THRILLER Thursday: The Closed Cabinet.

The spider web fills the screen, it's Boris Karloff's THRILLER!

THRILLER: The Closed Cabinet

Season: 2, Episode: 10.
Airdate: November 27, 1961

Director: Ida Lupino
Writer: Kay Lenard & Jess Carneol.
Cast: Olive Sturgess, David Frankham, Jennifer Raine, Peter Forster, Patricia Manning.
Music: Jerry Goldsmith
Cinematography: Benjamin H Kline.
Producer: William Frye.

Boris Karloff’s Introduction: “Evil begats evil. And the evil does not die. The sins of the fathers doom the children through generations yet unborn. Impossible, you say? The superstition from the dark ages. Well, perhaps our story tonight will help you change your mind. We start with a curse and a riddle, inexplicabily bound together. Somewhere in this room lies the clue that will solve the riddle and lift the curse. But 300 years have passed since Dame Alice pronounced that awful curse, and still the riddle is unsolved. Tonight we are concerned with two brothers - the last of the cursed Mervyns and the women who love them. Our players are: Olive Sturgess, David Frankham, Jennifer Raine, Peter Forster, and Patricia Manning. Turn off your lights. Close your windows. And even of the wind should rise, relax... if you can! While we pick up our story in the year 1880, during the reign of her gracious majesty Queen Victoria, and when our tale is told, you’ll believe in curses as sure as my name is Boris Karloff.”

Synopsis: A dark and stormy night. 1580. Lady Beatrice (Patricia Manning) discovers her abusive husband Hugh Mervyn is drunk, and using a dagger found in a secret drawer, murders him and then herself. The bodies are discovered by a Maid (Myra Carter), who finds the dagger next to Beatrice’s corpse and screams... Dame Alice (Doris Lloyd) comes running, takes the dagger from the Maid and then spots her son murdered on the bed... and puts a curse upon the family: “Out of evil comes death! In each generation there shall be a Mervyn who will bring shame and death to the family, for eternity... An end there shall be, but it is beyond the wisdom of man to fix it, or the wit of man to discover it. Who fathoms the riddle, lifts the curse. Pure blood, stained by the blood stained knife, heals the Mervyn shame, ends the Mervyn’s strife,” she says as she returns the dagger to its secret compartment.

1880: The Mervin Castle. A coach pulls up and Evie Bishop (Olive Sturgess) steps out and is welcomed by her cousins Lucy Mervyn (Jennifer Raine) and George Mervyn (Peter Forster) and enter the castle... where handsome Alan Mervyn (David Frankham) descends the staircase and takes Evie in her arms. Alan lives in London and avoids the castle completely, but when he heard that Evie was coming to visit he braved a stay. Eveie has heard that the castle is haunted, that there is a room in the castle that is filled with ghosts... and she would like to stay there. She has never seen a ghost. As she jokes about ghosts, George and Lucy look very uncomfortable. Evie insists on staying in the haunted room, and when Lucy shows her to the room, the two men seem less than happy.

In the “haunted room” (from the opening scene) Lucy tells Evie that several Mervyn relatives have died violent deaths in this room - which would account for the ghosts. The cabinet (where the dagger is hidden) is still there, and Lucy jokes about the legend of the curse. Though there have been a bunch of deaths in this room, Lucy believes it is due to the Mervyn men’s anger issues.

Alan and George have an argument - Alan believes that the curse is real, and staying in this castle is putting Lucy’s life at risk. George believes it’s just hokum - sure, there have been a lot of murders in the family, but whose family hasn’t had them?

As Evie looks around the castle, candles flicker where there is no breeze... and she sees the ghost of Lady Beatrice for a moment. Then the ghost vanishes. When Evie heads downstairs for dinner, she hears the two men arguing and listens in. When George leaves, she comes downstairs and talks to Alan - it’s love!

When George and Lucy come in, Evie asks if their houseguest will be joining them? Who? The woman upstairs. The ghost!

After dinner, Alan takes Evie on a tour of the castle’s hallways to look at the paintings of the family - stopping at Lady Beatrice. That’s the ghost she saw!

A dark and stormy night... awakens Evie. Blows open the windows. She gets up and closes them, and when she goes back to sleep the ghost of Lady Beatrice pops up in a doorway. Trying to communicate with her. Warning her that she is the next victim of the curse?

The next morning when Evie mentions the storm, she gets funny looks: there was no storm. Is she crazy? Alan takes Evie on a tour of the castle grounds, and she tells him that she wants to solve the mystery of the curse so that Alan will feel comfortable in his home. Evie wants to see the dungeon (doesn’t everyone?), but the door is locked to When Alan goes to get the key... the door magically opens as soon as he is gone. Nothing haunted about that at all.

Evie goes in alone - lots of cobwebs down here, but none get on her face. She manages to completely avoid all of the webs and maintain her perfect hair. Doors open one-by-one in front of her, taking her down to the crypt... where she comes face to face with Hugh Mervyn! Well, a bust of him. And finds a cat-o-nine-tails *whip* on his coffin. What’s that all about? Deeper in the crypt she finds a secret room with Lady Beatrice’s coffin... and Lady Beatrice’s ghosts makes an appearance and points at Evie. That’s when Alan runs in, and the ghost vanishes. But was the ghost pointing at her or the wall behind her? On the wall, and inscription under the cobwebs: “Where woman sinned, the maid shall win. But God help the maid who sleeps here-in.” Alan tells her that no one in the family ever knew where Lady Beatrice’s coffin was. No one had ever discovered this secret room until now.

George, with a riding crop in hand, tells Alan and Evie that they could not have found Lady Beatrice’s coffin - no one has found it for 300 years. Men in the family have looked for it and never found it, so how could Evie have found it? George loses his temper... and we get some angry exposition about how Lady Beatrice’s ghost appeared to their mother the night before she died... and now Lady Beatrice has appeared before Evie. George loses it and almost whips Alan. George’s temper is out of control! He storms out of the room.

Alan drops a few pages of exposition on Evie about the curse... and how Hugh was physically abusive to Lady Beatrice until she killed him one night during a violent storm. The storm that was brewing inside her for all of those years of abuse by a drunken husband?

That night, as Lucy plays the harp and George naps, Alan and Evie flirt... and then he sees her to her room like a gentleman... and they almost kiss. Victorian romance at its hottest! I believe this moment was put there to show that Evie was still a virgin - pure - and therefor able to lift the curse. But it’s not set up very well, and we don’t particularly care if they kiss or not - which is a mistake.

Evie does not go to bed - she sits up, waiting for the storm to come. The storm waiting or the storm without? When it comes, it blows open the windows violently. Meanwhile, Alan looks outside his window - no storm, clear skies. This is a nice moment because it shows that the haunted room really is haunted. Evie goes to sleep and the storm blasts the windows open again... and Lady Beatrice appears. She raises her hand to beckon Evie... and Evie is back in time, drunk Hugh Mervyn sleeping in the bed she just got out of. Lady Beatrice points to the cabinet, and Evie finds the secret lever to open it... And takes out the dagger! She is possessed by Lady Beatrice!

She moves to the bed, where Hugh is sleeping, raises the knife and... stops herself from stabbing him, but slices her hand in the process. She shows her bleeding hand to Lady Beatrice’s ghost, “The maid has won,” and the ghost vanishes, leaving Evie alone in the room. The bed is empty. The storm is gone.

She runs out into the hallway, yelling for Alan. He runs from his room and they embrace in the hallway. She tells him what happened, shows him her hand... and there is no blood on her hand. He thinks it might be a nightmare, but she convinces him that she has lifted the curse. In the haunted bedroom, she tells him how to open the drawer... and he finds the dagger with Hugh Mervyn’s crusted blood on it... and another drawer opens and there is a scroll with the curse and, heck, Evie did it and lifted the curse! So he finally kisses her. They can be married with very little chance that he will physically abuse her and maybe even kill her during an argument!

Review: The luck of laziness! I had intended on writing up all of these entries a couple of years ago, and had I done that I’m not sure I would have seen the subtleties in this episode or commented on them as much as will now that we’ve had the MeToo Movement. Though domestic abuse is not the same as inappropriately touching someone, they both fall under the umbrella of ahole male dominance. Though this episode doesn’t really work, I’m cutting it some slack because it’s “a very special episode pf THRILLER”, just like the alcoholism episode. It’s 1961 and domestic violence is a major problem in America (Time Magazine would do an article on the epidemic a couple of years later) and this episode is going to slyly get the message out disguised as a ghost story.

I’m sure that Ida Lupino was hired to direct this episode to give it a woman’s sensibility, but it is not one of her better episodes. I think the screenplay may be getting in the way - but I wonder about the lead actress. The scenes where she *avoids* the cobwebs just seem odd - did the actress not want to get messy? Or was that seen as “degrading” to a female and not done in this episode? Either way, it removes the spooky element from the haunted house story. One of the elements of horror is the “Eeeew!” Factor. If you think of all of those moments in horror movies where you have went “Eeeeew!” mentally (or even outloud), that feeling of revulsion is one of the things that add to the dread and creepy feeling of the film. In horror movies people *touch* gross things and *step in* gross things and *back into* gross things and maybe even sit in gross things. Horror movies are filled with rats and bats and worms and corpses and all kinds of gross things that the characters encounter. There are things that look as if they smell bad in horror films. Things that get on your hands that you need to wash off *now*, but you are miles away from running water. Horror movies put their characters through hell - even the survivors - and that is part of what makes them work, and what makes the survivors strong.

But for whatever reason, here we remove the revulsion and end up with a lead character who just wanders through a haunted castle and easily pushes aside cobwebs as if they are curtains dividing rooms. If someone thought that the women in the story have gone through enough abuse at the hands of their husbands that they needed to avoid abusing them with cobwebs, that was a mistake. It actually weakens a character if they don’t have to go through hell.

I have noted the used of cobwebs and spider webs in earlier episodes, and how sometimes they are just a piece of the background and sometimes there are the focus of the scene. Revulsion is a “no budget” special effect that packs a punch, so you want to make cobwebs part of the scene - something that can not be avoided. So removing the revulsion was a mistake - no matter what the reason.

Lupino does get a few of her creative shots in - and that’s one of the reasons why I love her in low budget films and TV work. Other directors will just do wide shot and close ups - coverage - but she gets those Hitchcock shots in there. Here we have a couple of great early shots - a nice shot through the coach windows as Evie arrives at the castle, and a creepy paranoid shot from a balcony above as Alan watches her enter the castle’s main room. Later in the episode is a great moving shot as the group relaxes in the castle main room at night, it circles them like a Brian DePalma shot. And there is a cool shot *through* the harp at George and Lucy. I suspect with so many locations, there wasn’t time for much else, and the rest is competently directed. I wish she had done more in the creepy dungeon and crypt scenes, but it’s TV. Made on a schedule with a hard deadline. They are okay.

One of the other problems with the episode is Jennifer Raine’s decidedly non-British accent. She has some sort of Southwestern twang, and every time she opens her mouth it takes you out of the episode. Though the others don’t go full-on-British accents, they have that mid-Atlantic sound that Americans can understand but still sound vaguely British.

Though I give kudos to the script for taking on an issue, the story is muddled and the curse and riddle are just a mess. Even after watching it several times, I’m not sure that either actually makes sense. And a clue to understanding the curse ends up written on a wall in Lady Beatrice’s tomb, but this is all still confusing. Too many moving parts to the curse. Too many foot notes. Instead of being something simple (and rhyming) it’s so convoluted you need to take notes through the episode... and even though I did that I’m still confused by it! The reason for the curse also is muddled - the mother of the murdered abuser curses her own family line? There was a better way to do it - having Lady Beatrice curse the family as she is being killed by her husband, but maybe the censors said no to that?

I do like that the curse of domestic abuse is “handed down” from father to son in this story. George’s anger issues are seen as the family curse. But that scene where he has the riding crop in his hand really needed to create suspense and fear that he might use it on his wife, and not in a kinky way. Again, that may have been a censors thing - we don’t want to offend all of the wide beaters in the audience! We need to protect our ratings!

So this episode isn’t very spooky or scary, even though it takes place in a nice haunted castle. Next episode works better - a “weird tales” story about people who communicate with the dead... and the dead aren’t happy with what is going on in the world of the living!

- Bill

Film Courage Plus: Myth Of Overnight Success

FILM COURAGE did a series of interviews with me at the end of 2014, and then again at the end of 2015, around 36 segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?

Dispelling the myth of the Overnight Success:


No one ever tells you this: Prepare to start at the bottom and work your way up.

You aren't going to sell the first script you write.

So you probably shouldn't quit your day job.

You’ve read the stories about someone who sold their first script for a pile of money and kissed their day job goodbye - from nobody to the hottest writer in Hollywood! Well, 99% of the time, those stories are BS - created by a publicist somewhere to turn this script sale into a Cinderella story, instead of that gritty real story of struggle and hard work that got them to that point where they could sell a script for a pile of money. The article says it was their first script... but that just means it was their first script that *sold*. We know from that old WGA survey that the average screenwriter wrote (and rewrote) 9 screenplays before they made a cent, so even if this is the story of the 1% who actually *was* some sort of overnight success, that screws up the odds for everyone else - the average number of scripts that you will have to write goes *up* for everyone who isn’t that person.

One of the reasons for publicists to ignore the truth and give us the Cinderella stories is that they want everyone to ignore the past credits of that new million dollar screenwriter. Because no one starts at the top, that means those early credits are often at the bottom. And maybe a little embarrassing. When Jeff Maguire sold IN THE LINE OF FIRE back in 1993, there was all kinds of publicity about how this was his first script and how he turned down Tom Cruise’s offer, because Cruise was too young for the role... but this was not his first script sale. Not even close. His first produced credit was in 1975, and we’ll get back to that in a minute. He had written the successful family adventure film TOBY McTEAGUE in 1986, and wrote VICTORY starring Sylvester Stallone and Michael Caine in 1981. Before that he had been writing low budget exploitation movies for a living, like RECKLESS (1979 version) and the actual first screenplay that he sold (not the first script that he wrote - remember that average) was VAMPIRE LUST back in 1975. So only 18 years to become an overnight success!

I met Jack Nicholson at the San Francisco Film Festival sometime between 1975 and 1979 - I had snuck backstage past security and found him in the green room before he was supposed to go on stage - and he told me that it only took him 20 years to become an overnight success. His first TV role was in 1955, his first movie role was in 1958, and his breakthrough role was FIVE EASY PIECES in 1970 - so it was really only 15 years, right? But those 15 years were spent working in low budget movies for Roger Corman, have you seen the original LITTLE SHOP OF HORRORS?

Everyone starts at the bottom and works their way up.

Because there was a new TERMINATOR movie out a few years ago, the last successful TERMINATOR was RISE OF THE MACHINES in 2003 and that was written by the two guys who wrote THE GAME... and THE NET with Sandra Bullock was their first script sale according to the publicists. But not in real life. Like Jack Nicholson, those guys began by working for Roger Corman - they wrote BLOODFIST 2 starring Don “The Dragon” Wilson and around a dozen other movies before they sold THE NET. And here’s a bit of encouragement from all of that struggle that the publicists left out of the story - the reason why they were hired to write TERMINATOR 3 is because the director who was hired to make the film had worked with them in their low budget days and thought that they were great writers. So that time you are working your way up from the bottom you are making connections that can put you on top!

I often mention my ill-advised Super 8mm feature film, made in my home town when I was in my early 20s. I cast the movie out of the Diablo Valley College drama department, and my female lead was the most beautiful and talented actress there. I believe that she was super disappointed to discover that I was not some big Hollywood producer, just some guy in the Film Appreciation class who owned a Super 8 sound camera and some lights and was the entire crew for the movie. Just me. Well, she moved to Hollywood and was cast in a low budget T&A comedy called BEACH GIRLS as the lead - the girl who didn’t get naked until the end. That film was a drive in and grindhouse hit, which lead to her starring in some other films and a guest star gig on T.J. HOOKER. Many years later, when I had moved to Los Angeles and was an active member of Scriptwriters Network, our guest speaking is the writer of Mr. HOLLAND’S OPUS and COURAGE UNDER FIRE, Pat Duncan, and afterwards I talked with him... about his first produced credit - BEACH GIRLS, starring that actress in my Super 8 feature! Pat had spent years writing low budget films and Saturday morning cartoons before he became the serious writer whose scripts got actors Oscar nominations. He did rewrite work on my favorite Chuck Norris movie...

Speaking of Chuck Norris, Oscar winning screenwriter Steve Zaillian (SCHINDLER’S LIST, THE IRISHMAN) got his start on a Chuck Norris movie... the one directed by the guy who did opening titles and music for Paul Kyriazi's DEATH MACHINES! I’ll bet the publicists leave that off his resume!

The point of all of this is that a writer writes. The door that opens for you is probably not going to be a big studio film, it’s most likely going to be something at the bottom. Just like any other job, you don’t walk in after you have graduated high school and fill out a job application for CEO of the company. You start at the bottom and work your way up.

If you plan on writing TV, you don’t start by selling a pilot script. That pilot script is what may get you hired as a writer’s assistant on a low end TV show, or maybe get you work writing Saturday morning cartoons (check the credits of your favorite TV writers - a lot began in cartoons, that’s where they hire new writers). But writers write, so you will be learning on the job - writing against deadlines and working your way slowly up the ladder until you are hired on staff for a hit TV show and someone at the network pulls you aside and asks if you have any ideas for new TV shows... and you whip out that pilot that got you the job on that cartoon many years ago. Or, more likely, a new pilot that incorporates what you have learned over those many years. You aren’t going to start at the top.

You will grab hold of that first cartoon job or Roger Corman film (or whatever) job and give it your best shot, because you are a writer and love writing and want to do as much writing as possible. Paid to write? Heaven! You are getting paid for what you love! Up until this point you were working some possibly crappy job that you may have hated... and now you are writing for money!

Being a screenwriter is not a single screenplay, it is writing maybe 100 or more screenplays over your career. So you need to get used to writing screenplay after screenplay after screenplay. You’d better love that, or at least like having finished writing those screenplays - because that’s what being a screenwriter *is*. Writing a stack of screenplays. Writing screenplays for a living. Writing screenplays for others, based on an existing property (book, movie remakes, board games) or for specific requirements (we have Adam Sandler signed to a 5 picture deal! Or Chuck Norris wants to do a low budget horror movie where he kicks a monster’s butt!) because that’s what a professional screenwriter does. Spec screenplays are job applications for assignments like that. This is a job. You write for a living, on deadlines, with crazy bosses, and have to do great work no matter what the assignment - or you will be fired. More writers than jobs, maybe someone else can do what you can not? But if you love writing, you will look at any challenge as a chance to show your creative stuff. Embrace those entry level jobs, because you are WORKING. Getting paid for writing. Is there anything better?

And the thing that I didn't mention in the clip: All of those terrible writing jobs on cartoons or low level TV shows or non blockbuster films? Are JOBS! Writers are needed to write those - and you may end up writing cartoons for the rest of your life. Guess what? That's writing for a living. It's better than doing that horrible day job that you had to do before you broke in. Is there anything better than writing for a living?

Good luck and keep writing.

- Bill

PS: In the clip I also talk about keeping screenplay copies in the trunk of my car. These days, I would just ask for the person's e-mail and ask if I can send them a logline.

Trailer Tuesday: THE LAST OF SHEILA (1973)

Three years ago the new KNIVES OUT film GLASS ONION made me think of this film...

Directed by: Herbert Ross.
Written by: Anthony Perkins & Stephen Sondheim..
Starring: Richard Benjamin, Raquel Welch, James Coburn, Ian McShane, Dyan Cannon, James Mason, Joan Hackett.
Produced by: Herbert Ross .
Music by: Billy Goldenberg, with the song “Friends” by Bette Midler.
Production Design by: Ken Adam - all of the great James Bond films.



THE LAST OF SHEILA is one of my favorite films, and arguably the best mystery film ever made (and if you want to argue about it - head to the comments section!). Mystery films are a dead genre now, and even in those years when they were popular, they were not that popular. This film comes from a point in the 1970s where MURDER ON THE ORIENT EXPRESS and CHINATOWN were hits on the big screen (with a bunch of Agatha Christie films popping up afterwards), and shows like ELLERY QUEEN on the small screen. Whenever I say that Mystery Films Are Dead, a bunch of people chime in with the titles of cop shows... which are not mysteries. Mysteries are an audience participation genre - and the best example of that is probably the ELLERY QUEEN show, where just before the final commercial Ellery or the announcer would tell the audience that they have all of the clues to solve the crime - all of the evidence - and during the commercial break you were supposed to be the detective and explain to your family who did it and why and what all of the evidence that *proves* that they are the killer before the commercials are over and Ellery Queen brings all of the suspects together and does his version. You didn’t *guess* who did it, you *deduced* who did it using the evidence you were shown. Your job as a reader or a viewer in a mystery is to pay attention to the clues and motives and knowledge of means and each suspect’s opportunities and figure out who done it...

Which is why the genre is either dead or back for a few years and then dead again. The audience has to *work at it*... and most people don’t really want to think in the cinema. In fact, most development executives don’t want to have to think while reading a script. Every time I sell a mystery script, the first thing that happens in rewrites is a “mysterectomy” where the mystery and clues are removed and it is turned into a straight thriller. That way the director and prop guy and everyone else doesn’t have to worry how many martini glasses on the table have lipstick marks in every scene. But for some reason, in the 1970s, the genre was hot and people *wanted* to solve the puzzles... and THE LAST OF SHEILA was made.

It’s an original Screenplay by Anthony Perkins (Norman Bates) and Stephen Sondheim (a bunch of Broadway musicals like WEST SIDE STORY) who may have been a couple at the time, and if you look at the relationship between the Richard Benjamin character and the James Coburn character, you might wonder if there may be some autobiographical elements in there. I have no idea, but Sondheim *was* a puzzle nut - and so is Coburn’s character. The film was directed by Herbert Ross, FOOTLOSE, GOODBYE GIRL, PLAY IT AGAIN SAM, and a million other big hits... And the cast is amazing - you may not realize that Richard Benjamin was a *huge* movie star at the time, he was the lead in WESTWORLD! The *star*! You know who James Coburn and Raquel Welch and James Mason are, Dyan Cannon was a star - and once married to Cary Grant - she is still alive and *hot* at 81!, Joan Hackett played the “nice girl” lead in a bunch of movies like SUPPORT YOUR LOCAL SHERIFF, and the fairly young new face was some intense British actor named Ian McShane... The plot is clever, the dialogue is clever and it’s a blast to watch. And it’s a movie industry story as well as being a mystery!

Egomaniacal and cruel big shot film producer Clinton Green (James Coburn) has a party at his mansion in the Hollywood Hills... he is probably the most hated man in Hollywood, and lives to make people squirm. There’s a great shot where we start in a luxury car where the driver is smoking a joint, and it is passed from Parking Valet to Parking Valet until we can see through the mansion window, where Clinton and his wife Sheila (Yvonne Romain) are fighting... then storms out of the house and down the winding road... where she is hit and killed by a car. Great shot of her corpse reflection as the car backs up to see if she is dead or alive before speeding off. The police never find the car or discover who was driving. It is an unsolved crime, and the seed from which this whole film grows.

One year later, Clinton invites a group of Hollywood types to spend summer on his yacht in the Mediterranean playing games and soaking up the sun... all of them were at that party where Sheila was killed... all of them are suspects in her death. Clinton types the name on the invitation, and then we are introduced to the character in their natural habitat...

Big time agent Christine (Dyan Cannon) used to be fat, and this is a great performance - she *acts* fat, even though she’s hot. The role may have been written for a plump actress, but Cannon plays it as a recent Jenny Craig grad who just knows she’s going to put on all of the weight in the near future - she’s hitting on all of the men, and acting really insecure. This counters her tough-gal occupation, and she is introduced in her office barking orders followed by “Kiss, kiss” - insincere manners. Totally Hollywood!

Alice, (Raquel Welch) as the hot movie star who is no longer in her 20s, but is still a star. But for how long? Welch will remind you of Julia Roberts today - at that strange age where you don’t know what’s going to happen to her career. Is she going to play *moms*? Is she going to become a character actor? What happens when you hit your “hot babe” pull date? She is recently married to...

Anthony, (Ian McShane) is Alice’s super intense Manager/Husband and great as a brawler, an insecure slice of beefcake. They are introduced in the airport and Alice is mobbed by Paparazzi... and Anthony actually slugs a photographer and breaks his camera and then slugs someone else. This guy can not keep his temper under control, and when Alice tries to be apologetic, he scolds her - these people will ruin her image!

Philip (James Mason) a once famous film director who is now doing TV commercials and not liking it. Introduced shooting an oatmeal commercial with a bunch of bratty little girls, one of them sits on his lap... and pees on him. Philip is always aloof but never mean - and Mason is one of those actors who can deliver any line and make it sing. Philip is floating along on some higher level than everyone else - he’s a director! that’s a step down from God - but at the same time, he is afraid he might not land a job directing Clinton’s next film.

Tom (Richard Benjamin) is the screenwriter, who is broke and really needs a job... his last gig was doing on set rewrites on a low budget spaghetti western. It’s strange to think that Benjamin was a star once because he’s so unlike what we think of as a star today... but he’s an everyman when that was popular. When I first saw this film, I was a kid and wanted to be a screenwriter - so this was the perfect hero. But his character Tom is a “cautionary tale” about screenwriters. He has a stack of scripts that haven’t sold - including “Freak Show”, which he would love to sell to Clinton. He is currently living off his wife...

Lee (Joan Hackett), whose family has been in the film biz for generations and she has childhood memories of sitting on Mason’s lap. Lee’s family money ($5 million in 1973 money) has been supporting Tom while he tries to sell a script. She says paying for everything isn’t a problem... but you can see on both of their faces that it really is. Both characters are introduced at her luxurious home, where he’s laying around on the sofa instead of writing and she is drinking non-alcoholic beverages.

So those are the guests on the cruise, our suspects - each was there the night Sheila was killed by the hit and run driver, and did I mention the games? On the first day of the cruise everyone is given a card with the name of a criminal on it, like “The Shoplifter” - none of the other players knows what criminal is on your card. When the yacht docks at some exotic locale, Clinton gives the group a clue at exactly 8pm, and then each of them scrambles to follow the clue to some other clue and find the Shoplifter’s Lair before everyone else. So the clue in the Shoplifter game is a silver key marked Sterling 18k. What does it mean? This is a French port, so one of the players realizes that French for key is “Clef” - and there’s a jazz club with that name... Others think the “sterling” on a silver key is the clue. Everyone has a theory... and they follow the clue leads to a clue leads to a clue.

There’s a great bit in this game where a tourist couple wandering through the village keeps crossing paths with each of the players - connecting them with each other.

Once you find the Shoplifter’s Lair there is a clue with the identity of whoever holds The Shoplifter card. It’s a crime scene with a dead detective (dummy) and clues to the killer. You know that the criminal is a Shoplifter, because all of the clothes and other items in the room still have their price tags on them. Follow the clues and you will find which one of our players has the Shoplifter Card... and you get points. “Everything with Clinton is points,” Tom says. Once the person holding The Shoplifter card finds the Lair, the game is over - a sign is placed at the Shoplifter’s Lair that says The Game Is Over - and everyone else is a loser. No points for them! Oh, and there’s a time limit - when the boat headed back out to the yacht leaves, you’d better be on it!

There is a chart of who has won and lost each round in the yacht’s cabin, and the person who solves the most games is the ultimate winner (and may end up with a job on Clinton’s next film). If you have The Shoplifter card, you want to solve it before everyone else so that the game is over and you are the only winner of that round. A fun little game for rich Hollywood types to play, except - did I mention the cruel streak?

Each of the crimes on the cards are things a member of the group has actually been accused of. As is explained a bit later - Clinton wouldn’t give the actual shoplifter The Shoplifter card, because everyone would get angry and quit. So no one knows the cruel element of the game until enough games are played that the pattern appears. And that is when the real fun begins... because some of the crimes on the cards are more than just embarrassing, they are blackmail material.

You are a Shoplifter.
You are a Homosexual.
You are an Informant.
You are an Ex-Convict.
You are a Little Child Molester.

Oh, and one of the cards says You are a Hit And Run Killer on it.

So Clinton’s real game is to expose Sheila’s killer at the end of the cruise, while ruining everyone’s lives along the way. “That’s the thing about secrets. We all know stuff about each other, we just don’t know the same stuff,” as Alice says... she was actually once busted for shoplifting early in her career, and it was covered up. Tension builds and soon there are attempts on people’s lives - a really frightening scene where someone turns on the ship’s propellers while Christine is swimming near the rear of the yacht and she is swept towards the giant rotating blades!

But this story isn’t just a murder mystery, it’s also a showbiz story! And each of these folks being tortured by Clinton’s game also wants to be in his new movie - the story of his dead wife to be titled “The Last Of Sheila”. Each of the players is competing with each other for the attention of the most hated man in Hollywood, and backstabbing each other to climb over each other’s corpse to reach the top - a job on this proposed film about the murder victim. If you are in the business, or just a big enough movie fan to get the jokes, it’s a lot of fun as it skewers the film business... especially those second tier studio flicks with stars who are trying to hold on to their stardom and directors and writers who are no longer on their way up...

Super intense Anthony is not very good at kissing ass, but does his best...” My aspirations do run closer to the production end of things, if you know what I mean. What would you say, and please be absolutely frank, to me asking you for an associate producership on this upcoming film?” What Clinton would say is - a humiliating fake crying sound, boo-hoo-hoo, that morphs into laughter. He cuts off Anthony’s balls in front of everyone else. And that makes the others both afraid of Clinton and happy that with Anthony out of the running, maybe they will win Clinton’s favor. It’s vicious!



Okay, someone is murdered in addition to long dead Sheila (or it wouldn’t be much of a movie) at the halfway point, and the director and screenwriter partner up to solve the murder in a Holmes & Watson kind of thing. The screenwriter, Tom, leading the investigation... which only makes sense because the screenwriter is the brains of any film. But the director, Philip, actually finds the big clue at an unexpected moment. The way these two work together is great, and James Mason has played Watson a few years later in MURDER BY DECREE.

The great thing about this film is that it completely plays fair - the audience can play along and solve the murder themselves. The clues are all there. In fact, the great thing about the ending when Tom and Philip are taking it clue-by-clue explaining who did it and how, is that they show you a clip from the movie you have already seen... and this time you notice the killer picking up the murder weapon! Before, you saw the exact same piece of film and didn’t notice it. (Though the new piece of film continues to show the killer actually pocketing it... the original clip stopped just before they put it in their pocket.) But everything was right there on film and you could have easily followed the clues to the killer. Ellery Queen could have popped up before the end and said you had all of the information to solve the crime. The film clips we have already seen are the reason why I love this film because I was paying attention and missed some of the clues. In the cinema, you wonder if the clip is the same in the denouement on video you can literally zip back and compare! Dang - the killer used that amazing skill earlier in the film!

And one of the great things about how this story plays fair, is that there are three different solutions to the murder in the film - the first one makes sense if you noticed some of the clues, the second one if you noticed most of the clues, and the last if you noticed all of the clues. That way we have different prime suspects you can build a case for, and we can have an obvious suspect and a least likely suspect and still have a twist ending with the actual killer. We also have Sheila’s murder and the victim halfway through the story - they may or may not have been killed by the same person. So even if you are a mystery fan, there are all kinds of variables that have been carefully set up to throw you off the track!

There is a great scene where they lay all of their cards on the table and we see the secret crimes for the first time... and Tom asks each to pick the card that is their secret. Needless to say, no one wants to admit to being any of those things. So there are disputes over who *wants to be* the Homosexual - which isn’t nearly as bad as a Child Molester or a Hit And Run Killer. And then there’s a fight over who gets to be the Ex-Convict! These characters are all clever and witty, but none are very nice (except Welch’s Alice, who is way too sweet to be a sexy movie star... and that’s what makes the character interesting). Each character is well rounded to begin with, and once you discover who has what secret, you see realize small things in their personality have set these revelations up. They are twists, but completely logical. Once the Hit And Run Killer is revealed, you can watch the film again and if you focus on that character you not only can see all of the clues... you can see a great performance by that actor. In the background of scenes they react to discussion of Sheila differently than other characters. You don’t notice this first time through, but it’s an amazing performance.

Another great element of this screenplay is that the title, “The Last Of Sheila”, is kind of “punned” throughout the story. It has different meanings at different times. So it’s the death of Clinton’s wife, it’s the title of the movie he is planning to make, the yacht is the “Sheila” so it is where Christine is almost mangled by the propellers, and a secret clue to the killer... part of Clinton’s cruel games.

This is one of the films I use as an example in SECRETS OF ACTION SCREENWRITING along with THE VERDICT on how to not lose the audience when your identification character becomes a suspect. When the hero may be the villain. Usually in a mystery, like MURDER ON THE ORIENT EXPRESS, the detective is not a suspect. But here, both our Holmes and our Watson have great motives and enough clues to make us wonder if they are going to be revealed as the killer. And because we have a shallow suspect pool, there is a character in this story who we have grown to like... who ends up being a killer. I’m not going to spoil the ending, but the film manages to pull off the seemingly impossible task of *not losing the audience* after this killer is revealed. This story walks a dangerous tight-rope and doesn’t fall, which is a miracle. Great writing skills involved in this.

And the locations are fantastic - one of the games takes place in an abandoned monastery on a tiny island at night, with only candles to illuminate the dark spooky hallways. It's a great creepy location, and all of the players are dressed as monks so you can not tell them apart. This sequence is almost like a horror story - lots of spooky atmosphere and scares. Though most of the story is on a yacht in the Mediterranean - beautiful and fun - the games are at night and in interesting locations like the monastery.

And quotable dialogue: “The harder you try to keep a secret in, the more it wants to get out.”

What is frightening is that Hollywood wants to remake this film... as a comedy! Huge mistake! The best way to remake this film - use the original screenplay and do not change a single word. Maybe hire a typist to change any anachronisms, but DO NOT HIRE A SCREENWRITER because they may change something that is already perfect. Of course, Hollywood doesn’t do that, so they will probably hire some version of this movie’s Tom to do a rewrite that isn’t nearly as good as the original. The recent remake of MURDER ON THE ORIENT EXPRESS turned it into an action flick at times, because mysteries are a hard sell today... so maybe they should just put off any remake until mysteries come back into fashion? Then they don’t need to make it as a comedy or an action film, they can just make it as a mystery?

THE LAST OF SHEILA is a great mystery film, but if you don’t want to play along and solve the crime like Ellery Queen, it’s a vicious look at Hollywood with a bunch of great performances... and starring that guy who starred in WESTWORLD. Warner Archive has it on DVD, sold at Amazon and other fine retailers.

- Bill

Fridays With Hitchcock: Hitch 20: Banquo's Chair (s3e3)

This is a great new documentary series called HITCH 20 that I am a "guest expert" on. The series looks at the 20 TV episodes directed by Hitchcock and here is the third episode of the third season, which looks at the terror of the unseen in Hitchcock's work.

off!

HITCHCOCK: MASTERING SUSPENSE

LEARN SUSPENSE FROM THE MASTER!

Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!

Only 125,000 words!

Price: $5.99

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OTHER COUNTRIES:

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- Bill

Of course, my first book on Hitchcock...

HITCHCOCK: EXPERIMENTS IN TERROR

Click here for more info!

HITCHCOCK DID IT FIRST!

We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?

Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.

Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.

UK Folks Click Here.

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Bill

Thriller Thursday: The Big Blackout

The Big Blackout

The spider web fills the screen, it's Boris Karloff's THRILLER!

Season: 1, Episode: 12.
Airdate: 12/6/1960


Director: Maurice Geraghty
Writer: Oscar Millard from a novel by Don Tracy
Cast: Jack Carson, Charles McGraw, Nan Leslie, Jeanne Cooper.
Music: Pete Rugolo
Cinematography:
Producer: Maxwell Shane

Boris Karloff’s Introduction: “Our friend is in big trouble, because his name is Burt Lewis... was he also once a man named Bill Logan? He doesn’t know. Because until he took the cure, he spent two years in an alcoholic black out, and for long periods of time he couldn’t remember anything. Did he do something in that time for which a man with a gun has come to get him? He doesn’t know. All at once his big blackout has caught up with him. That’s the name of our story: The Big Blackout. And our principle players are Miss Nan Leslie, Mr. Charles McGraw, Miss Jeanne Cooper, and starring Mr. Jack Carson. Sure as my name is Boris Karloff, I advise you to slide back in your chair and take a firm grip on it, because this, my friends, is a thriller!”

Synopsis: Somewhere between Travis McGee and Woolrich’s BLACK CURTAIN is this Florida based story of a charter boat captain who may or may not have been a criminal in the two years he can’t remember. Total alcoholic blackout. The story opens with Burt Lewis (the always manly Jack Carson from MR. & MRS. SMITH, THE MALE ANIMAL, MILDRED PIERCE) getting a phone call in the middle of the night from the local motel owner that they have a drunk. Burt is the local AA guy, a recovering alcoholic who knows the best way to handle drunks. He tells his sleeping wife Midge (Nan Leslie) he’s headed out...

The Paradise Motel looks a heck of a lot like the Bates Motel... except it’s in Florida, right? Hot motel owner Ethel (Jeanne Cooper) leads Burt to one of the rooms where a guy who checked in under the name “Adams” is passed out drunk on the bed. In really bad shape. Ether is the widow of Burt’s dead best friend... and she needs a man... now. Burt reminds her that he’s married and they search the drunk guy’s room for contact information while they wait for an ambulance to take him to a local rehab facility. Burt finds a gun... and a note in the drunk’s wallet that says “Bill Logan is using the name Burt Lewis at Sea Beach. He runs a charter boat. Find him and ask him things. When he tells you what we want to know, put him away”.

Ethel tells Burt that the drunk was asking all kinds of questions about him, so she thought they might know each other. Burt has never seen this guy before in his life... or has he? That two year blackout... what did he do back then?

The next morning Burt goes to his boat to grab his gun in case things go south... but is interrupted by a strange old man named Hawkins (Paul Newlan) who wants to hire him for a fishing charter and asks a lot of questions about Ben Logan. The old guy gives him two crisp $50 as down payment on the fishing trip... which is way too much. Burt leaves without taking his gun.

Burt goes to the rehab clinic to talk to “Adams”, but the doctor tells him “Adams” isn’t ready for visitors, yet. Burt pretends to leave, but heads to the back door and breaks in... passing an old drunk named Charlie Pringle (Chubby Johnson) who apologizes for falling off the wagon but asks if Burt could find him a bottle somewhere... and sneaks into “Adams” room. He approaches the man, tries to wake him... but when he rolls “Adams” over there’s a bullet hole in the man’s head!

Mean town cop Wright (the always growling Charles McGraw) accuses Burt of killing “Adams” and asks where he got a pair of crisp $50 bills... did he rob the dead guy? Wright just hates ex cons... and where do you think Burt dried out? Prison. He had fallen in with the wrong crowd while drunk... but what else might Burt have done while he was drunk? Who would send a hitman after him? Burt is prime suspect in Adam’s murder, even though he never saw the guy before in his life (or did he?).

Wright tells his deputy Burt’s backstory: they used to be friends, until Burt’s wife and kid were killed in a car accident and he became a drunk... then a criminal.

At home, Burt’s wife Midge is waiting with Ethel the slutty motel owner. Both want to know what happened... but Ethel’s questions make it sound like she thinks he did it. When Ethel leaves, two hoods enter the house. Burt recognizes Fisher (Robert Carricart) from prison, who wants to know about Logan. They grab his wife, start beating on Burt...

Conveniently cop Wright shows up, the two thugs leave through the back door... and Wright gets another chance to hassle Burt. When Burt says the two men were looking for someone named Ben Logan, Wright reacts for a moment... then goes back to playing tough cop. He says they’ve found the gun that killed “Adams” and shows it to him... it’s *Burt’s gun!* He says he’s never seen it before. When Wright leaves, Burt heads to the liquor cabinet... then stops himself.

Burt decides to take his wife to the motel just in case the thugs come back. He realizes that whoever killed “Adams” had to walk right past Charlie Pringle’s rehab clinic room, and that crazy drunk would ask anyone walking past to get him a bottle to help him dry out. Burt calls the clinic and is told Charlie skipped... so now Burt must go from bar to bar looking for Charlie. A great device, because Burt is faced with temptation again and again. In joint the bartender tells him that Charlie was there, but left because he had some big deal meeting that would make him enough money to pay off his bar tab...

That’s when cop Wright shows up to hassle him... Burt says he’s there looking for Charlie, and Wright says Charlie’s dead: the victim of a hit and run. Everyone Burt comes into contact with gets killed. Burt looks down at a drink on the bar... almost takes it, but resists.

Burt calls one of his prison pals to get some background, and is told a man named Ben Logan was smuggling drugs into the country and stole $700,000 worth of product... and Logan was using a fishing boat... and just happened to have the same initials as Burt Lewis. Hence, all of these hit men coming after him.

The next morning is his fishing charter with the old man named Hawkins, who questions him relentlessly about Ben Logan... Hawkins is the father of a man killed by Logan, and is out for revenge. And here’s the twist: Hawkins knows that Burt *isn’t* Logan, because his son sent a picture of himself with Logan in the background. That’s when he gets the call on his radio... the motel owner was beaten up and his wife has been kidnaped!

Thug Fisher calls: wife for information. Burt meets them in an abandoned boathouse and shows him the picture of Logan from Hawkins... that *is* the guy they are looking for. Burt explains that guy is dead: he was Ethel the motel owner’s husband. *Ethel* must have the $700k in drugs (or have sold it, since she always seems to have money). Fisher leaves to get the drugs or the money from Ethel, and Burt kicks some ass with the thug they leave behind to guard him and his wife. You have Jack Carson in your episode, there’s gonna be a fist fight!

Burt races to the Motel, gets there after an off screen gun battle where all of the thugs are killed and Ethel is seriously wounded. Burt now knows that Ethel was the one who killed “Adams” and Charlie and framed him... to keep her part in the stolen $700k in drugs secret. But what was *Burt’s* part in this? Was he involved during those 2 years of alcoholic black out? He asks Ethel on her deathbed (in front of cop Wright) if he was involved in the drug running... and she says he wasn’t. He was too drunk to be dependable. And also, too honest. She dies, and the spider web closes over the screen as the episode ends.

Review: Though not one of the best episodes, it works okay for TV... and you can tell it was condensed from a novel (because it has some crazy story short cuts here and there). The main problem ends up being the wife character, who is underwritten and has awful dialogue (and/or is an awful actress). But it keeps the mystery as to who is Ben Logan going throughout... with plenty of false suspects, especially officer Wright and Hawkins. Because we are looking for a *man* we never suspect that Logan might be the motel owner’s dead husband... and she is basically “Logan” at this point.

One of the great things this episode does is tie the protagonist’s emotional conflict (he’s a recovering alcoholic) into the story in many different ways. The idea that *he* could be Logan and not remember due to his alcoholic blackout is the engine that runs the machine, here... but every place Burt goes is somewhere booze is served (except for the rehab center, which is filled with his mirror images). This is a story where the physical conflict and emotional conflict are twisted together so tightly that every scene about the plot ends up also being about the character. Even the cop Wright’s antagonism is due to a past scuffle they had when Burt was drunk which has left Wright physically scarred. The motel owner Ethel is *constantly* drinking in front of Burt... but asking if it’s okay first (calling attention to it!). The assassin who calls himself “Adams” (fake name) is a drunk! And the witness to the murder Charlie is a drunk, which means Burt has to hang out in bars to find him. There are scenes where Burt is home, and tempted by alcohol in the liquor cabinet... he is surrounded by the thing that brought him down, and the constant pressure of that murder frame tightening on him has him looking at that escape the bottle provides.

Another great thing the episode does is use visual storytelling... Burt’s gun has two pieces of tape on the grip. When officer Wright shows Burt the murder gun, it has two pieces of tape on the grip. We *instantly* know this is Burt’s gun and feel the same thing the character feels. Burt doesn’t show any reaction at all, that would land him ion handcuffs. But we know what he’s thinking and feeling because *we* are thinking and feeling the same thing. “Crap, that’s *his* gun!” It’s those two pieces of tape that make it work, finding the specific that is easy for the audience to spot.

Next week on Thriller we’ll look at an episode reminiscent of “Strangers On A Train” that deals with gambling addiction.

Bill

Film Courage Plus: Subtext In Dialogue.

FILM COURAGE did a series of interviews with me, around 36 (or more) segments total. That's almost a year's worth of material! So why not add a new craft article and make it a weekly blog entry? All I have to do is write that new article, right?



Subtext - is it what you use to write movies like THE HUNT FOR RED OCTOBER and RUN SILENT RUN DEEP?

In the real world, people seldom say exactly what they mean. We hint around and “test the waters”. When I’m on a first date, there are dozens of direct questions I may want to ask.... but I can’t. So I might talk about a friend who is divorced with kids to see is she’s ever been married and has any kids. I may ask if she believes in equal rights and responsibilities... when what I really want to know is whether she’d be opposed to paying for her own meal, because the lobster she ordered will probably send my Visa card over the limit. The difference between what I say and what I mean is *subtext*. Good dialogue is layered. It doesn’t mean only one thing, it usually has a second and sometimes even a third meaning. So when we are writing screenplays, we want to look for those lines of dialogue and those words that have more than one meaning... to make sure that our dialogue isn’t obvious and “on the nose” (which is the same as obvious - but I figured I’d give you that term’s definition if you were unfamiliar with it). We want dialogue that hints.

Think about what each character wants in the scene, and how that will influence their dialogue. One method for creating subtext is to give the audience information about what the character needs, so that we know what they’re hinting at. Another method is to create a situation we understand, so the dialogue doesn’t have to be obvious. You spot an empty seat in a crowded cinema and ask: “Is this seat taken?” That line has a different meaning if you’re talking to a dangerous-looking biker or an attractive member of the opposite sex. The situation creates the subtext. *Situation* is one of the most important things in screenwriting that few people talk about. As the writer, we create the situations in the story, and those situations often shade the meaning of whatever is happening in those scenes and moments.

The third method for creating subtext is to have the actions of a character at odds with what they are saying. If a character is hiding and shaking in fear, but says:”I’m not afraid”, we know they are trying to impress the person they are speaking to... or convince themselves. This is using words and pictures together - which is one of the important parts of screenwriting. We are usually telling the story with our images and the character’s actions, and using the dialogue to give an additional layer of information. So the actions show fear, the dialogue attempts to show bravery, and between the two elements we have a clear picture of what this character is feeling and thinking. So consider having the words and pictures be opposites, and the truth somewhere in the middle.

CLOSING EXAMPLE

A good example of subtext can be found in an episode of the TV show THE CLOSER - Homicide detective Brenda (Kyra Sedgwick) and her boyfriend FBI agent Fritz (Jon Tenney) have been renting a home together in Los Angeles, and one morning while showering together Fritz suggests that they buy a house, so they aren't just pouring rent money down the drain. He has even found a house...

			FRITZ
	Four bedrooms, ranch style, big backyard, 
	pool, custom gourmet kitchen.

			BRENDA
	And it's within our price range?

			FRITZ
	Yeah.

			BRENDA
	Where's it located?

			FRITZ
	New copper plumbing, new electric, new 
	roof.

			BRENDA
	Where, though?

			FRITZ
	Great school district.

			BRENDA
	Fritzy, where is it?

			FRITZ
	Calabasas.

Which is way the heck out in the hinterlands of Los Angeles County. Brenda thinks it's too far. The discussion is interrupted by a call - and the episode's murder plot. But they get back to talking about the house later in the episode. Brenda has come up with an alternative house in their price range in the Hollywood Hills.

			BRENDA
	The house is between your work and mine.

			FRITZ
	Two bedrooms, office, pool, great views. 
	I take it, then, you aren't interested in 
	what school district we buy into?

			BRENDA
	I don't think we need to worry about 
	schools, really.

			FRITZ
	I see.

			BRENDA
	If you absolutely have your heart set 
	on a bigger place...

			FRITZ
	A bigger place has to be something we 
	both want. Maybe in this case smaller 
	is better.
    

Okay, folks - are they talking about buying a house? Or something else? The dialogue is all about buying a house, the location and size of the house. But what they are really discussing is the future of their relationship and what that relationship entails. Subtext is what's being said *between the lines*.

The key is to find a subject that can be discussed that allows for double meanings.

Find something that can work as a simile for what your characters are really talking about.

WORDS AND PICTURES

But an important element of subtext in dialogue is great dialogue is what the characters are *doing* - the actions and the situation and the visuals. A movie gives the audience information through dialogue and through visuals and the actions of the characters.

When you ignore the images and only use dialogue to tell your story, you’re not only wasting money on film stock, you are forcing the dialogue to do all of the heavy lifting. This results in trite, expositional dialogue. Instead of having a character tell us how they feel, find an action that demonstrates how they feel. When the image part does its fair share of the storytelling, the dialogue is free to go out and play. It can be loose and realistic. Characters don’t have to say the obvious, they can be subtle and clever.

Keep in mind the “See & Say Rule” - if we see something there’s no reason to talk about it. Dialogue should be a counterpoint to visual, giving us another layer of information. Creating realistic dialogue requires thinking of each character as an individual, with their own agendas, secrets, wants and needs. The better you know your characters, the more realistic your dialogue will become... which I touch on in another Film Courage clip and will expand on in the article for that one. You have to write realistic dialogue that is also layered with information. Like that scene from “The Closer” about looking for a house - it’s not about the house, it’s all about the relationship. This is why improvised dialogue almost never works - it’s not layered, it’s obvious. No depth. No subtext... just what the actor thought of saying just now. We want dialogue that seems realistic - seems like something that the character just thought of, but actually has deeper meaning and multiple meaning. The *appearance* of realism. But better.

Good luck and keep writing!

- Bill

50 Tips On Dialogue!

*** DIALOGUE SECRETS *** - For Kindle!

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Over 160 pages!

Only $4.99 - and no postage!

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Other countries check your Amazon websites... it's there!

Thank you to everyone!

Bill

Trailer Tuesday: THE MASQUE OF THE RED DEATH

MASQUE OF THE RED DEATH (1964)

Starring: Vincent Price, Hazel Court, Jane Asher, Patrick Magee.
Written by: Charles Beaumont and R. Wright Campbell, based on Poe's MASQUE OF THE RED DEATH and HOP FROG.
Directed by: Roger Corman
Produced by: Roger Corman
Cinematography: Nicolas Roeg

After the success of FALL OF THE HOUSE OF USHER, the next film in Roger Corman's Poe series was originally going to be RED DEATH, but the story of a hooded Death seeking out victims during the plague was deemed too much like Bergman’s THE SEVENTH SEAL about a hooded Death seeking out victims during the plague. So the project was shelved at that time, and Corman went on to make PIT AND THE PENDULUM. But a few years later, everyone had forgotten that silly Swedish film and they decided to make RED DEATH, with R. Wright Campbell rewriting Beaumont’s original screenplay. Campbell had just written SECRET INVASION which Corman made for Allied Artists in Dubrovnik for $600k. Corman was often hired by studios to make big films on a small budget. Campbell went on to become a best selling novelist, and I have a bunch of his mysteries on my shelf.

Unlike the earlier films in the series, this was shot in England (due to a production incentive) on left over sets from BECKET, which would be nominated for 12 Oscars... including sets. So they ended up with Oscar winning sets... from another movie! The film also used one of the British stars of BECKET, David Weston, as the romantic lead Gino. The cast is filled with great British actors, many before they became famous. It’s weird to see M from the James Bond movies, Robert Brown, playing a *guard* in a couple of scenes!

One of the great things about making films on a budget is that you end up hiring young talent before they become famous, and the director of photography on this film is Nicolas Roeg. This film was fairly early in his career, though he had already done 2nd unit work on LAWRENCE OF ARABIA and the next year would do some 2nd unit work on DOCTOR ZHIVAGO. Roeg would eventually become a famous cinematographer, and then a famous director - he directed another great Halloween treat DON’T LOOK NOW. He’s one of my favorite directors because his films are “unstuck in time” and often smoothly bounce between time periods using match cuts.

Though this is a beautiful movie, it is more intellectual and less visceral. Where the first two Corman Poe movies were filled with dread and spooky scenes and disturbing situations and all kinds of great scares, this film is a “thinkie”. It’s all about people’s religious beliefs and the ability for humans to be cruel. Not as much about the cruelty itself. So where PIT may have had audiences screaming in terror, this film was more likely to have them discussing the meaning of life. It really is similar to THE SEVENTH SEAL!



A desolate landscape. An old woman gathering firewood is beckoned by a Man dressed in a long red cloak - The Red Death. He holds out a white rose to her, but in his hands the rose turns blood red. “Take this to your village and tell the people: The day of their deliverance is at hand.”

In the village, Prince Prospero’s carriage roars in at high speed... almost running over a toddler playing in the road. Prospero (Vincent Price) thanks the village for their taxes of grain and meat and invites them to his annual ball... where they will be confined to the courtyard and thrown table scraps (as one villager says). Another villager (Nigel Green from IPCRESS FILES) says that an old woman met a holy man who said their day of deliverance is at hand... deliverance from Prospero’s tyranny. Prospero orders the two men killed, but a young woman, Francesca (Jane Asher) begs him to spare them. Prospero gives her a Sophie’s choice - pick one to die. One is her fiancé Gino (David Weston), the other her father. Interrupted by the old woman’s screams - she is dying of the plague... the Red Death. Her face covered with hideous bloody sores.

Prospero asks if either of the men or Francesca touched the old woman? No. So he takes the three with him and orders the village burned to the ground.

At the castle: Francesca is stripped and thrown in a bathtub. Prince Prospero orders his wife Juliana (Hazel Court and her freckled cleavage) to dress her in a fine gown and instruct her on being a lady so that she may attend the party as a guest. She shouldn’t worry - her lover and father ad safe.

In the castle’s ballroom, Alfredo (Patrick Magee from CLOCKWORK ORANGE) and Prospero discuss terror. Then Prospero introduces, for your pleasure, the dancers (both little people) Esmeralda (Verina Greenlaw) and HopToad (Skip Martin)- she does a graceful dance, but accidentally knocks over Alfredo’s wine goblet so he slaps her to the floor. HopToad goes to comfort her. Prince Prospero announces to his guests a masquerade ball at midnight Sunday... but do not wear red. He tells them that the Red Death has reached the village - the plague is just outside the castle walls - but here they are safe.

That’s when Francesca enters - she cleans up well. Prince Prospero takes her on his arm as he ridicules and insults his guests... and the other guests laugh.

Prospero takes Francesca into an apartment where she will stay and they discuss cruelty, and the cruelty of God for bringing famine and pestilence and death. Francesca believes God balances out those things with love and hope... but Prospero thinks there is little hope in this world. When Francesca moves to open a door in the apartment, Prospero blocks her - she is forbidden to go into that room. Tomorrow she can see her lover and her father.

That night, a shadow falls over Francesca as she sleeps... a noise awakens her. She lights a candle and searches the bedroom... a dark figure in the corner! Just her robe on a coatrack. She puts on the robe and follows the noise - echoes of Prospero doing some sort of incantation - through the dark, empty castle. To a pair of golden doors. She opens the doors, moving deeper and deeper into a dark room, to a final set of black doors. Beyond them - Juliana on a strange throne in a trance, Prospero seemingly dead on a slab. She goes to touch Prospero - and his eye blast open. She screams and runs out of the room, through all of the doorways, through the dark castle... where she bumps into a dark figure! Alfredo. “Did I startle you, my dear?” She runs away.

Next morning, Prospero shows Francesca how his falcon hurts and kills other birds... and explains how to turn a falcon into a slave (which is all subtext, baby!). And lets slip that where she worships God and is a Christian, he worships Satan the Lord Of Flies.

A carriage arrives - a late party guest Scarlotti and his wife. Prospero denies them entrance to the castle because the Red Death is upon the countryside. Scarlotti begs to be allowed in, tells Prospero he can screw his wife if they’d just let them in. Prospero says he’s already had that doubtful pleasure... then shoots him with an arrow and tells the wife she should kill herself before she succumbs to the Red Death and throws a sword down to her...

Great Nic Roeg match cut as the sword falls into Gino’s hand in the caste’s prison where a Knight (Robert Brown from the James Bond movies) explains that he will have to fight Francesca’s father to the death - only one will survive. So he’d better get to training. And Gino and the Knight sword fight. The Knight thinks this will be easy, but Gino has some skills. Prospero takes Francesco down to watch this sword fight. She sees that the two men in her life are alive... but for how long?

As they leave the prison, Francesca takes a wrong turn in the dark tunnels and Prospero corrects her, “This way my dear, it would be better.” She hears screaming from that wrong turn destination... the torture chamber. Prospero says his distant relative used that torture chamber during the Spanish Inquisition in the name of God (making Prospero some relative of Medina from PIT AND THE PENDULUM?). We get more discussion of religion... “I don’t want to hurt you my dear. I want to save your soul so that you can join me in the glories of Hell. I will take you by the hand, and lead you through the cruel light into the velvet darkness.”

Meanwhile, jealous Juliana decides the way to keep Prospero’s hands off Francesca is to go all the way with Satan, and gives her vows at a Satanic altar to give her soul to Satan... and seals the deal by branding her boobs with his symbol. Ouch!

In another part of the castle Alfredo and HopToad have a conversation about full sized women and HopToad’s interest in finding other employment... he fears for Prospero’s rein. HopToad is a clever and cunning man... a manipulator. He convinces Alfredo not to dress in his demon costume for the masquerade ball, but as a gorilla - there is an actual stuffed gorilla in a trophy room in the castle that no one has been in for decades. While all of the other guests are dressed in simple costumes designed to show off their bodies, Alfredo will be able to frighten them with his performance as a beast.

Francesca is awakened in the night by another noise... someone is trying to break into her room! She hides behind the curtains as the door bursts open! Juliana enters, and Francesca comes out from the curtains. Then notices Juliana’s boob brand - WTF? She says she has only one more rite and then she will be wed to Satan - and Prospero and eternal life will be hers. Then she gives Francesca a key - so that she can escape the castle. Take Gino and her father and leave now!

Francesca creeps through the dark tunnels under the castle to the prison area... sneaking past the guards to their cells. Through the spider webs, she looks through each cell door - a nice jump moment as a prisoner’s face pops into the cell window. She finds Gino and her father and rescues them... now they must sneak out of the prison. They are caught be the prison guards and there is a fight, Gino shows his sword skills - killing the three guards - and they escape. They get to the side door of the castle where Juliana has bribed the guards, and Francesca taps on the shoulder of the Guard, who spins to face her - it’s Prospero dressed as a guard!

Captured.

Francesca says that Juliana set them up, betrayed her! Prospero says Juliana betrayed *him*... and she will pay, as will Gino and her Father. She begs him, but Prospero says that Gino and her father killed three guards, that’s a sin in *her* religion, is it not? So they must pay for their sins... and fight each other to the death as an exhibition before the masquerade ball.

The big feast before the ball: Prince Prospero gives an anti-toast as he throws daggers into the massive dinner table, saying that not only will Scarlotti and his wife not be attending the celebration because they’re dead; there are people in attendance who have plotted against him... and will be punished as the party goes on. Guests begin looking at each other wondering if it’s them. Tonight’s festivities begin with two men fighting to the death. Francesca gasps as Gino and her father are brought into the room by guards. Prospero explains that these two men have refused to fight each other, since their religion tells them to love thy neighbor; but he has devised a way to allow them to save the other’s life. “There are five daggers here, one of them is impregnated with a poison that kills in five seconds. Each man in turn will cut his forearm. Shall we begin? Will you not lay down your life for your brother?”

Her father selects a knife and slices his arm... tick tick tick... five seconds later he is still alive. “Next.” Gino selects a knife and slices his arm... tick, tick, tick... everyone watches and suspense builds. Gino does not die. “Next.” Her father selects a knife and slices his arm... tick, tick, tick... guests eat and watch the show, but five seconds later her father still stands. “Next.” Gino selects one of the last two knives, sealing either his fate or Francesca’s father’s. He slices his arm... tick, tick, tick... big suspense build... but he is still standing after five seconds. All eyes are now on Francesca’s father and that last dagger. He smiles, pulls it from the table and says, “Five seconds” before stabbing the dagger at Prospero! But Prospero is faster with his sword and runs it through Francesca’s father before the poisoned blade can touch him. She screams as he father falls to the floor, dead. Prospero says the game was not played properly, so Gino will die as well. But not by Prospero’s hand, by *God’s hand* - Gino will be sent back to his plaque ravaged village. Francesca begs him to spare Gino, if Prospero does... she will do anything he wants. Anything. Prospero is pretty sure that will happen whether he saves Gino or not.

He dismisses all of the guests - return at midnight in costumes and let no one see you between now and then.

Then Juliana removes a red flower from the front of her gown to expose her branded boob and tells Prospero that she is ready.

The guards dump Gino in the woods, where he can hear the echoes of a woman’s scream coming from the castle. Francesca or Julliana? He runs through the dark and foggy woods where he bumps into... The Red Death. No chess playing, but a nice discussion with death about life, and how Gino can possibly rescue the woman he loves. The Red Death gives him a Tarot card... tells him this is the answer. But what is it? Gino hears a noise in the woods and runs towards it...

In the castle, HopToad dresses Alfredo in the gorilla’s skin. “Sure it’s hot, but after the unmasking you can take it off... the game will be over.” What is HopToad up to?

In the woods, Gino finds some surviving villagers going to the castle to beg forgiveness for whatever they have done to bring on the red death. Gino tries to stop them, fails.

In the castle, Juliana and her branded boob is in the Satanic Temple portion of the castle taking unholy communion... after she drinks the potion, she has a psychedelic dream (in tinted and warped images): Dancing Aztecs looking for a sacrifice, all kinds of other evil dudes looking for sacrifices... ending with her screaming. Waking up to Prospero’s laugh. “I am betrothed of the death, and I have seen the terror.”

She follows his echoing voice into the clock room of the castle, where a razor sharp pendulum also reminds us of PIT AND THE PENDULUM. The voice says the clock is like the beating of the heart, the footsteps of the assassin... destiny! And then the falcon attacks Juliana and tears away at her face as she screams! Since this isn’t a Hitchcock film it does not peck out her eyes (missed opportunity). She falls to the floor, dead... just as the guests show up for the masquerade ball! Much screaming ensues.

The masque begins!

The village survivors arrive at the castle gates and beg the Night Watch guards for mercy... they decide to inform Prince Prospero of this, it might amuse him. Gino tries to encourage the villagers to die like men. Gino walks away from them. Prospero listens to their pleas for sanctuary, and refuses - telling them to return to their village. “But we will die if we return.” So Prospero saves them a trip and has the archers shoot them all... except for the child.

Prospero joins the party in progress, telling the guests that only 6 people from the village survived the Red Death, but because his guests are within the castle walls there is no possibility of them contracting the plague. Francesca asks what happened to the six survivors, and Prospero said he had them killed... better than starving to death or dying of the plague, right? Now that Juliana is dead, Prospero plans on hooking up with Francesca.

Gino scales the castle walls to rescue the woman he loves... and when he drops within there is someone in the shadows watching him... Mr. Red Death himself. He orders Gino to go no further, and at the stroke of 1am, he will send Francesca to him. Gino doesn’t want to wait, but he has no choice.

In their chambers, HopToad tells Esmerelda that they will escape the castle tonight - Prospero is a larger threat than the plague. Then he leaves to accompany Alfredo to the party... as the gorilla’s trainer.

Alfredo is grabbing random women as the gorilla, he throws one to the floor and prepares too mount her. HopToad lowers the chandelier until it just over Alfredo, ties him to the chandelier and hoists him above the ballroom. Everyone laughs, HopToad splashes brandy all over Alfredo - as Alfredo splashed his wine on him once. Of course the brandy and the candles of the chandelier are a bad combination, and soon Alfredo is burning alive as the other guests watch. Prospero has the guards clear away the burned Alfredo’s corpse, and find HopToad... to give him 5 pieces of gold for providing the excellent entertainment.

Then Prospero notices a guest dressed in red, and he forbid them from wearing red! He goes to investigate - crossing the busy dance floor with Francesca. Chases him into the Satanic Temple. Prospero tries to guess the identity of the guest...
“Is my costume such a disguise that you don’t recognize me?”
Then he recognizes him, “So you have come. The Prince Of Darkness.”
“I am death.”
“Who do you come for? All?”
“Not all.”
Prospero smiles, “I knew I was right, I have won!”
“It is the time of unmasking,” Red Death returns to the ballroom, Prospero and Francesca follow. “It is time for a new dance to begin.”

In the ballroom, as Red Death walks past dancers they grow ugly red sores... until all of the guests have the sores of the plague. Prospero smiles, “Our master will be pleased. I brought all of these souls to him. I taught them his worship. I corrupted them for him. I knew he was supreme when no one else did. I built a chapel to Satan and I prayed to him and I made a pact with him and these, all of my friends, I promised them safety.” Prospero thinks his promise is the kind of joke Satan will appreciate. Red Death orders Francesca to go to the fortress wall, go now. Prospero says, “Yes, go... and I will join you when this is over,” and kisses her. Francesca leaves.

When she’s gone, Red Death says that Satan is not his master... Death has no master. Prospero tries to argue that Satan is the supreme God, but Death tells him that each man creates his own God, his own heaven, his own hell. Prospero demands to see Red Death’s face and yanks off the mask... exposing his own face covered with bloody sores. “No! No!” he runs away... across the dance floor of the damned. The dying guests reach out to grab Prospero, getting their blood all over him! When Prospero reaches the other side of the dance floor, Red Death is there waiting for him. You can’t escape death. And soon, all of the guests lay dead on the floor at Prospero’s feet.

Prospero runs back into the Satanic Temple... where Red Death waits for him. And Prospero’s face erupts in bloody sores and he falls to the floor dead.

The only survivors of the Red Death: HopToad and Esmerelda, Gino and Francesca, and the child from the village who was not shot by the castle archers.

- Bill