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Pirates of the Caribbean: The Curse of the Black Pearl (2003)

Genre
Action/Adventure
Written By
Ted Elliott, Terry Rossio
Logline
When the Governor of England's daughter is kidnapped, a young blacksmith teams up with the devilish but charming Captain Jack Sparrow, and the two set out on a high-seas adventure to save her.
Why break it down?
I've made no secret of it...I love summer at the movies.

So much do I love summer movies, in fact, that I've made sacrifices in their pursuit. Hot date Saturday night? Canceled. Got a "Pacific Rim" showing to catch. Federal tax return due? Maybe next year. "Fast & Furious" marathon-slash-muscle-car-themed-potluck at my place. Family in town? Screw 'em. "Die Hard" trilogy. Last two don't count.

Which is why this edition of ClassAct is very special. Today, we're tackling one of the biggest blockbusters of all time…"Pirates of the Caribbean: The Curse of the Black Pearl!" And what an awesome flick to study -- Ted Elliott and Terry Rossio are two of the most bankable scribes in the game, having penned Aladdin, The Legend of Zorro, Shrek, National Treasure, and even 2013's The Lone Ranger, which was honestly pretty cool if anyone got the chance to see it. Point being, if there's anybody who knows big-budget Hollywood spectacle, it's these guys. So what can we learn about three-act structure from "Curse of the Black Pearl?"

"PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL" IS AN EXAMPLE OF A THREE-ACT ADVENTURE SCRIPT. Beat-for-beat, it plays magnificently within the structure we've come to know, and can teach us about LAYERING OUR WORLDS WITH COMPLEX BACKSTORIES AND SPECIFICS. It can also teach us how to CRAFT EFFECTIVE MACGUFFINS, which (like "Tangled" a few posts back) can go a long way toward adding stakes to our characters' journeys.

So read up, keep an eye out for the beats, and we'll look at the film's structure after the jump. (Click the [+] button for a summary of each scene.)

ACT I
00:00 - 05:00 (5.00 pages) [+] ⬅ FLASH-BANG OPEN
05:00 - 05:45 (0.75 pages) [+]
05:45 - 09:00 (3.25 pages) [+]
09:00 - 21:00 (12.0 pages) [+] ⬅ INCITING INCIDENT, PART I
21:00 - 27:15 (6.25 pages) [+]
27:15 - 27:45 (0.50 pages) [+] ⇣ opening
27:45 - 36:00 (8.25 pages) [+] ⇣ exposition
36:00 - 37:30 (1.50 pages) [+]
37:30 - 41:00 (3.50 pages) [+] ⬅ INCITING INCIDENT, PART II
41:00 - 42:30 (1.50 pages) [+] ⇣ prepare for
42:30 - 44:30 (2.00 pages) [+] ⇣ adventure
44:30 - 48:30 (4.00 pages) [+] ⬅ PLOT POINT #1

ACT II
48:30 - 50:30 (2.00 pages) [+]
50:30 - 51:30 (1.00 pages) [+]
51:30 - 52:15 (0.75 pages) [+]
52:15 - 54:00 (1.75 pages) [+] ⇣ fun
54:00 - 61:00 (7.00 pages) [+] ⇣ and
61:00 - 63:00 (2.00 pages) [+] ⇣ games
63:00 - 64:15 (1.25 pages) [+]
64:15 - 65:15 (1.00 pages) [+]
65:15 - 68:00 (2.75 pages) [+]
68:00 - 76:00 (8.00 pages) [+]
76:00 - 76:45 (0.75 pages) [+] ⇣ false victory
76:45 - 77:30 (0.75 pages) [+] ⬅ MIDPOINT REVERSAL
Midpoint
77:30 - 79:45 (2.25 pages) [+]
79:45 - 80:45 (1.00 pages) [+] ⇣ roll
80:45 - 90:45 (10.0 pages) [+] ⇣ downhill
90:45 - 92:30 (1.75 pages) [+]
92:30 - 95:00 (2.50 pages) [+]
95:00 - 96:45 (1.75 pages) [+] ⬅ LOW POINT
96:45 - 98:45 (2.00 pages) [+]
98:45 - 100:0 (1.25 pages) [+]
100:00 - 101:30 (1.50 pages) [+] ⬅ PLOT POINT #2

ACT III
101:30 - 103:00 (1.50 pages) [+] ⇣ ride
103:00 - 104:30 (1.50 pages) [+] ⇣ into
104:30 - 108:15 (3.75 pages) [+] ⇣ battle
108:15 - 124:30 (16.25 pages) [+] ⬅ CLIMAX
124:15 - 131:45 (7.50 pages) [+]
131:45 - 133:15 (1.50 pages) [+] ⇣ resolution

Analysis
Pirates is a master class in big-budget blockbuster screenwriting. All the essential story elements are there, fleshed out to mind-boggling specificity. It's a marvel to pick apart. Want big, playable characters? Check. Monster-level set pieces? Double-check. Fairytale romance? You betcha. This is the kind of screenplay that makes three-act structure look dangerously simple…yet few writers have built careers pulling it off as well as Elliott and Rossio have.

Boiled down to basics, though, Pirates uses the same three-act skeleton we've come to know and love. So without further ado, let's take a look at where the important plot points show up, and briefly talk about why they are where they are:

Flash-Bang Open [+]
Opening Exposition [+]
Inciting Incident, Part I [+]
Inciting Incident, Part II [+]
Prepare for Adventure [+]
Plot Point #1 [+]
Fun and Games [+]
False Victory [+]
Midpoint Reversal [+]
Roll Downhill [+]
Low Point [+]
Plot Point #2 [+]
Ride Into Battle [+]
Climax [+]
Resolution [+]

2 comments:

  1. This was awesome. Thanks for the breakdown! I was taking notes based on the little tool-tip popups that show when I hovered my cursor over each major point, but I noticed that some, like false victory and low point, don't have popups with definitions. Is there anywhere you have a complete list of each point with the definitions? I would greatly appreciate it!

    ReplyDelete
    Replies
    1. Hey jmsevold -- glad it's helpful. I honestly had no idea anybody reads my blog :) I'm actually out of the country but will get a glossary up asap.

      In the meantime, though:

      The False Victory, typically, is a plot point that happens near the middle of a film -- where our main character SUCCESSFULLY accomplishes the goal that we established in Plot Point #1.

      In this case, at Plot Point #1, Will Turner has a clearly-defined goal: SAVE ELIZABETH. And at the False Victory (right in the middle of the movie)...he accomplishes that.

      From there, the False Victory typically causes a new, even worse complication -- and it allows the bad guys to make a comeback (the Roll Downhill) until...

      THE LOW POINT -- where our bad guys have pretty much kicked our hero's ass. Our hero is down for the count, with nowhere to go, and all hope is lost...until he or she comes up with a NEW PLAN (Plot Point #2) to fight one last battle and defeat the bad guys.

      Hope this helps!

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