Tuesday, August 9, 2011

Blast from the Past #384: Mar. 6, 2004: Re: Episode 69 "Time Travails" first draft notes





Mar. 6, 2004: Re: Episode 69 "Time Travails" first draft notes

From: Peter Laird
To: Lloyd Goldfine


Lloyd, 

Here are my comments on Ep. 69 first draft script:

notes on Ep. 69 first draft script "Time Travails"

1.) Re: the following:

"6. RENET
Six weeks of this, just for like, accidentally wiping out a gross planet of giant bugs?  That is completely harsh.  (sigh)"

I think to keep Renet somewhat lovable, I'd like to change this genocidal mistake to something big but much less "harsh" -- perhaps like:

"6. RENET
Six weeks of this, just for like, accidentally reversing evolution on a planet of gross giant worms?  That is completely harsh.  (sigh)"

2.) Re: the following:

"PUSH IN on the Orb of Hindsight on one shelf, where in the globe we SEE a horned DEMON (SAVANTI ROMERO) is seated on a throne, questioning his ADVISOR (a bulky hooded and robed figure wearing an ornate mask.)"

I don't mind having this "Orb of Hindsight" here to give a little bit of foreshadowing, but would prefer if it was a little less blatant -- perhaps in the short time we "push in" on the Orb, we see the image change from one historical  scene (could be anything instantly recognizable, like the Roman Coliseum, the moon landing, Ben Franklin flying his kite, whatever) to the scene of Savanti Romero, then begin to change to another scene just before we cut away from the orb.

3.) Re: the following:

"MATCH SCENE -- INT.  CASTLE ROMERO – 1406 - DAY – Romero looks interested in what his Advisor has told him.
8. SAVANTI ROMERO
A time Scepter, you say?
9. ADVISOR
Yes, my lord.  Our sources say it is held by the Time Lord himself.  Its powers would give you all the conquest you desire."

I'm not loving this apparent change in the backstory of the Savanti Romero character (from how it is in the comics), in that here he has no knowledge of the Time Scepter until his advisor tells him about it, but in the comics he not only knew about it but was once an associate of Lord Simultaneous until he was banished for trying to usurp Lord Simultaneous.
I think it works better if Savanti knows about the Time Sceptre, and has long plotted to get his sorcerous hands on it, though frustratingly he has not been successful (until the arrival of Ultimate Drako, of course!). So I would change this dialogue to something like this:

"MATCH SCENE -- INT.  CASTLE ROMERO – 1406 - DAY – Romero looks interested in what his Advisor has told him.
8. SAVANTI ROMERO
What?! The -- the Sacred Sands of Time Scepter?! You have found it?!?
9. ADVISOR
Yes, my lord.  My readings of the Winds of Change have given propitious omens that it will soon pass this way. Its powers would give you all the conquest you desire."

4.) Re: the following:

"11. SAVANTI ROMERO
A Spell of Summoning shall deliver the Time Scepter into my hands!"

Though this does not in fact happen in this scene, I think this idea gives Savanti too much control over how he can get the Scepter. It makes it too easy. I think if we have him cast any spells to get the Scepter, they should be "guiding" or "luring" spells, which can't directly draw the Scepter to him, but act as a lure or bait to attract the Scepter.
5.) Re: the following:

"ON THE SCEPTER  -- as Renet’s hands REACH IN and take it.
23. RENET
Sweet!  I’ll – oop.
WIDEN AS – <SFX: BWOOP!  BWOOP!  BWOOP!>  An ALARM goes off, indicating the Scepter has been disturbed"

It might be fun if the statue that is holding the scepter kind of "wakes up" -- its eyes open, maybe it waves its arms, and IT makes the "BWOOP" alarm noises.

6.) Re: the following:

"LEO LOOKS SLIGHTLY FLATTENED as the other two rise, but sticks a thumb in his mouth and BLOWS, comically.  The indentation in his chest-shell POPS OUT.  He kip-ups to his feet."

Oh. My. God. Fred Wolf lives.  My blood pressure just spiked.

7.) Re: the following:

"Let me guess.  You’re not from around here.
41. RENET
Well, duh.  Do I look like you?
The turtles are a little taken aback by this.
42. DON
Well, no… 
(cocks his head, with a grin)
You’re a girl, for one thing.
Raph punches him.
43. DON
Ow.  What!?
ON LEO – explaining.
44. LEO
What he means is, most people find us somewhat… unusual. "

This whole exchange seems weak to me, and Don's lines seem not very Don-ish, and Raph's reaction to them seems more like something he'd do to Mikey. I have to go and read the comic again -- something is missing here.

8.) Re: the following:

"50. DON
And what’s that stick?"

This writer REALLY doesn't get Don. He would not say something this stupid and unobservant.

9.) Re: the following:

"51. RENET
Oh right!  Hi!  I’m Renet, Apprentice Timestress from the Nexus of Time Management.  This is the Time Scepter.  It brought me here."

To avoid confusion with the "Battle Nexus", I think we should not use the word "Nexus" here. And the "Time Management" gag is silly. Why not just have her say "I’m Renet, Apprentice Timestress from the 79th level of Null-Time."

10.) Re: the following:

"54. LEO
Orb of Hindsight?
RENET nods, cheerfully.
55. RENET
Totally!  It shows places where Time is about to get seriously disrupted.  Usually it’s a bummer ‘cause everyone is like, about to be horribly destroyed and stuff?  But you guys seem okay."

This is an interesting description of the nature of the Orb of Hindsight, but I feel it's a little too much. I would tweak her lines somewhat as follows:

"55. RENET
Totally!  It shows Times where EGS happen...

56 MIKE
"Eggs"?
  
57 RENET
No, silly! E.G.S. -- Events of Great Significance! Sometimes it’s a bummer, ‘cause everyone is like, about to be horribly destroyed and stuff?  But you guys seem okay."

11.) Re: the following:

"57. LEO
Battle mode, bros.  We’re gonna slide outa here nice and easy –"

The second line from Leo here is unnecessary and weirdly contradicts his first line -- I'd get rid of it. 

12.) Re: the following:

"A GIANT HEAD – silvery, but resembling Lord Simultaneous in features, appearing in the air.
59. LORD SIMULTANEOUS
(vast reverb)
RENET!"

I haven't read this script all the way to the end, so I may be jumping the gun here, but I feel that I should point out that in the comic, Lord Simultaneous does this kind of "Wizard of Oz" thing where he projects his avatar -- this big threatening shiny head -- to intimidate Renet, but when he is later revealed, we see that he is a short, not-terribly-scary-looking guy (though he IS still very powerful). I'd like to keep this notion intact if possible.

13.) Re: the following:

"ON RAPH – catching the sais as they rebound.  The blades are smoking.  DON reacts.
67. DON
Okay, we got a problem."

Another dopey, way-too-obvious and out of character line for Don. Not to mention that it's unnecessary and would be better expressed by the expressions on the Turtles' faces.

14.) Re: the following:

"68. RENET
We have to bail!  Scepter!  Get us out of here!  Now!
WIDE ON RENET AND THE TURTLES – as they GLOW, and then VANISH with the Scepter."

Why doesn't the Scepter say "Destination?" as it did before? 

15.) I'm really not loving the whole scene where Savanti Romero "summons" the Time Scepter with his "new recipe". The dialogue is silly, and I would really like to keep intact another thing from the comic -- that Savanti Romero is so attuned to the Time Scepter that he can sense its presence once it arrives in his domain.

16.) Re: the following:

"RENET is struggling to her feet with the Scepter.  It is BENT AND SPARKING from the fall.  "

Unless there is some REALLY good reason for the Scepter to be damaged in this manner, I'd prefer to keep it UNdamaged.

17.) I know that we are changing the plot somewhat from the comic, but would it be cool to make Savanti's "evil dark knights" be "evil undead dark knights"? I'm thinking it would be fun to keep some zombies (as in the comic), and it would be a cool visual to show Savanti's sorcerous powers raising these undead warriors -- they could come out of the ground around his castle as the skeletons did in the movie "Jason and the Argonauts". It's not vital, but it could be neat.

18.) Re: the following:

"CLOSER ON LEO – frowning.
91. LEO
Master Splinter always says:  "A battle prevented is the greatest victory."  Renet, can you use that gizmo to get us out of here?
RENET is shaking the Time Scepter, which is still bent and sparking.
92. RENET
I think one of you guys landed on it!"

Okay, now I see what the writer THINKS is a good reason to have the Scepter damaged. But it doesn't really work for me. There are any number of reasons why Renet would not utilize the Scepter at that moment to take them out of that scene of peril:

-- she could just be so rattled that she forgets how to use it
-- she tries to use it but finds that Savanti's spell has exerted some kind of "damping" effect on the Scepter's powers
-- one of the Turtles could remark that -- given Renet's "lack of control" as commented on by Mikey a few moments earlier -- maybe it's a better idea that they fight the knights... at least that's something they can likely handle. Who knows where they might end up if Renet calls on the power of the Scepter again? (Could become an "out of the frying pan and into the fire" kind of thing.)

19.) Re: the following:

"BACK ON RAPH glancing down as his sais spin.  He’s already fighting off two other Dark Knights, their swords striking at him viciously.
97. RAPH
Yeah!  Get these tin cans on their back, they’re stuck!"

I think this is really way too silly. Almost as silly as Mike's rejoinder "Kinda like Turtles!"

20.) I could do without the "mutated aardvark" bit (and its lame "Creature that" line) -- let's just have the more subtle nod to Cerebus with the earlier appearance of the non-mutated aardvark.

21.) I could also REALLY do without Leo's STUPID "Look at my thumb, gee you're dumb" bit.

22.) Re: the following:

"115. SAVANTI ROMERO
Hmm?  Oh.  I was talking about the Time Scepter of course.
WIDER as he gestures with his other hand.  The damaged Scepter is YANKED away from Renet and into his palm.
116. RENET
Hey!  That’s mine, you jerk!"

This seems like a good place for Savanti to respond to Renet with some kind of comment about how the Scepter isn't really hers, something biting and sarcastic.

23.) Re: the following:

"The Turtles are staring at the castle.
137. DON
Oh, sure.  There had to be a castle.  This whole day just wasn’t annoying enough.
ON LEO – looking regretful.
138. LEO
Renet, you’re safe and that’s what matters.  What say we just forget about that stick of yours and go home?"

Two stupid bits in a row. First, what is so "annoying" about a castle? And this is yet another Don line that doesn't sound like Don.
Second, what is Leo smoking? How the hell does he expect to "get home" WITHOUT "that stick"? And come on -- why the hell do various Turtles keep referring to the Scepter as a "stick"?!!! This is SO goofy.

24.) Oh, before I forget -- now I see the "reason" for the Scepter to be damaged: so we can engage in lame slapstick with Savanti crudely bashing it to "fix" it. Groan.

25.) Re: the following:

"164. DON
(fighting)
Yo!  A little help!?"

Don doesn't say "Yo". Raph says "Yo". Mike says "Yo."

26.) The idea that the Sacred Sands of TIme scepter can be used to change/evolve common cockroaches into "Rochasaurs" is an interesting one, and I am not opposed to it. However, at some point in the proceedings I would like it to be pointed out (by whom, I'm not sure -- maybe Lord Simultaneous) that this is a MISUSE of the powers of the scepter. And, as I am not sure that I want to establish the scepter as anything more than a time machine, I would also like it to be made clear that it is able to do this new thing only through the use of added sorcery.

27.) Re: the following:

"168. LEO
Bug, I got just one thing to say.
PUSH IN on his face as he YANKS his katanas free and KICKS out of the mandibles, SPINNING in the air.  His katanas GLEAM.
169. LEO (CONT)
(underwater)
Big mistake."

I've got just one thing (okay, more than one thing) to say -- unnecessary, bad, silly, tough guy poser lines. Let's lose them.

28.) Re: the following:

"175. LEO (MUFFLED VO)
Now!
ANGLE ON THE DOOR – as it CRASHES open, right off its hinges, the four Turtles against it.  The door SMASHES down on the floor, the Turtles rolling off and to their feet.  Renet PEERS IN, then reaches down and twiddles the latch.
176. RENET
Uh, guys?  Wasn’t locked."

Even more stupid, pointless slapstick. And how, pray tell, if the door is SMASHED off it's freakin' hinges, is Renet able to tell it wasn't locked by "twiddling" the latch? Even more to the point -- WHY would she even CARE!!??? I sure as heck don't.

29.) Re: the following:

"He WHIPS off the robe and mask, REVEALING – ULTIMATE DRAKO!  A horrible bonded cross between the Ultimate Ninja and Drako, but it hasn’t been a happy union.  It’s like they were put through a blender.  Bones stick out, vestigial arms in the wrong places, two faces, but with a shared mouth."

As far as I know, there have been no sketches done so far of what the Ultimate Drako is supposed to look like. I'd like to go on record right now that the description here does absolutely nothing for me, and I think a less grotesquely monstrous form would work better -- something which is a clever blending of key Ultimate Ninja and Drako elements.

30.) Re: the following:

"186. ADVISOR/ULTIMATE DRAKO
And in all that time, our hatred of you only grew!  We found this fool of a demon-sorceror –
ON SAVANTI ROMERO – GLOWERING
187. SAVANTI ROMERO
Three thirty nine.
BACK ON ADVISOR/ULTIMATE DRAKO
188. ADVISOR/ULTIMATE DRAKO
And convinced him to seek the Time Scepter so that we could seek you out for our revenge."

As I mentioned in point 3, I think it would be better if Savanti is the one who knows about and craves the Time Scepter. And how would Ultimate Drako know about it anyway?

31.) The conclusion of the battle for the Time Scepter is just incredibly weak. What happened? Why no showdown between Lord Simultaneous and Savanti? Instead we get another wormhole (manifested by a suddenly and mysteriously capable Renet) that sucks in Savanti and Ultimate Drako -- end of story. And why would Renet deliberately free Savanti instead of the Turtles? Makes no sense, unless she did it by accident, which would be more logical considering her character. And unless I'm forgetting some plot that we talked about where his presence would be necessary, why DOES Savanti disappear into the same wormhole with Ultimate Drako?
If the idea here is to set up the adaptation of the "Tales of the TMNT" #7 story, I think it would work much better to follow the story as laid out in the comic -- i.e. that Lord Simultaneous has a history with Savanti, and decides to punish him for his further malfeasance by exiling him even further back in time (to the prehistoric/dinosaur era).

32.) Re: the following:

"DON is looking around.
213. DON
Hey, check it out!  We’re right back at the same time we left!"

I know Don is smart, but without looking at a watch or a clock, HOW DOES HE KNOW THIS???!!!!

33.) Re: the following:

"LORD SIMULTANEOUS pops in, dignified, right at roof level.  
208. LORD SIMULTANEOUS
Very sorry that my apprentice disturbed you, sirs.  Rest assured that she will be appropriately punished."

I would prefer to keep Lord Simultaneous' attitude towards the Turtles more like it was in the comic, where he tolerated them and was not inclined to harm them in any way, but he was also not going to put up with any shit from them. Here, he just seems to show way too much deference to them, calling them "sirs".

-- Pete

Monday, August 8, 2011

Blast from the Past #383: Feb. 23, 2004: comments on second draft of Ep. 66 "The Darkness Within"




Feb. 23, 2004: comments on second draft of Ep. 66 "The Darkness Within"
From: Peter Laird
To: Lloyd Goldfine


Lloyd,

Here are my comments on the second draft of Ep. 66 script "The Darkness Within". I just noticed when I went online a few minutes ago (7PM Thursday) that there was a new file called Ep. 66 Final Draft... I obviously haven't read that one yet, but I am going to send this email anyway. 

1.) Re: the following:

"4. LEONARDO (V.O.)(CONT’D)
Some fears can be friends who fights by your side, making your reflexes sharper "

I think "fights" should be "fight".

2.) Re: the following:

"15. LEONARDO
What is it?
16. ANGEL
No time now …  I’ll explain on the way!
CUT TO:
EXT. WAREHOUSE
WIDE ON – There is a [BEAT] then suddenly the BattleShell <SCREECHES> out of the warehouse, fishtailing as it <SKIDS> through a turn."

A minor point, but... as much as the Turtles like Angel, I seriously doubt they would drop everything and rush out into public (or at least in the BattleShell) just because Angel says to, saying that she'll "explain on the way". I think it would work better if her last line there is something like "Trouble... BIG trouble --!"... and then in the next scene inside the Battleshell as it roars out of the warehouse, we come in halfway through her explanation of her brother's disappearance. 

3.) Re: the following:

"ANGLE ON – Michelangelo takes a closer look at the coin.
25. MICHELANGELO
It’s dated 1611.  Hey, your brother found buried treasure.  You guys are gonna be rich!
CLOSE ON – Angel twirls her finger in the air in mock celebration.
26. ANGEL
(lackluster) Whoop-di-do.  My bro said there were plenty more where this came from and he went back to get them …  That was three days ago.  Since then, nothing!"

How odd. I get that Angel is more concerned about her brother than about gold coins, but given that she is (at least in my understanding of her character) a lower-income street kid, her "lackluster" attitude towards the possibility of stumbling upon great wealth seems totally out of character.

4.) Re: the following:

"27. LEONARDO
What did the police say?
28. ANGEL
They said they were too busy dealing with the fallout from the invasion to look for some punk on a treasure hunt."

Something about this doesn't ring true, depending on whether or not Angel showed the police the gold coin (and the "treasure hunt" remark seems to imply that she did). I find it hard to believe that Angel could go to the cops and describe the situation -- "my brother was part of a construction crew working on Wall Street, and he found a bunch of old gold coins -- and here's one of them -- and now he's disappeared" -- and not generate SOME kind of interest on the part of the cops. I would think that at the very least, they would suspect it was some kind of looting, which they would certainly frown upon and look into.
I think it might be just as -- if not more so -- believable that Angel didn't even go to the police, instead heading right to the Turtles, given that -- as a former gang member -- I doubt she has a lot of faith or trust IN the police.
It also just occurred to me that it would probably make sense that Angel -- tough and self-sufficient kid that she is -- would have at least gone to check out the construction site on Wall Street, to see if she could find her brother, and maybe have only gotten as far as the front door before getting spooked by its creepy nature... and THEN seeking out help from the Turtles.

5.) Why the change to "Volpeheart"? Is there some meaning there? 
In my last notes I suggested that we do an anagram of "Lovecraft" for the name of the building and the guy who built it. I couldn't find a program to do this for me, but I played around with pen and paper a little, and came up with the following (with the word "Von" before them to get that old Dutch feeling, of course):

-- Von Flocravet
-- Von Orfclavet
-- Von Croftvale
-- Von Creftvoal
-- Von Voctrefal
-- Von Floctrave
-- Von Floctaver
-- Von Volctrafe
-- Von Fractolve
-- Von Revolfact
-- Von Ravelfoct
-- Von Rovalfect
-- Von Rofalvect
-- Von Refalvoct
-- Von Fearclovt
-- Von Fearcvolt
-- Von Varocleft
-- Von Varecloft
-- Von Farvoclet

Any of those do anything for you? I'm sure there are more possibilities.

6.) Re: the following:

"FOLLOW – Michelangelo somersaults, then grabs onto the ledge, his arms wrapping around a grotesque gargoyle water spout.
CLOSE SIDE ON – Michelangelo is face to face with the gargoyle.
34. MICHELANGELO
(calls down) Hey, Raph.  I think I’ve found you a girlfriend."

Instead of the lame "girlfriend" jab, how about instead something like:

"CLOSE SIDE ON – Michelangelo is face to face with the gargoyle. He gives it an appraising look.
34. MICHELANGELO
Hmmm... you and my brother Raph -- separated at birth!"

7.) Re: the following:

"68. ANGEL
Direct with no delayin’ yo!  What the?!"

"What the" indeed! What the heck does "Direct with no delayin'" mean, if anything?

8.) Re: the following:

"74. DONATELLO
Who are you?!  What were those things down there?!  Can they be real?!"

The "Can they be real?!" question from Don puzzles me -- it doesn't sound much like something he'd say, especially since he had just witnessed their reality with his own senses while fighting them. I'd eliminate that line.

9.) Re: the following:

"75. OLD MAN
Silence!  You brainless idiots lost your right to ask questions the moment you entered this building!  If you wish to know more, follow me."

What a strange pair of lines. First the old guy says they lost the right to ask questions the moment they entered the building... but then his very next line has him telling them if they want to ask questions (i.e. "know more") they have to follow him!

10.) Re: the following:

"DOWN ON – The familiar island of Manhattan surrounded by the bay, only instead of New York, there’s a thick green forest.
86. OLD MAN (V.O.)
At the turn of the last millennium, there came to Earth a massive meteorite "

Hmm... "massive"? My idea of a "massive" meteorite would be one that would wipe out the dinosaurs. And this one is small enough so that it can be contained within a building. Maybe another word instead of "massive"... perhaps "strange"? Or maybe the old man could say "At the turn of the last millenia" -- no, wait, that just seems way too complicated a way to say "a thousand years ago". So how about this: "One thousand years ago, a strange stone fell from the Heavens... and brought with it a bit of Hell." Can we say Hell?

11.) Re: the following:

"107. ANGEL
A’ight.  You can count on me."

Uk... one of most loathed bits of current slang -- "A'ight" for "All right". Bleh. Let's lose it.

12.) Re: the following:

"ANGLE ON - One by one the turtles wave to Angel as they slip through the gap in the door."

"The Turtles WAVE..."? Uh... WHY?

13.) Re: the following:

"O.T.S. - The turtles enter a huge domed cavern, the size of a covered sports stadium, it’s walls and ceiling made up of individual stone cells, like a pomegranate.
110. DONATELLO
This thing must take up a whole city block!
CLOSE ON – Leonardo investigates the front wall of one of the cells.
111. LEONARDO
What are these?  Back up a bit.
WIDER – Leonardo <SLASHES> the cell wall with his katana, as bones and printed papers <SPILL> out.
CLOSE ON – Donatello picks up one of the pieces of paper.
112. DONATELLO
This is a civil war bond!  This guy must be a hundred-and-fifty years old!"

A couple of things here... first, are these "cells" sealed with something other than stone? I ask this because if it IS stone, Leo shouldn't be able to "slash" them open. Maybe they are sealed with some kind of weird congealed slime or something.
And, not to be too picky, but isn't Don making a pretty big leap of logic? Just because this skeleton is sealed up in the same cell with a Civil War-era bond doesn't necessarily mean that they came from the same time. I think something needs to be added here, if only  where Don says something like "This guy COULD be a hundred-and-fifty years old!" Or maybe he shouldn't say anything -- I mean, we already know (from the old man's story) that this thing has been operating here for hundreds and hundreds of years.

14.) Re: the following:

"115. RAPHAEL
Come on guys, we’ve fought Triceraton attack ships off the shoulder of Orion.  How bad can a little concentrated evil be?"

Cute "Blade Runner" reference there with the "off the shoulder of Orion", but really not appropriate. I suggest something a little different, like "We've fought Triceratons, underground mutants, even the Shredder himself. How bad can a little concentrated evil be?"

15.) Re: the following:

"WIDE DOWN ON – The turtles stand in a circle facing outwards, ready to meet the tentacles, which encroach, ever closer.
118. LEONARDO
There’s no way we can take it one on one."

Not only is this a weirdly defeatist line from Leo, does it really make any sense at all? What exactly is he saying when he says "Take it one on one"? That each Turtle should attack one at a time? Or that all the Turtles should attack each tentacle simultaneously? I would suggest that neither Leo's line or Raphael's line which follows is really needed.

16.) Re: the following:

"CLOSE ON – A tentacle <LASHES> out at Michelangelo, quickly wrapping itself around him and begins to drag him.
120. DONATELLO
Mikey!
WIDER – Raphael, Donatello and Leonardo grab Michelangelo and begin to pull, but the tentacle yanks him free, dragging him into the mass of tentacles which cover him."

Poor, nearly slapstick action staging here -- why would ALL three other Turtles just grab Mike and pull? Why doesn't Raph try to stab the tentacle and/or Leo try to sever it with his swords, while Don grabs and pulls on Mikey?

17.) Re: the following:

"144. LEONARDO (CONT’D)
I took it’s offer!"

This is just one of about half a dozen improper spelling of the possessive form of "it" in this script.

18.) Would Don's "bad dream" work better if it featured April instead of Angel?

19.) Re: the following:

"ANGLE ON – Leonardo pulls out his ShellCell and turns to Donatello.
172. LEONARDO
Donny, is it possible to pick up a signal that’s being transmitted from inside here, then connect to it.
173. DONATELLO
Sure.  No problem.
CLOSE ON – Donatello takes the ShellCell and <PUNCHES> a few buttons on it.
174. DONATELLO (CONT’D)
Got it.  I’ll just echo it back.
PUSH IN ON – One of the cells as it emits an <O.C. CELL PHONE RING>."

Far be it from me to question the use of high tech gadgets, but this seems a bit off. First, why is it Leo making the suggestion, instead of Don? Second, I looked back through the script and could not find any reference to Angel's brother having a cel phone, nor any reference to Angel saying anything about him having a cel phone -- so how does Leo make this leap of logic? Third, IF they knew Angel's brother had a cel phone on him, why wouldn't they have immediately thought of this idea when they entered the "chamber of cells" instead of fussing about how many cells there were and how hard it was going to be to find Angel's brother in all of them?
My suggestion would be to have Angel mention the cel phone earlier, then in the first "chamber of cells" scene, have Don suggest that the first thing they should do is try to call Angel's brother's cel phone number (which, during their trip to the building in the BattleShell, Don would have gotten from Angel and programmed into his ShellCel) -- but  ALSO have him give the caveat that this MIGHT not work if (a) the phone isn't turned on, and (b) if its battery has run down. But BEFORE he can put this plan into action, they are attacked by the tentacles, etc. THEN after they are all freed, Leo can tell Don to try the cel phone thing, and try it QUICK! Of course, it works, and the cel phone rings and they find Angel's brother.
And here's another question -- do we really want Angel's brother to know about the Turtles? I think it would be just as easy for him to be unconscious when they rescue him, and one of the Turtles can carry him out.

20.) Re: the following:

"181. ANGEL
Are you alright?"

"Alright" is not a word.

21.) Re: the following:

"CLOSE ON – Leonardo antics back, then freezes.
186. CREATURE (O.C.)
Stop!  I sense your power …  You are strong …  But I can give you more …  People will bow before you …  You will be a king …
187. LEONARDO
Sorry, not interested."

I find this bit with the Creature speaking to Leo to be very goofy. And unnecessary.

22.) Re: the following:

"CLOSE ON – Leonardo sees the meteorite and next to it, the crystal tipped spear.  He grabs the spear and turns."

Convenient that the spear appears AT THAT MOMENT. And how nice that the creature keeps the one weapon that can destroy it RIGHT NEXT TO ITSELF! Poor plotting. I mean, if the creature had that kind of easy access to the spear, wouldn't it have destroyed it long ago... or at least BURIED it under tons of rock or sealed it up in layer upon layer of hardened slime?
Here's my suggestion: Let's give the Old Man a heroic moment of true redemption. I'm inspired to think of this by the line he says to Angel a few pages back, referring to the Turtles:

"182. OLD MAN
Your friends are battling the creature, their bravery is astonishing."

The incredible bravery and self-sacrifice of the Turtles stirs something in his withered soul that has lain dormant for longer than he can remember. This is when he is able to finally shake off -- at least for this critical moment -- the hold the creature has had upon him all these years... and he then goes to a secret panel or vault or some clever hiding place and gets... the spear! (Maybe it would be even cooler if the spear is actually disguised as part of a pole lamp or curtain rod or something.) Then, in one last moment of courage, he goes into the labyrinth where the Turtles are desperately fighting for their lives and uses the spear against the meteorite. (He could either leap at the meteorite with the spear -- and be annihilated right then -- OR throw the spear at the meteorite and then fall into dust shortly thereafter.

23.) It just occurred to me that it might be fun to make a reference earlier in the script, when the Turtles pull up at the building in the Battleshell, that this is one of the place in the city where the BattleShell might "fit in" -- as Wall Street is no stranger to the presence of armored cars.

24.) Re: the following:

"The BattleShell passes by a STOCK BROKER, then a telephone booth, then <DRIVES> out of frame.
PUSH IN ON – The telephone in the booth is <RINGING and RINGING>.  The Stock Broker steps into the booth, looks curiously at the phone, then picks up the receiver.
199. STOCK BROKER
Hello?  Hello?
200. CREATURE (O.C.)
(via telephone)
I have waited for you …  Now you have come to me …  I will give you anything …  I will give you the world!
CLOSE ON - The Stock Broker closes his eyes for a [BEAT] …  then opens them to reveal they are now fiery red, with black slits for pupils as he starts to <LAUGH>."

I have to say that while I like the creepiness of this scene, it really doesn't make ANY sense whatsoever, given the backstory of meteorite/creature/spear we have laid out, and completely guts the Turtles' -- and the Old Man's -- victory over the creature. Also, we have not set up in ANY way that this creature uses the telephone to suck greedy people in.
Here's an alternative that might make a little more sense, and not only preserve most of the creepiness of the "twist" ending, but also most of our heroes' victory over the evil of the creature:

Start back at the final scene where the old man throws the spear at the meteorite. I suggest that the meteorite should shatter into many pieces... ONE of which lands at Don's feet. Don -- innately curious -- picks it up and carries it out of the building with him. He either discards it outside the building OR (perhaps better) as they take off in the Battleshell, Raph or Mike notice he has the fragment, and, disgusted/creeped out by it, Raph or Mike grabs the chunk and throws it out of the BattleShell's window.
Then, either (a) the fragment bounces to a stop on the sidewalk or (b) hits the STOCK BROKER (in a nonfatal place, of course). The Stock Broker picks it up, curious... and we see a tiny TENTACLE snake out of the meteorite fragment and STAB the Stock Broker's hand with one of its spines as we hear its whispery seductive voice... then we pan up to the Stock Broker's face to show the scary RED EYES!!!

Saturday, August 6, 2011

Blast from the Past #382: Feb. 23, 2004: comments on first draft of Ep. 68





Feb. 23, 2004: comments on first draft of Ep. 68 

From: Peter Laird
To: Lloyd Goldfine


Lloyd,

Here are my comments on Ep. 68 first draft script. 

1.) Re: the following:

"We PAN TO SEE the OPPOSITE DIRECTION where MARS, JUPITER, SATURN, URANUS, NEPTUNE, and PLUTO also move into alignment … then behind it, we see a huge SUPER NOVA in an almost BLINDING FLASH …
2. HIGH MAGE (ENTITY)(VO CONT’D)
… in conjunction with the super nova of a gas giant at the edge of the Milky Way."

What is up with this "super nova" thing? How in HECK is a supernova "at the edge of the Milky Way" supposed to have ANY effect on Earth? Goofy. Let's try not to get TOO silly. It's enough that we are stretching reality to accommodate the idea that the planetary alignment is going to cause significant changes on Earth -- we don't need a flare from a GIGANTICALLY distant supernova lighting up our planets and activating the crystals.

2.) Re: the following:

"9. DONATELLO (CONT)
Hey, what happened to Earth?
ANGLE ON MICHELANGELO – stuffing a DONUT in his mouth next to RAPHAEL, LEONARDO.
10. MICHELANGELO
(innocently, mouth full)
I think I just ate it."

I appreciate the fact that my doughnut gag idea is being used, but I think it would be even funnier if the gag is nearly purely visual, i.e. after Don says "Hey, what happened to Earth", the next shot is Mikey either stuffing the donut in his mouth or chewing with some crumbs around his mouth... and then he just gives an innocent/clueless look and maybe just says "What...?"

3.) Re: the following:

"12. LEONARDO
But, why is this having such an affect upon the Earth?
13. DONATELLO
It shouldn’t be.  It happens all the time."

First, I think that should be "effect", not "affect". And second, I'm a little confused -- the way Leo asks the question and the way Don answers it implies that there HAVE been effects... but the following scene implies that the effects start AFTER they have that little exchange. Perhaps it should be changed as follows:

"12. LEONARDO
But does this have any affect upon the Earth?
13. DONATELLO
It shouldn't."

Actually, after I just wrote that, I decided that I should do a little research into planetary alignments, and discovered that apparently the planets NEVER line up in the way it's described in this script (see this site: http://www.griffithobs.org/SkyAlignments.html), i.e. all in one straight line.

4.) Re: the following:

"The Turtles walk cautiously, keeping to the shadows as they pass a DOOR which startlingly opens – a Y’LYNTIAN emerging."

What does a doorway look like when it opens "startlingly"?

5.) Re: the following:

"65. MICHELANGELO
Yeah, I’m not into catching what the lava boys are pitching! "

Is this some bizarre gay reference?

6.) Re: the following:

"A CRYSTAL TORCH is mounted against the wall beyond the bars.  Suddenly Mikey’s nunchaku are FLUNG at it, one handle tied to a rope made of blue, purple, orange, and red ninja belts."

Colored "ninja belts"? Is this meant to refer to their masks? Their belts are all brown.

7.) Re: the following:

"ANGLE THROUGH THE BARS – as Raphael reels in the belts, pulling the torch to himself.
92. RAPHAEL
Got it!  Now stand back!
NEW ANGLE ON THE TURTLES as Raphael, now with the torch in hand, swings it mightily at the bars, the crystal SLASHING through them in a spray of sparks."

What the -- ?! Since when did the crystals have this metal cutting nature? And how would Raph KNOW they did?

8.) I'm not sure I'm loving this thing of Y'Lyntias rising causing the sea level to rise to the point where NYC is "completely flooded". That seems WAY beyond logic to me, as to have that effect the landmass would have to be HUGE. Not to mention the fact that if the city is "completely flooded", what happens to the Turtles' lair, April's shop, etc.?

9.) Two questions -- what happened to the Turtle Tunneler, and did everyone in Y'Lyntias (besides Versalia) perish when it sank beneath the lava at the end?

-- Pete