The "ABCs of BBM": Round 965! (Rules in first post)

[Toast]

The award winning screenplay for Brokeback Mountain fleshes out Annie Proulx's story of society's xaction on deviants.

[Toast]

Round Five Five Two
Here's Looking at You!


"Our" Oscar Winning Screenplay.

[Fran]

                               BARTENDER
                    (seen it all)
          Ever try calf-roping?

                               JACK
                    (nervous)
          Do I look like I could afford a fuckin'
          ropin' horse?
     
JACK slams down the rest of his beer.  Looks around
anxiously.  Puts a ten on the bar.  Leaves.

[screenplay]

[memento]

Brokeback Mountain: Story to Screenplay can be found in bookstores and at Amazon.com.

[southendmd]

The fully-alive characters of Alma and Lureen were the product of Larry and Diana's creativity.

[Meryl]

The expert collaboration of Larry McMurtry and Diana Ossana on the screenplay for Brokeback Mountain doubled its chances for success.

[Toast]

The expert collaboration of Larry McMurtry and Diana Ossana on the screenplay for Brokeback Mountain doubled its chances for success.

=aside= Meryl
 

=aside= Fran
Welcome back from the Grand Canyon, etc.
What was better the GC or the etc.

[memento]

McMurtry starts each day by writing five pages on an old typewriter, then either handing them over or faxing them to Ossana, who rewrites, adds to, edits and texturizes the skeletal story.
"I've always had a five-page-a-day pace, and I've never had a reason to desert my Hermes typewriter," said McMurtry. "I'm an early riser and an early worker. I usually hand my pages to Diana by 8:30 or 9 a.m.           

A winning team, Writing duo adapted 'Brokeback Mountain' for silver screen by Phil Villarreal

=aside= Fran
Glad you're back. You were missed.

[Fran]

EXT:  SIGNAL, WYOMING:  STREET:  DAY:  1963

Relentless wind.

JACK is in the cab of his old pickup, grinding the ignition.

ENNIS is under the hood, fiddling with the carburetor.

                              ENNIS
               Give it some gas.

Pickup sputters.

ENNIS continues.

JACK grits his teeth. . .pickup starts.  ENNIS closes the hood.

JACK revs the engine a few times, then puts it in neutral and
pulls on the emergency brake.  Steps out of the cab.  Big
bruise coming up on his jaw from where ENNIS punched him.

ENNIS rifles through a flour sack with his clothes and few
goods.

                              ENNIS (CONT'D)
                    (to himself)
               . . .can't believe I left my damn shirt up
               there. . . .

[screenplay]

=reply= Toast and Sandy
Thanks.  My trip was great, but it's good to be back
home.  It's even better to see that "J" is gone.  I got
my wish after all!

[Toast]

In the 2004 screenplay/shooting script, the writers show how Ennis's personal hungering influences him to attend his daughter's wedding, even if he has to cancel being a working cowboy on the roundup over near the Tetons:

                ALMA JR.
        Yes, daddy. He loves me.

ENNIS, also on the verge of tears, nods, almost as if to himself.

                ALMA JR.
            (pause)
        Was hoping you'd be there, Daddy.

                ENNIS
        Supposed to be on a roundup over near the Tetons...

Something sags a little in ALMA JR.
Understands.
Nods her head.

ENNIS looks across at his daughter.
Sees her disappointment.
He stands. Takes a half-empty bottle of cheap white wine from the fridge, a legacy of CASSIE.

                ENNIS
            (smiles at his daughter)
        ...but I reckon they can find themselves another cowboy.

Takes two jelly glasses from the dry rack next to the sink,
unscrews the bottle top, fills both. Sits.

                ENNIS
            (raising his glass)
        To Alma and Kurt.

ALMA JR. smiles, and clinks her glass with her daddy's.

ENNIS smiles back at his luminous daughter.
But his smile can't hide his regret and longing,
for the one thing that he can't and won't ever have....