So the second script I read had one unfortunate side effect: very little in the way of plot. It gave me an early Richard Linklater vibe because of the setting and the writer’s penchant for meandering scenes of characters just hanging out. Although he defies many conventions, Linklater’s a master of subtext and conflict. For instance, Dazed and Confused has a very loose plot—seniors want to beat up next year’s freshman class—that sets up the characters and their minor goals over the course of the night (e.g., “beat up a freshman”/”don’t get beaten up”). It has the traditional obstacles and changing goals, but it’s mostly a movie about hanging out. Yet, from the conversations these characters share, everything they say tells us a little something about them. Their attitudes on superficial things like music, acid-induced dreams, fashion—what a person discusses and the way others react to it all tell us things about who they are.
The script I was given had the loose plot and the deliberate (some might say “plodding”) pace of a Linklater film, but it didn’t have much else in common. When the characters talked about buying a keg, all they were talking about…was buying a keg. That’s a problem. Similarly, the characters desires and goals are shielded until, quite literally, just before each goal is altered. (In one case, we don’t know a character wants a scholarship until page 100, and he gets the scholarship on page 102—ooh, the suspense. In another, the character reveals he’s unwilling to take the scholarship because he knocked up his girlfriend and needs to take care of her. Beyond logic problems I won’t go into, this is another conflict that’s brought up way too late and then resolved almost immediately. In literally the same scene that he mentions it to the love interest, she’s hit by a drunk driver and killed, leaving him to take the scholarship.)
I don’t want to go on and on ranting about this particular script, but I do want to bring up some fundamental tools of drama that this script should have employed but didn’t.