+ - Also *nown as +the EGA.+ (he main union for
screenwriters in the $nite States, with chapters in 6os An!eles an
New 1or*.
245
Sir William K. Coe
P(%t0'#
B3 A-0#t(t&%
W-0tt%1 G50 B.C.E
T-+1#&+t%2 ;3 S. H. B4t'h%-
(able of Contents
S%'t0(1 F

P+-t I
& propose to treat of 'oetry in itself an of its various *ins, notin!
the essential 5uality of each, to in5uire into the structure of the
plot as re5uisite to a !oo poem9 into the number an nature of the
parts of which a poem is compose9 an similarly into whatever else
falls within the same in5uiry. Bollowin!, then, the orer of nature,
let us be!in with the principles which come first.
%pic poetry an (ra!ey, Comey also an /ithyrambic poetry, an the
music of the flute an of the lyre in most of their forms, are all in
their !eneral conception moes of imitation. (hey iffer, however, from
one another in three respects- the meium, the ob-ects, the manner or
moe of imitation, bein! in each case istinct.
Bor as there are persons who, by conscious art or mere habit, imitate
an represent various ob-ects throu!h the meium of color an form, or
a!ain by the voice9 so in the arts above mentione, ta*en as a whole,
the imitation is prouce by rhythm, lan!ua!e, or .harmony,. either
sin!ly or combine.
(hus in the music of the flute an of the lyre, .harmony. an rhythm
alone are employe9 also in other arts, such as that of the shepher.s
pipe, which are essentially similar to these. &n ancin!, rhythm alone
is use without .harmony.9 for even ancin! imitates character,
emotion, an action, by rhythmical movement.
(here is another art which imitates by means of lan!ua!e alone, an
that either in prose or verse- which verse, a!ain, may either combine
ifferent meters or consist of but one *in- but this has hitherto been
without a name. Bor there is no common term we coul apply to the mimes
of Sophron an Penarchus an the Socratic ialo!ues on the one han9
an, on the other, to poetic imitations in iambic, ele!iac, or any
similar meter. 'eople o, inee, a the wor .ma*er. or .poet. to the
name of the meter, an spea* of ele!iac poets, or epic 3that is,
he2ameter4 poets, as if it were not the imitation that ma*es the poet,
but the verse that entitles them all to the name. %ven when a treatise
on meicine or natural science is brou!ht out in verse, the name of
poet is by custom !iven to the author9 an yet Homer an %mpeocles
have nothin! in common but the meter, so that it woul be ri!ht to call
241
Sir William K. Coe
the one poet, the other physicist rather than poet. ,n the same
principle, even if a writer in his poetic imitation were to combine all
meters, as Chaeremon i in his Centaur, which is a meley compose of
meters of all *ins, we shoul brin! him too uner the !eneral term
poet.
So much then for these istinctions.
(here are, a!ain, some arts which employ all the means above mentione-
namely, rhythm, tune, an meter. Such are /ithyrambic an Nomic poetry,
an also (ra!ey an Comey9 but between them ori!inally the ifference
is, that in the first two cases these means are all employe in
combination, in the latter, now one means is employe, now another.
Such, then, are the ifferences of the arts with respect to the meium
of imitation
P+-t II
Since the ob-ects of imitation are men in action, an these men must be
either of a hi!her or a lower type 3for moral character mainly answers
to these ivisions, !ooness an baness bein! the istin!uishin! mar*s
of moral ifferences4, it follows that we must represent men either as
better than in real life, or as worse, or as they are. &t is the same
in paintin!. 'oly!notus epicte men as nobler than they are, 'auson as
less noble, /ionysius rew them true to life.
Now it is evient that each of the moes of imitation above mentione
will e2hibit these ifferences, an become a istinct *in in imitatin!
ob-ects that are thus istinct. Such iversities may be foun even in
ancin!, flute-playin!, an lyre-playin!. So a!ain in lan!ua!e, whether
prose or verse unaccompanie by music. Homer, for e2ample, ma*es men
better than they are9 Cleophon as they are9 He!emon the (hasian, the
inventor of paroies, an Nicochares, the author of the /eilia, worse
than they are. (he same thin! hols !oo of /ithyrambs an Nomes9 here
too one may portray ifferent types, as (imotheus an 'hilo2enus
iffere in representin! their Cyclopes. (he same istinction mar*s off
(ra!ey from Comey9 for Comey aims at representin! men as worse,
(ra!ey as better than in actual life.
P+-t III
(here is still a thir ifference- the manner in which each of these
ob-ects may be imitate. Bor the meium bein! the same, an the ob-ects
the same, the poet may imitate by narration- in which case he can
either ta*e another personality as Homer oes, or spea* in his own
person, unchan!e- or he may present all his characters as livin! an
movin! before us.
(hese, then, as we sai at the be!innin!, are the three ifferences
which istin!uish artistic imitation- the meium, the ob-ects, an the
manner. So that from one point of view, Sophocles is an imitator of the
same *in as Homer- for both imitate hi!her types of character9 from
another point of view, of the same *in as Aristophanes- for both
imitate persons actin! an oin!. Hence, some say, the name of .rama.
242
Sir William K. Coe
is !iven to such poems, as representin! action. Bor the same reason the
/orians claim the invention both of (ra!ey an Comey. (he claim to
Comey is put forwar by the Ce!arians- not only by those of Greece
proper, who alle!e that it ori!inate uner their emocracy, but also
by the Ce!arians of Sicily, for the poet %picharmus, who is much
earlier than Chionies an Ca!nes, belon!e to that country. (ra!ey
too is claime by certain /orians of the 'eloponnese. &n each case they
appeal to the evience of lan!ua!e. (he outlyin! villa!es, they say,
are by them calle *omai, by the Athenians emoi0 an they assume that
comeians were so name not from *oma<ein, .to revel,. but because they
wanere from villa!e to villa!e 3*ata *omas4, bein! e2clue
contemptuously from the city. (hey a also that the /orian wor for
.oin!. is ran, an the Athenian, prattein.
(his may suffice as to the number an nature of the various moes of
imitation.
P+-t IV
'oetry in !eneral seems to have sprun! from two causes, each of them
lyin! eep in our nature. Birst, the instinct of imitation is implante
in man from chilhoo, one ifference between him an other animals
bein! that he is the most imitative of livin! creatures, an throu!h
imitation learns his earliest lessons9 an no less universal is the
pleasure felt in thin!s imitate. Ee have evience of this in the facts
of e2perience. ,b-ects which in themselves we view with pain, we
eli!ht to contemplate when reprouce with minute fielity0 such as
the forms of the most i!noble animals an of ea boies. (he cause of
this a!ain is, that to learn !ives the liveliest pleasure, not only to
philosophers but to men in !eneral9 whose capacity, however, of
learnin! is more limite. (hus the reason why men en-oy seein! a
li*eness is, that in contemplatin! it they fin themselves learnin! or
inferrin!, an sayin! perhaps, .Ah, that is he.. Bor if you happen not
to have seen the ori!inal, the pleasure will be ue not to the
imitation as such, but to the e2ecution, the colorin!, or some such
other cause.
&mitation, then, is one instinct of our nature. Ne2t, there is the
instinct for .harmony. an rhythm, meters bein! manifestly sections of
rhythm. 'ersons, therefore, startin! with this natural !ift evelope
by e!rees their special aptitues, till their rue improvisations !ave
birth to 'oetry.
'oetry now iver!e in two irections, accorin! to the iniviual
character of the writers. (he !raver spirits imitate noble actions,
an the actions of !oo men. (he more trivial sort imitate the actions
of meaner persons, at first composin! satires, as the former i hymns
to the !os an the praises of famous men. A poem of the satirical *in
cannot inee be put own to any author earlier than Homer9 thou!h many
such writers probably there were. :ut from Homer onwar, instances can
be cite- his own Car!ites, for e2ample, an other similar
compositions. (he appropriate meter was also here introuce9 hence the
measure is still calle the iambic or lampoonin! measure, bein! that in
which people lampoone one another. (hus the oler poets were
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Sir William K. Coe
istin!uishe as writers of heroic or of lampoonin! verse.
As, in the serious style, Homer is pre-eminent amon! poets, for he
alone combine ramatic form with e2cellence of imitation so he too
first lai own the main lines of comey, by ramati<in! the luicrous
instea of writin! personal satire. His Car!ites bears the same
relation to comey that the &lia an ,yssey o to tra!ey. :ut when
(ra!ey an Comey came to li!ht, the two classes of poets still
followe their natural bent0 the lampooners became writers of Comey,
an the %pic poets were succeee by (ra!eians, since the rama was a
lar!er an hi!her form of art.
Ehether (ra!ey has as yet perfecte its proper types or not9 an
whether it is to be -u!e in itself, or in relation also to the
auience- this raises another 5uestion. :e that as it may, (ra!ey- as
also Comey- was at first mere improvisation. (he one ori!inate with
the authors of the /ithyramb, the other with those of the phallic
son!s, which are still in use in many of our cities. (ra!ey avance
by slow e!rees9 each new element that showe itself was in turn
evelope. Havin! passe throu!h many chan!es, it foun its natural
form, an there it stoppe.
Aeschylus first introuce a secon actor9 he iminishe the importance
of the Chorus, an assi!ne the leain! part to the ialo!ue. Sophocles
raise the number of actors to three, an ae scene-paintin!.
Coreover, it was not till late that the short plot was iscare for
one of !reater compass, an the !rotes5ue iction of the earlier
satyric form for the stately manner of (ra!ey. (he iambic measure then
replace the trochaic tetrameter, which was ori!inally employe when
the poetry was of the satyric orer, an ha !reater with ancin!. ,nce
ialo!ue ha come in, Nature herself iscovere the appropriate
measure. Bor the iambic is, of all measures, the most collo5uial we see
it in the fact that conversational speech runs into iambic lines more
fre5uently than into any other *in of verse9 rarely into he2ameters,
an only when we rop the collo5uial intonation. (he aitions to the
number of .episoes. or acts, an the other accessories of which
traition tells, must be ta*en as alreay escribe9 for to iscuss
them in etail woul, oubtless, be a lar!e unerta*in!.
P+-t V
Comey is, as we have sai, an imitation of characters of a lower type-
not, however, in the full sense of the wor ba, the luicrous bein!
merely a subivision of the u!ly. &t consists in some efect or
u!liness which is not painful or estructive. (o ta*e an obvious
e2ample, the comic mas* is u!ly an istorte, but oes not imply pain.
(he successive chan!es throu!h which (ra!ey passe, an the authors of
these chan!es, are well *nown, whereas Comey has ha no history,
because it was not at first treate seriously. &t was late before the
Archon !rante a comic chorus to a poet9 the performers were till then
voluntary. Comey ha alreay ta*en efinite shape when comic poets,
istinctively so calle, are hear of. Eho furnishe it with mas*s, or
prolo!ues, or increase the number of actors- these an other similar
24/
Sir William K. Coe
etails remain un*nown. As for the plot, it came ori!inally from
Sicily9 but of Athenian writers Crates was the first who abanonin! the
.iambic. or lampoonin! form, !enerali<e his themes an plots.
%pic poetry a!rees with (ra!ey in so far as it is an imitation in
verse of characters of a hi!her type. (hey iffer in that %pic poetry
amits but one *in of meter an is narrative in form. (hey iffer,
a!ain, in their len!th0 for (ra!ey eneavors, as far as possible, to
confine itself to a sin!le revolution of the sun, or but sli!htly to
e2cee this limit, whereas the %pic action has no limits of time. (his,
then, is a secon point of ifference9 thou!h at first the same freeom
was amitte in (ra!ey as in %pic poetry.
,f their constituent parts some are common to both, some peculiar to
(ra!ey0 whoever, therefore *nows what is !oo or ba (ra!ey, *nows
also about %pic poetry. All the elements of an %pic poem are foun in
(ra!ey, but the elements of a (ra!ey are not all foun in the %pic
poem.
P+-t VI
,f the poetry which imitates in he2ameter verse, an of Comey, we will
spea* hereafter. 6et us now iscuss (ra!ey, resumin! its formal
efinition, as resultin! from what has been alreay sai.
(ra!ey, then, is an imitation of an action that is serious, complete,
an of a certain ma!nitue9 in lan!ua!e embellishe with each *in of
artistic ornament, the several *ins bein! foun in separate parts of
the play9 in the form of action, not of narrative9 throu!h pity an
fear effectin! the proper pur!ation of these emotions. :y .lan!ua!e
embellishe,. & mean lan!ua!e into which rhythm, .harmony. an son!
enter. :y .the several *ins in separate parts,. & mean, that some
parts are renere throu!h the meium of verse alone, others a!ain with
the ai of son!.
Now as tra!ic imitation implies persons actin!, it necessarily follows
in the first place, that Spectacular e5uipment will be a part of
(ra!ey. Ne2t, Son! an /iction, for these are the meia of imitation.
:y ./iction. & mean the mere metrical arran!ement of the wors0 as for
.Son!,. it is a term whose sense every one unerstans.
A!ain, (ra!ey is the imitation of an action9 an an action implies
personal a!ents, who necessarily possess certain istinctive 5ualities
both of character an thou!ht9 for it is by these that we 5ualify
actions themselves, an these- thou!ht an character- are the two
natural causes from which actions sprin!, an on actions a!ain all
success or failure epens. Hence, the 'lot is the imitation of the
action- for by plot & here mean the arran!ement of the incients. :y
Character & mean that in virtue of which we ascribe certain 5ualities
to the a!ents. (hou!ht is re5uire wherever a statement is prove, or,
it may be, a !eneral truth enunciate. %very (ra!ey, therefore, must
have si2 parts, which parts etermine its 5uality- namely, 'lot,
Character, /iction, (hou!ht, Spectacle, Son!. (wo of the parts
constitute the meium of imitation, one the manner, an three the
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Sir William K. Coe
ob-ects of imitation. An these complete the fist. (hese elements have
been employe, we may say, by the poets to a man9 in fact, every play
contains Spectacular elements as well as Character, 'lot, /iction,
Son!, an (hou!ht.
:ut most important of all is the structure of the incients. Bor
(ra!ey is an imitation, not of men, but of an action an of life, an
life consists in action, an its en is a moe of action, not a
5uality. Now character etermines men.s 5ualities, but it is by their
actions that they are happy or the reverse. /ramatic action, therefore,
is not with a view to the representation of character0 character comes
in as subsiiary to the actions. Hence the incients an the plot are
the en of a tra!ey9 an the en is the chief thin! of all. A!ain,
without action there cannot be a tra!ey9 there may be without
character. (he tra!eies of most of our moern poets fail in the
renerin! of character9 an of poets in !eneral this is often true. &t
is the same in paintin!9 an here lies the ifference between Veu2is
an 'oly!notus. 'oly!notus elineates character well9 the style of
Veu2is is evoi of ethical 5uality. A!ain, if you strin! to!ether a
set of speeches e2pressive of character, an well finishe in point of
iction an thou!ht, you will not prouce the essential tra!ic effect
nearly so well as with a play which, however eficient in these
respects, yet has a plot an artistically constructe incients.
:esies which, the most powerful elements of emotional interest in
(ra!ey- 'eripeteia or Geversal of the Situation, an Geco!nition
scenes- are parts of the plot. A further proof is, that novices in the
art attain to finish of iction an precision of portraiture before
they can construct the plot. &t is the same with almost all the early
poets.
(he plot, then, is the first principle, an, as it were, the soul of a
tra!ey9 Character hols the secon place. A similar fact is seen in
paintin!. (he most beautiful colors, lai on confusely, will not !ive
as much pleasure as the chal* outline of a portrait. (hus (ra!ey is
the imitation of an action, an of the a!ents mainly with a view to the
action.
(hir in orer is (hou!ht- that is, the faculty of sayin! what is
possible an pertinent in !iven circumstances. &n the case of oratory,
this is the function of the political art an of the art of rhetoric0
an so inee the oler poets ma*e their characters spea* the lan!ua!e
of civic life9 the poets of our time, the lan!ua!e of the rhetoricians.
Character is that which reveals moral purpose, showin! what *in of
thin!s a man chooses or avois. Speeches, therefore, which o not ma*e
this manifest, or in which the spea*er oes not choose or avoi
anythin! whatever, are not e2pressive of character. (hou!ht, on the
other han, is foun where somethin! is prove to be or not to be, or a
!eneral ma2im is enunciate.
Bourth amon! the elements enumerate comes /iction9 by which & mean, as
has been alreay sai, the e2pression of the meanin! in wors9 an its
essence is the same both in verse an prose.
,f the remainin! elements Son! hols the chief place amon! the
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embellishments
(he Spectacle has, inee, an emotional attraction of its own, but, of
all the parts, it is the least artistic, an connecte least with the
art of poetry. Bor the power of (ra!ey, we may be sure, is felt even
apart from representation an actors. :esies, the prouction of
spectacular effects epens more on the art of the sta!e machinist than
on that of the poet.
P+-t VII
(hese principles bein! establishe, let us now iscuss the proper
structure of the 'lot, since this is the first an most important thin!
in (ra!ey.
Now, accorin! to our efinition (ra!ey is an imitation of an action
that is complete, an whole, an of a certain ma!nitue9 for there may
be a whole that is wantin! in ma!nitue. A whole is that which has a
be!innin!, a mile, an an en. A be!innin! is that which oes not
itself follow anythin! by causal necessity, but after which somethin!
naturally is or comes to be. An en, on the contrary, is that which
itself naturally follows some other thin!, either by necessity, or as a
rule, but has nothin! followin! it. A mile is that which follows
somethin! as some other thin! follows it. A well constructe plot,
therefore, must neither be!in nor en at hapha<ar, but conform to
these principles.
A!ain, a beautiful ob-ect, whether it be a livin! or!anism or any whole
compose of parts, must not only have an orerly arran!ement of parts,
but must also be of a certain ma!nitue9 for beauty epens on
ma!nitue an orer. Hence a very small animal or!anism cannot be
beautiful9 for the view of it is confuse, the ob-ect bein! seen in an
almost imperceptible moment of time. Nor, a!ain, can one of vast si<e
be beautiful9 for as the eye cannot ta*e it all in at once, the unity
an sense of the whole is lost for the spectator9 as for instance if
there were one a thousan miles lon!. As, therefore, in the case of
animate boies an or!anisms a certain ma!nitue is necessary, an a
ma!nitue which may be easily embrace in one view9 so in the plot, a
certain len!th is necessary, an a len!th which can be easily embrace
by the memory. (he limit of len!th in relation to ramatic competition
an sensuous presentment is no part of artistic theory. Bor ha it been
the rule for a hunre tra!eies to compete to!ether, the performance
woul have been re!ulate by the water-cloc*- as inee we are tol was
formerly one. :ut the limit as fi2e by the nature of the rama itself
is this0 the !reater the len!th, the more beautiful will the piece be
by reason of its si<e, provie that the whole be perspicuous. An to
efine the matter rou!hly, we may say that the proper ma!nitue is
comprise within such limits, that the se5uence of events, accorin! to
the law of probability or necessity, will amit of a chan!e from ba
fortune to !oo, or from !oo fortune to ba.
P+-t VIII
$nity of plot oes not, as some persons thin*, consist in the unity of
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Sir William K. Coe
the hero. Bor infinitely various are the incients in one man.s life
which cannot be reuce to unity9 an so, too, there are many actions
of one man out of which we cannot ma*e one action. Hence the error, as
it appears, of all poets who have compose a Heraclei, a (hesei, or
other poems of the *in. (hey ima!ine that as Heracles was one man, the
story of Heracles must also be a unity. :ut Homer, as in all else he is
of surpassin! merit, here too- whether from art or natural !enius-
seems to have happily iscerne the truth. &n composin! the ,yssey he
i not inclue all the aventures of ,ysseus- such as his woun on
'arnassus, or his fei!ne maness at the musterin! of the host-
incients between which there was no necessary or probable connection0
but he mae the ,yssey, an li*ewise the &lia, to center roun an
action that in our sense of the wor is one. As therefore, in the other
imitative arts, the imitation is one when the ob-ect imitate is one,
so the plot, bein! an imitation of an action, must imitate one action
an that a whole, the structural union of the parts bein! such that, if
any one of them is isplace or remove, the whole will be is-ointe
an isturbe. Bor a thin! whose presence or absence ma*es no visible
ifference, is not an or!anic part of the whole.
P+-t IE
&t is, moreover, evient from what has been sai, that it is not the
function of the poet to relate what has happene, but what may happen-
what is possible accorin! to the law of probability or necessity. (he
poet an the historian iffer not by writin! in verse or in prose. (he
wor* of Herootus mi!ht be put into verse, an it woul still be a
species of history, with meter no less than without it. (he true
ifference is that one relates what has happene, the other what may
happen. 'oetry, therefore, is a more philosophical an a hi!her thin!
than history0 for poetry tens to e2press the universal, history the
particular. :y the universal & mean how a person of a certain type on
occasion spea* or act, accorin! to the law of probability or
necessity9 an it is this universality at which poetry aims in the
names she attaches to the persona!es. (he particular is- for e2ample-
what Alcibiaes i or suffere. &n Comey this is alreay apparent0
for here the poet first constructs the plot on the lines of
probability, an then inserts characteristic names- unli*e the
lampooners who write about particular iniviuals. :ut tra!eians still
*eep to real names, the reason bein! that what is possible is creible0
what has not happene we o not at once feel sure to be possible9 but
what has happene is manifestly possible0 otherwise it woul not have
happene. Still there are even some tra!eies in which there are only
one or two well-*nown names, the rest bein! fictitious. &n others, none
are well *nown- as in A!athon.s Antheus, where incients an names
ali*e are fictitious, an yet they !ive none the less pleasure. Ee must
not, therefore, at all costs *eep to the receive le!ens, which are
the usual sub-ects of (ra!ey. &nee, it woul be absur to attempt
it9 for even sub-ects that are *nown are *nown only to a few, an yet
!ive pleasure to all. &t clearly follows that the poet or .ma*er.
shoul be the ma*er of plots rather than of verses9 since he is a poet
because he imitates, an what he imitates are actions. An even if he
chances to ta*e a historical sub-ect, he is none the less a poet9 for
there is no reason why some events that have actually happene shoul
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Sir William K. Coe
not conform to the law of the probable an possible, an in virtue of
that 5uality in them he is their poet or ma*er.
,f all plots an actions the episoic are the worst. & call a plot
.episoic. in which the episoes or acts succee one another without
probable or necessary se5uence. :a poets compose such pieces by their
own fault, !oo poets, to please the players9 for, as they write show
pieces for competition, they stretch the plot beyon its capacity, an
are often force to brea* the natural continuity.
:ut a!ain, (ra!ey is an imitation not only of a complete action, but
of events inspirin! fear or pity. Such an effect is best prouce when
the events come on us by surprise9 an the effect is hei!htene when,
at the same time, they follows as cause an effect. (he tra!ic woner
will then be !reater than if they happene of themselves or by
accient9 for even coinciences are most stri*in! when they have an air
of esi!n. Ee may instance the statue of Citys at Ar!os, which fell
upon his murerer while he was a spectator at a festival, an *ille
him. Such events seem not to be ue to mere chance. 'lots, therefore,
constructe on these principles are necessarily the best.
P+-t E
'lots are either Simple or Comple2, for the actions in real life, of
which the plots are an imitation, obviously show a similar istinction.
An action which is one an continuous in the sense above efine, &
call Simple, when the chan!e of fortune ta*es place without Geversal of
the Situation an without Geco!nition
A Comple2 action is one in which the chan!e is accompanie by such
Geversal, or by Geco!nition, or by both. (hese last shoul arise from
the internal structure of the plot, so that what follows shoul be the
necessary or probable result of the precein! action. &t ma*es all the
ifference whether any !iven event is a case of propter hoc or post
hoc.
P+-t EI
Geversal of the Situation is a chan!e by which the action veers roun
to its opposite, sub-ect always to our rule of probability or
necessity. (hus in the ,eipus, the messen!er comes to cheer ,eipus
an free him from his alarms about his mother, but by revealin! who he
is, he prouces the opposite effect. A!ain in the 6ynceus, 6ynceus is
bein! le away to his eath, an /anaus !oes with him, meanin! to slay
him9 but the outcome of the precein! incients is that /anaus is
*ille an 6ynceus save.
Geco!nition, as the name inicates, is a chan!e from i!norance to
*nowle!e, proucin! love or hate between the persons estine by the
poet for !oo or ba fortune. (he best form of reco!nition is
coincient with a Geversal of the Situation, as in the ,eipus. (here
are inee other forms. %ven inanimate thin!s of the most trivial *in
may in a sense be ob-ects of reco!nition. A!ain, we may reco!ni<e or
iscover whether a person has one a thin! or not. :ut the reco!nition
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Sir William K. Coe
which is most intimately connecte with the plot an action is, as we
have sai, the reco!nition of persons. (his reco!nition, combine with
Geversal, will prouce either pity or fear9 an actions proucin! these
effects are those which, by our efinition, (ra!ey represents.
Coreover, it is upon such situations that the issues of !oo or ba
fortune will epen. Geco!nition, then, bein! between persons, it may
happen that one person only is reco!ni<e by the other- when the latter
is alreay *nown- or it may be necessary that the reco!nition shoul be
on both sies. (hus &phi!enia is reveale to ,restes by the senin! of
the letter9 but another act of reco!nition is re5uire to ma*e ,restes
*nown to &phi!enia.
(wo parts, then, of the 'lot- Geversal of the Situation an
Geco!nition- turn upon surprises. A thir part is the Scene of
Sufferin!. (he Scene of Sufferin! is a estructive or painful action,
such as eath on the sta!e, boily a!ony, wouns, an the li*e.
S%'t0(1 2
P+-t EII
(he parts of (ra!ey which must be treate as elements of the whole
have been alreay mentione. Ee now come to the 5uantitative parts- the
separate parts into which (ra!ey is ivie- namely, 'rolo!ue,
%pisoe, %2oe, Choric son!9 this last bein! ivie into 'aroe an
Stasimon. (hese are common to all plays0 peculiar to some are the son!s
of actors from the sta!e an the Commoi.
(he 'rolo!ue is that entire part of a tra!ey which precees the 'aroe
of the Chorus. (he %pisoe is that entire part of a tra!ey which is
between complete choric son!s. (he %2oe is that entire part of a
tra!ey which has no choric son! after it. ,f the Choric part the
'aroe is the first univie utterance of the Chorus0 the Stasimon is
a Choric oe without anapaests or trochaic tetrameters0 the Commos is a
-oint lamentation of Chorus an actors. (he parts of (ra!ey which must
be treate as elements of the whole have been alreay mentione. (he
5uantitative parts- the separate parts into which it is ivie- are
here enumerate.
P+-t EIII
As the se5uel to what has alreay been sai, we must procee to
consier what the poet shoul aim at, an what he shoul avoi, in
constructin! his plots9 an by what means the specific effect of
(ra!ey will be prouce.
A perfect tra!ey shoul, as we have seen, be arran!e not on the
simple but on the comple2 plan. &t shoul, moreover, imitate actions
which e2cite pity an fear, this bein! the istinctive mar* of tra!ic
imitation. &t follows plainly, in the first place, that the chan!e of
fortune presente must not be the spectacle of a virtuous man brou!ht
from prosperity to aversity0 for this moves neither pity nor fear9 it
merely shoc*s us. Nor, a!ain, that of a ba man passin! from aversity
to prosperity0 for nothin! can be more alien to the spirit of (ra!ey9
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Sir William K. Coe
it possesses no sin!le tra!ic 5uality9 it neither satisfies the moral
sense nor calls forth pity or fear. Nor, a!ain, shoul the ownfall of
the utter villain be e2hibite. A plot of this *in woul, oubtless,
satisfy the moral sense, but it woul inspire neither pity nor fear9
for pity is arouse by unmerite misfortune, fear by the misfortune of
a man li*e ourselves. Such an event, therefore, will be neither pitiful
nor terrible. (here remains, then, the character between these two
e2tremes- that of a man who is not eminently !oo an -ust, yet whose
misfortune is brou!ht about not by vice or epravity, but by some error
or frailty. He must be one who is hi!hly renowne an prosperous- a
persona!e li*e ,eipus, (hyestes, or other illustrious men of such
families.
A well-constructe plot shoul, therefore, be sin!le in its issue,
rather than ouble as some maintain. (he chan!e of fortune shoul be
not from ba to !oo, but, reversely, from !oo to ba. &t shoul come
about as the result not of vice, but of some !reat error or frailty, in
a character either such as we have escribe, or better rather than
worse. (he practice of the sta!e bears out our view. At first the poets
recounte any le!en that came in their way. Now, the best tra!eies
are foune on the story of a few houses- on the fortunes of Alcmaeon,
,eipus, ,restes, Celea!er, (hyestes, (elephus, an those others who
have one or suffere somethin! terrible. A tra!ey, then, to be
perfect accorin! to the rules of art shoul be of this construction.
Hence they are in error who censure %uripies -ust because he follows
this principle in his plays, many of which en unhappily. &t is, as we
have sai, the ri!ht enin!. (he best proof is that on the sta!e an in
ramatic competition, such plays, if well wor*e out, are the most
tra!ic in effect9 an %uripies, faulty thou!h he may be in the !eneral
mana!ement of his sub-ect, yet is felt to be the most tra!ic of the
poets.
&n the secon ran* comes the *in of tra!ey which some place first.
6i*e the ,yssey, it has a ouble threa of plot, an also an opposite
catastrophe for the !oo an for the ba. &t is accounte the best
because of the wea*ness of the spectators9 for the poet is !uie in
what he writes by the wishes of his auience. (he pleasure, however,
thence erive is not the true tra!ic pleasure. &t is proper rather to
Comey, where those who, in the piece, are the ealiest enemies- li*e
,restes an Ae!isthus- 5uit the sta!e as friens at the close, an no
one slays or is slain.
P+-t EIV
Bear an pity may be arouse by spectacular means9 but they may also
result from the inner structure of the piece, which is the better way,
an inicates a superior poet. Bor the plot ou!ht to be so constructe
that, even without the ai of the eye, he who hears the tale tol will
thrill with horror an melt to pity at what ta*es 'lace. (his is the
impression we shoul receive from hearin! the story of the ,eipus. :ut
to prouce this effect by the mere spectacle is a less artistic metho,
an epenent on e2traneous ais. (hose who employ spectacular means to
create a sense not of the terrible but only of the monstrous, are
stran!ers to the purpose of (ra!ey9 for we must not eman of (ra!ey
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Sir William K. Coe
any an every *in of pleasure, but only that which is proper to it.
An since the pleasure which the poet shoul affor is that which comes
from pity an fear throu!h imitation, it is evient that this 5uality
must be impresse upon the incients.
6et us then etermine what are the circumstances which stri*e us as
terrible or pitiful.
Actions capable of this effect must happen between persons who are
either friens or enemies or inifferent to one another. &f an enemy
*ills an enemy, there is nothin! to e2cite pity either in the act or
the intention- e2cept so far as the sufferin! in itself is pitiful. So
a!ain with inifferent persons. :ut when the tra!ic incient occurs
between those who are near or ear to one another- if, for e2ample, a
brother *ills, or intens to *ill, a brother, a son his father, a
mother her son, a son his mother, or any other ee of the *in is
one- these are the situations to be loo*e for by the poet. He may not
inee estroy the framewor* of the receive le!ens- the fact, for
instance, that Clytemnestra was slain by ,restes an %riphyle by
Alcmaeon- but he ou!ht to show of his own, an s*ilfully hanle the
traitional. material. 6et us e2plain more clearly what is meant by
s*ilful hanlin!.
(he action may be one consciously an with *nowle!e of the persons,
in the manner of the oler poets. &t is thus too that %uripies ma*es
Ceea slay her chilren. ,r, a!ain, the ee of horror may be one, but
one in i!norance, an the tie of *inship or frienship be iscovere
afterwars. (he ,eipus of Sophocles is an e2ample. Here, inee, the
incient is outsie the rama proper9 but cases occur where it falls
within the action of the play0 one may cite the Alcmaeon of Astyamas,
or (ele!onus in the Eoune ,ysseus. A!ain, there is a thir case- Ito
be about to act with *nowle!e of the persons an then not to act. (he
fourth caseJ is when some one is about to o an irreparable ee
throu!h i!norance, an ma*es the iscovery before it is one. (hese are
the only possible ways. Bor the ee must either be one or not one-
an that wittin!ly or unwittin!ly. :ut of all these ways, to be about
to act *nowin! the persons, an then not to act, is the worst. &t is
shoc*in! without bein! tra!ic, for no isaster follows &t is,
therefore, never, or very rarely, foun in poetry. ,ne instance,
however, is in the Anti!one, where Haemon threatens to *ill Creon. (he
ne2t an better way is that the ee shoul be perpetrate. Still
better, that it shoul be perpetrate in i!norance, an the iscovery
mae afterwars. (here is then nothin! to shoc* us, while the iscovery
prouces a startlin! effect. (he last case is the best, as when in the
Cresphontes Cerope is about to slay her son, but, reco!ni<in! who he
is, spares his life. So in the &phi!enia, the sister reco!ni<es the
brother -ust in time. A!ain in the Helle, the son reco!ni<es the mother
when on the point of !ivin! her up. (his, then, is why a few families
only, as has been alreay observe, furnish the sub-ects of tra!ey. &t
was not art, but happy chance, that le the poets in search of sub-ects
to impress the tra!ic 5uality upon their plots. (hey are compelle,
therefore, to have recourse to those houses whose history contains
movin! incients li*e these.
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Sir William K. Coe
%nou!h has now been sai concernin! the structure of the incients, an
the ri!ht *in of plot.
P+-t EV
&n respect of Character there are four thin!s to be aime at. Birst,
an most important, it must be !oo. Now any speech or action that
manifests moral purpose of any *in will be e2pressive of character0
the character will be !oo if the purpose is !oo. (his rule is
relative to each class. %ven a woman may be !oo, an also a slave9
thou!h the woman may be sai to be an inferior bein!, an the slave
5uite worthless. (he secon thin! to aim at is propriety. (here is a
type of manly valor9 but valor in a woman, or unscrupulous cleverness
is inappropriate. (hirly, character must be true to life0 for this is
a istinct thin! from !ooness an propriety, as here escribe. (he
fourth point is consistency0 for thou!h the sub-ect of the imitation,
who su!!este the type, be inconsistent, still he must be consistently
inconsistent. As an e2ample of motiveless e!raation of character, we
have Cenelaus in the ,restes9 of character inecorous an
inappropriate, the lament of ,ysseus in the Scylla, an the speech of
Celanippe9 of inconsistency, the &phi!enia at Aulis- for &phi!enia the
suppliant in no way resembles her later self.
As in the structure of the plot, so too in the portraiture of
character, the poet shoul always aim either at the necessary or the
probable. (hus a person of a !iven character shoul spea* or act in a
!iven way, by the rule either of necessity or of probability9 -ust as
this event shoul follow that by necessary or probable se5uence. &t is
therefore evient that the unravelin! of the plot, no less than the
complication, must arise out of the plot itself, it must not be brou!ht
about by the /eus e2 Cachina- as in the Ceea, or in the return of the
Gree*s in the &lia. (he /eus e2 Cachina shoul be employe only for
events e2ternal to the rama- for anteceent or subse5uent events,
which lie beyon the ran!e of human *nowle!e, an which re5uire to be
reporte or foretol9 for to the !os we ascribe the power of seein!
all thin!s. Eithin the action there must be nothin! irrational. &f the
irrational cannot be e2clue, it shoul be outsie the scope of the
tra!ey. Such is the irrational element the ,eipus of Sophocles.
A!ain, since (ra!ey is an imitation of persons who are above the
common level, the e2ample of !oo portrait painters shoul be followe.
(hey, while reproucin! the istinctive form of the ori!inal, ma*e a
li*eness which is true to life an yet more beautiful. So too the poet,
in representin! men who are irascible or inolent, or have other
efects of character, shoul preserve the type an yet ennoble it. &n
this way Achilles is portraye by A!athon an Homer.
(hese then are rules the poet shoul observe. Nor shoul he ne!lect
those appeals to the senses, which, thou!h not amon! the essentials,
are the concomitants of poetry9 for here too there is much room for
error. :ut of this enou!h has been sai in our publishe treatises.
P+-t EVI
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Sir William K. Coe
Ehat Geco!nition is has been alreay e2plaine. Ee will now enumerate
its *ins.
Birst, the least artistic form, which, from poverty of wit, is most
commonly employe- reco!nition by si!ns. ,f these some are con!enital-
such as .the spear which the earth-born race bear on their boies,. or
the stars introuce by Carcinus in his (hyestes. ,thers are ac5uire
after birth9 an of these some are boily mar*s, as scars9 some
e2ternal to*ens, as nec*laces, or the little ar* in the (yro by which
the iscovery is effecte. %ven these amit of more or less s*ilful
treatment. (hus in the reco!nition of ,ysseus by his scar, the
iscovery is mae in one way by the nurse, in another by the
swinehers. (he use of to*ens for the e2press purpose of proof- an,
inee, any formal proof with or without to*ens- is a less artistic
moe of reco!nition. A better *in is that which comes about by a turn
of incient, as in the :ath Scene in the ,yssey.
Ne2t come the reco!nitions invente at will by the poet, an on that
account wantin! in art. Bor e2ample, ,restes in the &phi!enia reveals
the fact that he is ,restes. She, inee, ma*es herself *nown by the
letter9 but he, by spea*in! himself, an sayin! what the poet, not what
the plot re5uires. (his, therefore, is nearly allie to the fault above
mentione- for ,restes mi!ht as well have brou!ht to*ens with him.
Another similar instance is the .voice of the shuttle. in the (ereus of
Sophocles.
(he thir *in epens on memory when the si!ht of some ob-ect awa*ens
a feelin!0 as in the Cyprians of /icaeo!enes, where the hero brea*s
into tears on seein! the picture9 or a!ain in the 6ay of Alcinous,
where ,ysseus, hearin! the minstrel play the lyre, recalls the past
an weeps9 an hence the reco!nition.
(he fourth *in is by process of reasonin!. (hus in the Choephori0
.Some one resemblin! me has come0 no one resembles me but ,restes0
therefore ,restes has come.. Such too is the iscovery mae by
&phi!enia in the play of 'olyius the Sophist. &t was a natural
reflection for ,restes to ma*e, .So & too must ie at the altar li*e my
sister.. So, a!ain, in the (yeus of (heoectes, the father says, .&
came to fin my son, an & lose my own life.. So too in the 'hineiae0
the women, on seein! the place, inferre their fate- .Here we are
oome to ie, for here we were cast forth.. A!ain, there is a
composite *in of reco!nition involvin! false inference on the part of
one of the characters, as in the ,ysseus /is!uise as a Cessen!er. A
sai Ithat no one else was able to ben the bow9 ... hence : 3the
is!uise ,ysseus4 ima!ine that A woulJ reco!ni<e the bow which, in
fact, he ha not seen9 an to brin! about a reco!nition by this means-
the e2pectation that A woul reco!ni<e the bow- is false inference.
:ut, of all reco!nitions, the best is that which arises from the
incients themselves, where the startlin! iscovery is mae by natural
means. Such is that in the ,eipus of Sophocles, an in the &phi!enia9
for it was natural that &phi!enia shoul wish to ispatch a letter.
(hese reco!nitions alone ispense with the artificial ai of to*ens or
amulets. Ne2t come the reco!nitions by process of reasonin!.
35/
Sir William K. Coe
P+-t EVII
&n constructin! the plot an wor*in! it out with the proper iction,
the poet shoul place the scene, as far as possible, before his eyes.
&n this way, seein! everythin! with the utmost viviness, as if he were
a spectator of the action, he will iscover what is in *eepin! with it,
an be most unli*ely to overloo* inconsistencies. (he nee of such a
rule is shown by the fault foun in Carcinus. Amphiaraus was on his way
from the temple. (his fact escape the observation of one who i not
see the situation. ,n the sta!e, however, the 'iece faile, the
auience bein! offene at the oversi!ht.
A!ain, the poet shoul wor* out his play, to the best of his power,
with appropriate !estures9 for those who feel emotion are most
convincin! throu!h natural sympathy with the characters they represent9
an one who is a!itate storms, one who is an!ry ra!es, with the most
lifeli*e reality. Hence poetry implies either a happy !ift of nature or
a strain of maness. &n the one case a man can ta*e the moul of any
character9 in the other, he is lifte out of his proper self.
As for the story, whether the poet ta*es it reay mae or constructs it
for himself, he shoul first s*etch its !eneral outline, an then fill
in the episoes an amplify in etail. (he !eneral plan may be
illustrate by the &phi!enia. A youn! !irl is sacrifice9 she
isappears mysteriously from the eyes of those who sacrifice her9 she
is transporte to another country, where the custom is to offer up an
stran!ers to the !oess. (o this ministry she is appointe. Some time
later her own brother chances to arrive. (he fact that the oracle for
some reason orere him to !o there, is outsie the !eneral plan of the
play. (he purpose, a!ain, of his comin! is outsie the action proper.
However, he comes, he is sei<e, an, when on the point of bein!
sacrifice, reveals who he is. (he moe of reco!nition may be either
that of %uripies or of 'olyius, in whose play he e2claims very
naturally0 .So it was not my sister only, but & too, who was oome to
be sacrifice.9 an by that remar* he is save.
After this, the names bein! once !iven, it remains to fill in the
episoes. Ee must see that they are relevant to the action. &n the case
of ,restes, for e2ample, there is the maness which le to his capture,
an his eliverance by means of the purificatory rite. &n the rama,
the episoes are short, but it is these that !ive e2tension to %pic
poetry. (hus the story of the ,yssey can be state briefly. A certain
man is absent from home for many years9 he is -ealously watche by
'oseion, an left esolate. Ceanwhile his home is in a wretche
pli!ht- suitors are wastin! his substance an plottin! a!ainst his son.
At len!th, tempest-tost, he himself arrives9 he ma*es certain persons
ac5uainte with him9 he attac*s the suitors with his own han, an is
himself preserve while he estroys them. (his is the essence of the
plot9 the rest is episoe.
P+-t EVIII
%very tra!ey falls into two parts- Complication an $nravelin! or
356
Sir William K. Coe
/enouement. &ncients e2traneous to the action are fre5uently combine
with a portion of the action proper, to form the Complication9 the rest
is the $nravelin!. :y the Complication & mean all that e2tens from the
be!innin! of the action to the part which mar*s the turnin!-point to
!oo or ba fortune. (he $nravelin! is that which e2tens from the
be!innin! of the chan!e to the en. (hus, in the 6ynceus of (heoectes,
the Complication consists of the incients presuppose in the rama,
the sei<ure of the chil, an then a!ain ... Ithe $nravelin!J e2tens
from the accusation of murer to
(here are four *ins of (ra!ey0 the Comple2, epenin! entirely on
Geversal of the Situation an Geco!nition9 the 'athetic 3where the
motive is passion4- such as the tra!eies on A-a2 an &2ion9 the
%thical 3where the motives are ethical4- such as the 'hthioties an
the 'eleus. (he fourth *in is the Simple. IEe here e2clue the purely
spectacular elementJ, e2emplifie by the 'horcies, the 'rometheus, an
scenes lai in Haes. (he poet shoul eneavor, if possible, to combine
all poetic elements9 or failin! that, the !reatest number an those the
most important9 the more so, in face of the cavilin! criticism of the
ay. Bor whereas there have hitherto been !oo poets, each in his own
branch, the critics now e2pect one man to surpass all others in their
several lines of e2cellence.
&n spea*in! of a tra!ey as the same or ifferent, the best test to
ta*e is the plot. &entity e2ists where the Complication an $nravelin!
are the same. Cany poets tie the *not well, but unravel it :oth arts,
however, shoul always be mastere.
A!ain, the poet shoul remember what has been often sai, an not ma*e
an %pic structure into a tra!ey- by an %pic structure & mean one with
a multiplicity of plots- as if, for instance, you were to ma*e a
tra!ey out of the entire story of the &lia. &n the %pic poem, owin!
to its len!th, each part assumes its proper ma!nitue. &n the rama the
result is far from answerin! to the poet.s e2pectation. (he proof is
that the poets who have ramati<e the whole story of the Ball of (roy,
instea of selectin! portions, li*e %uripies9 or who have ta*en the
whole tale of Niobe, an not a part of her story, li*e Aeschylus,
either fail utterly or meet with poor success on the sta!e. %ven
A!athon has been *nown to fail from this one efect. &n his Geversals
of the Situation, however, he shows a marvelous s*ill in the effort to
hit the popular taste- to prouce a tra!ic effect that satisfies the
moral sense. (his effect is prouce when the clever ro!ue, li*e
Sisyphus, is outwitte, or the brave villain efeate. Such an event is
probable in A!athon.s sense of the wor0 .is probable,. he says, .that
many thin!s shoul happen contrary to probability..
(he Chorus too shoul be re!are as one of the actors9 it shoul be an
inte!ral part of the whole, an share in the action, in the manner not
of %uripies but of Sophocles. As for the later poets, their choral
son!s pertain as little to the sub-ect of the piece as to that of any
other tra!ey. (hey are, therefore, sun! as mere interlues- a practice
first be!un by A!athon. 1et what ifference is there between
introucin! such choral interlues, an transferrin! a speech, or even
a whole act, from one play to another.
351
Sir William K. Coe
P+-t EIE
&t remains to spea* of /iction an (hou!ht, the other parts of (ra!ey
havin! been alreay iscusse. concernin! (hou!ht, we may assume what
is sai in the Ghetoric, to which in5uiry the sub-ect more strictly
belon!s. $ner (hou!ht is inclue every effect which has to be
prouce by speech, the subivisions bein!0 proof an refutation9 the
e2citation of the feelin!s, such as pity, fear, an!er, an the li*e9
the su!!estion of importance or its opposite. Now, it is evient that
the ramatic incients must be treate from the same points of view as
the ramatic speeches, when the ob-ect is to evo*e the sense of pity,
fear, importance, or probability. (he only ifference is that the
incients shoul spea* for themselves without verbal e2position9 while
effects aime at in shoul be prouce by the spea*er, an as a result
of the speech. Bor what were the business of a spea*er, if the (hou!ht
were reveale 5uite apart from what he saysH
Ne2t, as re!ars /iction. ,ne branch of the in5uiry treats of the Coes
of $tterance. :ut this province of *nowle!e belon!s to the art of
/elivery an to the masters of that science. &t inclues, for instance-
what is a comman, a prayer, a statement, a threat, a 5uestion, an
answer, an so forth. (o *now or not to *now these thin!s involves no
serious censure upon the poet.s art. Bor who can amit the fault
impute to Homer by 'rota!oras- that in the wors, .Sin!, !oess, of
the wrath, he !ives a comman uner the iea that he utters a prayerH
Bor to tell some one to o a thin! or not to o it is, he says, a
comman. Ee may, therefore, pass this over as an in5uiry that belon!s
to another art, not to poetry.
P+-t EE
6an!ua!e in !eneral inclues the followin! parts0 6etter, Syllable,
Connectin! Eor, Noun, )erb, &nflection or Case, Sentence or 'hrase.
A 6etter is an inivisible soun, yet not every such soun, but only
one which can form part of a !roup of souns. Bor even brutes utter
inivisible souns, none of which & call a letter. (he soun & mean may
be either a vowel, a semivowel, or a mute. A vowel is that which
without impact of ton!ue or lip has an auible soun. A semivowel that
which with such impact has an auible soun, as S an G. A mute, that
which with such impact has by itself no soun, but -oine to a vowel
soun becomes auible, as G an /. (hese are istin!uishe accorin! to
the form assume by the mouth an the place where they are prouce9
accorin! as they are aspirate or smooth, lon! or short9 as they are
acute, !rave, or of an intermeiate tone9 which in5uiry belon!s in
etail to the writers on meter.
A Syllable is a nonsi!nificant soun, compose of a mute an a vowel0
for GG without A is a syllable, as also with A- GGA. :ut the
investi!ation of these ifferences belon!s also to metrical science.
A Connectin! Eor is a nonsi!nificant soun, which neither causes nor
hiners the union of many souns into one si!nificant soun9 it may be
352
Sir William K. Coe
place at either en or in the mile of a sentence. ,r, a
nonsi!nificant soun, which out of several souns, each of them
si!nificant, is capable of formin! one si!nificant soun- as amphi,
peri, an the li*e. ,r, a nonsi!nificant soun, which mar*s the
be!innin!, en, or ivision of a sentence9 such, however, that it
cannot correctly stan by itself at the be!innin! of a sentence- as
men, etoi, e.
A Noun is a composite si!nificant soun, not mar*in! time, of which no
part is in itself si!nificant0 for in ouble or compoun wors we o
not employ the separate parts as if each were in itself si!nificant.
(hus in (heoorus, .!o-!iven,. the oron or .!ift. is not in itself
si!nificant.
A )erb is a composite si!nificant soun, mar*in! time, in which, as in
the noun, no part is in itself si!nificant. Bor .man. or .white. oes
not e2press the iea of .when.9 but .he wal*s. or .he has wal*e. oes
connote time, present or past.
&nflection belon!s both to the noun an verb, an e2presses either the
relation .of,. .to,. or the li*e9 or that of number, whether one or
many, as .man. or .men.9 or the moes or tones in actual elivery,
e.!., a 5uestion or a comman. ./i he !oH. an .!o. are verbal
inflections of this *in.
A Sentence or 'hrase is a composite si!nificant soun, some at least of
whose parts are in themselves si!nificant9 for not every such !roup of
wors consists of verbs an nouns- .the efinition of man,. for
e2ample- but it may ispense even with the verb. Still it will always
have some si!nificant part, as .in wal*in!,. or .Cleon son of Cleon.. A
sentence or phrase may form a unity in two ways- either as si!nifyin!
one thin!, or as consistin! of several parts lin*e to!ether. (hus the
&lia is one by the lin*in! to!ether of parts, the efinition of man by
the unity of the thin! si!nifie.
S%'t0(1 G
P+-t EEI
Eors are of two *ins, simple an ouble. :y simple & mean those
compose of nonsi!nificant elements, such as !e, .earth.. :y ouble or
compoun, those compose either of a si!nificant an nonsi!nificant
element 3thou!h within the whole wor no element is si!nificant4, or of
elements that are both si!nificant. A wor may li*ewise be triple,
5uaruple, or multiple in form, li*e so many Cassilian e2pressions,
e.!., .Hermo-caico-2anthus Iwho praye to Bather VeusJ..
%very wor is either current, or stran!e, or metaphorical, or
ornamental, or newly-coine, or len!thene, or contracte, or altere.
:y a current or proper wor & mean one which is in !eneral use amon! a
people9 by a stran!e wor, one which is in use in another country.
'lainly, therefore, the same wor may be at once stran!e an current,
but not in relation to the same people. (he wor si!ynon, .lance,. is
353
Sir William K. Coe
to the Cyprians a current term but to us a stran!e one.
Cetaphor is the application of an alien name by transference either
from !enus to species, or from species to !enus, or from species to
species, or by analo!y, that is, proportion. (hus from !enus to
species, as0 .(here lies my ship.9 for lyin! at anchor is a species of
lyin!. Brom species to !enus, as0 .)erily ten thousan noble ees hath
,ysseus wrou!ht.9 for ten thousan is a species of lar!e number, an
is here use for a lar!e number !enerally. Brom species to species, as0
.Eith blae of bron<e rew away the life,. an .Cleft the water with
the vessel of unyielin! bron<e.. Here arusai, .to raw away. is use
for tamein, .to cleave,. an tamein, a!ain for arusai- each bein! a
species of ta*in! away. Analo!y or proportion is when the secon term
is to the first as the fourth to the thir. Ee may then use the fourth
for the secon, or the secon for the fourth. Sometimes too we 5ualify
the metaphor by ain! the term to which the proper wor is relative.
(hus the cup is to /ionysus as the shiel to Ares. (he cup may,
therefore, be calle .the shiel of /ionysus,. an the shiel .the cup
of Ares.. ,r, a!ain, as ol a!e is to life, so is evenin! to ay.
%venin! may therefore be calle, .the ol a!e of the ay,. an ol a!e,
.the evenin! of life,. or, in the phrase of %mpeocles, .life.s settin!
sun.. Bor some of the terms of the proportion there is at times no wor
in e2istence9 still the metaphor may be use. Bor instance, to scatter
see is calle sowin!0 but the action of the sun in scatterin! his rays
is nameless. Still this process bears to the sun the same relation as
sowin! to the see. Hence the e2pression of the poet .sowin! the !o-
create li!ht.. (here is another way in which this *in of metaphor may
be employe. Ee may apply an alien term, an then eny of that term one
of its proper attributes9 as if we were to call the shiel, not .the
cup of Ares,. but .the wineless cup..
A newly-coine wor is one which has never been even in local use, but
is aopte by the poet himself. Some such wors there appear to be0 as
erny!es, .sprouters,. for *erata, .horns.9 an areter, .supplicator.,
for hiereus, .priest..
A wor is len!thene when its own vowel is e2chan!e for a lon!er one,
or when a syllable is inserte. A wor is contracte when some part of
it is remove. &nstances of len!thenin! are0 poleos for poleos,
'eleiaeo for 'eleiou9 of contraction0 *ri, o, an ops, as in mia
!inetai amphoteron ops, .the appearance of both is one..
An altere wor is one in which part of the orinary form is left
unchan!e, an part is recast0 as in e2iteron *ata ma<on, .on the
ri!ht breast,. e2iteron is for e2ion.
Nouns in themselves are either masculine, feminine, or neuter.
Casculine are such as en in N, G, S, or in some letter compoune with
S- these bein! two, 'S an P. Beminine, such as en in vowels that are
always lon!, namely % an ,, an- of vowels that amit of len!thenin!-
those in A. (hus the number of letters in which nouns masculine an
feminine en is the same9 for 'S an P are e5uivalent to enin!s in S.
No noun ens in a mute or a vowel short by nature. (hree only en in &-
meli, .honey.9 *ommi, .!um.9 peperi, .pepper.9 five en in $. Neuter
354
Sir William K. Coe
nouns en in these two latter vowels9 also in N an S.
P+-t EEII
(he perfection of style is to be clear without bein! mean. (he clearest
style is that which uses only current or proper wors9 at the same time
it is mean- witness the poetry of Cleophon an of Sthenelus. (hat
iction, on the other han, is lofty an raise above the commonplace
which employs unusual wors. :y unusual, & mean stran!e 3or rare4
wors, metaphorical, len!thene- anythin!, in short, that iffers from
the normal iiom. 1et a style wholly compose of such wors is either a
rile or a -ar!on9 a rile, if it consists of metaphors9 a -ar!on, if
it consists of stran!e 3or rare4 wors. Bor the essence of a rile is
to e2press true facts uner impossible combinations. Now this cannot be
one by any arran!ement of orinary wors, but by the use of metaphor
it can. Such is the rile0 .A man & saw who on another man ha !lue
the bron<e by ai of fire,. an others of the same *in. A iction that
is mae up of stran!e 3or rare4 terms is a -ar!on. A certain infusion,
therefore, of these elements is necessary to style9 for the stran!e 3or
rare4 wor, the metaphorical, the ornamental, an the other *ins above
mentione, will raise it above the commonplace an mean, while the use
of proper wors will ma*e it perspicuous. :ut nothin! contributes more
to prouce a cleanness of iction that is remote from commonness than
the len!thenin!, contraction, an alteration of wors. Bor by eviatin!
in e2ceptional cases from the normal iiom, the lan!ua!e will !ain
istinction9 while, at the same time, the partial conformity with usa!e
will !ive perspicuity. (he critics, therefore, are in error who censure
these licenses of speech, an hol the author up to riicule. (hus
%ucleies, the eler, eclare that it woul be an easy matter to be a
poet if you mi!ht len!then syllables at will. He caricature the
practice in the very form of his iction, as in the verse0
+%picharen eion Carathonae bai<onta,
+& saw %pichares wal*in! to Carathon, +
or,
+ou* an !.eramenos ton e*einou elleboron.
+Not if you esire his hellebore. +
(o employ such license at all obtrusively is, no oubt, !rotes5ue9 but
in any moe of poetic iction there must be moeration. %ven metaphors,
stran!e 3or rare4 wors, or any similar forms of speech, woul prouce
the li*e effect if use without propriety an with the e2press purpose
of bein! luicrous. How !reat a ifference is mae by the appropriate
use of len!thenin!, may be seen in %pic poetry by the insertion of
orinary forms in the verse. So, a!ain, if we ta*e a stran!e 3or rare4
wor, a metaphor, or any similar moe of e2pression, an replace it by
the current or proper term, the truth of our observation will be
manifest. Bor e2ample, Aeschylus an %uripies each compose the same
iambic line. :ut the alteration of a sin!le wor by %uripies, who
employe the rarer term instea of the orinary one, ma*es one verse
315
Sir William K. Coe
appear beautiful an the other trivial. Aeschylus in his 'hiloctetes
says0
+pha!eaina .he mou sar*as esthiei poos.
+(he tumor which is eatin! the flesh of my foot. +
%uripies substitutes thoinatai, .feasts on,. for esthiei, .fees on..
A!ain, in the line,
+nun e m.eon oli!os te *ai outianos *ai aei*es,
+1et a small man, worthless an unseemly, +
the ifference will be felt if we substitute the common wors,
+nun e m.eon mi*ros te *ai astheni*os *ai aeies.
+1et a little fellow, wea* an u!ly. +
,r, if for the line,
+iphron aei*elion *atatheis oli!en te trape<an,
+Settin! an unseemly couch an a mea!er table, +
we rea,
+iphron mochtheron *atatheis mi*ran te trape<an.
+Settin! a wretche couch an a puny table. +
,r, for eiones booosin, .the sea shores roar,. eiones *ra<ousin, .the
sea shores screech..
A!ain, Ariphraes riicule the tra!eians for usin! phrases which no
one woul employ in orinary speech0 for e2ample, omaton apo, .from
the house away,. instea of apo omaton, .away from the house9. sethen,
e!o e nin, .to thee, an & to him9. Achilleos peri, .Achilles about,.
instea of peri Achilleos, .about Achilles9. an the li*e. &t is
precisely because such phrases are not part of the current iiom that
they !ive istinction to the style. (his, however, he faile to see.
&t is a !reat matter to observe propriety in these several moes of
e2pression, as also in compoun wors, stran!e 3or rare4 wors, an so
forth. :ut the !reatest thin! by far is to have a comman of metaphor.
(his alone cannot be imparte by another9 it is the mar* of !enius, for
to ma*e !oo metaphors implies an eye for resemblances.
,f the various *ins of wors, the compoun are best aapte to
ithyrambs, rare wors to heroic poetry, metaphors to iambic. &n heroic
poetry, inee, all these varieties are serviceable. :ut in iambic
verse, which reprouces, as far as may be, familiar speech, the most
appropriate wors are those which are foun even in prose. (hese are
311
Sir William K. Coe
the current or proper, the metaphorical, the ornamental.
Concernin! (ra!ey an imitation by means of action this may suffice.
P+-t EEIII
As to that poetic imitation which is narrative in form an employs a
sin!le meter, the plot manifestly ou!ht, as in a tra!ey, to be
constructe on ramatic principles. &t shoul have for its sub-ect a
sin!le action, whole an complete, with a be!innin!, a mile, an an
en. &t will thus resemble a livin! or!anism in all its unity, an
prouce the pleasure proper to it. &t will iffer in structure from
historical compositions, which of necessity present not a sin!le
action, but a sin!le perio, an all that happene within that perio
to one person or to many, little connecte to!ether as the events may
be. Bor as the sea-fi!ht at Salamis an the battle with the
Cartha!inians in Sicily too* place at the same time, but i not ten
to any one result, so in the se5uence of events, one thin! sometimes
follows another, an yet no sin!le result is thereby prouce. Such is
the practice, we may say, of most poets. Here a!ain, then, as has been
alreay observe, the transcenent e2cellence of Homer is manifest. He
never attempts to ma*e the whole war of (roy the sub-ect of his poem,
thou!h that war ha a be!innin! an an en. &t woul have been too vast
a theme, an not easily embrace in a sin!le view. &f, a!ain, he ha
*ept it within moerate limits, it must have been over-complicate by
the variety of the incients. As it is, he etaches a sin!le portion,
an amits as episoes many events from the !eneral story of the war-
such as the Catalo!ue of the ships an others- thus iversifyin! the
poem. All other poets ta*e a sin!le hero, a sin!le perio, or an action
sin!le inee, but with a multiplicity of parts. (hus i the author of
the Cypria an of the 6ittle &lia. Bor this reason the &lia an the
,yssey each furnish the sub-ect of one tra!ey, or, at most, of two9
while the Cypria supplies materials for many, an the 6ittle &lia for
ei!ht- the Awar of the Arms, the 'hiloctetes, the Neoptolemus, the
%urypylus, the Cenicant ,ysseus, the 6aconian Eomen, the Ball of
&lium, the /eparture of the Bleet.
P+-t EEIV
A!ain, %pic poetry must have as many *ins as (ra!ey0 it must be
simple, or comple2, or .ethical,.or .pathetic.. (he parts also, with
the e2ception of son! an spectacle, are the same9 for it re5uires
Geversals of the Situation, Geco!nitions, an Scenes of Sufferin!.
Coreover, the thou!hts an the iction must be artistic. &n all these
respects Homer is our earliest an sufficient moel. &nee each of his
poems has a twofol character. (he &lia is at once simple an
.pathetic,. an the ,yssey comple2 3for Geco!nition scenes run throu!h
it4, an at the same time .ethical.. Coreover, in iction an thou!ht
they are supreme.
%pic poetry iffers from (ra!ey in the scale on which it is
constructe, an in its meter. As re!ars scale or len!th, we have
alreay lai own an ae5uate limit0 the be!innin! an the en must be
capable of bein! brou!ht within a sin!le view. (his conition will be
312
Sir William K. Coe
satisfie by poems on a smaller scale than the ol epics, an answerin!
in len!th to the !roup of tra!eies presente at a sin!le sittin!.
%pic poetry has, however, a !reat- a special- capacity for enlar!in!
its imensions, an we can see the reason. &n (ra!ey we cannot imitate
several lines of actions carrie on at one an the same time9 we must
confine ourselves to the action on the sta!e an the part ta*en by the
players. :ut in %pic poetry, owin! to the narrative form, many events
simultaneously transacte can be presente9 an these, if relevant to
the sub-ect, a mass an i!nity to the poem. (he %pic has here an
avanta!e, an one that conuces to !raneur of effect, to ivertin!
the min of the hearer, an relievin! the story with varyin! episoes.
Bor sameness of incient soon prouces satiety, an ma*es tra!eies
fail on the sta!e.
As for the meter, the heroic measure has prove its fitness by
he2ameter test of e2perience. &f a narrative poem in any other meter or
in many meters were now compose, it woul be foun incon!ruous. Bor of
all measures the heroic is the stateliest an the most massive9 an
hence it most reaily amits rare wors an metaphors, which is another
point in which the narrative form of imitation stans alone. ,n the
other han, the iambic an the trochaic tetrameter are stirrin!
measures, the latter bein! a*in to ancin!, the former e2pressive of
action. Still more absur woul it be to mi2 to!ether ifferent meters,
as was one by Chaeremon. Hence no one has ever compose a poem on a
!reat scale in any other than heroic verse. Nature herself, as we have
sai, teaches the choice of the proper measure.
Homer, amirable in all respects, has the special merit of bein! the
only poet who ri!htly appreciates the part he shoul ta*e himself. (he
poet shoul spea* as little as possible in his own person, for it is
not this that ma*es him an imitator. ,ther poets appear themselves upon
the scene throu!hout, an imitate but little an rarely. Homer, after a
few prefatory wors, at once brin!s in a man, or woman, or other
persona!e9 none of them wantin! in characteristic 5ualities, but each
with a character of his own.
(he element of the wonerful is re5uire in (ra!ey. (he irrational, on
which the wonerful epens for its chief effects, has wier scope in
%pic poetry, because there the person actin! is not seen. (hus, the
pursuit of Hector woul be luicrous if place upon the sta!e- the
Gree*s stanin! still an not -oinin! in the pursuit, an Achilles
wavin! them bac*. :ut in the %pic poem the absurity passes unnotice.
Now the wonerful is pleasin!, as may be inferre from the fact that
every one tells a story with some aition of his *nowin! that his
hearers li*e it. &t is Homer who has chiefly tau!ht other poets the art
of tellin! lies s*ilfully. (he secret of it lies in a fallacy Bor,
assumin! that if one thin! is or becomes, a secon is or becomes, men
ima!ine that, if the secon is, the first li*ewise is or becomes. :ut
this is a false inference. Hence, where the first thin! is untrue, it
is 5uite unnecessary, provie the secon be true, to a that the
first is or has become. Bor the min, *nowin! the secon to be true,
falsely infers the truth of the first. (here is an e2ample of this in
the :ath Scene of the ,yssey.
313
Sir William K. Coe
Accorin!ly, the poet shoul prefer probable impossibilities to
improbable possibilities. (he tra!ic plot must not be compose of
irrational parts. %verythin! irrational shoul, if possible, be
e2clue9 or, at all events, it shoul lie outsie the action of the
play 3as, in the ,eipus, the hero.s i!norance as to the manner of
6aius. eath49 not within the rama- as in the %lectra, the messen!er.s
account of the 'ythian !ames9 or, as in the Cysians, the man who has
come from (e!ea to Cysia an is still speechless. (he plea that
otherwise the plot woul have been ruine, is riiculous9 such a plot
shoul not in the first instance be constructe. :ut once the
irrational has been introuce an an air of li*elihoo imparte to it,
we must accept it in spite of the absurity. (a*e even the irrational
incients in the ,yssey, where ,ysseus is left upon the shore of
&thaca. How intolerable even these mi!ht have been woul be apparent if
an inferior poet were to treat the sub-ect. As it is, the absurity is
veile by the poetic charm with which the poet invests it.
(he iction shoul be elaborate in the pauses of the action, where
there is no e2pression of character or thou!ht. Bor, conversely,
character an thou!ht are merely obscure by a iction that is over-
brilliant
P+-t EEV
Eith respect to critical ifficulties an their solutions, the number
an nature of the sources from which they may be rawn may be thus
e2hibite.
(he poet bein! an imitator, li*e a painter or any other artist, must of
necessity imitate one of three ob-ects- thin!s as they were or are,
thin!s as they are sai or thou!ht to be, or thin!s as they ou!ht to
be. (he vehicle of e2pression is lan!ua!e- either current terms or, it
may be, rare wors or metaphors. (here are also many moifications of
lan!ua!e, which we concee to the poets. A to this, that the stanar
of correctness is not the same in poetry an politics, any more than in
poetry an any other art. Eithin the art of poetry itself there are two
*ins of faults- those which touch its essence, an those which are
acciental. &f a poet has chosen to imitate somethin!, Ibut has
imitate it incorrectlyJ throu!h want of capacity, the error is
inherent in the poetry. :ut if the failure is ue to a wron! choice- if
he has represente a horse as throwin! out both his off le!s at once,
or introuce technical inaccuracies in meicine, for e2ample, or in
any other art- the error is not essential to the poetry. (hese are the
points of view from which we shoul consier an answer the ob-ections
raise by the critics.
Birst as to matters which concern the poet.s own art. &f he escribes
the impossible, he is !uilty of an error9 but the error may be
-ustifie, if the en of the art be thereby attaine 3the en bein!
that alreay mentione4- if, that is, the effect of this or any other
part of the poem is thus renere more stri*in!. A case in point is the
pursuit of Hector. if, however, the en mi!ht have been as well, or
better, attaine without violatin! the special rules of the poetic art,
31/
Sir William K. Coe
the error is not -ustifie0 for every *in of error shoul, if
possible, be avoie.
A!ain, oes the error touch the essentials of the poetic art, or some
accient of itH Bor e2ample, not to *now that a hin has no horns is a
less serious matter than to paint it inartistically.
Burther, if it be ob-ecte that the escription is not true to fact,
the poet may perhaps reply, .:ut the ob-ects are as they ou!ht to be.9
-ust as Sophocles sai that he rew men as they ou!ht to be9 %uripies,
as they are. &n this way the ob-ection may be met. &f, however, the
representation be of neither *in, the poet may answer, .(his is how
men say the thin! is.. applies to tales about the !os. &t may well be
that these stories are not hi!her than fact nor yet true to fact0 they
are, very possibly, what Penophanes says of them. :ut anyhow, .this is
what is sai.. A!ain, a escription may be no better than the fact0
.Still, it was the fact.9 as in the passa!e about the arms0 .$pri!ht
upon their butt-ens stoo the spears.. (his was the custom then, as it
now is amon! the &llyrians.
A!ain, in e2aminin! whether what has been sai or one by some one is
poetically ri!ht or not, we must not loo* merely to the particular act
or sayin!, an as* whether it is poetically !oo or ba. Ee must also
consier by whom it is sai or one, to whom, when, by what means, or
for what en9 whether, for instance, it be to secure a !reater !oo, or
avert a !reater evil.
,ther ifficulties may be resolve by ue re!ar to the usa!e of
lan!ua!e. Ee may note a rare wor, as in oureas men proton, .the mules
first Ihe *illeJ,. where the poet perhaps employs oureas not in the
sense of mules, but of sentinels. So, a!ain, of /olon0 .ill-favore
inee he was to loo* upon.. &t is not meant that his boy was ill-
shape but that his face was u!ly9 for the Cretans use the wor
eueies, .well-flavore. to enote a fair face. A!ain, <oroteron e
*eraie, .mi2 the rin* livelier. oes not mean .mi2 it stron!er. as for
har rin*ers, but .mi2 it 5uic*er..
Sometimes an e2pression is metaphorical, as .Now all !os an men were
sleepin! throu!h the ni!ht,. while at the same time the poet says0
.,ften inee as he turne his !a<e to the (ro-an plain, he marvele at
the soun of flutes an pipes.. .All. is here use metaphorically for
.many,. all bein! a species of many. So in the verse, .alone she hath
no part... , oie, .alone. is metaphorical9 for the best *nown may be
calle the only one.
A!ain, the solution may epen upon accent or breathin!. (hus Hippias
of (hasos solve the ifficulties in the lines, iomen 3iomen4 e
hoi, an to men hou 3ou4 *ataputhetai ombro.
,r a!ain, the 5uestion may be solve by punctuation, as in %mpeocles0
.,f a suen thin!s became mortal that before ha learnt to be
immortal, an thin!s unmi2e before mi2e..
,r a!ain, by ambi!uity of meanin!, as paroche*en e pleo nu2, where the
316
Sir William K. Coe
wor pleo is ambi!uous.
,r by the usa!e of lan!ua!e. (hus any mi2e rin* is calle oinos,
.wine.. Hence Ganymee is sai .to pour the wine to Veus,. thou!h the
!os o not rin* wine. So too wor*ers in iron are calle chal*eas, or
.wor*ers in bron<e.. (his, however, may also be ta*en as a metaphor.
A!ain, when a wor seems to involve some inconsistency of meanin!, we
shoul consier how many senses it may bear in the particular passa!e.
Bor e2ample0 .there was staye the spear of bron<e.- we shoul as* in
how many ways we may ta*e .bein! chec*e there.. (he true moe of
interpretation is the precise opposite of what Glaucon mentions.
Critics, he says, -ump at certain !rounless conclusions9 they pass
averse -u!ement an then procee to reason on it9 an, assumin! that
the poet has sai whatever they happen to thin*, fin fault if a thin!
is inconsistent with their own fancy.
(he 5uestion about &carius has been treate in this fashion. (he
critics ima!ine he was a 6aceaemonian. (hey thin* it stran!e,
therefore, that (elemachus shoul not have met him when he went to
6aceaemon. :ut the Cephallenian story may perhaps be the true one.
(hey alle!e that ,ysseus too* a wife from amon! themselves, an that
her father was &caius, not &carius. &t is merely a mista*e, then, that
!ives plausibility to the ob-ection.
&n !eneral, the impossible must be -ustifie by reference to artistic
re5uirements, or to the hi!her reality, or to receive opinion. Eith
respect to the re5uirements of art, a probable impossibility is to be
preferre to a thin! improbable an yet possible. A!ain, it may be
impossible that there shoul be men such as Veu2is painte. .1es,. we
say, .but the impossible is the hi!her thin!9 for the ieal type must
surpass the realty.. (o -ustify the irrational, we appeal to what is
commonly sai to be. &n aition to which, we ur!e that the irrational
sometimes oes not violate reason9 -ust as .it is probable that a thin!
may happen contrary to probability..
(hin!s that soun contraictory shoul be e2amine by the same rules as
in ialectical refutation- whether the same thin! is meant, in the same
relation, an in the same sense. Ee shoul therefore solve the 5uestion
by reference to what the poet says himself, or to what is tacitly
assume by a person of intelli!ence.
(he element of the irrational, an, similarly, epravity of character,
are -ustly censure when there is no inner necessity for introucin!
them. Such is the irrational element in the introuction of Ae!eus by
%uripies an the baness of Cenelaus in the ,restes.
(hus, there are five sources from which critical ob-ections are rawn.
(hin!s are censure either as impossible, or irrational, or morally
hurtful, or contraictory, or contrary to artistic correctness. (he
answers shoul be sou!ht uner the twelve heas above mentione.
P+-t EEVI
311
Sir William K. Coe
(he 5uestion may be raise whether the %pic or (ra!ic moe of imitation
is the hi!her. &f the more refine art is the hi!her, an the more
refine in every case is that which appeals to the better sort of
auience, the art which imitates anythin! an everythin! is manifestly
most unrefine. (he auience is suppose to be too ull to comprehen
unless somethin! of their own is thrown by the performers, who
therefore inul!e in restless movements. :a flute-players twist an
twirl, if they have to represent .the 5uoit-throw,. or hustle the
coryphaeus when they perform the Scylla. (ra!ey, it is sai, has this
same efect. Ee may compare the opinion that the oler actors
entertaine of their successors. Cynniscus use to call Callippies
.ape. on account of the e2trava!ance of his action, an the same view
was hel of 'inarus. (ra!ic art, then, as a whole, stans to %pic in
the same relation as the youn!er to the eler actors. So we are tol
that %pic poetry is aresse to a cultivate auience, who o not nee
!esture9 (ra!ey, to an inferior public. :ein! then unrefine, it is
eviently the lower of the two.
Now, in the first place, this censure attaches not to the poetic but to
the histrionic art9 for !esticulation may be e5ually overone in epic
recitation, as by Sosistratus, or in lyrical competition, as by
Cnasitheus the ,puntian. Ne2t, all action is not to be conemne- any
more than all ancin!- but only that of ba performers. Such was the
fault foun in Callippies, as also in others of our own ay, who are
censure for representin! e!rae women. A!ain, (ra!ey li*e %pic
poetry prouces its effect even without action9 it reveals its power by
mere reain!. &f, then, in all other respects it is superior, this
fault, we say, is not inherent in it.
An superior it is, because it has an the epic elements- it may even
use the epic meter- with the music an spectacular effects as important
accessories9 an these prouce the most vivi of pleasures. Burther, it
has viviness of impression in reain! as well as in representation.
Coreover, the art attains its en within narrower limits for the
concentrate effect is more pleasurable than one which is sprea over a
lon! time an so ilute. Ehat, for e2ample, woul be the effect of the
,eipus of Sophocles, if it were cast into a form as lon! as the &liaH
,nce more, the %pic imitation has less unity9 as is shown by this, that
any %pic poem will furnish sub-ects for several tra!eies. (hus if the
story aopte by the poet has a strict unity, it must either be
concisely tol an appear truncate9 or, if it conforms to the %pic
canon of len!th, it must seem wea* an watery. ISuch len!th implies
some loss of unity,J if, & mean, the poem is constructe out of several
actions, li*e the &lia an the ,yssey, which have many such parts,
each with a certain ma!nitue of its own. 1et these poems are as
perfect as possible in structure9 each is, in the hi!hest e!ree
attainable, an imitation of a sin!le action.
&f, then, tra!ey is superior to epic poetry in all these respects,
an, moreover, fulfills its specific function better as an art- for
each art ou!ht to prouce, not any chance pleasure, but the pleasure
proper to it, as alreay state- it plainly follows that tra!ey is the
hi!her art, as attainin! its en more perfectly.
312
Sir William K. Coe
(hus much may suffice concernin! (ra!ic an %pic poetry in !eneral9
their several *ins an parts, with the number of each an their
ifferences9 the causes that ma*e a poem !oo or ba9 the ob-ections of
the critics an the answers to these ob-ections....
313
Sir William K. Coe
A N0*ht)+-% (1 E&) St-%%t S'-%%1&+3
A Ni!htmare on %lm Street
A Screenplay :y0
Ees Craven
&N(. 3C,N(AG%4.
N&GH(CAG% C$S&C (H%C% be!ins as we BA/% $' on a S%G&%S ,B SH,(S
all C6,S% an teasin!.
-- A man.s B%%(, in shabby wor* shoes, stal*in!
throu!h a -un* bin in a ar*, fire-lit, ash-
uste place. A hu!e :,&6%G G,,C is what it
is, althou!h we only !limpse it piecemeal.
(hen we S%% a CAN.S HAN/, irty an nail-bitten,
reach &N(, BGAC% an pic* up a piece of C%(A6.
-- AN,(H%G ANG6% as the HAN/ !rabs a !rimey
E,GKG6,)% an slashes at it with a strai!ht
ra<or, until its fin!ertips are off.
-- C6,S% ,N SAC% HAN/S umpin! four fishin! *nives
out of a filthy ba!. (heir blaes are thin,
curve, !leamin! sharp.
-- C,G% ANG6%S, %)%N C6,S%G. Ee can H%AG the CAN.s
whee<in! :G%A(H&NG, but we still haven.t seen
his face. Ee never will. Ee -ust S%% more metal
bein! assemble with crue tools, into some sort
of lin*a!e -- a splaye, spiery sort of apparatus,
a!ainst a bac*!roun li!ht of B&G%, an a eep
rushin! of S(%AC an H%A)1, /AGK %N%GG1.
-- An then we see this lina!e attache to the !love.
-- (hen the :6A/%S attache to all of it.
-- (hen the CAN.S HAN/ slips into this !love-li*e
aparatus, fillin! it out an transformin!
it into an awesome, ealy claw-han with
four ra<orOtalons !leamin! at its blac*ene
fin!ertips. Suenly the HAN/ arches an S(G&K%S
B,GEAG/, S6ASH&NG (HG,$GH a /AGK CAN)AS, tearin!
it to shres.
%P(. 6,S ANG%6%S. N&GH(. 38n $nit4
A '$6SA(&,N ,B 6&GH( AN/ SHA/,E. C$S&C /G,'S AEA1 to a hushe
G$SH&NG ,B E&N/ an /&S(AN( S&G%NS. CAC%GA GACKS &N(, B,C$S on a
H&GH 'AN,GACA of the San Bernano )alley, its ni!ht s*y lit from
within by a stran!e GG%%N&SH 6&GH(. (&(6%S :%G&N.
314
Sir William K. Coe
CAC%GA (&6(S /,EN an V,,CS SE&B(61 into the valley.s web of
li!ht.
C$( (,0
&N(. C,NCG%(% 'ASSAG%EA1.
(&(6%S C,N(&N$% as (&NA GGA1, a stron! !irl of fifteen in a thin
ni!ht shift, moves towars us own a ar* concrete corrior. Her
steps 5uic*en as (&(6%S appear in the portion of frame she leaves
free.
A subliminal C,66AG% of S,$N/ threas in an out of the C$S&C.
/istant insane 6A$GH(%G. Slammin! iron /,,GS. A bleatin! animal
CG1. A 6AC:, white an blan*-face, s*itters across her path an
on into the ar*. No reason why it.s there.
(hen another S,$N/, much nearer -- the slitherin! SCGA'% of
somethin! li*e fin!ernails across slate. &t sets our teet on
e!e, twists the C$S&C, an sens (&NA runnin!.
&N(. :,&6%G G,,C.
Suenly (&NA.s a tiny fi!ure runnin! amon! hu!e boilers steam
pipes an catwal*s -- a shaowe forest of iron an stone. She
stops, listenin! intently as the S,$N/ of tiny hooves suenly
turns into the rattle of /&S(AN( GA&N.
(hen she hears G&''&NG BA:G&C.
Someone is shoulerin! behin a ra!!e screen of irty canvas,
approachin! (&NA.
C6,S%G ,N (H% CAN)AS. (he lon! curve fin!erblaes suenly
punch throu!h, flashin! in the fireli!ht, an be!in rippin!
throu!h the thic* fabric, as easily as scalpels throu!h flesh.
(hey ma*e a hieous, e2tene G&''&NG S,$N/.
(&NA rushes away, hans over her ears.
AN,(H%G ANG6% -- as the bline !irl stumbles bac*wars. (hen
the canvas flaps free. (he blaes are !one. (he (&(6%S %N/, an
everythin! !oes silent.
CAC%GA C&GC6%S until (&NA.s loo*in! ri!ht into our eyes. (He
li!ht from a nearby boiler pours throu!h her thin ni!ht ress,
leavin! her na*e an vulnerable. (hen a eep, ra!!e ),&C%
whispers at her as CAC%GA C6,S%S &N ,N H%G BAC%.
),&C% 3,.S.4
,ne two, Breie.s comin! for
you...
325
Sir William K. Coe
(&NA opens her mouth to scream but only a ry, yellow ust pours
out. An at that precise moment a hu!e shaowy CAN with a !rimey
re an yellow sweater an a weir hat pulle over his scarre
face lun!es at her. An it.s his fin!ers that are tippe with
the lon! blaes of steel, !lintin! in the boney li!ht an !ivin!
the hul* the loo* of an otherworlly preator.
(&NA o!es away, her le!s suenly elephantine an slow. (he
CAN sei<es the trailin! hem of her ni!ht!own an hauls her bac*.
(he C$S&C shrie*s as (&NA mana!es to tear free -- the CAN lurches
after her with a hoarse SH,$( as we --
SCASH C$( (,0
&N(. (&NA.S :%/G,,C. N&GH(.
(&NA convulses in be with a SCG%AC, lo*in! aroun willy.
Someone is KN,CK&NG on her oor.
E,CAN.S ),&C% 3,.S.4
1ou o*ay, (inaH
(&NA.S C,(H%G stic*s her hea in with a worrie loo*. (&NA sits
up an blows out a breath, !ro!!y.
(&NA
Fust a ream, Ca...
3more to herself4
/amn ream, is all...
(he woman, once attractive, ventures a step into the room. A CAN
hovers :ACKGG,$N/. (&NA.s mother waves him away without loo*in!,
shovin! a stran of bleache hair from her eyes. She appraises
her au!hter.
(&NA.S C,(H%G
Some ream, -u!in! from that.
She nos at (&NA.s ni!htshift.
(&NA loo*s own at her ni!ht!own, only now aware of the chill
penetratin! it from the room. (here are four lon! slashes up its
mile, cleanly cut as if by scalpels.
CAN 3,.S.4
3istant, annoye4
1ou comin! bac* to the sac* or
whatH
(&NA.S C,(H%G
Hol your horses.
3lower, to (&na as she
321
Sir William K. Coe
stans to leave4
1ou !otta cut your nails or stop
that *in of reamin!, (ina. ,ne
or the other.
(he woman shuts the oor behin her. (&NA loo*s bac* to her
ni!ht!own.
(&NA
3low4
,h, shit.
SHe suenly snatches up the cross that han!s over her be, her
face white as her sheet.
BA/% (, :6ACK
:$GN ,N
(H% B&GS( /A1
CH&6/G%N 3,.S.4
3sin!in!4
,ne two, Breie.s comin! for you...
(hree four better loc* you oor
Bive si2 !rab your crucifi2...
%P(. H&GH SCH,,6. /A1.
BA/% $' ,N SH,( ,B this lar!e hi!hschool an its crows of
S($/%N(S. B,G%GG,$N/, (&NA climbs out of a cherry-re 7A>A
Caillac convertible with two other stuents, best frien NANC1
(H,C'S,N, an Nancy.s boyfrien an owner of the car, G6%N 6AN(V.
B,G%GG,$N/ seeral GGA/%SCH,,6%GS are playin! -ump-rope, an the
ol itty they sin! continues unbro*en from (&NA.s beroom.
G,'% F$C'%GS
Seven ei!ht, !onna stay up lateL
Nine ten -- never sleep a!ainL
C,)&NG ANG6% BA),G&NG NANC1. She.s a pretty !irl in a letter
sweater, with an easy, athletic strie an the loo* of a natural
leaer. G6%N, holin! her han, wears one of the school.s
football -erseys9 a !oo-nature, bri!ht *i. (ina.s in mi-
conversation.
(&NA
3referrin! to *is. son!4
(hat.s what it remine me of --
that ol -ump rope son!.
3shuers4
Eorst ni!htmare & ever ha.
1ou wouln.t believe it.
322
Sir William K. Coe
Nancy nos.
NANC1
Catter of fact & ha a ba ream
last ni!ht myself...
(&NA turns to NANC1, but before either can say more, G,/ 6AN%, a
lean, Gichar Gere sort in blac* leather an New Eave stus -oins
up with them an interupts.
G,/
3to (ina4
Ha a haron this mornin! when
& wo*e up, (ina. Ha your name
written all over it.
(ina crac*s her !um with a loo* of witherin! inifference.
(&NA
(here.s four letters in my name,
Go. How coul there be room
on your -oint for four lettersH
(he !uy.s stoppe in his trac*s.
G,/
Hey, up yours with a twirlin! lawn
mowerL
He cuts off across the lawn.
(&NA
Go says the sweetest thin!s.
NANC1
He.s nuts about you.
(&NA
1eah, nuts.
(&NA ma*es a face an ra*es her fin!ernails across a tree as she
passes.
(&NA 3C,N(/4
3yawns4
Anyway, &.m too tire to worry
about the creep. Couln.t !et
bac* to sleep at all.
3beat4
so what you reamH
NANC1
Bor!et it, the point is, every-
323
Sir William K. Coe
boy has ni!htmares once in a while.
No bi!!y.
G6%N
Ne2t time you have one, -ust
tell yourself that.s -ust all
it is, ri!ht while you.re havin!
it, y.*nowH (hat.s the tric*.
once you o that, you wa*e ri!ht
up. At least it wor*s for me.
(&NA loo*s at G6%N sharply. He *isses NANC1 an arts off for
class.
(&NA
HeyL 1ou have a ni!htmare tooH
:ut G6%N.s !one.
(&NA 3C,N(/4
Caybe we.re !onna have the :i!
%arth5ua*e. (hey say thin!s !et
weir -ust before that...
:%66S AG% G&NG&NG, an S($/%N(S crowin!9 (&NA an NANC1 are
rawn into the crush.
BA/% (, :6ACK
%P(. A )A66%1 S(G%%(. N&GH(.
ANG6% ,N A C,/%S( H,C%9 no car, -ust a couple of :&K%S in the
rive. %very li!ht in the house an yar is turne on. Ee H%AG
the roc* !roup CA/N%SS playe at a .No aults home. volume.
&N(. (&NA.S 6&)&NG G,,C. N&GH(.
,N G6%N, ialin!. Nancy an (&NA are watchin!, !i!!lin!.
(&NA
& can.t believe his mother let him
come over here.
NANC1
Gi!ht. Eell, she in.t e2actly...
G6%N shoves a cassette into (&NA.s Ghetto :laster.
G6%N
3to (&NA4
See, & !ot this cousin who lives
near the airport, that it.s o*ay
for me to stay with, ri!htH So &
32/
Sir William K. Coe
foun this soun effects tape at
6icorice 'i<<a, an...
(he phone is answere. G6%N -er*s the tone arm off the recor
with a SCG$''(LL
G6%N 3C,N(/4
Hello, ComH
3pushes the .play. button4
1eah, out here at :arry.s.
A F%( '6AN% be!ins to ma*e itself hear on the tape. G6%N moves
the machine closer to the phone. &t.s a bi! plane -- souns li*e
a "=" comin! in for a lanin!.
G6%N 3C,N(/4
HuhH 1eah, noisy as usual. Gla
we on.t live here -- huhH 1eah,
Aunt %unice says hello.
(he Fet is SCG%AC&NG &N now, full flaps an howlin! li*e a
monstrous banshee. NANC1 an (&NA issolve into muffle
!i!!les.
G6%N 3C,N(/4
3shoutin! over the in4
Gi!ht, ri!ht -- &.ll call you in the
mornin!L Gi!htL HuhH 1eah, sure,
&, huhH...
Suenly the tape !oes silent. G6%N blanches. Ne2t moment
another %NG&N% is hear, but this one of a B,G/ 6,($S screamin!
by at 7@# mph.
G6%N 3C,N(/4
3reactin! to his mother.s
reaction4
$h...some *i.s ra! racin!
outsie, & thin*...
(he soun effect chan!es abruptly to a S'%%/&NG S%/AN -- an the
a!es-ol SCG%%CH of :GAK%S, last-secon SCG%AC an horrible
C,66&S&,N. NANC1 !amely tries to fin the ri!ht button to turn
it off, but misses. (here.s a lou SCG%%K of fast-forwar mayhem
-- Glen improvises esperately.
G6%N 3C,N(/4
6isten, Com, & !ot to !o -- &
thin* there.s been an accient out
front -- & --
NANC1 -umps bac* from the cassette player -- E,G6/ EAG && bursts
out at top volume -- CACH&N% G$NS, HAN/ GG%NA/%S, /&)&NG :%AGCA(S
326
Sir William K. Coe
an SH,$(S of char!in! Huns. G6%N ma*es a last-itch ive an
flin!s the cassette out of the machine.
:lesse silence at last.
G6%N 3C,N(/4
Gi!ht. &.ll call the police. No,
-ust some nei!hbors havin! a fi!ht,
& !uess. &.m fine, &.m fineL
Call you in the mornin!L
He han!s up an sa!s bac*.
NANC1
Eor*e li*e a charm.
G6%N
Fesus.
(&NA shoves another cassette in, an C&CHA%6 FACKS,N.S .(HG&66%G.
blasts from the S(%G%,. (he *is rela2, the CAC%GA G6&/%S 'AS(
(H%C (, (H% E&N/,E.
(he E&N/ is movin! the bare (G%% :GANCH outsie. CAC%GA 'ANS
:ACK to the comfortably threabare room, uneasy. Ee see NANC1
po*in! at a flame in the hearth as (&NA comes B,G%GG,$N/ to raw
the rapes.
NANC1
Nice to have a fire.
(&NA
Geally. (urn .er up a little.
NANC1 turns a nearby valve hanle, an the !as fire climbs
bri!htly over its artificial lo!. (&NA -oins her, heartene.
NANC1
Caybe we shoul call Go, have him
come over too. He mi!ht !et -ealous.
(&NA
Go an & are one. He.s too much
of a maniac.
G6%N
He shoul -oin the Carines, they
coul ma*e somethin! out of him.
li*e a han !renae.
(&NA lau!hs espite hereself. NANC1 bri!htens.
NANC1
SeeH 1ou.ve for!otten the ba
321
Sir William K. Coe
ream. /in.t & tell youH
(&NA sha*es her hea, wishin! she ha for!otten.
(&NA
All ay lon! & been seein! that
!uy.s weir face, an hearin!
those fin!ernails...
NANC1 loo*s up with a flinch.
NANC1
Bin!ernailsH
3blin*s, lau!hin!4
(hat.s ama<in!, you sayin! that.
&t mae me remember the ream &
ha last ni!ht.
(&NA loo*s up.
(&NA
Ehat you reamH
NANC1
& reame about this !uy in a
irty re an yellow sweater9
& ream in color, y.*now9 he
wal*e into the room & was in,
ri!ht, ri!ht throu!h the wall,
li*e it was smo*e or somethin!,
an -ust stare at me. Sort of
...obscenely. (hen he wal*e
out throu!h the wall on the
other sie. 6i*e he. -ust
come to chec* me out...
(he story has left the room eathly 5uiet. %specially (&NA seems
effecte.
(&NA
35uietly4
So what about fin!ernailsH
NANC1 remembers, imitatin! the fri!htful coincience.
NANC1
He scrape his fin!ernails
alon! thin!s -- actually, they
were more li*e fin!er*nives or
somethin!, li*e he. mae them
himselfH Anyway, they mae
this horrible noise --
3immitates4
sssssccrrrtttt...
322
Sir William K. Coe
(&NA pales.
(&NA
Nancy. 1ou reame about the
same creep & i, Nancy...
(he !irls stare at each other.
G6%N
(hat.s impossible.
(hey loo* at him. He loo*s away, as if suenly listenin!.
(&NA
EhatH
G6%N
Nothin!.
(&NA
(here.s someboy out there.
isn.t there...
NANC1
& in.t hear anythin!...
(hen there.s an unmista*eable S,$N/. A istinct SCGA'&NG a!ainst
the house, -ust outsie the winow. Somethin! multiple, thin an
sharp. Somethin! li*e metal fin!ernails. NANC1.s mouth opens a
fraction of an inch.
%P(. BG,N( ,B H,$S%. N&GH(.
C6,S% ,N BG,N( /,,G as a :,6( $N6,CKS, a K%1 ($GNS, a CHA&N is
G%C,)%/. At last the oor swin!s open an G6%N swa!!ers out.
G6%N
&.m !onna punch out your u!ly
li!hts, whoever you are.
No answer but a sli!ht G$S(6% in the bushes. G6%N oes a 7@# an
wal*s ri!ht bac* insie. (he !irls pro him ri!ht bac* out,
!iy with !i!!lin! fear.
G6%N
&t.s -ust a stupi cat.
NANC1
(hen brin! us bac* its tail
an whis*ers.
323
Sir William K. Coe
(he !irls push him farther. G6%N e!es towars the shaows.
(hen the SCG&(CH&NG a!ain. G6%N stops9 (&NA e!es bac* into the
house.
(&NA
Anyway, & on.t have a cat...
ANG6% &N(, (H% SHA/,ES. (urne from the !irls, G6%N sobers,
listenin!. &N H&S ',) we see the street. Silent houses.
Cotionless trees on empty lawns.
G6%N
Kitty-*ittyH Chow chow chowH
Not a livin!, or ea, soul. G6%N turns bac* to the !irls with a
shru!. &nstantly, a lar!e B&G$G% pounces an throws him to the
!roun with a SH,$(.
(he !irls SCG%AC in panic an run for the house.
G%)%GS% -- G,/ leaps up an shouts li*e a sportscaster --
G,/
An it.s number thirty-si2, Go
6ane, brin!in! 6ant< own -ust
three yars from the !oal with a
brilliant tac*leL An the fans
!o wilL
G,/ ances into the li!ht, flashin! a wil !ypsy.s !rin at (&NA.
(he !irl.s relieve an fri!htene at the same time.
(&NA
Ehat the hell you oin! hereH
G,/
Came to ma*e up, no bi! eal.
1our ma homeH
(&NA
,f course. Ehat.s thatH
G,/ ta*es the spinly han ra*e he.s foun an scraps the house.s
wall. &t ma*es a terrible SCG&&&(CH&NG S,$N/. He !rins an
tosses it asie.
G,/
&ntense, huhH
3si<es up the three4
So what.s happenin!, an or!y or
somethin!H
G6%N
Caybe a funeral, you ic*hea.
324
Sir William K. Coe
G,/ wheels, a *nife suenly in his han, as if reay to ta*e
Glen.s throat out. NANC1 brea*s between --
NANC1
-- Fust a sleep-over ate, Go.
Fust (ina an me. Glen was -ust
leavin!.
G,/ eyes G6%N, lau!hs an flips the *nife close an away,
puttin! his arm aroun (&NA.s shouler an lau!hin! as if it.s
all a !reat -o*e.
G,/
1ou see his faceH
3lower4
1our ma ain.t home, is sheH
3to Nancy _ Glen4
Ce an (ina !ot stuff to iscuss.
He pulls (&NA insie without further ceremony.
NANC1
Go...
:ut G,/.s alreay !ot himself an (&NA halfway throu!h the livin!
room, heain! into the arer part of the house.
G,/
Ee !ot her mother.s be.
1ou two !ot the rest.
ANG6% :ACK ,N G6%N AN/ NANC1.
NANC1
Ee shoul !et out of here...
(&NA arts to the front oor, her blouse half out.
(&NA
Hey -- you !uys.re han!in! aroun --
ri!htH
3fa*e lau!hin!Owhine4
/on.t leave me alone with this
lunatic -- 'leeee<e, NANC1L
She isappears. G6%N loo*s at NANC1. (oo innocent.
G6%N
So we.ll !uar her to!ether.
(hrou!h the ni!ht.
3movin! closer4
&n each others. arms li*e
we always sai.
335
Sir William K. Coe
NANC1
Glen. Not now. & mean,
we.re here for (ina now,
not for ourselves.
She *isses him li!htly, then pushes him bac*.
G6%N
3frustrate4
Ehy.s she so bothere by a
stupi ni!htmare, anywayH
NANC1
:ecause he was scary, that.s
why.
G6%N
Eho was scaryH
NANC1 turns an loo*s at him.
NANC1
/on.t you thin* it.s weir, her
an me reamin! about the same
!uyH
3G6%N loo*s away9
NANC1 stares closer4
1ou in.t have a ba ream
last ni!ht, i youH
G6%N !ives her a funny loo*.
G6%N
CeH & on.t ream.
He ta*es her insie. ,ver the S,$N/S of loc*s fallin! shut we
BA/% (, :6ACK
&N(. (&NA.S 6&)&NG G,,C. N&GH(.
BA/% $' ,N an ol >#.s C6,CK, one of those set into the blac*
plaster boy of a stal*in! panther. &t.s -ust past 8 AC.
'AN the col hearth an ar*ene livin! room to G%)%A6 G6%N on
the couch, cacoone in sheets. He.s listenin! miserably to the
S,$N/S ,B 6,)%CAK&NG comin! from the ne2t room. (&NA pea*s, G,/
howls. (hen silence.
G6%N
Corality suc*s.
331
Sir William K. Coe
C$( (,0
&N(. (&NA.S C,(H%G.S :%/G,,C. N&GH(.
(his is a sli!htly lar!er room that (&NA.s. Ault. Bemale.
Spare in its appointments. (He streetli!ht throws the narrow be
into bro*en shaow an li!ht. (&NA AN/ G,/ lie in each other.s
arms in the mile of the bi! be. Satiate.
(&NA
& *new there was somethin!
about you & li*e...
G,/ yawns into the pillows, happy.
G,/
1ou feel better now, ri!htH
(&NA
Fun!le man fi2 Fane.
G,/
No more fi!htsH
(&NA
No more fi!hts.
G,/
3sleepily4
Goo. No more ni!htmares for
either of us then.
He pulls the covers over his hea. He.s almost out alreay.
(&NA
3beat4
Ehen i you have a ni!htmareH
G,/
3uner the blan*ets4
Guys can have ni!htmares too,
y.*now. 1ou ain.t !ot a corner
on the fuc*in! mar*et or sometin!.
He rolls over, practically snorin!, an pulls another cover over
his hea. A irty re an yellow cover.
(&NA
3sleepily4
Ehere. you !et this snotty ol
thin!.
332
Sir William K. Coe
SN,G%S from G,/. &NA yawns, turns off the li!ht an snu!!les
a!ainst G,/, pullin! the cover !in!erly over herself, too.
&N(. (&NA.S :%/G,,C. N&GH(.
CAC%GA C,)%S across the room of the ori!inal ni!htmare to fin
NANC1 alone in (&NA.s be, starin! at the slantin! ceilin! above
the be. (hin*in!. Ee can -ust hear her H%AG( beatin!. She
si!hs an turns on her sie.
&mmeiately the wall above her hea turns a faint reish hue,
with a broa yellow smear across its center. All unseen by
NANC1, the wall be!ins to pulse in e2act time with her heart.s
beat.
C6,S% ,N NANC1.S BAC%. She closes her eyes.
ANG6% :ACK $' ,N (H% C%&6&NG F$S( A:,)% H%G H%A/. S,C%(H&NG
presses a!ainst the surface from the insie. (he plaster bul!es
out as if suenly elastic, ta*in! the shape of the thin!
pressin! from insie -- ta*in! the shape of a man.s face. (he face
opens its mouth. (he *nives ra*e throu!h the surface.
ANG6% ,N NANC1 -- as plaster ust snows own on her.
She -er*s awa*e, sittin! bolt upri!ht. (he face retracts
suenly -- the wall is normal.
ANG6% /,EN ,N NANC1 as she loo*s up to the ceilin!, touchin! her
hair an feelin! the plaster ust.
G%)%GS% &N H%G ',) (, (H% C%&6&NG. (here are three parallel cuts
in the plaster there. About ei!ht inches lon!. As if cut by
sharp *nives. Nothin! else.
:ac* on NANC1. She raws the covers aroun her an shivers.
%yes wie open.
%P(. (&NA.S H,$S%. N&GH(.
Not a car or person in si!ht. A stric*en bree<e ies in the
trees.
V,,C &N on the winow of the room where (&NA sleeps. :y the time
we.re B$66 &N C6,S% on it, the air is a!ian still as eath. A
moment later a '%::6% bounces off the plane. (he N&GH(CAG% (H%C%
appears in the lower re!isters an hols its breath.
Another '%::6% stri*es, with a sharper GA'.
&N(. (&NA.S C,(H%G.S :%/G,,C. N&GH(.
333
Sir William K. Coe
C6,S% ,N (&NA.S BAC% as her eyes open.
G%)%GS% &N H%G ',). Another '%::6% clatters off the !lass.
(&NA raises slowly.
(&NA
Go...
SN,G%S from G,/. (&NA sits up.
'AS( H%G (, (H% E&N/,E. (he E&N/ C,)%S AGA&N9 the trees brush
past the winow with their shaows. (Hen another pebble. GA'L
(&NA slips to the winow.
%P(. (&NA.S :ACK 1AG/. N&GH(.
She loo*s out on an ol yar with a patch of bananna trees
rattlin! in the Santa Ana wins. &t seems eserte, thou!h the
wellin! ar* won.t let her be sure. (hen another pebble -- 'A'L
-- hittin! with a sharp GACK B,C$S.
A 6,E ANG6% (, E&N/,E as (&NA -umps bac*, startle. She han.t
seen that one comin!. :ut she.s rawn bac* to the !lass out of
curiousity, strainin! to see in the ar*. &t.s as if the stones
are materiali<in! out of thin air.
&N(. (&NA.S C,(H%G.S G,,C. N&GH(.
EHA'L (his time a heavier stone, an a thin crac* bristles
across the !lass.
(&NA
3low4
Eho the fuc* you thin* you are,
whoever you areH
%P(. (&NA.S :ACK 1AG/. N&GH(.
E&/% ANG6% ,N (H% G%AG ,B (H% H,$S%. A 6&GH( C,C%S ,N. (&NA
appears in the oorway.
(&NA
3listenin!4
Someboy thereH
She can see throu!h the bac*yar to a yawnin! !ate an the bac*
alley. No one there. :ut a wor is spo*en, as if by win.
33/
Sir William K. Coe
(&NA
3!arble4
(ina.
(&NA strai!htens, unable to swallow. (here.s a ra!!e, obscene
G&GG6%. /eep in the throat. 'hle!my.
(&NA
Eho the hell is thatH
(&NA char!es across the yar an throu!h the !ate, the C$S&C
chasin! after.
%P(. A S%G)&C% A66%1. N&GH(.
She bra*es in the mile of the alley an whirls aroun.
6istenin!. Shiverin! in the same thin slashe ni!ht!own.
A sharp cran* of C%(A6, an fifty feet own the alley the li of
an ash can rolls from the ar* li*e a hu!e tin coin an spirals
noisily own.
6,E G%)%GS% ACG,SS 6&/ (, (&NA. /espite herself she comes over
an touches it. SHe comes up with lon! worms on her fin!ers.
Ne2t moment the e2act same shamblin! CAN from her ni!htmare
sta!!ers into view fifty feet be!in her. (&NA falls bac* into
the shaows, sha*in! the worms off her fin!ers in repulsion. (He
CAN turns an starts irectly for her, somethin! shinin! on his
ri!ht han as he spreas his arms wie. He starts scrappin! the
steel B&NG%GNA&6S alon! a cinerbloc* wall. ,ran!e spar*s spurt
out -- his arms elon!ate until they reach from one sie of the
alley to the other -- an (&NA is cut off from her homeL
C6,S% ,N H%G as the SCGA'&NG of the blaes !ets louer an
closer. She be!ins to sha*e uncontrollably.
(&NA
,h, shit, please Go...
K&66%G
3softly, approachin!4
(his is Go...
He hols up his steel-tippe han li*e a sur!ical-steel spier.
(&NA runs for her life.
E&/%G ANG6% &N (H% A66%1 -- a terrifyin!, all-out footrace
between the !irl an her pursuer. (He CAN is fast9 the istance
between them closes with each heartbeat. (&NA overturns ashcans --
claws her way throu!h a rotten bac* fence, hammers a!ainst a
winow. Ashen BAC%S appear, recoil, pull curtains close an
isappear in fri!ht.
336
Sir William K. Coe
%P(. (&NA.S S(G%%(. N&GH(.
(&NA runs out onto front lawns, SCG%AC&NG for help. No help
comes. &n fact, the only response is for all the porch li!hts on
the bloc* to be turne off. (He CAN roars out from behin a tree
-- a tree too narrow to have hien him -- nearly upon the !irlL
(&NA runs in panic -- at last ma*in! her own home, only to be
trappe a!ainst its loc*e front oor.
She hammers a!ainst its thic* woo.
(&NA
NancyL ,pen the oor -- NancyL
(he CAN slows. He has (&NA now an *nows it.
CAN
She.s still awa*e. Nancy can.t
hear you.
(&NA turns an loo*s full at the approachin! CAN. Smu!e by
eep shaow, he.s be! an hieous. He wears the same irty yellow
sweater from the first ni!htmare -- from the wall-han!in! an
blan*et oo -- an has the same sa!!in! hat an leerin! !rin over
his misshapen face. An on his fin!ers are the steel talons.
C6,S% ,N H&C as he ta*es the blae on the en of his ri!ht ine2
fin!er an lopes off one of the fin!ers of his left han. (hen
another. Ee S%% the '&%C%S ,B B&NG%GS fall past (&NA.s face in
S6,E C,(&,N.
ANG6% ,N (H% GG,$N/ of the B&NG%GS s5uirmin! on the !roun, one
floppin! onto (&NA.s na*e foot.
(&NA leaps bac*, sic*ene, an be!ins stampin! on them as if they
were hu!e bu!s.
(he CAN snaps up his arm an the B&NG%GS fly bac* into place on
his han. He leers at (&NA -- then suenly lun!es at her,
sweepin! with the cuttin! hanL
(&NA.s no wea* sister -- bloc*s his arm, eflectin! the spines
an !rabs the CAN.s u!ly face with her other han. :$t the face only
slies off to the bone. (He CAN presses in, an (&NA contorts in
horror as the *nives slash across her shouler -- cuttin! her
eeply.
(&NA sta!!ers bac*war, GG,AN&NG, her foot now ine2plicably
cau!ht in beclothesL She falls over her be.s conformter, twists
away from the man an, li*e a chil, pulls the cover over herL (He
s*ull-face CAN crushes own, an there.s a fierce !rapplin! --
punctuate by his GG$N(S an the !irl.s /%AB%N&NG SCG%ACS -- an
331
Sir William K. Coe
they both become totally wrappe in the comforter -- until
they.re beneath it, fi!htin! for life an eath.
&N(. (&NA.S :%/G,,C. N&GH(.
G,/ lurches up into C6,S% $' in the li!htless beroom, half-
awa*ene by the tremenous stru!!le somewhere, somehow insie the
ar* be. G,/ !rabs !ro!!ily, liftin! the blan*et.
&N H&S ',) we !limpse the ar* unersie of the blan*et -- see
(E, SHA/,E1 B&G$G%S flailin! an clawin! uner teh besprea -- (&NA
an the CAN -- or a shape that coul be a man -- ra!in! a!ainst
each other.
G,/ rops the blan*et an leaps from the be, scare full awa*e
an terrifie. (hen the horrible (&NA.s GAS'S chan!e to the
CG&%S of a terribly woune victim. G,/ instantly -er*s bac* the
besprea.
&N H&S ',) we S%% (&NA stru!!lin! an flailin! alon! on the
sheets, the CAN nowhere in si!ht.
G,/
(-tinaLH
Suenly (&NA -- eyes turne inwar to her tormentor -- !ive an
awful -olt -- her arms an le!s are sprale as if by
overwhelmin! force an pinne to the be. Ne2t instant, her
ni!ht!own flies apart an four lon! !ashes chase across her
torso. Brom no visible instrumentsL A hu!e irri!ation of bloo
floos the be.
(errifie, G,/ ives for the li!ht -- but at the same moment
somethin! invisible !rabs (&NA, wielin! her boy in the air an
brin!in! it aroun in a swift blow that *noc*s G,/ crashin! into
the li!ht -- smashin! it to bits.
C6,S%G ,N H&C as he stru!!les aroun. &n the blue B6ASH%S ,B
%6%C(G&C&(1 G,/ sees (&NA sliin! up the beroom wall in a ar*
smear, ra!!e feet firstL
ANG6% ,N G,/ -- parali<e by terrorL
ANG6% ,N (&NA.s /1&NG %1%S -- movin! with her up the wall an
bumpin! aroun the corner onto the ceilin!. She.s -ust loo*in!
at who.s ra!!in! her, eyes !la<in!.
G%)%GS% &N H%G ',) -- to the shaowy, horrenously u!ly CAN
ra!!in! her with fierce !lee across the ceilin!, literally
swabbin! the ceilin! with her blooy boy. S%%N in B,GC%/
'%GS'%C(&)%, the SH,( carries her across a !reat istance without
seemin! to !et anywhere -- as if the ceilin! is an enless plane.
332
Sir William K. Coe
ANG6% /,EN ,N G,/ -- on his hans an *nees -- the lamp ne2t to
him blurtin! blue S'AGKS an S(G,:&NG the ni!htmare room. G,/.s
screamin! up at (&NA.s invisible tormentor.
G,/
Ehat the hell.s !oin! on hereL
(inaL
G%)%GS% &N H&S ',) -- as the boy falls li*e a sac* of roc*s onto
the evestate be, in S6,E C,(&,N, stri*in! with a hu!e splash
of bloo. A sic*, awful G&GG6% floats aroun the room, then %CH,%S
off into infinity. G,/ sta!!ers up, starin! aroun as if hopin!
to see this phantom.
G,/
1ou motherfuc*erL &.ll *ill you
for thatL
&N(. (&NA.S :%/G,,C. N&GH(.
NANC1 is sittin! strai!ht up in be, terrifie. (he CG&%S of G,/
are rin!in! throu!h the whole house. She forces herself to move
-- boltin! from the be espite her terror an sense of rea.
&N(. HA66EA1. N&GH(.
NANC1 flies into the ar* hall -- crashin! irectly into S,C%,N%
who lurches out of the ar* before her. She SCG%ACS an -umps
bac* --
G6%N
Ehat the hell.s !oin! onLH
NANC1
,h -- -ee< -- GlenL Go.s
!one apeL
G,/ 3,S4
3sobbin!4
&.ll *ill youL
NANC1 !rabs the oor9 it.s loc*e9 she pouns on it. :ACL :ACL
:ACL
(hin!s fall into suen, awful silence on the other sie. G6%N.s
voice crac*s with fear.
G6%N
GoH
3silence4
Go, you better not hurt (ina...
333
Sir William K. Coe
G,/ erupts into terrible H,AGS% 6A$GH(%G AN/ S,::&NG. (hen they
hear :G%AK&NG G6ASS.
G6%N barrelsinto the oor li*e the football player he is. (He
frame splinters an they.re in.
&N(. (&NA.S C,(H%G.S :%/G,,C. N&GH(.
Fust insie the oor NANC1 slips an !oes own har. G6%N fins
her in the ar* more by touch than si!ht.
G6%N
1ou o*ayH
NANC1
1eah. Somethin! slipperin! all
over here...
3feelin!4
(inaH
No answer. (He room is 5uiet as a tomb. %2cept for a steay
/G&''&NG, from all over. (hen G6%N fins a 6&GH( SE&(CH.
,n the C6&CK the evastation is reveale. (here.s :6,,/
everywhere0 up the walls, over the clawe ceilin!, soa*in! the
*illin! floor of the be, an poolin! in the ar* re pule
where NANC1 has slippe an fallen.
G6%N
,h, shit...
NANC1 wobbles up an sees (&NA in the center of the rava!e be.
$nmista*eably an utterly ea. NANC1 presses a!ainst the wall,
then contorts an cho*es.
G6%N 3C,N(/4
3numb4
&...&.m !onna call the cops --
He bursts from the room.
(&GH( ,N NANC1. She turns away from the boy in rpulsion,
stic*in! her hea throu!h the shattere winow G,/ 6AN% use for
his escape, suc*in! in the col ni!ht air an moanin!.
BA/% (, :6ACK
%P(O&N(. ',6&C% S(A(&,N. N&GH(.
BA/% $' ,N G%/ 6&GH(S an S&G%N as an unmar*e ',6&C% CAG spees
to the curb.
334
Sir William K. Coe
6( /,N (H,C'S,N, a ecent- loo*in! man in his mi-=#.s, e2its an
punches a ci!arette from his pac*. His sha*en aie, a uniforme
patrolman name 'AGK%G, !reets him. 3CAC%GA B,66,ES them from
the car strai!ht into the station an eventually to (H,C'S,N.s
,BB&C%.4
'AGK%G
6ieutenant (Hompson. Sorry to
wa*e you, but --
6( (H,C'S,N
&..ve canne your ass if you
han.t. Ehat you !otH
'AGK%G stumbles to open the oor for (H,C'S,N as the man bulls
into the station at a furious pace.
'AGK%G
Her name was (ina Gray. &t
was her home. Bather abanone
ten years a!o, mother.s in
)e!as with a boyfrien. Ee.re
tryin! to reach her now.
6( (H,C'S,N !rimaces as if he *nows the story.
6( (H,C'S,N
Ehat.s the Coroner !ot to sayH
'AGK%G
Somethin! li*e a ra<or was
the weapon, but nothin was
foun on the scene.
(H,C'S,N is alreay to the es* officer S%GG%AN( GAGC&A. (he bi!
CAN shoves him a sheaf of papers --
S%GG%AN( GAGC&A
3wary4
6eautenant. 1ou *now who --
6( (H,C'S,N
Ehere is sheH
S%GG%AN( GAGC&A
& put her in your office...
'AGK%G scurries after.
'AGK%G
6oo*s li*e her boyfrien i
it. Go 6ane. Cusician type,
arrests for brawlin!, ope --
3/5
Sir William K. Coe
6( (H,C'S,N
(errific. Ehat the hell was
she oin! thereH
'AGK%G
She live there.
6( (H,C'S,N
& on.t mean her --
&N(. 6( (H,C'S,N.S ,BB&C%. N&GH(.
(H,C'S,N enters his office an confronts NANC1 an her mother,
CAGG% (H,C'S,N.
6( (H,C'S,N 3C,N(/4
& mean you.
3accusin!ly, to Car!e4
Ehat the hell was she oin! thereH
CAGG% (H,C'S,N is in her mile thirties9 a !oo-loo*in! woman
espite the hour an circumstances.
CAGG%
Hello to you, too, /onal.
(H,C'S,N stops, the steam suenly out of him. (He !irl is a
wrec* an he winces to see it.
6( (H,C'S,N
Car!e.
(H,C'S,N !lances at 'AGK%G an the other $N&B,GC%/ C,'S who are
in the room. As a man they hea for the oor. (here.s no 5uestion
who the boss is here. (H,C'S,N turns to NANC1. She fumbles a
smile.
6( (H,C'S,N 3C,N(/4
How you oin!, palH
NANC1
,*ay. Hi, a.
NANC1.s ress is ar* with rie bloo, her s*in clammy an the
color of paste. CAGG% shoots her e2-husban a worrie !lance.
(H,C'S,N pulls a chair close to NANC1.
6( (H,C'S,N
& on.t want to !et into this now,
Go *nows you nee time.
3hotter4
:ut &. sure woul li*e to *now
what the hell you were oin!
3/1
Sir William K. Coe
shac*e up with three other *is
in the mile of the ni!ht --
especially a elin5uent lunatic
li*e 6ane.
NANC1 weaves.
NANC1
Go.s not a lunatic.
6( (H,C'S,N
1ou !ot a sane e2planation for
what he iH
(he !irl is shrein a Kleene2, starin! off.
CAGG%
Apparantly he was cra<y -ealous.
Nancy sai they. ha a fi!ht,
Go an (ina.
NANC1
35uietly4
&t wasn.t that serious...
CAGG%
Caybe you on.t thin* murer.s
serious --
NANC1 sits bolt upri!ht in her chair, her eyes flashin!.
NANC1
She was my best frienL /on.t
you are say & on.t ta*e her
eath seriouslyL
3lower, near tears4
& -ust meant their fi!hts
weren.t that serious.
(he !irl hols the woman.s eyes a moment, then loo*s away.
NANC1 3C,N(/4
3to herself4
She reame this woul happen...
(H,C'S,N
EhatH
NANC1
She ha a ni!htmare about someboy
tryin! to *ill her, last ni!ht.
(hat.s why we were there9 she was
afrai to sleep alone.
3/2
Sir William K. Coe
A tear splashes off the arm of her chair.
CAGG%
She.s been throu!h enou!h for one
ni!ht. 1ou have her statement.
(he mother an au!hter rise9 (H,C'S,N raps on the oor an
'AGK%G opens it.
6( (H,C'S,N
3to CAGG%4
& su!!est you *eep a little better
trac* of her -- she.s still a *i,
y.*now.
CAGG% wheels on him.
CAGG%
1ou thin* & *new there were boys
thereLH 1ou try raisin! a
teena!er alone.
(Hen she an hte !irl are !one. (H,C'S,N !lares at 'AGK%G.
6( (H,C'S,N
3low, to 'AGK%G4
See they !et home o*ay.
'AGK%G shoves his hans in his poc*ets. ,N H&S BAC% we
BA/% (, :6ACK
&N(. NANC1.S K&(CH%N. C,GN&NG.
:$GN ,N

(H% S%C,N/ /A1
BA/% $' ,N CAGG% (H,C'S,N openin! a new bottle of !in, pourin!
herself a careful shot, rin*in! it, then chasin! it with coffee.
Nearby a () rones the mornin! news. Ee can.t yet see the SCG%%N.
() N%ESCAS(%G 3,SOB&6(%G4
&n the healines this mornin! --
a local teena!e !irls was brutally
murere urin! an all-ni!ht party.
CAGG% ($GNS, startle, seein! NANC1 comin! ownstairs.
(He !irl loo*s a little better than she i in the 'olice
Station, but her eyes are still re-rimme, an a vacant stress
mas*s her face. She loo*s to the (). Stops.
() N%ESCAS(%G 3C,N(/4
3/3
Sir William K. Coe
'olice say the victim, fifteen-year
-ol Christina Grey, ha 5uarrelle
earlier with her boyfrien, Go
6ane, a pun* roc*er with a history
of elin5uency. 6ane is now the
sub-ect of a city-wie manhunt.
Accorin! to --
(He () '&C($G% has be!un featurin! a HAN/H%6/ N%ESG%%6 SH,( of a
ar* rubber :,/1 :AG bein! carrie to a C,G,N%G.S )AN. Fust
before the thin! is lifte insie, (&NA.s blooie, white AGC
slips from its <ippere sie an lolls into the ar* ni!ht air.
A man ruely shaoves it bac* insie an pulls the <ipper up the
rest of the way.
E&/%G -- as NANC1 pales visible. CAGG% arts to the () an slaps
it off, then turnin! to NANC1. She loo*s at the !irl a moment,
then !oes to her an hu!s her.
CAGG%
3*in4
Ehere you thin* you.re !oin!H
NANC1
School.
CAGG%
& coul hear you tossin! an
turnin! all ni!ht, *io. 1ou.ve
no business !oin! to school.
NANC1 pulls away, etermine.
NANC1
& !otta !o to school, Com.
'lease. ,therewise &.ll -ust
sit up there an !o cra<y
or somethin!.
CAGG% stuies her face a moment.
CAGG%
/i you sleepH
NANC1
&.ll sleep in stuy hall, promise.
&. rather *eep busy, you *nowH
She absently rains the woman.s coffee cup -- then pec*s her
chee*.
CAGG%
Gi!ht home after.
3//
Sir William K. Coe
NANC1 3C,N(/4
Gi!ht home after. See you.
CAGG% watches the firl isappear outsie, then li!hts a ci!arette
from the one alreay burnin! in her fin!ers.
%P(. S(G%%(. /A1.
C$S&C slips bac* in, subtle but tense as we (GACK with NANC1 as
she wal*s alone own a siewal* e!e with thic* flowerin!
,leaner. She coc*s her hea, pu<<le, as if sensin! somethin!.
C$S&C mounts. NANC1 loo*s across the street.
G%)%GS% &N H%G ',). A CAN is over there in ar* clothes, reain!
a newspaper, but really watchin! her.
NANC1 shru!s an continues on, then stops an loo*s bac* a!ain.
&N H%G ',) we S%% the CAN is !one.
Ne2t moment -- with a C$S&C S(&NG -- a :6,,/&%/ HAN/ -umps out
from the opposite irection, clamps over NANC1.s mouth an ra!s
her into the bushes.
%P(. :$SH%S. /A1.
NANC1 stru!!les, twistin! a!ainst the powerful assailant.
A E&/%G ANG6% G%)%A6S G,/ 6AN% -- barefoot, cla only in -eans
an leather -ac*et, still ca*e with ar* bloo. (he rest of his
s*in is pale as a !host.s.
G,/
&.m not !onna hurt you.
He releases her warily. NANC1 ma*es no move to run or scream,
even thou!h several S($/%N(S pass on the nearby siewal*. (his
reassures G,/ -ust a little.
G,/
1our ol man thin*s & i it,
on.t heH
NANC1
He oesn.t *now you.
3eyein! the bloo4
Couln.t you chan!eH
G,/
(he cops were all over my house.
3shivers4
(hey.ll *ill me for sure.
3/6
Sir William K. Coe
NANC1
Nobay.s !onna *ill you.
He runs his hans own his face, tryin! to believe that. (he two
stuy each other.
G,/
& never touche her.
NANC1
1ou were screamin! li*e cra<y.
NANC1 says this without accusation, -ust cool observation.
G,/
Someone else was there.
NANC1
(he oor was loc*e from your
sie.
G,/ !rabs her har. His muscular boy tenses.
G,/
/on.t loo* at me li*e &.m some
*in of fuc*in! fruitca*e or
somethin!, &.m warnin! you.
),&C% 3,.S.4
Corinin!, Cr 6ane.
(he boy -er*s roun. NANC1.s father, his .;@ levele ri!ht at
G,/.s belly, eases out of the bushes.
6( (H,C'S,N
Now -ust step away from her, son.
6i*e your ass epene on it.
&.m warnin! you.
G,/ bac*s away, loo*in! once at NANC1 with a loo* of terrible
saness. (hen he ives out of the bushes an runs li*e hell.
(H,C'S,N snaps his revolver to fire -- but instinctively NANC1
-umps between --
NANC1
NoL
(H,C'S,N -er*s his !un into the air, furious.
6( (H,C'S,N
Fesus -- are you cra<yLH
3/1
Sir William K. Coe
He plun!es past the !irl.
%P(. S(G%%(. /A1.
G,/ races li*e a fri!htene animal across the lawns -- but is
soon cut off by the '6AN%C6,(H%SCAN NANC1 saw watchin! her before --
an then (E, $N&B,GC%/ ',6&C%C%N, who close from another an!le.
(he chase is short an pitifully off-balance, an G,/ is soon
wrestle to the !roun. Ne2t moment one of the cops is holin!
G,/.s *nife into the air for (H,C'S,N to see. (H,C'S,N loo*s at
NANC1, as if to say .& tol you.. :ac*!roun, G,/.s SH,$(S can
be hear as he.s shove into a SQ$A/ CAG.
G,/ 3,.S.4
& in.t o it -- L
3fain!4
& in.t *ill her, NancyL
(he car.s oor slams an G,/ is !one. NANC1 turns to her father,
livi.
NANC1
1ou use me, ayL
6( (H,C'S,N
3e2asperate4
Ehat the hell you oin! !oin! to
school toay, anyway -- your
mother tol me you in.t even
sleep last ni!htL
NANC1 spins an!rily an wal*s away.
6( (H,C'S,N
NancyL HeyL
:ut she -ust *eeps !oin!.
BA/% (, :6ACK
&N(. C6ASSG,,C. /A1.
BA/% $' ,N an %NG6&SH (%ACH%G an C6ASS, NANC1 amon! the *is,
tryin! to concentrate.
(%ACH%G
Accorin! to Sha*espeare, there
was somethin! operatin! in Nature,
perhaps insie human nature itself,
that was rotten -- a can*er, as
he put it.
3/2
Sir William K. Coe
(he (%ACH%G.s eyes !lance across the room. ANG6% ,N NANC19
yawnin! but listenin!.
(%ACH%G 3C,N(/4
,f course Hamlet.s response to
this, an to his mother.s lies,
was to continually probe an
i -- -ust li*e the !ravei!!ers --
always tryin! to !et beneath the
surface. (He same was true in a
ifferent way in Fulius Caesar.
Fon, !o ahea...
She nos to a S$GB%G who.s been waitin! uncomfortably in front of
the class. He s5uints at his boo* an be!ins, the recitation a
stru!!le between ba*e an salte brain an the poetry of the
:ar.
S$GB%G
3reain! alou4
$h, in the most hi!h an palmy
state of Gome...
E&S%G$1 S($/%N( 3,.S.4
California.s the most hi!h an
palmy state, man.
(he S$GB%G halts with a !rin9 K&/S snic*er.
%NG6&SH (%ACH%G
Can it.
She !lares them bac* into silence. (he S$GB%G starts over, as we
C$( (, NANC1.
She.s noin! off now, barely able to *eep her eyes open in the
warm, close boreom of the classroom.
S$GB%G 3,.S.4
&n the most hi!h an palmy state
of Gome, a little ere the mi!htiest
Fulius fell...
3NANC1.s hea pitches
forwar9 she -er*s it
bac* up, barely awa*e4
(he !raves stoo tenatless, an
the sheete ea i s5uea* an
!ibber in the Goman street...
NANC1.s hea has sun* a!ain, eyelis rawn as if by enormous
wei!ht. :y the time her chee*.s a!ainst the es*, the S$GB%G.s
),&C% is %CH,%/ an /&S(AN(. :ut another voice, (&NA.s, is very
near, very much present. A sa, thin plaint.
3/3
Sir William K. Coe
(&NA 3,.S.4
Nancy.
NANC1 !ives a start. Her eyes loc* onto somethin!.
G%)%GS%. (&6(%/ S&/%EA1S, &N H%G H%A/.s ',), we loo* strai!ht
out throu!h the open oorway of the classroom into the hall. (here,
stanin! in a blac* pool of flui, is a full-si<e rubber boy
ba!. /ar* re an yellow. Eeavin! sli!htly, the merest
su!!estin! of movement within it.
:ACK ,N NANC1, sittin! upri!ht, wipin! the sleep from her eyes,
sha*in! her hea li*e a punchy pro<efi!hter. She loo*s bac* out
the oor.
G%)%GS% &N .N,GCA6. ',) -- the hallway is empty. :ut there.s a
ar* smear on its floor tiles.
NANC1 loo*s nervously towars the rest of the class. No one else
has notice a thin! outsie the oor. All are umbly spellboun
by the S$GB%G, who now recites li*e a eep-voice robot, his face
wreathe by white hair.
S$GB%G
, Go, & coul be boune in a
nutshell an count myself a *in!
of infinite space, were it not
that & have ba reams...
ANG6% :ACK ,N NANC1. She slips from her seat, eye warily on the
teacher an class. :ut no one turns as she isappears throu!h the
oorway.
&N(. SCH,,6 HA66EA1. /A1.
NANC1 turns an loo*s both irections. No si!n of anyboy.
(&NA 3,.S.4
3istant4
Nancy.
NANC1 whells an sees the ba!, prone on the tiles at the far en
of the hall, at the en of lon! snail.s trail of slime. A pale
invisible !ravity, the ba! slies out of si!ht into an
intersectin! corrior.
NANC1
(inaL
NANC1 starts runnin! for it.
3/4
Sir William K. Coe
ANG6% A( (H% C,GN%G as NANC1 races blinly aroun the turn an
smashes strai!ht into a :,/1 lun!in! at her from the opposite
irectionL :oth !o own.
ANG6% A( (H% B6,,G. A a<e freshman HA66G$AG/ cran*s herself up
on one elbow. She wears a plastic pla5ue on her re an yellow
sweater that reas .Hall Guar.. Her nose is bleein! from the
impact.
HA66G$AG/
1-you.re not suppose to run.
E-where.s your pass -- you !ot a
passH
NANC1 leaps up --
NANC1
Screw your stupi passL
She turns -- sees the boy ba! halfway own this ar*er, narrower
hall, upri!ht a!ain. :ut -ust as she sees it, it tips an
pitches healon! throu!h a oorway -- li*e some !oawful rotten
tree finally timberin! own. She can hear the slic*enin! CG$NCH&NG of
it fallin! own a lon! fli!ht of stairs.
NANC1 runs for it a!ain. (he HA66G$AG/ sta!!ers up B,G%GG,$N/,
bleein! profusely from her eyes an ears.
HA66G$AG/
Hey, no runnin! in the hallsL
(He HA66G$AG/ raises her han an we see it.s tippe with lon!
metal spi*es.
G%)%GS% ANG6% A( (H% /,,G as NANC1 runs up. NANC1 turns to chec*
out the HA66G$AG/. She.s vanishe. NANC1 turns an loo*s own
throu!h the open oor. (He C$S&C sweeps throu!h a stran!e,
brooin! movement of strin!s, mountin! towars the N&GH(CAG%
(H%C%.
&N(. A S(A&GE%66.
NANC1 e!es into the stairwell an loo*s own. 6oo*s li*e
there.s a fire somewhere own there, from the way the oran!e li!ht
ances. :ut there.s only a low EH&(% N,&S%.
NANC1
(inaH
No answer. NANC1 starts own the stairs.
&N(. :,&6%G G,,C. /A1.
365
Sir William K. Coe
NANC1 comes off the stairs into a an* boiler room. (he smear
trail is there. &t runs behin a crac*in!, re-hot boiler the
si<e of a iesel locomotive. %verythin! about the place feels
reafully wron!, an the C$S&C is eep into the N&GH(CAG% (H%C%
when it pauses.
(&GH( ,N NANC1. Slow terror moves into her face. (here.s a low,
sinister G&GG6%.
G%)%GS% &N H%G ',) -- we see a tan!le of pipes, shaows, an the
tainte fire of the hu!e boiler. (hen from behin this, eeply
shaowe but still ientifiable, steps (&NA.s K&66%G. (he same
filthy re an yellow sweater an slouch hat, the same melte
face twistin! into a smile, the same GAG:6%/ 6A$GH as he slies the
lon! blaes from beneath his shirt an fans them on the ens of
his bony fin!ers.
NANC1
Eho are youH
CAN
Gonna !et you.
(he leerin! CAN brin!s the blooie scalpel-fin!ernails across
his own chest, splittin! a nipple. 1ellow flui pours out. CAGG,(S
an E,GCS.
NANC1 for!ets the 5uestion -- -er*s aroun an flees in blin
panic into the first openin! she sees -- a ar* pipe tunnel.
&N(. '&'% ($NN%6.
ANG6% &N (H% NAGG,E 'ASSAG%EA1. &n the :ACKGG,$N/ the *iller
shambles towars her9 B,G%GG,$N/ NANC1 brea*s into a run.
(he *iller sprints -- NANC1 tears ahea into ar*ness.
She flees eeper an eeper into the labyrinth of steamin!,
S&VV6&NG pipes, s5uee<in! throu!h smaller an smaller openin!s.
(he *iller is -ust yars behin her, an soon she.s trappe, -ust
as (&NA was before her.
She presses her bac* to the wet bric*s. (here.s no hope of
fi!htin! him off, form NANC1 is not as stron! as (&NA. :ut she
is smart as hell, an thin*in! even in this ni!htmare. So by the
time the creep has raise his *nives to stri*e, NANC1 has
reali<e somethin!. She wheels an shoves her arm a!ainst one of
the scalin! steam pipes. &n the same split secon we H%AG her flesh
scal, we
C$( (,
361
Sir William K. Coe
&N(. %NG6&SH C6ASS. /A1.
NANC1 lurches up SCGAC&NG, arm raise to war off the invisible
blow, boo*s clatterin! to the floor -- other G&G6S nearby SCG%AC
in surprise as she stumbles over them. (hen she stops, confuse
an !ro!!y from the ni!htmare.
E&/%G ANG6%. %)%G1:,/1 is starin! at NANC1 as if she.s !one ma.
(he %NG6&SH (%ACH%G rushes over, herself fri!htene by the terror
in the !irl.s eyes.
(%ACH%G
,*ay -- ,*ay, (HompsonL %very-
thin!.s all ri!ht now -- NancyL
NANC1 -er*s aroun with panic*e eyes, e2pectin! the *iller to
leap from any irection. :$t there.s only the sea of starin!
eyes.
NANC1 be!ins methoically pic*in! up her boo*s.
(%ACH%G
&.ll call your mother.
NANC1
NoL No, really, &.m fine. &.ll !o
strai!ht home. &.m o*ay.
She marches for the oor.
(%ACH%G
1ou.ll nee a hall passL
:ut the !irl.s !one.
%P(. (H% SCH,,6. /A1.
NANC1 wal*s out of the builin!, sha*en. (hen she pauses at one
of the bi! pine trees out front, stops an rests her hea a!ainst
its bar*, teeth set. NANC1 starts to sha*e, an ne2t secon
she.s sobbin! li*e a bro*en-hearte, fri!htene chil.
:ut she sha*es herself silent. Eipes the tears away with a slash
of sleeve. She rubs her arm absently, lost in thou!ht, then
reacts in surprise an pain. SHe lifts her arm an stares at the
spot she.s touche.
&NS%G( ,N H%G AGC an the :$GN there9 about the si<e an shape of
a half-ollar.
E&/%G ,N NANC1. $tterly, chillin!ly confuse.
(&NA, a!inst the tree inches from NANC1, turns to her an says --
362
Sir William K. Coe
(&NA
Couln.t !et bac* to sleep
at all.
3beat4
Ehat you reamH
%P(. A :$S1 S(G%%(. /A1.
NANC1 is wal*in! 5uic*ly, hea erect, -aw set. (hen she enters
her father.s 'olice Station.
&N(. )AN N$1S ',6&C% S(A(&,N. /A1.
NANC1 crosses irectly to GAGC&A.
NANC1
Cy a hereH
GAGC&A loo*s up from his paperwor*.
S%GG%AN( GAGC&A
6ieutenant.
6( (H,C'S,N emer!es from another room, uneasy to see NANC1.
6( (H,C'S,N
/ecie to ta*e a ay off after
allH
NANC1
/a, & want to see Go 6ane.
(H,C'S,N oesn.t miss a beat.
6( (H,C'S,N
,nly family allowe, Nancy. 1ou
*now the rill.
NANC1
Fust want to tal* to him a secon.
6( (H,C'S,N
He.s an!erous.
NANC1
1ou on.t *now he i it.
6( (H,C'S,N
No, & *now, than*s to your
own testimony, that he was
loc*e in a room with a !irl
363
Sir William K. Coe
who went in alive an came
out in a rubber ba!.
NANC1 flinches9 her father shows the first si!ns of color in his
nec*.
NANC1
& -ust want to tal* to him.
3beat, lower4
'lease. /a.
(H,C'S,N shifts almost imperceptibly towars GAGC&A, then turns
bac* to NANC1.
6( (H,C'S,N
Ca*e it fast.
/&SS,6)% (,0
&N(. C%66 AG%A. /A1.
A G$AG/ e2its pushin! a cart. NANC1 waits warily until he.s
!one, then loo*s bac* to G,/ 6AN%. G,/ loo*s more li*e a
capture coyote than a human9 ha!!ar, ribbe, e2pectin! poisone
bait. His hair is wet, his clothes are borrowe -eans an wor*
shirt.
NANC1
3low4
An then what happeneH
G,/
& tol you.
3reluctantly4
&t was ar*, but &.m sure there
was someone else in there, uner
the covers with her.
NANC1 reacts.
NANC1
How coul someboy !et uner
the covers with you !uys
without you *nowin! itH
G,/
How the fuc* o & *nowH
3beat4
& on.t e2pect you to believe
me.
NANC1 stuies his encrypte eyes. Surprisin!ly, she loo*s li*e
she -ust mi!ht believe him. She leans closer with a new thou!ht.
36/
Sir William K. Coe
NANC1
Ehat he loo* li*eH 1ou !et
a loo* at himH
He loo*s away.
G,/
No.
NANC1
Eell then how can you say
someboy else was thereH
G,/
:ecause someboy cut her. Ehile
& watche.
Now the place is so 5uiet you can hear heartbeats.
NANC1
Someboy cut her while you watche
an you on.t *now what he loo*e
li*eH
G,/ smiles an insane smile, stuc* with a reality no one will buy.
G,/
1ou couln.t see the fuc*er.
1ou coul -ust see the cuts
happenin!, all at once.
NANC1 !ives a twitch.
NANC1
Ehat you mean .all at once.H
G,/
3low4
& mean, it was as if there were
four ra<ors cuttin! her at the
same time. :$t invisible ra<ors.
She -ust...opene up...
:y now he.s pic*in! at a clot of ar* bloo on his -ac*et, as if
it was a scab on his own boy. (hen he catches NANC1 watchin!
an turns away to the bac* of the cell. He smashes his fist into the
wall -- bone-crushin! blows that scare the wits out of NANC1.
NANC1
GoL
He stops, an his fist is rippin! bloo as he says in a small,
sa voice.
366
Sir William K. Coe
G,/
& probably coul.ve save her
if &. move sooner...:ut &
thou!ht it was -ust another
ni!htmare, li*e the one & ha
the ni!ht before.
3beat4
(here...was this !uy who ha
*nives for fin!ers...
C6,S% ,N NANC1, unable to swallow the !or!e risin! in her throat.
G,/ turns to her, an to his surprise she.s ashen.
G,/ 3C,N(/4
/o you thin* & i itH
NANC1
No.
BA/% (, :6ACK
%P(. %6C S(G%%(ONANC1.S H,C%. N&GH(.
BA/% $' ,N %S(A:6&SH&NG SH,( as a spoo*y E&N/ sets a /,G :AGK&NG
own the bloc*. A CAG !oes by, then this pleasant resiential
street falls into silence. CAC%GA has C,)%/ &N on NANC1.s
well-tene two-story home.
&N(. NANC1.S K&(CH%N. N&GH(.
(he house is in shaow. Alone, CAGG% scrapes the last of the
evenin!.s ishes an slips them into the ishwasher. Neither she
nor her au!hter has touche the foo. :ut CAGG% is well into a
bottle of !in9 her appetite for that is !rowin!, ri!ht alon! with
her rea. She turns an loo*s up the stairs, callin!.
CAGG%
Nancy, on.t fall asleep in
there.
NANC1 3,.S.4
& won.t.
CAGG%
Get into be.
&N(. $'S(A&GS :A(HG,,C. N&GH(.
NANC1
& will.
361
Sir William K. Coe
NANC1.s in the tub, so rowsy she can harly rinse without
fallin! asleep. (he water in the tub is opa5ue with sus.
6u2urious.
C6,S%G ANG6%, A( EA(%G 6%)%6 ,N NANC1. Her eyes roop. She
slies closer to the surface of the water, lettin! its heat sooth
her nerves. Her eyes stare strai!ht up, !la<e, her breathin!
eepens.
G%)%GS%, across to her le!s, croo*e, one *nee on each sie of
the tub. (Here.s a ripple in the water between. (hen somethin! tiny
an shiny brea*s the surface between them. &t pops up with a
slitherin! C$S&C C$% an catches a sliver of li!ht. (hen it
be!ins to rise.
Hi!her an hi!her it rises, soon accompanie by another, then two
more shinin!, !leamin! blaes, an then the full !love an ar*
hairy han an then the wrist an arm, strai!ht up li*e an evil
saplin! between the !irl.s *nees, the *nives bloosomin! into a
bri!ht flower of ra<or sharp steel in the air, movin! over the
!irl.s belly. (he han rears bac*, the claws arch to stri*e.
CAGG% 3,SOA''G,ACH&NG4
NancyH
CAGG% raps on the oor. (he instant she oes NANC1 -er*s up,
openin! her eyes !ro!!ily. (he ar* wet arm, han an *nifes are
!one.
NANC1
EhatH
CAGG% 3,.S.4
3throu!h the oor4
1ou.re not fallin! asleep,
are youH 1ou coul rown,
you *now.
NANC1
Cother, for petesa*es.
CAGG% 3,.S.4
&t happens all the time.
3bri!hter4
&.ve !ot some warm mil* all
reay for you. Ehy on.t you
-ump into beH
3fain!4
&.m !onna turn on your electric
blan*et, too. C.mon, now.
3then she.s !one into
another room4
NANC1
362
Sir William K. Coe
3low4
Earm mile. Gross.
She slies own to water level a!ain, an sin!s softly,
thou!htfully to herself.
NANC1 3C,N(/4
,ne, two, Breie.s comin! for
you, three, four, beter loc*
your oor, five, si2, !rab your
crucifi2, seven ei!ht !onna
stay up late, nine, ten, never
sleep a!ain...
(he ne2t instant she.s -er*e with increible violence strai!ht
own beneath the surface of the tub -- as if the bottom ha
suenly roppe out an she was in a bottomless wellL
%P(. $N/%GEA(%G SH,(. N&GH(.
6,,K&NG $' 'AS( H%G ANK6%S we S%% NANC1 pulle sharply own into
really eep water, the im li!ht of the surface an bathroom
beyon recein! with each yan*. An yet she somehow flails an
!asps an stru!!les bac* towars the surface, mana!in! by pure
panic to brea* the surface with her hansL
&N(. HA66EA1 ,$(S&/% :A(HG,,C.
CAGG% rushes to the oor an listens, alarme at the wil
S'6ASH&NG auible throu!h the loc*e oor.
CAGG%
NancyL NANC1L
%P(. $N/%GEA(%G SH,(. N&GH(.
CAGG%.s ),&C% reaches to the !irl, who thrusts up throu!h main
force an brea*s the surface with her hea an shouleres.
&N(. :A(H($:.
Gaspin! an cho*in!, NANC1 brea*s the surface of her bathwater,
li*e a rownin! sailer !ettin! one last chance. Her mother.s
),&C% booms over her, %CH,%/ an frantic -- an hte lou :ANG&NG
on the oor finally opens her eyes. She turns an calls !aspin!
to her mother --
NANC1
CommyL
363
Sir William K. Coe
G%)%GS% ,N (H% /,,G -- as CAGG%, usin! the ol han!ar throu!h the
oorhanle tric*, ma*es it into the room. SHe rushes across to
the tub. NANC1 is sta!!erin! up in the bathwater, a!ain with
soli porcelin beneath her feet.
CAGG%
& tol youL Hunres of people
a year rown li*e thatL
(he mother throws a towel aroun the !aspin! !irl, helps her from
the tub an be!ins ryin! her li*e a chil. NANC1 loo*s li*e
she.s lparali<e with some sort of weir rea.
CAGG%
1ou o*ayH
NANC1
Great.
CAGG%
3not believin! it for
a minute4
(o be with you, c.mon.
CAGG% rushes out to !et the room reay. NANC1 turns an loo*s at
herself in the cabinet mirror, then opens the meicine chest an
be!ins a 5uic*, furtive search.
C6,S%G as she ta*es out the bo2 of No /o<e an slips it into her
robe.
NANC1 emere!es from the bathroom yawnin!. CAGG% follows as the
!irl plos obeiently to her room.
CAGG%
No television, for!et the
homewor*, no phone calls.
NANC1
No, Cother. 1es, Cother.
No, Cother.
&N(. NANC1.S G,,C. N&GH(.
CAGG%
An no school tomorrow, either.
1ou ta*e a little vacation, rela2
an rest fro a chan!e.
NANC1
364
Sir William K. Coe
1es, Cother. G.ni!ht.
CAGG% offers a smile, an a little yellow pill.
CAGG%
(a*e this, it.ll help you sleep.
NANC1
Gi!ht.
NANC1 pops it in her mouth an swallows obeiently. CAGG% leans
to her with a *iss.
mar!e
Sleep ti!ht, on.t let the
bebu!s bite.
CAGG% !oes out, relieve. NANC1 closes the oor, leans a!ainst
it an spits the pill into her han. She tosses it strai!ht out her
winow an ta*es a No/o<.
BA/% (, :6ACK
BA/% $' ,N &NS%G( ,B (%6%)&S&,N SCG%%N.
A C,NS(%G C,)&% in :6ACK AN/ EH&(%. N, S,$N/ from the set.
'$66 :ACK to G%)%A6 NANC1 proppe in be, furtively watchin!. ,r
is she -ust thin*in!H A besie C6,CK reas 780=> pm.
(he !irl 1AENS. She sha*es herself violently an sits up
strai!hter, forcin! herself to concentrate on the movie.
,N (H% (%6%)&S&,N SCG%%N. A /&)%G stru!!les to *eep facin! a
lar!e circlin! shar*.
,N NANC1. Her eyes roop shut -- then she -er*s awa*e, rattlin!
her hea as if it were a raio riftin! off station. She tumbles
out of be, throws open the winwo an ta*es a eep breath f the
cool ni!ht air.
%P(. NANC1.S H,$S% AN/ S(G%%(. N&GH(.
H&GH ANG6%, A( S%C,N/-S(,G1 6%)%6. NANC1 loo*s irectl across
the street to a li!hte, open winow. &ts curtains, suc*e out an
wavin! in the ni!ht bree<e, !ive the only motion to the eserte
street.
(hen someone pitches out of the ar* at her. NANC1 !ives a 1%6'
-- then clamps her han over her mouth as she reco!ni<es G6%N,
balance precariously on the rose trellis outsie her winow.
G6%N
315
Sir William K. Coe
SorryL Saw your li!ht on.
(hou!ht &. see how you were.
She !ets herself to!ether, barely.
NANC1
Sometimes & wish you in.t live
ri!ht across the street.
G6%N
Shut up an let me in. 1ou ever
stan on a rose trellis in your
bare feetH
NANC1 loo*s over her shouler to be sure her mother hasn.t hear.
G6%N.s alreay throu!h her winow an plante on her be. NANC1
points to a chair.
NANC1
&f you on.t min.
G6%N crosses to the chair an plops own.
G6%N
So. & hear you frea*e out
in %n!lish class toay.
(here.s no maliciousness in his voice, an the familiar fran*ness
is actually comfortin! to NANC1.
NANC1
Guess & i.
G6%N
Haven.t slept, have youH
NANC1
Not really.
NANC1 tries to smile, but can.t fa*e it very well. G6%N loo*s
her over.
G6%N
1ou loo*ea an raine on, if
you wnat the u!ly truth. An
what you o to your armH
She shru!s, tryin! to *eep it casual.
NANC1
:urne myself in %n!lish class.
311
Sir William K. Coe
She ha<ars a loo* in a mirror, an her -aw rops.
NANC1
C.!o, & loo* twenty years ol.
3turnin! bac* to him4
1ou have any weir reams last
ni!htH
G6%N
Slept li*e a roc*.
NANC1
3please4
Eell at least & have an ob-ective
wall to bounce this off.
3beat4
1ou believe it.s possible to ream
about what.s !oin! to happenH
G6%N
No.
NANC1
1ou believe in the :oo!ey CanH
G6%N
,ne, two, Breie.s comin!
for youH No. Go *ille (ina.
He.s a fruitca*e an yu *now it.
NANC1
1ou believe in anythin!H
G6%N
& believe in you, me, an
Goc* an Goll. An &.m not
too sure about you lately.
NANC1 thin*s.
NANC1
6isten, &.ve !ot a cra<y favor
to as*.
G6%N
$h-oh...
NANC1
&t.s nothin! har or anythin!.
3beat4
&.m -ust !oin! to... loo*
for someone, an... & want
you to be sort of a !uar.
312
Sir William K. Coe
,*ayH
G6%N ma*es the (wili!ht Vone soun.
NANC1
,*ayH
G6%N
,*ay, o*ay.
3beat4
& thin*.
She comes very close to him.
NANC1
1ou won.t screw up, ri!hH &
mean, a whole lot mi!ht epen
on it.
(he way she.s loo*in! at him !ives him the creeps.
G6%N
,*ay, & won.t screw up.
NANC1 ta*es a eep breath. (hen without another wor turns off
the () an the li!ht.
G6%N 3&N /AGK4
Fesus, it.s ar* in here.
NANC1
Shhh. Now listen, here.s what
we.re !onna o...
%P(. %6C S(G%%(. N&GH(.
BA/% $' ,N NANC1, still in her pa-amas, wal*in! throu!h the
shaowy streets ear her home, listenin! for the sli!htest soun.
Ee C,)% with her. :ut nothin!, not even the o! bar*in! earlier,
is there now. NANC1 peers into the ar*ness of lawns an trees
behin her.
NANC1
3sta!e whisper4
1ou still thereH
Across the street an a istance away, G6%N steps from behin a
tree.
G6%N
1eah. SoH
NANC1
Fust chec*in! -- *eep out of
313
Sir William K. Coe
si!htL
G6%N throws up his hans in e2asperation an wal*s bac* out of
si!ht. NANC1 turns an loo*s own between the houses, eep into
a ar* alleyway. (hen she forces herself to wal* into it.
%P(. A66%1. N&GH(.
C,)&NG E&(H H%G as she ma*es herself !o eeper an eeper into
shaows. %ach time she pauses an waits, the C$S&C !rows more
threatenin! an e2pectant. (he feelin! is of immense tension --
we.re sure the *iller will come screamin! out on her at any
secon.
:ut he oesn.t. &n fact absolutely nothin! happens, an NANC1
emer!es from the far en of the alley unscathe. (he only thin!
stran!e is that she now fins herself loo*in! across the mall to
%P(. ',6&C% S(A(&,N. N&GH(.
(he 'lice Station. &t ta*es her a little by surprise9 it -ust
seems to have appeare.
C$S&C creeps into the N&GH(CAG% (H%C% as NANC1 whispers hoarsely
bac* own the ar* alley.
NANC1 3C,N(/4
Still thereH
%P(. A66%1. N&GH(.
Ee only H%AG teh /&S(AN( ),&C%, sli!htly %CH,%/.
G6%N.S ),&C% 3,S4
3yawnin!4
Still hereL
NANC1
,n your toes, ri!htH
NANC1 stares into the ar* tryin! to see him, but she can.t. She
turns bac* an ma*es up her min to move without him in si!ht.
%P(. ',6&C% S(A(&,N. N&GH(.
C$S&C C,$N(S as we C,)% E&(H NANC1 across the lawns to the police
station, creepin! to the first li!hte winow she sees. &t.s a
low, barre basement winow, an NANC1 reacts as soon as she
loo*s throu!h it.
31/
Sir William K. Coe
&N(. G,/.S C%66. N&GH(.
NANC1.S ',) own into G,/ 6AN%.s cell. (he boy is on his rou!h
cot, twitchin! in isturbe sleep. An a lon! SHA/,E is sliin!
across the wall.
A bi! SHA'% appears in the shaowe corrior outsie the boy.s
cell, an as &( wal*s closer NANC1 can barely see it.s the
shamblin!, !rimly scarre man with the filthy re an yellow
sweater an stran!e slouch hat pulle across his brow. (he
K&66%G from all of their ni!htmares.
An this !iant shaow of a man passes throu!h the bars of the
cell, li*e so much evil Fello. Halfway throu!h he pauses,
turnin! to chec* over his shouler. Ee see the bars clearly
penetratin! his boy, !oin! in his hea, passin! out his an*les.
(hen he turns bac* to G,/ an moves forwar, an within another
heartbeat is besie the boy.
%P(. ',6&C% S(A(&,N. N&GH(.
NANC1 raws bac* sharply, swallowin! in terror. She loo*s behin
her for help.
NANC1 3C,N(/4
Glen.
No answer.
NANC1 3C,N(/4
3louer4
GlenHL
(he street is absolutely eserte. (Here is no motion, an no
soun save one0 the istant but unmista*eable soun of G6%N
SN,G&NG.
NANC1 3C,N(/4
G6%NL
A beat of silence after the shout.s echoes ie, then the steay,
boyish SN,G%S a!ain. NANC1 swears uner her breath an -er*s
bac* aroun, forcin! herself to loo* a!ain into G,/.s cell.
&N(. G,/.S C%66.
&N H%G ',) -- the *iller pic*s up G,/.s besheet an tests it
between his powerful hans. Eithout thin*in!, NANC1 ban!s
a!ainst the !lass.
NANC1 3C,N(/4
316
Sir William K. Coe
GoL 6oo* outL
(he K&66%G wheels aroun, loc*in! eyes with NANC1. (he !irl !oes
white. (he man.s face is in the li!ht, an it.s horrible --
seethin! with hatre an a twiste, insane intelli!ence.
(he hol of those eyes is only bro*en when G,/ rols up on an
elbow with a eep, trouble GG,AN. (he instant G,/ oes this,
the K&66%G faes into the shaows in the cell. :ut even then his
eyes hol on NANC1.s until the last secon he.s visible.
G,/ loo*s aroun the cell !ro!!ily, runs his fin!ers throu!h his
matte hair, then collapses bac* on his pillow. No matter how
har NANC1 screams, G,/ never once loo*s at the winow. He -ust
pulls the twiste covers about his shoulers an succumbs once
more to sleep.
An now the be sheet is no lon!er on the be. (He K&66%G,
materiali<in! out of the shaow a!ain, is holin! it between his
hans li*e a !arrote. He loo*s up an leers at NANC1, then moves
for G,/.
%P(. ',6&C% S(A(&,N. N&GH(.
ANG6% :ACK ,N NANC1. She pouns on the winow, then turns in
frustration an yells into the ni!ht.
NANC1
GlenLL
She turns bac* to the cell in esperation.
&N(. G,/.S C%66.
&N NANC1.S ',) we loo* into a cell that is 5uite eserte save
for G,/. Sleepin! peacefully.
%P(. ',6&C% S(A(&,N. N&GH(.
NANC1 puls bac* from the winow, stunne.
NANC1
& swear...
Suenly NANC1 feels utterly e2pose. SHe shivers, chille an
vulnerable to the bone in her thin ni!ht clothes. SHe can.t
move. &t.s as if some !reat nerve between her instincts an bay
ha been severe. An she hears the S,$N/ behin her. A sort of
fillin!-vibratin! Scrriiitchh.
311
Sir William K. Coe
C$S&C snea*s in -- the unmista*eable N&GH(CAG% (H%C%, creepin!
over her. NANC1 forces herself, by sheer wil, to loo*.
Ahea of her perhaps twenty-five feet, covere with a thic*
plastic boy ba! throu!h which we can barely see her face, is
(&NA. Stanin! s5uare in the mile of the street. A ar* oo<e
of :6ACK %%6S roil out of its bottom, an at its top, the <ipper
CHA((%GS own an the !reenish-white face of (&NA lolls out. SHe
!estures, supplicatin!, her watery eyes esperate to convey some
esperate messa!e.
(he C$S&C BA66S (, A H$SH.
NANC1 bac*s away, eyes streamin! tears.
NANC1
Glen, where are youL Ea*e upL
GlenL
/%%' GAGG%/ ),&C% 3,.S.4
&.m here.
NANC1 twists aroun in horror at the same instant the K&66%G
!rabs for her face with his *nife-fin!ersL (he !irl
intinctively pitches bac*, then scrambles up an runs li*e hellL
NANC1
GlenL GlenLLL
%P(. %6C S(G%%(. N&GH(.
C,)&NG E&(H NANC1 at full !allop, runnin! blin. She crashes
throu!h a sawhorse into a new siewal*, sin*in! into th ewet
cement over her an*les. (he stuff stic*s to her le!s in lon!
!luey !lobs an she can barely pull her feet loose.
(he K&66%G looms nearby, moc*in! her -- his scalpel claws
!leamin! in the streeetli!ht. He -ust misses the !irl as she
wrenches free an flees a!ain, now so wine she can only sta!!er.
C,)&NG E&(H (H%C. (im after time NANC1 -ust barely mana!es o
elue the shaowy form, leapin! from his reach by inches an
pourin! on more steam. &t.s too close to even bother screamin!
now9 an besies, theat woul ta*e breath she oesn.t have. (He
only S,$N/ is of G$NN&NG B,,(S(%S, GAS'&NG :G%A(H an the KN&B%-
B&NG%GS EH&S(6&NG throu!h the air.
%P(. NANC1.S H,C%. N&GH(.
NANC1 tears across her front lawn an into the open front oor of
her home, S6ACC&NG it with all her mi!ht. (here.s a tremenously
312
Sir William K. Coe
satisfyin! C,NC$SS&,N of woo a!ainst orrframe, an the 6,CKS
fall shut.
&N(. NANC1.S 6&)&NG G,,C. N&GH(.
NANC1
GlennnLLL
:ut her voice is !arble as if she.s uner water, an there.s no
answer. (he only clue to Glen bein! there at all is his istant
SN,G&NG. &nnocent. 'ersistent. /eep.
NANC1 stops, breath in shres, face smeare with irt an tears
somethin! is clawin! the winow in the ar* of the *itchen.
NANC1 loo*s an catches the CAN pryin! at the !lass with his bi!
*nife- fin!ers, the shrp blaes S&VV6&NG a!ainst the e!es of the
!lass as they crac* it away from the frame. NANC1 runs upstairs
in blin panic.
NANC1 arts into her unlit beroom, slams the oor an loc*s it.
Safe at last.
She listens at the oor. Nothin!. She crosses to her be. Ne2t
secon the K&66%G ives throu!h her winow an sei<es her in a
shower of shattere !lassL
NANC1 twists an mana!es to !rab the wrist of his *nife han with
both of hers, barely *eepin! the blaes from her throat.
(he two fall bac*wars in a terrible, !aspin! stru!!le, crashin!
onto NANC1.s be. Her !rip is bro*en -- the CAN stabs -- NANC1
twists away, bac*e into a corner of be an walls. /efenseless,
she snatches a pillow up9 the K&66%G lashes out -- isembowelin!
the pilow an senin! a !reat !ush of feathers flyin!. NANC1
ives for escape in a virtual bli<<ar.
(he K&66%G mana!es to snare her with his other han, an the two
crash across the besie table to the floor, the table an all
its contents cascain! aroun them in a whiteout of feathers.
ANG6% A( B6,,G 6%)%6 -- C6,S% ,N NANC1.s AN/ (H% K&66%G.s H%A/S.
(he blaes inch towars the !irl.s face -- the rool of the
!ri<<le shaow with the horribly scarrre face spills into her
eyes. Beathers are everywhere9 C$S&C is absolutely insaneL
:ut -ust when the points of steel are less than an inch from her
eyes, the ol fashione alarm cloc* thrown to the floor ne2t to
NANC1.s hea !oes off with a -arrin! G&NGGGGGGGL
&nstantly the C$S&C S(,'S. AN a moment later the room is li!ht.
313
Sir William K. Coe
E&/%G as NANC1 reels up, bline by the suen li!ht, SCG%AC&NG
AN/ B&GH(&NG on her be.
ANG6% ,N G6%N, lurchin! from his own sleep at the fri!htenin!
noise. He iscovers NANC1 presse in terror a!ainst her
heaboar, clutchin! a pillow li*e a rownin! woman woul a straw.
&t.s an intact pillow, an there isn.t a feather in si!ht.
NANC1 stares increulously at G6%N, then aroun the room,
untan!lin! herself from her beclothes. Eary an furious, her
voice hoarse.
NANC1
Glen, you bastar...
(he boy loo*s at his frien in !ro!!y alarm. SHe.s absolutely
livi, more an!ry than he.s ever seen her, an more stran!e.
G6%N
Ehat & oH
He reaches for her -- she flattens a!ainst the wall, eyes har,
an terribly hurt, too.
NANC1
3low4
& as*e you to o -ust one thin!.
Fust stay awa*e an watch me --
Fust wa*e me if it loo*e li*e
& was havin! a ba ream.
3eyes wil4
:ut you. 1ou shit -- what o
you o -- you fall asleepL
She stops herself, wipin! a bit of her lip, alarme at how out of
control she.s become. An suenly she brea*s, sin*in! into her
torn beclothes an rubbin! her hea.
NANC1 3C,N(/4
3mostly to herself4
& must be !oin! nuts...
CAGG% 3,.S.4
NancyH
Her mother.s oor opens ,.S.
G6%N
,h, shit.
NANC1 composes her voice as best she can.
314
Sir William K. Coe
NANC1
1es, motherH
CAGG%.s flip-flops approach outsie the oor. G6%N barrels out
the winow -- NANC1 ives for the be, -ams off theli!ht an
isappears uner the covers. CAGG%, bleary eye herself, opens
the oor an flic*s on the li!ht.
CAGG%
3beat4
1ou o*ayH
NANC1
3wea*ly4
1eah. Fust ha a little ream.
&.m fallin! ri!ht bac* to sleep.
CAGG%
3beat4
,*ay... 1ou nee anythin!, -ust call.
NANC1
,*ay.
CAGG% closes the oor. NANC1 immeiately sits up an loo*s at
the winow. A sin!le bone-white feather floats own in the
moonli!ht. (hen it.s suc*e outsie an is !one.
%P(. ',6&C% S(A(&,N. N&GH(.
G6%N.s CA/&66AC C,N)%G(A:6% careens into the par*in! lot an
SCG%%CH%S to a stop. G6%N an NANC1 -ump out an hea for the
station.
G6%N
1ou min tellin! me what.s
!oin! onH
NANC1 races into the station without answerin!.
G6%N 3C,N(/4
,h, & see. (hat ma*es it all
perfectly clear.
&N(. ',6&C% S(A(&,N. N&GH(.
NANC1 !oes strai!ht to the S%GG%AN(.s es*.
NANC1
Garcia, & want to see Go
6ane a!ain.
GAGC&A winces.
325
Sir William K. Coe
SG( GAGC&A
& thou!ht when & too* the
ni!ht shift &. have peace
an 5uiet for a chan!e.
NANC1
&t.s ur!ent, we.ve !otta see Go.
SG( GAGC&A
&t.s three in the mornin!.
1our mother *now you.re out this
lateH
NANC1
3fa*in! it4
,f course -- loo*, at least !o
bac* an loo* at him. Fust see
if he.s o*ay.
GAGC&A !lances at G6%N.
G6%N
3fa*in! it4
Ee have reason to thin* there
mi!ht be somethin! weir !oin!
on.
6( (H,C'S,N 3,.S.4
,h, no ar!ument on that.
NANC1 -umps aroun at the soun of her father.s voice. 6(
(H,C'S,N emer!es from his office, rumple an yawnin!.
NANC1
/a -- what you oin! hereH
6( (H,C'S,N
&t so happens & wor* here, an
there.s an unsolve murer. &
on.t li*e unsolve murers,
especially ones my au!hter.s
mi2e up in -- hwat are you
oin! here at this hourH 1ou.re
suppose to be !ettin! some
sleep.
G6%N
6isten, sir, this is serious.
Nancy ha a ni!htmare about Go
bein! in an!er, or somethin!,
an so she thin*s...
321
Sir William K. Coe
He trails off, loosin! it uner 6( (H,C'S,N.s !lare. :esies, he
oesn.t *now e2actly what the hell.s really !oin! on himself.
GAGC&A puts his beefy han on NANC1.s shouler.
NANC1
& -ust want to see if he.s o*ayL
SG( GAGC&A
(a*e my wor for it, Nancy. (he
!uy.s sleepin! li*e a baby. He.s
not !oin! anywhere.
&N(. C%66 :6,CK. N&GH(.
ANG6% ,N G,/ in his cell. He.s asleep, all ri!ht, but not safely
so. His besheet has come alive. &t twitches, pulsates, then
sna*es towars his throat.
G,/ stirs, the sheet falls still9 G,/ slips into eeper sleep,
an the sheet moves a!ain, completin! the noose aroun his nec*L
&N(. :,,K&NG G,,C. N&GH(.
NANC1 ma*es a move for the cell bloc* --
NANC1
(his isn.t you avera!e ni!htmare,
/ay -- amn itL
(he oor.s loc*e9 she hauls on it in esperation.
6( (H,C'S,N
Now loo*, Nancy, on.t push
it. 1ou.ve alreay rubbe my nose
in se2, ru!s an violence -- on.t
start throwin! in insanityL
NANC1 t*aes that one to heart. She wheels on him an pleas, her
intensity soberin! even to him.
NANC1
Fust !o bac* an chec* -- pleaseL
(he man ta*es a beat, then shru!s an nos towars SG( GAGC&A.
6( (H,C'S,N
,*ay, Garcia. EHat the hell.
SG( GAGC&A
Gi!ht...
3feelin! in his poc*ets4
Now where. & put hte *ey...
322
Sir William K. Coe
He mumbles bac*s towars his es*. C$S&C :$&6/S as we H,6/ ,N
NANC1.s BAC%.
&N(. G,/.S C%66. N&GH(.
Eith a terrible SNA' G,/.s sheet -er*s ti!ht aroun his nec*.
(he startle teena!er is haule upri!ht -- eyes poppin!, face purple.
He claws at the steet, but espite his stren!ht he can.t !et his
fin!ers between the noose an his winpipe. He.s ra!!e
bac*wars across the cot.
&N(. :,,K&NG G,,C. N&GH(.
GAGC&A finally has the *eys. $r!e on by NANC1 he fumbles with
the loc*.
&N(. G,/.S C%66. N&GH(.
G,/.s bein! ra!!e bac*war.s, !aspin! an stru!!lin! in vain
a!ainst the powerful pull -- fi!ht across his cell an up the
wall, too. He clutches blinly at his throat at the far en of
the sheet coils aroun the bars of the hi!h winow. (hen there.s
a powerful wrench of the sheet, an G,/.s nec* SNA'S. (he *i.s
boy sa!s lifeless.
ANG6% (HG,$GH (H% :AGS as NAN1, G6%N, 6( (H,C'S,N an GAGC&A
appear in the corrior outsie, the !irl sprintin! ahea.
NANC1
GoL
:ut it.s too late9 NANC1 sin*s bac* in horror as her father an
GAGC&A rush into the cell.
6( (H,C'S,N
Gimme a han, ammitL
G6%N, pale as the sheet that.s *ille G,/, climbs to the bars an
unties the *not. G,/ slies own over the S%GG%AN(.s shoulers,
limp as a marrionette with its strin!s slashe.
SG( GAGC&A
Goam loco *i -- he in.t
have t.o that -- Care iosL
(hey lay G,/ at NANC1.s feet9 a stran!e 'ieta. NANC1.s father
loo*s at her in spoo*e suspicion.
6( (H,C'S,N
How. you *now he was !onna o
323
Sir William K. Coe
thisH
NANC1 says nothin!.
BA/% (, :6ACK
%P(. B,G%S( 6AEN C%C%(%G1. /A1.
:$GN ,N0
(H% B,$G(H /A1
BA/% $' ,N a star* afternoon. ,n a hill of sere !rass
overloo*in! the valley, the cas*et of G,/ 6AN% is lowere into
its !rave.
A small !roup of BAC&61 an BG&%N/S watches soberly as the
C&N&S(%G raises his han in beneiction.
C&N&S(%G
Ashes to ashes, ust to ust.
may Go be with this youn! man.s
soul.
,N (H% BAC%S of CAGG%, 6( (H,C'S,N, (&NA.s C,(H%G an G,/.s
'AG%N(S. Fust for a secon or two, in loo*s too rapi for an
outsier to even notice, these aults e2chan!e loo*s. Burtive,
5uic* !lances that su!!est an immense somethin! that they all
share, somethin! beyon even this secon eath amon! their
chilren. (Hen they are all starin! ahea a!ain, as if the
others weren.t even there.
C&N&S(%G 3C,N(/ ,.S.4
His life an his eath attest to
the Scripture.s warnin! that he who
lives by the swor shall ie by
the swor.
ANG6% ,N G6%N, watchin! --
NANC1, stanin! alone, not believin! it for a minute.
C&N&S(%G 3C,N(/ ,.S.4
:ut let us recall also our 6or.s
amonition that we .Fu!e not,
lest we be -u!e.. 6et us
attempt only to love. An may
Go 6ane rest in peace.
NANC1
35uietly4
Amen to that much.
32/
Sir William K. Coe
(he mourners wal* away from the !rave, CAGG% amon! them. She
pauses near a CAN an two E,C%N in blac* -- (&NA.s C,(H%G, G,/.s
'AG%N(S. (hey almost, it seems, spea*. (hen CAGG% hurries on.
E% C,)% E&(H H%G as she.s -oine by 6( (H,C'S,N. :oth are worn
an on e!e. (H,C'S,N absently li!hts another ci!arette,
offerin! one to CAGG%.
6( (H,C'S,N
How.s Nancy oin!H
CAGG%
& on.t thin* she.s slept since
(ina ie.
3sha*es her hea4
She.s always been a elicate
*i.
(H,C'S,N li!hts her ci!arette, attemptin! some sort of
nonchalance.
6( (H,C'S,N
She.s tou!her than you thin*.
Any iea how she *new Go was
!onna *ill himselfH
CAGG%
No. All & *now is, this remins
me too much of ten years a!o.
(H,C'S,N blows a plume of smo*e a!ainst the har s*y an loo*s
away.
6( (H,C'S,N
1eah. Eell... 6et.s not start
i!!in! up boies -ust because
we.re in a cemetery.
He !ives her a loo* that coul cut stone. CAGG% toses own her
ci!arete an crosses to NANC1. (he !irl is simply starin! offf
over the valley.
CAGG%
3very !ently4
(ime to !o home, baby.
She moves her awy from the brin* of the hill.
%P(. C%C%(%G1 'AGK&NG AG%A. /A1.
CAGG% opens the oor of the station wa!on for NANC1. NANC1 turns
to them both, spea*in! in a still, small voice.
326
Sir William K. Coe
NANC1
(he *iller.s still loose,
you *now.
She has a wil, Cassanra aspect that sens a chill ri!ht up
CAGG%.s spine.
6( (H,C'S,N
1ou sayin! someboy else *ille
(inaH EhoH
NANC1 smiles a weir sort of smile.
NANC1
& on.t *now who he is. :$t he.s
burne, he wears a weir hat, a
re an yellow sweater, real
irty, an he uses some sort of
*nifes he.s !ot mae into a sort
of...!love. 6i*e !iant fin!er-
nails.
As NANC1 has escribe this monster from her ream, unseen by
her, the faces of CAGG% an 6( (H,C'S,N have raine completely of
color.
6( (H,C'S,N
3low, even, to CAGG%4
& thin* you shoul *eep Nancy
at home a few ays. .(ill she.s
really over the shoc*.
CAGG%
& !ot somethin! better...
3to NANC14
&.m !onna !et you help, baby.
So no one will threaten you
any more.
She ta*es the !irl by the arm an !uies her into the car,
loc*in! the oor from outsie. NANC1 never ta*in! her eyes from
her father.s as the car bears her away.
BA/% (, :6ACK
:$GN ,N0
(H% B&B(H /A1
%P(. $C6A SCH,,6 ,B C%/&C&N%. /A1.
BA/% $' ,N $C6A.s E%S(E,,/ CAC'$S an 'AN (, S&GN0
321
Sir William K. Coe
$C6A SCH,,6 ,B C%/&C&N%
&NS(&($(% B,G (H%
S($/1 ,B S6%%' /&S,G/%GS
&N(. A 6A:,GA(,G1 S6%%'&NG CHAC:%G.
A N$GS% applies sencors to the hea, breast, arms, an fin!ers of
NANC1 (H,C'S,N. (he !irl is lyin! on a simple broa cot, in her
pa-amas. (he room is subue in color an hols only this sin!le
be. A lar!e mirror set into one wall hies an observation room
beyon.
NANC1
:ut & -ust on.t feel...reay
to sleep yet. 'lease, o &
have toH
E&/%G, G%)%A6&NG /G SAC$%6 K&NG, a youn!, curly-haire internist9
intelli!ent an wry. He treats NANC1 at all times li*e a youn!
ault, never patroni<in!. He win*s as the N$GS% finishes.
/G K&NG
/on.t worry, you.re not !onna
chan!e into :rie of Bran*enstein
or anythin!.
NANC1 mana!es a smile, but she.s ha!ar an visibly thinner.
CAGG%, bac*!roun, loo*s ownri!ht istrau!ht.
/G K&NG 3C,N(/4
Nancy have any severe chilhoo
illnessesH Scarlet BeverH
Hi!h temperatures -- concussionsH
CAGG%
No, nothin!.
NANC1
He means, i you ever rop me
on my hea.
(he octor an !irl share a nervous lau!h9 CAGG% oesn.t even
smile.
/G K&NG
Ni!htmares are e2pecte after
psycholo!ical trauma. /on.t
worry, they !o away.
CAGG%
& sure as hell hope so.
NANC1
322
Sir William K. Coe
& on.t see why you couln.t
-ust !ive me a pil to *eep me
from reamin!...
/G K&NG
%veryone.s !ot to ream.
&f you on.t ream, you !o...
3he rills his fin!er
at his temple4
All setH
NANC1
No.
CAGG%
(hey.re -ust simple tests,
Nan. Ee.ll both be ri!ht
here.
/G K&NG
6oo*, & *now it.s been fri!ht-
enin!, & *now your reams have
seeme real. :ut...it.s
o*ay. ,*ayH
CAGG%
'lease, Nancy. (rust us.
(he !irl !au!es her mother, the octor, the situation very
carefully. (hen lowers her eyes.
NANC1
&t.s not you & on.t trust.
&t.s...
3!ives up4
,*ay. 6et.s o it.
Greatly relieve, CAGG% !ives NANC1 a !ooni!ht *iss, then
follows the octor throu!h a oorway near the mirror. As soon as
her mother is out of si!ht, NANC1.s eyes rift to the mirror itself.
&n its reflection she sees herself loo*in! bac*, alone on the be.
/&SS,6)% (,0
&N(. (H% ,:S%G)A(&,N G,,C.
CAGG% an /G K&NG overloo* NANC1.s sleepin! chamber throu!h the
one-way mirror. An K&NGmonitors the !irl even more closely with
a ban* of instruments -- a mass of !lowin! ials, !raphs an
meters. His manner with CAGG% is sli!htly more sober.
/G K&NG
How lon!.s this been !oin! onH
323
Sir William K. Coe
CAGG%
Since the murer. She was fine
before that.
/G K&NG
Not to worry. No si!ns of path-
olo!y in Nancy.s %%G or pulse
rate. &. !uess what we.ve !ot
is a normal youn! !irl who -ust
happens to have !one throu!h
two ays of hell.
CAGG%
&t.s -ust mae her thin*...
her reams are real...
K&NG a-usts a ial, watchin! the %KG li*e a haw*.
/G K&NG
%ver hear the ol :$hist tale
about the Kin! who reame he
was a be!!ar who reame he
was a *in!H
CAGG% twitches. (Hen there.s a sli!ht alteration in the soun of
the %KG. K&NG nos in satisfaction.
/G K&NG 3C,N(/4
,*ay, !oo. She.s asleep.
CAGG%
3immensely relieve4
(han* Go.
C$S&C G&S%S S,6%CN61, CAF%S(&CA661 into a hauntin! transition as
we
/&SS,6)% (,
A C,N(AG% ,B SH,(S, of the %KG GGA'H, its in*y neeles calmin!,
or a C%(%G tracin! the 5uietin! of NANC1.s pulse, an of ,(H%G
&NS(G$C%N(S, inicatin! life processes we can only !uess. All
smoothin! out.
C6,S% ,N NANC1 on () C,N&(,G, asleep li*e the chil she is.
&nnocent.
CAGG% li!hts a ci!arette, an!ry at her helplessness.
CAGG%
Ehat the hell are reams, anywayH
/G K&NG
324
Sir William K. Coe
Cysteries. &ncreible boy
hoo*us po*us. (ruth is we
still on.t *now what they
are or where they come from.
As for ni!htmares...
3leans closer4
/i you *now that in the last
three years twenty 'hilipino
refu!ees in California ie
in the mile fo ni!htmaresH
Not from heart attac*s, either.
(hey -ust ie.
He !ives a +Ah on. *now+ shru!. CAGG% loo*s out into the
sleepin! room. NANC1 is a motionless bunle in the mile of the
be.
ANG6% ,N A N%%/6% on an %KG ippin! to a lower reain!.
E&/%G ANG6% -- the mother an /,C(,G watchin!.
CAGG%
Ehat happeneH (hat neele
san* li*e a roc*.
/G K&NG
35uietly4
She.s enterin! eep sleep now.
Heart rate.s a little hi!h ue
to an2iety, but otherwise she.s
nicely rela2e. All normal.
She coul ream at any time now.
Gi!ht now she.s li*e a iver
on the bottom of an ocean no
one.s mappe yet. Eaitin! to
see what shows up.
&N(. (H% S6%%'&GN G,,C.
Ee can see NANC1 rift from the initial sta!e, over the brin*
into eep slee. Her hair falls into her eyes9 her face rela2es9 her
shoulers curl roun her li*e comforters. (H% C$S&C /%%'%NS, an
be!ins to hint at the tones of the N&GH(CAG% (H%C%.
&N(. C,N(G,6 G,,C. /A1.
/G K&NG an CAGG% watch the instruments. every move.
,ne of the machines be!ins a sli!ht CH&G'&NG. K&NG scans it,
li*in! what he sees.
/G K&NG
335
Sir William K. Coe
,*ay, she.s starte to ream.
He leans forwar in his chair, li*e a pilot startin! an
instrument approach. CAGG% (H,C'S,N lic*s her ry lips, fi!htinin! a
turn of nausea.
CAGG%
How can you tellH
/G K&NG
G.%.C..s. Gapi eye movements.
(he eyes follow the ream --
their movement pic*s up on
this --
He pros a ial with his pencil an scribbles the time on a note
pa.
/G K&NG 3C,N(/4
:eta Eaves are slowin!, too.
She.s reamin!, all ri!ht.
A !oo one, too.
CAGG% watches the () C,N&(,G. &t.s in e2tra-close on NANC1.s
eyes -- an they.re artin! beneath the lis, reactin! to events lost
behin a s*ein of flesh an neurons.
K&NG points to a movin! !raph. A neele.s be!un wavin! la<ily
between plus an minus three. (he /,C(,G nos, asure.
/G K&NG 3C,N(/4
(ypical ream parameter. A
ni!htmare, now, woul be plus or
minus five or si29 she.s -ust
aroun three point --
He stops. ,utsie, visible throu!h the !lass, NANC1 twists
aroun. %yes still close, she.s nevertheless holin! her hea
in the attitue of prey listenin! to the first faint soun of the
preator.s approach.
CAGG% loo*s from her au!eter to the /,C(,G, color rainin! from
her face.
CAGG%
Ehat the hell.s thisH She
awa*e or asleepH
(he neele of the !raph !ives a -a!!e pitch up, plun!es, then
sur!es well above the ei!ht mar*. A stran!e C$S&C C$% --
isonant an threatenin!, creeps in -- the N&GH(CAG% (H%C% slurre
into awful minors an weir isonance. K&NG stares at the !au!e in
isbelief, rappin! his fin!er on its !lass.
331
Sir William K. Coe
/G K&NG
Can.t be. &t never !ets
this hi!h...
(he neele swin!s even hi!her, behin.
/G K&NG 3C,N(/4
Fesus H. Christ.
He.s cut off by the hi!h-pitche K%%N&NG of the !irl, the S,$N/
cuttin! throu!h the ouble thic*ness of the !lass li*e a lasar.
A warnin! :%%'%G has be!un, the instruments li!ht up li*e a
Christmas tree -- an outsie in the sleepi!n room, NANC1 is
contortin! as if shot throu!h with a thousan volts. K&NG *noc*s
over his chair in his sprint for the oor.
&N(. S6%%'&NG G,,C.
(he /,C(,G an CAGG% come in on the run -- NANC1.s flainlin! an
screamin! as if the evil himself were after her. K&NG !rabs her
to sha*e her awa*e.
ANG6% ,N NANC1 3eyes open4 -- loo*in in terror -- S,$N/ %CH,%/
S(GANG%61.
&N H%G ',) -- resse in K&NG.s clothes -- the horribly scarre
CAN reaches out.
E&/%G -- 3NANC1.s eyes close in sleep4 as the !irl.s fist shoots
out with increible force an *noc*s /G K&NG flyin!L
(he N$GS% an CAGG% both escen on her --
an a!ain in her S6%%'&NG ',) we see the CAN sta!!er for her.
E&/%G ,N NANC1 -- 3still in her ni!htmare4 -- fi!htin! li*e a
ti!er with both CAGG% an the N$GS% -- senin! the N$GS%
sprawlin! -- leavin! CAGG% han!in! on for ear life.
ANG6% on the stunne /,C(,G fumblin! with a hyperermic neele,
spillin! most of the stuff on himself with his sha*in! hans --
the SCG%ACS AN/ C$GS%S of NANC1 are eafenin! an worthy of a
stevaor fi!htin! off his worst enemy. Stran!er still, her hair
is electrifie, stanin! on en an !reyin! before their very
eyesL
CAGG% screams at the top of her lun!s.
CAGG%
NANC1LLL &(.S C,C -- NANC1LLLL
Some eep bolt of psychic power smac*s throu!h the !irl, an her
eyes flap open -- they.re !la<e with terror an fury, but open.
NANC1.s awa*e.
332
Sir William K. Coe
She stares aroun li*e a cornere animal in the mile of the
be, her purple face !aspin! out !ut-wrenchi!n S,:S. (he N$GS% an
CAGG% are to !o bac* in an hol the sweat-renche !irl as /G
K&NG comes for her with the neele.
/G K&NG
Now, this is -ust !oin! to let
you rela2 an sleep, Nan --
Eith increible swiftness, NANC1 bac*hans the hypoermic into a
far wall, shatterin! it into a million pieces.
NANC1
No. (hat.s enou!h sleep.
Her eyes are winows strai!ht into white fire as she loc*s into
K&NG.S face. He abs his split lip, swallowin! painfully.
/G K&NG
,*ay, *i. ,*ay. Bair enou!h.
He hols out his han. NANC1 at last ta*es it, an sa!s bac*
into her pillow, e2hauste. (hen K&NG comes up with bloo on his han.
He stares at it, umbfoune, then at the !irl. Across her left
forearm, a eep !ash is bleein! freely, as if mae by a very
sharp instrument.
CAGG%
,h my !o, oh my !o...
/G K&NG
3to the N$GS%4
Get the *itL
(he N$GS% scrambles away as the /,C(,G claps his han over the
wouns. He loo*s into NANC1.s face. Ehat he sees fri!htens him
even more0 NANC1.s haunte, !host-li*e eyes turn from him to her
mother, an a terrible, chillin! smile opens across NANC1.s white
lips.
NANC1
1ou believe thisH
She pulls her free arm from beneath the sheets an reveals a
stran!e hat, filthy an worn -- the K&66%G.s hat. (he si!ht of
it fri!htens CAGG% more than anythin! that.s come before.
CAGG%
3eathly pale4
Ehere the hell you !et thatH
333
Sir William K. Coe
NANC1 fi2es her with Pray eyes.
NANC1
& !rabbe it off his hea.
CAGG% stares at the hat as if it hel her whole future, an her
future was a horror.
BA/% (, :6ACK
%P(. NANC1.S H,$S%. /A1.
:$GN ,N
(H% S&P(H /A1
BA/% $' ,N NANC1.S H,$S%, early mornin!.
&N(. NANC1.S K&(CH%N. /A1.
CAGG% is on the telephone, the irty hat in her han. Nearby is
a nearly empty bottle of !in.
CAGG%
She sai she snatche it off
his hea in a ream.
3listens4
No, &.m not cra<y, &.ve !ot
the amn thin! in my hanL
3listens4
& *now we i, we all...
3hears NANC1
approachin!4
Gotta !o.
She han!s up an stuffs the hat an bottle into a rawer,
screenin! the action with her boy. NANC1 enters.
:y now the !irl has an e2traorinary loo*. Her hair is ashen,
her s*in transluscent, an eyes ar*-rin!e. Her forearm is heavily
bana!e over the slashes. &n short, instea of the !irl ne2t
oor, we now coul be loo*in! at the lunatic from the ne2t cell.
CAGG%, thou!h she oes her best to hie it, is ownri!ht
fri!htene of her.
CAGG% 3C,N(/4
1ou in.t sleep, i youH
(he octor says you have to
sleep or you.ll --
NANC1 pours herself a cup of blac* coffee.
33/
Sir William K. Coe
NANC1
Go even cra<ierH
CAGG%
& on.t thin* you.re !oin!
cra<y -- an stop rin*in!
that amn coffeeL
NANC1
/i you as* /ay to have the
hat e2amineH
CAGG%
& threw that filthy thin! away --
& on.t *now what you.re tryin!
to prove with it, but --
NANC1 comes closer, her eyes shinin! with a new sureness.
NANC1
Ehat & learne at the ream
clinic, that.s what &.m tryin!
to prove. Go in.t *ill (ina,
an he in.t han! himself.
&t.s this !uy -- he.s after
us in our reams.
CAGG%
:ut that.s -ust not reality,
NancyL
Burious, NANC1 -an*s open the rawer before CAGG% can stop her
an spills the bottle an hat onto the counter.
CAGG% !rabs away the bottle protectively -- but it.s the hat
NANC1 !oes for. She waves it triumphantly -- emonically.
NANC1
&t.s real, Camma. Beel it.
CAGG%
3horrifie4
'ut that amne thin! ownL
CAGG% lun!es for it -- NANC1 leaps out of reach --
NANC1
His name is even in it -- written
ri!ht in here -- Bre Krue!er --
Bre Krue!erL 1ou *now who that
is, CammaH 1ou better tell me,
cause now he.s after meL
CAGG% swallows, then persists in the lie.
336
Sir William K. Coe
CAGG%
Nancy, trust your mother for
once -- you.ll feel better as
soon as you sleepL
NANC1 shoots a har humorless lau!h, holin! up her slashe arm.
NANC1
1ou call this feelin! betterH
,r shoul & !rab a bottle an
ve! out with you -- avoi
everythin! happenin! to me
by -ust !ettin! !oo an loae --
CAGG% slaps her har.
CAGG%
3losin! it4
Bre Krue!er can.t be after you,
Nancy -- he.s eaL
(he room falls silent, both women starin! at the other.
CAGG% 3C,N(/4
3low, raw4
Bre Krue!er is ea. /ea an
!one. :elieve me, & *now. Now
!o to be. & orer you, !o to
be.
CAGG% snatches the hat away. NANC1 is furious, betraye.
NANC1
1ou *new about him all
this time, an you.ve been actin!
li*e he was someone & mae upL
CAGG% pulls away.
CAGG%
1ou.re sic*, Nancy. &ma!inin!
thin!s. 1ou nee to sleep,
it.s as simple as that.
NANC1 wheels an smashes CAGG%.s bottle of !in in the sin*.
NANC1
Screw sleepL
CAGG% 3C,N(/4
NancyL
:ut NANC1 runs past her mother for the front oor.
331
Sir William K. Coe
CAGG% 3C,N(/4
Nancy -- it.s only a ni!htmareL
NANC1 turns in the oorway.
NANC1
(hat.s enou!hL
,n the oor S6AC, we
C$( (,
%P(. SHAK%S'%AG% :G&/G%. /A1.
ANG6% ,N A N%&GH:,GH,,/ S(G%%(. Ee hear G6%N.s ),&C% an 'AN $'
to G%)%A6 NANC1 an G6%N hi!h above, two tiny fi!ures wal*in!
across this stran!e white bri!e in ol 6os An!eles. CAC%GA
:%G&NS A S6,E V,,C.
G6%N
Ehenever & !et nervous & eat.
NANC1
An if you can.t o that, you
sleep.
G6%N
$se to. Not anymore.
G6%N -ams more :i! Cac* into his face. :y now our V,,C reveals
he.s attac*in! a hu!e ba! of :i! Cac*s, an furtively eyein!
NANC1. (he !irl.s hair is startlin!ly white in the sunli!ht.
She.s reain! a boo*, harly payin! attention.
G6%N 3C,N(/4
1ou ever rea about the :alinese
way of reamin!H
NANC1
No.
G6%N
(hey !ot a whole system they
call .ream s*ills.. So, if
you have a ni!htmare, for
instance li*e fallin!, ri!htH
NANC1
1eah.
G6%N
&nstea of screamin! an !ettin!
nuts, you say, o*ay, &.m !onna
332
Sir William K. Coe
ma*e up my min that & fall
into a ma!ic worl where & can
!et somethin! special, li*e a
poem or son!.
3!rins hopefully4
(hey !et all their art literature
from reams. Fust wa*e up an
write it own. /reams*ills.
He stops, seein! the loo* on NANC1.s face. ,ur V,,C is much
closer now, a wie meium, an still comin! in on the *is.
NANC1
An what if they meet a monster
in their reamH (hen whatH
G6%N
(hey turn their bac* on it.
3!rins hopefully4
(a*es away its ener!y, an
it isappears.
NANC1
Ehat happens if they on.t o
thatH
G6%N
3shru!s4
& !uess those people on.t
wa*e up to tell what happens.
NANC1
Great.
She leans over the railin!, po*in! her face bac* into her boo*.
G6%N tips its cover an reas its title. ,$G V,,C &S S(&66
C,)&NG C6,S%G, a C%/&$C C6,S% $' N,E.

G6%N
.:ooby (raps an &mprovise
Anti-personel /evices.L
NANC1
& foun it at this neat
survivalist boo*store on
)entura.
G6%N
3shoc*e4
Eell what you reain! it forH
,$G V,,C 6,CKS &N ,N A (&GH( (E, ,N (H%&G BAC%S, NANC1.s !rimly
etermine.
333
Sir William K. Coe
NANC1
&.m into survival.
She wal*s away, ,$( ,B BGAC%, leavin! G6%N watchin! after her in
astonishment.
G6%N
She.s startin! to scare the
livin! shit out of me.
%P(. %6C S(G%%(ONANC1.S H,C%O%)%N&NG
ANG6% ACG,SS NANC1.s +(G%% 6AEN+, the !rass between the siewal*
an the street, in the !eneral irection of G6%N.s home. (his
ANG6% oesn.t 5uite reveal NANC1.s house.
B,G%GG,$N/ is a utility truc* in which a half o<en Hispanic
E,GK%GS are loain! tools, e2tension cors an harware. (hey
loo* li*e they.ve put in one hell of a har ay.s wor*.
CAGG% appears an hans a chec* to the B,G%CAN of the crew, a
white !uy in clean coveralls an a !ol chain. he scrutini<es it.
B,G%CAN
An the other...
CAGG% for*s over a wa of cash, hans tremblin! in her half-
run*, helpless ra!e.
CAGG%
Ehere.s you mas* an !unH
(he B,G%CAN counts the money swiftly.
B,GCAN
/on.t bust my chops, lay.
&f the city foun out & put
.em in without insie releases
&. loose my license.
He shoves the money in his poc*et an climbs in his truc*. CAGG%
%P&(S BGAC% for her house.
'AN E&(H (H% (G$CK as it pulls away, (H%N '&CK $' NANC1, wal*in!
across the street from the corner. Alone. /ispirite. She lifts
her eyes to her home an stops in her trac*s.
NANC1
,h !ross...
334
Sir William K. Coe
E&/%N&NG (, G%)%A6 (H% H,$S% as NANC1 wal*s across her front
yar. %very sin!le winow has been covere with bran-new
ornamental iron bars, bolte eeply into their frames.
C6,S%G, A( A E&N/,E. NANC1 !ives a set of bars a powerful sha*e.
(hey on.t bu!e. (hen the !irl loo*s up an sees even the
winow to her secon floor beroom is barre. An the rose
trellis has been rippe own an heape at the founation in a
tan!le of woo, thorns an bro*en flowers.
&N(. CAGG%.S G,,C. %)%N&NG.
ANG6% ,N (H% /,,GEA1 &N(, (H% HA66. easy listenin! C$S&C wafts
throu!h the air. NANC1 appears in the oorway.
NANC1 3,S4
Com, what.s with the barsLH
G%)%GS% to CAGG%, proppe a!ainst the heaboar of her be, a
croo*e shaow in the !loom. A fresh bottle of Gin !lints in her
han.
NANC1
,h, Com...
(he !irls crosses an reaches !ently for the bottle. CAGG%
snatches it away.
CAGG%
.s.mine...
She roc*s the bottle in her arms.
NANC1
Ehat.s with the barsH
CAGG%
S.curity.
NANC1 sits on the be, a surprinin! compassion enterin! her voice.
NANC1
Com, & want to *now what you
*now about Bre Krue!er.
CAGG%
/ea an !one.
NANC1
& want to *now how, where --
if you on.t tell me, &.m !oin!
to call ay.
345
Sir William K. Coe
CAGG% !ives a lau!h -- a raspin! chachination from eep in her
chest.
CAGG% 3C,N(/4
1our father the cop. (hat.s a
!oo one.
3coler4
Bor!et Bre Krue!er. 1ou on.t
want to *now, believe me.
NANC1
& o want to *now. He.s not
ea an !one -- he.s after me
an if & sleep he.ll !et meL
&.ve !ot to *nowL
CAGG% blin*s at her a moment, then crac*s a terrible, croo*e
!rin.
CAGG%
All ri!ht.
&N(. NANC1.S C%66AG. N&GH(.
CAGG% ra!s NANC1 healon! own the cellar stairs an across the
room with a cra<y fury, twistin! her own near the founation.
An she thrusts her fac so close to her au!hter.s that NANC1
reels from the alcohol.
CAGG%
1ou want to *now who Bre
Krue!er wasH He was a filthy
chil *iller who !ot at least
twenty *is, *is from our
area, *is we all *new. &t
rove us all cra<y when we
in.t *now who was oin! it --
but it was even worse when
they cau!ht him.
CAGG% raws herself up with a sha*e.
CAGG% 3C,N(/4
,h lawyers !ot fat an the -u!e
!ot famous, but someone for!ot to
si!n the search warrant in the
ri!ht place, an Bre Krue!er
was free, -ust li*e that.
NANC1
So he.s aliveH
341
Sir William K. Coe
CAGG% smiles !rimly.
CAGG%
He wouln.ve stoppe. (he
bastar woul.ve !ot mare
*is first chance he !ot --
they foun nearly ten boies
in his boiler room as it
was. :ut the law couln.t
touch him.
At the mention of +boiler room+, NANC1 !ives a sha*e. CAGG%
misses this, too busy ta*in! a pull on the bottle that.s never
left her han.
CAGG% 3C,N(/4
Ehat was neee were some private
citi<ens willin! to o what ha
to be one.
She reels slowly, loo*in! at NANC1 is efiance.
NANC1
3hushe4
Ehat i you o, motherH
CAGG% crales the bottle.
CAGG%
:unch of us parents trac*e him
own after they let him !o. Boun
him in an ol boiler room, -ust
li*e before. Saw him lyin! there
in that ca*e re an yellow sweater
he always wore, run* an. asleep
with his weir *nives by his sie...
NANC1
3reain! it4
Go on...
CAGG% reaches over an taps a usty two-!allon -u! of !asoline
near the lawn mower.
CAGG%
Ee poure !asoline all aroun
the place, left a trail out the
oor, loc*e the oor, then...
She mimes stri*in! a match --
CAGG% 3C,N(/4
EH,,SHLLL
342
Sir William K. Coe
Her arms shoot up an her eyes !o wie with the li!ht of that
fire. (here.s awe in her voice. (hen she rops her arms.
CAGG% 3C,N(/4
3hushe, rememberin!4
:ut -ust when it seeme not
even the evil coul live
in there any more -- he crashe
out li*e a banshee, all on fire
-- swin!in! those fin!er*nives
every which irection an
screamin! he... he was !oin!
to !et us by *illin! all our
*is...
She stops with a suen 5ua*e an rin*s for a lon! moment. :ut
the inta*e oesn.t hie the ima!e. Her face bathe in tears, she
loo*s at her au!hter an sha*es her hea.
CAGG% 3C,N(/4
(here were all those men, Nancy,
even your father, oh yes, even
him. :ut none coul o what
ha to be one -- Krue!er rollin!
an screamin! so lou the whole
state coul hear -- no one coul
ta*e your father.s !un an *ill
him !oo an proper e2cept me.
She sweeps her han across the air in a terrific slash, then
stops, her han sha*in!, her voice hoarse an terrifie. She
loo*s at her au!hter, be!!in!.
CAGG% 3C,N(/4
So he.s ea Nan. He can.t
!et you. Commy *ille him.
Bor someone who starte this film at a very youn! seventeen,
NANC1.s now the battle-tempere veteran as she ta*es her mother
in her arms an roc*s her.
NANC1
Eho was thereH Eere (ina.s
parents thereH Eere Go.sH
CAGG% sa!s bac*.
CAGG%
Sure, an Glen.s. All of us.
:ut that.s in the past now,
baby. Geally. &t.s over.
3slyly4
Ee even too* his *nives.
343
Sir William K. Coe
(he woman twists aroun an opens the oor on an ol furnace -- a
furnace unuse since the newer !as one nearby was put in. SHe
fishes insie the cavity -- as then we hear a touch of the
familiar .SCGG&&(CH.. Ne2t moment she pulls out an ob-ect
wrappe in ra!s, opens it an isplays the lon!, ruste blaes an
their !love-li*e apparatus.
CAGG% 3C,N(/4
SeeH
NANC1 stares at the amn thin!s, chille.
NANC1
All these years you.ve *ept those
thin!s burie own hereH &n our
own houseH
CAGG% 3C,N(/4
'roof he.s eclawe. As for him,
we burie him !oo an eep.
CAGG% shoves the *nives into their hiin! place, closes the
little iron oor.
CAGG% 3C,N(/4
So.s o*ay, you can sleep.
She lurches up an sta!!ers upstairs.
NANC1 shivers an loo*s own at her arm. (he cut beneath her
bana!e has be!un to blee a!ain. An from insie the furnace,
as if from eep below, the '$6S&NG of the bounless ni!htmare-boiler
room can be faintly hear.
%P(. %6C S(G%%(. N&GH(.
E&/% ,N (H% S(G%%( AN/ :,(H H,$S%S, G6%N.s on the ri!ht, NANC1.s
on the left. A (%6%'H,N% G&NGS. V,,C &N ,N G6%N.s $'S(A&GS
:%/G,,C E&N/,E.
&N(. G6%N.S _ NANC1.S :%/G,,CS - &N(%GC$(. N&GH(.
G6%N, yawnin!, crosses an pic*s up his telephone.
G6%N
HelloH
NANC1 3telephone4
Hi.
G6%N
,h. Hi, how y.oin!H
34/
Sir William K. Coe
NANC1 loo*s out the winow an touches her hair.
NANC1 3C,N(/4
Bine. Stan by your winow
so & can see you. you soun
a million miles away.
&n the li!hte winow across the way, she can S%% G6%N move into
si!ht. &n his shot, we can S%% NANC1 step into her winow be!in
the bars.
NANC1 3C,N(/4
Cuch better.
G6%N
& hear your ma went ape at the
security store toay. 1ou loo*
li*e the 'risoner of Vena or
somethin!. How lon!.s it been
since you sleptH
NANC1
Comin! up on the seventh ay. &t.s
o*ay, & chec*e Guiness. (he
recor.s eleven, an &.ll beat
that if & have to.
3beat4
6isten, &... & *now who he is.
G6%N
EhoH
NANC1
(he *iller.
G6%N
1ou oH
NANC1
1eah, an if he !ets me, &.m
pretty sure you.re ne2t.
G6%N is appalle.
G6%N
CeLH Ehy woul anyone want to
*ill meHL
NANC1
/on.t as* -- -ust !ive me some
help nailin! this !uy when &
brin! him out.
346
Sir William K. Coe
G6%N pales.
G6%N
:rin! him out of whatH
NANC1
Cy ream.
G6%N
How you plan to o thatH
NANC1
Fust li*e & i the hat. Have
a hol of the suc*er when you
wa*e me up.
G6%N
CeH
3switchin! bac* to a more
comfortable reality4
Eait a minute, you can.t brin!
someone out of a reamL
NANC1
&f & can.t, then you all can
rela2, because it.ll -ust be a
simple case of me bein! nuts.
G6%N
& can save you the trouble.
1ou.re nutty as a fruitca*e.
& love you anyway.
NANC1
Goo, then you won.t min col-coc*in!
this !uy when & brin! him out.
G6%N
EhatLH
NANC1
3simplicity itself4
1ou hear me. & !rab him in the
ream -- you see me stru!!lin!
so you wa*e me up. Ee both come
out, you col coc* the fuc*er,
an we !ot him. Clever, huhH
G6%N
1ou cra<yH Hit him with whatH
NANC1
1ou.re a -oc*. 1ou must have
a baseball bat or somethin!.
341
Sir William K. Coe
Come to my winow at mini!ht.
An meanwhile...
G6%N
3wea*ly4
Ceanwhile...H
NANC1
Ceanwhile whatever you o
on.t fall asleep. Cini!ht.
She han!s up. G6%N.s eyes bu! out.
G6%N
Holy shitL Cini!ht. :aseball
bats an boo!emen. $nfuc*in!
real.
%P(. (H% )A66%1 AN/ H&66S. N&GH(.
H&GH, E&/% SH,(. (he moon is above the hori<on. A cool win
slies a ban* of white fo! inlan. (he valley an its li!hts
stretch forever, an enless net of illumination an ar*ness. A
coyote H,E6S on the ar* hill.
%P(. ',6&C% S(A(&,N. N&GH(.
A palm fron scuttles across the center of the par*in! lot. 6(
(H,C'S,N arrives in an unmar*e car.
C,' 3passin!4
6ieutenant (hompson -- what
you oin! in at this timeH
6( (H,C'S,N
Can.t sleep, thou!ht &. come
brea* up the po*er !ame.
(he C,' lau!hs an !oes his way. (H,C'S,N.s smile evaporates.
&N(. ',6&C% S(A(&,N. N&GH(.
(H,C'S,N enters an chec*s the lo!. Nearby, SG( GAGC&A pours
coffee.
S%GG%AN( GAGC&A
&f it was any more 5uiet we
coul hear owls fartin!.
6( (H,C'S,N
&s 5uiet, isn.t itH
342
Sir William K. Coe
S%GG%AN( GAGC&A
3too casually4
How.s your !irlH
(H,C'S,N loo*s at the /es* Ser!eant a moment, then tosses own
the lo!.
6( (H,C'S,N
She.s sensible. SHe.ll sleep
sooner or later.
%P(. %6C S(G%%(. N&GH(.
(he nei!hborhoo is utterly still, most of the homes alreay
ar*. :ut not NANC1.s. ,r G6%N.s.
V,,C (, G6%N.S 6&GH(%/ 6&)&NG G,,C E&N/,E.
&N(. G6%N.S 6&)&NG G,,C. N&GH(.
G6%N.s father watches eleven o.cloc* news, a reary B&6C C6&'
3S(,CK4 of war an refu!ees in a far-awy lan.
CG 6AN(V ta*es a pull on his :u.
CG 6AN(V
1ou. thin* they. have some-
thin! .bout the 6ane *i han!in!
himself.
CGS 6AN(V wal*s throu!h the room, ryin! her hans on a ishtowel.
CGS 6AN(V
Caybe we.re all ma*in! more out
of it than we shoul.
She heas upstairs. CG 6AN(V pops the automatic tuner. CAGS,N
blin*s ,N.
CAGS,N 3()4
& wouln.t touch that line with
a ten foot pole.
%/ CCCAH,N an the A$/&%NC% lau!h in eli!ht.
&N(. G6%N.S H,$S%O$'S(A&GS C,GG&/,G. N&GH(.
CGS 6AN(V comes alon! the upstairs hall an *noc*s !ently at the
close oor.
343
Sir William K. Coe
CGS 6AN(V
GlenH you all ri!htH
She puts her ear to the oor an listens.
CGS 6AN(V 3C,N(/4
Glen honeyH
No answer.
&N(. G6%N.S G,,C. N&GH(.
G6%N lies sprawle across the be, lon! le!s flun! over the en,
hea not visible.
his mother enters. She loo*s at the boy, turns off the ().
6oo*s at him a!ain. Brom this an!le she can see his hea,
earphones cramme over it raspin! their tinny noise. :ut no movement
from the *i at all. CGS 6AN(V crosses an po*es him in the ribs.
G6%N lurches up, arms winmillin!.
G6%N
EhuuH
He refocuses his eyes, ta*es off his earphones.
CGS 6AN(V
How can you listen to Carson an
a recor at the same timeH
G6%N swin!s his le!s over the e!e of the be an sha*es his hea
to clear the cobwebs.
G6%N
Easn.t listenin! to the tube,
-ust watchin!. Ciss Nue
America.s suppose to be on
toni!ht.
CGS 6AN(V
Eell how you !onna hear what
she saysH
G6%N
Eho cares what she saysH
(he mother !ives up.
CGS 6AN(V
1ou shoul !et ot sleep soon,
Glen. &t.s almost mini!ht.
Gooness *nows we.ve all ha
enou!h of a time the last few
344
Sir William K. Coe
ays...
G6%N
& will, Com...in a while.
1ou !uys turnin! inH
CGS 6AN(V
'retty soon.
His C,(H%G si!hs an !oes out, closin! the oor behin her. G6%N
flips the () bac* on an !lances at the cloc*.
&NS%G( ,B C6,CK. &t.s 770=8.
(&GH( ,N G6%N.s face. He clamps the earphones bac* on, an turns
the volume up hi!h. (he C$S&C is so lou we can hear it
resonatin! insie his s*ull.
CAC%GA C,)%S 'AS( G6%N to his einow, then V,,CS throu!h to0
%P(. %6C S(G%%(ONANC1.S H,$S%. N&GH(.
C,N(&N$% V,,C&NG into the 6&GH(%/ winow of NANC1.s barre secon
floor beroom an
C$( (,0
&N(. NANC1.S G,,C. N&GH(
C6,S% ,N CAGG%, weavin! on the e!e of NANC1.s be, stro*in! the
!irl.s hair. NANC1.s still somethin! of a wrec*, but less than
CAGG%.
CAGG%
Ee.ll !o away, ta*e a vacation.
Get your hair colore nice, the
way it was. No one will ever
*now.
3sniffs4
(his whole room smells of coffee,
y.*nowH
She !athers up NANC1.s coffee cups an empty No/o< bo2es, leans
own an *isses her.
CAGG% 3C,N(/4
&t.s all over now, baby. (he
ni!htmare.s over. 'lease.
NANC1 nos her hea, half stubborn, half saly. She can barely
*eep her eyes open now.
NANC1
/55
Sir William K. Coe
,*ay.
She scrunches intoher pillow. CAGG% smiles ha!!arly an shuts
off the li!ht, ta*in! the coffee pot with her as she leaves.
NANC1 3C,N(/4
Ni!ht-ni!ht.
CAGG% smiles, relieve. (he !irl pulls the blan*et aroun her
shoulers. Her eyes flutter close, her breathin! becomes
re!ular an eep. ,nce a!ain she.s the litle !irl CAGG% fantasi<es
she is.
(he mother tiptoes out of the room, closin! the oor behin her.
H,6/ ,N NANC1.s sleepin! face as the /,,G C6,S%S. Her eyes
remain close another beat, then open wie.
She 5uietly -umps out of be an sha*es herself sava!ely to
scatter the sleep settlin! so 5uic*ly.
Still in the ar*, she fishes a full electric coffepot from uner
her be an pours herself a fresh fi2 into a mu! she i!s from
beneath her pillow. (he face illuminate by the neon li!ht on
the pot is set in absolute etermination.
NANC1 rains the cup, then crosses to her closet, retrieves a
pitcher of ice water from behin a heap of clothes an splashes
her eyes an the bac* of her nec*. (hat one she eases open her
winow an presses her face to the bars, suc*in! in cool ni!ht
air until every shre of sleep is !one from her brain.
(hen she starts pullin! on clothes.
&N(. NANC1.S H,$S%O/,ENS(A&GS. N&GH(..
ANG6% ,N CAGG% as she chec*s the loc* on the bac*oor. Birm.
ANG6% &N (H% 6&)&NG G,,C as she pas throu!h the ar*ene house,
feels her way to a wall of shelves an ta*es own a boo*. (hen
another, an a thir. (hen reaches in an fishes out a bottle of
!in.
%P(. NANC1.S H,$S% AN/ %6C S(G%%(. N&GH(.
(he s*y has !athere in !reater ar*ness. 6,E, /&S(AN( (H$N/%G
rolls aroun the hori<on li*e a !reat rum.
ANG6% ,N NANC1.S H,$S% from across the street. (he moon !lints
off the barre winows. CAC%GA V,,CS to NANC1.s winow. (he
imprisone !irl hovers in the ar*ness behin the !rill li*e a
!host, her eyes turne towars G6%N.s. (hen she switches to
somethin! much C6,S%G (, CAC%GA ANG6%, an she raws bac*.
/51
Sir William K. Coe
G%)%GS% ,N G6%N.s father, stanin! on the front porch of his
home, also in the shaows, loo*in! strai!ht across an up at
NANC1. He raws on his ci!arette9 his face !lows re.
NANC1 pulls own the shae.
G6%N.s father !rins the ci!arette beneath his shoe.
CGS 6AN(V
Shouln.t stare.
As the man turns our SH,( E&/%NS (, G%)%A6 CGS 6AN(V.
CG 6AN(V
Know what & thin*H & thin*
that *i.s some *ina lunatic.
(he woman spoons more sweetness into her mouth an rubs her
forehea.
CGS 6AN(V
Shouln.t say such a thin! about
the poor chil. &f you mean the
bars, Car!e.s -ust bein! cautious,
her bein! alone an Nancy actin!
so nervous lately.
(he woman rises an pulls him !ently towars the livin! room. As
he !oes insie he ta*es one last loo*.
CG 6AN(V 3C,N(/4
Eell, she ain.t !onna han! aroun
our boy no more.
,nce the two are insie, the oor is loc*e.
C6,S% ,N NANC1.s face. )%G1 C6,S%. Her eyes stare ahea, re-
rimme, an2ious. She pic*s absently at the thic* bana!e
coverin! her forearm. (he lon! cuts from Bre Krue!er.s fin!ers are
bleein! a!in, but she oesn.t even care anymore. (oo late to
sweat the small stuff. She crosse the room.
,n the besie table with the nearly empty 'yre2 coffee ma*er,
the empty cup an the empty bo2 of No-/o<, is her ol fashione alarm
cloc*, an a phone.
NANC1 pours herself the last of the coffee an rin*s it to the
re!s, then loo*s to the cloc*.
&NS%G( C6,CK -- ten minutes to mini!ht.
/52
Sir William K. Coe
NANC1.s eyes !o to the oor.
E&/%G. Bully clothe an in a -ac*et now, she creeps to the oor
an crac*s it, -ust to ma*e sure. (hen free<es.
&N(. HA66EA1 ,$(S&/% NANC1.S /,,G.
&N NANC1.S ',) thou!h the oor we see CAGG%, rumma!in! aroun in
the linen closet not fifteen feet away. (here.s no way NANC1 can
!et past her. (he woman pulls out a full bottle of !in in
satisfaction an be!ins fumblin! with its cap.
NANC1 eases the oor close a!ain an sin*s to the *ey hole,
watchin! throu!h it with a sin*in! heart.
NANC1
3very 5uiet, very intense4
Han! on G6%N...
&N(. G6%N.S G,,C. N&GH(.
G6%N, coat now on, !oes to his winow, chechin!.
&N(. %6C S(G%%(. N&GH(.
G6%N.S ',) -- NANC1.S porch is eserte9 front oor close,
li!hts out. No si!n of NANC1.
&N(. G6%N.S G,,C. N&GH(.
G6%N shru!s, ta*es off his -ac*et an plops bac* onto his be.
G6%N
Eell, &.m not !onna ris*
snea*in! out until she oes.
He puts the earphones bac* on.
Absolutely frustrate, NANC1 turns from the *eyhole to the
winow. She opens the blin an eases bac* the curtain.
%P(. %6C S(G%%(. N&GH(.
/53
Sir William K. Coe
&N NANC1.S ',) (HG,$GH (H% :AGS we V,,C irectly across to G6%N.s
winow.
&N(. G6%N.S G,,C. N&GH(.
G6%N lies on his be, fully clothe, earphones over his ears,
CAGS,N ronin! from the (). An the boy.s eyes be!in to roop.
&N(. NANC1.S :%/G,,C. N&GH(.
NANC1 pic*s up her phone, bites her lip, then be!ins ialin!.
&N(. G6%N.S G,,C. N&GH(.
(&GH( ,N 'H,N% as it be!ins G&NG&NG louly.
E&/%G SH,(, revealin! G6%N asleep :ACKGG,$N/, the C$S&C still
6,$/ in his earphones.
&N(. G6%N.S 6&)&NG G,,C. N&GH(.
G&NG&NG here, too, -ust as CG 6AN(V is turnin! out the li!hts for
be. he stops in the ar*, scowlin!.
CG 6AN(V
Eho at this hourH
He refuses to turn the li!ht bac* on. His wife pic*s her way to
the telephone.
CGS 6AN(V
HelloH
3listens, frowns
sli!htly4
,h... Hol on.
3covers the mouthpiece4
&t.s her. She wants to tal* to
Glen.
(he father crosses to the telephone, suspicious.
CG 6AN(V
3whisperin!4
About whatH
CGS 6AN(V
3into phone4
Ehat.s this about, NancyH
/5/
Sir William K. Coe
She listens, covers up a!ain.
CGS 6AN(V 3C,N(/4
She says it.s private. )ery
private an very important.
CG 6AN(V !rabs the telephone from his wife an bar*s into it.
CG 6AN(V
Glen.s asleep. (al* to him
tomorrowL
He S6ACS own the telephone with a !runt of satisfaction to his
wife.
CG 6AN(V 3C,N(/4
Fust !ot to be firm with *is,
is all.
(hen as a refinement he ta*es the phone off the hoo* an lays it
on the table.
NANC1 ials a!ain. (his time she !ets a :$S1 S&GNA6. She slams
the phone own in frustration an loo*s out the winow.
NANC1
Glen. /on.t fall asleep...
She !oes an sits on the be, proppin! her chin on her fists.
yawns. (he (%6%'H,N% G&NGS.
NANC1 snatches it up.
NANC1
GlenH
(&GH( ,N H%G, V,,C&NG %)%N C6,S%G ,N H%G %AG AN/ (H% %AG'&%C% as
we H%AG the awful SCG&(CH&NG SCGA'% of S(%%6 B&NG%GKN&)%S.
NANC1 slaps the phone own as if it were isease -- then, in
pure ra!e, rips the thin!.s cor from the wall.
Spent instantly, she puts the receiver bac* on the crale an
lays it on her be, chiin! herself.
NANC1
:rilliant. Now what if Glen
callsH
/56
Sir William K. Coe
She wraps the phone cor aroun the useless machine an puts it
on her be, then snea*s bac* to the oor. (his timeshe !ives an
e2pression of relief, an opens the oor. CAGG% is !one.
(hen the (%6%'H,N% G&NGS a!ain.
CAC%GA C,)%S &N ,N NANC1 as she turns slowly.
G%)%GS% &N H%G ',). (H% (%6%'H,N% G&NGS a!ain, espite the fact
that the en of its yan*e-out cor is clearly visible. (he
N&GH(CAG% C$S&C (H%C% slips ri!ht up our spines.
:ACK ,N NANC1. She starts to sha*e. She !oes to the telephone
as we E&/%N, unwraps it as it G&NGS even louer. She.s sha*in! so
har by now she can barely mana!e to lift the receiver. C,)% &N
C6,S% ,N H%G, so close we can H%AG her teeth chatterin! as she
brin!s the phone to her ear.
NANC1 3C,N(/4
HelloH
(he unmista*eable ),&C% of BG%/ KG$%G%G comes over the phone,
!arble by time an un*nown imensions, but clear enou!h.
KG$%G%G 3B&6(%G4
3triumphant4
&.m your boyfrien now...
C6,S% ,N (H% C,$(H'&%C%. &t.s chan!e from a normal telephone
mouthpiece to an actual mouth -- Bre Krue!er.s mouuth -- an his
lon!, slic* ton!ue flic*s out an arts into the startle !irl.s
mouthL
E&/%G -- as NANC1 e2ploes from her micro-ream -- absolutely
ma. She -er*s the telephone away from her an smashes it
a!ainst her wall, then attac*s it with her feet an hans,
smashin! it to smithereens.
ANG6% ,N (H% (%6%'H,N% '&%C%S. Normal pieces of a normal
telephone.
She pinches herself har -- until tears come an her flesh is
nearly bleein!.
NANC1
&.m awa*e, & am awa*e. (his is
not a reamL & am --
She stops, reali<in! what Krue!er meant.
NANC1 3C,N(/4
Cy boyfrien...L
/51
Sir William K. Coe
NANC1 barrels own the stairs an across the ar*ene livin! room
to the front oor.
&t ta*es her a moment of tu!!in! an fumblin! to reali<e the
eabolt is loc*e from insie. An there.s no *ey in it now.
She races to a porch winow an throws it open, sha*in! an
ban!in! on the bars li*e a ma woman. :ut there.s no !ettin!
throu!h. She sta!!ers bac*. stymie an furious. (hen someboy
moves behin her in the ar*.
),&C% 3,S4
6oc*e.
NANC1 -umps aroun in shoc*. Her mother has poste herself on
the couch with her bottle.
NANC1
3furious4
Give me the *ey, mother.
CAGG%
& on.t even have it on me,
so for!et it.
(he wor is final. NANC1 runs past the woman to the bac* oor,
to one winow after the other, sha*in! bars an slammin! loc*s an
SCG%AC&NG in teena!e fury. :ut it.s no !oo. (he house is her
prison.
CAGG% 3C,N(/4
3run* satisfaction4
'ai the !uy amn !oo to ma*e
sure you staye put. 1ou ain.t
!oin. nowhere, *i. 1ou.re
!onna sleep toni!ht if it *ills
me.
NANC1 clenches her fists an screams at the top of her lun!s, a
heart-wrenchin!, earrum-brea*in! cry of love in espair --
NANC1
G6%%%NNNNNNL
SCASH C$( (,0
&N(. G6%N.S G,,C. N&GH(.
C6,S% ,N G6%N.S BG,C /&G%C(61 A:,)%. (he C$S&C is tinny from the
earphones, the () S,$N/ /&/(AN( AN/ %CH,%/. (he boy is breathin!
eeply now, slowly an !ently. (hen, unmista*eably, !e be!ins to
SN,G%. )ery faintly, far in the bac*!roun, we can hear NANC1.
/52
Sir William K. Coe
NANC1 3,S4
GlenLL /on.t fall asleeeeeepL
CAC%GA '$66S :ACK AN/ S(GA&GH( $' as the SN,G%S mer!e with a
weir, unsettlin! C$S&C C$%. (he boy lies sprawle, still
clothe, in the mile of his be. Save for the besie lamp,
the room is ar*.
B$66 E&/% ANG6% BG,C (H&S H&GH S',( loo*in! own at him as from
the eyes of some !reat fly hun! on the ceilin!. (H% C$S&C
G%ACH%S A (%GG&B1&NG '&(CH ,B AN(&C&'A(&,N -- (H%N S(,'S A:G$'(61.
(here.s a heartbeat.s pause. (hen with tremenous force, two
powerful arms shoot up beneath the re an yellow besprea an
!rab G6%N aroun the waistL
ne2t moment the youn! man.s boy is ra!!e strai!ht own into
the be, as if some hu!e beast ha !rabbe him an heave him ownL
His feet an his arms shoot up -- there.s another haulin! yan* --
an the boy isappears e2cept for his hans an fin!ers -- own
into the pit in the mile of the beL His hans are last to !o,
clawin! for a hol. :ut soon they vanish as well, ra!!in!
blan*ets an esheets, wires an stereo across the cave-in be
an into the abyss.
(here.s H&/%,$S SCG%%CH&NG of C$S&C -ammin! in with G6%N.S
%CH,&NG SCG%ACS -- then an unholy, suen silence.
Ne2t moment what.s left of G6%N is vomite up from the pit of the
ni!htmare be...a horrible mess of bloo an bone an hair an
wires...streamin! out an over the be. (hen the pit in the be
is !one as if it were never there.
/rawn by the terribly scrams an stru!!le, G6%N.s mother bursts
into the room. (he women stares for one moment of horrifie
isbelief, then reels bac* an lets out th emost !o-awful SCG%AC
ima!inable. (he cry splits the ni!ht.
%P(. %6C S(G%%(. N&GH(.
(he S,$N/ of the SCG%AC CG,SS-BA/%S E&(H the EA&6 of the
AC:$6ANC% as it screeches to a halt at the curb, followe by two
:6ACK AN/ EH&(%S an an $NCAGK%/ CAG. $niforme ',6&C%C%N spill out
B,G%GG,$N/.
6( (H,C'S,N an 'AGK%G e2it the unmar*e car. :y habit or by
premonition (H,C'S,N !lances at the house that was his home. His
eye is cau!ht by a movement9 his au!hter is at her upstairs
winow, white-haire, hollow-eye, loo*in! own on him throu!h
her bars. She !ives a little wave.
/53
Sir William K. Coe
$nnerve, (H,C'S,N waves bac*, then wal*s rapily for G6%N.s
home. CG 6AN(V, pale as a !host himself, waits on the porch9 we
can hear the mother.s EA&6&NG insie.
C6,S% ,N NANC1.S :&G ,6/ E&N/$' A6AGC C6,CK. &ts bi! an little
hans sweep to!ether at mini!ht.
:$GN ,N0
(H% B&B(H N&GH(
(here.s a :A::6% of ',6&C% GA/&,S, S&G%NS E&N/&NG /,EN, G$NN&NG
B,,(-S(%'S, SH,$(S, N%&GH:,GH,,/ K&/S an /,GS :AGK&NG as CAC%GA
6&B(S (, NANC1.S BAC%. Set. $nafrai. Guthless.
(he !irl pulls the winow shae on it all, then loo*s at her be.
NANC1
,*ay, Krue!er, you bastar.
Ee play in your court.
&N(. G6%N.S 6&)&NG G,,CONANC1.S K&(CH%N -- &N(%GC$(. N&GH(.
6( (H,C'S,N is halfway across the livin! room when he stops.
Somethin! ar* an re is wellin! from a crac* in the ceilin!.
,ne of his men is ri!!in! a buc*et beneah to catch the lea*in!.
(he telephone rin!s an 'AGK%G pic*s it up.
'AGK%G
6ieutenant. &t.s your au!hter.
Says it.s ur!ent.
(H,C'S,N turns away from the rippin!.
6( (H,C'S,N
3low4
(ell her &.m not here, tell
her...
'AGK%G
$h, she -ust saw you, sir...
(H,C'S,N nos, crosses an pic*s up the telephone. SCG%%N
S'6&(S9 we see both.
6( (H,C'S,N 3C,N(/4
Hello Nancy.
NANC1
Hi ay. & *now what happene.
/54
Sir William K. Coe
6( (H,C'S,N
(hen you *now more than & o --
& haven.t even been upstairs.
NANC1
3!uessin!4
1ou *now he.s ea thou!h, ri!htH
(H,C'S,N ebates, then amits it.
6( (H,C'S,N
1eah, apparantly he.s ea.
How the hell. you *nowH
A tear coarses own NANC1.s chee*, but her voice remains firm.
NANC1
&.ve !ot a proposition for
you. 6isten very carefully,
please.
6( (H,C'S,N
Nan, & --
NANC1
'lease. &.m !onna !o !et
the !uy who i it an brin!
. him to you. & -ust nee you
to be ri!ht there to arrest him.
,*ayH
6( (H,C'S,N
Fust tell me who i it an
&.ll !o !et him, baby.
NANC1
Bre Krue!er i it, /ay,
an only & can !et him. &t.s
my ni!htmare he comes to.
(he etective flinches at the name.
6( (H,C'S,N
Ehere. you hear about Krue!er --
NANC1 presses, very firm, very rational.
NANC1
-- & want you to come over here
an brea* the oor own e2actly
twenty minutes from now -- can
you o thatH
/15
Sir William K. Coe
6( (H,C'S,N
Sure, but...
NANC1
(hat.ll be e2actly half past
mini!ht. (ime for me to fall
asleep an fin him.
6( (H,C'S,N
Sure, sure, honey. 1ou -ust
o that -- !et yourself some
sleep -- that.s what &.ve been
sayin! all alon!.
NANC1
An you.ll be here to catch
him, ri!htH
'AGK%G
6ieutenant -- they.re waitin!
upstairs.
(H,C'S,N waves curtly, still spea*in! to NANC1.
6( (H,C'S,N
Sure, o*ay, &.ll be there.
Now you -ust turn in an !et
some rest, sweetheart. 'lease.
/ealH
NANC1
/eal.
NANC1 han!s up. 6( (H,C'S,N starts upstairs. :ut then he stops,
an as an afterthou!ht he coul never really e2plain, turns to
'AGK%G.
6( (H,C'S,N 3C,N(/4
Get outsie an watch her house.
&f you see anythin! funny call
me.
'AGK%G
.Anythin! funny. li*e whatH
(H,C'S,N sha*es his hea, embarasse.
6( (H,C'S,N
& on.t *now -- but one thin!
for sure, & on.t want her
comin! over here. She.s way
too far !one to be able to
hanle this.
/11
Sir William K. Coe
As 'AGK%G e2its, ANG6% C$(S (, NANC1.S K&(CH%N as the !irl han!s
up an sin*s bac* a!iainst the wall, trappe by her own
resolution. She loo*s at her watch.
&NS%G( -- five past mini!ht. NANC1 switches moes to stopwatch
an sets the C,$N(/,EN !oin! at twenty-five minutes.
&N(. G6%N.S :%/G,,C. N&GH(.
6( (H,C'S,N steps into G6%N.s room, an2ious to be one with it.
He hits a wall of stench an horror even before he ta*es it in
with his eyes, an as soon as he sees the be he claps his han
over his mouth, pivots an wal*s ri!ht bac* into the hallway.
He sa!s a!ainst the wall, unable to loo* at the C,'S who hover
there.
C,' `8
3faint4
Ehat the hell i that,
6ieutenantH (here ain.t even
a hea left.
6( (H,C'S,N
Goame if & *now.
3tries to strai!hten4
Ehat.s the Coronor sayH
C,' `8
he.s in the -ohn pu*in! since
he saw it.
&N(. C%66AG. N&GH(.
NANC1 pulls tools an harware out with !rim resolution. Hammer,
nails, spools of wire, an ol s5uare of heavy fishnetin!, some
ol shot!un shells, a file -- referrin! only once to the boo*let in
her han.
:arely able to control her sha*in! hans, NANC1 starts strin!in!
off the spool of wire across the livin! room, cryin! an swearin!
at the same time.
/&SS,6)% (, H%G HAN/S wrappin! bare lamp wire aroun two
thumbtac*s stuc* into the insies of the pinchers of a common
wooen clothespin. (he wire !oes ,BB SCG%%N.
/12
Sir William K. Coe
AN,(H%G ANG6% as she insersts a 6ifesaver between the two pron!s.
,ne en of the fishline is tie to the lifesaver. (he whole now
is stretche taut about three inches off the livin! room carpet.
,N NANC1 carefully filin! a hole in a 6&GH(:$6:.
,H H%G pourin! power an shot from shot!un shells into the
openin! in the bulb until it.s full, then sealin! it with tape.
/&SS,6)% (, H%G screwin! the bulb bac* into the floor lamp, an
placin! the thin! near the foot of the stairs.
&N(. NANC1.S $'S(A&GS HA66EA1. N&GH(.
-- NANC1 completes installin! a stury sliin! bolt to the
outsie of her own beroom oor.
-- NANC1 screws a hin!e into the wall irectly above her oor.
Attache to the hin!e is the shan* of somethin! -- some *in of
tool. Ee can.t see what it is because CAC%GA never 5uite frames
the whole thin!.
-- NANC1 tiptoes to her mother.s oor an pee*s in.
&N(. CAGG%.S :%/G,,C. N&GH(.
CAGG% lies proppe in her be loo*in! bac* at NANC1. Her
run*eness has been altere by the S&G%NS an :A::6% outsie into
a sort of comatose clarity.
CAGG%
Guess & shoul.n.a one it.
NANC1
Fust sleep now, Com.
CAGG%
Fust wante to protect you,
Nan. Fust wante to protect
you...
CAGG% slies over on her sie. NANC1 smooths her hair, covers
her as she woul a chil, then e2its the room.
(he !irl enters, turns out her besie li!ht, slips out of her
ress an puts on her ni!ht!own. (hen she *neels by her be.
NANC1 35uietly4
/13
Sir William K. Coe
Now & lay me own to sleep,
& pray the 6or my soul to *eep.
&f & shoul ie before & wa*e,
& pray the 6or my soul to ta*e.
She !ets into be an pulls the blan*ets to her chin.
C6,S% ,N NANC1.s face. She stares strai!ht up at the ceilin! for
a lon! moment, then closes her eyes.
C$( (,0
&N(. G6%N.S 6&)&NG G,,C. N&GH(.
6( (H,C'S,N tru!es own the stais an confronts G6%N.S BA(H%G.
6( (H,C'S,N
& *now it.s har to thin* at
a time li*e this, Ealter, but
can you thin* of anyone who
coul.ve one such a thin!H
(he father stares away, his voice low an ull.
CG 6AN(V
He one it.
(H,C'S,N loo*s at theman, baffle.
6( (H,C'S,N
EhoH Eho i thatH
CG 6AN(V
Krue!er.
6( (H,C'S,N
Krue!erH
(he father !ives him the stran!est loo*.
CG 6AN(V
Ha to.ve one it. No one
else was in there.
6( (H,C'S,N
How you *now thatH
CG 6AN(V
Cause & thou!ht !len was
!onna snea* out to see your
lunatic au!hter, that.s why.
So & loc*e him in his roomL
3!etti!n control4
/1/
Sir William K. Coe
Sorry. Anyways, the oor was
still loc*e when we hear the
screams.
He blin*s.
CG 6AN(V 3C,N(/4
Caybe !o.s punishin! us all...
6( (H,C'S,N
3much lower an har4
Keep you hea -- this is a
fuc*in! flesh an bloo *iller
we.re tal*in! about.
CG 6AN(V
6i*e Go 6aneH
A voice calls own from upstairs.
C,' `8 3,S4
6ieutenant (hompson. Coronor
wants to show you somethin!.
(H,C'S,N !ives CG 6AN(V one final loo*, then heas upstairs.
C$( (,0
&N(. /,ENS(A&GS. NANC1.S H,$S%. N&GH(.
6,E ANG6% $' S(A&GS as NANC1 appears at hea. As she comes
ownstairs, CAC%GA C,)%S E&(H H%G throu!h the hallway to the
cellar oor. She opens the oor.
&N(. NANC1.S C%66AG. N&GH(.
NANC1 appears at top of these stairs, hesitates, then comes own.
E&/%G as NANC1 approaches center of room, stops in C$, then turns
eyes. Ee H%AG the istant S,$N/ of the boiler room now, faint
but unmista*eable. NANC1 C,)%S, an CAC%GA 'ANS H%G to the cellar.s
sie EA66, where another, new oorway is G%)%A6%/. NANC1 opens
this oor an loo*s own. B&G%6&GH( is on NANC1.s face now, an
the S,$N/ of the :oiler Goom is very clear. NANC1 !oes throu!h
the oor.
&N(. :,&6%G G,,C.
NANC1 ecens li*e ,rpheus into hell, but without wepon save her
wits.
/16
Sir William K. Coe
She ecens a steel stair to the lowest level, then hears the
S,$N/ of the *nives from onw another shaft. She sees there.s an
even eeper place own there. She starts own.
A!ain, an then a!ain, NANC1 ecens, each laer narrower or
more twistin!, each level eeper, wetter, ar*er, more airless. Soon
she.s !aspin! for air, but still she pushes herself on. She
oesn.t stop until she brea*s out at last at the very bottom of
the place, a wet, firelit sump eep in the bowels of the place.
CAC%GA N,E 'ANS AG,$N/ E&(H H%G, an for the first time we S%%
the vast maul of the empty boiler behin her.
She stares at it. &t.s seethin! with some ar* E&N/ that sou!hs
an whines li*e a hu!e yin! o!.
NANC1 crosses to it, touchin! the pile of ol, coal-uste irt
at its base. &t loo*s almost li*e an ol !rave.
She turns suenly, listenin!. (hen, hearin! nothin!, she loo*s
own.
NANC1.S ',) as she pic*s up G6%N.s earphones.
E&/%G as she suenly rops them, starin! at her fin!ers.
(hey.re rippin! bloo.
(here.s another :%%'.
&NS%G( ,N NANC1.S EA(CH -- the C,$N(-/,EN a blur of blac* i!its
countin! own to <ero. (hey.ve -ust crosse the ten minute
warnin!.
C6,S% ,N NANC1.S BAC%. She spea*s into the ni!ht.
NANC1
35uietly4
Come out an show yourself,
you bastar.
No sooner are these wors off her lips than the hu!e bul* of BG%/
KG$%G%G lurches up behin herL (he man is even more hieous
hatless, his bal hea an tormente face veile in s*eins of
ruine flesh, his ra!!e teeth barre, the !reat spier of ra<or-
blaes flashin! from his fin!ertips.
He leaps, but the !irl leaps -ust as fast, a fierce -ump, that
sens her out over blac* space an own into a hu!e, ar* sump of
blac*ness.
%P(. (H% H%A)%NS. N&GH(.
/11
Sir William K. Coe
C6,S% ANG6% ,N NANC1 as she curves li*e a swan thou!h her apo!ee,
an be!ins fallin!, ivin!, planin! throu!h blac* air, the win
rippin! at her hair an eyes. Suenly the comple2, !litterin!
s*ein of li!ht that is the San Bernano )alley seen from the air
slies &N(, BGAC%, an we see she.s fallin! from hi!h, hi!h over
the earth.
NANC1 falls, falls in slow motion a!ainst the spinnin! li!hts,
free as a s*y iver freefallin! -- a !iy, acrophobic plun!e.
%P(. %6C S(G%%(. NANC1.S H,$S%. N&GH(.
NANC1 crashes suenly out of the ni!ht an into a he!e -ust
outsie her own front oor, rollin! out at its bottom scratche
an blooie. &f she were in any normal reality she. be a mass
of bro*en bones -- but somehow she.s able to claw her way up an
loo* at her watch once more.
&NS%G(. Fust a few secons from <ero.
She sta!!ers for her house.s front oor -- but a moment later
KG$%G%G crashes own atop herL NANC1 stru!!les to her *nees -ust
as the man lun!es with that !oawful hanful of blaes. :ut
instea of runnin!, she uc*s insie the ealy !rab an sei<es
him in a esperate bearhu!L
(he surprise move sens him pitchin! bac*wars, her still on him -
-an they fall into the -umble of torn-own trellis of roses
beneath her winow. Almost at that very secon we H%AG the
-arrin!, eafenin! G&NG&NG of NANC1.s alarm cloc*L
SCASH C$( (,0
&N(. NANC1.S :%/G,,C. N&GH(.
NANC1 sprawls out of her be onto the floor, twistin! from the
-abs of the alreay vanishe thorns, briars an brush. Gaspin!,
she ta*es a secon to !et her bearin!s, an sees ne2t instant
that she.s actually lyi! on the surface of a wall, half-way up over
her be, in a cra<y half-ream, half-wa*in! !ravity mista*e.
&nstantly she plun!es to the be li*e a sac* of roc*sL
ANG6% ,N (H% :%/ as she recovers 5uic* as she can, snatchin! up
the net, reay for an assault from any irection.
:ut the room is empty.
Harly able to catch her breath, her hair tan!le, her ni!ht!own
torn, she rops the net. She sits on the b, turns on the
besie lamp an re-e2amins her room. no one there but herself.
/12
Sir William K. Coe
&t.s a terrible blow, espite the fact that she.s safe. Her face
is covere with tears, she.s sha*in! an reathless. She rattles
her hea in confusion an espair, reali<in! her own maness.
NANC1
&.m cra<y after all...
At that very instant BG%/ KG$%G%G leaps up from the far sie of
the be with an %P'6,S&)% SH,$( of ra!eL
He lun!es across the table for her, missin! by inches as NANC1
pitches bac*wars an scrambles for the winow. :ut she.s
stoppe by the bars.
KG$%G%G, increibly fast, re!ains his feet an leaps a!ain -- the
!irl wheels an shatters the coffeepot over his hea. As he
crashes bac*wars NANC1 flin!s open the oor of her room an
ives throu!h -- only to reboun off someone on the other sie --
CAGG%, *noc*e flyin! by NANC1.s char!e, hits the floor har,
*noc*in! the win out of herself. NNC1 sees what she.s one,
-umps over the boy an slams the oor an throws the new bolt
home. Ne2t instant she !in!erly ties a strin! to the oor.s
*nob, a strin! that trails own from the ceilin!, attache to
somethin! up there that.s still -ust barely out of si!ht.
Ne2t instant she.s ra!!in! her C,(H%G towars the woman.s
beroom as fast as she can.
KG$%G%G is alreay splinterin! the oorway behin her as NANC1
ips an ma*es it into CAGG%.s room, S6ACC&NG the /,,G behin her
an loc*in! it in a flash.
(he CAN&AC brea*s the bolt an rips open the oor.
:ut in the very act of oin! this he of course un*nowin!ly pulls
the strin! attache to the outsie oor*nob with terrific force.
C6,S% ANG6% ,N (H% C%&6&NG. (he strin! -er*s a!ainst a sin!le-
e!e ra<or, which in turn cuts a ti!ht win of cor holin! a
heavy we!e of steel to the ceilin!.
E&/%G as the thin! falls free, pivotin! at the hin!e at the far
en of its hanle, an rives strai!ht into KG$%G%G.s !roin with
a terrific blow. As he catapaults bac*wars withan increulous
shrie*, the twenty poun sle!e hammer swin!s bac* an reveals to
the camera -ust what it isL
ANG6% /,EN ,N KG$%G%G, clawwin! his way up espite his a!ony,
lurchin! an cursin! forwar li*e an enra!e bull.
/13
Sir William K. Coe
E&/%G ANG6% &N (H% HA66EA1 as KG$%G%G roars out -- only to
immeiately stri*e the len!th of E&G% strun! across the hallway,
catchin! it -ust above the thi!h. He carwheels hea-over-heels
an lans flat on his bac*L
&nstantly the /,,G to NANC1.s C,(H%G.s beroom flies open an
NANC1 brin!s a brass lamp own over KG$%G%G.s hea with all her
mi!htL &t souns li*e a line-rive caromin! off a metal fla!pole.
NANC1 S6ACS the /,,G as KG$%G%G stru!!les up, clutchin! his hea.
%nra!e, the hu!e man CGASH%S a!ainst the oor with terrific
force, an rears bac* an starts smashi!n a!ainst the oor li*e
the utter homocial lunatic that he is.
C$( (,0
%P(. %6C S(G%%(ONANC1.S H,C%. N&GH(.
H&GH ANG6% at the secon floor level. NANC1 -er*s open the
winow to her C,(H%G.s beroom an -ams her face to the bars. (he
AC:$6ANC% is pullin! away with a tremenous EA&6 of its S&G%N as
NANC1 SCG%ACS own, tryin! to ma*e herself hear.
NANC1
HelpL Hey -- /ay -- & !ot
him trappeL Ehere are youLH
ANG6% ,N the street. 'AGK%G, assi!ne to !uar the house, sees
NANC1 -- hair white, eyes wie -- pounin! on the bars an
screamin! li*e a lunatic. :ut her meanin! is utterly lost in the
noise of the ambulance ne2t to him.
'AGK%G
3yellin! up at her4
%verythin!.s !oin! to be all
ri!htL %verythin!.s uner
controlL
ANG6% at the winow. Close on NANC1.s face, increulous at his
response.
NANC1
Get my father, you assholeL
'AGK%G oes a little ta*e. (hat almost soune sane.
'AGK%G 3,S4
1ou hear what & saiL Now !et
bac* insie or &.ll tell your
aL
/14
Sir William K. Coe
:ehin her the /,,G S'6&N(%GS. NANC1 whirls aroun -ust in time
to see KG$%G%G bull inL NANC1.s eyes !o wie -- she.s trappe
a!ainst the bars an has nowhere to !o. (he man bunches his
*nives into a sin!le thic* blae an rushes her, stabbin!. NANC1
closes her eyes --
(hen from ,$( ,B BGAC% CAGG% leaps between the two.
CAGG%
NoL
She bloc*s the char!e perfectly -- bloc*i!n the *nives. :oth she
an NANC1 are slamme bac*wars a!ainst the bars behin. CAGG%,
thou!ht she is run*, is han!in! onto KG$%G%G.s weapon han,
*eepin! the *nives insie herself, away from her au!hterL
CAGG%
Nancy -- for !o.s sa*e.s runL
:ut NANC1 turns ot teh winow instea, screamin! for her father.
NANC1
/ayL Ehere are youL
%P(. %6C S(G%%(. N&GH(.
'AGK%G, -ust about to turn bac* to the business at G6%N.s house,
sees NANC1 an S,C%,N% else fall -ust insie the winow.
Somethin! be!ins to awn on the man. Fust a little.
'AGK%G
'oor woman.s !ot her hans full
with that *i. Caybe & better
tell the lieutenant.
He turns an -o!s towars G6%N.s house.
&N(. CAGG%.S :%/G,,C. N&GH(.
ANG6% ,N KG$%G%G, haulin! CAGG% up in ra!e, *noc*in! her
senseless across her be an climbin! after her with his *nives
raise. NANC1 wheels behin him an whams him in the *ineys with
her fists, spillin! him bac* off the be, then runnin! past him for
the oor. She ma*es it to safety, then turnin! bac*. She flips
the monster the bir, her eyes wil with pain an fury.
NANC1
Hey fuc*face -- can.t catch meL
(he bait wor*s -- KG$%G%G leaves CAGG% an howls after NANC1.
/25
Sir William K. Coe
&N(. $'S(A&GS HA66EA1. N&GH(.
As NANC1 clears he hall an ma*e sth estairs, KG$%G%G lurches
throu!h the shattere oorway after her.
&N(. 6&)&NG G,,C. N&GH(.
(he !irl careens own the stairs, across the room an to the
front oor, ban!in! a!ainst it with terrifie fury.
NANC1
3screamin!4
Come on -- he.s in hereL
/ayL /on.t let him *ill
me tooL
behin her the hu!e CAN is thumpin! own the stairs, KN,CK&NG
(H&NGS ,)%G, SCGA'&NG his 6,NG S(%%6 B&NG%GNA&6S alon! the wall
with a horrible sounL
NANC1 flin!s a heavy ash tray throu!h the porch winow an
screams throu!h the bars.
NANC1 3C,N(/4
H%%666'''LLL /ayyyyyyyLLLL
KG$%G%G, blooy an spewwin! threats, sta!!ers for her -- NANC1
ives behin the couch.
C6,S% ,N KG$%G%G.S %%( as they hit another wire.
C6,S% ,N the 6ifesaver -er*in! out -- the clothespin snappin!
to!ether, completin! the circuit with a CGACK6&NG S'AGK.
E&/%G ,N (H% %P'6,S&,N that rips out of the floor lamp ne2t to
KG$%G%G an *noc*s him sprawlin! across the room.
NANC1 pee*s out from behin the couch. (he man lies in a smo*in!
heap. NANC1 runs to the winows an screams out a!ain.
NANC1 3C,N(/4
Hey -- /ayL HeyL & !ot the
bastarL
KG$%G%G roars up behin her -- she throws herself sieways -- he
crashes into the winow frame, smashin! !lass an woo to bits.
NANC1 turns SCG%AC&NG an runs eeper into the house.
&N(. C%66AG. N&GH(.
/21
Sir William K. Coe
She careens own the stairs, throwin! on the li!hts, the man
thunerin! after her.
ANG6% A( (H% BAG %N/ ,B (H% C%66AG. NANC1 bra*es at the wall.
Nowhere left to hie.
(H% SCGA'&NG of the blaes a!ainst bric* turns her to see the
hu!e *iller holin! his *nife-laen fin!ers up for her.
KG$%G%G
Geay for theseH
,N NANC1 -- she uc*s behin the furnace -- comes out the other
sie with the bi! -u! of !asoline an lets KG$%G%G have it
strai!ht over the hea. (he heavy container shatters, showerin!
its contents over every s5uare inch of the man.
He sta!ers bac*wars with a G,AG of fury, NANC1 screamin! after
him with a bo2 of *itchen matches. :efore the man can reali<e
what she.s up to, she i!nites the whole bo2 an throws it in
KG$%G%G.s face.
(here.s a blinin! EH,,SH -- an KG$%G%G !oes up in a terrific
:A66 ,B B&G%. Baster than a flash the !irl runs past the howlin!
maniac an ma*es for the stairs, KG$%G%G after her in full
pyrrhic ra!e.
&N(. NANC1.S K&(CH%N. N&GH(.
NANC1 hols the heavy oor until the precisely ri!ht moment.
Fust as the burnin!, blin monster tops the stairs, NANC1 brin!s the
heavy oa* oor roun with all her mi!ht an catches him in a
!reat G&NG&NG C,NC$SS&,N. &t sens him winmillin! bac*wars an
own the stairs in an ass-over-tea*ettle sprawl of spar*s an flames.
NANC1 slams the oor an throws the eabolt home.
No sooner oes she accomplish this than the man is S6ACC&NG a!ain
an a!ain a!ainst the oor from the cellar.
(he terrible SCG%ACS an C$GS%S '%AK, (H%N GG,E E%AK%G AN/ C,G%
GAG:6%/. (hen there.s -ust silence.
NANC1 sta!!ers, half blin, from the *itchen.
As the room be!ins seethin! SC,K% from every pore, we
C$( (,0
&N(. G6%N.S $'S(A&GS HA66EA1. N&GH(.
/22
Sir William K. Coe
(he C,G,N%G steps out of the bathroom peelin! blooy rubber
!loves. 'ale an sweatin!.
C,G,N%G
Boun you somethin!, /onal.
Shoul remin you of somethin!...
(he man shoves out his han to 6( (H,C'S,N. (H,C'S,N stares at
it without touchin! it. A lon!, thin steel blae, ra<or sharp,
attache to some sort of rin! an armature -- bro*en off...
(he C,G,N%G !ives a sweaty, !rim smile.
C,G,N%G 3C,N(/4
,nly place & ever hear of such
a thin! before was ten years
a!o. Gemember that fuc*er
Bre Krue!erH
6( (H,C'S,N has -ust *noc*e 'AGK%G sprawlin! in his race to the
stairs.
'AGK%G
Hey -- your au!hter.s actin!
*ina -- L
3(H,C'S,N.s !one4
Stran!e...
%P(. NANC1.S H,C%. N&GH(.
CGASH as NANC1 brea*s another winow an presses a!ainst the
bars. She sees her father burstin! out the front oor of Glen.s
houseL
NANC1
/A/L G%( $S ,$((A H%G%L
6( (H,C'S,N
,h, Fesus -- NancyL
3to his men4
HeyL Ee !ot a fireL
ANG6% ,N NANC1.S BG,N( /,,G. Cany C%N batter the oor own as
blac* smo*e pours from the winows an NANC1.s SCG%ACS an SH,$(S
fill the air. Eithin the moments they.ve estroye the oor an
6( (H,C'S,N has pulle his au!hter into the safety of his arms.
:ut NANC1 immeiately fi!hts free an arts ri!ht bac* to the
front oor -- bec*onin! him to follow -- !esturin! li*e a wil
woman.
NANC1
& !ot him -- & !ot Bre Krue!erL
/23
Sir William K. Coe
(H,C'S,N stares at his wil little !irl in astonishment, then
runs in after her. (he others follow, cou!hin! an cho*in!.
&N(. 6&)&NG G,,C. N&GH(.
(H,C'S,N collies with NANC1 as she bra*es, fro<en. (H% SC,K% &S
:%6CH&NG ,$( ,B (H% C%66AG, but whoever was loc*e in there
certainly isn.t now. (he oor is flat on the *itchen floor.
6( (H,C'S,N
Ehat the hell you tal*in! about,
NancyH
NANC1 wheels without answerin!. A series of tiny, isolate fires
burn across the livin! room an up the stairs. Biresteps.
NANC1 3C,N(/4
He.s after ComL
She arts across the livin! room, followin! the flamin!
footprints of BG%/ KG$%G%G up the stairs before (H,C'S,N can stop her.
6( (H,C'S,N
NANC1L
&N(. CAGG%.S :%/G,,C. N&GH(.
NANC1 S(,'S &N (H% S'6&N(%G%/ /,,GEA1 -- a ra!!e !ol-re li!ht
splashin! her horrifie face.
G%)%GS% &N H%G ',) -- BG%/ KG$%G%G, literally a man of fire, has
a screamin! CAGG% pinne to the be an is crawlin! all over herL
NANC1 !ives a banshee.s howl, snatches up a chair an brin!s it
own over the bac* of the firey beast, stunnin! him.
:y the time 6( (H,C'S,N races into the room NANC1.s sei<e a
heavy blan*et an has thrown it over both of them, fi!htin! the
flames. (he father -oins his au!hter without a secon thou!ht,
heavin! another blan*et over the be an smotherin! the last of the
flames.
NANC1
He.s uner thereL Eatch itL
(H,C'S,N pushes the !irl bac* -- yan*s out his .;@ an pulls off
the first cover. No movement. He pulls bac* a secon one, reay
to fire. :ut the only thin! he sees is the blac*ene half-
s*eleton of his e2-wife, smo*in! an seethin! an sin*in! into
the flui-li*e mattress, sin*in! ri!ht own throu!h it as if she were
sin*in! into a la*e. A blac*ene, !narle han !oes last, then
the be soliifies over the place she.s isappeare. An it.s as
if no one was ever there.
/2/
Sir William K. Coe

NANC1 turns an loo*s at 6( (H,C'S,N, her face white as her
!hostly hair. (H,C'S,N shoves his .;@ bac* in its holster an
fins a ci!arette, his hans sha*in! so baly he can barely
mana!e.
NANC1
Now o you believe meH
'AGK%G bar!es in. (he room is fille with smo*e, the be is
strippe, but other than that, the place seems normal.
'AGK%G
1ou fin himH
3loo*in! closer
at (H,C'S,N4
SirH
6( (H,C'S,N -ust wal*s by him. 'AGK%G chases after.
'AGK%G 3C,N(/ ,S4
3fain!4
Sir -- here, let me li!ht that
for you -- 6ieutenantH Ehat
happeneH
3!one4
E&/%G, ,N NANC1 alone in the room. She turns an loo*s at the
be. C$S&C slips in an buils. (he be has chan!e color.
&t.s now an ash-ar*ene re an yellow.
C6,S%G ,N NANC1 from the irection of the be. C$S&C S$//%N61
S(,'S, an the surface of the re an yellow be !ets a bump in
its center that *eeps raisin!, raisin! until it.s a hump that.s a
hea an shoulers, still raisin! until it looms over NANC1.
(hen BG%/ KG$%G%G.s entire shape sweeps up into the yellow an
re mass -- an the !arish hea, smo*in! an seethin!, pops throu!h.
N%E ANG6% -- KG$%G%G, a burne, si<<lin! blac* hump of a *iller,
clumps onto the floor between NANC1 an the oor.
NANC1 falls absoltely still, an her face !oes throu!h a stran!e,
almost sublime transformation.
NANC1
35uietly4
& *now you.re there, Krue!er.
She turns an faces him.
BG%//1
1ou thin* you was !onna !et
away from meH
/26
Sir William K. Coe
NANC1 sha*es her hea.
NANC1
& *now you too well now,
Brey.
KG$%G%G smiles bitterly. Comin! closer.
BG%//1
An now you ie...
(here.s a S6&CK%G&NG GA((6% at his sie, an he raises the only
thin! on him not charre -- the !leamin! steel talons.
NANC1 simply sha*es her hea a!ain, as if seein! a li!ht at the
en of her lon!, lon! tunnel. An the way she says the wors,
they mi!ht be appearin! o the insie of her eyes.
NANC1
&t.s too late, Krue!er. &
*now the secret now -- this
is -ust a ream, too -- you.re
not alive -- the whole thin!
is a ream -- so fuc* offL
& want my mother an friens
a!ain.
KG$%G%G !rins insanely, confuse an amuse at the same time.
BG%//1
1ou whatH
NANC1
3even, firm4
& ta*e bac* every bit of
ener!y & ever !ave you.
1ou.re nothin!. 1ou.re
shit.
An then she turns her bac* on him. KG$%G%G bunches his fin!ers,
proucin! a sin!le ra!!e bunle of ra<or talons n raises his
han over the bac* of her hea an nec*.
NANC1 closes her eyes an steps to the oor.
C6,S% ,N H%G HAN/, touchin! the oor *nob.
C6,S% ,N KG$%G%G.S KN&B%-B&NG%GS poise.
C$S&C :$&6/S then SHG&%KS as KG$%G%G stabs own, ri!ht throu!h
NANC1 -- as if she were an optical illusion -- loosin! his
balance an fallin! own, own, own... An he.s !one.
/21
Sir William K. Coe
C$( (,0
%P(. %6C S(G%%(. /A1.
C6,S% ,N NANC1.S BG,N( /,,G AS NANC1 -er*s it open an blin*s in
the bri!ht, iffuse li!ht. (he C$S&C BA/%S on a transitional
note, into li!ht.
Ee hear :&G/S.
CH&6/G%N playin!.
%arly mornin! S,$N/S.
NANC1
3to herself4
Go, it.s bri!ht.
CAGG% stic*s her hea out, s5uintin!, an nos. Sober.
CAGG%
Gonna burn off soon or it
wouln.t be so bri!ht.
NANC1 turns an loo*s her mother over.
NANC1
Beelin! betterH
CAGG%
(hey say you.ve bottome out
when you can.t remember the
ni!ht before.
3sha*es her hea4
No more rin*in!, :aby, suenly
& -ust on.t feel li*e it
any more.
She touches NANC1.
CAGG% 3C,N(/4
/in.t *eep you up last ni!ht,
i &H 1ou loo* a little
pee*e.
NANC1 smiles.
NANC1
Nah. Fust slept heavy.
(he !irl !ives a wave an !oes off. CAGG% calls after.
CAGG%
/22
Sir William K. Coe
See ya.
NANC1 turns an waves.
NANC1
See ya.
E&/%G ,N NANC1 as she wal*s to the curb. (he whole scene is
wrappe in an unseasonal tule fo!, bri!ht yet iffuse. Ee notice
that NANC1.s house no lon!er has bars on its winows. (hen we
see a familiar convertible pull up at the curb, top own. (&NA an
G,/ are in the bac* seat. (hey all wave to CAGG% as NANC1 climbs
in.
G6%N
3callin!4
1ou believe this fo!H
CAGG%
3lau!hs4
& believe anythin!.s possible.
(&NA slaps five with NANC1.
(&NA
6oo*in. !oo, !irlL
ANG6% &NS&/% (H% C,N)%G(&:6%. G6%N slips into the seat ne2t to
NANC1. Someone else is rivin!, it seems. NANC1 loo*s up to the
/G&)%G. (he bi! CAN turns an !rins at NANC1, a terrible,
scarre, hieous leer of a !rin -- BG%/ KG$%G%G.s !rinL
ANG6% :ACK ,$(S&/% (H% C,N)%G(&:6% as its top clamps over the
*is within -- a bri!ht re an yellow top that closes as fast an
har as a beartrapL NANC1.s fri!htene face flies to the winow,
pressin! a!ainst the thic* !lass as the car roars away from the
curb an into the thic* fo!.
CAC%GA 'ANS (, a !roup of 6&((6% G&G6S, half-hien by the fo!,
-umpin! rope an sin!in! !ayly.
G&G6S
,ne two --
Brey.s comin! for youL
(hree four --
:etter loc* your oorL
Bive si2 --
Get your Crucifi2
Seven ei!ht --
Gonna stay up lateL
Nine ten --
Never sleep a!ainL
/23
Sir William K. Coe
C$S&C CG,SSBA/%S E&(H (H&S S,NG, e2panin! the simple tune to
symphonic, bounless imensions as the little !irls fae into
thein air, an we
BA/% (, :6ACK
G,66 %N/ (&(6%S.
/24
Sir William K. Coe
B0;&0(*-+h3
:oo*s0
Biel, Sy. #he 0creenwriters Work"ook. /ell 'ublishin!0
N1, N1. 7A@=.
Bresnham, Gay. #each :ourself 0creenwriting- Contemporary
:oo*s, a /ivision of the CcGraw-Hili Companies0
Chica!o, &6. 8##;.
Hau!e, Cichael. Writing 0creenplays that 0ell. 'erennial0
8> September, 7AA7.
(rottier, /avi. #he 0creenwriter's $i"le7 * %omplete !uide
to Writing> Formatting> and 0elling :our 0cript. ;r
%ition. Silman-Fames 'ress0 7AA@.
Eebsites0
About.com 3Eaybac* machine - archive.or!4
screenwritin!.about.comOlibraryOwee*lyOaa#>#@#7a.htm
:aby Vone. Copyri!ht d 7AA?-8##= :abyVone,&nc. All ri!hts
reserve. http0OOwww.baby<one.comO
Create 1our Screenplay Seminar. d :arry 'earson
http0OOwww.createyourscreenplay.comO
/one /eal. 7AA"-8##> Copyri!ht /one /ealOScriptsales.com
http0OOwww.scriptsales.com
Bilm=77. http0OOwww.film-=77.com
Fohnson, :ill. d 8### :ill Fohnson.
http0OOwww.storyispromise.comOwsynop.htm
Covie:ytes.com. Copyri!ht d 7AA"-8##>, Breeric* Censch Cultimeia
http0OOmoviebytes.comO
'earson, :arry. d 8##= :arry 'earson
http0OOwww.createyourscreenplay.com
(he Quest for A Einnin! Query 6etter :y Susan Kou!uell
http0OOwww.w!a.or!O
Screen(al*. d 7AA@-8##= SCG%%N(A6K. All Gi!hts Geserve.
http0OOwww.screental*.bi<O
A Screenwriters Haven
http0OO!roups.msn.comOAScreenwritersHavenOsample5ueryletter.msnw
/35
Sir William K. Coe
(he Screenwriters Car*et /iscussion Home
http0OOwww.screenwritersmar*et.comOiscusOmessa!esOboar-
topics.html
(he Screenwriter Eeb. Copyri!ht d 8##8, 6enore Eri!ht
http0OOwww.brea*in!in.net
Shomon, Cary. (he Screenwriters Caster Chart.
Suite7#7.com Copyri!ht d 7AA?-8##> Creative Car*eteam Canaa 6t. oin!
business as Suite7#7.com, All ri!hts reserve.
http0OOwww.suite7#7.comO
Eorplay. d 7AA"-8##> (erry Gossio _ (e %lliott.
http0OOwww.worplayer.com
Eriters Store. Copyri!ht d 8##8-8##= (he Eriters. Computer
Store3r4, 66C All Gi!hts Geserve.
http0OOwww.screenwritin!.info
Eritin! Eorl. Copyri!ht d 8##7 Coira Allen
http0OOwww.Eritin!-worl.com
,ther0
A Ni!htmare on %lm Street0 (his Script 'rovie :y0 (he Stone 'a!e
http0OOwww.flash.netOaviator
'oetics 'rovie as 'ublic /omain
Sample Step ,utline, (reatment, an Query 6etter from Binal /raft
templates, from Binal /raft, &nc.
/31

Screenwriting Bible

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The Screenwriting Bible

Sir William K. Coe

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