With only one month left to complete my 2021 goal, I’m on track. I’ve “finished” the screenplay. After much effort, it’s finally below 120 pages, currently at about 116 pages.
You’ll notice the word “finished” is in quotation marks. Is a creative work really ever finished? Generally, no, because the creator will tweak the work until the very last minute. (Eric Kripke said he continuously rewrote a key scene for the pilot of Supernatural until they filmed it. And he still wasn’t happy with it.) But my reason for not being done is less esoteric.
I’m trying an alternate beginning, based on feedback from my screenplay course instructor. It’s still exposition-heavy, but I see no way out of that because the sci-fi world has to be set up quickly. The alternate would just get into the action a bit more quickly. The downside is that some lovely prose that Dark Space author Lisa Henry wrote would be lost.
But my biggest struggle is the ending: it’s pretty weak. I didn’t mind the book’s ending (although a few reviewers on Goodreads did), but it won’t do for a movie. For one thing, it violates the first commandment of Robert McKee‘s 10 Commandments of Screenwriting: Thou shalt not take the crisis or climax out of the protagonist’s hands (or, no “deus ex machina” endings). So now I have to come up with an ending where Brady is the master of his own destiny, or rather, gets himself out of the jam the other main character put him in.
Only two Supernatural episodes this week. Tuesday on TNT was dedicated to a Rizzoli and Isles pre-season premiere marathon. And the CW is once again showing Cult on Fridays. It should feel like a vacation, but this week’s episodes were pretty heavy, significant ones.
No Rest for the Wicked (316)
Season finale means “Carry On, My Wayward Son” by Kansas. Always a nice way to start the show. It also means “Written by Eric Kripke” and “Directed by Kim Manners.” Oh yeah, and for season 3, we’re left with the most frustrating cliffhanger ever!
The whole season has been building up to Dean’s date with destiny, hellhounds, etc, and here it is. Sam tells Dean at the beginning of the episode he’s not going to let Dean go to hell. But, like so many Winchester promises, he fails.
Ruby’s comments to Sam turn out to be much more prophetic than we ever could have thought possible at the time. She tells him his demonic psychic powers are dormant, not gone; that she can help train him to use them; and he is the only one who can stop Lilith. Of course, she fails to mention it involves drinking demon blood, and that killing Lilith also signals the beginning of the apocalypse. (But then, Dean hasn’t broken the fist seal to set the wheels in motion yet.)
Man, I wish I had Eric Kripke’s creativity. And writing ability. How does he combine tenderness and pathos with comedy, and then throw in a bloody horror scene? Even now, after many years and several viewings, I still want to fast-forward through the infamous evil cymbal monkey/garbage disposal scene.
Compare that to the affectionate brotherly exchangeat the gas station. Sam asks Dean what he remembers about “that night.” When Dean replies he was the one who saved Sam, Sam is genuinely moved. It shows us how strong their bond is.