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Authors: Thomas Lennon,Robert B Garant

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But. It’s complicated, and unless you LOVE doing this kinda homework and negotiations—have your manager or lawyer do it.

Step 2: If the rights are available, buy them or take the idea to a studio and THEY’LL buy them.

 

If you can afford it, buy the screen rights. If you control the rights, you’ll be able to negotiate for back end and maybe become a producer of the project. Maybe.

When buying the rights, you need a lawyer. A lawyer will negotiate the price of the rights for you, as well as the conditions. They will draw up a contract so that you don’t somehow get screwed.

Just remember: when you buy the screen rights, you usually won’t own them forever. If you can’t sell the movie in some prenegotiated amount of time—say, a year—the rights revert back to the book’s author or the real person, if it’s a true story (whoever owned the rights before). And they keep your money.

If you
can’t
afford the rights, that’s okay. Go pitch the book to the studio. If they like your take on the book, then they’ll buy the rights. You’ll still get paid to write the movie; you just won’t share in the profits.

Adapting material to the big screen is a good business to be in.

 

Studios HATE to take risks. They LOVE to buy movies that are based on something that has already proven to be successful and already has a following. Even if the book isn’t
Twilight
or
Harry Potter
, the fact that it’s been published means that it has more of a following than your pitch or spec. And if it’s a true story—that always has a good marketing angle.

33
I’M DRINKING TOO MUCH.
IS THAT A PROBLEM?
 

 

The short answer: no.

 

The longer answer: nope.

 

Not only is heavy drinking
NOT
a problem—it very may well
HELP WITH YOUR WRITING! Your health too!
*

Writing and drinking go together like Oscar Wilde and little boys! Or Tennessee Williams and little boys. You get the picture. Hard drinking can lead to great writing (and sometimes weird stuff with little boys). But let’s focus on the writing part!

The drinking of hard alcohol, wine, and spirits has a long-standing tradition in writing. Why? It’s quite simple:
because there are certain
ideas, themes, and tones that a writer simply cannot achieve without stepping outside of his “head
.” Alcohol can help you do that. In every ancient culture, shamans and storytellers used herbs, fungi, and even fermented goat’s balls to “take a trip” and see things in a different light—or, as Hemingway described it, “get tight.” Think of booze as a Sherpa who can lead you outside your conventional mind: up a mountain of colorful ideas named … Jägermeister Mountain. Sorry, we’re actually a bit tipsy right now.

 

Daily, consistent use of alcohol (and/or ’shrooms) can open up the wonderful hinterlands of your brain! There are ideas lurking in the corners of your mind. TAP THEM—as you would tap a marvelous keg of frothy lager! Fight your writer’s block with PLENTY OF FLUIDS. Ask the beautiful notions hiding in your mind to come out and dance with your fingertips across the keys of your MacBook Pro.

Writing and Drinking FACT

Number of times
Casablanca
was written during Prohibition: ZERO.

Number of times
Casablanca
was written
not
during Prohibition: ONE.

Alcohol wins—hands down!

 

Whether it’s a “light buzz” or what we hard drinkers call “the shit-’n’-spins,” it can be just what the doctor ordered
*
to get your creative juices flowing!

Let’s look at more SCIENTIFIC EVIDENCE by comparing one of America’s greatest writers, Ernest Hemingway, to America’s NON-DRINKING AMISH COMMUNITY. Hemingway has
ten great novels to his credit
. Those Amish teetotalers: nothing but beautiful rocking chairs.

DO YOU WANT TO GET SERIOUS ABOUT YOUR WRITING, OR DO YOU WANT TO MAKE BEAUTIFUL ROCKING CHAIRS? Okay, maybe this is a bad example. But you get the point.
Hemingway loved to get drunk—and he could write like a mofo
. (And he was VERY POPULAR with the ladies. If you haven’t read
The Garden of Eden
, it has a full-on three-way sex scene—nice job, Ernie!)

But what about William Faulkner? you ask. FORGET IT. Bill Faulkner would get hammered like a two-cent nail—and it led to some of the most beautiful and confusing novels our language has ever produced. As a reference, the passage below is from Faulkner’s final draft of
The Sound and the Fury
, written, probably, during a drinking binge:

Through the fence, between the curling flower spaces, I could see them hitting. They were coming toward where the flag was and I went along the fence. Luster was hunting in the grass by the flower tree.

AND A PASSAGE FROM HIS “SOBER” DRAFT, written when Faulkner was on the wagon:

Through the fence, between the fence … sticks. You know—the sticks that you make fence out of … Anyway—through the fence poles, I could see them golfing. My name is Benji. My mom thinks I’m retarded.

GOOD HEAVENS, what a difference!
Sometimes it takes a couple gin and tonics to come up with great things. Like making up a county called Yoknapatawpha County!
Yoknapatawpha!?!
That’s not a word, Mr. Faulkner—
not in any language other than drunkish!

William Faulkner took a compulsion to write and a compulsion to drink and changed the American novel forever. And without hard alcohol, it’s possible that Hemingway might not have ended up where he did:
with ten great novels to his name and on top of the world!
*

So go grab your writing glass by the stem (so as not to warm up the wine!) and remember those wonderful words of wisdom:

In vino, veritas!
Which means … something in Latin.

34
FINAL THOUGHTS
 

The best part about being a professional screenwriter is—
being a professional screenwriter
.*

You’re PAID to sit around and think up stuff. How cool is that? It’s the most satisfying thing in the world.
If you’re a writer, that is
. If you’re a writer,
it’s what you’d be doing anyway
, even when you were
supposed
to be serving lattes or flying a 747. And remember:

Hollywood will always need writers.

 

Actors can be replaced with CGI. Studio heads last two years. Without scripts, directors can’t do shit.

Go west, young man.

 

Take your laptop, hop a freight car, and head out to the Dream Factory—where the streets are paved with gold! (Not true.) The last piece of advice we’ll leave you with is this:

As a writer in Hollywood, there are many things that you cannot control. Decisions effecting your career will be made while you are not in the room, all the time. There will always be writers who are more connected than you. There’s nothing you can do about that.
Don’t worry about the things you can’t control
. Worry about things you can.
The one thing you can control is this
:

You can always work harder than the next guy. So
DO
.

 

weapon. Buy airtime on local TV and start running attack ads on some random dude. Get your own
Island of Dr. Moreau
thing going. Throw a parade for yourself EVERY DAY. Put a bounty on somebody’s head! Stage a giant bar brawl with 100 stuntmen at the Rainbow Room (without telling the Rainbow Room). Build the world’s most expensive helicopter, INSIST on piloting it for its maiden flight, then CRASH on takeoff. (Think of the YouTube hits!) Buy $100,000 plates at political fund-raisers then show up in a KKK uniform. Buy a house in Beverly Hills, tear it down, and put up an Aerosmith-themed water park. Meet interesting people. Go interesting places. See the world! Live! Love! Feel pain and joy and loss and victory and defeat! Or—bite the bullet, be the guy who finally DOES IT: pour your money into science, get the best minds in the world together to work on it, and FINALLY be the guy who invents a device that lets us talk with mice.

Now—stop thinking about it, stop talking about it. Pull your head out of the bong and start writing a spec. What the hell are you waiting for?

—Robert Ben Garant, Thomas Lennon

(Dictated, but not read. On speakerphone
from their separate writing compounds in
Barcelona, Spain, and on Hiva Oa, in the
French Marquesas.)

 
APPENDIX
 

SAMPLE OUTLINES

1.
Reno S.O.S.!

2.
Scouts’ Honor

3.
Instant Monsters

 

We’ve included these three outlines so you can see how much detail we put into them and you should put into
yourself
. As you can see, we do all the heavy-lifting creative work in the outline stage. So when it’s time to write the script, all that’s left to fill in is the jokes and dialogue. With this technique, writing screenplays can be easy!

Reno S.O.S.!
 

Reno 911!
fans often ask us, “Are you going to make a sequel to
Reno 911!: Miami?”

The answer, in a word, is
no
.

Why? The answer, in a word, is
money
.

The answer, in twenty-two words, is—we are not going to make a sequel to
Reno 911!: Miami
, because
Reno 911!: Miami
didn’t make enough money to warrant a sequel. (Also because we
talked
about the sequel beforehand, waking up the box-office elves.)

Oh, it made money. It only cost 9 million bucks to produce, and it made about $22 million. Tons more on DVD. If you make $12 million bucks in any other business, you’re a genius. Not in the movie biz.

Why didn’t it make more? The biggest reason is that we made an R-rated movie for a TV show whose fans are mostly fourteen years old. Big mistake. We can’t tell you how many kids said to us, “I loved your
movie, man. Me and my friends bought tickets to
Ghostrider
, and snuck in to see it. It was awesome.” We have yet to receive a letter of thanks from Nicholas Cage. We assume it got lost in the mail.

But—expectations for
Reno 911!: Miami
were very high. It tested through the roof. So—we were commissioned to write a sequel, before the first one was even out in theaters. (
See Chapter 31
, “Sequels!”
And NEVER, NEVER, NEVER discuss a sequel until the first movie has opened. It’s just bad luck
.)

So—with 20th Century Fox’s kind permission, we have included, in this book, the complete “scriptment” for the Reno movie sequel:
Reno S.O.S.!

This would have been as much of a script as we ever wrote—
Reno 911!
and
Reno 911!: Miami
were improvised, based on “scriptments” like this.

Read. Enjoy. And if you and your improv buddies want to go out and film this yourselves—20th Century Fox’s lawyers will crush you.

RENO: S.O.S.!
 

The (never-produced)
reno 911!: Miami
Sequel

outline

by

Robert Ben Garant

&

Thomas Lennon

FADE IN:

 

EXT. RENO NEVADA — “SKYLINE” — MORNING

TITLE CARD READS: Reno, Nevada. 5:35 a.m.
1989
.

“Simply Irresistible” by Robert Palmer blasts over establishing shots: We see the “skyline” of Reno, Nevada — a small, dusty town nestled at the base of the Sierras. We see posters for a Milli Vanilli concert; a newspaper taped over a broken window reports the fall of the Berlin Wall; TVs in a pawn shop window show ads for
The Arsenio Hall Show
.

INT. JIM DANGLE’S BATHROOM — CONTINUOUS

JIM DANGLE, young, fresh and optimistic, is pumping iron in front of the mirror of a large, elegant bathroom. He combs his mustache, checks his highlights. He likes what he sees and turns up his radio: “Simply Irresistible” plays even louder.

INT. JIM DANGLE’S BEDROOM — CONTINUOUS

Jim’s wall is covered with medals and citations from the Arkansas State Police. Half dressed, in his uniform shirt and thong, he opens a small box and pulls out: brand new Lieutenant bars. He beams with pride and pins them on his collar for the first time.

Dangle’s wife, DEBBIE DANGLE, enters, hugs him, and tells him she’s proud — in a sultry bedroom voice. She’s in lingerie, flirty and very physical, and about 150 pounds overweight. She tells him that her “Bad Lieutenant” is gonna get a special treat when he gets home from his first day at his new department. (
Dangle is still very much in the closet
.) He gives her a uncomfortable smile,
“growls” back, and tells her he can’t wait. He puts on his uniform pants —
long pants
, and heads to work, giving Debbie a macho swat on the ass.

EXT. JIM DANGLE’S HOUSE — MOMENTS LATER

A minimansion in a nice neighborhood. Dangle climbs into a glistening new Miata and peels out. His license plate reads: LADEZMAN. Debbie “flashes” him from the door …
a lot of flesh
. It’s horrifying and causes a CAR CRASH in the street.

EXT. RENO SHERIFF’S DEPARTMENT — MOMENTS LATER

The same old Reno sheriff’s station, except that its sign is sky blue neon. Dangle pulls in, Wham blasting.

INT. MORNING BRIEFING ROOM — CONTINUOUS

There are several local and national news cameras in the room, recording the meeting: Other than that, it’s the same old briefing room, except for a few “JUST SAY NO” posters and a large banner declaring a WAR ON DRUGS.

We see our Reno deputies circa ’89: GARCIA’S hair isn’t grey. JONES has a Kid ’n Play flattop. JUNIOR isn’t wearing sunglasses or Kevlar, and his hair is in a horrible mullet. There is no KIMBALL and no WILLIAMS. And — CLEMMY is a fresh-faced sexy blond 20-year-old (played by a 20-year-old actress) … but she is very hungover, drinking an Alka-Seltzer. (We already can see where she is headed.)

Running the briefing — Sergeant TRUDY WIEGEL. She’s well spoken, intelligent, and authoritative as she demonstrates how to assemble a Glock in .8 second, expecting the other deputies to be able to do the same.

They tell her with genuine respect: sir-yes-sir. Trudy’s a total pro and not bad-looking, either.

Trudy announces, “As you know, the notorious serial killer known only as Dr. White, wanted for eating over seventy victims in Thailand, has returned to Washoe County, where he is still at large. So the Reno Sheriff’s Department has brought in a new Lieutenant to head the case — a highly decorated supercop from Arkansas who most people think will one day be president. It gives me great pleasure to introduce their new fearless leader: Jim Dangle.”

Dangle enters, gives Clemmy a macho slap on the ass, gives Jones a lingering hello, tells Junior to get a haircut, and starts the meeting. He gives a macho pep talk, mostly to the news cameras. He tells them that even though it’s a high-profile case that’ll no doubt get national press, for him it isn’t about fame. He knows that years from now, after he’s caught this killer, he’ll look around his fancy office, no matter where it is — Washington, D.C., or Geneva — and he’ll look back and say, “We did it. The Reno Sheriff’s Department didn’t screw this up. And that’s why I’m where I am today.”

CUT TO:

 

TITLE CARD: Present Day.

INT. DANGLE’S TINY, RUNDOWN TRAILER — MORNING

Dangle is woken by his alarm clock. He looks around his crappy trailer, depressed.

The trailer is tiny and ratty, with posters of Broadway shows and Bruce Lee with his shirt off.

The bright-eyed young Lieutenant is long gone. He’s startled to find JOE THE CAMERAMAN filming him and accidentally fires off a bullet at him … sorry. He lights a cigarette and pops
buns of steel
into his old VCR. He smokes, depressed, as he does a few halfhearted butt-clench moves, then there’s a horrible CRUNCH as the VCR shreds the VHS tape. He finishes his cigarette, makes himself an Irish coffee, and squeezes into his tiny shorts. It takes a few attempts — we see the whole process. It’s not pretty. He grabs his bike (which is bike-chained to his fridge) and heads to work, miserable.

EXT. VIRGINIA STREET — DAY

Dangle skids to a halt in downtown Reno, a street lined with casinos and pawn shops, underneath a neon sign that reads THE BIGGEST LITTLE CITY IN THE WORLD.

Dangle confesses that even he doesn’t know what “biggest little city in the world” means. He tells the camera that as a civil servant (who is apparently gonna be stuck in the Sierras until he dies, like the Donner Party), he wants to show people the “good side” of Reno and dispel a few negative myths. First, that Reno is the meth capital of the world. It’s not — that’s Mojave, California. Reno’s #2, and as number 2, they try harder. He says that Reno isn’t as crime-ridden as people think; just as he says that, a GUY runs out of nowhere and steals his bike.

Okay, it’s
Go time
. He gives chase on foot and is soon out of breath. He sees: a gang of ten-year-old KIDS on little Huffy bikes. He flashes his badge and commandeers a bike, shoving a kid to the ground. He does a few
“fancy” bike tricks and gives chase. And as he does …

He gives us a high-speed bike tour of Reno. He points out the scenic Riverwalk
(that you should NOT walk on at night, unless you’rebegging for a scenic riverside rapin’)
. He points out the friendly and not-so-friendly LOCALS. He cuts through the Bowling Hall of Fame. He points out the town’s best Topless Burger Hut (the waitresses are topless, the beers are bottomless) … where he sees KIMBALL, who’d called in sick that day.
Huh
? Then he realizes that someone behind him is shooting him with paintballs — the kid whose bike he stole is after him, with a gang of paintball gun–armed TEN-YEAR-OLDS on Huffys.

Junior, responding to his calls for backup, pulls along side Dangle in a speeding squad car and tells him, “Don’t worry — we got a roadblock up ahead — ” CRASH. Junior smashes right into the roadblock, leaving Dangle alone in the pursuit.

He passes TERRY, who
may or may not
be giving a tug job in an alley. He cuts through the El Dorado casino (where Clemmy and Williams are gambling) and through a strip club (where Jones and Garcia are drinking). All of them called in sick today …

The bike thief makes it across train tracks JUST as a train goes by … shit. But Dangle sees a perfect ramp to jump the train. He gives up … but no — he backs across the street, eyes the ramp, pedals as fast as he can — and is hit unceremoniously by a truck on the cross street before he even gets to the ramp. The kids on Huffys take their bike back and pummel him with paintballs. He lies on the road in pain.

FLASH BACK TO:

 

EXT. DARK PARKING LOT OF A RUNDOWN LAUNDROMAT — NIGHT — 1989

(All-in-one shot — à la The International Inn’s Romance Ballet in
Reno 911!:
Miami — the Reno deputies go undercover on an all-night stakeout. Passing the long hours, they get to know each other for the first time — and the seeds of their “romances” are born.)

Dangle has set up an all-night stakeout at a Laundromat in the bad part of town, where Dr. White has abducted two victims in the past. They take turns, in pairs and in civilian clothes, sitting in a car in the dark parking lot, doing laundry in the mat, and keeping watch on the Laundromat’s roof.

Sitting in the parked car, Trudy and Dangle get to know each other for the first time. Dangle, playing “straight” (and
overdoing
it a bit) talks about men and women on the force — the chemistry, the sexual tension. Wiegel is a true professional — but she’s intrigued by his theories and constant macho advances. Eventually, she points out that they look a little suspicious sitting in a parked car. Maybe they should … pretend to make out? They do.

In the Laundromat, Jones is pretending to do laundry, and Young Clemmy is trying to get him to fool around. He resists — not out of professionalism but out of his “don’t shit where you eat” theory. Then a young mom from the neighborhood comes in to do her laundry. She’s young and hot and slim — she introduces herself to Jones: her name is RAINEESHA WILLIAMS. Much to Clemmy’s dismay, Jones seems very into her. Even after she brings in
her two young kids. Clemmy leaves to check in with the deputies on the …

ROOF. Garcia and Junior keep watch. Clemmy climbs up the fire escape to join them — with a six-pack of beer. She comes on to Garcia, who is oblivious to her advances. He’s too into the chase, the stakeout — he likes being a cop. Clemmy suggests that Junior should split and relieve the folks in …

The car. When Junior shows up, Dangle and Wiegel are making out hot and heavy. Dangle EAGERLY lets Junior relieve him and exits, to check out the laundry mat. Alone, Junior suggests that he and Wiegel make out. She jujitsus him.

In the Laundromat, Dangle sees Jones. Macho, bragging about making out with Wiegel — he strips in front of Jones — “to wash his clothes.” Uncomfortable with Dangle’s not-so-subtle advances, Jones soon escapes out, to the roof …

On the roof, Clemmy is playing strip “I never,” but Garcia isn’t biting. Jones climbs up onto the roof and joins in, and is followed by Williams, who’s turned on that Jones is a “cop on a stakeout.” Williams and young Clemmy compete for Jones’s attention. Garcia leaves, still oblivious, to go relieve …

Wiegel in the car. Garcia and Junior sit in the car, staking out. Wiegel heads into the Laundromat, walking in on Dangle, nude. She thinks it’s a play for her. She resists, briefly, then throws herself at him.

On the roof, Junior tries to join “I never” just as it’s breaking up, and Jones and Williams head down. Junior tries to keep it going with Clemmy. Clemmy says SURE … But passes out drunk. Junior “keeps it
going” anyway … until Dangle comes up, still naked, looking for Jones.

In the car, Jones and Williams are making out hot and heavy in the backseat, with Garcia, oblivious, in front. Jones is about to close the deal — when suddenly Raineesha has to leave. She’s late, for work! She’s a model and has a gig. She leaves before Jones even gets her name. The first time that’s EVER happened to Jones.

Wiegel is all alone in the Laundromat. And she is ABDUCTED by a tall man in a raincoat. No one even sees it happen.

Dangle wanders in looking for her … And the phone rings. Terrified, he answers: a voice tells him, “I have your sergeant. She’s across the street, at midnight — I eat her heart.” Across the street — is the creepy DONNER PASS MOTEL. The voice on the phone laughs …

FLASH-FORWARD TO:

 

EXT. RENO SHERIFF’S DEPARTMENT — DAY — THE PRESENT

Establishing shot of the Reno Sheriff’s Department.

INT. MORNING BRIEFING ROOM — CONTINUOUS

Tired and despondent, Dangle reads the day’s briefings. Same old same old, until … he reads a bulletin from Carson, in shock: DR. WHITE, the serial killer, has finally been apprehended after seventeen years. He is going to be extradited to Thailand — and the
Reno Sheriff’s Department is in charge of escorting him there to stand trial.

Dangle sees this as the chance to redeem himself — from whatever went wrong in ’89. He vows that this time, Dr. White will not get away. The other deputies are psyched! They get to fly first class! And for some reason, Junior already has quite a selection of Bangkok sex slave brochures: “Be careful, though, my buddy T-Bone got a wife there, and found out six weeks later it was a guy.” (The other deputies ask … how could he not know? Junior tells them — T-Bone only does it doggy style.)

EXT. AIRPORT — NIGHT

The deputies wait on the tarmac for the arrival of Dr. White. It looks like a scene from
Silence of the Lambs
. It is tense, and the deputies’ eyes are filled with fear … we go in tight on Junior’s glasses.

FLASHBACK TO:

 

EXT. DONNER MOTEL — NIGHT — 1989

TITLE CARD: 1989.

Junior stands at attention in the parking lot, without his shades as Dangle gives orders: “Who here’s the best shot?” Junior says, “Me, sir.” Dangle tosses him a pair of NIGHT-VISION GOGGLES, incredibly sensitive to any light. Junior puts the goggles on and expertly assembles an ASSAULT RIFLE. Dangle says: “Let’s move out, and remember, Dr. White is smart, so watch for traps!” They move in stealthily, like the
Mission Impossible
team. They kick down a door — nothing. Another door — nothing. They hear strange MOANS coming from a third door.
Junior kicks it down, and — a blinding light FLASHES right in his face.

Junior screams and
opens fire
into the room. When he’s out of ammo, Dangle flips on the light. In the room is a sexy BLACK STRIPPER doing a show for two JAPANESE MEN in tighty-whities with a Polaroid. (Junior unloaded a full clip and missed all of them.) Not a trap. Just a stripper in a Josephine Baker banana skirt and fig-leaf pasties and two Japanese dudes in their underwear.

Dangle pulls the goggles off Junior and checks his eyes: he’s blind. “Don’t worry,” Dangle says, “it’s just temporary.” They head out to look for Wiegel.

FLASH-FORWARD TO:

 

EXT. AIRPORT — NIGHT — PRESENT DAY

Junior tries to light a cigarette, but he keeps missing — it wasn’t temporary. He can still barely see. The wail of arriving sirens snaps Junior out of his reverie. A motorcade pulls up, leading a white State Prison van.

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