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DAY 1 – ASSIGNMENT
Title: Alan’s Funny Scene!
What I learned from this assignment is: Really good comedies begin with great character setups, punchlines, and INCONGRUITIES. The humor in the entire first scene of Shaun of the Dead comes from incongruities.
1. Pick a funny 2 – 5 page scene of a comedy you love – Shaun of the Dead.
2. Paste the scene into a word processing program and make a note every time you see a setup or something funny happening in the scene.
SPOOKY NOISES…CURIOUSLY ELECTRONIC…A BELL RINGS…
INT. PUB -NIGHT
LANDLORD (O.S.)
Last orders please.
Close up on the face of a MAN. He draws on his cigarette.
WOMAN’S VOICE (O.S.)
Shaun?
SHAUN stares blankly into space.
SHAUN
Yeah…
WOMAN’S VOICE (CONT’D)
Do you see what I’m saying?
SHAUN
Yeah, totally.
NOTE: Shaun’s clearly not paying attention to something very important to his relationship with Liz.
We reveal that SHAUN is sitting with a woman, LIZ. They are both in their late twenties. LIZ looks slightly concerned,
SHAUN looks slightly confused. They are having a drink.
LIZ
You shouldn’t feel so responsible.
SHAUN
Yeah…
LIZ
I know he’s your best friend but you do live with him.
SHAUN
I know…
LIZ
It’s not that I don’t like Ed.
(speaks off to her right)
Ed, it’s not that I don’t like you.
ED
S’alright.
NOTE: Liz is talking about dumping Ed right in front of him.
We reveal ED right next to them, playing a horror themed
FRUIT MACHINE which bleeps spooky electronic noises. He is in his late twenties and slightly overweight.
LIZ
It’d just be nice if we could-
ED
(hits the fruit machine)
Fuck!
LIZ
-spend a bit more time together-
ED
Bollocks!
LIZ
-just the two of us-
ED
Cock it!
NOTE: By his normal behavior from which he never deviates, Ed clearly interrupts all their dates.
A beat.
LIZ
We have a laugh don’t we?
SHAUN
Yeah…
SHAUN and LIZ smile, sharing some private joke. SHAUN relaxes, momentarily off the hook. But…
LIZ
But with Ed always here, it’s no wonder I end up bringing my flatmates out. Then that only exacerbates things.
SHAUN
What do you mean?
LIZ
Well, you guys hardly get on do you?
SHAUN
No, what does exacerbate mean?
NOTE: Setup is we think Shaun’s asking about their relationship, but instead, he doesn’t know the definition of exacerbate.
LIZ
It means ‘to make things worse’.
SHAUN
Oh right. Look, it’s not that I
don’t like David and Di.
(speaks off to his right)
Guys, it’s not that I don’t like you…
NOTE: Shaun is talking about not liking David & Diane in front of them.
DAVID
That’s alright.
DIANNE
That’s alright.
We reveal DAVID and DIANNE, sitting next to LIZ. Both in their late twenties, DAVID is trendy but straight-laced, DI is colorful and chirpy. They hold hands.
SHAUN (CONT’D)
And it’s not that I don’t want to spend time with you because I do. It’s just, Ed doesn’t really have too many friends-
ED
Can I get any of you cunts a drink?
NOTE: ED couldn’t care less how his behavior affects Liz and Shaun.
SHAUN closes his eyes.
ED (CONT’D)
Anybody?
DAVID
No thanks.
DIANNE
No thanks.
LIZ
I’m fine thanks, Ed.
ED
Pint Shaun?
SHAUN nods. ED holds out his palm to SHAUN, who sighs and reluctantly hands him a fiver.
NOTE: Ed’s not only disruptive, but a moocher as well.
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This reply was modified 4 years ago by Alan Larson.
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This reply was modified 4 years ago by
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Margaret’s Funny Scene!
What I learned from this assignment: I found the movie “RV” with Robin Williams funny. I love his sense of humor! What I discovered when I looked at the dialogue is that his punchlines are “incongruent”. I did not recognize the ingredient that made his lines funny until this class.
Dialogue from “RV”
“Once in every nighttime,
someone comes around. “
– “I’m coming to get you. ” setup
– No.
“There’s someone
that makes sleeping difficult. ” setup
“Cassie. “
“I’m coming. ” setup
Who’s there?
– “The Tickle Monster. ” payoff – expecting something evil and you get something fun.
– No.
“That’s right, Sylvester Stallone
is the Tickle Monster. “
“What?”
“What?”
Daddy, help. setup
I’m here, Cassie. setup
Unhand my daughter, Tickle Monster. Payoff – the father is actually playing the tickle monster with one hand and himself with the other.
Oh, hand – To – Hand.
– Look, over there.
– Go, Daddy, go.
“Oh, dear. “
– Is she still up?
– Yeah.
Yeah, I just gave her a warm bath… setup
…and now she’s more wide – Awake
than I am. setup
She won’t be so sharp
for her big meeting tomorrow. Payoff – incongruent, talking about a child as if she was an adult.
– Good night, sweetie.
– Night, Mommy.
Well, if I can get Carl to sleep
in the next 10 minutes…
– … you might still have a shot tonight. setup
– Use a mallet if you have to. Payoff – the fun father is now suggesting a mallet
– Daddy?
– Yeah, baby?
Why not? It’s not as bad as it looks.
Because I always want to live here
with you.setup
Well, you know, one day,
you’re gonna grow up…
…meet a wonderful guy,
and you’re gonna get married.
But you and I
will always be best friends.
Good night, Cassie.
Dad, could you be any more of a dork? Payoff – from “best friends” to dork
Cassie, you know where this girl lives
or you just think you know? setup
I know where,
i just know one way to get there.
– And you refuse to go that way. setup
– Because it’s a stupid way.setup
– If you consider getting there stupid.payoff
– Why don’t you use the navigation?
Because Sacajawea back there
doesn’t know the name of the street.setup
She knows it as “the one
next to the one with the fountain. “payoff
Hey, Dad,
cassie just gave you the finger.
If we don’t find this house
in two minutes –
– There it is.
– Okay, honey…
…hurry up, go get your friend.
– Jerk.setup
– I heard that. payoff
Good.
– Where are they?
– She just left.
Okay.
Which friend is this, the nice one?
You used to know all her friends.setup
– You were funny and charming.
– Well, she’s 15.
She doesn’t want me to be charming. setup
She finds it creepy.payoff – incongruent
Oh, no.
It’s the too – Nice one.
Any friend of Cassie’s
is always welcome.
We’re a little late.
Remember, congratulate Todd
on the Alpine soda merger…
…tell him the house looks great,
work in his outfit.setup
– Lick his face? Payoff – incongruent
No, don’t touch him.
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DAY 1 – ASSIGNMENT
TITLE WILLIAM BEASLEY FUNNY SCENE
FILM – HIS GAL FRIDAY
NOTE : HILDY HAS COME TO GIVE HER EX-HUSBAND BURNS THE NEWS THAT SHE’S ABOUT TO RE-MARRY BUT BURNS WANTS HER BACK AND KEEPS INTERRUPTING HER BY USING EXPOSITION TO REMIND HER (AND INFORM US) ABOUT THEIR PAST RELATIONSHIP.
BURNS
How long is it?
Hildy finishes lighting her cigarette, takes a puff, and fans out the match.
HILDY
How long is what?
BURNS
You know what. How long since we’ve seen each other?
NOTE : SETUP
HILDY
Let’s see. I was in Reno six weeks — then Bermuda… Oh, about four months,I guess. Seems
like yesterday to me.
NOTE: INCONGRUITY WITH HER TALKING ABOUT MONTHS BUT SEEMS LIKE YESTERDAY.
CLOSEUP BURNS
BURNS
(slyly)
Maybe it was yesterday. Been seeing me in your dreams?
MEDIUM CLOSE SHOT THE TWO
HILDY
(casually)
No — Mama doesn’t dream about you anymore, Walter. You wouldn’t know the old girl now.
BURNS
(with conviction)
Oh, yes I would. I’d know you any
time —
He grows lyrical and, rising from his seat, is about to start toward her, as he continues:
BURNS AND HILDY
(together)
— any place, anywhere —
He sits.
HILDY
(half-pityingly)
You’re repeating yourself! That’s
the speech you made the night you
proposed.
(she burlesques his
fervor)
“– any time — any place —
anywhere!”
NOTE : SETUP
CLOSE SHOT HILDY AND BURNS
BURNS
(growling)
I notice you still remember it.
HILDY
I’ll always remember it. If I hadn’t
remembered it, I wouldn’t have
divorced you.
NOTE: INCONGRUITY FROM PROPOSAL TO DIVORCE
BURNS
You know, Hildy, I sort of wish you
hadn’t done it.
NOTE: SETUP
HILDY
Done what?
BURNS
Divorced me. It sort of makes a fellow
lose faith in himself. It almost
gives him a feeling he wasn’t wanted.
HILDY
Holy mackerel! Look, Walter, that’s
what divorces are for.
BURNS
Nonsense. You’ve got the old-fashioned
idea that divorces are something
that last forever — till ‘death us
do part’. Why, a divorce doesn’t
mean anything today. It’s only a few
words mumbled over you by a judge.
We’ve got something between us nothing
can change.
NOTE: INCONGRUITY THAT DIVORCE SHOULDN’T BE AN ENDING
HILDY
I suppose that’s true in a way. I am
fond of you, Walter. I often wish
you weren’t such a stinker.
BURNS
Now, that’s a nice thing to say.
HILDY
Well, why did you promise me you
wouldn’t fight the divorce and then
try and gum up the whole works?
BURNS
Well, I meant to let you go — but,
you know, you never miss the water
till the well runs dry.
ANOTHER ANGLE
HILDY
A fellow your age, hiring an airplane
to write:
(she gestures above
to indicate sky-
writing)
‘Hildy: Don’t be hasty — remember
my dimple. Walter.! It held things
up twenty minutes while the Judge
ran out to watch it.
BURNS
Well, I don’t want to brag, but I’ve
still got the dimple — and in the
same place — I just acted like any
husband who doesn’t want to see his
home broken up.
NOTE : SETUP
HILDY
What home?
WALTER
What home? Don’t you remember the
home I promised you?
HILDY
Oh, yes — we were to have it right
after our honeymoon — honeymoon!
BURNS
Was it my fault? Did I know that
coal mine was going to have another
cave-in? I meant to be with you on
our honeymoon, Hildy — honest I
did.
HILDY
All I know is that instead of two
weeks in Atlantic City with my
bridegroom, I spent two weeks in a
coal mine with John Kruptzky — age
sixty-three — getting food and air
out of a tube! You don’t deny that.
Do you?
NOTE : INCONGRUITY OF HOME AND HONEYMOON SPENT WORKING.
NOTE : SETUP
BURNS
Deny it! I’m proud of it! We beat
the whole country on that story.
HILDY
Well, suppose we did? That isn’t
what I got married for. What’s the
good of — Look, Walter, I came up
here to tell you that you’ll have to
stop phoning me a dozen times a day —
sending twenty telegrams — all the
rest of it, because I’m —
BURNS
Let’s not fight, Hildy. Tell you
what. You come back to work on the
paper and if we find we can’t get
along in a friendly way, we’ll get
married again.
HILDY
What?!!
BURNS
I haven’t any hard feelings.
HILDY
Walter, you’re wonderful in a
loathesome sort of way. Now, would
you mind keeping quiet long enough
for me to tell you what I came up
here for?
NOTE : INCONGRUITY THAT BURNS WANTS THEM TO RE-MARRY BUT SHE’S FINALLY GETTING THE CHANCE TO TELL HIM THAT SHE’S ALREADY PLANNING ON GETTING MARRIED TO SOMEONE ELSE.
1) WHAT I LEARNED FROM THIS ASSIGNMENT IS THAT THE BASIC WAY TO MAKE SOMETHING FUNNY IS TO USE INCONGRUITY BY PAIRING TWO THINGS THAT DON’T BELONG TOGETHER.
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Dana Cowden Funny Scene!
What I learned in this lesson is all the places where humor is exactly
the in congruence between lines or characters. I never noticed before
and now I see it in everything!Originally, I want to get the screenplay for Steel Magnolias. My favorite scene is when M’Lynn is grieving her dead daughter at the cemetery and she goes on a long streak that’s heartbreaking. She ends up angry that her daughter has died and says she just wants to punch something really hard.
Clairee pushes Wheezer to M’Lynn and tells her to sock Wheezer. It’s hilarious because you were just in tears and now we get a funny line. Clairee continues to push Wheezer forward but Wheezer protests. It’s super funny.
However, I could not get that screenplay except in a photocopy form. So…
Little Miss Sunshine by Michael Arndt
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 fell 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( NOTE: A big build up of the life of real suffering. Then the punch line is the in-congruence of a lifetime of suffering and high school.)
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 wan to
fly, I’ll find a way to fly. You
do what you love and fuck the rest.<hr width=”33%” size=”1″ align=”left”>
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What I learned from this assignment is
Learning Experience from the movie, “Airplane.” I chose this script as it packs a lot of incongruities in the beginning to establish its comedic nature. It is considered by the Rotten Tomatoes website as the second funniest movie of all time.
What I learned from this assignment is:
– Incongruities can be carried over between multiple scenes
– Visual incongruities can stand by themselves without any dialogue
– Visual incongruities can reinforce the dialogue
FADE IN:
EXT. SKY – JUST ABOVE CLOUDS – NIGHT
OMINOUS, THREATENING MUSIC. The upper tail fin of a jet
plane emerges through the cloud layer and PASSES THROUGH the
FRAME like a shark’s fin through water. It passes by again
in the opposite direction. MUSIC BUILDS as the fin comes
straight TOWARD the CAMERA, MUSIC SWELLS to CRESCENDO as
entire jet plane lifts out of clouds and passes overhead.
TITLE SLASHES ACROSS SCREEN, “AIRPLANE!”
CREDITS and MUSIC continue over following.
EXT. AIRPORT – NIGHT (STOCK)
ESTABLISHING terminal building.
EXT. TERMINAL BUILDING – PASSENGER LOADING ZONE – NIGHT
Airport bus arrives. Stewardess ELAINE DICKINSON steps off.
CAMERA FOLLOWS Elaine as she walks to terminal building.
P.A. SYSTEM (female v.o.)
The white zone is for immediate loading
and unloading of passengers only. There is
no stopping in the red zone.
P.A. SYSTEM (male v.o.)
The red zone is for immediate loading and
unloading of passengers. There is no
stopping in the white zone.
P.A. SYSTEM (female v.o.)
No. The white zone is for loading and
unloading, and there is no stopping in the
red zone.
P.A. SYSTEM (male v.o.)
The red zone has always been for loading
and unloading, and there is never stopping
in a white zone.
P.A. SYSTEM (female v.o.)
Don’t tell me which zone is for stopping
and which zone is for loading.
P.A. SYSTEM (male v.o.)
Listen, Betty. Don’t start up with your
white zone shit again!
NOTE: Incongruity: Expectation that an airport would be orderly and efficient and personnel would be professional. The above exchange is neither.
Elaine enters terminal building.
INT. TERMINAL BUILDING – NIGHT
Elaine is approached by a religious ZEALOT #1.
ZEALOT #1
Hello, we’d like you to have this flower
from the Religious Consciousness Church.
ELAINE
No, but thank you very much.
Arrival-Departure TV monitors. Elaine approaches.
ELAINE’S POV – TV MONITORS
Reads: Flight 209 to Chicago – Depart Gate 89 – 7:25 p.m.
Arrival monitor is goldfish swimming.
BACK TO ELAINE
She checks her watch and walks past Security Check area.
CAMERA STAYS with a middle-aged couple, SHIRLEY and JACK,
waiting to pass through Security Check. Behind them is sign
reading: WARNING, HIJACKING IS A FEDERAL OFFENSE, etc.
SHIRLEY
Jack, isn’t that Fred Bliffert over there
in the blue turtleneck? Maybe he’s on our
flight to Chicago.
JACK
Yeah, I think he is.
(waves)
Hey, Fred!
FRED recognizes Jack.
FRED
(yelling)
Hi, Jack!!!
A swarm of police and airport security men descend on Fred
and take him away.
NOTE: Incongruity: The warning sign plays into the misunderstanding of the action and words of the character and resulting consequence, which is over the top reaction. Good visual gag.
EXT. AIRPORT – PASSENGER LOADING ZONE – NIGHT
A limousine arrives. Two colorfully dressed BLACK DUDES
emerge. An extra pesters them. Two HARE KRISHNA’S arrive on
foot and walk toward terminal.
P.A. SYSTEM (female v.o.)
There’s just no stopping in the white
zone.
P.A. SYSTEM (male v.o.)
Christ, you’re as bad as your mother!
P.A. SYSTEM (female v.o.)
Oh, really, Vernon! Why pretend? We both
know perfectly well what it is you’re
talking about. You want me to have an
abortion.
P.A. SYSTEM (male v.o.)
It’s really the only sensible thing to do.
If it’s done properly, therapeutically,
there’s no danger involved.
P.A. SYSTEM (female v.o.)
Have you considered that what’s inside me
is a human being; that it’s alive. We made
love. It’s us — you and me.
P.A. SYSTER (male v.o.)
That isn’t true. A fetus at this stage is
not a human being, nor is it a person.
Krishnas enter terminal building.
INT. TERMINAL BUILDING – NIGHT
The Krishnas are approached by the Religious Zealot.
ZEALOT #2
Hello, we’d like you to have this flower
from the Church of Consciousness. Would
you like to make a donation?
KRISHNA
(shakes his head)
No, we gave at the office.
NOTE: Reverse expectation. Religious zealot plays part of Hare Krisha. Krishna plays part of typical person rejecting donation request.
INT. TERMINAL BUILDING – NIGHT
A voluptuous BLONDE saunters through the airport, clears her
throat loudly, and spits on the wall.
NOTE: Usually expect good-looking lay to be more refined, lady-like.
She walks past an ELDERLY WOMAN standing outside a men’s
room door. She turns and sticks her head in the door.
ELDERLY WOMAN
Go, O.J., go!!
INT. SECURITY CHECK AREA – NIGHT
SECURITY CHECK LADY is watching X-ray scanner. First picture
is typically filled suitcase, then another, then a chest X-
ray.
A man passes through metal detector archway and it BEEPS.
SECURITY LADY
Please put your metal objects on this
tray.
He puts his watch, keys on the tray. Then removes his metal
arm and metal leg.
NOTE: Man follows instructions and places typical items into tray then places atypical items there also.
EXT. TERMINAL BUILDING – PASSENGER LOADING AREA – NIGHT
MR. and MRS. HAMMEN and their eight year old son, JOEY,
arrive in a station wagon. They unload luggage.
P.A. SYSTEM (male v.o.)
The red zone is for immediate loading and
unloading of passengers only. There is no
stopping in the white zone.
P.A. System Female v.o. weeping.
P. A. SYSTEM (male v.o.)
The red zone is for…Betty, put down that
gun!
SHOTS and GROAN.
P.A. SYSTEM (female v.o.)
The white zone is for immediate loading
and unloading of passengers only. There is
no stopping in the red zone.
NOTE: Ongoing argument between Betty and male v.o. character has escalated until Betty shoots him. Then she calmly resumes her instructions as if the shooting has resolved all arguments.
The Hammens walk toward terminal past a BUSINESSMAN.
BUSINESSMAN
Taxi!
A taxi cab skids to a stop in front of him. The Businessman
gets in as the driver, TED STRIKER, drops the flag and
rushes out.
STRIKER
Back in a minute.
INT. TERMINAL BUILDING – BAGGAGE PICKUP AREA – NIGHT
Striker enters, looking around as if searching for someone.
People are rolling down the conveyor belt of a baggage
carousel, banging into each other like luggage. The luggage
is standing around the conveyor belt, waiting for the people
to come off.
INT. TERMINAL BUILDING – ANOTHER AREA – NIGHT
Striker, walking briskly, is approached by Zealot #3 who
tries to pin a flower on his jacket. Striker keeps walking
but the Zealot is persistent. Finally, Striker slips out of
his jacket leaving the Zealot with the coat.
P.A. SYSTEM (v.o.)
Your attention, please. Flight seven-
thirty-three from Milwaukee is now
arriving on the B Concourse, Gate thirty-
five.
EXT. RUNWAY – NIGHT
Flight 733 taxis toward gate. A GROUND CREWMAN with red
flashlights is directing plane to his right. A SECOND
GROUND CREWMAN approaches as First Ground Crewman continues
to direct plane to his right.
CREDITS END.
GROUND CREWMAN #2
Hey, Joe, where’s the forklift?
GROUND CREWMAN #1
The forklift? It’s over there by the
baggage loader.
He points to the left with his flashlights. Flight 733
follows flashlights and CRASHES into terminal.
NOTE: Expect pilots to typically follow directions of groundcrew but would not expect them to blindly roll plane into building.
INT. TERMINAL – GATE 35 – NIGHT
Nose of Flight 733 CRASHES into terminal, scattering waiting
crowd. A woman tosses away her infant child as she runs off.
NOTE: Expectation that any woman would do anything to save her child from danger. This is the opposite.
INT. TERMINAL BULIDING – ANOTHER AREA – NIGHT
Striker catches up to Elaine.
STRIKER
Elaine!
ELAINE
(surprised)
Ted!
STRIKER
I came home early and found your note. I
guess you meant for me to read it later.
Elaine, I’ve got to talk to you.
ELAINE
I just don’t want to go over it any more.
STRIKER
I know things haven’t been right for a
long time, but it’ll be different. If
you’ll just be patient, I can work things
out.
ELAINE
I have been patient and I’ve tried to
help, but you wouldn’t even let me do
that.
STRIKER
Don’t you feel anything for me at all any
more?
ELAINE
It takes so many things to make love last.
Most of all it takes respect. And I can’t
live with a man I don’t respect!
She leaves.
STRIKER
(to CAMERA)
What a pisser.
INT. TERMINAL BUILDING – CONCESSION AREA – NIGHT
CAPTAIN CLARENCE OVEUR is standing at the magazine racks.
The first two sections of the display are books; the third
is girly magazines. The captions over the display are
FICTION, NON-FICTION, WHACKING MATERIAL. He selects a
magazine entitled “Modern Sperm” and begins to page through.
P.A. SYSTEM (v.o.)
Captain Clarence Oveur, white courtesy
phone. Captain Clarence Oveur, white
courtesy phone.
Captain Oveur approaches telephones and picks up a red
phone.
OPERATOR (v.o.)
No, the white phone.
Oveur picks up the white phone.
OVEUR
This is Captain Oveur.
OPERATOR (v.o.)
One moment for your call from the Mayo
Clinic.
P.A. SYSTEM (v.o.)
Captain Oveur, white courtesy phone.
Captain Clarence Oveur…
OVEUR
(yelling at ceiling)
I’ve got it!
P.A. SYSTEM (v.o.)
All right. Thank you.
OPERATOR (v.o.)
Go ahead with your call.
TURNANSKY (v.o.)
This is Doctor Turnansky at the Mayo
Clinic.
INT. DR. TURNANSKY’S OFFICE – NIGHT
DR. TURNANSKY is seated at desk. Behind him are shelves
filled with mayonnaise jars.
TURNANSKY
There’s a passenger on your Chicago flight
two-oh-niner, a little girl named Lisa
Davis — en route to Minneapolis. She’s
scheduled for a heart transplant and we’d
like you to tell her mother that we found
a donor an hour ago.
On his desk is a beaker containing a beating heart.
TURNANSKY
We have the heart here ready for surgery
and we must have the recipient on the
operating table within six hours.
The heart jumps out of the beaker, across the desk and falls
off the edge.
TURNANSKY
I want you to make sure she is kept in a
reclined position and that a continuous
watch is kept on her I.V.
INT. TERMINAL BUILDING – PHONE AREA – NIGHT
TURNANSKY (v.o.)
Also, it’s important that…
OPERATOR (v.o.)
Excuse me. This is the Operator, Captain
Oveur, I have an emergency call for you on
line five from a Mister Hamm.
OVEUR
All right. Give me Hamm on five, hold the
Mayo.
EXT. RUNWAY – NIGHT
Ambulance arrives at airplane. Attendants and MRS. DAVIS
unload LISA DAVIS into wheelchair.
INT. TERMINAL BUILDING – NIGHT
Elaine and Striker are walking together.
STRIKER
Look, you’ll be back in town tomorrow
night. We’ll have dinner — talk it over.
ELAINE
I won’t be back. I’ve requested the
Atlanta run.
STRIKER
Elaine, not yet. I promise you I really
can change.
ELAINE
Then why don’t you take the job that Louie
Netz offered you at Boeing?
In the b.g. an airline PORTER is transporting an ELDERLY
COUPLE in an electric cart. They round the corner too fast
and the woman falls out. Husband doesn’t notice.
STRIKER
You know I haven’t been able to get near
an airplane since the war. And even if I
could, they wouldn’t hire me because of my
war record.
ELAINE
Your war record? You’re the only one
keeping that alive. For everyone else it’s
ancient history.
STRIKER
You expect me to believe that?
In the b.g. the Elderly Woman staggers to her feet and is
immediately run over by another electric cart.
NOTE: You do not expect elderly woman to fall out of electric cart. This gag is compounded when she is hit by another cart. It’s like being hit with lightning twice, in a comical way.
-
ALL OF ME – Eclipse Neilson DAY 1
What I learned is that I haven’t seen a lot of comedies but started to watch this one and saw a lot of what Hal was saying. Couldn’t find a good copy of the script -only the dialog. Lilly Tomlin and Steve Martin bring it to life along with stage set and other characters.
(Lawyer( Steve Martin) coming to make money off a very wealth woman. Set up knows nothing about what he is walking into -just that he has to get the case.)
Hi. Roger Cobb from Schuyler and
Mifflin to see Miss Cutwater.
Yes, sir, you are expected.
-I’ll show him up.
Betty Ahrens.
-I’m Roger Cobb.
Try not to excite her, ok?
-Grayson?
(Rich upper class women (Lilly Tomlin) in wheel chair everyone attending to her.The following lines are a set up. As she tosses her notes behind her as he wheels her along.)
Oh, yes, Madam?
Don’t forget to pick up
the invitations and make sure they’re
hand delivered the moment I die.
-The moment you die. Yes, Madam.
Oh! Oh, Mr….
-Cobb.
Cobb. Oh, yes, you’re the tedious one.
(Next two line a set up of surprises)
Would you mind accompanying me back
to my deathbed? Now, here’s the name
of my caterer, and the evening’s menu.
(The following line is a set up to let you know what she is doing.)
Make sure they have plenty
of goose pate, it’s marvelous.
Excuse me. Is this for the funeral?
One does not have that at a funeral.
Now, Mr. Fulton Norris is a wonderful
society orchestra. I should like you
to engage him for the entire weekend.
-Is this for the wake, Ma’am?
Heavens, no. It’s for a party and
I want it to a corker.
(I love these few lines that follow!)
Guess what I’m going to do?
-What?
I’m going to come back from the dead.
-Oh! And…
what makes you think you can do that?
-Because I’m rich.
Grayson, come in here, please, over.
Miss Cutwater, this is not a parking
ticket we’re talking about here,
this is the, oh, The Grim Reaper.
You cannot bribe the Grim Reaper.
Oh, Mr. Cobb, I spent a lifetime
shackled by freilty and poor health…
wheelchairs and sick beds.
It’s my heart, you see. It means well,
but it’s alsways been
something of lemon.
I’ve hat all the money in the world
and not one good chance to enjoy it.
I have never been to Europe.
I’ve ner been anywhere really.
Oh, sure I’ve ordered from Neiman’s
and Gucci’s,
but I’ve never actually been there.
I’ve never ridden my own horses.
I’ve never been to the ballet.
I’ve never danced.
But Cutwater’s aren’t quitters.
So, I’ve decided that if my wealth
cannot help me in this life, then by
God, it’s going to buy me another one.
(That last line is great one)
-
(Patricia Ruland) Funny Scene!
What I learned from this assignment is:
–Comedy can be broken down into its working parts.
–Writers can learn to be deliberately funny—it’s not just a gift or an accident—comedy is a craft.
THE 40 YEAR-OLD VIRGIN
by
,Judd Apatow and Steve Carell
[EXCERPT for COMEDY CLASS]
INT. CIRCUIT CITY – LATER
Andy is at his post. David, Jay, and Cal are a few feet away, having a conversation.
CAL
What about Andy?
JAY
He doesn’t have any money.
DAVID
Well, we can’t play poker without at least four guys.
JAY
Al1 right. But he’s gotta bring at least 50 bucks, or it’s not worth it.
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(to Andy)
Hey Andy, are you busy tonight?
Andy is taken aback at the question. Although he’s friendly with them, they never invite him out to social engagements-
ANDY
Do we have to break down the Sony
truck?
[This is funny because Andy remains the innocent here—of course they wanted him to do their work for them—nothing more exciting than that.]
Please keep scrolling—this PDF is difficult to replicate.
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5.
DAVID
No, we 1 re gonna play poker. You
wanna play poker?
ANDY
Uh, yeah, sure, that’d be cool.
JAY
You know how to play?
ANDY
I play on-line.
DAVID
Well it’s just like that, except with real people.
[Comedy: Sarcasm builds upon the perception that Andy is a loner.]
ANDY
(trying to be hip)
So, uh, where’s this going down?
DAVID
My house. I’ll get you the address.
<br clear=”all”>
ANDY
Cool, very cool. Should I bring
some stogies? Some liquor?
DAVID
Could you stop off at Boston Market and pick us up some chicken? Three extra crispy, one original, two with fries, and two with mashed potatoes, extra gravy. Each one with corn on the cob.
ANDY
Okay.
DAVID
I’m just fucking with you.
[Here, to save face and be one of the guys, Andy dispenses with his kind and helpful ways and pretends he regards everyone as “losers” for whom he’d never buy dinner (chicken) . . . until the next moment he offers to do just that. The incongruity heightens the comedy and they poignancy.]
ANDY
I know. You think I’ll pick up you losers chicken? I’ll see you guys at the game …. but do you need food?
<br clear=”all”>
<br clear=”all”>
No.
<br clear=”all”>
DAVID
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6.
JAY
SET UP I hope he has money.
[The audience is already acclimated to thinking that Andy is lacking in just about everything, including money.]
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INT. DAVID’S APARTMENT – MIDNIGHT
The four are playing poker. Most of the chips are in front of Andy, who is a little too dressed up for this event.
JAY
How much fuckin’ online poker do you play?
<br clear=”all”>
ANDY
Just an hour or two a night. When I’m not on Sims.
Incongruencies:
–The pace becomes incongruent—from laggardly to speeded up. It doesn’t take long for Andy to change the audience’s perception of him as a sluggard to an ace—poker player. The immediate cut from one to the other constitutes the inconsistency.
–Right after the line “I hope he has money” the scene immediately jumps to Andy in a suit having won most of the chips—this incongruency is starting a build.
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CUT TO:
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INT. DAVID’S APARTMENT – LATER
DAVID
(throws down ONE chip} Well, Andy, at least I feel like I1 ve gotten to know you better, since you spent the last three hours fucking me in the ass.
[David’s cool, leader-of-the-pack demeanor prefaces this comedic, hot-headed remark that reflects his humiliation at having been beaten at poker—by Andy, no less. The incongruency in David’s demeanor and delivery makes for a funny switch.]
They all laugh.
<br clear=”all”>
ANDY
(giggling}
I didn’t fuck you in the ass. Guys, this has been fun. Give me a call anytime, I’m wide open.
[Set-up: Andy never gets asked out to do anything. Incongruency: He plays it up and changes the tone and meaning of “I’m wide open”—meaning not that he’s always free—the reality—to implying he’s open for anything.]
CAL
You know what a gentleman does after he beats other gentleman? He takes them out for liquor.
ANDY
I’m game.
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<br clear=”all”>
JAY
I have to get out of here. I’m meeting Ellen.
CAL
A little late night action.
<br clear=”all”>
7.
DAVID
So you just go to her place at night and bone her and leave? And she has no problem with that?
JAY
No, she loves it.
DAVID
How come I can’t get one of those?
JAY
Do you really want me to explain it to you? Because I will.
DAVID
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Shut up.
JAY
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This girl is the best. She will do anything. There is no filter between what she wants and doing it. Everything is on the table.
She-is-game.
ANDY
Sign me up for that. I 1 m in!
CAL
I have got to get laid. It’s been
too long.
<br clear=”all”>
JAY
How long?
CAL
<br clear=”all”>
<br clear=”all”>
Like four months.
DAVID
Who was the last one?
CAL
Jill. She was awesome. She had these huge titties. Oh, I used to love to bite them. I didn’t even want to have sex, I could bite those titties all night.
DAVID
What happened to her?
<br clear=”all”>
…..
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8.
CAL
She was an asshole. She was mean. She was a miserable person, but I so regret breaking up with her.
DAVID
Why did you break up with her?
CAL
I felt like we were in different places in our lives.
JAY
Yeah, you were in this place where you were having trouble getting a job and she was in this place where she hated your fat ass!
CAL
Basically. I miss those titties.
ANDY
Titties are the best.
DAVID
I had this girlfriend, she loved the fellatio. Anywhere we went, she would want to do it.
CAL
Why didn’t you marry her?
DAVID
We went to see Ace Ventura: Pet Detective. And she’s going for it, and the guy who worked there saw us, but he didn’t stop it, he just watched. It was so gross. And then I couldn’t finish…
JAY
wait a second, was that Ace one or Ace two?
DAVID
It was the first one.
JAY
This story is over ten years old. You don’t have a sex story that happened in this millennium.
<br clear=”all”>
Fuck you.
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9.
DAVID
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CAL
That is lame.
ANDY
Ah, unbelievable. So lame.
[All of the above is the extended set-up that portrays the speakers as very savvy in love.
The pay-off is that they turn to Andy to contribute, but the audience knows he’s got nothing.]
DAVID
Then you give us a good sex story,
Andy.
Andy is stopped in his tracks.
ANDY
I don’t kiss and tell.
JAY
Come on, give us a good, dirty one. The dirtiest thing you’ve ever done.
ANDY
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Give me a break. You’re a freak.
I can tell.
DAVID
Lay one on us.
ANDY
(after a breath) Ok…well….I went with this girl, she loved having sex. She was so into it. We would have sex and she’d be screaming, “I love it . “
It was so dirty. We had sex in every room in the house. The bathroom. It was like you guys were saying. She wanted to do it on the kitchen table. I came home and she was on the kitchen table naked ’cause she just wanted me to nail her…
DAVID
And did you nail her?
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10.
ANDY
I nailed her so bad. We were swinging from the chandelier. She was crazy. It was never enough with her. Never enough.
JAY
What was her name?
ANDY
Tan-dra. Man it was so crazy.
CAL
Sounds crazy.
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I am it. too.
<br clear=”all”>
ANDY
embarrassed to even talk about
God, I was really into it,
It was so much fun.
DAVID
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Did you like to talk during sex?
ANDY
She was talking the whole time. I was hitting it big time. Just hitting it. She could barely walk
– the next day. Me so horny.
They all laugh, and look at each other, realizing Andy is full of shit.
[What Andy’s claiming—that he has wild relations with women–is incongruent with the others’ growing awareness he has absolutely no experience.]
JAY
So you really used to do her?
ANDY
Oh, I did her so bad.
JAY
What were her tits like?
ANDY
They were good. Good tits.
CAL
Her nipples?
ANDY
Yeah. Nipples.
DAVID
What were they like
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ANDY
They were good ones.
JAY
Give us some details. Were they long nips? Flat nips? Dark areolas? Were they big silver dollar nips?
[This gets funny because what Andy says is incongruent with facts and details of the situation. That is, he doesn’t know what he’s “describing” really looks like.]
ANDY
They were like a dollar. Like ten dollars.
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11.
<br clear=”all”>
What? Huh?
<br clear=”all”>
DAVID
CAL ANDY
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Like ten times a night.
DAVID
Ten times.
ANDY
Maybe twenty.
JAY
Do you last a long time?
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Oh yeah. How long? An hour.
<br clear=”all”>
ANDY
CAL ANDY
DAVID
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Of screwing.
ANDY
Yeah. Sometimes a little less.
JAY
So ten times would take at least
ten hours. Do you rest in between?
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ANDY
No. I don’t need to.
<br clear=”all”>
12.
DAVID
You start right up.
ANDY
Why not. Why waste time?
CAL
So sex with you could take a whole day.
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ANDY
Yeah. More even.
DAVID
Do you use protection?
ANDY
Sometimes. I don’t really need to.
CAL
Do you use a rubber, or a sponge?
ANDY
I always use a sponge. Sometimes two at a time. What do you guys use?
<br clear=”all”>
ALL
Sponge.
JAY
Did you get a lot of back door
action?
DAVID
Come on, that’s enough.
ANDY
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That’s cool. Side door. doors.
<br clear=”all”>
We did back door. We were doing all the
<br clear=”all”>
(joking) And a couple
<br clear=”all”>
of windows.
[Set-up: Andy goes overboard and gets ridiculous, and in doing so, breaks his cover.]
<br clear=”all”>
JAY
You have no idea what we’re talking
about.
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[Andy is found out because he does not know what they are talking about . . . leading only to one conclusion . . .
Sure I do.
<br clear=”all”>
ANDY
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JAY
laughing Oh my God.
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13.
<br clear=”all”>
What?
<br clear=”all”>
ANDY
JAY
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You’re a fucking virgin.
[The heart of the matter—the crux of the inconsistency that is the entire premise of this comedy—that a man, 40, is still a virgin. The very thought of that most probably would cause most people in an audience to laugh.]
ANDY
What? Shut up. Yeah, okay. Tell Tandra that. If. I’m a virgin Tandra’s a virgin, too.
JAY
You are.
ANDY
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Not since I was ten, my friend.
JAY
Unbelievable.
ANDY
Ha. That’s funny. This is fun. When did you guys lose your virginity?
<br clear=”all”>
JAY
No, no, no. You’ve never popped your cherry.
DAVID
Leave him alone.
JAY
What?
DAVID
<br clear=”all”>
Don’t be mean.
JAY
I 1 m not being mean. I want to help him. him laid.
[Incongruous opinions of Jay’s motives make this exchange funny.]
<br clear=”all”>
He’s a virgin.
I want to get
<br clear=”all”>
Yes.
<br clear=”all”>
CAL
Let’s get Andy laid.
ANDY
<br clear=”all”>
Come on guys. Very funny.
[The incongruity of Andy’s sorrowful state as masked by his jocular and fake delivery is funny and poignant.]
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.
-
Christy Waites’ Funny Scene!
“What I’ve Learned…”
First, I stopped to think of the comedy movie that I’ve seen most recently that left me at the end with that over all “feel good” aura because it had me laughing all through the story. Which film not only had a good plot, but had extremely clever setups and punchlines? And the movie I came up with immediately was the third sequel to Bill and Ted’s Excellent Adventure, Bill and Ted’s Face the Music. And I found that movie had a long intro that gave the viewer background, but was also the set up for the next four pages of punchlines with new setups. It just didn’t stop! So I learned that a good comedy grabs you immediately within the first ten pages, and doesn’t let go!
Lesson 1:
Script: BILL AND TED’S FACE THE MUSIC, 2020
SETUP:
DOCUMENTARY FOOTAGE:
CLOSE UP: VIDEO FOOTAGE OF BILL AND TED, 17 YEARS OLD, from
the beginning of “Excellent Adventure.”
CUT TO: BILL AND TED AT 19 – doing their guitar solo at the
end of “Bogus Journey” – the super-fast, virtuosic riffing..
SHOT: PEOPLE FROM ALL OVER THE WORLD, watching.
CUT TO:
NOT LONG AFTER THAT (circa 1992): Bill and Ted, excited,
wide-eyed – the picture of youthful optimism. Being
interviewed by KURT LODER on MTV.
KURT LODER
In other music news.. Claiming they have
been told by “a civilization seven hundred
years in the future” that their music will
“do nothing less than save the world..”
Now on MTV we see a PHOTO OF BILL AND TED, age 20.
CUT TO: DISTANT, HAND-HELD VIDEO FOOTAGE of the guys handing
a ceremonial 4 foot check to the “FABULOUS FORUM” BOOKING
MANAGER. The footage is shaky and distant.
20 YEAR OLD TED
See you all here in twenty years – to
celebrate two decades of triumphance!
CUT TO: THE BAND VAN HALEN
SAMMY HAGAR
The only problem was – and it turns out to
be a pretty big problem..
PUNCHLINE:
EDDIE VAN HALEN
They never came up with a song.
ALEX VAN HALEN
The song, let’s say. Not to mention the
record. Or any record, really.
CUT TO: THE BAND IRON MAIDEN
BRUCE DICKENSON
They got record deals – we know that cuz
they paid us a ton to just basically be
session guys.
SETUP:
BRUCE DICKINSON
Yeah – cuz like, they kept saying to us:
“This has to save the world.”
QUICK SHOTS:
JEFF BECK
“No, Jeff – this has to save the world.”
JIMMY PAGE
And I remember saying: “Guys, it’s a
song.” The Beatles didn’t save the world.
Mozart didn’t save the world.
PUNCHLINE:
ERIC CLAPTON
“Save the world, save the world..”
Clapton rolls his eyes and makes the “jerk off” motion.
SETUP:
CUT TO: THEIR SONS NOW (INTERVIEWED ON TV)
years old now. Title: “WILL LOGAN AND THEO PRESTON.”
WILL
Okay, like, our dads – they were told – in
high school – that their music was gonna
save the world.
THEO
I mean that’s a lot of pressure. Like, if
somebody came to us, and told us that our
music was gonna save the world?
PUNCHLINE:
WILL
Well that would be pretty okay.
THEO
Yeah, I’d be good with that.
SETUP:
CUT TO: THEIR WIVES, now. Title: “JOANNA PRESTON AND
ELIZABETH LOGAN.”
JOANNA
Look, the point is, they took it seriously
– they take it seriously.
ELIZABETH
They really care, and they work hard.
It’s pretty much all they do, actually.
JOANNA
But they’ve found ways.. Certain,
whatever, ‘hobbies,’ you know, to cope.
CUT TO 1994: POLISH MTV
Not great video quality: the guys interviewed on a cheap
set.
PUCHLINE:
Ted is KNITTING some kind of thick, amorphous shape.
SETUP:
POLISH INTERVIEWER (O.S.)
(Polish accent)
What are you making there, Ted?
PUNCHLINE:
24 YR OLD TED
I never know. I just knit till it feels
done.
-
DAY 1 Assignment
darryl brant Funny Scene
Film: Airplane!
What I learned from this assignment is in order to get a laugh from the audience, a scriptwriter needs to generate a certain amount of expectation (SET-UP) and then give the audience what they don’t expect (PUNHCLINE). In Airplane!, the writers use plays-on-words and visual gags to the point of absurdity to achieve this ‘incongruity’.
A I R P L A N E !
Written by
Jim Abrahams
David Zucker
Jerry Zucker
SHOOTING SCRIPT
June 11, 1979
Revised 6/15/79
INT. COCKPIT – NIGHT
Striker enters.
STRIKER
(to Rumack and Randy)
The stewardess said…
STRIKER’S POV
Empty pilot’s seat and inflated automatic pilot.
STRIKER
Both pilots!
DR. RUMACK
Can you fly this airplane and land it?
STRIKER
Surely you can’t be serious.
NOTE: SET-UP Striker doesn’t believe what he is being asked
DR. RUMACK
I am serious, and don’t call me Shirley! What flying experience have you had?
NOTE: PUNCHLINE Dr. Rumack misinterprets the homonym ‘surely’ for a girl’s name ‘Shirley’.
STRIKER
Well, I flew single-engine fighters in the Air Force, but this plane has four engines. It’s an entirely different kind of flying…altogether!!!
NOTE: SET-UP Striker highlights the difference between aircrafts.
RANDY/RUMACK
(all together)
It’s an entirely different kind of flying.
NOTE: PUNCHLINE Similar to the previous joke, Randy/Dr. Rumack misinterpret altogether and utter the phrase in unison.
STRIKER
Besides, I haven’t touched any kind of plane in six years.
DR. RUMACK
Mister Striker. I know nothing about flying. All I know is this: you’re the only person on this plane who can possibly fly it. You’re the only chance we’ve got.
DRAMATIC MUSIC as Striker turns to face the controls.
STRIKER’S POV
CAMERA PANS controls.
NOTE: SET-UP Camera focuses on the complexity of piloting a plane.
CAMERA KEEPS PANNING and PANNING as WE SEE more and more controls ad absurdum.
NOTE: PUNCHLINE The camera continues to pan revealing a ridiculous amount of controls, knobs and switches to the point of sheer absurdity.
-
DAY 1 Assignment
Anchorman: The Legend of Ron Burgundy
What I learned from this assignment is that there’s a setup and a punchline before every joke in STAND-UP which I knew, but I wasn’t sure that this technique is used in movies, too.
EXT. SUBURBAN HOME — NIGHT
CU of Ron
(NOTE) SETUP: Perhaps there is something important to say? Like: We are appointed as the best newscast team in the world…?
RON
Hey everyone, I have a very important
breaking news story…(NOTE) PUNCHLINE: Well… Nevermind…
…Cannonball!!!
Pull back to see it is a drunken pool party of anchors and
women. Ron, in his underwear, does a cannonball into the
pool. A dozen other people including the News Team jump in
as well.NARRATOR {V.O.)
Yes, these fellas were a real news
team. Burgundy, of course, was the
foundation, the rock.“Use Me Up” by Bill Withers plays. As the team rising from
the pool in slow motion we see their hair is miraculously
completely dry and perfect.(NOTE) SETUP: Every member broughts in something unique about themselves. But wait until the very end.
NARRATOR (CONT’D)
But each member brought their own
special something to the equation.SUPER FAST PUSH IN TO: Brian Fantana who is laughing, drinking, and playing around with a .38 while talking to an attractive
lady in a green silk dress. Freeze FrameBRIAN FANTANA {V.O.)
People call me the Bri Man. I’m very
stylish and have what the French
call Jenny Say Kwane. I use a hand
full of talcum powder on my genitals
every morning and own over three
thousand different colognes. Ladies
dig my stuff.SUPER FAST PUSH IN AND FREEZE: Champ is doing shots of tequila
with some baseball players and a newscaster from a rival
station.CHAMP KIND (V. 0. )
Champ here. I’m all about havin’
fun, you know, get a few drinks in
me, maybe start a fire in someone’s
kitchen. Anyway, I’ve kind of become
famous for my signature catchphrase
nWhammy”. As in:CONTINUED:
Quick cut to Champ announcing some highlights.
CHAMP
Steve Garvey at the plate
annnd … Whammy!!!CHAMP KIND
Everywhere I go people let me know
how much they love my Whammies.SETUP:
Cut to: l)Champ having sex with a woman in a bridal gown in
a closet. They yell “Whammy!” when they orgasm. We hear a
knock on the door and a man’s voice “Honey, where are you?
They’re ready to cut the cake!” 2) Champ at a funeral with
tears streaming down his cheeks. A priest approaches him.PUNCHLINE: We wait for Priest telling something tragical, instead he joins.
PRIEST
Your Father was a good man. And by
the way, Whammy.SUPER FAST PUSH IN: Brick Tamland is trying to get something
out of the toaster with a fork.(NOTE) PUNCHLINE: The very end…
BRICK TAMLAND (V.O.)
I’m Brick Tamland. People seem to
like me because I’m polite and rarely
late. I like to eat ice cream and I
really enjoy a nice pair of slacks.
Years later a doctor will tell me
that I have an IQ of 48 and am what
some people call “mentally retarded.” -
Joe’s Funny Scene!
What I learned: This scene establishes the INCONGRUITY at the heart of GHOSTBUSTERS: Assistant Professor Venkman is a complete and utter con-artist who couldn’t care less about science or academic pursuits — who has to save NYC from an invasion of ghosts.
This is the scene that introduces VENKMAN (Bill Murray) and establishes his character. He uses his position at the University to hit on a pretty young co-ed.
INT. PARANORMAL STUDIES LAB — SAME TIME – DAY
DR. PETER VENKMAN is administering an ESP test to two student volunteers,
a boy and a girl, who sit across the table from him separated from each
other by a screen.Venkman is an associate professor but his rumpled suit and the manic gleam
in his eyes indicate an underlying instability in his nature. However,
while a little short on academic credentials, Venkman is long on
confidence, charm and salesmanship.He turns to the male volunteer, an obnoxious SOPHOMORE, and pulls out a
card from the standard deck of ESP symbols. The card is visible to the
camera over Venkman’s shoulder but hidden from the sophomore by a masonite
board that rests between them on the table. The card shows a star symbol
on it.SETUP: Venkman is an assistant professor, an adult in a position of responsibility and authority. We expect him to behave accordingly.
VENKMAN
All right. What is it?SOPHOMORE
(concentrates)
A square?VENKMAN
(shakes his head)
Good guess — but no.He shows the Sophomore the star card then presses a button on the table
which administers a mild electric shock to the volunteer. The Sophomore
twitches involuntarily as the shock passes through the electrode attached
to his fingertips.SETUP: This is how the experiment SHOULD go. If you guess wrong you get a very mild shock. If you guess right, you don’t.
Then Venkman turns to the female volunteer, a very
beautiful COED.VENKMAN
Now just clear your mind and tell me what
you see.He turns over a card with a circle on it.
COED
(thinks hard)
Is it a star?VENKMAN
(feigning surprise)
It is a star! That’s great. You’re very
good.INCONGRUITY: Venkman isn’t following his own rules… Also, he’s a slimeball. He’s hitting on the pretty student.
The Coed beams proudly as Venkman turns back to the Sophomore without
showing her the card.VENKMAN
(to the Sophomore)
Now think.He turns up the diamond card.
The Sophomore glances nervously at the electrodes, then ventures a guess.
SOPHOMORE
Circle?VENKMAN
Close — but definitely wrong.He shocks him again and swivels around to face the Coed.
VENKMAN (CONT’D)
Ready?
(she nods and he turns up
the triangle card)
What is it?COED
(biting her lip)
Ummm — figure eight?VENKMAN
(lies)
Incredible! Five for five. You’re not
cheating on me here, are you?COED
(amazed at her own ability)
No. They’re just coming to me.VENKMAN
Well, you’re doing great. Keep it up.INCONGRUITY: Venkman is effusively praising the pretty coed for the wrong answer. (And the Sophomore is watching with growing alarm because he sees what’s going on.)
He turns back to the Sophomore who winces as the next card is turned
up — two parallel wavy lines.SETUP: We know that Venkman’s going to electrocute this poor kid.
VENKMAN (CONT’D)
Nervous?SOPHOMORE
Yes. I don’t like this.VENKMAN
Well, just 75 more to go.
The jeopardy just went up.
What’s this one?SOPHOMORE
(takes a deep breath)
Two wavy lines?VENKMAN
(burying the card)
Sorry. This isn’t your day.He zaps him again but this time the Sophomore really jumps.
PAYOFF: We knew it was coming, but it’s still hilarious.
SOPHOMORE
(angry)
Hey! I’m getting a little tired of this.VENKMAN
You volunteered, didn’t you? Aren’t we
paying you for this?SOPHOMORE
Yeah, but I didn’t know you were going to
give me electric shocks. What are you
trying to prove?VENKMAN
I’m studying the effect of negative
reinforcement on ESP ability.SOPHOMORE
I’ll tell you the effect! It pisses me off!VENKMAN
Then my theory was correct.The Sophomore gets up, pulls the electrodes off his fingertips and exits.
SOPHOMORE
(as he goes)
Keep the five bucks. I’ve had it!INCONGRUITY: This poor kid is getting the shit zapped out of him for $5.
Venkman turns back to the Coed and shrugs.
VENKMAN
Well, I guess some people have it and some
don’t.
COED
(provocatively)
Do you think I have it, Dr. Venkman?VENKMAN
Definitely. I think you may be a very
gifted telepath.INCONGRUITY: We KNOW the pretty coed doesn’t have any ESP ability, but Venkman is really laying on the bullshit.
Suddenly the door opens and RAY STANTZ enters.
STANTZ
He is Venkman’s colleague and best friend. A hard scientist with a good
academic background, Stantz is a maverick who genuinely loves a challenge.
At the moment, he seems really keyed up.STANTZ
Drop everything, Venkman. We got one.He starts rummaging through cabinets and drawers, gathering up a variety
of electronic devices.VENKMAN
He frowns at the intrusion and turns to the Coed.
VENKMAN
Excuse me for a minute.
(he crosses to Stantz)
Ray, I’m right in the middle of something
here. Can you come back in about an hour?STANTZ
(excited, but hushed and
confidential)
Peter, at 1:40 this afternoon at the main
branch of the New York Public Library on
Fifth Avenue, ten people witnessed a
free-roaming, vaporous, full-torso
apparition. It blew books from shelves at
twenty feet away. Scared the socks off some
poor librarian.VENKMAN
(unimpressed)
Sure. That’s great, Ray. I think you
should get down there right away and check
it out. Let me know what happens.INCONGRUITY: Stanz just told Venkman something absolutely incredible– but Venkman only cares about hitting on the pretty coed.
STANTZ
(insistent)
No, this one’s for real, Peter. Spengler
went down there and took some PKE readings.
Right off the top of the scale. Buried the
needle. We’re close this time. I can feel
it.Venkman looks at Stantz, then back at the Coed, torn between duty and
pleasure.VENKMAN
(decides)
Okay. Just give me a second here.
(he crosses back to the
Coed)
I have to leave now but if you’ve got some
time I’d like you to come back this evening
and do some more work with me.COED
Eight o’clock?VENKMAN
(lying again)
I was just going to say “eight.” You’re
fantastic!He waves good-bye and exits with Stantz.
INCONGRUITY: Venkman clearly has something other than scientific research on his mind when he invites his student, who has zero ESP skills to meet him at eight o’clock.
-
“What I learned from this assignment is…?”
How to setup a joke for big time payoff.
SOMETHING’S GOTTA GIVE: (Will Jennings) Funny Scene!
Jack Nicholson as Harry; Amanda Peet as Marin
A LONG STRETCH OF PRISTINE COUNTRY ROAD – THE HAMPTONS – DAY
A Silver Mercedes convertible bursts into FRAME. Harry’s
behind the wheel, shades, smoking a cigar, livin’ large. Next
to him sits a thoroughbred of a girl. An “IT” Girl. Smart,
sexy and built for fun. She has perfected flirting to an art.
Her hand rests on Harry’s neck. There’s a good thirty year
age difference between them. Her name is MARIN. She SINGS
along with Ja Rule, now coming from a CD.
Setup: Harry is a chic magnet.
MARIN
( singing)
To all my thugs that be livin’ it
up, we say, what I do. To all my…
(stops)
Oh! This is it. Make a right.
HARRY
(admiring the
neighborhood)
So baby, you’re rich… .
MARIN
Well, my mother is, sort of. Not
really…
HARRY
If she lives within a mile of here, she’s
rich.
MARIN
I guess a hit play will buy you a house
in The Hamptons.
HARRY
I’d like to meet your mother.
MARIN
No you wouldn’t. I mean, she’s
great. She’s totally brilliant, but
she’s not your type.
Setup
HARRY
You’re overlooking one of the great
things about me. I don’t have a type.
MARIN
(very directly)
She’s over thirty.
Harry looks to Marin, feigning hurt.
MARIN
Oh, what?! Like you don’t know you
have a slight reputation for…
HARRY
— For what?
MARIN
For never dating anyone over 30.
Don’t look at me like that.
HARRY
It’s just not true.
MARIN
Okay. Sorry. Over 31?
HARRY
Oh, so you wait ’til we get out to The
Hamptons to let me know you’re a wise
ass.
Setup
(then to Marin)
It just so happens, my dear, that women
of a certain age, don’t date me. You ever
think of it that way? No, it’s always me.
You dames are all alike.
Payoff
Hey…
MARIN
(amused, to herself)
Dames…
Marin continues singing along with Ja Rule as Harry
confidently slips his hand onto her thigh.
MARIN
(all business)
Make a right, left at the second
fence.
Marin turns up the CD, getting herself out of whatever just
came over her, looks out the window.
HARRY
Setup
Have I mentioned how gorgeous your
breasts look in this sweater?
MARIN
(blushing)
Yes you have actually.
HARRY
So it would be too much to mention it
again. . .
Payoff
Marin laughs, softening, as Harry turns down a dirt driveway,
driving toward a DREAM BEACH HOUSE.
HARRY
Wow. It’s the perfect beach house.
MARIN
I know. My mother doesn’t know how
to do things that aren’t perfect.
HARRY
Which explains you.
That got her. Harry parks. She looks over at him but he’s
grabbing some cigars for his shirt pocket, then looks up at
her with an innocent look that suggests he did not just say
such a lovely thought.
MARIN
(trying to keep up with
him)
Yeah, okay, right…
They both grab their overnight bags and step out of the car.
HARRY
So, what are we gonna do out here,
just the two of us, for two whole
days?
Setup
Marin sets her bag down, walks to Harry, wraps her arms
around his neck.
MARIN
Tell me the truth, are you at all
glad we waited?
HARRY
I’m incredibly glad we’re finally
going to do it.
Payoff
(she’s a bit disappointed)
If that’s the same as being glad we
waited, then baby doll, I’m ecstatic.
Marin smiles then kisses him. He’s one of those guys that
lets you kiss them.
HARRY
(slaps her tush)
Let’s go for a swim, how long will
it take you to change?
MARIN
Setup
Two minutes.
Marin starts UNBUTTONING HER SWEATER as she dances
seductively toward the front door, then notices Harry’s
cigars.
MARIN
Oh Har… No smoking in the house. My
Mom doesn’t allow it.
HARRY
But she allows you to strip in the
front yard and bring men you’re
dating here to…
MARIN
She doesn’t know everything I do…Or
when I do it.. or where I do it.
She SLIPS OFF her sweater and DROPS IT ON HARRY’S HEAD.
INT. HOUSE
It’s one of those great Beach Houses. Light filled and warm
with spectacular views of the sandy landscape wrapping around
the rear of the house. Marin, now in a tight tank, tight
pants, gives Harry the grand tour as she continues to
undress.
MARIN
(TAKING OFF her belt)
The fabulous living room, perfect for
entertaining an intimate group of friends
or that special someone.
(DROPS her belt then
UNBUTTONS Harry’s shirt)
Behind me, the requisite Hampton’s deck
complete with pool and ocean view.
MARIN (CONT’D)
(UNBUCKLES Harry’s belt)
Your pants, please…
HARRY
Ladies first.
Marin provocatively UNZIPS her pants and wriggles out of
them. She’s now in a TINY TANK AND BIKINI PANTIES.
MARIN
Gourmet kitchen’s to your left
where tonight I will whip you up a
culinary feast of Mac and Cheese.
Marin HEARS Harry’s ZIPPER UNZIP. She turns, her EYES
WIDENING as Harry’s PANTS land on a chair. Harry is now down
to his Boxers, an Open Shirt and a fearless smile.
MARIN
(smiling)
.. O-kay, going quickly now…
Master bedroom is that away…
They arrive in a warmly decorated GUEST BEDROOM.
MARIN
And this as they say on ‘Cribs’,
your favorite show, is where the
magic happens. Do we like it? Going
once, going twice …
HARRY
Sold.
Payoff
-
Hello,
Where will I find the lesson? When I click on Post Day 1 Assignment Here, it doesn’t say what the assignment is.
Veleka
-
What I learned is that what makes this movie funny is the whole premise is an incongruity – Bad Moms. The “good” mom has a “break” (kicking her husband out) and turns “bad.”
There’s a long setup of
1. showing all the moms in their daily routine – focus on Amy
2. Amy’s work schedule adds to her responsibilities
3. When she catches her husband jerking off, it’s the last straw and she’s about to “break bad”
Setup for this movie is the scene at school – establishes the moms and their roles and the emphasis on food and nutrition. Then Amy’s employer and fellow employees use Amy and overwork her. Then her husband is caught and she throws him out.
The payoff is several scenes that follow where she first stands up to Gwendolyn and says “No” to the ridiculous food rules at school. After the “No” and the night out with 2 other moms, she becomes more like Carla, the mom they all hated in the first scene.
-
Nancy’s Funny Scene
What I learned doing this assignment is that comedy is structure and craft. And it’s much easier to understand that on the page then on the screen!BRIDESMAIDS – Opening Continuous Scene
LESSON #1
EXT. UPSCALE MODERN HOME – NIGHT
The ultimate bachelor pad. A Porsche is parked in front of it.
ANNIE (O.S.) I’m so glad you called.
TED (O.S.) I’m so glad you were free.
ANNIE (O.S.) I love your eyes.
TED (O.S.) Cup my balls.
ANNIE (O.S.) Ok, yes, alright, I can do that.
TED (O.S.) Oh, there it is!
NOTE: There is incongruity when it seems both Ted and Annie are equally in it for the same reason – Annie wants romance. Ted wants his own pleasure.
INT. BEDROOM – CONTINUOUS
ANNIE WALKER, mid 30’s, is having sweaty sex with TED, handsome, 40. In a series of close-ups and jump cuts, we see Annie in the middle of a very long, vigorous session.
ANNIE Oh, that feels good.
TED You know what to do!
ANNIE I’m so glad I got to see you again.
JUMP CUT to see she’s now bouncing on top of him.
ANNIE (CONT’D) Oh yes! (then, looking concerned) Uh, okay, wait, hold on. You and I are on different rhythms I think.
TED I want to go fast!
ANNIE Oh, Okay. Sure—
He bounces Annie SUPER FAST.
NOTE: Set-up – Annie says “You and I are on different rhythms I think.” Indicating they are coming from two different places/frames of mind. Incongruence between each other.
INT. CLEAN, UPSCALE MODERN BATHROOM – MORNING
Annie stands in front of a mirror in nice lingerie. She puts on lotion, make-up, brushes her hair, mascara, etc. She getting ready to… Creep back into the bed, where Ted is still sleeping. She gets in and begins to position herself to show her good parts. Coughs and nudges Ted to wake him up.
Annie quickly pretends she’s still asleep. He taps her.
ANNIE (gasps/ pretending) Oh! I was having a nightmare, I was so scared. Good Morning.
TED Good morning. You look beautiful.
ANNIE (acting embarrassed) What? No. I’m sure I look terrible. I just woke up. I’m sure I’m a mess.
TED You slept over.
ANNIE I did.
TED I thought we had a rule against that.
ANNIE …oh.
TED I’m kidding.
ANNIE Oh, that’s funny. You’re funny in the morning.
TED I like hanging out with you.
ANNIE I love hanging out with you. I think we get along really well. And you’re so sexy…
TED I know. Look, I just have a lot coming up at work. And I don’t want to make promises I can’t keep.
ANNIE We’re on the same page. I’m not looking for a relationship right now either, let’s just say that. Whatever you want, I can do. I like “simple”, I’m not like the other girls who would be like “be my boyfriend!” Unless you were like, “yeah!”, then I’d be like “maybe”.
They hug tightly and he kisses her deeply. Then he lets her go. Stares at her…
TED Wow, this is awkward. I really want you to leave but I don’t know how to say it without sounding like a dick.
ANNIE (speechless) Oh. Annie stares. Awkward moment leading into …
NOTE: Annie fixes herself up and pretends she was sleeping. She thinks he’s sending positive messages with the hug, kidding that they “had a rule against this”… and then the punchline that he wants to ask her to leave but doesn’t want to sound like a dick… but he does anyway.
-
What I learned doing this assignment was to identify incongruent characters, interactions and the setup patterns. Fish out of water character in The Devil Wears Prada.
ANDY turns and sees NIGEL walking down the hall carrying a pair of stunning Dolce slingbacks. He holds out the shoes. (SETUP) NIGEL I guessed 8 1/2. ANDY That's very nice of you, but I don't need those. Miranda hired me. She knows what I look like. NIGEL Do you? MIRANDA Emily! We hear MIRANDA clearly. She's not yelling. She never yells. MIRANDA (CONT'D) Emily! NIGEL She means you. (nudges her) Go. ANDY takes a deep breath. 33 INT. RUNWAY - MIRANDA'S OFFICE 33 ANDY appears in the door. MIRANDA is talking to PAUL, the art director, who is showing her a layout. MIRANDA It's too dark. I can't see any of the clothes... PAUL ...I think he intended to use shadow to show the contours of the... MIRANDA And what is this? I want the title of the layout to bleed over the left side of the photo... PAUL I see, well, we needed room for the typeface to pick up the lines of the dress, which is cut on the bias, so we... (CONTINUED) 18A. The Devil Wears Prada 2nd Blue In Progress 12/00/05 33 CONTINUED: 33 MIRANDA No, no, no. That's not what I want. I made that abundantly clear... MIRANDA looks up and sees ANDY. MIRANDA (CONT'D) There you are, Emily. How many times do I have to scream your name? ANDY Actually, it's Andy. MIRANDA gives ANDY a look. And ANDY notices she's brought the room to a screeching halt. ANDY (CONT'D) My name is Andy. Andrea, but people call me Andy. (CONTINUED) 19. The Devil Wears Prada 2nd Blue In Progress 12/00/05 33 CONTINUED: (2) 33 MIRANDA What a fantastic story. So entertaining and full of useful information. MIRANDA looks at her. And smiles. Terrifying. MIRANDA (CONT'D) I need ten or fifteen skirts from Calvin Klein... ANDY What kind of-- MIRANDA Please bore someone else with your questions. Make sure we can get Pier 59 at 8 am tomorrow... Remind Jocelyn I want to see a few of those satchels Marc is doing in the pony... And tell Simone I'll take Frankie if Maggie is not available tomorrow... And did Demarchelier confirm? ANDY Demar-- MIRANDA Get him on the phone. As ANDY leaves -- MIRANDA (CONT'D) And Emily. ANDY turns. ANDY Yes? And MIRANDA doesn't say anything. Just looks at ANDY'S shoes. Then back up at ANDY. Her message unmistakable. (INCONGRUENT - ANDY DOESN'T REALIZE THE SHOES ARE IMPORTANT!) 34 INT. RUNWAY OFFICE - BULLPEN -- DAY 34 ANDY flies out of MIRANDA'S office, races over to the desk, pulls on the Dolces. MIRANDA immediately calls out... MIRANDA Do you have Demarchelier? (CONTINUED) 20. The Devil Wears Prada 2nd Blue In Progress 12/00/05 34 CONTINUED: 34 ANDY tries to look the name up in the address book on the computer. ANDY Demarchelier... Demarchelier... Just then EMILY appears behind ANDY. She dials the phone. EMILY I have Miranda Priestly calling. (calls out) I have Patrick. She flips the call to MIRANDA. Then turns to ANDY, who's slightly panicked. ANDY (SETUP FOR INCONGRUENT INTERACTION) She called me in and asked me about Pier 59. She said something about Simone and Frankie and someone else. And she needs skirts from Calvin Klein. I think that's the most important thing, but I couldn't tell. Oh, and there was something about a pony. EMILY Did she say which skirts? (ANDY shakes her head No) Did she say what kind? (No.) Color? Shape? Fabric? (No. No. No.) ANDY I tried to ask her, but-- EMILY (INCONGRUENT RESPONSE. OF COURSE, YOU ASK YOUR BOSS QUESTIONS BUT NOT IN MIRANDA'S OR EMILY'S WORLD) You never ask Miranda. Anything. (sighs) All right, I'll take care of the other stuff. You go to Calvin Klein. ANDY Me? EMILY (SETUP - EXPECTATION ALSO OUT OF THE NORMAL WORK INTERACTION) I'm sorry. Do you have a prior commitment? Is there some hideous pants convention? (CONTINUED) 21. The Devil Wears Prada 2nd Blue In Progress 12/00/05 34 CONTINUED: (2) 34 ANDY So I just, what, go down to the Calvin Klein store and ask them-- EMILY rolls her eyes so hard they almost eject from her head. EMILY You're not going to the store. ANDY Of course not. I'm going... to his house. EMILY (oh god why me?) You are catching on quickly. We always send assistants to a designer's home on their very first day. You're going to his showroom. I'll give you the address. ANDY (SETUP) Sorry. Got it. What's the nearest subway stop? EMILY (PAYOFF - GROUNDRULES) Good God. You do not. Under any circumstances. Take public transportation. On ANDY. I don't? 35 EXT. ELIAS-CLARKE -- DAY 35 ANDY steps out. Sees a Black Lincoln Town Car. She smiles. 36 EXT. ELIAS-CLARKE/INT. TOWN CAR -- DAY 36 ANDY rides uptown. She looks around -- the magazines, the tiny bottles of water, the little dishes of candy. The driver, ROY, looks at her in the mirror. ROY Miranda's new assistant. Congrats. ANDY Thanks. ANDY takes some candy. (SETUP FOR WEIGHT EXPECTATION TO COME) -
Lori’s Funny Scene
What I learned: Incongruity is what makes things funny.
Scene from Ace Ventura: Pet Detective
A stern guard is admitting people into the stadium. He scans each one
with a security detection wand.
note: man #1 and man #2 are a set up
MAN #1
Art Wheeler. Sporting supplies.
The guard scans him. He goes.
MAN #2
Tom Anderson. Concessions.
The guard scans him. He goes.
ACE
Ace Ventura. Pet detective.
note: incongruity
The guard stares at Ace, accusingly.
INT. MELISSA’S OFFICE – DAY
Martha enters.
MARTHA
Ah Mr. Ventura to see you.
MELISSA
Okay, send him in.
Martha exits, Ace enters.
MELISSA (CONT.)
Hi, I’m Melissa Robinson. Did you
have any trouble getting in?
ACE
No, the guy with the rubber glove
was surprisingly gentle.
note: this is funny because it’s unexpected
MELISSA
(apologetically)
Super Bowl week. Security’s
tight. Mr. Ventura, I’ll get
right to the point
She slips a tape in the VCR and gestures for Ace to sit.
MELISSA
Our mascot was stolen from his
tank last night. Are you familiar
with Snowflake? note: the name Snowflake is funny because it doesn’t make sense for a dolphin
The tape shows Snowflake doing a trick. The trainer, dressed like a
quarterback, shouts out
signals.
TRAINER (ON TAPE)
Blue! 42! Blue! 42! Hut! Hut!
Snowflake swims over, snatches the small football out of the trainer’s
hand, swims the length of
the pool, does an end zone dance on his tail, then returns the ball to
the trainer.
MELISSA (O.S.)
We got Snowflake from the Miami
Seaquarium. He’s a rare Bottle
Nose Dolphin. That’s the new
trick he was going to do during
the half-time show.
While Ace studies the tape, he chews sunflower seeds in a bird-like
fashion, placing the shells in a
neat little pile on her desk.
note: funny, because it’s unexpected
MELISSA
Would you like an ashtray? setup
ACE
No, I don’t smoke. puchline
He adds more shells to the pile.
Melissa is already wondering if she has made a mistake.
MELISSA
To be honest, Mr. Ventura.
I’m pretty skeptical. Before
today, I didn’t even know there
was such a thing as a pet
detective.
ACE
Well, now that you do, you’ll know
who to call if your Schnauser ever
runs away.
MELISSA
How did you know I have a
Schnauser? setup
Ace pulls a, invisible-to-the-naked-eye dog hair off here blouse and presents it to her.
ACE
He’s young, about five pounds,
black coat, white speckles
(sniffs the hair)
likes to chase cars.
note: incongruity
MELISSA
Very impressive.
ACE
You should see what I can do with
a good stool sample. unexpected
MELISSA
I can hardly wait. Look, we’ve
got a problem. Can you help me or
not?
ACE
(coy)
Well, sea faring creatures aren’t
really my expertise. setup
MELISSA
We’ll give you three thousand
dollars on delivery.
Ace immediately becomes the narrator of a nature show.
ACE
The dolphin is a social creature.
Capable of complex communication.
Traveling in large groups or
schools. puchline
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