At present taking this script into production would be completely unrealistic. Working on a little to no budget would result in the production looking of very low quality. Unlike Black Cabbie, which is a workable script in terms of production. Locations are accessible in Black Cabbie, whereas the current side script I may call it, is out of the question. There are no local deserts, mountains or western towns.
I began the treatment today for a script which acts as a Western. The events are set in the late 1800s in Arizona. The events of the script partially revolve around the divide between the states of California and Arizona. The divide between the states within the context of the film is political. The two states are legally divided by a vast plain of land. Mountains, greenland and desert all cover this land which is plagued by bandits and thieves. Inhabitance of the plain which is referred to as 'The Black Passage' or more commonly 'Land for no man' is legal for bandits. If they happen to leave the plain and enter a surrounding state they become trespassers. This law ensures that no citizens of Arizona travel to California, vice versa. They may attempt to make their way around the states but this is still risky. Border checks along the Californian state no entry to citizens of Arizona. This is a complicated political matter which does not come to light in the context of the film. With Arizona being a vast state filled with deserts, many citizens choose to abide by the law and remain housed in their own settlements. At the centre of all of this is a traditional nuclear family. Father Bill, his wife Marie and their two kids Edward and Ella. They lead a seemingly normal lifestyle. For the time period, Bill is the traditionally masculine breadwinner of the family. He tends to the crops, and often goes hunting to put food on the table of the family. Things can become complicated when the local towns landlord bullies Bill into paying monthly instalments despite the land belonging to Bill entirely, which was inherited.
One morning Bill wakes up to an abandoned house. His family have taken off with his savings without explanation. Bill finds himself psychologically tortured at the loss of his family, and more-so the lack of reason for their departing. The thought of kidnap is entirely ruled out. He surely would have awoken, and the wardrobes are empty indicating their planned escape. This leads to Bill travelling into town, furiously questioning anyone in sight. He learns that his family headed West in early hours of the morning. The only place west of that village lead to the black passage. Bill quickly assumes that for whatever reason his wife and kids have left on a perilous journey to California.
For the moment, this is all I have concept wise to work with. I believe that as I have these opening scenes to work with, inspiration will come as I work. Before that I will work on character profiles to solidify the characters. In the creation of my characters, I need to understand the morale compass of each character before I can continue with any real story. The concept intrigues me as it essentially challenges the conventions of traditional westerns, and modern westerns alike. Westerns are often male dominated. To have a woman play a significant role which opposes the male protagonist is bold and tricky. It will also be interesting to see how elements of a psychological thriller can be worked into the driving force of a Western.
One main in source of inspiration in film is from the modern adaptation of the classic Western; 3:10 To Yuma. Christian Bales character is a man who constantly attempts to protect his family physically and financially. To protect his family he takes on a quest voluntarily, to escort a dangerous outlaw to the 3:10 To Yuma train. The character influenced by own concepts immensely. He is an example of a traditionally masculine man with a simple aim, which is centred around the protection of his family. I like the idea of a man in the late 1800s having nothing but his family. There is no technology to be had, no hobbies or interests other than his family. The fundamental aim is to protect his wife and children and put food on the table for them. Nothing else seems to matter. So, when that ritual is destroyed the man knows not where to place himself in the world.
Another major influence in the thought process of this script was George Stevens classic western Shane. The geographical context of the film and cinematography landscape inspired the thought of the black passage, the large western plain. Within the film Shane joins a peaceful family, whom are situated a few miles from the main town which is took over by a group of rogue shopkeepers and criminals. The massive ground between the family and the town acts as a physical and psychological divide. This is where the idea for the black passage came from, but on a more tremendous scale.
Shane also inspired the characters. Their motives and their stature. Shane is a stranger to this family, who quickly becomes the father of the child and second husband to the married woman. The shift in power causes conflict between Shane and the man of the house at the end of the film. This inspired me to have two male characters enter some kind of conflict. All because of family. Bill, my main protagonist is a protector and provider to his family. Because his wife then deserts him for what is revealed to be another man, the ultimate showdown is between Bill and the man who took Marie and his kids from him. What angers Bill the most is that they were not taken. His wife and kids left him willingly during the night.
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