Here is an attempt to analyse the structural dynamics of this wonderful screenplay and film.

ACT ONE

SEQUENCE A (8.5mins): Preparations.

00.00 Opening Titles: Landscapes that express freedom.
02.00 At diner, Louise is serving & advises against smoking, then smokes.
03.00 Thelma at home, hasn’t asked husband yet for permission to leave.
03.30 Darryl patronises Thelma, humiliates her, she still doesn’t ask.
04.30 Darryl leaves in sportscar, shouts at workmen.
05.00 T. calls L.. After the manager’s innuendo, they arrange their departure.
06.00 Louise leaves, montage shows both getting ready.
07.00 Louise picks up Thelma, who carries half household with her. Polaroid.

SEQUENCE B (13mins): Departure and disaster.

08.30 Driving. T.: I didn’t ask. L.: You get what you settle for (i.e. Darryl).
09.30 Thelma is smoking, looking in the mirror: “I’m Louise.”
10.30 Dusk, Silver Bullet, going to have fun. Different responses to Harlan.
13.30 Louise is reserved, it makes Thelma nervous. Harlan shouts drinks.
15.00 Dancing, line dancing. Thelma dances with Harlan.
16.30 Louise back to table, Thelma keeps dancing. Louise wants to leave.
17.30 Thelma is unwell, they go outside. Louise is looking for Thelma.
18.30 Harlan: Not gonna hurt you. T. resists. He hits her and attempts rape.

19.30 Louise appears with gun. “Suck my dick”. She shoots. (I.I.)

SEQUENCE C (11mins): Figuring out what to do.

21.30 They escape. L. blames T. for her behaviour. Police won’t believe them.
22.30 Louise vomits. Trucks & noise everywhere. Let’s have a coffee & plan.
24.00 They try and figure out what to do. Thelma calls Hal. Nobody home.
25.30 Detective Hal with waitress: Harlan deserved it! She defends T&L.

27.30 No money. Need to figure out what to do.
28.30 They argue. Go to police? Not ready to go to jail.
29.30 T. at the pool, L. calls Jimmy for money. Do you love me?
31.30 L. & T. leave in a hurry. They have decided to run. (PP1)

END OF ACT ONE: The decision has been made to go on the run.

ACT TWO

SEQUENCE D ( 8.5mins): Organising money.

32.30 Hal’s boss: Possibly interstate. Let the FBI in on this.
33.00 Louise: Let’s go to Mexico. Are you up to this? I’m going.
34.30 L. calls Jimmy. He will send the money. I miss you, Peaches.
36.00 T. calls Darryl, he’s watching a game, judging but not concentrating.
39.00 Young handsome JD asks for a lift. Thelma is keen, Louise says no.

SEQUENCE E (10.5mins): To Oklahoma for the money pick-up.

41.00 Hal is on the case, looks up Louise’s car: ’66 Ford Thunderbird.
41.30 Louise doesn’t want to Mexico go through Texas.
43.00 Hal is investigating at Louise’s place.
43.30 Thelma and Louise are enjoying the ride.
44.00 Detective Hal is investigating at Louise’s Diner.
44.30 They see JD again; Thelma begs to pick him up. Louise gives in.

45.00 Detective Hal interviews Darryl, who is more concerned about himself.
46.00 JD to T.: Your husband sounds like a real asshole. T: he is. They bond.
47.00 JD warns them, they avoid an approaching police car.
47.30 Hal has info on Thelma’s gun etc.
48.30 They go to pick up the money. Jimmy is there, he books rooms.
50.00 JD leaves them and each go to their rooms. L. to T.: Guard the money.

SEQUENCE F (16mins): Mid Sequence, cross-cut.

51.30 Jimmy is jealous & violent. He calms down and proposes to her.
54.00 JD knocks on door. T invites him in. They have fun and make love.
1.00.0 Over breakfast Louise and Jimmy kiss goodbye.
1.04.3 T. arrives: Finally got laid properly. Left money in the room. Run!

1.06.0 Money gone. Louise breaks down. End of Thelma’s innocence.
1.07.0 T. cheers L. up, takes control and drives. Move! (MPR)

SEQUENCE G (10.5mins): Thelma has found her calling.

1.07.3 Hal & Co with Darryl. When she calls, be gentle. Women love that shit.
1.10.0 Thelma robs Store. Drive us to Mexico.
1.11.0 FB: This is a robbery // Hal & Darryl watching. Everybody is shocked.

1.12.3 Thelma brags about her robbery. Found your calling. You’re Disturbed.
1.14.0 Sexist truck driver. They think we like it.
1.15.0 Police now with Jimmy.
1.16.0 Louise with old man, gives him her jewellery.
1.17.0 L.: murder one, little defense. T.: How do you know all these things?

SEQUENCE H (8mins): Fugitives.

1.18.0 Hal blames T.’s robbery on JD. They wouldn’t have otherwise.
1.22.0 Thelma calls Darryl. He knows. L. calls, asks for police.
1.23.3 Hal knows about Mexico. T. talked. L. angry: We’re Fugitives now.

SEQUENCE I (11.5mins): Speeding towards Mexico.

1.26.0 Darryl with cops changes channel, annoys cops, changes back.
1.26.3 Driving through National Park by night.
1.28.3 Dawn. Passing sexist trucker.
1.31.0 T.: Texas. You was raped. L.: I’m not talking about that.
1.32.0 Stopped by cop: clocked at 110km/h. In trouble.

1.34.3 Thelma with gun, shoots radio. They put cop in trunk.
1.37.0 Thelma: I’ve got a knack for this shit.

SEQUENCE I (5.5mins): Dead or alive.

1.37.3 Hal: Brains only get you so far & luck always runs out.
1.38.0 Louise has doubts & regrets. Thelma justifies. Having fun, not sorry.
1.39.0 L. calls Hal: charge w/ murder;knows about Texas. Dead or alive?
1.41.3 Not giving up. Not making any deals. Dead or alive. (PP2)

END OF ACT TWO: Their fate has been sealed. T.’s arc complete.

ACT THREE

SEQUENCE J (6.5mins): Revenge.

1.43.0 Thelma feels awake.
1.44.0 They see macho trucker again. Ready to get serious? Yes.
1.46.0 They ask for an apology. Fuck that! They shoot, truck explodes.

1.48.3 Drive on.

SEQUENCE K (8.5mins): Freedom at last

1.49.3 (POV) Stoned bicycle rider, smoke into air hole.

1.50.3 Police helicopter: closing in.
1.51.3 Police cars chasing them, they go off the road. Cars follow.
1.54.0 Temporarily shake them off under bridge. Eerily quiet.

1.54.3 Thelma: crazy, first chance to express yourself.
1.56.0 They reach the edge of a cliff: Grand Canyon. Hal appears in heli.

1.57.3 Surrounded. Hal lands. Orders to surrender.
1.58.3 Louise: not giving up. Thelma: let’s keep going. (C&R)
2.00.0 They drive, hal runs.

I.I.: Inciting Incident (or Call to Adventure)
PP1: Plot Point 1 (Act 1 Turning Point / Crossing the 1st Threshold)
MPR: Mid Point Reversal
PP2: Plot Point 2 (Act 2 Turning Point / Ordeal & Reward)
C&R: Climax & Resolution (Resurrection)

PROTAGONIST

In my view, Thelma is the protagonist, for the following reasons:

1. She is prominent in the setup and we empathise/sympathise with her.
2. We may hope that she will become less submissive and find freedom.
3. Her story has a clear Inciting Incident (a major event happening to her).
4. She has a clear Mid Point Reversal.
5. She has a clear character arc.

Interestingly, if you look at Thelma’s story in isolation, the first half (before the Mid Point Reversal) she is a passive protagonist, mostly just following Louise. Only after that, she becomes an active protagonist. This passivity is counteracted by Louise’s initiative until the Mid Point.

ACT STRUCTURE

The Inciting Incident is clear: two major events happen to Thelma: Harlan’s rape attempt and Louise’s shooting Harlan. Although Louise later argues that Thelma started it because of her behaviour, Thelma’s actions are two degrees away from the Inciting Incident (Harlan’s death) that kicks off the story. Therefore, this is clearly an event happening to Thelma, not an action by her.

This leaves Thelma with the necessity to act.

The 1st Act Turning point is more problematic: Louise takes the initiative, Thelma agrees by following her. After a period of considering their options, they have decided to go on the run. Although the destination won’t be known until later, Act Two is now set in motion. In my view, this act break is reinforced by the next scene in which we learn the FBI will be on the case. This increasing of the stakes by showing the antagonist’s power is a frequently used technique to open Act Two.

The Mid Point Reversal is at the same time a reversal of fortune (loss of the money) and proof of Thelma’s change of heart. She is now committed to her inner journey towards finding her true identity (or essence) and freedom. Two events trigger this: her first fulfilling sexual experience and the realisation that she has failed to take responsibility by constantly relying on Louise. The evidence in her commitment lies in two immediate actions: she drives the car and robs the store.

The crisis occurs when they learn about the major setback that Hal knows where they are heading and he will charge them with murder. It is a crisis moment for both women: Louise has doubts and regrets, so Thelma has to make a choice. Her newly found strength is the Reward, as well as the fact that Louise hasn’t made a deal with the police. It is a strong Ordeal moment as 1) the image of death occurs when they realise it is now a matter of life or death and 2) it signifies the death of Thelma’s old identity.

At the climax, two important actions take place: 1) Thelma demonstrates her new strength when she stands up for herself in the confrontation with the sexist truck driver and 2) by saying “Let’s keep going” she commits to her new principles with her life and seals it with the ultimate act of defiance.

POINT OF VIEW

After the characters have been set up, every scene has the hero (Thelma) or the antagonist (Harlan/the police), except perhaps one or two.

Any scenes that are not told from Thelma’s POV either add to the jeopardy (as the police makes progress) or they provide comic relief (the black cyclist blowing smoke into the trunk with the cop in it).

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.

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A Room with a View (Ruth Prawer Jhabvala, 1985).

Without any doubt, this is one of the finest literary adaptations and a timeless romantic movie.

The film launched the careers of actors Daniel Day Lewis and Helena Bonham Carter, while it was a first major hit in a string of successful adaptations written by James Ivory’s scribe of choice Ruth Prawer Jhabvala.

The film formed the inspiration for my university thesis about film translation and subtitling back in 1988. For that purpose I had to view it dozens of times (on VHS). But it couldn’t stop me from watching it many times again over the twenty years that have since past.

ACT ONE

SEQ. A: The English – Boredom and bickering about a view

00.00 Titles: Cast of Characters. Lucy Honeychurch, Charlotte et al.
02.30 Florence. Lucy & Charlotte unhappy: room without a view.
03.30 Charlotte complains over dinner. The Emersons stir the pot.
04.00 George is after Lucy. His dad offers room w/ view: vision within!
06.30 Charlotte affronted: how to deal with these people?!
07.00 Sisters Allan: Tactless, Kindness / Delicate, Beautiful.
09.00 Rooms changed. George leaves question mark for Lucy.
10.00 Father & son Emerson put cornflowers on sisters’ beds.
12.00 Lucy at piano. Beebe: if she would live as she plays: exciting…
13.00 Charlotte and Eleanor go out together.

SEQ. B: The Italians – A call to adventure in Florence

14.00 Santa Croce Boredom. Emerson tells Lucy about George’s mind.
17.00 Ch. & Eleanor: physical sensation, smells, alleys. Adventure!
21.30 Lucy sees fight, blood. She faints; George catches her.
22.30 Her photos are blooded. The man is dead. George offers help.
25.00 By Arno, George: “Something happened to me. And you.”
27.00 (Out to see a view) Priest makes girl descend. Romance!
30.30 George in tree. He is declaring the ‘eternal yes’, father says.
31.30 Charlotte & Eleanor send Lucy away so they can gossip.
33.00 Lucy looking for George. He kisses her, while Charlotte watches.

ACT 2a: Lucy resisting George

SEQ. C: Leaving George and leaving Italy.

35.30 Leaving back for Florence in a storm. George is walking.
37.30 Charlotte: How to silence George? Promises: “Silent as the grave.”
39.30 Charlotte negotiates refund at the hotel.
40.30 George arrives back at the hotel.

SEQ. D: Officially engaged – Living a lie

41.30 (Home) Lucy has accepted Cecil Vyse’s marriage proposal.
44.00 Beebe about Lucy: “One day music and life will mingle.”
44.30 (Officially Engaged) News shocks Beebe in front of Cecil.
46.00 Lucy & Cecil walking, he is snobbish, elitist about Beebe.

MID POINT:
47.00 By lake: Cecil’s first kiss, clumsy, Lucy thinks of George.

ACT 2b: Lucy resisting Cecil

SEQ. E: Looking for new tenants – The Emersons

50.00 Lucy writes to the Allans for tenants.
51.00 Lucy plays to audience, Cecil takes credit for her culture.
52.30 Cecil and mum talk about Lucy & preparing her for London.
53.00 Cecil patronises her, then kisses her.
54.00 Tennis, Beebe reads letter; Freddy about new tenants ‘Emersons’.
56.00 Cecil tells about new tenants, he met them at gallery, Italian art.
58.00 Lucy mad at Cecil, calls him “disloyal”, he patronises her again.

SEQ. F: The Emersons are in town – The pot is boiling

58.30 Freddy & Beebe go to the Emersons: come and bathe!
60.30 George about coincidence & fate, Italy. The men bathe.
62.30 Cecil, Lucy and mum pass by, seeing the bathing scene.
65.00 Freddy at piano, Charlotte’s letter: she is coming over.
66.30 Mum complains about Cecil’s attitude.
68.00 Freddy raves about George.
69.00 Mum & Lucy: Charlotte will be arriving.
70.00 Charlotte meets George at station.
71.30 Charlotte arrives, chaos about cab fare.
73.30 Lucy & Charlotte: ‘no other source’, have you spoken to HIM?

SEQ. G: Cecil reads Lavish – Pandora’s Box opens

74.30 Cecil reads out loud from ‘Under a loggia’ by Eleanor Lavish.
76.00 Lucy and George recognise passage about kiss in Florence.
79.00 Lucy runs off, mad. George follows her and kisses her again.
80.00 Lucy challenges Charlotte. Coincidence! Eleanor no friend.
81.00 (Lying to George) Lucy orders her out, George declares his love.
84.30 (Lying to C.) breakup with Cecil “because he didn’t play tennis.”
87.30 Cecil seems to take it well.

ACT THREE

SEQ. H: Planning Escape to Greece

88.30 The Sisters Allan: letter to Lucy, raving about about Athens.
90.00 Freddy tells Mr. Beebe. Cecil: Greece is not for our little lot.
91.00 Charlotte, mum, Lucy; Beebe takes Minnie to the Beehive.
91.30 (Lying to Beebe, mum, Freddy, servants) Lucy plays piano.
92.30 Lucy: I must go away, Constantinopel, Athens…
93.00 Lucy to Charlotte: Help me, I must go to Greece.
94.00 Lucy & Freddy, he plays piano.
94.30 Charlotte talks to mum, Lucy has a plan. Go to Greece with her.
95.30 Emersons preparing to leave. George: ugly house anyway.
96.30 George leaves, his dad is sad.

SEQ. I: No more lies – Speaking up

97.00 Lucy and Allans about Cecil and travel.
97.30 Lucy and Mum: Glad! why not announce it?
98.00 Allans: Didn’t look like a future bride; she lacked radiance.
99.30 Emerson tells Charlotte George loves her, reason for move.
100.0 Charlotte: Lucy not marrying. Emerson: Time for speaking out!
101.0 Mum: why Greece? Mum hurt.
102.0 They see the moving. Mum: pity for the Emersons.
103.0 (Lying to Mr. Emerson) He pushes her to confession.
106.0 Lucy runs out: “Wait! Lucy has got something to tell us.”

SEQ. J: Aftermath

107.0 Charlotte reads Lucy’s letter from Florence
107.3 V.O. Dinner at pensione: “We have a view”.
108.0 Lucy reads letter from Freddy, with George in room with view.

108.3 The End

NOTES ON THE STORY STRUCTURE

The film stays relatively close to the original novel and I believe this may be the reason why the turning points are not all where you would expect them. But perhaps I’m just not seeing it right. Please compare notes and comment.

Act One

Much like Rose in Titanic, Lucy longs for adventure in her ordinary life. The inciting incident occurs quite late in the film (25mins) when she is alone with George for the first time, under emotional circumstances. The meaning of the moment is emphasised when George says “Something happened to me. And you.”

George kisses Lucy in the Tuscan flower fields, a moment that feels very much like a second Inciting Incident. But it marks Lucy’s decision to resist him, and the end of Act One.

Act Two

The conservative English upper-class mores, an abstract antagonist in Act One, is incarnated in the character of Cecil Vyse from Act Two.

Cecil’s kiss (at 47mins) marks the Mid Point and the moment Lucy realises she will never be happy with this man and the values he represents. The flashback to George’s kiss underscores her change of heart: from this point onwards she is no longer committed to Cecil. She will be moving apart from Cecil until the final breakup, which marks the end of Act Two.

Act Three

It is tempting to see the talk about “going to Greece” as a Road Back Home sequence, or break into Act Three, in which Lucy finally confronts her true feelings and admits her love for George.

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.

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Because the plot points are often quite subtle, structurally this film seems a bit fluid and the protagonist’s objective is never explicitly stated. Yet there is a clear Hero’s Journey, with Enid Crossing the Threshold to enter and discover the Special World of Seymour. But where does this happen, at the end of Sequence B or C?

(UPDATE Nov 2010: Looking at Sequence C, with the introduction of the art class as sequence opening device, it is clear to me that this is where Act Two starts. I have also moved Sequence I into Act Three because Enid’s confession to Seymour “you’re my hero” is effectively the climax of their relationship. For the first time she shows the courage and honesty to tell him what she had been feeling ever since first seeing him.)

Enid is a reluctant character, and although she decides to enter the Special World, it is under a pretext. She will be resisting her attraction to Seymour (the Call to Adventure) until the second half of Act Two, when she explicitly suggests to Seymour she could move in (an Approach to the Inmost Cave).

At the end of Act Two, Enid goes through the crisis of losing both Becky and Seymour. The truth about her cruel joke on Seymour has to come out (an Ordeal, both for Enid and Seymour) before she is ready to move on.

I’m not sure if Enid’s visit to the hospital should be seen as the end of Act Two or the first scene of Act Three. Because the scene can be experienced as Enid’s redemption (the victim of her joke she calls now her hero) and she is finally honest about her feelings, I decided to put it in Act Two.

The scenes printed in blue represent the comic book source material that is – almost verbatim – included in the film. It shows how this is more than just an adaptation. It is almost entirely an original story, inspired by the characters created in the comic.

ACT ONE

SEQUENCE A: Life after Graduation

00.00 Panning across rear windows, against 50’s music.
02.30 Eccentric Enid, in her room, is dancing to the music.
03.00 Student graduation speeches; Enid &Rebecca roll eyes.
04.00 Gossiping outside school.
05.00 Enid & Rebecca in bar, making fun of un-cool girl.
06.00 Todd, making fun of the two girls.
07.30 Dennis, dork – not seeing him again: depressing.
08.00 Enid at breakfast with dad: an icon of boredom.
09.00 Enid & Becky at diner making fun, follow old ‘satanists’.
10.30 Wowsville, 50’s diner; Weird Al serves.
11.30 Personals ‘striking blonde’: plan for joke.


SEQUENCE B: A Cruel Joke

12.00 At Enid’s: calling the number, date at Wowsville.
14.00 Annoying Josh at the store, Doug interferes.
15.30 Please, Josh, give us a ride.
16.00 Driving with Josh.
16.30 Rebecca about Al “I want to make love to him.”
17.00 Seymour walks in, has vanilla milkshake.
18.00 Seymour leaves, cruel joke
18.30 Seymour’s near-accident; following; E. feels sympathy.

ACT TWO

SEQUENCE C: Getting closer to Seymour

19.30 Art class;teacher announces community show.
21.00 Looking for flat, stalking Seymour, check his mail.
21.30 Garage sale; Seymour sells record. E.’s impressed.
24.00 Diner, E.: he’s almost cool. Un-cool friend: “funky”.
26.00 Enid dyes hair green, father enters. Rebecca watching.
26.30 Let’s go hassle Josh. Old man Norman at bus stop.
27.30 Josh is not home; Enid’s note: “You are gay.”
28.30 Johnny (magazine shop) provokes “punk rock is over!”
30.00 Enid plays Seymour’s record on repeat.
32.00 Seymour shows her the original 78.

SEQUENCE D: A Challenge for Enid

33.00 Art Class: politically correct art in ‘higher category’.
35.30 Jamie @ Masterpiece Video, 8 1/2, go to surprise party.
36.30 Seymour’s Record Party: loser cracks on to Rebecca.
39.30 Enid in his record room, to Seymour: “You’re cool.”
40.30 I am your personal Dating Service.
42.00 Seymour’s type? Introduce him to Josh; he is shocked.
42.30 Taking S. to Anthony’s Adult: having fun, cat mask.
44.00 Becca’s at work, sick of losers; E.’s job? working on it.
45.30 Dad & Maxine: to bed early – art class for retards.

SEQUENCE E: Enid and Seymour have things in common

46.30 Art class – controversial imagery!
48.00 At diner, invited to band performance, Enid jealous
49.30 In car w/ Seymour; about music, misanthrope
50.30 Bands perform; Enid pushes S. to date; ruins it
53.30 Driving back; can’t relate to 99% of humanity
54.00 At Seymour’s, the story of Coon. Can I borrow?

SEQUENCE F: Things change when Seymour has a date

56.30 Takes Coon to class
58.30 Candy counter, turning customers away
60.00 Fired after one day? Some ideas for money.
61.30 Yard sale. Not selling. Forgot birthday cake.
62.00 Birthday, tells S. about Josh obsession.
63.30 Voice mail from redhead, Enid pushes to call.
64.30 Shopping w/ Becky, who’s sick of Seymour.
66.00 Dana visits Seymour; Enid reads.
67.00 D. & S. dancing; D. wants to see art movie.
68.30 Enid jealous, calls Becky, doesn’t want to see her.
70.00 Seymour; “Dana works out”. Dana arrives.
71.30 Enid almost ruins it, claims she hooked them up.

SEQUENCE G: Lots of offers but no friends.

72.30 Art Class: scholarship offered.
73.30 Dad has job for Enid, she is not interested.
74.30 Art Exhibition: critics hate Coon.
75.30 Seymour doesn’t show because of Dana.
77.30 With Norman on bench. Leaving town.
78.30 Fighting with Becky over flat, they split.

79.30 Dad says Maxine will move in.

SEQUENCE H: Enid wants to move in. With anybody.

80.30 Art Academy: no passing grade, no scholarship.
81.30 To Seymour: move in with you. Don’t you like me?
85.00 Post-coital; Seymour about moving in. Sleeping.
86.00 Seymour wakes up, Enid is gone.
86.30 Seymour goes to break up with Dana.
87.30 Maxine acts like mother; Seymour msg: moving in.
88.30 to Becky: I really want to move in with you.

ACT THREE

SEQUENCE I: Losing it all. A confession

89.30 Seymour alone, calls Enid, no answer.
90.00 Boss calls Seymour: Coon art in newspaper.
90.30 Becky’s new place.
91.30 Enid is packing.
93.00 Becky tells Seymour about Enid’s blind date joke.
94.30 Seymour threatens Josh, Doug: citizen’s arrest.
95.30 Enid visits Seymour in hospital: You’re my hero.

SEQUENCE J: Different paths

97.30 Enid & Becky on bench, reconciling.
99.00 Norman’s bus arrives.
100.0 Seymour with shrink, mother waits outside.
101.0 Enid on bench.

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.

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When I watched the film during its theatrical release, I thoroughly enjoyed it. Because of the relatively low budget (an estimated USD$25m) for its production values, Tony Gilroy was able to make some brave non-commercial decisions with his screen story.

This didn’t go entirely unpunished, as the Variety review points out:

Gilroy’s fidelity to his script comes at the expense of the pacing, which initially lumbers forward so assiduously as to feel like a throwback to an earlier era.

and:

Some of the peripheral threads — especially Michael’s relationship with his family, both as an irritated brother and a single dad — occupy time at the outset but really don’t lead anywhere.

-Brian Lowry

Looking at the story structure in the first act, we’ll find some obvious causes for the problems addressed above.

The Inciting Incident doesn’t happen until 25mins into the film and I yet have to find a clear 1st Act Turning Point. The scene with Marty (Sydney Pollack) at 51mins feels like one but at that stage Michael is already on his journey. The monumental 25mins of ‘Ordinary World’ make the story drag on to a point the audience will get very fidgety.

Then, in sequence two – and even before the end of the act – we find an abundance of scenes and characters that are not dealing with the main plot: Michael’s son, his debt, the merger and the scenes from Karen’s POV. These are simply things you cannot do without having clearly set up the main story.

I won’t go into any further story issues, but here is how I would structure the film in terms of plot points and sequences:

ACT ONE

SEQUENCE A: Prologue, Ordinary World

00.00 Arthur’s VO: This is not a relapse.
03.00 POV(*) Bach is settling, at office late at night
04.30 POV Karen in bathroom, tormented
05.00 Michael is gambling, phone rings
07.00 Urgent job: accident, go see client at home
08.30 At client’s: What are you? Miracle worker?
12.00 Phone rings: Michael gives details to referee.
12.30 Driving, GPS flickers.
13.30 Gets out at field with horses
15.00 Car explodes

SEQUENCE B: Subplot and Call to Adventure

15.30 – 4 DAYS EARLIER
16.00 Subplot: Michael drives son Henry to school
18.30 Subplot: Michael needs $75k to repay debts
20.30 At work, assistant asks: Are we merging?
23.00 POV Karen (intercut) rehearsing + interview
25.30 I.I.: Arthur stripped in deposition room
26.00 Arthur’s VO (cont.). Did you meet Anna?
29.00 Arthur: I have blood on my hands.

ACT TWO

SEQUENCE C: To get Arthur back on the case

29.30 POV Arthur tape, U-North people learn about Michael
32.30 Michael will get Arthur back in 3-4 days; find briefcase
33.30 POV Arthur calls Henry: Realm & Conquest.
35.30 Michael & Karen: defends Arthur. She’ll call Marty
37.30 Michael & Arthur as Mentor: “We’ve been summoned.”
39.30 POV Karen calls Mr. Verne
41.00 Arthur has escaped

SEQUENCE D: Allies and Enemies, Midpoint

43.00 POV Karen shows Marty the memo.
43.30 Searching Arthur’s office; psychiatric commitment?
45.00 Arthur followed, Michael leaves msg: janitor to janitor
48.00 POV Arthur calls Anna, call bugged.
50.00 With creditor: one week
51.00 Marty: He’s calling the plaintiffs; Michael asks loan
54.00 Looking for Arthur; with son, sees him
56.00 Mid: Arthur changed. Not the enemy.”Then who?”

SEQUENCE E: Subplot and Ordeal Plot Point

59.30 POV Arthur reads report on voicemail
63.30 POV Karen orders murder
65.00 Asks brother for support; hang for an hour.
67.30 POV Arthur killed
69.30 Brother shows up, off alcohol, in front of Henry
71.00 To son: you’re not like this. You’ve got it.
72.30 Ordeal: phone call, Arthur’s dead
75.00 In pub w/ Marty. Why?? No note. U-North settling.

SEQUENCE F: Ordeal Sequence Approach / and Reward

77.30 Calls Anna, in NY right now.
78.30 Goes to see Anna in motel, being watched
79.00 Anna: “something that would win the case”
81.00 Approach: Gets seal, to Arthur’s place
82.00 Followed, watched; searches flat
83.00 Finds Realm & Conquest; Police come in
84.00 Released from cell, “Who called 911?”
87.30 Reward: 3,000 copies of memo
88.00 POV Karen finds out about memo: ‘situation’.
88.30 Marty ready for announcement;
89.00 Subplot Reward: cheque $80k
91.00 Pays off debt.

ACT THREE

SEQUENCE G: To get out, by bringing U-North down

92.30 Gambling // car bomb planted // phone rings, leaves.
95.30 Driving, miracle worker, fixer
96.00 Driving
99.00 Horses // Gimme cell // Explosion
99.30 Throws valuables in, runs off
100.0 Brother picks him up
101.0 POV Karen addressing board w/ settlement proposal
103.3 Climax: Confronts Karen: $10m
106.0 Resolution: Everything on record: NYPD

SEQUENCE H: Return with the Elixir – Finally Out

107.0 Taxi

(*): Scenes marked “POV” are not from the protagonist’s POV.

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.

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The Lives of Others
(Das leben der anderen)
(Germany, 2006)
Written and Directed by Florian Henckel von Donnersmarck

-by Stuart Voytilla

The Lives of Others is a story about transformation and learning how to do the right thing. This film also reveals the interdependence of physical and emotional journeys that characters often take. In some stories, the protagonist may initially enter the journey anticipating an emotional change or elixir; romance and romantic comedy are two genres that regularly celebrate a character’s willing pursuit of emotional growth. For other journeys, the Hero may not initially realize that he or she needs to change; their view of life may be clouded by a flaw or misperception, or even restricted from seeing life’s potential benefits. This protagonist begins a trek determined to accomplish a physical goal, unprepared that this pursuit will transform him or her in an emotional and significant way. Such is Wiesler’s Journey in The Lives of Others.

Captain Wiesler initiates his journey to reveal playwright Georg Dreyman as an enemy of Socialism. This is Wiesler’s physical goal, and one that he willingly pursues as part of his Ordinary World as a loyal agent of East Germany’s secret police, Stasi. Initially a dispassionate observer, Wiesler becomes an active participant in the lives of Dreyman and Christa-Maria, and his loyalty to his career and government crumbles. His transformation becomes a poignant metaphor for the collapse of the German Democratic Government. In Act III, the fall of the Berlin Wall signals a resurrection for Germany and for Wiesler; the former agent is honored by Dreyman for his service as a ‘good man. ‘

Since movies allow us to show character, revealed by action, we can appreciate von Donnersmarck’s choice to mark Wiesler’s transformation by his profession. Initially, Wiesler’s job is secluded in an attic, with earphones attached to his head, listening and monitoring the secrets of others. He sacrifices his career for the lives of Georg and Christa-Maria. Still under the Stasi, Wiesler steams envelopes. But with Glasnost, Wiesler leaves the basement steaming room, and soon serves his country and his countrymen as a mail carrier. No longer the isolated revealer of secrets, he now walks the streets as a deliverer of people’s privacy.

But Wiesler isn’t the only character that grows in this story. He becomes a catalyst that triggers transformation in the others that he observes. Notably:

• Georg Dreyman goes from celebrated and loyal playwright of the GDR to activist against the system.

• Christa-Maria transforms from loving girlfriend to tragic informant.

As you explore this movie, also consider how art, or lack of it, defines a character’s life:

• Art provides contrast between protagonist and antagonist, for example, Wiesler’s austere apartment versus Dreyman’s richly decorated flat.

• After seven years of being blacklisted, Jerska questions his life for he’s no longer allowed to create his art. How can he be a director without a play to direct?This realization pushes him toward suicide.

• Wiesler’s supervisor, Grubitz, relishes that their interrogation practices effectively destroys the creative life of the artist.

• To show his allegiance to the system, Wiesler threatens to destroy Christa-Maria’s ‘life’ in the theatre. This pushes her to reveal the hidden typewriter. However, she realizes that by informing upon her boyfriend she may have retained her life on stage, but she’s destroyed the creator of her stage world.

• After Christa-Maria’s death, Dreyman can no longer write. When he discovers that his apartment was wired, and that Wiesler protected him, Dreyman elevates Wiesler’s life into art with his published work ‘Sonata for a Good Man. ‘

JERSKA AS MENTOR

Jerska becomes an important mentor for both Dreyman and Wiesler. Jerska is Dreyman’s master director, but he’s been silenced by an informant. As Wiesler observes Dreyman, he too becomes influenced by Jerska:

• Wiesler questions the evidence that destroyed Jerska’s career and life.

• Wiesler ‘borrows’ the book of Brecht that Jerska was reading at the party, thus bringing this inspirational art into his own apartment.

• Wiesler cries as Dreyman plays the ‘Sonata for a Good Man’, a birthday gift from Jerska and the inspiration for Dreyman’s final dedication to Wiesler’s sacrifice.

And of course, we must consider the significance of Jerska’s gift as it helps structure the story.

JERSKA‘S GIFT

Jerska’s gift of the ‘Sonata for a Good Man’ marks the turning points of the Journey of Transformation for both Dreyman and Wiesler. This birthday gift was intended to push Dreyman to act as the ‘good man. ‘The unwrapping of the gift is a Turning Point from Act I to Act II in Dreyman’s journey, and sets up the larger Journey’s Crossing of the Threshold.

Jerska’s suicide forces Dreyman to do the right thing, and compose the article for Der Spiegel. The Sonata’s title resonates during the scene in the tavern when Wiesler helps Christa-Maria, and she thanks this ‘good man. ‘Their encounter and Jerska’s suicide/Dreyman’s decision to write the article are significant during the Journey’s Ordeal or Midpoint.

During the Journey’s Road Back Sequence, and the Plot Point from Act II to Act III, Wiesler acts as the ‘good man’ and steals the typewriter. During the story’s final moments, the Sonata’s title becomes the title for Dreyman’s book that celebrates Wiesler’s sacrifice, and completes Wiesler’s Resurrection as a ‘Good Man. ‘

THE JOURNEY

In the following Journey Breakdown, I’ve presented some of the key story moments with an interpretation of their representative Hero’s Journey stage. The focus here is on Wiesler’s Journey. I encourage you to also look at this story through Dreyman’s journey, through his eyes and his actions.

Note that in Act IIA and IIB, I’ve emphasized two Ordeals. Since Wiesler travels a physical and emotional Journey, he experiences two central ordeals, one for each Journey. Each Ordeal brings a Reward but these Rewards collide, as Wiesler must choose between his loyalty to country, and his allegiance to his new friends, Dreyman and Christa-Maria.

Act I: The Journey‘s Separation

‘Will Captain Wiesler reveal Dreyman as an enemy of Socialism?’

Captain Wiesler serves as a loyal agent of the Stasi, determined to reveal the enemies of Socialism. (Ordinary World)

A former classmate and now head of the Culture Department at the State Security, Grubitz assigns Wiesler to monitor playwright Georg Dreyman, and his girlfriend-leading lady Christa-Maria. (Call to Adventure)

Wiesler’s team bugs Dreyman’s flat (Ordinary World), and he inhabits the attic for monitoring. (I see this sequence as another reflection of Wiesler’s Ordinary World. The unexpected problem that disrupts Wiesler’s Ordinary World arrives with the mysterious car. )

Wiesler observes a mysterious car drop Christa-Maria off at Dreyman’s flat, and Wiesler notes the license number. (Call to Adventure)

Wiesler listens to Dreyman’s birthday party, and observes that Dreyman does not speak up against the GDR. Later that night, Dreyman opens his gift from Jerska, piano music titled ‘Sonata for a Good Man. ‘He and Christa-Maria make love. (This rich sequence weaves several stages. Notably, it is a Refusal of his Call to reveal Dreyman as an enemy. But it’s also a Meeting of the Mentor, an invitation for Wiesler to be influenced by Dreyman’s world and his love shared with Christa-Maria. )

Grubitz informs Wiesler that the mysterious car belongs to Minister Hempf. And Grubitz warns Wiesler to strike this information from the record, for they are not allowed to monitor fellow members. (This Meeting of the Mentor is a significant Plot Point that initiates Wiesler’s Crossing of the Threshold. Wiesler realizes that he’s being used by Hempf to get rid of a rival, and Wiesler questions his loyalty. )

Wiesler completes the Crossing of the Threshold when he rings the doorbell, prompting Dreyman to discover Christa-Maria emerging from Hempf’s car. (This signals a moment of decision and action on the part of Wiesler. He’s longer a passive observer, but an active participant in the lives of Dreyman and Christa-Maria. )

Act IIA: The Journey‘s Descent

‘Will Wiesler help save the relationship between Dreyman and Christa-Maria?’

Wiesler’s Crossing of the Threshold has unsettled Wiesler’s personal world and his professional loyalty. His observations and actions are beginning to affect him and his world; these series of events Test his transformation.

Having observed Dreyman’s and Christa-Maria’s night of pain and shame, Wiesler’s doesn’t know how to feel and finds comfort with a prostitute. (Test)

Later, Wiesler enters Dreyman’s flat and takes his Brecht book, bringing this literature and art into his own apartment. (Test)

Hidden in the attic, Wiesler listens to Dreyman’s phone call announcing the suicide of Jerska. Dreyman mourns his friend’s death by playing the ‘Sonata for a Good Man’. Wiesler listens and cries. (Approach to the Inmost Cave)

When a boy at an elevator confesses his father’s disdain of the Stasi, Wiesler stops himself from demanding the father’s name. (Test)

With growing pressure from Hempf, Grubitz pushes Wiesler to ‘find something’ on Dreyman. Grubitz warns Wiesler of a rendezvous planned between Hempf and Christa-Maria that will jeopardize her relationship with Dreyman. (Approach to the Inmost Cave)

The Story’s First Ordeal works as a ‘death’ that affects several characters and their goals. Mourning Jerska’s death, Dreyman fears he’s lost his passion for writing. (An Ordeal)Christa-Maria prepares to leave Dreyman to ‘see a classmate’. Dreyman speaks his suspicions that she is going to sleep with Hempf. Dreyman asks her to trust herself as an artist, and to stay. But Christa-Maria questions both of their ‘needs’ for Hempf and the system he represents. She may sleep with Hempf for her art, but as the GDR’s favorite playwright, hasn’t Dreyman been sleeping with the system as well?Wiesler observes this Ordeal – a ‘death’ of their relationship, of their art, and of their allegiance to the system. Wiesler is interrupted by his surveillance replacement before knowing the outcome of this Ordeal. But Wiesler can’t simply walk away from these lives, and slips into a nearby tavern where he has an accidental encounter with Christa-Maria. Boldly Wiesler complements her as a great artist. She thanks Wiesler, telling him that he is ‘a good man. ‘Wiesler’s actions prompt Christa-Maria to rush back to Dreyman. The celebration of their love also gives Dreyman renewed strength as a writer. (The Resurrection of the Ordeal)

Act IIB: The Journey‘s Initiation

‘Will Wiesler protect his job and reveal Dreyman’s disloyalty?’

The primary Reward earned from the First Ordeal is Dreyman’s renewed passion for his writing. But his writing is now directed against the system that has destroyed his friend, Jerska, and threatened to destroy Christa-Maria. Dreyman prepares to write an essay revealing that the GDR has been hiding statistics of the high rate of suicide, especially amongst the artists.

This is also the Reward that Wiesler has been seeking to confirm his initial goal: to reveal Dreyman’s disloyalty.

Dreyman brings his friends back to his flat to make their plans. He assures them that his flat isn’t bugged. They Test his theory speaking openly about secretly bringing a relative across the border. Wiesler prepares to call the Border Agent, but doesn’t go through with it. (Wiesler’s monitoring Dreyman’s ongoing plot Tests the Stasi agent’s two conflicting goals: to reveal Dreyman as traitor; and to protect Dreyman as artist – to help him become the ‘good man’ that Jerska had hoped Dreyman would become. )

Wiesler’s transformation as a ‘good man’ is rebuffed when he discovers that the person he helped cross the border was the editor of Der Spiegel. Furthermore, Dreyman’s arrogant shouting in defiance of the system pushes Wiesler to compile the evidence for Grubitz. (Approach to the Inmost Cave)

Wiesler meets with Grubitz where his two conflicting goals collide head-on. Holding his sealed report in his hand, Wiesler listens to Grubitz praise their interrogation system that successfully destroys the artist. Witnessing his mentor’s arrogance, Wiesler keeps the evidence and requests that they step down their operations against Dreyman. (The Second Ordeal)

Wiesler’s action allows Dreyman to complete the anti-GDR article, which is published in Der Spiegel. Dreyman and Christa-Maria make love, while Hempf sulks without a bedmate. But these Rewards threaten Wiesler’s career; Grubitz begins to question Wiesler’s loyalty.

With pressure from Hempf to destroy Christa-Maria’s theatrical career, Grubitz interrogates her and forces Christa-Maria to name Dreyman as the author of the Der Spiegel article. Monitoring from the attic, Wiesler listens to the search of Dreyman’s flat. He now knows that Grubitz is suspicious of Wiesler, but Wiesler’s relieved when the search team fails to find Dreyman’s typewriter. Grubitz pressures Wiesler to interrogate Christa-Maria, and prove that he is still on the ‘right side’. Wiesler faces Christa-Maria and threatens to destroy her art and her ‘life’ unless she can reveal the location of the typewriter. She gives up the location, but Wiesler defies Grubitz and returns to Dreyman’s apartment to take the evidence. Christa-Maria’s revelation is the story’s Plot Point or moment of greatest despair – and it initiates the Road Back sequence.

Act III: The Journey‘ Return

‘Will Wiesler recognize himself as a Good Man?’

The Road Back continues at Dreyman’ flat. As Dreyman arrives, Wiesler slips away with the typewriter. Armed with his search team, Grubitz personally uncovers the hiding place, but it’ empty. During this ‘death’ moment, Dreyman confirms Christa-Maria’ deception. And she realizes that she has lost love and life. Wiesler witnesses her tragic exit.

Without the damning evidence of the typewriter, and with the death of Christa-Maria, Grubitz closes the investigation against Dreyman. But Grubitz makes Wiesler suffer for his sacrifice, and demotes him to years of service steaming open envelopes.

This Road Back sequence is a Resurrection for Wiesler’ Journey to do the right thing, and become a ‘good man’. But this doesn’t complete his transformation, and his Journey. He has sacrificed his career to protect Dreyman, and now recognizes how the system destroys its people. Wiesler’ Resurrection will be complete when he’ honored for his sacrifice, and receives the assurance that indeed he is a ‘good man’. That assurance comes from Dreyman who takes over the Journey in Act III.

Christa-Maria’ death and the fall of the Berlin Wall have silenced Dreyman’ voice as a playwright. After an encounter with Hempf, Dreyman confirms that his flat was wired. He investigates the agent in charge of the surveillance and discovers that agent ‘HGW XX/7′ was his protector. Dreyman and Wiesler have now switched positions within the story’ journey. Dreyman observes his ‘guardian angel’ from a distance and finally writes his ‘report’ – a book celebrating Wiesler’ sacrifice. This Resurrection sequence restores Dreyman’ faith in humanity, his passion to write, and elevates Wiesler’ life to a work of art.

Delivering mail, Wiesler passes a store window and discovers the display of Dreyman’ Elixir ‘Sonata for a Good Man. ‘Wiesler reads the dedication, and purchases the gift. ‘It’ for me. ‘ (Return with the Elixir)

FADE OUT.

Stuart Voytilla

Stuart Voytilla is a writer and producer, known for Dr. Jekyll and Mr. Hyde (2002), The Death of Poe (2006) and The Sorcerer of Stonehenge School (2005).

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Michael Hauge closes the first of his six story stages with it, at the 10% point of the story (10mins in a 100mins movie).

Paul Gulino sees it as the end of the first of a typical eight sequence movie. Christopher Vogler says:

The hero is presented with a problem, challenge, or adventure to undertake. Once presented with a Call to Adventure, she can no longer remain indefinitely in the comfort of the Ordinary World.

This moment better be BIG. If it ain’t, it may go unnoticed and the audience will still be waiting for the story to start.

Michael Tierno, in Aristotle’s Poetics for Screenwriters says:

It’s a self-initated action, a virtual “big bang” that sets the entire plot in motion, that can be committed by either the protagonist or antagonist, and that is an act of pure will.

According to Robert McKee:

The INCITING INCIDENT radically upsets the balance of forces in the protagonist’s life.

And later he says:

The protagonist must react to the Inciting Incident.

I wish authors would develop a common terminology but, alas, they don’t. Here is Linda Aronson’s approach:

Early on in the film there will be an event which changes the normal scheme of things and forces the protagonist in a new direction, effectively starting the story. This is called a catalyst or disturbance.

Linda Seger writes in her book Making a Good Script Great:

The catalyst is the first main “push” that gets the plot moving. Something happens, or someone makes a decision. The main character is set in motion. The story has begun.

Next: Inciting Incident: Key Aspects and Examples >>

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.

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