Seven Root Stories

Posted on by
Reply

cir001Try as we might to generate completely new ideas, the truth is that almost every plot line boils down to one of several root stories. The “original” root stories, or at least the oldest recognized forms of them, come from ancient mythology or classic fairytales. They operate as basic frameworks of storytelling, but they can be easily disguised by unusual settings, secondary plots, and extra or altered characters. The following seven root stories can serve as great building blocks as you create your own story. They could also help you characterize a story you’ve already written.

After you thoroughly read each line of this post, make sure to apply for Summer Session of the 3-Week Intensive! Time is ticking – class starts on July 13. Don’t miss your chance to learn about screenwriting from our amazing faculty members. 

1. Achilles

Achilles is one of the most talked-about narrative archetypes, thanks to everyday use of the term “Achilles heel.” Each Achilles story features a character with a tragic flaw that causes him or her to meet a tragic end. The Great Gatsby, MacBeth, and Hamlet are a few examples. 

2. Cinderella

Stories based on this root don’t necessarily involve a Prince Charming-type rescue figure, or even a rags-to-riches theme. The Cinderella archetype is a character whose virtues are overlooked or outright denied until the end of the story. Films that immediately came to my mind were James and the Giant Peach, A Little Princess, Matilda, and Pretty Woman. But after getting in touch with my inner paleontologist and scraping off some narrative dust with a proverbial toothbrush, I realized that The Tortoise and the Hare also falls into this category. 

3. Circe

This root, named after the minor Greek goddess, is the story of the seducer or the temptress. In Homer’s Odyssey, Circe invited Odysseus’ men to her home and served them poisoned food that turned them into pigs. Apparently she had also been known to cut off certain body parts belonging to her lovers. So, you can see how she got a bad reputation. 

Mary Howitt’s poem “The Spider and the Fly” is a perfect example of Circe’s root story. Some films that follow the Circe template include Cruel Intentions, Basic Instinct, Poison Ivy, and To Die For. 

4. Faust

Faust stories are about debts that must be paid. The semi-historical figure Johann Faust was said to have sold his soul to the devil. Phantom of the Opera, Ghost, The Imaginarium of Dr. Parnassus, and Ghost Rider exemplify this root story. 

5. Orpheus

The Orpheus root story concerns a valuable gift that is somehow lost. The story might end with the loss, or it might begin with the loss and follow the characters on their quest to find the gift. Virgil’s Aeneid, The Wizard of Oz, and Jason and the Golden Fleece are notable examples. 

6. Romeo & Juliet

This archetype barely needs explaining. Two lovers meet; at some point, they become separated. In the end, they either happily reunite or lose each other forever, depending in the tone of the story. West Side Story, Titanic, Friends With Benefits, and many movies based on Nicholas Sparks novels fall into this category. 

6a00d8341c301153ef0111685865a1970c-450wi7. Tristan

Films like The Graduate, Vicky Cristina Barcelona, and Closer follow the Tristan root story, which is about the classic love triangle. Tristan was sent to bring the beautiful Isolde (or Iseult, or Essylt, depending on who you talk to) back for King Mark to marry. Unfortunately for the king, Tristan and Isolde accidentally drank a powerful love potion during the journey, and they fell madly in love with each other. 

And now a little public service announcement about making marriages last: Watch out for those love potions, people. 

If you read this post, you’re probably a writer. Which means…you should probably – no, make that DEFINITELY – apply for Summer Session of our 3-Week Intensive. The session will run from July 13 to August 3. We’re only accepting applications until July 6, so act fast!

Did we miss a classic example of a root story in modern film? Let us know in the comments!

Take Two: The Girl With The Dragon Tattoo

Posted on by
4

TGDT 1Take Two blog posts offer a critical look at some contemporary and classic Hollywood remakes, and breaks down the differences between the original film and its successor. If you think you’ve got what it takes to write the next big remake, or if you’re tired of remakes and want to see something new, check out our Three-Week Intensive Screenwriting Course, accepting applications now for Summer 2013!

This installment of our Take Two series of blog posts looks at another Swedish film with an American remake. This time, we’ll be focusing on the 2009 adaptation of Stieg Larsson’s The Girl With The Dragon Tatoo, and the 2011 American remake of the same name.

The Original

TGDT 2Stieg Larsson’s posthumous bestselling millenium trilogy was originally adapted by Swedish director Niels Arden Oplev.

The 2009 film was a box office success worldwide, though it performed relatively poorly in American cinemas. It was also followed by two sequels based on the remainder of Stieg Larsson’s trilogy, which released in the same year.

The Remake

TGDT 3Two years later, a Hollywood remake starring Daniel Craig and Rooney Mara and directed by David Fincher was released. Like the original, the movie closely followed the plot of the novel it was based upon, albeit with a significant increase in star power.

 

Major Differences

The two movies are very similar overall, even more so than the previously discussed Let the Right One In and Let Me In. Still, there are some differences to be found.

  • The framing plot featuring Mikael Blomkvist’s conflict with Wennerstrom is handled differently in the two versions. In the 2009 Swedish version, Blomkvist actually serves jail time after the conclusion of the trial, and in the American version, the promise of additional evidence to convict Wennerstrom has a more prominent role in motivating Blomkvist to help Henrik Vagner.
  • Harriet, though alive in both versions, is relocated to London in the 2011 remake, and Blomkvist’s visit with her, while thinking she is Anita, is added earlier in the movie.
  • Played by different actors, the feel of the protagonists varies considerably in the two films.
  • The total budget of the 2009 version was $13 million, while the 2011 remake had a budget around $100 million.

Same Characters, Different Actors

It goes without saying that when the same character is played by different performers, the character is going to feel different in certain ways. This is true in any remake, but I am mentioning it here because, in a movie so superficially similar, the differences stand out more than they otherwise would.

In the character of Lisbeth Salander, Noomi Rapace delivers what is, in my opinion the superior performance. Although a protagonist and, ultimately, a likable character, Lisbeth is also socially maladjusted and has genuine issues which make it difficult for her to fit into society. Although Rooney Mara does an excellent job of conveying Salander’s brash, standoffish charm, Rapace ultimately better presents the deep internal conflict of Lisbeth Salander’s character.

TGDT 4Daniel Craig, on the other hand, offers up a superior interpretation of Mikael Blomkvist. While he arguably does not function as well as Nyqvist did in presenting a foil for Lisbeth’s character, I think Craig presented a more relatable and engaging version of the character. Given the amount of time the audience spends seeing the story through Blomkvist’s eyes, that’s an important distinction between the two.

Cost Effective

TGDT 5Though the cost of the Hollywood remake was around eight times that of the original, you wouldn’t know it by looking at the two. The movies were visually very similar, and achieve comparable results in terms of lok and feel. Why then, the large budget gap between the two? 

Here’s one perspective. Obviously, larger salaries went to Daniel Craig and Rooney Mara for the star power draw. However, there’s also an explosion inserted in for little reason and then there’s the title scene. The title scene, while visually stunning (and I also loved the cover of Immigrant Song), added nothing to the feel or message of the film. It was so jarring when viewed in contrast with the scenes it bookended that it ultimately took me out of the movie and was not, in my opinion, a worthy addition.

Conclusion

If I had to summarize my opinion of the 2011 remake of The Girl With the Dragon Tattoo, it would be ‘unnecessary’.

I should clarify, for the record, that I ultimately have a high opinion of both films, and I think they were each successful at capturing and delivering the message of the novels. However, in my mind the remake had nothing in it to justify its existence, other than a repackaging to make additional revenue in American theaters. 

TGDT 6No artistic risk is taken, the message remains the same, and the feeling one gets upon finishing the film is largely the same in both versions. I’m not condemning either movie, but I do think, if you’ve seen one, you don’t need to watch the other. That’s about all I have to say.

If you’re into this kind of thing, consider sighing up for our Three Week Screenwriting Bootcamp. If you have questions comments, or feedback on the format of the post, we’d love to hear from you. Let us know in the comments below!

Highlight Reel: June 16, 2013

Posted on by
Reply

Movie Reel and FilmHappy Father’s Day, everyone. First of all, sorry about the lack of a highlight reel last week. I was busy all weekend doing some work on a film set (which may be the subject of a blog post yet to come). At any rate, we’re back on schedule now, and we’ve got a normal ol’ highlight reel for you to check out. Here’s a quick sampling of what’s new this week in the film industry.

That’s all we’ve got for you this week. As always, if you think we’ve missed anything worth mentioning, or you’d like to share your thoughts or opinions, please let us know in the comments below!

Top 5 War Movies

Posted on by
Reply

letters-from-iwo-jima-03-645-75

Filmmakers have brought us a host of war movies over the decades, from The Battle of Algiers in 1966 to The Hurt Locker in 2008. There are war movies about front-line soldiers, civilian uprisings, escape-minded prisoners, and many other groups. Some directors of these films are veterans themselves, while others worked hard to understand a world they’ve never fully been a part of. But all war films have at least one thing in common. They move us away from dry statistics toward a more human understanding of war.  

If want to spend more time reflecting on war and the stories we tell about it, come to our July First Tuesday: War Stories. We’ll be hearing from several veterans, including TheFilmSchool faculty member Stewart Stern, who served in World War II. 

1. Letters From Iwo Jima (2006)

Letters from Iwo Jima highlights the strange contradictions of war. An enemy soldier seems so cruel in combat, yet he always carries a letter from his loving mother. Hate between countries does not necessarily translate to hate between individuals. And sometimes, doing the right thing means being dishonorable. 

The film follows the Battle of Iwo Jima from the Japanese point of view. It was directed by Clint Eastwood, who had previously directed Flags of Our Fathers – the same story from the American point of view. Letters did much better than Flags, and was even nominated for an Academy Award for Best Picture. 

2. Platoon (1986)

Platoon begins with the young Chris Taylor (Charlie Sheen) volunteering for combat duty in Vietnam. Once there, he discovers that the situation is much more complicated than us-versus-them. It’s difficult to make sense of the platoon dynamics, the questionable leadership, and the randomness and rules of war. For instance, in the end, a sergeant who wants to go home more than anything is instead given a promotion, while Taylor and another soldier are sent home for injuries. 

Platoon was written and directed by Oliver Stone, who served in the Vietnam War and was honored with a Bronze Star for heroism. Throughout the film, Stone chose to juxtapose sickening images of war with a feel-good, 1960s soul soundtrack. At first listen, it seems like an odd choice. After all, most people don’t think of armed combat when they hear The Tracks of My Tears by Smokey Robinson & The Miracles. However, the music is era-appropriate, and furthermore, it reminds us of the strong sense of camaraderie that develops in the face of dire situations. 

3. Saving Private Ryan (1998)

Captain-Miller-saving-private-ryan-1666973-852-480United States Army Rangers Captain John H. Miller (Tom Hanks) and the soldiers of the 2nd Ranger Battalion are fighting in the invasion of Normandy in WWII when they receive unusual orders from their superiors. They are ordered to find Private First Class James Francis Ryan (Matt Damon), who is missing in action. All three of Ryan’s brothers have recently been killed in the war. Concerned for the boys’ mother, the Army Chief of Staff is determined to get Ryan home safely.

Saving Private Ryan was written by Robert Rodat and directed by Steven Spielberg. The film won Spielberg an Academy Award for Best Director. 

4. Dr. Strangelove, Or: How I Learned to Stop Worrying and Love the Bomb (1964)

When we watched Dr. Strangelove in my 10th grade history class, I doodled the entire time. Years later, I realize I really should have paid attention. The film is a fantastic satire of the nuclear scare, and the brainchild of the legendary Stanley Kubrick.

At the beginning of the film, General Jack D. Ripper develops a paranoid theory that the Soviets are trying to poison Americans’ bodily fluids. In response, he secretly deploys a nuclear attack on the Soviet Union. Unfortunately for the Americans, the Soviets have a large-scale – no, make that a humongous scale – retaliation plan.  

5. Apocalypse Now (1979)

Apocalypse Now follows U.S. Army Captain Benjamin L. Willard (Martin Sheen) on his mission into the jungle to kill a colonel who has allegedly gone crazy. Along the way, Willard risks going crazy himself. The screenplay was adapted from Joseph Conrad’s Heart of Darkness, and the film was directed by Francis Ford Coppola. Marlon Brando and Robert Duvall star alongside Sheen. 

In his review of Apocalypse Now, Roger Ebert wrote, “It is not about war so much as about how war reveals truths we would be happy never to discover.” Ebert was right. How many of us, when faced with the pressures of war, would make the right decisions? Who would turn out to be a coward, and who would turn out to be a hero? Most of us would rather not know, and luckily, most of us will never be forced to find out. But maybe that’s why war movies are so important. They call into question the depth of our moral convictions.

Join our discussion of war and storytelling at Roy Street Coffee & Tea on July 2. Click here for more information about this event and other First Tuesdays, and don’t forget to RSVP on Facebook.

There are countless other great war films out there. Did we miss one of your favorites? Let us know in the comments. 

1st Tuesday – Finding Hillywood

Posted on by
Reply

Here’s another awesome podcast from our First Tuesdays @ Roy Street series of workshops and Panels. 

Leah Warshawski brings clips of her film, FINDING HILLYWOOD, and she tells her story, from funding to production. Don’t miss this firsthand account of feature doc making at its finest. FINDING HILLYWOOD is a film about the very beginning of Rwanda’s film industry and the pioneers who bring local films to rural communities. 

Listen Now : Finding Hillywood
(right click and save link to listen)

 Sponsored by 4Culture

4culture_white

How My Mother Killed Me

Posted on by
2

FADE IN:

INT. PRISON VISITING BUILDING- GUARD STATION – DAY

JERRY faces us with a smile as he bobs in and out of view like he’s enjoying aerobics. The scene is BATHED in upbeat MUSIC: the Swingle Singers scat singing Canon by Bach. Jerry turns away, drops out of view. MUSIC ENDS abruptly.

GUARD (O.C.)

…Spread your cheeks… Okay, pick up your clothes and get dressed.

Jerry appears upright again looks over his shoulder at us, smiles.

GUARD (O.C.)

Let’s go, your buddies are waitin’ on you.

Jerry stoops out of view. We HEAR clothes picked up as our eyes adjust to the scene we see a line of men dressed in blue jeans and blue work shirts standing outside in line facing us.

JERRY (O.C.)

Those men aren’t my ‘buddies.’

GUARD (O.C.)

Well, smart guy, whose fault is that?

EXT. GUARD STATION

We look over the shoulder of the same line of men as they begin to wilt in the heat of the Nevada desert. They are reflected in a mirror and steel door. It clacks and the first inmate in line steps forward, pulls it open, steps into the cool dark interior and the door SLAMS shut.

INT. VISITING ROOM

Could be a small airport lounge with its built-to-last anonymous modern simplicity. Room faces a wall of glass but the take-offs and landings we see are confined to visitor’s cars in the Admin parking lot. On the opposite side of the room a floor-to-ceiling mirrored cube lords over the interior visiting space. Guard’s silhouettes churn in the mirror’s blackness. Side of the cube clacks and a door pushes open. JERRY walks in to the visiting room, the door LOCKS behind him. He finger brushes his short hair reflection in the one-way glass of the guard station. He studies the visiting room behind him.

INMATES embrace SWEETIES, MOTHERS and CHILDREN (newborns and awkward shy teenagers); the room is awash in LOVE ACTUALLY meets SHAWSHANK REDEMPTION.

KNUCKLES RAP on the other side of the one-way glass followed by a wagging flashlight in his eyes. A MUFFLED VOICE grumbles

GUARD (O.C.)

Move.

EXT. PRISON ADMIN

A glass and metal door clacks and EVE pushes it open, steps into a 300′ long corridor of chain link and barbed-wire topped with rolls of razor wire. The door SLAMS closed. Tunnel passes through the double prison fence connecting Admin to Visiting. Eve, dressed in a floor-length leopard neck coat and her hair fashionably wrapped in a turban, takes a breath, gathers herself and starts walking to the next gate at the first fence.

INT. VISITING ROOM

Jerry sees Eve enter the tunnel and walks slow toward the door where the tunnel connects with visiting. He smiles and says hello to people he knows. A mid-thirties couple ALBERT and SHERREE stand to greet him.

ALBERT

Hey Jerry, this is my wife, Sherree.

Jerry steps forward and shakes her hand.

INMATE

Jerry is the one who wrote the letter…

SHERREE

Oh my gosh, I can’t tell you how many people have responded. Two even came to the house.

Jerry glances toward the windows, Eve is at the second gate. Albert sees this.

ALBERT

Let’s let him go hon. Just wanted to say thanks.

Jerry reaches out and shakes Albert’s hand…

JERRY

Well the responses are miracle when you consider what we had to work with…

Albert and Sherree laugh and turn away. Jerry doesn’t get three steps away when rough looking inmate, RONSON steps in his way.

RONSON

That shit you wrote in the paper may cost me my parole.

Jerry gives Ronson’s pulsing neck vein his full attention.

RONSON

Yeah your last column about that girl murdered in the 7-11…

Jerry looks into Ronson’s right eye, the cloudy one.

JERRY

It was about the victims of violent crimes support group her mother attends…

Ronson puffs himself up as he steps in closer.

RONSON

What fuckin’ ever, I see the board tomorrow and if they dump me you and I are gonna talk…

Ronson looks over Jerry’s shoulder and deflates.

RONSON

…without your friends.

Ronson steps back as convict Captain America BIG BILL throws an arm over Jerry’s shoulder and with a wide smile for the audience steers him away from Ronson.

BIG BILL

Hey little buddy, don’t you have something better to do than pick fights with villains in the visiting room?

JERRY

Seemed like a good idea at the time.

Jerry looks back at Ronson who gripes something we can’t hear to his BIKER GIRLFRIEND

Big Bill tugs Jerry to look away from that train wreck and to Eve trapped between the fences.

BIG BILL

Tower must be giving her the twice over.

Big Bill lifts his arm off Jerry’s shoulder.

BIG BILL

And don’t worry about Ronson’s bark. That dog won’t hunt.

EXT. PRISON FENCE

Eve looks beyond the next gate to the windows of the visiting room and sees Jerry and Big Bill part company. Jerry looks to her and waves. The gate CLACK startles Eve. She pushes it open, walks through chin held high and lets it SLAM behind her.

INT. VISITING ROOM

Jerry stands several feet from the door as Eve approaches. He stands on the line, a red tape semi-circle that radiates from the entrance. Spray painted words on the floor warn: NO INMATE BEYOND THIS LINE

The door CLACKS before Eve reaches it, she opens the door, steps inside and slows the door to close SOFT LOCK behind her. She doesn’t look at Jerry but instead looks down and holds out her hand for him to take.

Jerry smiles at her show and points at the warning at his feet

JERRY

There are some lines a man can’t cross.

Eve doesn’t look up and instead she wiggles her fingers for enticement. He strikes a dramatic pose and leans forward toward her. Both hear a LOUD KNUCKLE RAP on the guard station one-way glass. Jerry straightens up, Eve drops her hand and walks toward him.

EVE

Would it have killed them to have some fun?

Jerry takes a step back and Eve crosses the line.

JERRY

I tell them that every day.

He gives her a long heart-felt hug. Eve’s hands begin to climb up his back to reciprocate but lose steam 3/4 of the way, hover, then fall back to her sides. Jerry holds on a little longer, lets go.

JERRY

You look good, mom.

He holds her at arm’s length and we see her clearly for the first time. Her makeup is a little mis-aligned, the leopard fur is worn around the collar and matted down in some places. Eve reaches up to his face and moves a few hairs back in place.

EVE

You would never cut your hair this way if you knew how gay it makes you look.

Jerry takes a breath and exhales. Eve looks away from him around the room.

JERRY

Well, there’s that, of course.

Jerry guides her to a couch and they sit. She looks around the room with concentration.

JERRY

It’s good to see you. It’s been a while.

EVE

Well don’t blame me.

Jerry reaches across the gap between them and takes her hand. She doesn’t respond.

JERRY

No. Just commenting that it has been a while, for me, between visitors.

He lets go of her hand.

JERRY

I remember looking through a photo album you had years ago.

Eve looks at him with a small smile

JERRY

There was a photo of you sitting on a beautiful Appaloosa. Your hair was braided and reached down to  your waist.

Eve smiles as she searches her memory for the image.

JERRY

Below it in silver marker on the black page you wrote, “14 years old. Life can’t get much worse.”

Eve looks at his hands

EVE

Hmm… I don’t remember that.

Eve looks up, settles in her seat and puts her arm up over the backrest.

EVE

This reminds me of when your Aunt Bonnie considered leaving me in the county jail over Christmas one year when I’d run away.

Jerry turns to Eve who has a far away look in her eyes.

EVE

I worked like a slave in their dreary cafe. Dressed me up like a paper doll and had me slinging hash and pouring coffee so weak you could see to the bottom of a full cup.

Jerry takes her hand in his and turns to face forward. This is familiar territory. He sees their reflection in the guard station glass.

TIGHT ON EVE’S LIPS

EVE

They sliced the beef so thin you could read a newspaper through it. Why wouldn’t I take off?

She continues to talk but no matter how close we get to her mouth we don’t hear a word.

The Swingle Singers SING Prelude Pour Choral D’Orgue No 1.

PAN TO JERRY’S LIPS

A small smile grows.

PAN TO ROOM WITHOUT FOCUS

Upbeat MUSIC lends meaning to the colorful blobs and light that move in our field of vision. MUSIC ENDS naturally.

FADE OUT

In His Eyes

Posted on by
5

© 2013 Leigh Hazelbaker Straub

Ext. Gloomy, cloudy late fall Afternoon in an ohio cemetery.

A black limo pulls up to the curb and stops. The door opens, ANNE, a woman in her early twenties, steps out and stands, so we see her young, solemn face. She turns and slowly walks up the hill toward the crowd of people gathered beneath a few trees. The MINISTER is speaking in the background as he eulogizes the deceased, FREDERICK EUGENE ASTONWALL III.

Minister

Today we mourn the loss of a wonderful man, generous philanthropist and community leader. Taken too soon, he will be sorely missed…we entrust him now to you God…(he continues talking as camera closes in on ANNE)

ANNE

(muttering just loudly enough for us to hear)

Look at these fools. Good people duped by the public him. If only they knew…

Several people quietly greet her, nod to her, or touch her hand as she walks through the group and sits down in an empty chair by the gravesite. Before her stands an ornate casket, ready to be lowered into its grave. It is draped in a blanket of expensive flowers, which is a stark contrast to the gloom of almost-naked trees, branches bending in the chilly breeze.

MINISTER

Ashes to ashes, dust to dust…

The casket is lowered into the ground. The funeral goers process through the ritual of tossing a handful of dirt as they walk by. They calmly walk away, then hurry to their cars, anxious to flee the depression of death and the gloom of this chilly, cloudy day.

ANNE stays seated until everyone is gone. She is staring at the casket, seemingly emotionless. A young man, about 15, approaches her. As he gets closer, she raises her head and looks at him.

Anne

Cameron.

Cameron

You know who I am?

Anne

You look just like him. (he hesitates, then smiles).

Cameron

I do, don’t I? It’s weird. (they pause, looking at each other.)

Anne

(she motions for him to sit down next to her) How are you?

Cameron

I’m (he stammers), I’m okay. I’m 15 now you know. I play football, and soccer and I sing in the choir…I left practice early to come here today. I read about it in the paper. I wanted to meet you–hoped I would meet you.

(she smiles at his effort to sell his worth)

Cameron (CONT’D)

(looks at the casket) You know he never came to see me? Never called. Never saw me practice, or play, or sing. How could he do that? How could he just pretend that I don’t exist? Especially when I look just like him.

(wants to say something, but doesn’t know what to say. Instead, she looks at him while she reflects)

Dissolve to: int courtroom several years ago

Frederick Eugene Astonwall III sits on the stand in the private courtroom, his ex-wife, Lauren, and their pre-teenaged daughter sit at the table for the defense. Their attorney stands up to speak.

Opposing counsel

Your Honor. We are here today to argue against additional visitation Mr. Astonwall has requested with his daughter. I just have a few questions.

Isn’t it correct that for the last twelve years, you have consistently fought for more visitation time, compelling your ex-wife to comply, yet you haven’t used the time you’ve got? Instead, you cancel at the last minute or don’t show up and don’t call to cancel. Then, you file complaints against her, asking the courts to jail her for noncompliance for time that you have NOT spent with your daughter.

Or, on the rare occasions when you do visit with your daughter, she has testified that you either send her to your secretary’s home so that you’re free, or you leave her home alone while you play golf or socialize? Isn’t this true? (silence)

Mr. Astonwall? Isn’t this true?

Mr. Astonwall

I’m a very busy man, counselor. When circumstances dictate that I must work or attend a function, I do so. Now could you please move this along to the pertinent issues. Your Honor, could we please get to the matter at hand?

Opposing counsel

Sir, this IS the matter at hand. Now that we’ve established that you do not even utilize the visitation that this very court has already granted you, let’s move on.

Mr. Astonwall, isn’t it true that you have another child besides your daughter? Isn’t it true that you actually have another child, sir, a son?

Mr. Astonwall

(hesitates)

Yes.

Opposing counsel

And this child of yours would be a son–approximately 10 years old–isn’t that correct?

Mr. Astonwall

I don’t know how old he is. But yes, you are correct. The child is a boy.

OPPOSING COUNSEL

Yet, you have no interaction with your son from a different mother. Why is that?

(hesitation in the courtroom)

Sir? Why is it that you do not acknowledge your other child, a son?

(more silence)

Mr. Astonwall, please answer the question. Why is it that you have no interaction with your son?

Mr. Astonwall

He’s a bastard child, that’s why.

(various gasps are heard throughout the courtroom)

Mr. Astonwall’s attorney jumps up out of his seat.

Attorney for the plaintiff

Move to strike Your Honor. Move to strike.

Judge

I’ll allow it. Counselor, please continue.

Opposing counsel

Excuse me sir? Did you say…because he’s a bastard child?

Mr. Astonwall

Yes, I did. He’s a bastard child and his mother’s a tramp–neither one worth my time and money. I’ve paid my dues. Now, can we please move on?

Opposing COUNSEL

Your Honor. I think we’ve established an accurate assessment from Mr. Astonwall. Defense moves to dismiss the request for more visitation time with my client.

Judge

The bench rests. Case dismissed.

DISSOLVE TO: present moment, graveside

Anne

(hesitates)

Oh Cameron, how do I tell you? Where do I start?…

Cameron

(interrupting) I used to imagine him in the stands watching me. Sometimes I’d even look to see if he was there. Wanted him to be there. But he never came. And now he never will.

(he turns to look at the casket. She puts her hand on his and he turns to look at her, tears fill his eyes. He swipes at his tears, embarrassed to be showing any emotion)

Tell me what it was like to have a Dad. A dad who cared about you. Did he spend time with you? Teach you things?

Anne

Cameron, it wasn’t like that. He wasn’t like that. He wasn’t what you think, what they all think.(she waves her hand towards the crowd that has now disappeared) In fact, he was NOTHING like what ANYONE thinks.

She reflects on her last conversation with her father, before his untimely death.

Dissolve to: int evening her Father’s estate

Anne

Dad, I’m just saying I’d rather go to law school than business school. That’s all.

Mr. Astonwall

(yelling, out of control) You testified against me! Now you’ll pay. No tuition or help in any way.

Anne

It’s not like you’ve helped me in the past anyway.

Her father

(red faced, and angry) That’s enough! (he kicks over a cocktail table) This conversation is over. Now see yourself out.

Dissolve to: present moment, graveside

Anne

You don’t realize how lucky you are. At least he left you alone.

Cameron

Left me alone? (he’s crying now, choking back tears) He ignored me! I even went to see him once. I looked him up, knocked on his door. He answered and stood there, staring at me. “May I help you?” He asked, as if he didn’t even know me. “Hi Dad, it’s me, Cameron.” As soon as I said that, he stepped outside, closing the door behind him. He took me by the shoulder and walked me to the driveway. He said, “you shouldn’t have come here. Don’t ever come here again. I sent your  mother money, took care of my obligation. Don’t come back here again. Do you understand me? I have a business, a reputation, a life. And there’s no place in it for you.” NO PLACE IN IT FOR YOU. How does a father say that to his son, his ONLY son?

(he sobs)

Anne

(shakes her head) I don’t know. I don’t understand it anymore than you do. How he could turn away from you and treat me so badly too. We’ve both suffered, for different reasons. He neglected you and emotionally abused me. And now he’s gone. For good. We’ll never know why. You’ll never get the past back, or the dad you always wanted, but there’s one thing. From now on, you’ll always have me.

(she stands up, then he stands, looks her square in the eye with tears running down his face. We see in his eyes the pain, the excruciating pain. She holds out her hand)

Come on now, I’ll take you home.

He takes her hand, and they walk away from the casket, down the hill, towards her waiting car. As they go, she turns, softly smiles at him, and he smiles back at her. In the background, we see one glimmering shaft of setting sunlight peek through the clouds.

Fade out 

(END)