The Best. Script. You Ever. Read. [Archive]

benskelly

11-23-2008, 02:46 AM

I'm sure this has been done before, but I thought I'd start a new thread where we can single out that one great script that blew us away - quite apart from whether it actually made it to the big screen intact.

For me, it's not even a close call...

FALLING DOWN by Ebbe Roe Smith

A work of very un-Hollywood genius that sang on every page. Smith was inspired by a true story about an 18-wheeler that just started plowing through cars one day. When they finally arrested the truck driver all he said was he wanted to get home. He took that germ and spun it into a great story of urban alienation and the strange modern phenomenon of Forgotten White Male Goes On Rampage.

If you liked Joel Schumacher's cartoon version, it means you didn't read the script. Schumacher has never been accused of being subtle or nuanced and he beat this script to death with a sledgehammer. If it had been directed as written by someone like Sidney Lumet or Sydney Pollack it could have been a classic for the ages and sure Best Picture Winner.

It is one of the great missed-opportunities...

Coming up second, believe it or not, would be JJ Abrams' first credit, REGARDING HENRY. Bad movie, great script. In this case an excellent director still managed to screw it up in an inexplicably hamfisted way that made him seem more like...well, Joel Schumacher. People don't believe me when I tell them this is a great script - but just read up to the way and why Henry gets shot in the first act (contrasted to the film) and you will see what I mean. Read BOTH scripts if you can. And learn.

Even the most perfect script can be ruined.

Your choice or choices for BEST?

goosetown

11-23-2008, 03:08 AM

I think you can still love the script and love the movie. The movie was what it was, and it was what it was because of Michael Douglas.

benskelly

11-23-2008, 03:13 AM

It was what it was - a shadow of what it could/should have been.

Have you read it?

If you did, I'm guessing you read it afterwards...

Michael Douglas did a great job, but would have been even better if directed by an actor's director. That goes for Duvall as well. But to say Douglas "made" the film is almost an admission the rest wasn't there.

Terrance Mulloy

11-23-2008, 03:18 AM

Lethal Weapon II

I fvcking love that script. Also love Narc (http://www.imdb.com/title/tt0272207/) by Joe Carnahan. One of the grittiest scripts I've ever read.

benskelly

11-23-2008, 03:29 AM

Terrance -

Are you talking about the famous draft by Shane Black where he kills off Riggs?

If so, I recommend sharing. :whistle:

Terrance Mulloy

11-23-2008, 05:19 AM

Terrance -

Are you talking about the famous draft by Shane Black where he kills off Riggs?

If so, I recommend sharing. :whistle:

Nah, it's not that one.

Not sure what draft I have, but it's not the shooting script. Might be a second draft? The opening has the South African guys fighting Riggs at an LAX runway - where Riggs gets left to steer a Gulfsteam Jet across an LA freeway in the middle of peak hour.

Code7Films

11-23-2008, 06:49 AM

LA Confidential... Tight script, great writing.

WriteByNight

11-23-2008, 11:44 AM

Midnight Run by George Gallo

ScriptShadow

11-23-2008, 01:57 PM

I have not been shy about my love for Source Code. Great script that never lets up.

Also read Eternal Sunshine before it was made into a movie. Thought it was amazing. Incidentally, I thought Gondry ruined it.

I've only read about 60 scripts, so I'm probably not as versed as some of you here. I know Chinatown is supposed to be a classic, and the reveal at the end is pretty cool. But a sub-plot about a corrupt water system? Really? (I know I'm going to get roasted for this)

Popcorntreect

11-23-2008, 03:45 PM

Pulp Fiction by Quentin Tarantino

hscope

11-23-2008, 03:48 PM

Apart from my own, American Beauty by a long shot.

joe9alt

11-23-2008, 03:50 PM

Apart from my own, American Beauty by a long shot.

Ditto to the above.

THINGS WE LOST IN THE FIRE is another example of a script that worked well on the page but did not work in movie form even though it had a great cast and as interesting director.

WriteByNight

11-23-2008, 04:02 PM

I have not been shy about my love for Source Code. Great script that never lets up.

just dloaded it. fascinating read thus far.

dirtbottle

11-23-2008, 04:27 PM

Seven. Great script. Almost Famous also. I just read Michael Clayton too. That's a damn good read. The guy (Gilroy) just can flat out write. Pretty much every word pulls you along into the world...

Terrance Mulloy

11-23-2008, 05:36 PM

Seven. Great script. Almost Famous also. I just read Michael Clayton too. That's a damn good read. The guy (Gilroy) just can flat out write. Pretty much every word pulls you along into the world...

Yup. Gilroy's the man.

hubbabubbs

11-23-2008, 09:15 PM

Never saw the film, but I loved the script for You Can Count On Me. Probably because it appeals to my personal quasi-sentimental perspective that we're all fvcked up.
---------------- Now playing: Stone Gods - Burn the Witch (http://www.foxytunes.com/artist/stone+gods/track/burn+the+witch) via FoxyTunes (http://www.foxytunes.com/signatunes/)

Sweeney Todd

11-24-2008, 01:10 AM

WITNESS is one of my favorites, especially from a perspective of visual storytelling.
Watch the movie with the sound off. There's not much that you don't get just from the images.

Agentenchillada

12-02-2008, 11:28 AM

'The Rat pack' by Kario Salem

might have been the material, too.

Then the HBO movie came out and I was seriously disappointed,
but the script was still great.

benskelly

12-02-2008, 11:36 AM

Interesting, Agent. Good call.

I remember being impressed by the writing when I saw the movie on HBO, but I guess the actual script itself was even better, huh? I also remember thinking this writer was going places because he also wrote a great TV flick about fight promoter Don King. I'll have to check him on IMDB and see what he's been up to since then...

Meanwhile, if you have RAT PACK, please send my way: RudeRabbit@aol.com

Jage

12-02-2008, 11:45 AM

I have no clever angle on this, nor any widcard script no one would think of but me.

The great ones are the greatest.

Seven, American Beauty, Fargo would be my favorite recent ones.

-Jage

S.T.0

12-02-2008, 12:12 PM

Jacob's Ladder/ALIENS/ALIEN/Lethal Weapon/American Beauty/HALO - please God make this movie!

benskelly

12-02-2008, 12:27 PM

I guess I'm the only who really doesn't like AMERICAN BEAUTY. :o :D
Hey - that's what makes horse races, right?

But STO brings up Bruce Joel Rubin and I'm curious whatever happened to him. He was definitely a quality writer. GHOST was a dynomite script that should never have "worked", but did in a big way. Always felt JACOB'S LADDER would have worked better without the Vietnam/drug disclaimer "tag" that kind of ruined it.

Anyone know/have an unproduced script of his that stands out?

goosetown

12-02-2008, 12:48 PM

Anyone know/have an unproduced script of his that stands out?

I've probably mentioned this before (maybe even in this thread), but if anyone can get their hands on a copy of UNTITLED BILL CARTER PROJECT (sometimes it makes the rounds as FOOLS RUSH IN)...that is probably the best unproduced script floating around out there. The true story revolves around Bill Carter, an alcoholic who makes a kneejerk move to help the Bosnian relief effort after his wife is killed. In the process, he ends up (through really clever channels) convincing U2 to broadcast images from the war at their concerts during a worldwide tour; the result was public conscious of the tragedy, which indirectly led to the US getting involved. It's going to be hard to make because you have to recreate a disemboweled Sarajevo, but I still think it's the best unproduced script I've ever read...and one of the five best, period.

Another one that comes to mind I read probably close to four years ago; I don't think anything ever happened with it, but it was called THE MNEMONIST. It was about a man who could never forget anything - literally - and whose perception of reality was therefore blurred. Pretty amazing work.

Agentenchillada

12-02-2008, 03:27 PM

Meanwhile, if you have RAT PACK, please send my way

If I had it in my possession I surely would, benskelly.

I had a hard copy that I loaned to someone when I was working on a lot...he was doing a dean martin impersonation/character in vegas I believe...never got the script back;(

and I guess I should only talk about scripts within reach...?

Really dug 'Inglorious Basterds'

and for unproduced:

'Edward Ford' and 'Hero-man'

Droz

12-02-2008, 05:03 PM

Apart from my own, American Beauty by a long shot.

I'll second this. A very compelling read.

benskelly

12-02-2008, 09:57 PM

Thanks for the suggestions, Goosetown.

I have the BILL CARTER PROJECT, but had no idea what it was about. I'll be moving it up in my script queue.

THE MNEMONIST sounds really fascinating to me as well.

Does anyone have that?

MoonDog

12-02-2008, 11:26 PM

I'm breaking my lurking status.

For me, it is THE LONG KISS GOODNIGHT. That was when I became a total Shane Black convert.

I've been reading scripts (and writing) since high school. In college, I read about Black's record deal for LAST BOY SCOUT and tracked down a copy to see what Hollywood was paying top dollar for... When I first read it, I was a little disappointed. With the title, I was expecting some kind of Spielbergian "boy scout"-Goonies adventure. Instead, I thought it was a raunchy LETHAL WEAPON ripoff with jocks.

But I kept reading it over and over. Admiring Black's language and economy. When the movie was finally released over a year later, I realized that although he's pegged as an "action" screenwriter, he's actually writing modern day Raymond Chandler flicks.

A few years later, when LONG KISS GOODNIGHT set yet another record price for specs, I tracked that one down (within a week of it selling). I fell in love with it from page 1. Black even made a gimmick as old and used as amnesia feel fresh. And the action scenes - no one does it better.

I immediately launched into my own writing again, with my second spec script. Learning (okay, borrowing) a lot of Shane Black's technique, I wrote a script that was a quarterfinalist in Nicholl's and a finalist in the Disney Fellowships.

LONG KISS is still the script I turn to to recharge my batteries. Shane Black is still the man.

MoonDog

12-06-2008, 08:26 PM

Wow. I really seemed to kill this thread.

This is why I never raised my hand in class.

benskelly

12-06-2008, 09:59 PM

It's not you MoonDog - every thread is dying a natural death around here.

Signal30

12-06-2008, 11:30 PM

Odd... I haven't been on the thread, but the first script that popped into mind was Black's The Long Kiss Goodnight. I really like the way that one reads.

jillybob

12-07-2008, 01:30 AM

I love LKG too.

I also have the two script books released for THE WEST WING and I could read most of those scripts over and over. But I have a serious Sorkin problem, so you can't go by me.

Nick3232

12-08-2008, 04:05 AM

Blackmagic

12-08-2008, 04:17 AM

The curious case of Benjamin Button was the best script ever read. I was in awe when I read it. It's a curious epic love story.

randesq

12-08-2008, 07:28 AM

great reads for me?

- subtext subtext subtext -

tender mercies
you can count on me
smoke

benskelly

12-08-2008, 09:42 PM

The curious case of Benjamin Button was the best script ever read. I was in awe when I read it. It's a curious epic love story.

I'm curious... Which one, the 2002 Robin Swicord draft or the 2005 Eric Roth version, the one they used?

The buzz and early reviews are great, can't wait to see it.

roscoegino

12-08-2008, 10:11 PM

great reads for me?

- subtext subtext subtext -

tender mercies
you can count on me
smoke

I need to get my hands on smoke. i've been meaning to watch/read it for years. don't know why i haven't gotten around to it.

Anointed

12-09-2008, 01:09 AM

For me:

Dan in Real Life (loved the movie too)
Bourne Ultimatum
Long Kiss Goodnight
48 Hours (this script and a DD Deus post took my writing to another level)

Blackmagic

12-09-2008, 02:51 AM

I'm curious... Which one, the 2002 Robin Swicord draft or the 2005 Eric Roth version, the one they used?

The buzz and early reviews are great, can't wait to see it.

The 2005 Eric Roth version, 206 pages of greatness.

Moviequill

12-09-2008, 03:26 PM

call me crazy but the script I go back to often for a pleasant read is Steve Klove's Fabulous Baker Boys

the subtle humor shines through in the writing like a hammer blow, the white space usage is amazing, fast read, enjoyable, no cloggy description or overly dense characterizations, it all comes out on it's own

benskelly

12-10-2008, 11:01 AM

Good call, moviequill.

That's one of my favorite films. The writing is adult, sly, insightful, and hilarious. Steve Kloves is a wonderful writer - I just wish he'd finish up with the boy wizard already and write another film like this.

I've never read it, but will now.

Agentenchillada

12-18-2008, 10:13 PM

Ok I just finished 'Middle Men' and I have to say this is one of the best scripts I read in awhile...It may be a guy thing b/c of the material...but it was like 'bottle rocket' all grown up and with a tighter plot (no pun interded)...everyhting seemed logically plausable and the begining comes full circle; plus some suprising twists and turns with characters arcing all over the place;P

Mglory

01-01-2009, 12:52 PM

So far it's been >> Adaptation, American Beauty, and Somethings Gotta Give (love the dialogue). I'll be reading Waitress any day now.

Still wanna get my hands on Secretary (palms rubbin').

:newyear:

evepeabody

01-04-2009, 09:13 PM

Sullivan's Travels, Preston Sturges

benskelly

01-22-2009, 03:17 PM

Hey all --

Just got my hands on the script that, for me, is the answer to and the start of this thread: FALLING DOWN by Ebbe Roe Smith.

When I mentioned it, a few of you PM'd and asked me for a digital copy and unfortunately I didn't have it. Now it's been put up on the PDFscreenplays site, so if you're a member, I recommend downloading it from there. If you're not, just PM me and I'll be glad to email it to you.

As I said before, just a phenomenal piece of writing. Much better than the finished movie that Schumacher-ed it into cartoonishness.

A truly original script that proves that the best ones don't play by any established screenwriting "rules", they just tell a fascinating story with a strong unapologetic voice.

TheBangBangBoogie

01-22-2009, 07:46 PM

Weatherman by Steve Conrad.

zenplato

01-24-2009, 07:43 AM

Just finished '20,000 Leagues Under the Sea' by Craig Titley. Wow, by far the best script I've ever read, well for my tastes at least. Though it looks like another version was picked this month, this script was amazing. Hooks you from page one and doesn't let go. The dialogue is fresh and witty and there's never a dull moment. Obviously, based off the classis novel, but still an awesome story and script. I think this is a great example of each character having an unique voice.

Incredible read and my new gold standard.

Shot Across the Bow

01-24-2009, 11:19 AM

Twenty8

01-31-2009, 10:57 PM

The Apartment, American Beauty, and Good Will Hunting are the only three I always keep on my computer.

benskelly

02-01-2009, 12:21 AM

Shot Across The Bow -

Glad to hear you enjoyed FD! Thanks for letting me know.

And Butch Cassidy is one of my all-time favorites as well. Good call.

Life And Death At Terrington Prep sounds interesting... If you have it, can you send me a copy? Or, anybody? Thanks.

nic.h

02-01-2009, 12:39 AM

I'm seconding (seventhing?) American Beauty, also Fargo and Adaptation. Witness is brilliant, and have delighted in several West Wing scripts. I too have a Sorkin thing. :-) Haven't ready Charlie Wilson's War yet but am looking forward to getting my hands on it, should anyone have it. (Hint, hint. ;) )

I read the famed early draft of Eternal Sunshine and have to object to the earlier analysis. The revised draft kills the original. I also prefer the final draft of American Beauty to the early one in the court room. (Another really smart script revision was Ryan Gosling and Craig Gillespie's edits in Lars and the Real Girl - a key characterisation for the Lars character was changed at this stage, despite Nancy Oliver's protests. It was definitely an inspired rewrite. Don't want to include spoilers, but there are a few articles where she talks about it.)

gregbeal

02-01-2009, 04:29 PM

I also prefer the final draft of American Beauty to the early one in the court room.

The American Beauty shooting script includes the courtroom frametale. It was shot and only disappeared over Alan Ball's strenuous objections just prior to its premiere.

Studios sometimes prepare a "release" script during awards season for distribution to various voting groups. Often, the release version of the script will reflect the movie rather than the shooting script.

nic.h

02-01-2009, 05:12 PM

The American Beauty shooting script includes the courtroom frametale. It was shot and only disappeared over Alan Ball's strenuous objections just prior to its premiere.

Studios sometimes prepare a "release" script during awards season for distribution to various voting groups. Often, the release version of the script will reflect the movie rather than the shooting script.

Wow. Thanks for clearing that up. I had no idea - just assumed it was the shooting script.

Despite Ball's stance, the decision to remove the courtroom sequence was inspired. The plastic bag scenes were so powerful and a stunning way to frame the story.

Jcorona

02-01-2009, 08:25 PM

My own.

I'm serious.

Because it feels so good that I wrote something from beginning to end.

I'm not saying their any good, but I did it.

Corona

LindaM

02-02-2009, 12:10 PM

I keep going back to DIE HARD. It's just written sooo well. Every single line provides action, context and characterization. Oy, to be able to write like that....

WriteHandMan

02-02-2009, 03:22 PM

Despite Ball's stance, the decision to remove the courtroom sequence was inspired. The plastic bag scenes were so powerful and a stunning way to frame the story.

Yeah. I think that's ego talking right there. The courtroom scenes are not necessary and would even have deflated the impact of the film to a degree.

goosetown

02-02-2009, 03:46 PM

Out of curiosity, RE: AMERICAN BEAUTY, what were the courtroom scenes dealing with? I'm assuming the Marine Father character, but I haven't seen the movie in ages and can't remember if he committed suicide or not; I'm feeling like he didn't. Anyway, what was the resolution there?

No matter what, I have a feeling I'll agree with you guys - it feels like that extra bit of exposition would have ruined the near-perfect pitch of the film.

benskelly

02-02-2009, 10:01 PM

I say this with absolutely no offense intended, only with a little bit of snark, but I find it satisfyingly ironic that I started this thread and it has become a veritable lovefest for AMERICAN BEAUTY. I absolutely detest the script and film, and up until THE DEPARTED it was my pick for worst Best Picture ever. I'm clearly not just in the minority, I may be the only writer who feels this way, but that's okay, it's how I feel.

I just don't believe a single minute of it. For me it's a smug satire of false suburban stereotypes with no insight into flesh-and-blood human beings - from the homocidal military man and his comatose wife, both cartoons, all the way to the main character who acts and thinks like no heterosexual middle-aged white male in the history of the world. I find it completely empty and pointless, yet mistaken for profound. The plastic bag blowing in the wind is the perfect metaphor for this film - it means nothing.

It would be the very last script I'd go to for reality, honesty, insight, or three-dimensional characters.

Alan Ball's SIX FEET UNDER won me over, at least partially, to his writing. It continued to frustrate me at times, but I bought into it much more because of the heightened reality and dark humor and there was some great stuff in there, especially the last two seasons.

I'm sure it doesn't matter to you what I think, we all love what we love and that's what makes horse races, right?

My two cents, won't mention it again - let the love continue.

roscoegino

02-02-2009, 10:16 PM

Interesting. While I think some parts of AB are a bit... pretentious (Angela was too obvious IMO), I find the script and film to be damn solid, overall. The plastic bag and its symbolism worked for me, but I am aware that it's not going to for everyone.

This begs the question: what is your favorite Best Picture?

ScriptShadow

02-02-2009, 10:23 PM

Agree with you on The Departed. Love American Beauty though. Saw it when it first came out at the Beverly Center when it was playing at like 3 theaters nationwide. No idea what to expect. Afterwards I ran out and told anyone who would listen that they had to see this "American Beauty" film. Nobody was interested at all.

I think what works and why so many people like it, is because at its core it's a film about not fitting in. And each of the characters don't fit in in their own way. That's something *almost* everyone can identify with and why the film played so broadly. There was a character for every demographic to latch onto.

WriteByNight

02-02-2009, 10:52 PM

Yeah. And it's for those reasons that I think the script ought to be required reading for every screenwriter looking to break in. The structure, the symbolism, the characterizations, the tension -- all well established. It stood on its own legs waiting for actors and a director to do the rest.

benskelly

02-02-2009, 11:19 PM

Roscoe - This is off topic, but went to look over all the Best Picture winners in order to answer your question - and look at this run...

1969 Midnight Cowboy
1970 Patton
1971 The French Connection
1972 The Godfather
1973 The Sting
1974 The Godfather II
1975 One Flew Over The Cuckoo's Nest
1976 Rocky
1977 Annie Hall
1978 The Deer Hunter

Not bad, huh? The 1975 winner is my favorite Best Picture, and it beat out Jaws and Dog Day Afternoon. Rocky beat Network and Taxi Driver. The Sting beat out The Exorcist and American Graffiti. Was there a 'deep bench' in the 70's or what? These films have become classics.

Now look at recently... (I know, this is all very William Goldman)

2000 Gladiator
2001 A Beautiful Mind
2002 Chicago
2003 LOTR: Return Of The King
2004 Million Dollar Baby
2005 Crash
2006 The Departed
2007 No Country For Old Men

None of those are terrible films - some are very good - but only two strike me as possible "classics" that will live on in reputation thirty years from now. LOTR and NCFOM. What do you think?

Actually, now that I think about it: Didn't Goldman do this very same comparison with the 1970's cast as the weaker decade?? So who knows? Never mind. It may just be a getting-old thing.

Getting back to AMERICAN BEAUTY, I appreciate hearing your and Wilson's takes. Whenever someone speaks specifically to what they like or don't like, you have to respect and honor that. And clearly, despite my problems, the film DID resonate for a great number of people.

benskelly

02-02-2009, 11:23 PM

PS> Well, like I said, THE DEPARTED is pretty terrible. I can't go along with that one. It's a mess of a film.

ScriptShadow

02-02-2009, 11:47 PM

You know, I was going to challenge you here. But you're right. Films back then were so much better. If this isn't evidence for that, I don't know what is.

The Road Warrior

02-03-2009, 01:38 AM

The 70s were the high point, after that directors often came in from a commercial television b.g. and the opportunity to make such films was eroded by all accounts. Even films like BLADERUNNER, were criticised as being too rich on detail, but lacking in character development, if you read a few reviews from the time. The High Concept took off then, with Don Simpson and Bru. (Top Gun et al) who arguably changed HW for ever. We had the early 90s indie streak, for awhile: but since then it's dropped back to the spoon fed commercially light product, with a few surprises along the way. Industries and the world keeps changing -- so to lament those days too much flies in the face of "progress".

Biohazard

02-03-2009, 05:43 AM

I'm going to give my thoughts in a separate thread in the Films forum because this "best picture" debate is something I believe many people will want to join in on.

winter dreams

02-03-2009, 08:10 AM

I just don't believe a single minute of it. For me it's a smug satire of false suburban stereotypes with no insight into flesh-and-blood human beings - from the homocidal military man and his comatose wife, both cartoons, all the way to the main character who acts and thinks like no heterosexual middle-aged white male in the history of the world. I find it completely empty and pointless, yet mistaken for profound. The plastic bag blowing in the wind is the perfect metaphor for this film - it means nothing.

A perfect summation, exactly how I feel. That said, from a purely craft perspective, I think AB is excellent. That is, I don't think Alan Ball had anything true to say here, but he sure knows how to say it.:)

roscoegino

02-03-2009, 11:42 AM

=benskelly;494586]Roscoe - This is off topic, but went to look over all the Best Picture winners in order to answer your question - and look at this run...

Amazing run in the 70s for sure. Tough to top or even match with today's greed and posturing. I was disappointed with The Departed in that I expected an Irish Goodfellas, which I know isn't fair. It's a good film but not anywhere near great and I think the Oscar is a Marty sentimental/payback thing. I enjoyed Casino more, to be honest.

thewire

02-08-2009, 01:59 AM

The Shawshank Redemption
American Beauty
Truman Show

tucsonray

03-04-2009, 06:23 AM

For what it's worth -

The Usual Suspects
Lethal Weapon (I)
Midnight Run

jillybob

03-04-2009, 05:42 PM

For TV folks, I would highly recommend the pilot for PRISON BREAK. I actually never really got into the series, but the pilot is just a brilliant read. So good if you're working on a spec pilot with a lot to establish and a lot of story to set up, because it brings all the elements together in such an entertaining and tight way.

I was rereading CROSSING DELANCEY and it's such an old-school script -- very long, lots of black on the page, everything you're told not to do. But it's such a fantastic portrait of a world. You just feel immersed.

I'd have to add my name to the fans of THE USUAL SUSPECTS, too. It's so dense, and you'd expect it to be confusing, but it's not 'cause it's so compelling that it just keeps you pulled into every detail.

Development Hell

03-04-2009, 06:35 PM

Endurance by Steven Zaillian
The Royal We by Shari Springer Berman / Robert Pulcini

benskelly

03-05-2009, 11:07 AM

Endurance by Steven Zaillian
The Royal We by Shari Springer Berman / Robert Pulcini

Thanks for the recommendations, DH!

Does anyone have PDF's of these two? If you do, please email them my way, I'd love to read them.

Typewriter

04-29-2009, 05:23 PM

ScriptShadow

04-29-2009, 07:14 PM

"The Most Annoying Man in the World". Hilarious script. If shot the right way and played by the right actor it has the potential to be a very funny movie. The script was. Pm with email address if you need it.

That script was pretty funny. I loved how the brother pretended he was working in a special single-man base in Antarctica so he didn't have to see or talk to his brother. That was funny. Casting has to be perfect to make this work though. Jim Carrey would've been perfect 8 years ago.