By Mark A. Heald, Jerry B. Marion
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Javier had nothing to do with this. It was all my idea. ” The dishonorable nature of his death also increases Manolo’s burdens, causing him to make another futile request. “Do me a favor. Don’t tell Ana [Manolo’s wife] I died like this. Tell her it was something else. Something official. ” While Manolo was particularly troubled about the way his wife would remember him, other heroes may be more concerned about the way the world will remember them. In MEET JOE BLACK, Bill Parrish perfectly explains why a man’s legacy matters so much.
His cheerful expression before their divorce court hearing begins indicates that he probably nursed hopes that he and Joy could put all of this behind them and start fresh. Now, as she wields her mace, telling the judge she doesn’t want any of the money from the casino jackpot, only a divorce, it’s Jack’s turn to be devastated. ) The swift nature of the medieval mace approach is one of its major benefits. Once your hero is knocked over, you can quickly segue into the next part of your story. In most cases, the same can’t be said for the one thousand cuts method.
However, if your screenplay is a “two-hander” which tracks the lives of two protagonists, the medieval mace method may be ideal. As a generic example, at the beginning of your story, Hero A and Hero B may detest each other. But as your script progresses, they begin to smooth out their differences. At the end of Act Two, Hero A makes a devastating discovery about Hero B, who has somehow betrayed him. That’s mace blow #1. Hero B, unawares that everything’s gone hinky, is completely oblivious, until Hero A confronts him.