The Calling Card Script by Paul Ashton

Author:Paul Ashton
Language: eng
Format: azw3, pdf
ISBN: 9781408110171
Published: 2014-01-22T11:27:58+00:00

128 THE CALLING CARD SCRIPT

stamina, desire, intelligence, confidence in increasingly intense increments.

The tests are not just physical but emotional and psychological. It’s not just about guns and explosions and fist-fights. Poor action films ditch any sem -

blance or shred of complexity for complication and base sensation. They are only about guns and explosions and fist fights.

NEW WORLD, NEW CHARACTERISTICS

By taking a leap into the unknown or the little known, what new sides, facets, hidden depths and characteristics will your characters discover and uncover about themselves and other people? Are they new? Surprises?

Unwelcome developments? Do the characters even see and recognise the changes at all? Are they new characteristics that only we and/or other characters notice?

From the isolated, lonely, uncool, irascible, grudging, miserable kid in the beginning, we come to see in Shaun a physical transformation, a confi -

dence, a humour, a sense of place and worth, his first kiss, and a growing consciousness that the extreme nationalism he is seeing for the first time is wrong. Shaun blossoms and flourishes and matures but he also isn’t able, strong or mature enough to prevent some things happening as the story climaxes. His personality doesn’t fundamentally alter – but it grows and is given the opportunity to truly be itself rather than masked by a sense of unhappiness and anger as it is at the beginning.

QUALITIES

As your characters follow the call and their chosen pursuit, which specific qualities are altered, or newly appear, or even disappear altogether? What qualities do the characters consciously aspire towards? Which do they begin to acquire, whether desired or not, conscious or not? What are the acciden -

tal effects on personality?

Hamlet aims to become an avenging force, though not before he is

confident that vengeance is a true and justified path. He attempts to put an

‘antic disposition on’, to pretend to be mad, so that he can draw out the truth without anyone realising that is what he is doing. But the more his behaviour becomes unhinged, the more eyes are on him, and ultimately the harder his task. His unhinged behaviour isn’t just this ‘act’ – he become as

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