by Jeff Kitchen
28. Obstacles to Love
There are obstacles to the love between Cutter and Margarita, possibly to the lust between Cutter and St. Nick’s secretary, to the father/son relationship between Cutter and Mischa, and between Cutter and Apollo. One possible relevant applicable subheading is A free union impeded by the incompatibility of temper of the lovers (Cutter and Margarita, Cutter and secretary).
29. An Enemy Loved
Cutter’s relationship with Apollo is an example of An Enemy Loved, because as tight as they are, Cutter knows that Apollo is simply not to be trusted. Cutter’s relationship with St. Nick shows elements of this situation in terms of fascination with an enemy. If Cutter is astonished by how phenomenally skillful St. Nick is, he must face that his worst enemy is his guru. Cutter’s passion for the secretary could be an enemy loved depending on how much of an enemy she really is—and she might be a deadly one. Cutter’s respect for Senator Hutchings is also an enemy loved. Does St. Nick still admire Cutter’s talent even after he finds out what Cutter is up to? The only significant subheading is The loved one hated by kinsmen of the lover (if St. Nick’s secretary is related to him).
30. Ambition
Each character has lofty ambitions, from Cutter, Apollo, and Shallott wanting to destroy St. Nick, to Hutchings’s and St. Nick’s ambition to make billions. Cutter also shows his aspiration to tell the truth and follow the straight path. Mischa has the misplaced ambition to be a criminal, and Margarita fosters powerful ambitions for her family. Apollo never quits; his ambition is endless and probably pathological. It’s interesting to isolate each person’s ambition and look at its origins, how it plays out, how it changes, and how far each character will go to achieve it. All the subheadings are suggestive, including Ambition watched and guarded against by a kinsman, or by a person under obligation; Rebellious ambition; and Ambition and covetousness heaping crime upon crime.
31. Conflict with a God
Cutter versus St. Nick is a clear-cut conflict with a “god,” but Cutter is a deity in his own right, as St. Nick will discover when their fight to the finish kicks in. Cutter versus Apollo, and Mischa versus Cutter, both play out similarly. Cutter is trying to escape from the godlike, all-powerful pull of his criminal addictions. His conflict with Margarita also falls in this category, because she’s up against an unstoppable force of nature, a god of mischief, a wild man. All the subheadings are useful: Struggle against a deity; Strife with the believers in a god; Controversy with a deity; Punishment for contempt of a god; and Punishment for pride before a god.
32. Mistaken Jealousy
Is Cutter really having an affair with St. Nick’s gorgeous nymphomaniac secretary, or does Margarita just think he is? Do any of the characters set up a situation intentionally to make someone jealous? Is Mischa envious of Cutter’s involvement in this criminal world, while in truth Cutter is having a horrible time? (I’ve been playing with the possibility that both Mischa and Margarita have separately tracked Cutter, discovered his secret mission, and begun spying on him. This adds significant complications and could be fun.) Among the subheadings that may prove useful are: The mistake originates in the suspicious mind of the jealous one; Baseless jealousy aroused by malicious rumors; and Jealousy suggested by a traitor who is moved by hatred or self-interest.
33. Erroneous Judgment
Cutter knows from the beginning that going after St. Nick is a bad idea. Later, he is getting in over his head and knows he’s going to make a bad choice or a serious misstep. Cutter is dealing with Mischa’s questionable choices in life. Margarita is questioning Cutter’s judgment in terms of his loyalty to her and their shared ideals. Apollo is misjudging his enemies, St. Nick misjudges Cutter and the situation, and Nick and Hutchings likewise misjudge each other. Also, I’ve been figuring that Mischa will make a disastrous choice at a critical moment. Interesting options include False suspicion where faith is necessary; False suspicion aroused by a misunderstood attitude of a loved one; False suspicions drawn upon oneself to save a friend (a particularly intriguing possibility); They fall upon the innocent; The accusation is allowed to fall upon an enemy; The error is provoked by an enemy; False suspicion thrown by the real culprit upon one of his enemies; and False suspicion thrown by the real culprit upon the second victim against whom he has plotted from the beginning (which could lead to a reversal of fortunes).
34. Remorse
Cutter feels remorse for abandoning his straight life. Margarita feels it, too, because she’s unable to stop him from following Apollo’s influence. Does Apollo feel any remorse? How about Mischa? St. Nick is notorious for his lack of conscience, so he has utterly no remorse. Does Cutter’s remorse send him back to the truth at the very end? Appropriate subheadings include Remorse for a parricide (if Mischa puts Cutter in harm’s way); Remorse for an assassination (bear in mind, this isn’t necessarily literal); Remorse for a fault of love; and Remorse for an adultery.
35. Recovery of a Lost One
Cutter re-emerges into his old criminal self—falling back into his addictions, a way of life that he loves. Apollo gets his old partner back. In the end, won’t Cutter recover his normal, wonderfully boring life, and a son who has been scared straight? Is St. Nick trying to recover his innocence by escaping the world of crime? Does Senator Hutchings yearn to regain some old family glory? (There are no subheadings for this situation.)
36. Loss of Loved Ones
Cutter thinks fondly on his riotous days and misses them; but in returning to those ways, he’s torn from his family. Shallott has lost his only family member because of St. Nick. Hutchings and St. Nick lose their gigantic victory at the last minute. Do Apollo and Cutter lose each other in the end? Some useful subheadings are Witnessing the slaying of kinsmen while powerless to prevent it; Helping to bring misfortune upon one’s people through professional secrecy; and Learning of the death of a kinsman or ally (various characters could die or be “lost” at the end of this script).
As you can see, I got plenty of mileage out of the 36 Dramatic Situations. In fact, I found much of my plot through this in-depth exploration. These thirty-six elements are the fundamental building blocks of all storytelling, the DNA that story worlds consist of, and you can organize them in any way that suits your needs. I’ll make many passes over the 36 Dramatic Situations before I’m done, building the story and revising it (usually looking only at the main thirty-six on subsequent passes), but each time through I find fresh nuance. This tool often suggests subtle ideas, the little differences that can make a story function, make it real, or add that special “magic something.” You can see now how useful the subheadings are because they offer so much nuance. I feel as if I’ve scoured every inch of this story’s world with this tool—as if I’ve left no stone unturned. There’s much more work to do on this plot, but the 36 Dramatic Situations have taken it far. I trust that you now feel at home with this process. The more you use it, the more comfortable it will feel. And remember, there are no wrong choices with this tool. If a situation triggers an idea, any idea, then it’s done its job.
Using the Enneagram
et’s now explore what the Enneagram has to offer our script in terms of character development. A sophisticated personality-profiling system, this tool is similar in nature to the 36 Dramatic Situations, as it provides an extensive catalog of attributes with which to develop characters. With incisive psychological insights and a broad comprehension of human nature, it’s a state-of-the-art tool for any writer. Rereading Chapter 4 on the Enneagram before going through this chapter will help you master its use.
DEVELOPING THE CHARACTER OF CUTTER
The character of Cutter offers up three distinct alternatives. He seems to be a 7, The Enthusiast, when his wild side comes out, and yet when we first meet him he might be a 1, The Reformer, or a 6, The Loyalist. Three entirely different personalities seem like a fun possibility for this particular movie. As described by The Enneagram Institute, a 7 in the Healthy aspect is “highly responsive, exc
itable, enthusiastic about sensation and experience. [The] most extroverted type: stimuli bring immediate responses—they find everything invigorating. Lively, vivacious, eager, spontaneous, resilient, cheerful.” This is what I pictured the former Cutter to be like: excitable, half-cocked, wild-eyed, and devilish.
A 7 in the Average aspect can “become adventurous and ‘worldly wise,’ but less focused, constantly seeking new things and experiences.” Then we strike gold:
Unable to discriminate what they really need, [7s] become hyperactive, unable to say “no” to themselves, throwing self into constant activity. Uninhibited, doing and saying whatever comes to mind: storytelling, flamboyant exaggerations, witty wisecracking, performing. Fear being bored: in perpetual motion, but do too many things—many ideas but little follow through. Get into conspicuous consumption and all forms of excess. Self-centered, materialistic, and greedy, never feeling that they have enough. Demanding and pushy, yet unsatisfied and jaded. Addictive, hardened, and insensitive.
This is right on the money for the untamed Cutter. There are so many particular traits to build with, like working with a specialized Lego set that comes with wheels, pulleys, gears, and everything you need to make realistic, functioning constructs. The last two sentences would be an interesting addition to the old Cutter; in fact, the description sounds like a career criminal. I always saw him as addictive, but “demanding,” “pushy,” “unsatisfied,” “jaded,” “hardened,” and “insensitive” are much more tangible flaws. In addition, these traits would raise tension by helping the audience not to feel safe around him as the movie nears its end.
Now let’s look at the Unhealthy aspects of a 7:
Desperate to quell their anxieties, [7s] can be impulsive and infantile: do not know when to stop. Addictions and excess take their toll: debauched, depraved, dissipated escapists, offensive and abusive. / In flight from self, acting out impulses rather than dealing with anxiety or frustrations: go out of control, into erratic mood swings, and compulsive actions (manias). Finally, their energy and health is completely spent: become claustrophobic and panic-stricken. Often give up on themselves and life: deep depression and despair, self-destructive overdoses, impulsive suicide. Generally corresponds to the Manic-Depressive and Histrionic personality disorders.
This is a fascinating look at the low end or dark side of Cutter. Rich in flaws, it speaks of a broken personality and multiple disorders—all of which I knew I needed for Cutter. Previously, they existed merely in the abstract, if at all, and now here’s a missing section of his personality staring me in the face. In this way, the Enneagram is like the 36 Dramatic Situations; an intensely valuable resource to draw on, it can save a lot of brain-wracking and fumbling along blind alleys.
The Enneagram helps to reveal why Cutter went straight. The miserable downside of his persona can be very intense and hard to live with. Words like “desperate,” “infantile,” “excess,” “depraved,” “out of control,” “erratic mood swings,” and “manias” are all so vivid, intense, and suggestive. Then we’ve got the even darker elements of “deep depression and despair,” “self-destructive overdoses,” “impulsive suicide.” These traits are bad news, and they go to the bottom of a full-spectrum portrait of Cutter. They’re a real eye-opener, the traits of a real human being rather than just a limited, two-dimensional take on the character whom I’ve been seeing in my mind’s eye. As I develop him further, I’ll be paying careful attention to these promising suggestions.
Now let’s explore the other side of Cutter’s personality—the sober, honest, and ardent husband, father, churchgoer, and community man. This Cutter jumps out at me as a 1, The Reformer:
Conscientious with strong personal convictions: They have an intense sense of right and wrong, personal religious and moral values. Wish to be rational, reasonable, self-disciplined, mature, moderate in all things. Extremely principled, always want to be fair, objective, and ethical: truth and justice primary values. Sense of responsibility, personal integrity, and of having a higher purpose often make them teachers and witnesses to the truth.
These traits align with my image of the reformed Cutter, and I want to embed them deeper in him. This is the man I want to open the movie with.
I’m also thinking about the person I want Cutter to be at the end of the movie. I see him being free from hypochondria, medications, claustrophobia, and all his negative baggage. Healthy 1s at their best “become extraordinarily wise and discerning. By accepting what is, they become transcendentally realistic, knowing the best action to take in each moment. Humane, inspiring, and hopeful: The truth will be heard.” This Cutter is not just back to where he was before Apollo dragged him into the scheme, but has actually improved quite a lot from this ordeal. He’s a real hero.
An Average 1 can “become high-minded idealists, feeling that it is up to them to improve everything: crusaders, advocates, critics. Into ‘causes’ and explaining to others how things ‘ought’ to be.” I hadn’t thought of these aspects for Cutter’s reformed personality; they help to flaw him at the film’s beginning, keeping him human. There are also comic possibilities in this Cutter as a crusader who can get preachy, “orderly and well-organized, but impersonal, puritanical, emotionally constricted, rigidly keeping their feelings and impulses in check. Often workaholics—‘anal-compulsive,’ punctual, pedantic, and fastidious.” The comedy will be enhanced if Cutter represents the fussy little repressed busybody that people like to laugh at. There should be as much contrast as possible between the Cutter we meet at the beginning and who he becomes when he roars to life late in the story.
There is comic pay dirt as well in Cutter’s being “very opinionated about everything: correcting people and badgering them to ‘do the right thing’—as [he] see[s] it. Impatient, never satisfied with anything unless it is done according to [his] prescriptions. Moralizing, scolding, abrasive, and indignantly angry.” These characteristics are fun because, played properly, this prissy, puritanical anger would be the polar opposite of Cutter’s frenzied self. This gives him some real flaws to stress his marriage; it’s not all hearts and flowers in Camelot. As I look at the Unhealthy aspects, I don’t see too much that I’d want to use: I want him to be in fairly decent shape.
I also see aspects of a 6, The Loyalist, in Cutter. Look at some of this type’s Healthy aspects:
Trust important: bonding with others, forming permanent relationships and alliances. Dedicated to individuals and movements in which they deeply believe. Community builders: responsible, reliable, trustworthy. Hard-working and persevering, sacrificing for others, they create stability and security in their world, bringing a cooperative spirit.
This sums up much of what I’m looking for in Cutter as the story opens—someone who is rooted, or trying to root himself, into his community. There are other intriguing possibilities in the average aspect of a 6 that I’ll come back to as I develop the character further, but for now the above attributes provide material that I’ll integrate into my portrait of the lawful and earnest Cutter.
DEVELOPING THE CHARACTER OF APOLLO
I see Apollo also as a 7, sharing many of Cutter’s attributes. But he also exhibits aspects of a 5, The Investigator: a good planner, the intense cerebral type “possessing good foresight and prediction” as well as “mak[ing] pioneering discoveries and find[ing] entirely new ways of doing and perceiving things,” a personality naturally inclined toward “model building, preparing, practicing, and gathering more resources.” Traits also interesting for this character are “provocative and abrasive, with intentionally extreme and radical views.”
But I’m looking at Apollo as a possible 6, The Loyalist, too: “Able to elicit strong emotional responses from others: very appealing, endearing, lovable, affectionate. Trust important: bonding with others, forming permanent relationships and alliances. Dedicated to individuals and movements in which they deeply believe.”
Then again, he has some attributes of an 8, The Challenger:
Self-assertive, self-confident, and strong: [8s] have learned to stand up for what they need and want. A resourceful, “can do” attitude and passionate inner drive. Decisive, authoritative, and commanding: the natural leader others look up to. Take initiative, make things happen: champion people, provider, protective, and honorable, carrying others with their strength.
At their best, 8s are “courageous, willing to put [themselves] in serious jeopardy to achieve their vision and have a lasting influence,” while the Average aspects of 8s result in
enterprising, pragmatic, “rugged individualists,” wheeler-dealers. Risk-taking, hardworking, denying own emotional needs. Begin to dominate their environment, including others: want to feel that others are behind them, supporting their efforts. Swaggering, boastful, forceful, and expansive: the “boss” whose word is law. Proud, egocentric, want to impose their will and vision on everything, not seeing others as equals or treating them with respect.
An Unhealthy 8 is more likely to be “the criminal and outlaw, renegade, and con artist” who “develop[s] delusional ideas about their power, invincibility, and ability to prevail: megalomania, feeling omnipotent, invulnerable.” These all offer interesting dimensions for Apollo.
You can see that I’m not just blindly following any one of these types, but rather exploring and drawing from each as needed. While a person tends to be predominantly one of these personalities, he or she will often be a mix of types. Plus, as a screenwriter and not a professional personality specialist, I harbor no special loyalty to the study of the Enneagram. I can borrow from all the nine types for specific character traits to make up one of my characters. For instance, I see Apollo predominantly as a 7, but I keep an open mind and may build him out of as many traits and types as are useful.