Lesson 1

[James Landers]

Kirk Landers Finds the Essence

What I learned is that the essence of the great scenes in a profound movie like Michael Clayton reveal profound truths about the characters and their world(s).

Script I choose: Michael Clayton

Scene 1 Location: INT. MANSION KITCHEN — NIGHT
Logline: Michael Clayton counsels a rich client after a hit-and-run accident.
Essence: The client reveals himself to be arrogant and amoral, and he expects to get away with his crime. Michael deals with him adeptly, even though the man disgusts him. This is our first insight into the corrupt world in which Michael Clayton lives.

Scene 2 Location: EXT. THE FIELD — DAWN
Logline: Michael is drawn to the pastoral innocence of horses grazing on a hill.
Essence: This scene occurs in Act 1 and Act 3, both times in stark contrast to Michael’s cesspool world. Here, his love of innocence and feelings of emptiness, save him from assassination.

Scene 3 Location: EXT. ALLEY — DAY
Logline: As Michael and Arthur spar verbally, Arthur reveals the conspiracy that has engulfed them, while Michael doesn’t see it yet.
Essence: The movie’s theme and its central conflict are defined when Michael says he’s not the enemy, and Arthur responds, “Who are you then?” Because in this morality play, if you’re not against the right of a corporation to kill people, you’re the enemy.

Scene 4 Location: INT. KAREN’S OMAHA HOME/BATHROOM — DAY
Logline: Karen Crowder rehearses her presentation to the Board.
Essence: We see the story’s villain as a hard-working woman who got where she is by out-preparing everyone else. Later, in Act 3, we see her suffering after she orders a hit on Michael. In these scenes we come to understand that she, like Michael and Arthur, is a good person who’s been caught up in a world of corruption, and she can’t see a way out because she’s so goal-focused. She’s a great villain because she’s so human and vulnerable.

Scene 5 Location: INT. SENIOR PARTNER’S RECEPTION AREA — DAY
Logline: Marty reveals that the firm’s business has always been defending the bad guys.
Essence: For the first time, Michael and the audience realize that all the characters in this story have been corrupted, even though they’re hard-working, seemingly moral people. This message is delivered by Marty, who always tries to do the right thing, and now we see he’s spent his career doing the wrong thing.

MOST PROFOUND ESSENCE:

Location: INT. SENIOR PARTNER’S RECEPTION AREA — DAY
Logline: Marty reveals that the firm’s business has always been defending the bad guys.
Essence: Marty says, “This is news? We’re defending cancer, for chrissake. The case reeked from Day One”—and for the first time, Michael and the audience realize that all the characters in this story have been corrupted, even though they’re hard-working, seemingly moral people. This scene, and Marty’s line, reveal a host of profound truths, including the fact that crazy Arthur is the only moral member of the cast, and that Marty, who always tries to do the right thing, has spent his career doing the wrong thing. Everyone in the story is likeable and corrupt.

MICHAEL What if Arthur was onto something?

MARTY What do you mean? Onto what?

MICHAEL hesitating because here’s JEAN, tapping her watch for MARTY to hurry up as she hands him A SMALL GRAY ENVELOPE –

MICHAEL U/North. What if Arthur wasn’t just crazy? What if he was right?

MARTY Right about what? That we’re on the wrong side?

MICHAEL Wrong side. Wrong way. All of it.

MARTY This is news? We’re defending cancer for crissake. The case reeked from Day One. Fifteen years in, I’ve got to tell you how we pay the rent?

MICHAEL What would they do, though, if they thought Arthur was gonna go public?

MARTY What would they do? Are you fucking soft? They’re doing it! (honestly incredulous) We don’t straighten this settlement out in the next twenty-four hours, they’re gonna withhold nine million dollars in fees they owe us. Then they’re gonna pull out the video of Arthur’s flashdance in Milwaukee and sue us for legal malpractice, except there won’t be anything to win because by that point the merger with London will be dead and we’ll be selling off the furniture. (handing Michael the envelope now–) That’s eighty. We’re calling it a bonus. You’re getting a three year contract at your current numbers. That’s assuming this all works out.

• This reply was modified 2 years, 5 months ago by  James Landers.

[Madeleine Gentinetta]

Madeleine Finds the Essence

When I went through script to select the scenes, I realized how many scenes have essence and the essence is so basic and good – and told in an entertaining way. Theses are the reasons why the script was an Oscar winner.

Script I choose: Little Miss Sunshine

Scene 1 Location: INT. CLASSROOM – DAY
Logline: RICHARD holds his class “Unleash the Winner Inside” in front of an unmotivated class.
Essence: In Richard’s teaches his credo that there are two classes of people “winners” or “losers”.

Scene 2 Location: INT. HOSPITAL ROOM – DAY
Logline: SHERYL picks up her brother FRANK from the clinic.
Essence: Sheryl’s brother is suicidal (we see that his wrists are bandaged and the doctor tells her to keep him away from sharp objects).

Scene 3 Location: INT. DINER – DAY
Logline: Everybody orders their meals.
Essence: What they order is an expression of their life-style and father Robert criticizes her daughter Olive to order ice cream because it makes her big and fat and that’s a sign for him for her being a loser.

Scene 4 Location: INT. CONVENIENCE STORE – DAY
Logline: Frank buys a porn magazine for grandpa when the new lover of his professor enters the store and discovers it.
Essence: Complete humiliation for Frank in five ways: 1. he meets the new lover of his ex, 2. he has to hide his injured wrists, 3. He has to correct the way he lost his job, 4. He as a guy gay is seen as a buyer of a hetero porn magazine, and 5. The new lover tells about the encounter to the professor who tries to get a look of him.

Scene 5 Location: EXT. ON THE WATER – DAY
Logline: Outside the beauty pageant, Frank and Dwayne spend some time at the beach.

EXT. ON THE WATER – DAY

They sit on their boards and look out to sea.

FRANK

Man, it’s beautiful out here.

(beat)

I don’t know if I believe in God,

but the ocean — it’s always here

for you: infinitely bigger than you

are, and completely indifferent.

So… My version of God.

DWAYNE

Frank…?

(Frank looks over)

What’d it feel like when you cut

your wrists?

Frank takes a breath.

FRANK

You know, I wish I could tell you I

felt bad. But I didn’t. I was…

Outside the world, y’know? It was

very peaceful.

(beat)

But, I’m feeling that way now, too,

so…

He shrugs. Dwayne nods. He looks out to sea.

DWAYNE

Sometimes I wish I could just go to

sleep until I was eighteen. Just

skip all this crap — high school

and everything. Just skip it…

He shakes his head.

FRANK

Y’ever hear of Marcel Proust?

DWAYNE

He’s the guy you teach?

FRANK

Yeah. French writer. Total loser.

Never had a real job. Unrequited

love affairs. Gay. Spent twenty years

writing a book almost no one reads.

But… he was also probably the

greatest writer since Shakespeare.

Anyway, he gets down to the end of

his life, he looks back and he decides

that all the years he suffered —

those were the best years of his

life. Because they made him who he

was. They forced him to think and

grow, and to feel very deeply. And

the years he was happy? Total waste.

Didn’t learn anything.

Dwayne grins.

FRANK

So, if you sleep til you’re

eighteen…

(scoffs)

…Think of the suffering you’d miss!

High school’s your prime suffering

years. You don’t get better suffering

than that! Unless you go into

academia, but that’s a different

story.

They share a smile. Dwayne gazes out to sea. A beat.

DWAYNE

You know what…?

(Frank looks over)

Fuck beauty contests. It’s like life

is one fucking beauty contest after

another these days. School, then

college, then work. Fuck it. Fuck

the Naval Academy. Fuck the MacArthur

Foundation. If I want to fly, I’ll

find a way to fly. You do what you

love and fuck the rest.

Frank stares at Dwayne, impressed. Dwayne glances at Frank,

who tries to play it cool.

FRANK

I’m glad you’re talking again, Dwayne.

You’re not nearly as stupid as you

look.

Dwayne smiles. Frank looks around.

FRANK

So now what do we do?

DWAYNE

You got me, Frank. Maybe we can stay

out here forever.

A beat. They look at each other.

DWAYNE

We should go.

They begin paddling back to shore.

Essence: Based on Proust’s life and insights, Frank tells Dwayne that it’s ok to be a loser because Proust thought his entire life to be a loser, in fact he is the best writer after Shakespeare and the years he suffered the most, are the years that shape him the most.

[Mark Furney]

Mark Furney Finds the Essence

Script I choose: Michael Clayton

Scene 1 Location: Client’s Suburban house, about 8 minutes into the film, where Michael explains to a client what needs to be done.

Logline: Michael Clayton is a different kind of lawyer.
Essence: We quickly see that Michael Clayton’s skills as an attorney are not based upon the usual courtroom brilliance. He admits as much with the following line of dialog.

“There’s no play here. There’s no angle. There’s no champagne room. And I’m not a miracle worker, I’m a janitor.”

The essence of the scene is the character question raised throughout the movie: who is Michael Clayton? That question (who am I?) is the character question Michael Clayton confronts and answers in the film.

Scene 2 Location: At the old family House, where the B story of the family dynamics and Michael’s financial pressures come to a head.

LOGLINE: Self-doubt is a terrible beast.

Michael’s brother, Tim, makes an appearance and tries to make nice with Michael’s 10-year-old son. Michael won’t have it. His son is upset. Michael gives his son a pep talk, saying “you’re stronger than him, you won’t be the kind of guy who goes through life with rain falling down on him all the time.”

Essence: shows that Michael Clayton himself is still full of doubt and anxiety about his self-worth. The juxtaposition of his brother’s narcotic and booze addiction and Michael Clayton’s gambling addiction is the subtext of the scene.

Scene 3 Location: Police station, early in act III.

Logline: You’ve got everybody fooled. Everybody but yourself.

Essence: Again, a character reveal scene. Michael’s brother has just bailed Michael out of trouble for breaking the evidence seal on Arthur’s apartment. His brother, angry, says, “you’ve got the cops thinking you’re a lawyer, and the lawyers thinking you’re a cop. Everybody is fooled. But you. You know exactly what you are.”

Scene 4: Location: Law Office (third act)

Logline: Michael will take the $80K.

Michael, the red binder containing the damning UNorth memo in hand, walks into the chaos of the firm trying to wrap up the big settlement. Michael knows that Arthur wasn’t crazy, that he was onto the fact that the company had poisoned these people. But Marty and the firm will come through with the $80K, which will get Michael out of the financial jam with the loan shark.

Essence: Money problems make us do funny things. Michael can’t pull the trigger and say “no, I won’t keep my mouth shut” which he could do if he didn’t accept the $80K and sign the non-disclosure agreement.

Scene 5:

My selection for most profound, essence- filled scene in Michael Clayton is:

EXT. ALLEY — DAY 


ARTHUR walking away.

MICHAEL

(jogging after him)

Arthur! Arthur! Wait up!

ARTHUR stops. Turns. Caught. In his arms he’s cradling twenty-five fresh baguettes.

ARTHUR

Whoaa…


(almost losing his loaves–)


Michael. Jesus. You scared me.

MICHAEL

Making a delivery?

ARTHUR

No… (smiling)

Very funny. Nothing like that…

(as if it were all completely natural and

needed no further explanation–)

Have one…go on…really…

(offering)

It’s still warm. Best bread I’ve ever had in my life.

MICHAEL suddenly holding warm French bread.

MICHAEL

So welcome home.

ARTHUR


I know. The hotel. I’m sorry.

I was getting a little overwhelmed.

MICHAEL


But you’re feeling better now?

ARTHUR

Yes. Definitely. Much better.

MICHAEL


Just not enough to call me back.

ARTHUR hesitant. Straining to keep the mania down.

ARTHUR


I wanted to organize my thoughts.

Before I called. That’s what I’ve been doing.

MICHAEL

And how’s that going?

ARTHUR


Good. Very good. I just…

(fighting the flood)

I need to be more precise. That’s

my goal.


(he smiles)

Speak softly and carry a big baguette.

There’s a beat. Their history rushing in around them.

MICHAEL


As good as this feels, you know where

it goes.

ARTHUR


No. You’re wrong. What feels so good

is not knowing where it goes.

MICHAEL


How do I talk to you, Arthur? So you

hear me? Like a child? Like a nut? Like everything’s fine? What’s the secret? Because I need you to hear me.

ARTHUR

I hear everything.

MICHAEL


Then hear this: You need help. Before this gets too far, you need help. You’ve got great cards here. You keep your clothes on, you can pretty much do any goddamn thing you want. You want out? You’re out. You wanna bake bread? Go with God. There’s one wrong answer in the whole pile and there you are with your arms around it.

ARTHUR

I said I was sorry.

MICHAEL


You thought the hotel was overwhelming? You keep pissing on this case, they’re gonna cut you off at the knees.

ARTHUR


I don’t know what you’re talking about.

MICHAEL


I’m out there trying to cover for you! I’m telling people everything’s fine, you’re gonna be fine, everything’s
cool. I’m out there running this Price- Of-Genius speech for anybody who’ll listen and I get up this morning and I

find out you’re calling this girl in Wisconsin and you’re messing with

documents and God knows what else and —

ARTHUR

How can you know that?

MICHAEL


– they’ll take everything — your

partnership, the equity —

ARTHUR


How do you know who I call?

MICHAEL


— they’ll pull your license!

ARTHUR


HOW DO YOU KNOW I CALLED ANNA?

MICHAEL


From Marty! You’re denying it?

ARTHUR

How does he know?

MICHAEL


I don’t know. I don’t give a shit.

ARTHUR stepping back. Flushed. Paranoia rising.

ARTHUR

You’re tapping my phones.

MICHAEL

(it’s to weep)

Jesus, Arthur…

ARTHUR

Explain it! Explain how Marty knows.

MICHAEL

You chased this girl through a parking lot with your dick hanging out! You

don’t think she got off the phone with you and speed-dialed her lawyer?

ARTHUR


She wouldn’t do that. I know that.

MICHAEL


Really. You think your judgement is state-of-the-art right now?

(before he can step away)

They’re putting everything on the table here. You need to stop and think this through. I will help you think this through. I will find someone to help you think his through. Don’t do this. You’re gonna make it easy for them.

ARTHUR draws himself up. We saw a glimpse of this in Milwaukee. The teeth. The shark beneath the breadloaves.

ARTHUR


I have great affection for you, Michael, and you

lead a very rich and interesting life, but you’re a bagman

not an attorney. If your intention was to have me committed,

you should’ve kept me in Wisconsin where the arrest record,

videotape, and eyewitness accounts of my inappropriate

behavior had jurisdictional relevance. I have no criminal record

in the State of New York and the crucial determining criteria

for involuntary commitment is danger: “Is the defendant a

danger to himself or others.” You think you’ve got the horses

for that? Good luck and God bless. But I’ll tell you this,

the last place you want to see me is in court.

ARTHUR muscles up his bread. He’s leaving.

MICHAEL

I’m not the enemy.

ARTHUR

Then who are you?

And he’s walking. MICHAEL almost calling after not. Then nothing. Standing on the sidewalk with a baguette in his hand and a great variety of failures arranging themselves around his heart.

****

I think this scene contains the essence of both the external and internal stakes faced by our protagonist, Michael Clayton. His external battle is to get Arthur Edens under control, lest his Law Firm suffer terrible financial consequences. Arthur cuts to the chase of Michaels internal search to answer the question “who am I?” The writing in the scene is something to behold, IMHO.

What I learned: Really good scenes have a core essence important to plot or characterization. Get too many things going on in a scene, and its essence will be hard to find.

[Laurie Stoner]

Laurie Stoner finds the Essence

What I learned is to look for the essence beneath the action and the dialogue on the page to reveal what the scene is truly about.

Searching for Bobby Fischer

1. Opening Montage of Bobby Fischer beating Spasky, the famous Russian chess master.

Logline: A young boy (Josh) narrates what led up to Bobby Fischer’s triumph over the Russian chess master and his sudden disappearance from the world.

Essence: the young boy feels a mystical wizardry in Spasky akin to that of Merlin.

2. Ext. Washington Square – Day (mid first act)

Logline: Josh is exposed to speed chess in the park.

Essence: Josh is captivated by the sense of fun and comradery the men share while playing the game.

3. Int. Manhattan Chess Club – Day

Logline: Fred (Josh’s dad) hires Pandolfini to coach Josh. (early second act)

Essence: Fred want to develop Josh’s gift for the game although he says it’s because Josh enjoys it.

4. Manhattan Chess Club – Day (late second act)

Logline: Josh returns to the club after winning his first trophy

Essence: Josh wants to have fun in the park but Pandolfini wants to review the moves Josh made. It’s about winning not enjoyment.

5. Int. Banquet Room – Day

Logline: Josh moves into the finale of a prestigious tournament. He offers the other player a draw when he knows he’s got him beat.

Essence: Josh is a kind boy who doesn’t need to win at all costs. He has compassion for others.

Poe stares dumbly at Josh’s outstretched hand.

Josh: I’m offering you a draw.

Poe: You’ve got to be kidding

Josh: You’ve lost you just don’t know it. I’ve got you beat.

Poe: You’ve got me beat? Look at the board.

Josh: I have. It’s mate in 16 and it’s going to kill you. Take the draw and we’ll share the championship.

Poe: You can’t hustle me. Move.

And it plays out as you’d expect. Poe is crushed. Josh moves on to mentor a younger kid. For him, the game is about sharing, connection, and fun.

[Jennifer O’Brien]

Jennifer Finds The Essence

Script: It’s Complicated

Scene 1 – Top of Act I

Location: EXT. BEACH HOUSE – MONTECITO, CALIFORNIA – DAY

Logline: Jane puts on a brave front while socializing with her ex husband and his young gorgeous wife while attending the 30th anniversary of their old friends, Ted and Sally.

Essence: Jane copes with integrating her “single self” with the social fragments and connections from her previous married self/life.

Scene 2 – 2nd Scene in Act I

Location: EXT. JANE’S HOUSE – LATE DAY

Logline Jane’s daughter embarks for college leaving Jane alone.

Essence: Jane shows concern and worry over her daughter driving at night and offer to help her move and shop the next day, grounded in her role as “mother-hen”, her true north constant role and anchor.

Scene 3 – End of Act I

Location: INT. HOTEL BAR AND RESTAURANT – TOP FLOOR – NIGHT

Logline: Discovering that her ex, Jake, is alone the night before her their daughter’s wedding, Jane longs for her past life married to Jake, gets drunk and sleeps with him.

Essence: Finding herself the most alone in her life, Jane cleaves to the security of “the known”, her past life married to Jake and wonders if there is any chance of trying with him again.

Scene 4 – Act II

Location: INT. JANE’S SMALL OFFICE UPSTAIRS AT THE BAKERY – DAY

Logline: Jane asserts herself by making a special request for her architect to change her home remodelling plans by installing one sink instead of two in her bathroom.

Essence: Jane takes a step to create a future for herself that suits and compliments her life as she really is, singel and alone. Jane wants to embrace the life she is living without Jake, on her own.

MOST PROFOUND SCENE

Scene 5 – End of Act III

Location: EXT. ROAD TO JANE’S HOUSE – LATE DAY

Logline: Jane informs Jake that there is no going back into their relationship that failed and that has now failed again for a second time.

Essence: Jane accepts the mistakes of her past and is strong enough now and ready to move forward with her life.

EXT. ROAD TO JANE'S HOUSE - LATE DAY                    129
      Jane drives home, when she notices Jake's Porsche in her
      driveway. She gets out of her car, finds Jake sitting on the
      bench swing hanging from a large oak in the front yard.

      Jane crosses to Jake. He moves over. Jane sees the humor in
      this gesture and sits on the swing with him, letting out a
      sigh. Side by side, they swing in the late afternoon breeze.

                             JAKE
                I'm sorry.

      Jane doesn't answer right away.

                          JANE
                How far back does that sorry go?

                          JAKE
                How far back do you need it to go?

                             JANE
                Way back.

                          JAKE
                Consider it an all inclusive
                apology. From not being the
                husband you needed to showing up
                nude on your bed last night.

                           JANE
                Yeah, what were you thinking with
                that move?

                          JAKE
                That you'd find me irresistible.

      Jane turns to him, her eyes warming up to him.

                          JAKE
                Never considered the alternative.

                          JANE
                Gotta love that about you.

      They swing some more.
                                        115.



          JAKE
Oh, man, can't believe I got up to
bat again and blew it.

          JANE
You didn't blow it. We blew it.
We blew it the first time around.
This time... we just should've
known better. Too much has
happened. Too much time has passed.

          JAKE
And you don't think we could make
it right?                                      
          JANE
Does that mean you didn't feel it
was totally right either?                      
          JAKE
Being with you Jane is the best I'm
gonna be.

           JANE
But do you agree that it wasn't
really...?                                     
          JAKE
It was complicated.

          JANE
Begging for an answer.

          JAKE
I thought it was good.   I wanted it
to be good.

          JANE
Guess that's as close as I'm gonna             
get.

          JAKE
Do you always have to be so hard on
me?

           JANE
No.   I don't.

          JAKE
I don't regret giving it another
shot.
                                                               116.



                          JANE
                Probably would've been better if
                you hadn't been married.

                          JAKE
                It may never have happened if I
                wasn't married.

      Jane looks at Jake, knowing how true that is. They sit, side       
      by side, as they sway in the breeze.                               
                          JANE
                I don't regret it either.

      They continue rocking, not much more to say.   As CAMERA PULLS     
      AWAY, we:                                                          
                                              

[Bill]

Bill Southwell Finds the Essence

What I learned is every scene has a purpose to the story. The essence of the scene is that purpose. In my writing I must focus on this concept.

Script: Meet Joe Black (1998)

by Bo Goldman.

1. Scene 1 near the beginning.

Logline: SUSAN meets YOUNG MAN at coffee shop. He needs a doctor, she is a doctor, they converse boldly.

Essence: Honest expression initiates a bonding

2. Scene 2

Logline: Ester in hospital recognized Joe Black as DEATH.

Essence: Recognition that all must die, but Joe lingers

3. Scene 3 EXT. LAWNS, COUNTRY ESTATE – AFTERNOON

Logline: dialogue between Parish and Allison, his daughter, who he loves somewhat less than Susan his younger daughter.

Essence: Family love prevails yet personal biases persist

4. Scene 4

Logline: dialogue between Joe and QUINCE, Allison’s husband who unwittingly betrayed Parrish is convinced by Joe to confess

Essence: Honesty, repentance, and remorse are all uplifting virtues

5. Scene 5 near the end

Logline: Joe Black, DEATH, is finally taking WILLIM PARISH over the hill and is asked, “Should I be afraid?” He replied, “Not a man like you.”

My selection for the most profound essence: Joe Black learns the meaning of love through interaction with William Parish and Susan at the end of the script and rewards Susan for her love by restoring the young man whose body he used to experience mortality. The essence is that while adversity persists, love will prevail.

[Lynn Lynn Heggen]

Lynn Heggen Finds the Essence

What I learned is to explore the essence of each character’s personality and consistently express the essence of what makes each of them tick.

Script I choose: Tin Cup

Scene 1 Location: EXT. WINNEBAGO – DAY

Logline: Tin Cup is humiliated to accept a caddie position from his nemesis.

Essence: Tin Cup does not worship money or success.

Scene 2 Location: INT. BACK ROOM – NIGHT

Logline: Sometimes par is good enough to win.

Essence: When a defining moment comes along, Tin Cup will rise to the moment. He will not shrink from it.

Scene 3 Location: INT. MOLLY’S OFFICE – FEW BEATS LATER – DAY

Logline: Tin Cup learns he must apply the risks he takes on the golf course to life.

Essence: Tin Cup is wrestling with his inner demon of why he always has to rise to a challenge.

Scene 4 Location: EXT. EIGHTEENTH FAIRWAY – DAY

Logline: Tin Cup blows the tournament when he continues to take the same unwise bad golf shot over and over.

Essence: Tin Cup will do anything to prove a point – even to his own detriment.

Scene 5 Location: EXT. DRIVING RANGE – NIGHT

Logline: Tin Cup and Molly must comes to terms with their future plans.

Essence: Tin Cup has changed. He acknowledges that there is a time in life to play it safe and to have some discipline and self-control. Molly learns that she is capable of taking a risk.

My selection for most profound essence:

EXT. COTTONWOOD LOCAL QUALIFIER – TENTH TEE – DAY

Tin Cup’s in a zone, talking to himself, full of himself, in a fabulous, indomitable state of mind.

Molly and Romeo keep looking at each other and shrugging, Tin Cup’s on a roll and needs no help. So far…

A couple of the regulars shout out encouragement.

CLINT/EARL: You the man, Tin Cup! You the man!

ROMEO: They bugging you, boss – I can shut ’em up?

TIN CUP: The way I’m swinging today, nothing bugs me – except insufficient applause.

(surveys the fairway) Gimme the lumber.

But Romeo is handing him a two iron.

ROMEO: I think two iron’s safer.

TIN CUP: I said I want the Big Dog.

Romeo looks warily down the fairway of a tight dogleg left par five.

ROMEO: Tight par five, out of bounds left…you don’t want to hit driver.

TIN CUP: I’m not going left of those trees. I’m going over those trees…with a little draw. That way I get home in two. That way I’m putting for eagle.

ROMEO: You don’t need eagle to qualify! You need to get used to playing smart – not mistakes wins the Open.

TIN CUP: Qualify? I want the course record! Now gimme the lumber!

Tin Cup reaches for the driver. Romeo shifts the golf bag beyond Tin Cup’s reach.

ROMEO: You not going to listen to me? You don’t care I’m trying to help? You think I’m full of shit?

TIN CUP: I think I’m gonna get penalized for slow play if you don’t give me that fucking driver.

ROMEO: You a head case, boss, always were, always will be.

TIN CUP: Then let’s ask the head doctor. Dr. Griswold? (to Molly) Dr. Griswold, should I hit the Big Dog or the two?

Suddenly an OFFICIAL steps forward.

P.G.A. OFFICIAL: Soliciting shot selection advice is a two-stroke penalty.

MOLLY: Trust your feelings, Roy.

TIN CUP: (To Romeo) Ha! Gimme the driver and shut up.

Romeo pulls out the driver and he snaps it in half over his knee. He tosses the two halves on the ground near Tin Cup.

ROMEO: …Go ahead. Hit the driver.

Tin Cup looks at the two halves of his driver, curbing his anger, not giving Romeo the satisfaction of a reaction.

TIN CUP: I changed my mind. Gimme the three wood.

ROMEO: You can’t clear the dogleg with a three wood.

TIN CUP: Wanna bet?

Romeo pulls out the three wood, snaps it over his knee, and tosses the halves on the ground next to the driver haves. Tin Cup turns with amusement to his playing partners, lest they think management has lost the upper hand with labor.

TIN CUP: Guess I’m going with the safe shot, boys.

Tin Cup reaches for the two iron, studies it a moment, frowns, and then:

He snaps it over his knee. He dumps these halves on the ground with the halves of the driver and three wood.

Romeo stares, aghast. Tin Cup merely shrugs.

TIN CUP: Sometime I fan that two iron. Better gimme the three.

Romeo warily hands Tin Cup the three iron. Tin Cup looks at it, frowns, then:

He snaps it over his knee and tosses it on the ground.

Molly leans over to the regulars.

MOLLY: Is this normal behavior for him?

EARL: The word ‘normal’ and him don’t collide in the same sentence too often.

She watches in amazement as —

TIN CUP: Sometimes I catch that three a little thin…

He drops the three iron halves with the other halves, and steps past Romeo and sequentially yanks all but the seven iron from his bag.

He snaps them over his knee, one by one, citing the crimes of each club with mounting absurdity and ire.

TIN CUP: And I’ve hooked my four iron…(snap)…and hit flyers with the five…(snap)…and shanked the six…(snap)…and skulled the eight…(snap)…and fatted the nine…(snap)…and chili-dipped the wedge…(snap)…and bladed the sand wedge…(snap; the pauses to reflect contemptuously on his putter)…and then there’s Mister Three-putt…

He snaps the putter in half and dumps it in the pile of broken clubs at his feet.

Then, he reaches for the last club in his bag, the seven iron. The regulars hold their breath, thinking this is the end of Tin Cup’s Open bid. But…

Tin Cup smiles and caresses the seven iron affectionately.

TIN CUP But the seven iron, I never miss the seven iron. It’s the only truly safe club in my bag.

He moves to the tee, drops a ball, and hits it down the middle with the seven iron.

TIN CUP: You happy, Romeo?

ROMEO: No boss, I’m tired…my life’s too short to spend it watching you fall apart. I done it too many times.

Romeo turns and starts walking away.

TIN CUP: What’s this? You’re quitting? First sign of adversity, you’re quitting? (as Romeo continues) Anyone want to bet me I can’t par in with a seven iron? (to Molly) Doc? Take the bet?

MOLLY: Roy–just shut up and hit the ball.

This essence is that Tin Cup cannot stop under any circumstances, even when he is hurting himself, control himself or manage his emotions.

I believe this is the essence because this fabulous scene of Tin Cup breaking every club in his bag but the seven iron even while he is desperate for the winnings and to qualify for the opening, against the advice of his long time friend and caddie, shows how he cannot reel himself in once his emotions get out of control.

[Tim Adeney]

What I learned is that essence has to be introduced early and completed last in the story.

Script I choose: Slumdog Millionaire [5^th choice]

Scene 1 Location: Police Interview Room
Logline: The inspector can’t believe Jamal knows the answers, but Jamal says ‘I know the answers’
Essence: The essence is about having a purpose and this introduces that concept.

Scene 2 Location: Goods yard
Logline: The boys escape by jumping on a train, but Salim purposefully lets Latika’s hand go and she is left behind.
Essence: It sets up Jamal’s lifelong purpose

Scene 3 Location: Studio backstage
Logline: The Inspector finally figures out why Jamal is on the show.
Essence: The Inspector has his answer – the one he’s been searching for [and so does the audience]; the real answer that Jamal has been searching for as well, linked to his purpose.

Scene 4 Location: Studio
Logline: Latika can’t give Jamal the answer, but she is the answer he’s really looking for; he gets the quiz answer correct anyway.
Essence: A deeper meaning and layer to the ‘right answers’ is revealed; Latika is the answer he’s really looking for.

Scene 5 Location: Chhatrapati Shvaji Terminus
Logline: Jamal and Latika finally find each other.
Essence: Jamal repeats ‘This is our destiny’ like he’s always known the ‘answer’ – this is the culmination of the story’s essence: he has a purpose.

My selection for most profound essence: Scene 4, where the real purpose is revealed.

[Hilton Garrett]

Hilton finds the Essence

What I learned is that the essence of a scene must be rooted in the essence of the script itself in order to deliver on the premise. The scene must replicate the essence of the characters.

Script I choose: Ford v Ferrari, by Jez Butterworth, John-Henry Butterworth and Jason Keller

Scene 1 Location: Ext. Le Mans Gran Prix, Early in the First Act
Logline: Shelby is intent on winning Le Mans

Essence: We first meet Carroll Shelby as a no-nonsense, determined character unlikely to let much stand in his way. Shelby has caught fire during a pit stop. His crew thinks he should withdraw. His view: I’m not on fire now, and I’m going back out there.

Scene 2 Location: Ext. Mulholland Drive, also early in the first act

Logline: Shelby deals with bad news

Essence: Having just been told he can’t race anymore Shelby does exactly that. He takes out his frustration on the road in traffic at 130 MPH. The V.O. reveals that Shelby knows the true essence of racing.

Scene 3 Location: Int. Miles’s garage, also early in the first act

Logline: Miles is prickly and also loving

Essence: When an irate customer confronts Miles about the condition of his car, we learn that Miles is a skilled mechanic dedicated to the proper functioning of high-performance automobiles. He has little tolerance for either the customer’s automotive limitations or his point of view. Miles has a loving wife and son, and is dedicated to his family.

Scene 4 Location: Int. Miles’s family station wagon

Logline: Don’t lie to me

Essence: Trust. Miles’s little family is beset with many problems – financial, danger (inherent in Miles’s driving, Miles’s ambitions, and others. But Mollie can deal with all that because she loves him. But she cannot tolerate less than honesty from him

Scene 5 Ext. LAX Test Track/Int. GT 40

Logline: Shelby bets the farm

Essence: Shelby is determined to have Miles driving Le Mans. Ford executives are dead set against it. Shelby takes Mr. Ford for a drive and presents a proposition. Mr. Ford accepts. It’s actually a bet. If Shelby wins the bet Miles drives Le Mans. If he loses, Ford takes full ownership of his company and fires him and Miles

My selection for the most profound scene: Scene 4

Essence: Trust. Miles’s little family is beset by many problems – financial, danger (inherent in Miles’s driving), Miles’s ambitions, and others. But Mollie can deal with all that so long as he is honest with her and treats her as a partner, because she loves him

I believe that is the essence of this scene because it demonstrates her devotion to Miles and her unwillingness to accept less than full partnership. It is profound because it shows the deep and abiding love each has for the other in the face of significant trials. IMHO a truly great scene. As are most in this movie

INT. THE MILES FAMILY STATION WAGON. DAY
Mollie drives. Farmers’ market shopping on the backseat. Ken
has a brown bag on his lap, eating chips like a teenager.

MILES
You want some of these?

MOLLIE
No. I’m fine.

Ken looks out of the window and yawns.

MOLLIE (cont’d)
So.. Back late last night.

MILES
Working late.

MOLLIE
Work?

MILES
Uh huh.

Mollie stares ahead. Not happy.

MOLLIE
Didn’t..go anyplace?

MILES
What?

MOLLIE
I’m asking did you go anyplace? Last
night.

MILES
Mollie.

MOLLIE
Simple question.

MILES
And I answered it.

MOLLIE
And the answer is?

MILES
I didn’t go anyplace.

Silence. Mollie is a stone.

MILES (CONT’D)

Honey, is something up?

Mollie puts her foot on the gas. The car speeds up.

MILES (CONT’D)
No — Uh. You going too fast, Moll.

MOLLIE
Am I?

MILES
Yes. Slow up. ‘The hell is this?

MOLLIE
You tell me. See I don’t know.

Mollie swerves into oncoming traffic to overtake then back.

MILES
Look out! Whoa!! Are you nuts?

MOLLIE
Maybe. Are you?

MILES
Baby for God sake slow down.

MOLLIE
Why? Thought we love this shit.

MILES
What?

MOLLIE
Just having a little racing fun.

MILES
What?? This isn’t the same thing!!?
The truck, the truck! Jesus.

MOLLIE
I think it’s thrilling.

MILES
Too close! Honey please-
MOLLIE
I saw you! OK? I saw you leaving with
Shelby and I saw you coming back.

MILES
OK. Shit. OK.

MOLLIE
All day you’ve got that goofy look on
your face.

MILES
Goofy? Me? Shit would you slow down.

MOLLIE
Only if you tell me what’s going on-

MILES
-I went to take a look at a car.

MOLLIE
With Shelby?

MILES
Yes with Shelby.

MOLLIE
A race car?

Mollie stamps on the gas. Wangs the steering wheel around.

MILES
Maybe.

MOLLIE
Corner coming, hang on.

Shopping goes flying. Miles hangs on for dear life. The
station wagon careens onto the highway around an on ramp.

MILES
Mother of God did you lift off at all
through that?

MOLLIE
Me I like a clean racing line.

MILES
OK. Shel offered me a job! Ford’s got
a car they want to put up against
Ferrari in the GT class.

MOLLIE
You told me you quit!

MILES
I haven’t said yes!

MOLLIE
You told me you were done! Fat and old
you said! Fat and old. You told me
that.

Mollie starts to slow. She brakes and pulls over to the side
of the PCH. Looks out at the ocean waves crashing below.
Her knuckles still white on the steering wheel staring ahead.

MILES
Baby. I don’t understand. Are you
upset because I said I was done or
because I looked at a race car?

Mollie fights the emotions boiling inside her. Then-

MOLLIE
Don’t lie to me, Ken! Don’t lie about
what you feel or what you want because
you think the lie will make me happy!

MILES
Baby. I don’t even know what I feel.

MOLLIE
And if you do this, make sure it’s
worth it. Worth the worry. Worth the
fear. Worth it all.

Ken looks her in the eyes. He looks totally open. Calm.

MILES
It is.

Mollie looks like something in her breaks. Shit.

MOLLIE
He better be paying you. Not like last
time. ‘Cause I can’t work any more
hours and look after Petey. The IRS
has the keys to our garage–

MILES
It’s $200 a day plus expenses.

Mollie looks up. Stops crying.

MOLLIE
Shit. Really? That–
MILES
I know.

Silence. Off her stare–

MILES (cont’d)
I haven’t decided.

MOLLIE
$200 a day? Are you nuts

Miles starts laughing. Mollie laughs through her tears. A<br role=”presentation”> mess of conflicting emotions. They embrace. The waves crash.

MILES<br role=”presentation”> We’re gonna be OK.

MOLLIE<br role=”presentation”> I hate you.

MILES<br role=”presentation”> I hate you too baby.

They kiss.

[Shelley darling]

Shelley Darling Finds the Essence

“What I’ve learned is the importance of finding the essence and not giving up, when challenged to go deeper.

Script I choose: Harriet Tubman

Scene 1 Location: Beginning of the first Act
Logline: John faces off to Brodess to set his wife and family free.

Essence: No such thing as freedom for slaves, no matter what.

Scene 2 Location: THOMPSON’S MILL – BEN’S CABIN
Logline: Minty running stops at her dad’s cabin to say goodbye.
Essence: Minty’s dad won’t look her in the eyes, he can see her heart.

Scene 3 Location: REV. GREEN’S CHURCH
Logline: Minty receives the Reverend’s blessing with words of God.

Essence: Fit with spells and warnings, Minty chooses her freedom over fear.

Scene 4 Location: Act Two: THOMPSON’S MILL
Logline: Risking her freedom, Minty returns for John and discovers he remarried.
Essence: Heartbroken and wrought with pain, Minty stops her urge to kill John.

Scene 5 Location: WINE CELLAR/MEETING ROOMS
Logline: After triumphantly freeing her family, Harriet’s introduced to the Underground Railroad. Essence: Harriet’s trust in listening to God while liberating others empowers her voice as they hailed her as a respected conductor on the UR.

My selection for most profound essence: WINE CELLAR/MEETING ROOMS and then Essence: Harriet’s trust in listening to God while liberating others empowers her voice as she is hailed as a respected conductor on the Underground Railroad.

I believe this is the essence, as it reflects every individual’s desire to feel free and to find meaning in their lives. Harriet has found her physical freedom in serving others and has learned to trust God.

[Patty Wilson]

Patty Wilson Finds the Essence

I chose YELLOWSTONE – The Pilot

Scene 1

Scene 1: Location: Truck Stop at the Wyoming/Montana Border
Logline: A biker thanks Cory for his military service but then he beats him up in a fight over the biker’s girlfriend.
Essence: An introduction to military vet Cory who is violent, has PTSD, and is willing to kill when someone threatens him.

Scene 2: Location: Gas Fields Montana

Logline: Corey comes to an oil field to chase out a band of wild horses and tell the workers that all he has to do is get the stallion out because the others will follow.

Essence: Cory is a leader others will follow, and Cory doesn’t want oil to pollute the land.

Scene 3: Location: Indian Casino Office

Logline: The Chief of an Indian Nation puts on a war bonnet to accompany a U.S. Senator on a tour of the Reservation.
Essence: The native American chief plots to right the wrongs done to them by buying their land with funds from the tourist and gambling trade.

Scene 4: Location: Ted Turner’s Montana Grill
Logline: Beth Dutton is dressed in high class city clothes and gets hit on by a tourist married man.
Essence: Beth uses her city and sexual skills in her war to keep the Ranch.

Scene 5: Location: Yellowstone Ranch (at the funeral of Lee Dutton)
Logline: Cory separates himself from the mourners while he brings the wild grey stallion that he broke and gives the horse to John Dutton (his father).
Essence: John thinks estranged Cory’s gift means he’s moving back to Yellowstone but it’s Cory’s way of saying he’s sorry for his brother’s death.

What I learned was that Taylor’s writing is full of imagery and each scene is a metaphor for the the main character’s values in a land vs commerce fight.