The 1998 movie Lock, Stock and Two Smoking Barrels is a great indie feature. Written and directed by Guy Ritchie, the movie veers wonderfully between humor and drama.
Here is a key early scene in the script:
BOXING GYM - NIGHT Stakes have increased dramatically. There is a pause as Frazer looks at his cards. EDDY Twenty thousand open. PHIL OK. My Doctor would beat me to a heart attack if he knew what was going on here. I fold. HATCHET Got some cards there, boy? Thirty thousand. Back to you already Eddy? Hatchet looks impatiently at the door. EDDY Fifty grand. Hatchet scours Ed's forehead. It is still dry. HATCHET Eighty grand. BOXING GYM CHANGING ROOM - NIGHT Barry, who is trying as hard as he can to see Ed's cards, frustratedly zooms in and out; eventually Ed raises them just enough; Barry jibs, hey bingo he sees Ed's cards! Ed's got nothing but a pair of sixes. Barry excitedly starts tapping away. INT. BOXING GYM - MGHT EDDY One hundred grand. FRAZER Hold on fellas, I know . . . HATCHER (interrupts j I know you're not in, which means nobody cares what you know. Two hundred and fifty. Hatchet and EDDY minutely study each other's hairlines, waiting for a nervous droplet to appear. Sweat breaks; a drop on Ed's forehead, fills frame. Slowly we follow a droplet's journey coursing down Eddy's brow Eventually this is met by a large unblinking eye, at this point the pause is broken. EDDY That is quite a raise, one hundred and fifty on my hundred. HATCHET Yes . . . and is there something else you want to say? EDDY As you know, this puts us in an awkward position. I don't have enough to continue. Pause. CROUPIER We will have to see both your cards if no one loans EDDY the money to continue. It's a loan or we see both your cards. Silence follows. A lot of nose scratching and examining of imaginary dirty ftngernails spreads contagiously throughout the remaining company. It doesn't look . . . HATCHET (interrupts) I will. EDDY You will what? HATCHET I will loan you the money. Silence. The sweat bead reaches the bottom of Ed's chin, trembles for a second, then unattaches itself. Very slowly it falls. We follow its long silent journey. Eventually it is greeted by the back of Ed's cards. It explodes dramatically in sound and vision, symbolizing this worrying news. EDDY I think I would rather just turn them over. HATCHET I am not interested in what you would rather; I want to keep going. I am also offering you the money, so we don't have to turn them over because you can borrow. EDDY I need two hundred and fifty grand. HATCHET No, you need five hundred grand to see me. Ed's face is now awash, busily blistering with sweat. EDDY That's if I want to see you. HATCHET Well, you're going to have a problem carrying on, aintcha. The pause is painful. CRUOPIER You can still fold. EDDY doesn't like the sound of this. There is sympathy in her voice. Harry looks sharply through narrowed eyes at the croupier; the croupier pleads with Eddy. EDDY I'll see ya. HATCHET For half a million? EDDY Unless you are going to accept twenty quid. HATCHET And still got a sense of humour. That's not monkey nuts son; you can still fold. (Pause) OK, before I loan you this, I expect, if you lose of course, my money back within a week, Crystal? That's Sunday, OK? These last few words echo in the distance of Ed's mind (and ours). He is committed, but has now left the world of the conscious. Hatchet turns over the first card; it's a seven. EDDY ushers him on; another seven, it looks as though he will have three; then the third: it's a four. There is an anti-climatic silence. After a loud pause . . . CROUPIER Is that it? FRAZER He was bluffing! Hatchet looks content and rather nonchalant. HATCHET Let's see your fucking cards. Nobody is impressed by Hatchet's cards; all eyes fall on EDDY expectantly We crash in to Ed's pupils with a loud swoosh. They contract to the size of pinheads. His world has changed for ever.
Here is the scene from the movie:
How does the movie differ from the script? There are subtle changes. What do you think?
One of the single best things you can do to learn the craft of screenwriting is to read the script while watching the movie. After all a screenplay is a blueprint to make a movie and it’s that magic of what happens between printed page and final print that can inform how you approach writing scenes. That is the purpose of Script to Screen, a weekly series on GITS where we analyze a memorable movie scene and the script pages that inspired it.