But isn’t it just a kid’s movie?
No. It’s an elaborate tale about finding the courage to question your given identity.

Act One

Sequence A: Life Unfulfilled (15.10mins)

00.00 Titles
00.35 V.O Opening; “This is Berk…”
01.10 Dragon attack: Hiccup’s sent back to apprentice-duties.
05.35 Hiccup sneaks out, bringing his catapult.
06.25 Hiccup hits a night-fury.
07.50 Nobody believes him.
09.30 Stoick governs a search for the dragon nest.
10.15 Stoick’s frustrated with Hiccup’s unviking-like behavior. Gobber suggests dragon training.
11.35 Hiccup searches the woods for the night-fury.
12.30 He finds the dragon, hurt and tied down. “I did this”.
14.00 Hiccup’s unable to kill the dragon. Frees Toothless.
14.45 Toothless chooses not to kill Hiccup.

[box style=”rounded”]

“This is Berk. It’s twelve days north of hopeless and a few degrees south of freezing to death. It’s located solidly on the meridian of misery.”

Clearly, the Hero of How to train your dragon is not happy here. A walking toothpick in a village of testosterone, he gets zero respect. Even his own father, the viking of all vikings, has Hiccup pegged a hopeless case.

So if this guy is such a nobody, why do we love the guy?

On top of being a clear underdog, Hiccup’s a funny dude; facing life with sarcastic wit. Instead of crying about not fitting in, Hiccup fights all odds to prove that he can be a viking. As an audience, we respond to his humor, his strength and his unrealistic courage.

“No one has ever killed a night-fury. That’s why I’m going to be the first.”

Not allowed in dragon training with the other kids, Hiccup is desperate to prove himself. Using brains instead of non-existent muscles, the toothpick manages the unimaginable. Hiccup shoots the most dangerous dragon there is.

Not believing for one second that Hiccup hit a night-fury, Stoick tries to talk some sense into him: “You’re many things Hiccup, but a dragon killer is not one of them.” Supporting Stoick, Gobber then gives us the theme of How to train your dragon: “Stop trying so hard to be something you’re not.”

Hiccup, not listening, goes on a search for the dragon. Upon finding it, however, our hero is caught in a moment of self-reflection. Facing the wounded night-fury, Hiccup experiences regret rather than the anticipated pride: “I did this.”

Unable to kill the dragon, Hiccup leaves his dreams of becoming a respected dragon-slayer behind, and sets Toothless free.

Without warning, our hero stands without goal or purpose. If he’s not a dragon fighting viking after all, then what is he?

Who, really, is Hiccup?

Sequence B: Fears and doubts (12.25mins)

15.15 Hiccup reluctantly agrees to start dragon training.
16.55 First dragon training. “A dragon will always, always, go for the kill.”
20.05 Hiccup’s back in the forest where he left Toothless, “So why didn’t you?”
20.45 Finds Toothless in deep hollow, missing a tail fin.
22.00 Dininghall: Hiccup is excluded from the group.
23.10 Dragon manual has no info on the night-fury; “Do not engage this dragon”.
24.45 Viking expedition: Stoick believes he’s closing in on the nest.
25.35 Dragon training: Hiccup asks about night-furys. Astrid: “Our parent’s war is about to becomes ours. Figure out what side you’re on.”

[box style=”rounded”]

Not knowing who he is anymore, Hiccup accepts what everyone’s been saying all along – that he’s useless.

Ready to suppress his adventurous nature and settle for household-duties, Hiccup’s shocked to hear that he’s been granted permission to start dragon training. Unable to disappoint his father even further, Hiccup agrees.

As expected, Hiccup is a terrible fighter. At dragon training, his dream-girl Astrid – a warrior at heart – sees him as nothing but an annoyance. For a thrilling example of a perfect transition, take a look at the end of this scene.

From Gobber stating that “a dragon will always, always, go for the kill”, we cut straight to Hiccup, back in the forest where he freed the dragon, saying “So why didn’t you?”

Instead of a ton of information, we get a simple cut between two relevant scenes, telling us all we need to know. Furthermore, this moment in How to train your dragon is a great plot-point in itself, presenting an eye-opener for our hero.

Hiccup has seen something within Toothless, a hesitance to kill, which tells him that his perception about the dragon race is faulty. This is a story about Hiccup finding his identity, so naturally we ask “why couldn’t he kill the dragon?” But this plot-point makes us dive deeper. Why couldn’t the dragon kill him?

So no, How to train your dragon is not “just a kid’s movie”. It’s a metaphor for humanity’s ability to turn those we don’t understand into monsters. Because monsters, we can handle with violence, and that’s simpler than admitting we’re wrong.

Finding Toothless wounded and unable to feed himself, Hiccup’s sympathy for the night-fury grows. But this type of thinking is not supported by his fellow vikings. Hiccup’s curious questions about dragons receive a harsh reaction from Astrid:

“Our parent’s war is about to becomes ours. Figure out what side you’re on.”

Act Two

Sequence C: Approaching Adventure (9.30mins)

27.40 Hiccup approaches Toothless. Throws weapon away. Toothless lowers his guard.
30.30 MONTAGE: Hiccup and Toothless sharing, drawing and playing.
33.00 Toothless allows Hiccup to touch him.
33.30 Gobber says to always go for the wings and tails. “A downed dragon, is a dead dragon.”
34.00 Announcement that one student will soon win the honor of killing a dragon.
34.30 Hiccup makes an artificial tail fin.
35.10 Hiccup distracts Toothless and applies the fin.
36.25 Toothless lifts, Hiccup still on.
37.00 As soon as Hiccup’s thrown off, Toothless crashes.

[box style=”rounded”]

The screenwriters of How to train your dragon master the art of showing vital information at a quick pace. The montage of Hiccup and Toothless approaching one another and letting their guard down is both informative and strikingly heartfelt.

Without excessive dialogue, we understand that these two are leaving their previous lives and beliefs behind to embark on an adventure together. Learning from one another, Hiccup and Toothless find that they both have a need for the other.

How to train your dragon once again give us an emotional message in physical shape. Take a look at how the filmmakers show this need, without actually telling us about it.

Hiccup builds a prosthetic tail fin for the disabled dragon and with combined efforts, the boy and the dragon manage to fly.

Ingeniously simple. If one crashes down, so does the other. Literally.

Sequence D: Progress through teamwork (8.45mins)

37.10 Dragon training: “Today’s about teamwork.” Hiccup shocks the others with newfound skills.
39.10 Hiccup sows a saddle.
39.20 MONTAGE: Hiccup develops steering system for flying Toothless whilst learning how dragons work and using it to shine at dragon training.
42.00 Astrid is suspicious and jealous of Hiccup’s skills.
42.30 Viking crew is back from failed mission. Stoick’s hears of Hiccup’s success in the arena.
43.30 Hiccup flies Toothless. Bumpy and difficult, reading instructions from cheat sheet.
44.45 Drops the sheet. Forced to rely on instinct, he flies beautifully.

[box style=”rounded”]

“Today, it’s about teamwork”. The first sentence perfectly sums up this sequence.

Whilst testing out methods of flying and steering, Hiccup and Toothless expand their friendship and evolve as a two-piece operation. What Hiccup learns from Toothless, he uses to succeed in the arena.

The worst viking in the world suddenly has a shocking way with the dragons. No longer worthless, our hero has become “someone” in the eyes of his fellow vikings. The question is; is this someone who he really is?

Furthermore; if the vikings like Hiccup, and the dragon is a good guy, then who is the antagonist of How to train your dragon?

Stoick‘s wishes for a perfect viking son stand in the way of Hiccup finding his true self. This makes him an antagonistic force. Even so, Stoick is proud of Hiccup at the moment, hence loosing some of his antagonism by being nice.

So at this point, the tribe, the dragon and the dad are all being nice. When everything is working nicely, why don’t we lose interest?

Because as Stoick grows kinder, Astrid becomes more aggressive. She’s determined to find out what Hiccup’s up to and prove that she, in fact, is the better fighter.

Stoick is actually a villain in disguise at this point, whilst Astrid is an ally in the shape of a villain. She seems “bad” because she’s the one who makes us nervous. We are protective of our hero, and don’t want his secret found out. But in truth, being found out is exactly what Hiccup needs.

The cheat sheet Hiccup uses to steer Toothless is also worth mentioning, having highly symbolic value. Hiccup has always taken instruction from outer forces on how to steer his life. Riding Toothless, he has a physical one. Using the cheat sheet, he keeps bumping into obstacles.

When he drops the sheet, however, he’s forced to rely on his instincts. As it turns out, they are brilliant. He’s just never trusted them before.

Hiccup’s actual identity is shining through. It’s been made clear that he’s not a dragon fighter. But could he possibly be a dragon rider? And on top of that, could he be a leader?

Sequence E: Midpoint (10.20mins)

45.55 Eating with Toothless, other dragons join. “Everything we know about you guys, is wrong.”
47.10 Proud, Stoick gives Hiccup a real Viking’s helmet.
50.00 Hiccup wins the prize of killing a dragon.
51.00 Hiccup is about to flee with Toothless. Astrid finds them.
52.00 Hiccups tries to make a frightened Astrid understand. “Let me show you”.
53.30 They fly, Toothless messing with Astrid before settling into a beautiful ride. Astrid: “It’s… amazing. He’s amazing.”

[box style=”rounded”]

We’ve arrived at the point in How to train your dragon where everything turns into something different. Everything.

Interacting with other dragons, Hiccup realizes that Toothless is not just a nice exception amongst a brutal race. He’s one out of many misunderstood, lovable, creatures. “Everything we know about you guys, is wrong.”

A proud Stoick presents Hiccup with a viking helmet, which says that he’s now one of them. Carrying the symbol of a viking warrior on his head, Hiccup is given the identity he’s always wished for.

So far, lying at dragon training has been a piece of cake. But now, being the best fighter, Hiccup must prepare to actually kill a dragon in front of his tribe. Something he’s incapable of doing.

Another drastic change takes shape as Hiccup and Toothless are discovered by Astrid. Although she’s highly reluctant, Hiccup shows her a world she could’ve never imagined. A world where dragons and vikings don’t kill each other on sight.

By trying too hard to be someone he’s not, Hiccup hasn’t won even an ounce of respect from Astrid. It’s not until he’s forced to drop his facade, that he wins her admiration. Astrid hasn’t actually disliked him, because she’s never met the real Hiccup before.

Hiccup has found identity at this point. The problem is, there’s two of them. At the one hand, he’s got the viking helmet and the respect of his father. At the other, Toothless and the respect of Astrid.

The day when he must slay a dragon is approaching, and until then, he must pick one.

Sequence F: The big reveal (10.15mins)

56.15 Toothless takes Hiccup and Astrid to the nest. “What my dad wouldn’t give to find this.”
58.20 A dragon “queen” tyrants the nest, controlling the other dragons.
58.50 Hiccup convinces Astrid not to tell anyone about the the nest.
59.30 Astrid punches Hiccup “That’s for kidnapping me”, kiss on the cheek “that’s for everything else.“
60.00 Stoick’s proud speech: “Today, my boy becomes a Viking.”
62.25 The dragon fight: Hiccup throws off his Viking helmet, refusing to kill. “I’m not one of them.”
62.50 The crowd’s furious racket scares the dragon into violence.
62.55 Toothless hears Hiccup screaming and defies his injuries to come for aid.
64.20 Hiccup stops Toothless from killing Stoick. Toothless is captured.
64.50 Stoick’s furious: “They’ve killed hundreds of us!” Hiccup: “And we’ve killed thousands of them.”
65.35 Hiccup accidentally mentions that Toothless can lead them to the nest.
66.00 Hiccup begs Stoick not to hurt the dragons “For once in your life, would you please listen to me?”
66.10 Stoick: “You’re not a Viking. You’re not my son.”

[box style=”rounded”]

The vital “eye-opener” of How to train your dragon has arrived. This is where we see the revealing of secrets and the finding of lost things.

We start out with two revelations right off the bat, as Hiccup and Astrid are shown the lost-for-centuries dragon nest and the queen hidden inside. Suddenly, we have a new, bigger, badder, villain. Even the dragons flee from this dragon. If you’re only human, you better watch out.

Coming back from dragon island, a vital step is taken by our hero as he openly trusts his own judgement above someone else’s. Astrid is frustrated that Hiccup wishes to keep the location of the island a secret, but respecting his never-before-seen assuredness, she accepts his decision.

It’s time for the big fight. Hiccup must choose whether to uphold his image and kill a dragon or to reveal himself and lose his newfound respect.

This is where we see proof of how far the hero of How to train your dragon has come. He makes the decision to throw his viking helmet aside in front of his entire tribe, stating “I am not one of them”.

The secret has been revealed. He, Hiccup, is not a viking. He is not, and never will be, an enemy of the dragons. Ready to lose everything, he admits his true identity in pursuit of uniting two races.

His attempt to prove the dragon race innocent backfires as the dragon is provoked into violence. This leads to the next revelation: Toothless.

Hearing that Hiccup’s in danger, Toothless too risks everything to come for aid. The always hidden dragon, the one nobody’s ever seen, positions itself in the midst of a sea of dangerous vikings.

Toothless withdraws from killing Stoick, trusting Hiccup’s judgement before his own, and is therefore captured.

Having won his own respect, although lost everyone else’s, Hiccup can finally stand strong against his father. He begs Stoick not to hurt the dragons. “For once in your life, would you please just listen to me?”

Stoick, truthful to his name and image, doesn’t listen, and decides to use Toothless in an attempt to find the nest.

“You’re not a viking. You’re not my son.”

Sequence G: Grim defeat (9.20mins)

66.30 Hiccup watches his tribe depart to find the nest, Toothless brutally tethered to a ship.
67.45 Astrid: “You’ve lost everything. Your father, your tribe, your friend.”
68.20 Astrid encourages Hiccup into forming a plan.
69.25 Vikings follow Toothless across the ocean.
70.30 Hiccup gathers the other kids to let them in on his plan.
71.10 The vikings arrive at Dragon Island.
71.50 Hiccup shows the other kids that they have nothing to fear from the dragons.
73.00 Stoick cracks the mountain open, find the nest and fight off a storm of dragons.
74.15 The queen arrives; much bigger than the other dragons combined.
75.00 The queen sets fire to the boats, one with Toothless onboard.
75.15 The Vikings are loosing.

[box style=”rounded”]

Hiccup watches his tribe, along with his dragon, fade before him as Astrid says out loud: “You’ve lost everything. Your father, your tribe, your friend.”

Back to feeling worthless, Hiccup’s ashamed to be the first viking who wouldn’t, not couldn’t, kill a dragon. Astrid, who’s had a change of heart due to Hiccup’s journey, sees this as an accomplishment rather than a failure. “First to ride one though”.

Encouraged, Hiccup gathers his team of fighters. From this point on, he has nothing left to lose. For once, he doesn’t care if he’s perceived as crazy or stupid for acting on his beliefs.

Although the all is lost-moment of How to train your dragon is short; it’s elongated through the storylines of Stoick and Toothless. Since it’s Hiccup’s goal to unite the two species, Stoick’s success in finding the island and cracking the nest open, is a continued failure for Hiccup. Even though he’s not in the scene.

We do feel a glimmer of hope, having seen Hiccup take charge and gain respect from the other kids. Even so, we’re at a dark part of the story. After a false victory for the Vikings, having beaten off the dragons, the queen appears.

Nastier than any threat before, Stoick and the tribe aren’t equipped to fight this dragon. Furthermore, the boats are burning, Toothless still onboard, and they’re trapped on dragon island.

Hiccup’s father, friend and tribe are all heading for death.

Act Three

Sequence H: The battle (9.35mins)

75.50 The kids arrive on dragons, using their acquired fighting skills against the queen.
78.10 Hiccup fails to free Toothless, who’s sinking.
78.35 Stoick rescues Toothless. Toothless pulls him out of the water.
79.00 Stoick begs Hiccup’s forgiveness: “I’m proud to call you my son.”
80.20 Riding Toothless, Hiccup lures the queen up in the air. They aim for the wings.
82.10 Toothless is hit by fire and his prosthetic fin burns.
82.25 In a last effort, Toothless kills the queen whilst shooting down towards the earth, creating a massive explosion.
83.15 As Hiccup falls off, Toothless follow him into the explosion.
83.45 Stoick find Toothless in the smoke, hurt but alive. Stoick: “I did this.”
84.15 Believing Hiccup to be dead, the tribe is mourning.
84.45 Toothless lifts his wing, revealing Hiccup underneath.
84.50 Stoick throws off his viking’s helmet to listen to Hiccup’s heart. He’s alive.
85.15 Stoick thanks Toothless.

[box style=”rounded”]

A while back, Hiccup had to sit at his own table in the dining hall. The first time we see Hiccup in this sequence, he’s surrounded by friends who not only accept, but follow him. Not because they’ve changed, but because he has.

Watching Hiccup and his friends arrive on dragons to fight the queen, Stoick is faced with hard evidence that dragons and vikings can work together. He is forced to admit his ignorance. Finally, he’s proud of Hiccup for the right reasons.

Trusting Hiccup’s judgement, Stoick rescues the dragon he’s been trying to kill for years. This is the moment when Hiccup is no longer ashamed to call himself a viking. Through Stoick’s heart-felt apology, Hiccup realizes that it’s possible to be both a good person and a viking. He doesn’t need to choose one or the other.

Hiccup and Toothless act as one being, as they use everything they’ve learnt to defeat the queen. Even though they succeed, they use every ounce of power they have, and end up falling to the ground.

Let’s rewind for a second, to the moment when Hiccup found Toothless wounded in the woods. Looking down at the dragon, he claimed “I did this”, showing the regret that would cause his future change.

Look at what happens now, when Stoick runs up to the wounded dragon. He stops, and looks at Toothless, saying “I did this.” Can it be, that Stoick is changing as well?

Remember the helmet Hiccup got from his father? The one he threw on the ground as a sign he was no longer a viking? Consider what Stoick does when he believes his son to be dead. He throws his helmet off. Why? To, literally, listen to Hiccup’s heart. This moment is so significant.

Suddenly, something else is more important than being a viking. He throws his image in the mud, so that he can listen to his son. This is Stoick’s journey. He is not just a viking, he is a father.

The last time Hiccup dared show his father what was really on his heart, he was ignored – “For once in your life, would you please just listen to me?” This time, Stoick listens. Hiccup is alive.

To top off Stoick’s character-change, Hiccup has gotten him to change his attitude towards an entire species. Not long ago, Stoick saw Toothless as the devil himself. Now he leans down beside him to, sincerely, thank him.

One member of each race, a boy and a dragon, has questioned the way they see each other. Now, the remainder of both species are following in their footsteps, hence ending a seemingly endless war.

Sequence I: A new life ahead

85.25 Hiccup wakes up back home, Toothless at his side.
86.10 Having lost a leg in the battle, Toothless helps him walk.
86.55 Going outside, he finds dragons and vikings living alongside one another.
87.20 Hiccup is greeted with admiration by the other vikings.
87.25 Stoick points at Hiccup: “All we needed was a little of… this.”
87.40 Gobber has created a new invention for Hiccup’s prosthetic leg to fit into Toothless steering gear.
87.45 Astrid punches him: “That’s for scaring me.” She kisses him, for everything else.
88.10 Hiccup flies Toothless, alongside his friends.
88.20 V.O: “This is Berk…”
88.55 THE END

[box style=”rounded”]

Hiccup wakes up, back in the village. The same place where it all began. But is it the same?

The first sign that something has changed, is that Toothless is inside his house. Scared for the dragon’s safety, Hiccup gets up to hide him. Only, he can’t get up, having lost one of his legs.

The symbolism of this cannot be over-stated.

Because of Hiccup, Toothless lost a tail-fin. Hiccup then helped the dragon fly without it. Now, because of Toothless, Hiccup has lost a foot. When he can’t walk, Toothless steadies him. If one crashes, so does the other. And if one can still get forward, then so can the other.

Together, they leave home – one with one leg, one with one tail fin – no one able to function without the other.

Everything is different. In the initial scene of How to train your dragon, we witness a rough world of raging war. Now, we see a fantastic place where vikings and dragons live in unison.

Rewarded for his bravery, Hiccup wins a kiss from Astrid, along with respect and admiration from his tribe. Gobber has even built him special equipment, so that his prosthetic leg fits perfectly into the steering gear of Toothless’ prosthetic fin.

Stoick proudly gestures towards his son “Turns out all we needed, was a little more of… this.”

So who, really, is Hiccup?

He is not a worthless toothpick, he’s not a blacksmith or a baker and he’s not a dragonfighter. Hiccup is a brave viking, a fierce leader, and a bringer of peace.

Furthermore, at his heart, Hiccup is a dragon rider.

-Camilla Beskow

How to train your dragon – Screenplay

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

The main issue (for me, not the film) is that The Help presents more than one character fighting for the title of Leading Lady.

Initially, it’s in-your-face clear that Aibileen (Viola Davis) is our protagonist. She opens the film, and spends it telling her story. She even uses voice over. So WHY does a majority of loglines out there open with “When a white journalist…”, or something along those lines, clearly implying that Skeeter (Emma Stone) is our hero?

Is The Help a story about a white journalist stirring up trouble by writing a book from the perspective of the black help, OR is it about a black maid who finds the courage to tell her story?

You could even present a third, slightly more atypical, option. Could it be – work with me here – that the book itself is our hero? Is The Help about the writing of a book on the lives of black maids in 1960’s Jackson, Mississippi? Hence following the ups and downs on its road towards publication.

Whatever the initial intent, fact is, the film is yours to view as you wish. My take is that Aibileen is, after all, the hero of The Help. Why? Skeeter’s got more screen-time, her own love story and presents a clearer goal. She is pro-active. So why not her?

Because Aibileen has a greater, and more defined, arc than Skeeter does. Skeeter is, from the start, gutsy enough to challenge the ideals of society, clearly opposing the set gender rules of the 60’s. Aibileen has something to learn from her.

So, now that we have our hero, let’s dig in.

Act One

Sequence A: Routine Interrupted (17.54mins)

00.00 TITLES.
01.10 White hand, taking notes.
01.24 Aibileen gives interview about life as a maid.
02.25 Aibileen’s work; raising white babies, “You is smart, you is kind, you is important”.
04.10 Skeeter drives. Aibileen (V.O): “Ms Skeeter. No man and no babies”.
05.00 Skeeter gets job at Jackson Journal, writing Miss Myrna-column.
07.16 Hilly’s measuring Minny’s toilet paper. Late for bridge.
09.00 Potty training, Elizabeth pulls girl off toilet.
10.00 Bridge Club: In the kitchen; Aibileen and Minny make fun of white women.
11.00 Bridge Club: Skeeter’s back. Sticks out amongst a sea of housewives.
12.35 Skeeter asks Elizabeth if Aibileen can help with column. “As long as it doesn’t interfere with her work”
13.20 Celia calls, looking for maid. Hilly talks smack.
15.45 Hilly announces bathroom-bill. Skeeter: “Maybe we should just build you a bathroom outside Hilly”.
16.30 Aibileen agrees to help Skeeter with Miss Myrna-column.

This is the point where Aibileen is pulled from her every-day work and chooses to enter a collaboration alongside a white woman. A choice that will ignite the entire storyline of The Help.

Initially, I had trouble picking out the first sequence break, thinking that the moment (see below) Skeeter calls her editor saying “I’d like to write something from the point of view of the help”, was the catalyst/call to adventure/whatever you want to call the initial spark that sets off a story. The reason for this, again, was rooted in my confusion about the main character. That would have been a clear break, had it been Skeeter’s story.

The first act is packed with important information, giving us beat after beat of skillfully crafted hints of what is to come. In just a few minutes, we encounter almost every relevant character. Obviously, Aibileen and Skeeter have been introduced, alongside the main antagonist, Hilly. Nothing special about that, but what’s intriguing is that we’ve also met a ton of minor characters, without being confused about it. They’ve even briefly mentioned Stuart, who doesn’t turn up as a character until about an hour into the film.

On top of that, a lot of future plot points have been hinted at during Bridge Club. Hilly’s mentioned the bathroom bill, Celia’s going to need a maid, Skeeter’s showed her first sign of going against Hilly “maybe we should build you a bathroom outside Hilly”, etc.

A small beat, barely noticeable and very overlook-able, between Aibileen and Minny deserves to be highlighted. Minny carries a white person’s TV, leaving the cords dragging on the floor, and Aibileen, admonishingly, picks them up for her. This may seem insignificant. Look again.

What does it tell us? It shows that Minny, slightly careless, doesn’t always think before she acts. Aibileen does. And does so for Minny as well. We hadn’t been too surprised seeing Minny write an angry book about the white ladies, but for our hero, the always careful Aibileen, it’s an enormous step. She has a long road ahead of her.

This tiny beat further shows that Aibileen’s care for Minny is leaning towards the maternal. Why that is significant, I’ll return to in a minute.

Sequence B: The Inner Dispute (23mins)

19.30 Skeeter’s sick mother disapproves of her lifestyle and new job.
22.40 Skeeter finds out Constantine was fired. “She raised me!”
23.30 Constantine flashback: “Every day you’re not dead in the ground, when you wake up in the morning, you’re gonna have to make some decisions”
26.00 Skeeter calls editor: “I’d like to write something from the point of view of the help.”
28.30 Aibileen’s asked to be interviewed for the book. Interrupted.
32.45 Hilly fires Minny for using inside bath.
33.30 Aibileen uses outside bath, hurries out to take baby girl: “You my real mama, Aibee”
35.20 Minny won’t tell Aibileen where she’s headed, carrying chocolate pie. “Y’all just mind you own!”
36.15 Aibileen declines Skeeter’s offer, terrified, but takes her number.
37.20 Skeeter reads Jackson’s laws – writing the book would be illegal.
38.00 Aibileen hears Minny get beaten over the phone, looks at Skeeter’s phone number.
39.30 Aibileen listens to sermon; “Love is to be prepared to put yourself in harm’s way for your fellow man”.

 We’re closing in on what our story really is about: the writing of a book. A book our main character isn’t quite ready to write yet. It’s too dangerous, too scary and maybe not worth the risk. This sequence centers around our hero debating whether the journey she’s been offered is worth embarking on.

Let me return to my previous statement about the significance of Aibileen’s love for Minny. Aibileen has already declined Skeeter’s offer, ruling the risk NOT worth taking.

BUT THEN

Aibileen listens to her best friend, the person she should care for and look after, being beaten for breaking the rules of the white. Because Minny is a black maid in Jackson, working under awful conditions, she can’t afford to leave a man who’s beating her. And Aibileen can’t do shit about it. Or can she?

Aibileen is hesitating, looking at Skeeter’s number. But she can’t build up the courage,

UNTIL

The pastor at her church talks of what it means to love. She loves Minny, we’ve seen that. So when Aibileen hears that “Love is to be prepared to put yourself in harm’s way for your fellow man”, she comes to an understanding within herself that it IS worth the risk.

She’s in.

Act 2

Sequence C: First Shot (15.36mins)

41.00 The first interview. “I thought I might write my stories down and read them too you”. Doesn’t answer questions about Elizabeth.
46.10 Yule Mae asks Hilly for loan, is shut down. “You’ll thank me one day”.
50.00 Minny, desperate for work, takes job at Celia’s. Celia announces pregnancy.
53.50 Hilly questions Skeeter about not having put bathroom-bill in newsletter.
54.20 Diner: Skeeter apologizes and agrees to go on Hilly’s set-up date with Stuart.
55.30 Yule Mae steals a ring from behind Hilly’s couch.
56.20 Aibileen wakes up baby-girl, she hasn’t been changed for 10 hours.
56.30 Aibileen: “I reckon I’m ready to talk about Miss Leefolt (Elizabeth) now”

 As mentioned, The Help cares for the smaller characters as well as the big. This particular sequence spends a fairly large chunk of time developing secondary storylines. Each one, no matter how small, is strong enough to hold its own, containing complex characters, goals and arcs.

I’ve previously found, when movies do this to a certain extent, that it can bug me a little. “Get back to the story already, I don’t care about these guys!” This is NOT the case here.

Although The Help centers around racial equality, I would state that it has a broader purpose. It shows us that most people don’t fit into the category in which they are placed, making “prejudice” the main theme. Therefore, I conclude that the additional storylines fit perfectly within the frames of this film.

For instance, we have a story about a seemingly flighty girl from sugar ditch, who’s in fact unyieldingly open-minded (Celia). Then, there is Skeeter, a woman who’s got higher ambitions than becoming your typical 60’s housewife. We even see, although briefly, a rich white male (Johnny), who doesn’t mind pulling out the chair for a black maid. The Help is all about presenting presumptions, and then breaking them.

This phase is simultaneously big and small for our hero. At the start of the sequence, Aibileen is ready to start talking. She isn’t, however, ready to risk everything by actually telling stories on her own boss, Elizabeth. She’s decided to try, but now she needs to let it all go and try harder.

What makes her do so isn’t a huge event, but rather a reminder that things aren’t okay as they are. The baby girl hasn’t been changed for ten hours. Elizabeth isn’t even capable of being considerate towards her own child. Simple though it may be, it tips the scale for Aibileen.

Sequence D: Aim Higher (10.46mins)

56.30 Aibileen takes charge of interview: “Ms Leefolt should not be having babies. Write that down.”
57.20 Aibileen: “Treelore always said we were gonna have a writer in the family… Maybe it’s gonna be me”
57.30 Minny’s in, starts telling her stories. “We got to get more maids.”
60.30 Skeeter’s mom turns Skeeter into a housewife-copy in preparation for her date.
62.30 Bad date with Stuart, tells him off for being sexist.
64.20 Minny teaches Celia to cook.
66.20 Celia eats with Minny instead of by the dining table, “I’m fine right here, Minny”.
67.10 Celia suggests they burn the chicken a little to throw off suspicion. “Minny don’t burn chicken!”

 There’s something wonderful about the relationship between Celia and Minny. One of them is prejudiced, but which one? Celia doesn’t see Minny as a “black maid”, but as a person, whilst Minny is very careful about upholding the rules of society; Celia isn’t supposed to eat with her in the kitchen, but by the dining-room table, like the white ladies do.

There’s also a rather drastic change taking place within Aibileen here. She doesn’t have a lot of screen-time, but she’s taking charge, and, step by step, becoming pro-active. She even orders a white person. She no longer just answers Skeeter’s questions, but demands she writes what she, Aibileen, wishes to tell.

Structurally, I do find this sequence slightly confusing. To me, it doesn’t have a clear ending. Why I chose to end it at this particular point is more due to the next beat being a definite midpoint-beat rather than this one being a clean-cut end-point.
Midpoint Sequence (12.04mins)

67.30 Editor likes the material, but “don’t send me anything else until you have more maids”
68.45 Aibileen: “Don’t give up on this Miss Skeeter!” – Tells the story of how racism killed her son.
70.30 Pool Party: Hilly tries to threaten Skeeter into putting bathroom-bill in newsletter.
73.40 Skeeter changes something in one of Hilly’s ads.
74.30 Skeeter goes on another date with Stuart, ends up kissing him.
78.30 People have dropped off their old commodes in Hilly’s garden, due to Skeeter’s ad.

 We have two clear points that, combined, conduct the midpoint-sequence of The Help.

Aibileen, who’s been quite private thus far, is challenged to tell her deepest, darkest story (the death of her son), finally breaking down all inner walls. It’s no longer Skeeter pushing Aibileen, but the other way around. “Don’t give up on this Miss Skeeter!”

The second half of the midpoint-sequence, some of you may argue shouldn’t be in there, but I’ll battle you till I’m blue in the face on this one. Skeeter changing Hilly’s ad, openly defying her, changes everything. But isn’t that the midpoint of Skeeter’s story, not Aibileen’s? Yes and no.

It’s Skeeter’s beat, no question. She drops all pretense and lets the world know she stands against Hilly. This is also part of Aibileen’s midpoint, simply because it changes the course of her story as well. The always-careful Aibileen has to stand by and watch as her life project is put at risk. If Hilly’s looking for a way to bring Skeeter down, the risk is far greater that she’ll find out what they’re all up to.

Sequence E: From this Point Forwards (10.35mins)

79.30 Aibileen comforts baby girl after beating. “You is kind, you is smart, you is important.”
80.10 Skeeter’s mom forbids her to watch civil-rights programs alongside the help.
81.10 A black civil-rights fighter is shot in the neighborhood.
83.30 Minny: ”What they gonna do if they catch us?” Aibileen: “We ain’t doing civil rights, we’re just telling stories like they really happened.”
84.30 Skeeter’s late on her column because she’s reading civil rights articles.
85.00 Celia has a miscarriage. Minny comforts her.
87.10 Celia buries the fetus under a rose bush, one amongst three.
88.00 Aibileen watches Yule Mae being brutally arrested for theft.
89.00 A black diner worker tells Skeeter to hurry on over to Aibileen’s house right away.
89.30 Aibileen’s house is full of maids, all ready to tell their stories.

 There’s one major thing standing in the way of the book being published. There aren’t enough maids participating. They’ve already asked everyone. Like Aibileen, they all find it too risky.

BUT THEN

Two events make the remaining maids realize that their lives are already at risk. A civil-rights activist is shot in their neighborhood. The threat is getting closer. Additionally, Yule Mae is brutally arrested because of racial laws. It’s no longer just the rebels who are at risk. Yule Mae is just like them; a maid who’s just trying to get her kids to college. Enough is enough.

Even Celia’s miscarriage is significant. Although it doesn’t necessarily bring the story forward, it takes it into a different, darker, direction. The flimsy blonde who doesn’t know how to cook is suddenly more than a cute, naive dimwit. Her story is more severe than that.

From now on, it’s life or death.

Sequence F: Risk It or Drop It (25.19mins)

90.00 Montage: maids telling stories.
91.20 Editor: book needs to be finished in 3 weeks. “And put something personal in there.”
92.00 Celia tries to befriend the others by bringing a chocolate pie, but is humiliated.
93.30 Minny tells Celia about Hilly’s jealousy towards her. Celia helps clean Minny’s wounds.
96.00 Kennedy assassination; mourning amongst both whites and blacks.
96.30 Minny: “Maybe we need us some insurance” Tells pie-story.
100.00 Aibileen and Skeeter think the story’s too risky. Minny: “Put it in or pull my parts out altogether.”
101.00 Benefit ball: Hilly wins chocolate pie and think Celia’s taunting her. Celia makes a drunken fool out of herself.
107.00 Celia’s ready to move. Minny tells her pie-story, “If you leave, then Miss Hilly’s done won the whole ball game. Then she done beaten me. And she’s done beat you.”
108.15 The book is typed and almost ready to go. Skeeter: “Only one story left to tell. Mine.”
108.40 The story of Constantine.

Where is Aibileen? Skeeter, Hilly, Minny and Celia get a ton of attention in this sequence, way more so than Aibileen. This almost made me lean towards the “the book is our hero”-theory, but I stay put in my decision. What happens to the book, and whether it gets published, is of vital importance to Aibileen’s success as well. So although we don’t see her much, everything is at stake for her.

The enemy is getting closer, the threat is growing larger and from this point on, we can either fail or succeed, but nothing in between.

Minny tells the shameful story of what she did to Miss Hilly. If it came out, it could get her killed. Skeeter dares put some of herself into the book. Celia’s about to give up, letting Hilly “win”. So much can go wrong now. We’ve reached the critical point where what they’ve been fighting for is right in front of their feet.

Sequence G: The Final Step (4.50mins)

115.15 Book in shop window. It’s published.
115.30 Minny and Aibileen receive their share of money from Skeeter. Minny burns chicken.
116.20 Hilly’s mother tell Hilly to read the book, “Sounds like Jackson, if you ask me.”
117.15 Grocery store: Aibileen and Minny sees someone reading the book. “There it is.”
117.45 Stuart leaves Skeeter for writing it. “You’re a selfish woman Skeeter.”
118.45 Elizabeth buys the book.
119.00 Skeeter’s mother reads.
119.15 Black maids in bunks laugh about the pie-story.
119.30 Hilly reads, screaming hysterically.
120.00 The white ladies gossip about the book. Hilly: “The book is not about Jackson! ”

 A very short, but BIG sequence. They’ve done it. The book is published.

This doesn’t just affect the characters in it, but EVERYBODY. The book makes a difference on an international scale.

One beat in particular tells me that everything has changed. Previously, Minny has stated that no matter the situation “Minny doesn’t burn chicken”, but as an effect to the book coming out, she does. What used to be at the top of the list in the lives of these maids, isn’t any longer. Even Hilly, who stayed poised throughout the film, is showing her first sign of unraveling. Another drastic change.

Now that they’ve done what they set out to do, the goal is reached. There’s an enormous question hanging in the air. Will they get away with this? What are the consequences of what they’ve done?

Sequence H: Rewards and Consequences (17.16mins)

120.15 Hilly receives a check from Celia, addressed to “Two Slice Hilly”.
120.50 Hilly drives, disheveled. Drinking and smoking fanatically.
121.10 Skeeter receives job offer from New York-magazine.
121.30 Hilly, a mess, threatens Skeeter, who uses pie-story as insurance. Hilly: “That was NOT ME!”
123.00 Skeeter’s mom throws Hilly out; “You get that raggedy ass off my porch!”
124.30 Skeeter’s mom: “I have never been more proud of you.”
126.00 Minny meets Celia’s husband, who, instead of beating her, shows gratitude.
127.30 Celia’s prepared a perfect dinner for Minny. “You’ve got a job here for the rest of your life”
129.00 Aibileen (V.O): “That table of food gave Minny the strength she needed. She took her babies out from under Leroy, and never went back.”
129.40 Church: Aibileen and Minny are met by gratitude and praise. Everyone’s signed the book.
131.10 Aibileen and Minny show Skeeter the signed book. Skeeter: “I can’t just leave you two here.” Aibileen: “If bad things happen there’s nothing you can do about it. And now it’s for a reason we can be proud of… Go find your life Miss Skeeter.”
133.00 Aibileen’s fired.
135.20 Aibileen stands tall in front Hilly: “Ain’t you tired, Miss Hilly? Ain’t you tired?” Hilly breaks down.
136.00 Aibileen says goodbye to baby girl. “Remember what I taught you?” Girl: “You is kind, you is smart, you is important.”
136.50 Aibileen walks away from her life (V.O): ”My boy, Treelore, always say we were gonna have a writer in the family one day. I guess it’s gonna be me.”

 As beautifully as they were presented in our first sequence, each storyline is tied together perfectly in the final one. Rewards and consequences are dealt out and each arc is completed.

Celia’s realized that the place she’s tried so hard to fit into isn’t a place she wants to be at. Instead of sucking up to Hilly, she sends a check addressed to “Two piece Hilly”. On top of showing complete disregard to whether Hilly likes her or not, she puts herself above Hilly by proving that she knows something that gives her control. A tiny scene, Celia’s not even in it, but a fantastic pay-off.

Hilly, the embodiment of “perfection”, is falling apart in front of our eyes. She is going so far to keep her dignity, that she loses every ounce of it.

Although the job-offer represents a clear reward for Skeeter, I wouldn’t claim it her biggest price. Neither is the signed book or the gratitude of the black community. A flashback shows her personal flaw from the very beginning, even from a young age. She doesn’t believe herself good enough because she was never able to be her mother. Therefore, her biggest pay-off is her mother telling her; “Courage sometimes skips a generation. Thank you for bringing it back to our family,” and stating “I’ve never been more proud of you.” The words she’s been longing to hear her entire life.

Minny, who sees no value in her own existence, is the honorary guest at a private dinner party, prepared for her only. A white woman has stayed up all night, cooking for her. A white man pulls out her chair, offering her a life-long job there, and adding the small, yet remarkable “if you want”. Her life is her choice. The realization of this is her reward. She dares leave her husband, choosing something better.

Sadly, I can’t go into detail about every single character and the finale of their journey, but, as you know, there’s one left.

Aibileen is left speechless when faced with an entire community gathered to thank her. Neither gratitude nor the prospect of being considered “brave” is comprehensible to her. But let’s not forget that, along with her rewards, Aibileen suffers awful consequences for her choices. The Help doesn’t have an altogether “happy-ending”.

What’s lovely is that the journey she’s traveled throughout the film has prepared Aibileen for said consequences. Had she been fired at the start of the film, she would’ve reckoned it a travesty. Now, she welcomes it, even though leaving a beloved child behind in a cruel world goes against her very nature.

Taken care of others her entire life, Aibileen, for the first time, considers herself. In the opening scene, Aibileen’s asked “Did you ever dream of being something else?” Aibileen nods, but doesn’t even dare answer, since the answer would be unthinkable.

It’s not unthinkable anymore.

Now, walking away from everything that was her life, she states “My boy, Treelore, always said there was gonna be a writer in the family. I guess it’s gonna be me.”

She’s still got a long road ahead, quite literally in the final image, but she’s ready to walk it.

-Camilla Beskow

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

After only the first episode, it transpired that Gilligan & Gould came up with something that is tonally very close to Breaking Bad. It also means that the plot plays a much bigger role than originally anticipated. Smart move, as it essentially gives the viewers what they have been lacking since the Breaking Bad finale.

The fans can only applaud it. And with an IMDb rating of 9.3, it seems to be working.

Structurally, Better Call Saul follows very much the one hour drama clock as we are used to from Breaking Bad, with an opening teaser, and act breaks roughly around the 15-30-45mins marks.

[box type=”alert” size=”large” style=”rounded”]We Spoil Everything -You Are WarnedAct One

00.00  B/W Nebraska – Montage over The Inkspots Address Unknown – Saul is ‘Gene’, donut manager.
01.50  Customer looks at Saul with suspicion, Saul freaks out… False alarm.

02.50 Saul at home in his townhouse, drinking Drambuie and watching TV, depressed.
04.15 Closing blinds, opening mysterious box with old photos and passport, he finds a VHS tape.
05.15 He watches the old “Better Call Saul” ads, back to back. They reflect in color in his classes.

06.00 Better Call Saul – Titles

06.12  Flashback – An Albuquerque court is waiting, until the judge gives the guard a sign.
07.35  The guard finds Jimmy McGill (Saul) at the men’s, rehearsing his plea.
08.10  Jimmy enters the courtroom, defends three boys to a jury.
10.35  Prosecution plays a tape showing the boys desecrating a corpse.
12.15  Jimmy complains about his $700 cheque, 1 fee for 3 clients PD work.

12.55  At the carpark, Jimmy gets a call confirming a meeting with the Kettlemans for 4pm.
14.00  He doesn’t have enough stickers, won’t pay $3. Carpark attendant (Mike) sends him back.

[box style=”rounded”]

The first act of the pilot episode of Better Call Saul sets up a number of things. The opening montage is slow, and serious. This is not going to be a straight-up comedy.

Structurally important is the fact that the show opens in the present day, Nebraska. We see Saul in Omaha where Breaking Bad left him. To me, this is a signal that the show may also end here, after however many seasons it will last. Gilligan and Gould know that the most satisfying ending to Better Call Saul should add something to Saul’s current situation. After all, we don’t want to see a characters that we like end in the same depressed state it opened. So my bet is that the final episodes of the final season of Saul will come back to the present day with some surprises.

Some people found the opening to the first episode of Better Call Saul slow. Of course it is. Montages are rarely dramatic, and the courtroom scene adds to the notion that this show will build gradually. At this stage I give them the benefit of the doubt. Gilligan and Gould know what they are doing.

In terms of tone, the creators couldn’t be clearer: this is going to be very dark. When we learn that the boys desecrated a corpse’s head, it is at the same time shocking and comedic, in the light of Jimmy’s plea for the boys, which went just before.

The Kettlemans’ call is the first important plot setup, which will run throughout this episode. Later it will fork into two separate plots: the Deal (that doesn’t happen) and the Scam (which goes wrong).

Gilligan knows his hero’s journey, as we have seen over and over again in Breaking Bad. At the end of the first act of this episode of Better Call Saul, we have a clear Crossing the Threshold scene, where Jimmy wants to leave by car, but a Threshold Guardian (Mike) won’t let him.

Interesting to note, is the absence of a series Inciting Incident. In Breaking Bad, Walter is diagnosed with lung cancer, which triggers the decision that sets up the series concept. It turned White into Heisenberg. Here, no major event seems to be turning Jimmy into Saul. Because this is a prequel, we are waiting for this moment – or process. It is a important part of our anticipation.

Act Two

15.20  Jimmy’s sales pitch to the Kettlemans fails. Betsy wants to “sleep on it.” She clearly wears the pants.
18.25  Driving, Jimmy hits a skateboarder. Saul sees the scam, identifies as a lawyer, and the boys run.
21.00  The manageress at the nail salon berates Jimmy over defending the teenage boys.
22.00  At his office, Jimmy finds  messages and only bills. Bills. He rips up a cheque for $26K from law firm HHM.
23.35  At the HHM offices, Jimmy claims they have to buy out Chuck for $17m. Nemesis Howard Hamlin refuses.

28.30  When Jimmy sees the Kettlemans at HHM, he is fuming. He kicks a rubbish bin and smokes a cigaret with Kim.

[box size=”large” style=”rounded”]

While the first act of Better Call Saul didn’t have many character introductions, in Act Two we see quite a few characters that will come back later in this episode, and season.  Jimmy meets with the Kettlemans, the skater brothers, his nemesis Howard Hamlin, shapeshifter Kim Wexler, and somewhere in between also the manageress of the nail salon where he has his office.

This act is richer in setups. The skaters kickstart the scam plot that will run across into the next episode, and the Kettlemans will become part of quite a few plotlines. Another subplot is linked to Howard Hamlin, who has obviously been a player in Jimmy’s past, and is unlikely to go away soon. The setup for this happens when Jimmy receives a $26K cheque in the mail – and rips it up.

From Jimmy’s interaction with Kim in the basement, we may safely assume that these two have a history. More anticipation!

We have also heard the name Chuck, so our interest is piqued as to who this character might be. Probably important, within the Better Call Saul universe.

Act Three

30.30  Jimmy leaves his electronics in Chuck’s mailbox, tops up ice in the eski, then tells Chuck to cash out.
33.30  Chuck: “I’m gonna beat this.” Jimmy admits he is going under himself, complains about PD work.
37.25  As Chuck wants to help, Jimmy apologizes. But he is annoyed when Chuck defends Hamlin’s actions.
40.00  With ‘Slippin’ Jimmy’ as inspiration, he makes the skaters a proposal: take home $2.000 in one hit.
43.11  Jimmy briefs the skaters for the setup on Betsy’s car.

[box size=”large” style=”rounded”]

We enter the Cave. In a scene that lasts 6.30mins, Jimmy visits his brother Chuck, who clearly has some issues.

The dynamics of the dialogue change, as initially it seems Jimmy wants to help Chuck, but later it appears Chuck is more stable and has been helping him all along.

The scene is mythical: the inscrutable darkness, the stripping bare of technology, Jimmy’s first show of honesty. Here is where Jimmy meets his demons, where he can’t hide, and where he returns to his own self. A strong contrast to the Jimmy we see in the outside world… The screen time of this scene indicates this will be the main inner journey story line for Better Call Saul.

After this scene, Jimmy returns with the ‘reward’. He has an idea that might help him to some quick and easy money. He briefs the skater boys, and plants in our minds the action we can expect in Act Four.

Act Four

45.30  It is on. Jimmy gives the boys 2 mins warning. They launch into it successfully, but the car drives off.
47.45  Jimmy is rehearsing his part when the boys call, and report the hit and run. They’re following the car.
49.25  We crosscut as Jimmy’s car first won’t start / the driver of the hit car is a Mexican woman. “Mijo!”
51.00  While Jimmy drives, trying to find them, he rehearses his negotiation/threat. Finally finds them.
51.40  He knocks on the door. A gun appears. He is pulled into the house. By Tuco Salamanca…

[box size=”large” style=”rounded”]

The action is on, as it befits the final act to any dramatic narrative. True to the Hero’s Journey, there must be a chase/escape/drive/run to open the act. Here, it runs through pretty much most of it.

The entire act is really only payoff to the scam plot, so all the other plotlines will continue in the next episode(s).

The final image of this Better Call Saul episode provides a strong hook to its second episode, as well as a second reward (the first was Mike) for the Breaking Bad addicts.

We are about halfway the first season when I write this, and I am still enjoying the series. Are you?

Let us know in the comments what you think about this much anticipated prequel!

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

by Karel Segers

Massive spoilers ahead.

Teaser

An RV and a man in underpants (4mins)

00.00 An RV with driver and three bodies races through the desert, goes off the road, stuck. 01.00 The driver, in underpants, comes out, distressed. 02.00 Underpants man goes back in, takes a vide camera, puts on a shirt. 02.30 Underpants man is Walter White. To camera: “This is not an admission of guilt.” Addesses family. 03.30 Sirens approach. Walter White faces the sirens, ready with a handgun.

Imagine opening a new TV show by showing the life of a 50-year old goody two-shoes chemistry teacher, whose greatest excitement is getting veggie bacon for breakfast on his birthday. Now this is exactly what Act One shows us, for a full ten minutes. It would have been indigestible, dead boring and plain awful writing. But by moving five minutes of excitement from episode climax to the front, the entire expositional opening becomes palatable. It’s a familiar technique and Breaking Bad will rely on it often.

Act One

The life of Walter White (11mins)

04.30 5am and Walt lies in bed, awake. 05.00 Walt on his stepper, coughing. Was once member of Nobel winning chemistry team. 05.30 50th birthday breakfast: veggie bacon breakfast with wife Skyler and son Walt Jr. 06.30 Walt arrives at school with his son. 07.00 Walt teaches chemistry – the study of change. One unruly student. 08.30 Walt moonlights at the car wash. Boss Bogdan takes advantage of Walt’s compliance. 09.30 The unruly student arrives with car and girlfriend. They mock Walt. 10.00 Walt is driving. The glove box won’t shut. 10.30 Surprise birthday party. Skyler is pregnant, her sister Marie with DEA husband Hank. 11.00 Hank shows off his hand gun and Walt reluctantly watches as he gives it to Walt Jr to hold. 12.00 TV report on Hank’s meth lab seizure: $700k. “I’ll take you on a ride along! Get a little excitement!” 13.00 Walt in bed. Skyler gives him a hand job while focusing on her ebay auction. 15.00 Walt collapses at the car wash.

Here is a man whose life can’t possibly get any worse. Why doesn’t he just kill himself rightaway? Walter White is surely not the aspirational hero, rather the identificational one. Don’t we all have at least something in common with Walt? He represents the metaphor of someone not really alive but merely getting by. This must end, either by death – or excitement. Guess which. The thematic statement in this first act is expressed in Walt’s teaching, when he talks about chemistry as the study of ‘change’. Breaking Bad writer/creator Vince Gilligan is foreshadowing here what will happen to his hero. Like all great transformational characters, the audience craves their change. Here we are promised that this change will come about. Just hang in there. Later, the promise of excitement becomes a visual anticipation when Hank offers Walt to take him along on a meth raid. The act ends with the Inciting Incident.

Act Two

Lung Cancer, Inoperable (10mins)

  16.00 In the ambulance, the paramedic asks Walter: are you a smoker? 17.00 Full body scan. 17.30 Doctor delivers verdict: lung cancer, inoperable. “I’ll live maybe another couple of years”. 18.30 Walt comes home, Skyler fusses over credit card, asks “how was your day?” Walt: “Fine.” 19.30 Bogdan doesn’t get away with his attitude any longer. Walt: “Fuck you – and your eyebrows!” 20.30 Walt calls Hank to asks if the meth raid ride-along offer is still open. 21.30 DEO officers Hank and Gomez in car with Walter, waiting for the school bus to pass. 23.00 Hank and Gomez wait in the car before the raid. Tipp-off about ‘Captain Cook’. 24.00 Walt wants to go inside, see the actual lab, has to wait in the car. 25.00 Walt sees former student Pinkman sneak out 1st floor window. “Oh my God… Pinkman?” (in underpants).

Did you realise that both Walt and Jesse are in underpants when we see them on screen for the first time? Breaking Bad is full of delightful parallels. My absolute favorite examples are in Episode S2E12 “Phoenix”, which is possibly the best hour of television drama I have ever seen.” In this Second Act, already Walt’s health verdict leads to an immediate change in his behavior – but he is selective to whom he shows it. From now on he will keep secrets – big secrets – mostly for the people he loves the most: his family.

Mid Point

The offer Jesse can’t refuse (3mins)

  26.00 Walt goes to see Pinkman at night. 27.30 Walt makes Jesse an offer: you and I partner up, to cook crystal meth. “Either that, or I turn you in.”

I’m not an expert on TV drama structure but it strikes me how we have a mid point with almost the exact dynamics as the best mid points in film. The two main antagonistic characters meet in person for the first time and the story takes a dramatically different direction. It is a major reversal that turns a threat (cancer) into an opportunity (give his family what he’s never given them). This episode mid point is at the same time the end of Act One for the whole season. Walt’s goal is clear: to make enough money to set up his family for life.

Act Three

Preparing to cook (9mins)

  29.00 Marie pries on the Whites’ life, inquires about Walt’s changed behavior. Skyler denies. 30.00 Walt shops for cooking tools and containers at school. 30.30 Walt sets the standards with Jesse, who in stead claims cooking is an art, not chemistry. 32.30 Where are we gonna cook? They decide on an RV. 34.30 Jesse wants to know why all this. “Sixty and breaking bad?” Walt: “I am awake.” 35.00 Walt Jr is fitting pants, with Walt and Skyler. Bullies make fun of him. 37.00 Walt takes on the bullies, attacks their kingpin. All freak out; they call him a psycho.

With the main plot now well underway, there’s some time for character exposition and subplots. The relationship Walt/Jesse will be volatile and Walt now protects his family with greater fervor than ever before. Interesting to see how the third act out (the act climax) happens on a positive note, accentuated by the uplifting score. Often Act Three has the ‘all is lost’ or ‘lowest point’ that we find in movies at the end of Act Two. Here it is the silence before the storm as Act Four will again give us a major twist, leading to a powerful climax.

Act Four

Back with a vengeance (14mins)

  38.00 Walt & Jesse drive into the desert. “Let’s cook here.” 39.30 Jesse films Walt during the cooking, makes fun of him. Cooking montage. 41.00 Glass grade. “This is art, Mr White.” “Iron Chef!” 42.00 Jesse tries to sell to Crazy-8, Emilio’s cousin. “Back with a vengeance!” They think Jesse snitched. 44.00 Emilio appears, made bail. They ask where he got the meth from. 44.30 Walt at RV, Crazy-8 & co arrive. Emilio recognizes Walt: with DEA. They pull their guns and tie up Jesse. 46.30 Walt is forced to cook; uses red phosphorus to cause a chemical reaction that takes them out. 48.30 Walt frees Jesse. A fire starts as they drive off. 50.00 BACK TO TEASER: Walt standing with gun, sirens. Considers suicide momentarily. 51.30 Fire brigade drives past. Jesse comes out. 52.30 Jesse: “What happened?” Walt: “Red phosphorus…” Clean this up.

The opening of this act is a mythical threshold sequence, expressing the idea that Walt is traveling to a new world. The dialogue “back with a vengeance” sets up what is to follow: Emilio will soon literally be back with a vengeance, introducing the final act climax. For the first time we see the consequences of Walt’s other explosive relationship, with the DEA, through his brother-in-law Hank. This is one of many potential future conflicts set up in this first episode.

Tag

Reaping the rewards (2mins)

  54.00 Laundering money. Literally. 54.30 Walt and Skyler in bed, making love passionately. “Walt? Is that you?”

Don’t forget to download the screenplay of that first episode. You’ll see that not only is Breaking Bad a fabulous show to watch, the script is pure delight to read. Enjoy!

– Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

by Karel Segers

I have been wanting to analyze this film for a long time because I love it so much. I like how we care for the bad guys, sometimes more than for the hero. I love how the movie has an unbelievably powerful opening sequence and to my taste the best L.A. based shootout in terms of impact and realism. Filmed nearly twenty years ago and still razor sharp and completely up to date.

On the other hand I was somewhat intimidated to take on the analysis because the film is so long and fairly complex – and it has so many fans! What to do with the two main characters. Dual journey? I wasn’t sure…

If you would like to understand this analysis, you must watch the film first. Remember that it is impossible to perform a proper analysis the first time around. You can’t do this ‘on the fly’ unless you roughly know what is going to happen.

And finally – if you are a writer, the objective of looking at a film in this way is to learn and apply techniques to your own scripts, so you can increase the chances of success. Of course each movie is different but even experienced craftsman like Michael Mann uses principles of storytelling he has learned elsewhere – or from experience. By understanding how this film works, you may be able to solve problems in your own story.

I surely don’t claim this is the way to analyze this film. Feel free to comment as I will most likely missed a few things here and there (and sorry about using Vincent/Hanna inconsistently).

So here it is. The journey of Vincent Hanna and Neil McCauley, in one hundred and sixty-three minutes.

SPOILERS: THE ENTIRE STORY WILL BE REVEALED

ACT ONE

Sequence A: The Money Transport Score – “They’re good.” (21mins)

00.00 TITLES
02.00 Neil dressed as paramedic, leaving train station.
02.30 Goes to hospital, takes ambulance.
03.30 Chris purchases explosives.
04.30 Vincent at home, making love.
05.00 Vincent has a shower; no time for coffee. “Outa time, babe.”
06.30 Justine’s daughter Lauren freaks out: she’s late for her dad.
07.00 Wayngro joins Michael in the truck, he learns they’re a tight crew.
08.30 Neil radios the others, all are wearing paramedics uniforms now.
09.00 The men put their masks on, the truck rams a money transport.
10.00 Security men call the police. The team know they have 3 mins.
10.30 One of the guards is deaf and ignores Wayngro’s requests.
12.00 Wayngro shoots the guard, the others are shot, too.
12.30 Police arrives on the scene, they’re too late.
13.00 The ambulance explodes.
13.30 Neil, annoyed, delivers the money to Nate, who asks what happened.
14.30 Hanna is on the crime scene, he represents Robbery – Homicide.
17.30 Hanna: The M.O. is that they’re good.
18.00 Neil, Trejo, and Michael at diner. Wayngro is kicked and warned.
19.30 Wayngro escapes

Our first big question: who is the main character? We need to know because we cannot talk about structure unless we know whose journey we are following. Structure is defined by the main character(s)’s goals – and the actions to achieve these.

We could assume that HEAT has a dual-journey structure but Neil’s goal is open-ended: takes scores. Vincent’s goal in this movie is very clear: catch the guys who robbed the money truck and killed the guards. This is a clear, visible goal.

Thematically, it is clear from this first sequence that TIME is a major factor. Lauren’s dad is late to pick her up and Vincent tells Justine he can’t have coffee because he’s “outa time”. Neil’s team work towards a strict timing of 3 minutes and although the police are notified while the robbery is ongoing, they arrive too late. This theme will be confirmed at the mid point, in the dialogue.

The Inciting Incident (I think both for Neil and Vincent) is the moment when Wayngro joins the team. The phrase “tight crew” foreshadows that he is going to disturb the equilibrium.
This first sequence is all Ordinary World and for Vincent The Call to Adventure happens when he realizes that he doesn’t understand the robbers’ Modus Operandi. “The M.O. is that they’re good,” he says. This is confirmed when  he finds that the explosives cannot be traced.

The sequence is closed with Neil’s Call to Adventure, when he realizes they’ve lost Wayngro, who now is a major liability. Later we see a Call to Adventure in Neil’s love journey, when he meets Eady.

Sequence B – Neil meets Eady – Vincent’s false start. (10 mins)

21.00 Neil at home, reflecting.
21.30 Chris and Charlene argue. Chris explodes and leaves.
23.00 Hanna says explosives are too common to trace.
24.00 Hanna at home, argues with Justine over getting home late.
25.30 Neil in book shop. Eady notices him.
26.00 Neil in diner, approached by Eady. He’s rude, then makes up.
27.30 Neil moves closer to her, asks questions.
29.00 Neil and Eady watching the city view together.
30.30 They kiss.

This sequence is the Refusal of the Call sequence for both characters. Neil is reflecting on what happened and Hanna starts investigating as if the robbers were of the regular kind. When he finds that the explosives are untraceable, his hunch is confirmed that they are the best. This is where his investigation will start properly.

Later we see a Call to Adventure in Neil’s love journey, when he meets Eady. Here, too, is a ‘refusal of the call’ as we will see when he leaves her place, he is not yet committed. But HEAT is not Neil’s story because his goal(s) are open-ended. He wants to keep being a robber but he also wants to avoid being caught. It is Vincent Hanna’s story because his goal is clear: ‘to catch the criminals’.

ACT TWO

Sequence C: Hanna finds first clue – Neil vs. Van Zant (22mins)

31.00 Neil leaves Eady’s place without leaving finger prints.
32.00 Hanna visits Albert for clues. He’s to meet his brother.
35.00 Hanna warns Albert: “Be there.”
36.00 Neil is briefed on the new job: $12m.
36.30 Van Zant orders to kill the thieves.
37.00 Nate tells Neil to call Van Zant to collect the money.
38.00 Neil talks with Chris about his gambling issues.
40.00 Neil to Chris: no attachments. But Chris; “the sun rises and sets with her.”
41.00 Don’s new job, recommended by parole officer. Boss is a jerk.
42.00 Neil calls Van Zant, details for the meet. He sees Charlene with man.
43.30 Neil confronts Charlene: “give him one more chance.”
44.30 Hanna meets Albert and his brother. A clue: “Slick.”
49.00 Hanna puts surveillance on Michael Cheritto.
49.30 Van Zant has set up Neil. Van Zant’s men are killed.
52.00 Neil calls Van Zant: he’s a dead man.

The fact that Neil exits Eady’s place without leaving finger prints proves that he is still in ‘pro mode’. But will he be able to sustain his professionalism? This feeds into the main theme of the film, also reflected in the title.

When Hanna goes to see Albert, it is his first scene in Act Two; his first action in the chain of events that will lead to solving the case. As a result of this, he will receive the first clue.

The theme is stated when Neil tells Chris he should be able to leave everything behind “in 30 seconds flat” when the heat (the Police) is on him. Chris responds with a line that will become beautiful irony later in the story. He says “the sun rises and sets with her”, setting up a weakness. Ultimately, however, he will be the only one surviving the story in freedom.

When Neil goes to see Charlene to encourage her to give Chris another chance, this could be because he cares for Chris – but it may also be to make sure the wall around his team reminds water tight.

We’re early in Act Two and this is where typically new characters are introduced, about whom we wonder: ‘friend or foe’? In Vincent’s story there’s Albert; in Neil’s story there is Van Zant, Don and Nate. Note that Nate is not strictly a new character but he’s new to the audience.

The subplot around Van Zant shows Neil’s professionalism. From how he acts in this storyline, we have hope he may do the right thing when challenged later in the story.

Sequence D: Neil feels the heat – calls off the score. (22mins)

53.00 Dinner with the families. Hanna and his men are watching.
54.00 Neil calls Eady.
55.00 Hanna etc. watch the ‘convention’, wonder who Neil is.
56.00 Wayngro kills a prostitute.
57.30 Wayngro in a bar, looking for a new gig.
58.00 Hanna and his men out with their wives. Hanna is called out.
59.30 Hanna at prostitute murder scene, keeps mother away.
61.30 Justine stayed alone at the dinner. Hanna: keep my angst.
64.30 Don and Lilian
66.30 Neil and Eady dreaming of moving to New Zealand.
68.00 Hanna and his daughter Lauren. She feels alone.
69.00 Hanna and his men at stakeout in truck
70.00 Neil and his men arrive for their next job.
71.00 Swat team ready. Neil is outside, hears a noise.
72.30 Neil calls it off.
73.30 Hanna doesn’t want an arrest now: they will walk.
74.30 Hanna and his men come out of the truck

When Neil calls Eady, we know he is serious about this relationship, raising the question further: “will he be able to sustain his professionalism?” The fact that he keeps his true identity hidden from Eady adds to this tension.

From the scenes between Hanna and his wife, it is clear he is unconditional in his commitment to the job. He admits this to Justine.

The sequence closes with another indication Neil is still sharp: he decides to call off the job when he feels the heat. This is an anti-climax, but following a highly suspenseful scene, marking the culmination of this sequence. Both main characters seemingly fail in their operation but they don’t make a mistake. They do the right thing in terms of their outer goals.

Mid Sequence: Hero meets Shadow, then loses him. (21mins)

75.00 Neil warns Chris: there’s heat. Chris needs the bank job.
76.00 Michael wants in: “The action is the juice.”
77.30 Hanna has Marciano: give up Charlene and Chris’ crew.
79.30 Neil plans something, while the police are watching.
80.00 Hanna goes to the location. Makes no sense. Looking at us. Neil takes photos of them.
82.30 Nate gives Neil maps for bank job, warns him about Hanna.
84.00 Justine is going out without Vincent.
85.30 Hanna in heli, following Neil.
88.00 Hanna stops Neil, go for coffee.
89.00 I do what I do best. Regular type life… Hanna opens up.
92.00 Hanna dreams of corpses. Neil dreams of drowning – no time.
95.00 All surveillance dumped at 9pm.

The mid sequence offers the last bit of levity before the movie goes into its sensational, dark second half. When Neil tricks Hanna, he seems to have the upper hand and loving it. This will change quickly: Vincent shows how easy it is to get him by stopping him on the highway – and inviting him for coffee.

In what is a legendary movie scene (and I believe the first time ever De Niro and Pacino were in the same scene), we have a classic meet of the Hero and Shadow at the mid point. You might argue there is even a bit of love and understanding going on between the two.

An ironic aspect of this scene is that, while normally the mid point makes things personal, here it is made clear that if they’d end up killing each other, it’s NOT personal. But I guess to the audience, this diner meet inevitably does make things personal. Often the mid point is set at an unusual setting for the movie. Certainly for cop and robber to meet over coffee is highly unusual.

Not how Neil’s dream foreshadows what will happen at the end of this story: he won’t have time to do what he wants to do and the drowning is just another way of dying.

As all great mid points, this one marks the Approach to the Inmost Cave, i.e. the characters are preparing to face their worst fears, to enter the Inmost Cave. They both state that they’re ready to kill the other. From now on they’ll have to live their lives in (each their) integrity – or die.

The Mid Point Reversal has a seeming victory, followed by a major setback. The victory is Vincent meeting with Neil, showing it’s fairly easy to get to him, should he need to. Immediately thereafter, all traces have gone. Can you see how this is the equivalent of ‘boy gets girl – boy loses girl’?

Sequence E: Bank robbery and shootout. (19mins)

96.00 Neil’s team prepares for the bank job.
[?] 97.00 Van Sant with Wayngro
98.00 Neil & team at diner, phone from Trejo: cops are on him.
100.0 Neil hires Don as the driver.
101.0 Eady is packing.
101.3 Bank job: they’re going in.
102.3 Bank job in progress.
105.3 Hanna hears of bank robbery, road blocks installed.
106.0 Neil’s team are coming out, Hanna sees them.
106.3 Chase on foot.
107.0 Into the car. Chris starts shooting.
110.0 Chris is shot.
112.3 Neil and Chris get away.
113.0 Michael takes a child, is shot by Hanna.
113.3 Lilian sees the TV news about Don.

Past the Mid Point, the Hero does all the right things, yet it becomes harder to make progress. For Hanna it’s clear that he is not winning yet as he fails to prevent the bank robbery – and people get shot.

The deaths of Don and Michael have weakened Neil’s team and show that things are changing for him. Eady is packing to leave with Neil, which is a great metaphor for his ‘approach to the inmost cave’. He will have to prove that he can unconditionally stick to his mantra, now the heat is on him. Will he drop everything and get out?

Sequence F: Ticking clocks – Running out of time. (17mins)

114.3 Chris gets surgery. Neil: meet you at Nate’s.
116.3 Chris calls Charlene: see you in two hours.
117.0 Neil at Trejo’s. He’s dying, “done by Van Zant’s men”.
119.3 Neil gets Van Zant’s address, asks for a new ‘out’.
120.0 Hanna believes he has 8-10hs to catch Neil. “After that he’s gone”.
121.0 Hanna tries to get intel from Van Zant’s aide.
122.0 Neil finds Van Zant, who refuses to give up Wayngro. Neil kills him.
123.0 Charlene is in safe house with Drucker.
124.0 Drucker pressures her: “Betray Chris for Dominic” (their son).
125.3 Hanna sends men to hotel, in case Neil goes after Wayngro.
127.0 Eady knows and runs off, Neil follows her.
129.0 Neil gives Eady cash. She asks how much longer… 22 hours.
130.0 Vincent finds Justine: “to demean myself with Ralph to get closure”.

In a long movie like HEAT it is crucially important to keep things moving. The ticking clocks are countless here: Chris tells Charlene he’ll see here in two hours. Hanna believes he only hs 8-10 hours. Neil gives himself 22 hours. This could be trouble for Neil.

But things are going like clockwork for him; a typical situation for the Antagonist/Shadow at this point in the story. All this while the Hero suffers setbacks one after the other, both in the outer journey (the case) and the love journey (his marriage). The final scene of this sequence can be seen as the Ordeal in that relationship journey: Justine has betrayed him – be it reluctantly – with Ralph.

But the darkest part of the movie is yet to come…

Sequence G: Vincent’s ordeal – Neil’s failed redemption. (16mins)

132.0 Nate has organised a plane for Neil.
133.0 Neil tells Eady she needs to choose. He wants to stay with her.
135.0 Police trap set for Chris. Drucker to Charlene: Show yourself.
137.0 Charlene signals to Chris. He gets away.
140.0 Hanna believes Neil is gone. All was in vain.
141.3 Hanna finds his daughter in bathroom after suicide attempt.
143.3 Hanna reunites with Justine at the hospital. “Not going anywhere.”
145.3 Nate calls Neil, who’s driving. So long.
146.3 Neil and Eady: home free.
147.0 Neil wants to “take care of something”. “There’s time.”

Vincent experiences two ‘all is lost’ moments (or ‘Ordeals’). First he believes he lost Neil for good, which would mean the failure of his outer journey. Next he finds Justine’s daughter unconscious in the bath tub after a suicide attempt. In this metaphorical ‘Inmost Cave,’ he is facing his worst fears – and possible death (Lauren). But he does the right thing by looking after Lauren and his Reward (Seizing the Sword) is Justine’s encouragement to go and do what he needs to do.

Neil, as the antagonist, is at his ‘highest point’. Everything is on track for him to get away and he gets overly confident, believing he can make the detour to deal with Wayngro. The irony however is that the movie’s theme gives away how this will end, i.e. both characters will move to the opposite of their current situation in Act Three. Vincent, who believed he ran out of time, will be able to track Neil down and deal with him. Neil, who said “There’s time,” will experience the opposite.

In this way for both characters the plot (outer journey) pays off beautifully on the movie’s theme and the characters’ choices.

ACT THREE

Sequence H: Neil kills Wayngro – Vincent kills Neil.(17mins)

147.3 At the hotel. Neil: “Right back.” Gets room number.
149.0 Neil sees police at hotel.
150.0 Neil triggers fire alarm.
152.3 Hanna goes to the hotel.
153.0 Hotel evacuation; Neil is at Wayngro’s room. Kills him.
154.0 Neil escapes. Eady is still in the car, watching.
156.0 Hanna arrives in heli at the hotel.
157.0 Neil sees Hanna and runs. Eady watches.
158.0 Neil runs to the airport, followed by Hanna.
159.0 Hanna shoots. Neil returns fire.
160.0 Chase. Neil hides. Landing lights come up.
163.3 Hanna sees Neil’s shadow and fires three shots. Neil dies.

The third act has a unique energy. The chase is a conventional 3-act, hero’s journey story stage (The Road Back) but the elegic musical score tones it down, foreshadowing what is to come.

The movie has a traditional third act resolution, in that the characters get the payoff they deserve within their own morality. Vincent has been consistent, loyal to his beliefs – he lives. Neil has put revenge before his mantra and pays for it with his life.

No-one will be surprised to see the ending, particularly after hearing Neil’s account of his recurring dream about drowning. Still, we feel for Neil. He had an opportunity to get out and have the life we wanted him to have. The final shot with Vincent holding Neil’s hand could have been melodrama but it isn’t. It is a moving moment in which both characters achieve their ultimate humanity and a masterful coda to a terrific piece of cinema.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

by Dave Trendall (structure breakdown) and Karel Segers (notes).

Boy is a funny and moving drama about young Alamein who learns to see his father for who he really is. It was nominated for the Audience Award at Sundance and won the same award at the Sydney and Melbourne film festival. The film made more than $9m in its domestic market, which is great for a local indie.

But Boy never got big. Why not? The film is well-directed, brilliantly acted and beautifully shot.

Let’s have a look at the story and see if this tells us something.

ACT ONE

Sequence A – Boy’s Ordinary World, without dad. (15 mins)

00:00 “You could be happy here… we could grow up together.” -E.T.
01:00 In class, Boy introduces his friends, family and Michael Jackson.
02:00 Nan leaves for a funeral, leaving Boy in charge.
02:30 Favourite subjects and some “after-school gardening work”.
03:00 The amazing dad… Boy shows his ideal image of his dad to class.
04:00 While in class Kenny, a bully, taunts him about his dad.
05:00 Boy is rejected by Chardonnay, even after his MJ moves.
06:30 Boy lashes out at Kenny and is dragged to the principal.
07:30 The principal gives him advice… but what does the word ‘potential’ mean?
08:30 Kenny’s brother Holden threatens Boy.
09:30 Boy gets Rocky from their mum’s grave.
10:30 Boy wants Rocky to stop hanging around the grave.
11:00 Crayfish again. Mealtime! The kids are living by themselves.
11:30 Storm’s coming…
12:30 ‘Who are you?’… the kids meet Dad, Juju and Chopper.

In the first sequence of the film, we learn that our hero may have a somewhat idealistic image of his father. Is this is flaw? He also fancies the girl Chardonnay, whom he tries to impress with Michael Jackson moves. Around the 12min mark – Hollywood timing – the inciting incident occurs: father returns. This is going to change Boy’s life….

Sequence B – First impressions of Dad (14 mins)

15:00 Dad is in the house. Tries to bond with the kids.
16:30 Presents and sparklers for the children.
17:30 Dad offers to cut Boy’s hair.
19:00 Rocky and Boy remember the day mum died at Rocky’s birth.
19:30 Boy throws stones at ‘mental fella’ but Rocky refuses to.
20:30 Dad gives Boy advice on how to do the carving… Boy hasn’t done the eyes.
22:00 Rocky shows his suspicion of his dad.
22:30 Dad drops Boy off and disappears, much to Boy’s disappointment.
24:00 Auntie gets angry at Dad for not visiting his wife’s grave.
24:30 The love story: Boy gives a sparkler only to Chardonnay.
25:00 Boy and kids pick bunches of weed to help Dynasty – it’s her job.
26:00 Rocky befriends the ‘mental fella’.
27:30 Dad, Juju and Chopper dig for the stolen treasure.

Boy’s response to the return of his father is more enthusiastic than Rocky’s, who doesn’t trust his dad. Boy doesn’t trust the ‘mental fella,’ though, while Rocky befriends him. Rocky seems to be more in touch with reality than our hero. At the end of the sequence, Boy adopts the same main goal as his father: to find the stolen treasure. Meanwhile, he is also pursuing Chardonnay further.

ACT TWO

Sequence C – Digging for the dream (11 mins)

28:30 Boy starts digging for the money.
29:00 Boy gives Dad weed he took from Dynasty’s patch in the field.
30:00 ‘I’ll spend more time with the kids.’ Dad promises Nan.
30:30 Dad cuts Boy’s hair.
31:30 Dad teaches Kenny and Holden a lesson.
32:00 Dad and Boy pick Rocky up… quality time.
33:30 Boy wants to be in the Crazy Horses but Dad rejects him.
34:30 Beach fun! Rocky knocks Dad over with his mind – his powers work?
35:00 Rocky disagrees with Boy’s idea of what to do with the money.
36:00 Don’t call me dad… call me Shogun.
37:30 Dad gives Kenny and Holden beer and welcomes them… Boy is put out.
38:00 Dad alienates Juju and Chopper.
39:30 Michael Jackson lives!

Boy looks at his dad as a role model, without realizing (yet) how immature the man really is. In fact, his dad is not really a man; he is just as much a ‘boy’ as he is. Rather than taking his role as a father seriously, Alamein Sr. escapes into the fantasy of being Shogun.

Sequence D: From Boy to Man (10 mins)

40:00 Boy tries everything to get Chardonnay but she’s interested in Holden.
41:30 Wanting to impress his dad, Boy gives himself a hickey and shows dad.
42:00 Boy gives some weed to his dad and neglects family duties.
43:30 Dynasty gets into the car and updates him on what he’s been missing.
44:30 Rocky and ‘mental fella’ at mums grave, Rocky starts to doubt his powers.
45:30 Dad leaves. **midpoint**
47:00 Boy, rejecting Rocky as helper, digs… and finds the money.
48:30 He counts the money and shares the news with Leaf, the goat.
49:00 He checks the dictionary for ‘potential’ but doesn’t understand.

Once Boy finds the money, everything will change. The outer goal is fulfilled and Boy sets himself a new goal: to enjoy the found money without revealing the secret to his dad, while continuing to court Chardonnay.

The new goal creates some tension but there’s a problem: it is open-ended. Boy can potentially keep the secret forever if he plays it smart. (The director has visually foreshadowed what will happen with the money by showing Leaf, the goat, immediately after the discovery.)

Boy’s perception of his dad is gradually changing. The fact that he doesn’t tell his dad about the money illustrates this. His dad is more concerned about himself than about his sons, therefore Boy realises he’ll have to look after himself.

Sequence E: From Boy to Man (10 mins)

49:30 Boy buys ice-creams for his friends at Auntie’s shop.
50:00 ‘Don’t call me Boy anymore’, he threatens Holden.
51:30 Dad confronts Boy: Where did the money for the ice-creams come from?
53:00 Back to responsibility: cooking dinner and making food for the family.
54:00 Dad goes to window and apologises.
55:30 Mum’s grave: Dad contemplates outside the fence, Rocky watches.
57:00 Leaf has eaten the money!
57:30 Boy watches the microwave melting down doorknobs.
58:00 “There is no more time”, Dad says.
59:00 Dad rips the hidden weed batch up but Boy is seen by Dynasty.

He doesn’t want to be called ‘Boy’ any longer and he cooks for the family again. Boy’s maturation is well underway. Slowly, he is growing up to reality and showing responsibility, yet he still doesn’t confess about finding the money…

Sequence F: Confessing hard truths(11 mins)

1:00:00 Dad goes to bar.
1:02:00 A fight breaks out as Dad is rumbled. Boy watches from the car.
1:03:00 Coming back from the bar, they run over Leaf, the goat.
1:04:00 “It was just a dog” – Boy no longer buys his dads promises.
1:05:30 The goat is dead. Boy and Rocky drag it back home.
1:06:30 Rocky helps dig Leaf’s grave with Boy.
1:07:00 Boy drinks and smokes by his mum’s grave.
1:07:30 The gang members, packing the car, drive off leaving Dad with nothing.
1:08:30 Dad trashes the house.
1:09:00 Remembering his mum, Boy falls off the bridge.
1:09:30 Dad desperately digs, searching for money.
1:10:00 Boy sees mother… but it’s not, it’s ‘mental fella’. Boy has to get home.

Dad is involved in a brawl and comes out the loser. For the first time Boy sees the truth and his world slowly collapses.

As if it were Leaf’s punishment for eating the money, on the way back home they drive over the goat. With his pet friend dead and his father not the idol he adored, Boy lets himself fall off the bridge, into the river – literally reaching the story’s lowest point. But now he reaps the reward: he sees the world as it is, including the ‘mental fella’ who saves his life. Boy’s journey of maturation is complete.

ACT THREE

Sequence G: Boy faces his father (4 mins)

1:11:00 Rocky apologises for what he did to his mum.
1:12:00 Boy gives Dad the chewed up notes and lets loose his anger on his dad.
1:14:00 Boy, and family, rebuild the house.
1:15:00 The carving is left, his dad has added the eyes.

With his inner journey fully complete, Boy has the strength to face his father in honesty. He takes responsibility for finding and losing the money but he also challenges his dad to be responsible and admit he is a thief. Once they see each other for who they really are, they can live together again.

Sequence H: Rebuilding and reconciliation (3 mins)

1:15:30 Nan comes back.
1:16:00 Reconnecting with mates, and Dynasty.
1:17:00 Boy and Rocky meet their dad at mum’s grave.
1:18:30 Thriller done Haka style.

With the return of Nan, the circle is complete. The family is reunited and in the few days while Nan was away, Boy has grown up a little.

The film sees Boy go through a significant inner journey but his external goals are weak. His first goal (finding the money) is not really his own objective as he simply takes on his dad’s objective.

The stakes are never really high in this film, either. Even past the mid point, when Boy tries to keep his secret, there is never much for him to lose.

As to the love plot, apart from doing some Michael Jackson moves and offering Chardonnay sparklers, Boy never really fights very hard to get his love.

In conclusion, the story issues described above make what could have been a more deeply emotional maturation film feel fairly light-on.

Structural Analysis: Dave Trendall
Notes: Karel Segers

by Dave Trendall (structure breakdown) and Karel Segers (notes).

I’m still a big Spielberg fan, although War Of The Worlds made a small dent in this and – being Belgian – I’m a bit nervous about Tintin.

Story Origins of E.T.

The script for E.T. was written by Melissa Mathison but the original story Night Skies (that went on to become E.T.) was pitched to Spielberg in a Paris hotel by concept artist Ron Cobb. (Wikipedia):

“Steven Spielberg offered him the opportunity to direct this scarier sequel to Close Encounters of the Third Kind until problems arose over special effects that required a major rewrite.”

A few years ago Ron, who lives here in Sydney, replicated to me the pitch for Night Skies and, believe me, it sent shivers down my spine…

But we were going to talk story and structure.

Structure and POV

E.T. looks far more traditional than Close Encounters, which seems to have a never-ending first act (and threshold sequence), a non-existing second act and a downright odd ending – which I still loved. Obviously this didn’t keep it from being ridiculously successful.

In addition to what I’ve already said and written about Point Of View , it is worth noting how POV is handled in this film.

Let’s have a look at the first sequence:

ACT ONE

Sequence A: A scary first meeting (12:30mins)

00:00 E.T. lands on earth and leaves the spaceship.
03:00 E.T. walks around and sees the city. Homing signals glow.
05:00 The bad guys arrive in trucks. They begin searching.
06:00 E.T.’s homing signal glows alerting the bad guys and the chase is on!
07:00 E.T. misses the boat – the spaceship leaves without him.
07:30 E.T. ventures down to the city as the bad guys continue searching.
08:00 Elliot wants to play but all he’s good for is getting the pizza.
09:00 He gets the pizza… and hears something in the garage.
09:30 Back garden: Elliot throws a ball into the shed, and it’s thrown back.
10:30 Elliot runs into the house screaming with shock – they all go hunting.
11:00 ‘It’s just a coyote.’ Nobody believes Elliot.
12:30 Elliot checks again and sees him. E.T. freaks and runs to the forest.

The movie opens with a great hook in which we see the Extraterrestrial for the first time, albeit briefly and mostly indirectly. Can you see the parallel with Jaws? Next we’re introduced to Elliot (and we stay with him until the end of Act One). The sequence ends on his Call To Adventure, when Elliot sees E.T. for the first time.

Sequence B: Becoming friends (9:30mins)

14:30 Elliot cycles up to the forest with lollies.
15:30 A suspicious man looks around and Elliot pedals quickly away.
16:00 Nobody believes me! He takes his frustration out on his mum.
19:00 Elliot waits in the garden at night, snuggled in a blanket.
20:00 E.T. reaches out to Elliot by giving him back the lollies.
20:30 Leaving a trail of lollies, Elliot gets E.T. into his room.
22:00 E.T. mimics his actions

The second sequence shows Elliot’s response to the Inciting Incident (or Call To Adventure). He is not really refusing his call: he wants to see E.T. again, contrary to those around him, who don’t believe him. You could argue that they are also more flawed than Elliot because of their lack of imagination.

The end of the second sequence usually sets up the hero’s goal. What is it here? Not so simple… Elliot wants to keep E.T. as a friend, while hiding him from the adults, because he doesn’t trust them. Elliot’s goal has an indefinite timeline: until when will he need to hide E.T.? Typically this wouldn’t work very well but here this doesn’t seem to be a problem. Note that this entire sequence is told from Elliot’s POV.

ACT TWO

Sequence C: Keeping the secret while having fun (12:30mins)

24:00 The bad guys close in… they find the lollies.
25:00 Elliot skips school. He dims the shades and the fun and games begin!
26:30 While the cat’s away… Elliot gives E.T. an education.
27:30 It’s too much excitement! Time for milk and cookies.
30:30 Over the phone, Elliot convinces mum that he’s ill.
33:00 Allies, Michael and Gertie, meet E.T. … and freak.
34:30 ‘This isn’t a room, this is an accident’: Mum comes home.
36:00 Sister Gertie makes a pact to say nothing – this is their secret.

Act Two opens with a brief scene from the POV of the antagonist, building an underlying tension for the entire next sequence. In many movies, this is the only function of a shift of POV. What follows now is a typical Allies & Enemies / Fun & Games sequence.

Sequence D: E.T. & Elliot apart, share experiences.  (12:30 mins)

37:30 Bad guys are taking photographs of the house.
38:00 Gertie takes a dead flower to Elliot’s room.
39:00 Elliot, Mike and Gertie watch in wonder as E.T. does magic.
41:00 Elliot hears the bad guys outside… edging ever closer.
42:00 E.T. makes the flower grow.
42:30 Elliot goes to school.
43:30 Mum hears noises and checks it out but nothing.
44:00 E.T. goes to the fridge and opens some beers.
45:00 Elliot starts feeling the effects from the beer – in class.
46:00 Both are drunk.
47:30 ‘I gotta save him…’ Elliot releases the frogs in science class.
48:30 Reading a comic book gives E.T. an idea.
50:00 E.T. makes a machine from a toy while watching a movie.
50:30 Elliot recreates a romantic kissing scene from the T.V.

A second sequence of fun & games strengthens the bond between the boy and alien. Again, this sequence opens with a brief scene from the POV of the antagonists, showing they are gradually closing in on E.T. and Elliot. As a result, the tension rises.
E.T. is the story of the friendship between earthling Elliot and the Extraterrestrial and its structure shows elements of the buddy movie and even the romance, with a kiss around the mid point of the movie.
When Elliot goes to school, the POV is split between the boy and the alien. However, in terms of the story we really stay in Elliot’s POV’s, whose experience of getting drunk is more dramatic than E.T.’s.

Mid Sequence: E.T. phone home! (14:00 mins)

51:30 Gertie tries to get mum to meet E.T.
52:30 Mum gets the call to pick up a drunken Elliot.
53:00 E.T. speaks!
54:00 Gertie understands him. E.T…. Phone… home MID POINT
56:00 Bad guys listen in to Elliot and Mike.
58:00 Elliot cuts his finger and E.T. heals it.
1:00:00 Halloween… ghost E.T., Elliot and Mike leave to trick or treat.
1:03:00 Gertie waits at the top of a hill.
1:03:30 Trick or treat. The three guisers walk down the street.
1:04:00 E.T. and Gertie swap costumes. Elliot takes off on his bike with E.T.
1:04:30 The bike takes off with E.T. in the basket and goes higher still!
1:05:30 Mum doesn’t know where they are and blows the candles out.

This is a mid sequence in the purest sense: the tone changes from upbeat & fun to serious & suspenseful. The moment we see the scientists listen in to Mike and Elliot, we know it will be a matter of minutes before the fun is over.
The objective changes, too. First Elliot wanted to keep E.T. as a friend but after the mid point he helps E.T. to return home, which is a clear reversal as he will have to let go of his friend.
Where many films show a leap off a cliff at the mid, Elliot rides his bike with E.T. off a cliff to realize they can fly. But the flight ends with a crash, symbolizing the crash that is about to following immediately after every mid point high. Can you see other typical aspects of a mid point reversal?

Sequence E: I think we’re dying (11:30 mins)

1:06:00 They get to work on making the machine.
1:07:00 Mum is angry and leaves the house…
1:07:30 … bad guys break into the house.
1:08:00 Mum picks Mike and Gertie up… but where is Elliot?
1:09:00 The machine is working!
1:11:00 The bad guys continue ransacking the house.
1:12:00 Elliot wakes up but where is ET?
1:13:00 Missing person… Elliot arrives back.
1:13:30 He pleads to Michael to find E.T.
1:14:00 Mike is being followed and tries to lose the bad guys.
1:15:00 He finds the blanket and a half-dead ET. Helicopter circles.
1:16:00 ‘I think we’re dying.’ Mum is aghast and sees E.T. as the problem.
1:17:30 The bad guys… the scientists… invade their home.

With the last half of the second act we have entered darker territory. Elliot knows that he will lose E.T. if the alien returns home but … it looks like E.T. may not even make it home when Elliot finds him half-dead. Elliot meets with the antagonists when the scientist crew enters the house. This is an ironic ‘approaching of the inmost cave’ because it is effectively the antagonist entering the cave (Elliot’s home) in the literal sense. For Elliot and E.T., the approach is symbolic as they are preparing to face their worst fear: to lose each other.

Sequence F: Approach to the inmost cave (12:00 mins)

1:18:30 The scientists enter the house with equipment.
1:19:00 The alien is misunderstood.
1:21:00 ‘He’s calling his people… he needs to go home.’
1:22:00 The Scientist tells Elliot he was happy the alien met him first.
1:23:30 ‘The boy’s coming back… we’re losing E.T.’
1:26:00 The flower wilts… E.T. is dying.
1:28:00 E.T. dies… the Doctors stop trying.
1:30:30 ‘You must be dead because I don’t know how to feel’

The Ordeal sequence usually has ‘the image of death’ and here we see E.T.’s death literally on the screen. When Elliot says “You must be dead because I don’t know how to feel,” it shows how he now has to learn to stand on his own feet. This very realisation signals Elliot’s transformation and thus we have the end of Act 2. At this point a story ALWAYS turns from hopeless to hopeful. In a way this story is a coming of age for Elliot; he has to cope with the abandonment of a friend. Would it be a coincidence that this theme is equally present in the Toy Story movies?

ACT THREE

Sequence G: This is reality… (08:00 mins)

1:33:30 ‘He’s alive!!!’ As Elliot leaves… the flowers perk up.
1:34:00 Opening the casket door, Elliot sees E.T. is alive.
1:35:30 Uh oh. Gertie gives mum a note from the boys a bit too early.
1:36:00 Mike drives away from the uniforms. His mum follows.
1:38:30 Mike’s friends on the bike meet E.T. at the playground.
1:40:00 ‘This is reality Greg…’ The chase is on!
1:41:30 A dead end? They fly over the roadblock with E.T.’s magic powers.

Once Elliot’s transformation (or growth) is complete, we’re ready to move into Act 3 and immediately the energy turns to positive, the pace picks up and the kids leave “the cave”. Note that like in every successful film, there is a ‘threshold sequence’ because at this point in the movie, for a variety of reasons we need movement.

Sequence G: I’ll be right here… (5:30 mins)

1:42:30 They arrive at the forest. E.T.’s Spaceship touches down at the forest.
1:44:00 Sister and Mike say their goodbyes.
1:44:30 ‘I’ll be right here’, E.T. reassures.
1:47:30 E.T. goes back to his ship and the ship leaves.
1:48:30 They wave goodbye.
1:49:30 END

The kids have shed the antagonists (the adults), the main tension is now resolved and despite the fact that the friends have to say goodbye, the atmosphere is somewhat lighter. Elliot is now strong enough to say goodbye to E.T.

Structural Analysis: Dave Trendall
Notes: Karel Segers

by Nina Warren

The aim of my analysis is not to critique the film but to observe whether the story’s structure followed the principles espoused both by Christopher Vogler, in his book The Writer’s Journey – based on the mythmaking philosophies of Joseph Campbell, and by Paul Gulino’s Eight Sequence Approach. If it did not, where and how did that deviation affect the dynamics of the story as a whole?

Brendan Walsh of ScreenCrave called it “Perfectly crafted.” Paul Byrnes of SMH said “Most great movies are built on character, before plot. This one is built around the malevolent force of the eldest son Pope, a destroyer, and Janine the mother, a kind of preserver.” That seemed odd to me because I thought the main character was Josh, not Pope or Janine.

Stephen Holden of the New York Times said, “The film’s depiction of the raw fear lurking below the brothers’ braggadocio is the most pronounced emotion in a movie whose focus on the personalities of its criminals suggests an Australian answer to “Goodfellas,” minus the wise-guy humor.” High praise but again, it talks about the uncles, not Josh, and now I know why…

spoilers galore

ACT ONE

Sequence A: Reunited with estranged family. (18 mins)

00:00            Titles
00:22            J watches a game show with his ‘sleeping’ mum.
00:50            Medics arrive. What has she taken? J: Heroine.
01:33            J calls Grandma Smurf: Mum’s dead, I don’t know what to do.
03:00            Smurf arrives: Get your bags honey.
03:41            Titles continue with B&W shots of robbery.
05:44            J’s VO: Mum kept me away from my family because she was scared.
06:22            J enters and greets his uncle Darren and Baz .
07:00             His other uncle, a hyper Craig emerges. Smurf: Give me a kiss.
07:53            J’s VO: Crooks always come undone. Baz hides cash at home.
08:25            J’s VO: Armed robbery squad was after Baz and my family.
08.55            Baz walks to police parked outside. Baz: He’s not here.
09:20            Det. Roach tells Craig to warn Pope to pull his head in.
11:00            Road rage at lights. Craig gives gun to J, “Let ‘em know who’s king.”
12:22            In restaurant, C aims prawn at J’s girlfriend Nic’s open mouth for $200.
12:50            Baz teaches J toilet etiquette.
14:29            Men discuss situation. “Armed robbery don’t do business.”
14:55            They all leave restaurant upbeat.
15:35            Craig offers Nic coke. J answers no for her. Nic: Says who?
16:20            Pope surprises J in the kitchen. “Guess, who am I?”
17:00            Baz tells Pope that armed robbery have nothing on them.
18:00            Craig and Pope playfully tackle but it doesn’t look like fun.

The introduction of our main character and the set up of the ordinary world is very short (1 min) but powerful; the use of montage capturing B&W shots of a robbery during the titles, forewarns us of the special and violent world that J, the tragic Hero, will be entering, consistent with Act One of the Hero’s Journey.

Normally in this sequence the dramatic question is first posed, however, there is no obvious question in AK. In fact, in the VO J says “This is where I was and this is what I was doing.” – an acceptance of events without question.

The inciting incident takes place when J is a passenger in his uncle’s car; at the lights, Craig is insulted by two punks. He hands over his gun to J, before taking off in pursuit. J is told to: Let ‘em know who’s king. It is a Call to Adventure that we do not want him to take. Usually, at this point of the story, our Hero begins to be more aware of his flaw, and so begins his inner journey. This is not present here; instead we see a passive main character more aware of the flaws of his family than any of his own.

He is an observer not a participant.

Sequence B: Retaliation for Baz. (17 mins)

19:35            Baz, careful of police bugs, tells Cath he’s going to meet Pope.
20:35            Baz tells Pope: Our game, it’s over – it’s getting too hard.
22:19            Armed robbery squad: He’s got a gun! Pope sees Baz’s death from afar.
22:49            Craig cries in grief. Smurf comforts him.
23:39            Nic asks her mum if J can stay. “There are things going on.”
26:09            Pope carries a sleeping Nic to bed. J walks in.
27:00            Smurf tells J it was a card game that caused the rift between her and his mum.
28:32            Pope and Craig see surveillance at Baz’s funeral.
30:40            Pope tells Darren they should do something about Baz.
31:25            Pope tells J to get a car and deliver it to Darren’s by 2am.
32:22            J hot-wires a car.
32:49            J tells Pope where the car is and the uncles leave.
33:35            Cops arrive for their shift; radio call – investigate possible stolen car.
34:20            J sits at Darren’s and waits.
35:30            Cops look inside car and are shot.
36:30            J hears D and finds him frantically the scrubbing soles of his shoes.

In sequence B, J must grapple with the destabilizing effect of Baz’s murder on the family.

Normally it is the Hero who attempts to resolve the problem, but here, it is Pope, our Hero’s antagonist who makes the disastrous decision of avenging his friend’s death. J is not making any decisions at all and is in fact largely ignored by the family, except when Pope asks him to find a car but is not told why.

His Call to Adventure elicits very little reaction; we do not see J express reluctance or Refusal of the Call to adventure.

Therefore the Act One climax – where the Hero’s action or decision signals a clear and visible goal – is not apparent.

ACT TWO

Sequence C: Sgt Leckie sees through J’s weak alibi. (11 mins)

37.02            At Darren’s J is woken by the phone – caller hangs up.
38:35            J arrives home. Armed police burst in to arrest J and Pope.
39:20            J and Pope see Darren cuffed at police station.
40:00            Sgts Leckie and Norris begin taking J’s statement re: murder of cops.
43:40            Smurf tells Pope he should start taking his pills again.
44:58            Smurf tells C to go to the cops. “Where’s J?”
45:50            J helps out Nic’s mum. “How was your friend’s funeral?”
47:02            J watches news of the murder on TV whilst Nic talks to family.
47:42            Darren comes for J next day. Mum: I do a lot for you Nic.
48:31            J: Where are we going? Darren: To see our lawyer.

There is none of the determination and energy of the Hero’s first attempt at solving the problem, because he is unaware that the murder of the two policemen is his problem too.

In the beginning of Act Two, we see our Hero crossing the First Threshold into adventure when he is arrested. The imagery used for signaling the crossing of the threshold is done in an interesting and deliberate way: Josh along with Pope, are led in handcuffs, slow motion, down the stark white corridor of the police station. J’s interview is where his first test begins, that is, to provide his uncles with a credible alibi, which he can’t do.

There is still no specific goal for J, only mounting events that he has not actively responded to with action. The flawed mentor is introduced in the guise of the conflicted Sgt Leckie.

Sequence D: Police close in and Craig is killed – Midpoint. (14 mins)

48:49            Ezra lays down the law – no talking to cops or to Nic.
50:50            Craig gets spooked at petrol station by cops.
52:00            Craig at friend’s house. “How long are you wanting to stay?”
53:44            Craig: How can there be a bug in your house?!
54:44            Police arrive, Craig runs and is shot.
56:10            Leckie receives call. “Craig Cody’s gone mate”
56:40            Smurf: I’m having trouble finding my positive spin.
58:01            Leckie arrives just as J is about to flee from Pope’s anger.
59:22            Smurf tells Leckie she hopes they find the killers.
59:30            J gets ready to leave with Leckie. Pope: You’re not alone.
59:53            Leckie interviews J. Ezra is present. J says nothing.
61:20            Ezra talks to uncles about J: You got to be worried about what he’s doing.
61:40            J overhears Ezra talk to uncles. “Keep an eagle eye on him.”
62:00            J quickly goes back to his room. Nic is on the phone.
62:19             E: Is he talking to her? D: So he’s my responsibility?
62:42            D tells J that the cops are on to him like a rash.
62:53            Nic walks in on conversation: What’s going on?
63:12            Darren tells J to cut Nic loose. J: This has got nothing to do with me!

This sequence normally finds the main character’s first attempt at resolution failing, but here, J remains passive.

Before the midpoint, there is what is known as The Ordeal, where our Hero faces his greatest challenge. In AK it could be when J decides to end his relationship with Nic, not because he wants to but because he is told to. The midpoint takes place in a location which appears in no other scene which is consistent with this turning point. This location is Zanoni’s where J tells Nic he needs some space.

The midpoint reversal usually signals our Hero following the right approach, but here, J remains silent during the second interview with Sgt Leckie because he is told to by Ezra, the family’s lawyer. Even now, at this late stage J is lacking in executing any specific goal and has no control, which is unusual so late in the film.

At (60:01), our Hero moves towards what is known as Approach to the Inmost Cave, where he overhears important information given by Ezra to his uncles “Keep an eagle eye on him.” When J tells Darren that the situation has nothing do to with him, Darren explodes with “Everything has to do with everyone.”

This moment is when J begins to be aware of his flaw – a young man in denial – who is reluctant to change (62:41) which is traditionally placed in Act One, Sequence A.

Sequence E: Leckie separates J from the family ‘for his safety’. (7mins)

63:41            J tells Nic he needs some space at Zanoni’s
64:33            Leckie interrupts them and tells J they need to talk.
65:22            J leaves with Leckie and Norris.
65:44            Nic in the toilet, upset.
66:29            Nic goes to J’s, accepts hot-shot from P. He smothers her.
70:00            Leckie takes J to a motel for his safety.
70:20            Pope carries Nic’s body through alley.
70:39            J sits in the motel room alone.

At this point, the Act Two climax, we would traditionally see the fulfillment of the Hero’s inner journey where the main character will cease to change.

All action by the Hero is a result of this change, but in AK the ratio of events and action are seriously out of balance.

There is still no attempt at a resolution or a turnaround by J of an objective normally associated with this sequence, but what we do see are new complications and higher stakes created by J’s decision to let Nic go and Leckie’s arrival at Zanoni’s.

Sequence F: It’s all my fault. (19 mins)

71.10            Norris wakes J and asks if he is scared of him.
72:10            Leckie: Let’s go sit outside for a bit, just you and me.
72:30            Leckie to J: You’ve got to work out where you fit.
75:40            J arrives home and lies about where he’s been.
76:11            J overhears Pope on phone to Darren. ”He just walked in.”
76:24            J finds Nic’s bracelet outside. J calls Nic’s mobile and hears it nearby.
76:52            Pope runs out and J runs away.
77:30            Smurf: What’s wrong? Pope to Darren: What’s her address?!
77:41            J goes to Nic’s place. Gus: Nicky’s not her J.
78:27            In the toilet Nic’s things make him cry. D rings J “Get out!”
79:37            J asks Gus for a lift to town.
80:46            Pope hits them with his car. J runs.

Traditionally, in this sequence, the elimination of all easy potential solutions still has not made the road any easier, so our Hero makes a final bid at a resolution and the dramatic question of the movie is answered. But none of this happens in AK, how can it when J continues to be passive?

After The Ordeal we come to The Reward and though we would logically assume it is a high point, here it is a moment of clarity, where J’s begins to see through the deception of Sgt Leckie when he is told to spend the night in a motel; those missing hours will be questioned by Pope and J will have to lie.

When J finds Nic’s bracelet outside his home it is yet another event; J isn’t actively pursuing any goal or resolving any problem. But what we do witness here is J’s moment of truth, when he breaks down and realizes Nic is dead and he must now give up his old life.

However, there is no public redemption where our Hero would traditionally state his new goal, in AK, J remains silent.

ACT THREE

Sequence G: Who do I trust? (19mins)

81:18            J sits at supermarket waiting. Leckie arrives with police.
82:06            J is back at police station.
82:15            Nic’s body lies in an alleyway.
82:34            Nic’s family grieves.
82:48            Darren and Pope are arrested.
83:41            Leckie leaves J in safe-house.
84:05            Smurf at prison. “You’re not getting bail.” P: Do something.
85:35            S gives Ezra address of J’s safe-house. “J’s turned.”
86:53            S tells Roach a story about it being a bad situation for everyone.
88:50            J inside safe house with police
88:53            Armed drug squad get out of car.
89:10            Police inside see them approach and surrender.
89:58            Drug squad raid safe-house. Roach aims gun, J gets away.
90:15             Smerf at her apartment with neighbor – somebody at door.
90:35            J asks if S is alone. “I want P out of jail, I can’t live like this.”
91:00             Outside, J tells S to set up meeting with Ezra but somewhere public.
91:20            J to E “I’m not safe. I’ll take my chances with witness protection.”
91:45            J meets barrister who thinks the case against P & D is flimsy.
93:10            J goes back to safe-house. Leckie: You’re not in any danger.
93:53            L waits with J before going to court. “Are you ready?”
94:49            J arrives at court with army of armed police escorts.
95:23            J rehearses his answers for defense team.
97:24            J is escorted out of court building.
97:54            Policeman points gun at J in van on the way from court – J doesn’t react.
98:48            Leckie: Have you worked out where you fit?
99:22            Smurf gives a TV interview about the acquittal.
100:3            S bumps into L in the grocery. L: You’ll come unstuck.

Traditionally in this sequence, the stakes escalate and unexpected complications can arise from any resolution made in sequence F.

Also, the film’s energy revs up and it’s all action driven as the Hero goes for the win, but in AK, the pace slows as we see J calmly calling the shots and pursuing a specific goal for the FIRST TIME.

Sequence H: Josh’s retaliation. (3 mins)

101:4            J surprises Smurf after absence. “Is it ok if I move back in here?”
102:3            J greets his uncles in the backyard. J: I’m gonna lie down for a bit.
103:0            Pope walks into J’s room; J knows he’s there.
103:2            Pope: It’s a crazy f*#=’n world. J shoots him dead.
103:4            J exits the room. He hugs a shocked Smurf and looks calmly out at Darren.
104:2            Credits

In this last sequence we usually see the resolution of a movie, where the tension is resolved and any loose ends are tied off.

At the conclusion of the Hero’s Journey there is normally a feeling of catharsis, but by not following a traditionally structured screenplay, I believe we are robbed of what could have been an even more emotionally intense ending.

The Road Back, where the Hero must make the choice whether to remain in the special world or journey home, is answered when J pulls the trigger. J’s Resurrection in the Hero’s Journey is one of rebirth as a vengeful killer who ‘hugs’ his grandmother after killing her eldest son.

Conclusion:

By examining how the plot of AK deviates from structural principles (Vogler and Gulino), we can better understand the comments made by the various critiques, which single out the characters of the uncles and Smurf.

The aim of the screenwriter is to design meaningful events into the story in order to observe how the main character responds, thereby allowing the audience to become involved and engage with him.

In AK we don’t see J actively resolving any issues until Act Three; instead we begin to follow and engage with the more interesting characters of Pope and Smurf. Perhaps it is why the ending appeared abrupt; we were not actively involved in J’s personal story which unwittingly robs the audience of any anticipation and dread of the possible outcome.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

This time we look at the detailed structure in acts and sequences.

Only now, at the time of publication, I realize this is an excellent title for Valentine’s Day (though published one day late).

What I liked the most about this film was the thematic question “do we need to be in a relationship to be happy?”, which is a question all of us sooner or later face. The first time I watched the film, I thought it didn’t give a clear answer but rather handed us a lot of powerful dramatic material to help our consideration of the issue.

Now looking at the analysis, it is clear the writers have a different view: Ryan does change, as his words at the end of Act Two demonstrate.

In any case, I really enjoyed this film – and so did editor Dave Trendall who chose the film for his analysis. As I wrote earlier, my only issue was: I found Up In The Air a big movie with a big theme but the music made it sound small. The simple indie rock score worked perfectly for a film like Juno but here it simply didn’t ‘gel’ for me.

If you have time to read the screenplay, do so. It’s a wonderfully elegant script that reads deceptively easily despite the depth of its subject matter. You can find it through https://www.mypdfscripts.com/. At IMDb you can find a good narrative story outline for this film.

spoilers galore

ACT ONE

Sequence A: Ryan’s world – Meeting Alex. (13 mins)

00:00 Random people are telling George how they feel about being fired – and they’re blaming him.
01:00 George Lets Steve go, this is his job… he does what a boss with no balls does; fires people.
02:30 George gets on a plane… warm reminders he’s home.
04:30 Ryan Bingham: what’s in your backpack? How much does your life weigh?
06:30 George gets an invitation for his sister Kara’s wedding. Boss Craig Gregory needs to speak to him.
07:30 Dallas: Ryan and Alex meet for the first time, sparks fly.
08:30 They compare club cards. Ryan wants to get a certain number of miles – it seems they both are turned on by elite status.
10:00 A few more drinks later. These guys connect.
11:00 They go to his room, he can’t get the door to work. They’re in.
11:30 They have got to do this again – they hit up their computers… It’s a date!

Ryan reminds me of the character of Neil (Robert De Niro) in Heat because he too doesn’t want/need any attachments and he can leave his life behind in thirty seconds. So we see Ryan’s flaw: he won’t be able to be happy, let aline settle down with anyone as long as he considers the airplane home. At the end of this first sequence, we realize it might actually work if he finds someone with the same lifestyle and we wonder how Ryan can continue the relationship. Will they just continue seeing each other near airports? Often the first sequence ends with the Inciting Incident but in this film it doesn’t happen until the second sequence. Because the meeting with Alex challenges Ryan’s flaw however, we might call this the ‘Inner Journey’ inciting incident.

Sequence B: You get to come home! Inciting Incident/Call to Adventure. (12 mins)

13:00 Sister Kara wants him to take a photo of them both on his holidays. Isolated? I’m surrounded.
14:30 Omaha: at his flat, neighbor gives him the cardboard cut out of Jim and Julie.
16:00 Introducing Natalie and GLOCAL’s new technology: firing by internet. “You get to come home.”
19:00 Ryan puts Natalie down – in front of the boss. She won’t revolutionize his business!
21:30 Gregory wants Ryan to show her the ropes. He refuses. He wants to be in the boat… alone.
22:30 He packs his suitcase. / Ryan checks in, an awkward Natalie arrives…
24:00 Ryan accepts the call.

When Ryan is told he won’t need to travel any longer (the Inciting Incident/Call to Adventure), his natural habitat is in danger of disappearing. No wonder his immediate reaction is refusal. It’s no coincidence that Ryan is more relaxed and open to helping Natalie when she approaches him in his regular environment: the airport. Ironically, Ryan’s Outer Journey objective is the opposite of the ‘call’ he pretends to accept (i.e. to start firing people via the internet) as his true objective is to keep his job in the air. On the Inner Journey level, the archetypal relationship between Ryan and Natalie is similar to the one we saw in How To Train Your Dragon: the trainee is effectively the hero’s Mentor. Natalie will show Ryan a different way of looking at the world.

ACT TWO

Sequence C: Natalie’s first failure is Ryan’s first success. (12 mins)

25:00 ‘Bingo… Asians.’ Ryan mentors Natalie, guiding her through the check-in process.
27:30 St Louis: Ryan gets a Phone call from Alex. They arrange to meet… soon.
28:30 Ryan shows Natalie how to fire, face to face.
32:00 Dinner with Natalie. The miles are the goal – 10,000,000. It’s a number he needs to hit.
34:00 Text chat with Ryan and Woman.
35:00 Ryan and Natalie get a picture with the cardboard cut out at an airport.
36:00 Wichita: Natalie tries to fire a woman: she threatens to jump off the nearest bridge.

After a very traditional first act with two sequences, Ryan’s ‘visible’ objective is implicit: to keep his job ‘in the air’. For this he needs to demonstrate to Natalie that people cannot be laid off via the internet. In this perspective, the first sequence ends in a success for Ryan as Natalie’s approach results in failure. Ryan’s only clear visible goal is to hit the ten million miles.

Sequence D: Ryan is there for Natalie (15 mins)

37:00 Natalie is scared. Ryan calms her: this is what they do, set people adrift.
38:00 Kansas/Tulsa: Des Moine, Miami doing interviews. Natalie and Ryan happy in relationships.
40:00 ‘We are not swans… we’re sharks.’
41:30 Brian leaves Natalie and she breaks down. Alex meets Natalie.
43:30 Natalie and Alex talk about what they really want in a man. Ryan listens.
47:00 Natalie wants to crash the party too. They grab the lanyards, they’re in!
48:00 Party! A corny style office party… good times!
50:00 Ryan gives Alex the key to his place, he might be opening up.
51:00 MID POINT: Passionate kiss. Thinking of emptying the backpack. “I really like you.”

The longest sequence to this point shows us Ryan slowly changing: he is opening up to Alex and entertains the idea of changing his ways. Writers Jason Reitman and Sheldon Turner may well have written a feature with an independent feel to it; at the exact mid point there is The Kiss. The first half of the movie is very conventionally structured around four sequences, two in Act One (together 25mins) and two in Act Two (again 25mins).
From here on, things will be different for our Hero Ryan – and the journey will become tougher.

Sequence E: Fallout of a romance – Ryan coming down from life at 35,000ft. (11 mins)

52:30 Transition – back to the Hilton. He wakes up… he feels cheap – ‘i really like you’. She left him.
53:30 Ryan has breakfast with Natalie.
55:00 Big argument with Natalie, he falls into the water to catch the photo and blows it dry.
57:00 DETROIT: Craig tells Natalie to fire the guy in the next room.
58:30 Natalie fires someone using her system. It’s cold. Natalie feels it… it’s harsh.
61:30 Gregory says they can do a few more, everyone – they’re going home. Good job.
63:30 Ryan looks at the wedding invitation, he has to go to Julie’s wedding.

The tone shift: the fun of the first two sequences of Act Two has gone and irony seeps in. Natalie agrees that the remote firing may not be the best way. The closer Ryan gets to keeping his job, the more confused he is about his commitment to this lifestyle. They’re called back and Ryan has no excuses left not to attend his sisters wedding.

Sequence F: Approach to Ryan’s Inmost Cave: his family. (19 mins)

64:30 Moves onto the next stage – gets on the plane to his see his sister.
65:30 Ryan asks Alex to be his +1
66:30 Milwaukee: Ryan introduces Alex to sister Kara.
68:00 Ryan meets Jim. Ryan puts the pictures up… honeymoon wasn’t affordable, can’t travel so why not have pictures?
70:30 Ryan and Jim bond.
71:30 Ryan offers himself to walk her down the aisle – already has Jim’s uncle to do it.
73:00 Ryan and Alex break into the school. A phone call: Jim’s having a meltdown.
74:30 His sister demands Ryan talks Jim around.
75:30 Ryan gives Jim the advice he needs. ‘The important moments in your life… were you alone?’
78:30 Jim goes to see Julie… ‘will you be my co-pilot’… and into The Wedding.
80:30 ‘I’m lonely’ – Alex just smiles.
81:00 Dark night of the soul.

Ryan meets with his sisters Kara and Julie, epitomes of a sedentary lifestyle; Julie is not even going on a honeymoon. At the end of this sequence, Ryan makes two admissions: “life is better with company, with a co-pilot” and “I am lonely”. This signals the completion of his journey and it puts him at the most vulnerable point in the story. But because he has admitted it publicly, he is now ready to move and have his actions reflect this new belief in Act Three.

ACT THREE

Sequence H: Threshold sequence (7 mins)

82:00 Omaha: Natalie has her online system – she’s happy! Ryan tries to gets to grips with it.
84:00 Ryan takes whiskey out of the fridge.
85:30 Ryan fails his speech – and gets on the plane
87:30 Ryan turns up at Alex’s house – she has a family. She closes the door on him.

The movie’s climax continues its fine play of irony. Ryan is a changed man so he can no longer deliver his “backpack speech”, praising the virtues of living and traveling light.  He is now strong enough to leave his life of escaping commitment and he puts his money where his mouth is by knocking on Alex’ door.  But she had been a fraude all along. The question now is: will this disappointment make Ryan relapse? The emotional logic of the story says: no. He has lived through his lowest point at the end of Act Two and has grown. So despite the seemingly open ending, this film closes on a positive note.

Sequence I: 10,000,000 million miles… for who? (6 mins)

89:00 On the phone with Alex: He is an escape for her – only a parenthesis.
90:30 10,000,000 miles: Ryan meets pilot, as member of a small club of only 7.
93:00 He transfers his miles to his sisters account so they can circumnavigate the globe.
94:00  Gregory tells him the woman committed suicide… Natalie quit.
95:00 Ryan gives Natalie an amazing reference.
96:30 Redundancy victims about what they’re living for.
97:30 Has Ryan changed? In any case, it looks like he is a better person
99:00 The End.

The aftermath (or Elixir) sequence shows that not only Ryan has changed: the world around him has, too.  He sacrifices his traveling existence while giving his sister the benefit of it. Natalie quits, which means she has gone through her own journey of change while traveling and learning with Ryan.

Structural Analysis: Dave Trendall

Notes: Karel Segers

Quite often I see filmmakers take liberties with conventional structure, quoting the success of independent filmmakers who love breaking the rules, such as the Coen brothers.

Indeed, Ethan and Joel have always balanced on the verge of arthouse and mainstream storytelling but this structural analysis will show you that the Coen brothers broke into the industry with a rather traditional narrative. Even if there is no clear-cut eight sequence structure, the film is very obviously structured sequentially with a climax every ten minutes or so.

The Coen brothers broke into the industry
with a rather traditional narrative.

I believe that one of the key reasons of the success of this film is the almost constant and relentless pursuit of some goal by our hero Hi. These goals change – and they sometimes change rapidly – but our hero is active most of the time in following his desires. This is a very important aspect of great writing, which too many newbies forget about. When the story changes point of view to one of the antagonists or subplot characters, they too have a tremendous desire to achieve their goals, all making for interesting and cinematic characters.

I firmly disagree with those who say that the hero can be passive in the first act, or doesn’t really have to have a clear goal yet (Michael H., are you listening?). Look at the first two sequences of this movie and see how both the high energy and fast pace come from two powerful, primal desires: first Hi wants the girl, then he wants a child.

I firmly disagree with those who say
that the hero can be passive in the first act

By the way, it’s no coincidence that in True Grit, the Coen’s greatest hit to date, Mattie has a strong primal desire from page one: to avenge the murder of her father.

Okay, let’s have a look at the structural breakdown and what we can learn from this.

spoilers galore

ACT ONE

Sequence A: Meeting Ed. She wants a baby – but is barren. (10mins)

00.30    H.I. meets Ed for the first time in prison.
01.00    Life in prison: camaraderie, group therapy.
02.00    Parole for Hi but back to prison after robbery.
02.30    Ed’s fiance left her. Hi says “He’s a damn fool.”
03.00    Group therapy session in prison.
04.00    Parole board: back to prison.
04.30    Thinking of Ed.
05.30    Parole board: free.
06.00    Hi proposes to Ed and marries her.
06.30    Hi finds his job is like prison.
07.00    Ed wants a baby but finds she is infertile. Despair.
08.00    Adoption application rejected, Ed loses interest.
09.00    Arizona quintuplets are born, Ed & Hi decide to get one.
10.00     Opening Titles

The first sequence gives our hero a strong goal early on: Hi wants Ed. Plus, it is also clear that he wants to get out of prison. These two ‘wants’ drive the first half of the sequence. Once Hi is out of prison, soon he takes Ed’s desire at heart and by the end of this sequence, a new strong desire is set up: to get a baby, and more specifically, one of the Arizona quintuplets.The sequence ends with the End Titles, neatly on the 10mins mark. This sequence sets up the rhythm of this film as most of the following sequences will be around the same duration.

Sequence B: Getting Arizona Jr. (10mins)

11.00    POV – The Arizona household.
12.00    Hi takes the boys out of their cot one by one but can’t take any away.
15.00    POV – Nathan tells wife to go check on the kids.
16.00    Hi returns to the car without child; Ed sends him back.
16.30    Hi returns to the car with Nathan Jr.
17.30    Welcome Home party for Jr.
19.30    Ed is scared of her responsibility. Family picture.

The first shift of Point Of View comes at the beginning of this second sequence. This will happen more often throughout the film, again strengthening my case that a shift in POV should happen early in an act or sequence, when tension is at its lowest.The sequence ends on a still photo, a popular bookending device. See my analysis of The Untouchables, where both the first and the second sequence end on a still photo.

It can be argued that this is the end of Act One. It is Hi’s goal to keep baby Arizona Jr. and the dramatic question posed at this point is: how will Ed and Hi try to keep their baby – and their secret. The photo also emphasizes that this might be the end of Act One. Still, I will argue that the audience doesn’t really have enough material to build strong, clear anticipation yet. What are Ed and Hi to do? There is no clear plan.

SEQUENCE C: Complications from prison … and Hell. (8mins)

20.30    POV – Gale & Evelle escape.
21.30    POV – Gale & Evelle clean up, steal car, take fuel & drive off.
22.30    Gale & Evelle arrive at Ed & Hi; Gale questions them on baby.
24.30    Ed tells them they can’t stay; Gale to Hi: short leash…
26.30    Hi has a nightmare: the lone biker of the apocalypse.
28.30    Tele Image of the sun rising.

Again this sequence opens with two scenes that are not told from the POV of Hi.
If the previous sequence didn’t end with a clearly defined end goal (they effectively want to keep the baby indefinitely) then this one does, by introducing an antagonist. We now have a character – The Biker – that will have to be stopped before the story is finished.
Another reason why I would argue this is the end of Act One: at the beginning of the following sequence we go to Nathan Sr for the first time since the kidnapping of his son. Also: Act Two is where the hero becomes more active and we’ll see how this applies for Hi in the next sequence. Finally, the previous sequence ends with a stylish image of a huge rising sun, an image that will be repeated at the end of Act Two.

ACT TWO

Sequence D: Gale & Evelle leave but Glen and Dot provoke. (12mins)

28.30    POV – Nathan Arizona Sr. talks to press & is angry at FBI.
31.30    POV – Biker watches at Arizona mansion.
32.00    POV – Biker finds trace of Gale & Evelle at fuel stop.
32.30    Hi tells Gale and Evell to leave because there will be visitors.
34.30    Foreman Glen visits with wife Dot; they give advice.
36.00    Glen asks Hi: “How did you get him so quickly”?
37.30    Dot gives Ed advice on everything. Ed & Hi are nervous.
38.30    Glen to Hi: “Heal thyself!” Swingers… Hi punches him in the nose.

Again the sequence opens with three scenes outside the POV of our hero. I believe this sequence is the the first of Act Two for the reasons mentioned above as well as the fact that we see the antagonist(s) pursuing their mission. We also finally see our hero actively protecting his family from outside influences: first Hi tells Gale and Evelle to leave and at the end of the sequence he shows that he is not afraid of Glen, his superior, when it comes to protecting the new family unit.

Sequence E: Hi turns to robbery again. Ed doesn’t like it. (14mins)

41.00    Hi & Ed in car. Hi won’t tell what happened – will get fired.
42.00    Hi robs convenience store, Ed drives off. Hi runs.
44.00    Chase: Hi running, police driving, dogs running.
45.00    Ed hears gunshots, turns back. Hi stops old man, gets in car. (MID)
47.00    Supermarket: shootout while Hi looks for nappies.

50.00    Back home, Ed tells Gale & Evelle to leave: bad influence.
51.00    Gale and Evelle try to get Hi on board for a bank robbery.
52.30    POV – Biker
53.00    Hi’s letter to Ed: “I don’t have the strength of character.”

First, the energy picks up with a typical fun and games sequence, in which Hi shows he still hasn’t changed despite all his good intentions. Ed leaves him behind but at the exact mid point of the movie she turns the car around and goes back to help him after hearing gun shots and realizing her husband may be in serious trouble. After all he was only after nappies.
Back at home, Hi realizes he is a liability to the family and writes a farewell letter, intending to leave. This marks the first visible sign of Ed’s (inner) transformation.

SEQUENCE G: Losing the baby. Ed wants to leave Hi. All is lost.

55.00    POV – Biker camps outside McDunnough’s
55.30    POV – Leonard Smalls with Nathan Arizona: Fair price is $50,000.
59.00    Glen threatens Hi: give up the baby to them or go to jail.
61.30    Gale & Evelle have overheard, take baby, tie up Hi and leave.

63.30    Hi: I’m a changed man. Let’s go get him.
64.00    POV – Gale & Evelle steal nappies, tie up old man.
66.00    POV – Gale & Evelle realise they left baby behind, go back.
68.00    POV – Gale & Evelle pick up baby.
68.30    Ed: Don’t want to go on living with you. We don’t deserve him.

Hi is now a changed man, yet he comes under the greatest pressure from everyone. They lose the baby when Gale and Evelle take him with them and at the end of this sequence, in a clear Cave moment, Ed tells Hi she doesn’t want to live with him any longer. This signals the lowest point for Hi but also his moment of ultimate redemption. He is now ready to take on the Lone Biker of the Apocalypse so we enter into Act Three.

ACT THREE

SEQUENCE H: Hi and Ed save the baby.  Hi kills the biker (10mins).

70.00    POV – Biker reaches McDunnough house and finds clipping about bank.
71.00    Gale & Evelle rob bank / POV Police on way to La Grange.
73.00    Paint explodes. They crash into Hi and Ed.

74.30    The biker picks up Arizona Jr, shoots at Hi and Ed, throws grenade.
75.30    Ed takes the baby. Hi shoots but the biker comes back for him.
77.00    Hi and biker fight with fists, guns and knives.
78.30    Hi pulls pin from grenade. Biker explodes.

This climactic finale is filmed in a stunning style and it resolves the plot around the archetypical character of the evil biker, yet it still feels somewhat disconnected from the main plot. Apart from Hi’s dream (and the reference of the tattoos) there has been no connection between this antagonist and our hero earlier in the story. Yet we needed him to have a climax of some sort and a clear sense of closure as the character impersonates Hi’s dark side.

SEQUENCE H: Lesson learned – Doing the right thing. (8mins)

79.30    Hi and Ed bring baby Arizona Jr. back to the Arizona family. Nathan enters the room.
80.30   Nathan discusses the reward. No questions asked. Ed: we don’t want money.
81.30    Nathan understands. Hi and Ed confess. Nathan’s advice: “Keep trying!”
84.00   Gale & Evelle return to prison. Hi’s dream montage.
87.00   The End

The return of the baby is in Hero’s (Outer) Journey terms something like a Returning of The Elixir (as opposed to Return With the Elixir). Yet there is a reward on the Inner Journey as both Ed and Hi have learned lessons in the course of this journey.
The third act may have had a clear climax and resolution with the defeat of the Biker, the Coen brothers keep the quirky tone that would become their trademark style by leaving the viewer with an open ending about the future of Ed and Hi.

I would love to hear from Coen Brothers fans who have studied more of their films: apart from their dialogue and visual style, can you identify certain recurring structural elements? Archetypal characters? Themes? Please comment in the notes. Thank you!

If you are interested in learning how to analyze sequences or write sequences in your own work, check out Paul Gulino’s book The Sequence Approach.

– Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!