SCRIPT
I tried my hand
at a movie script based on AMA.
The full script can be downloaded by registering, free of
charge, at www.triggerstreet.com.
One or two reviewers at that site panned it, but five, reproduced
below, had kinder words.
Fascinating
detail, but needs a dramatic arc by jenniferleareed

Ama is the fascinating,
well-researched story of an African woman torn from her village and successively
traded as a slave until she reaches Brazil. I have never seen anything like
this, and found the intra-African slave trade and its history to be
illuminating. The only problem, and for a screenplay it's pretty significant, is
the lack of a dramatic arc. That's not to say Ama isn't filled with action and
drama -- it is. It's just that there's no sense of what Ama wants (sometimes she
seems very content in her role as slave) and she just seems to move from scene
to scene as time passes, enduring a lot of really bad stuff, until she's an old
woman. If freedom is an elusive goal, what other, little goals, does she have?
At one point not working in the cane field is one, and on board Love of Liberty
she organizes a mutiny. But even the latter just seems to be another scene, not
a climatic turning point. My suggestion is that Manu sticks with this script --
it could turn out REALLY good -- and get some books on the dramatic structure of
a screenplay. A little tweaking, and it could be a very strong contender
African girl resisting slavery by
kwjewitt

I can't believe that the film rights to this well-praised
novel haven't been bought already! Very well-meaning, apparently well-researched
and censors nothing. Nicely conveys the complexity of the journey out of Africa
and the way in which apparent security can be snatched away. However, it's a
difficult subject area in many ways - not the least being that no happy ending
can work. Roots worked, because of the tie-in with genealogical research, and
the blend of light and shade. Amistad went for an easy option of mutating into
courtroom drama. Beloved flopped big time, in spite of literary pedigree. It
would be hugely expensive to film, a big big gamble. I feel that if it's going
to work the punters must fall in love with Ama: but do we know her well enough?
The script reads rather like a novel at times: it's panoramic, with lots of
characters and might
be better suited to a TV adaptation in several parts. The art of
inventing dialogue in 17th-18th century language is very tricky: perhaps a read
through might be useful. I wonder about the violence and rape scenes
recurring throughout the film. When all's said and done, people will only want
to see this if it works as "triumph of the human spirit".
Quite an undertaking by
Ronnie A

This is quite an undertaking. An epic tale that takes you
through a look at may of the various societies guilty of slavery. I thought it
succeeded quite well. The dialogue
was a bit long in parts and at times perhaps a little awkward. But with
some trimming and polishing this could be filmed. I did think that this might
prove to be written in a novelistic style as the notes make it obvious it is an
author adapting his own work. The formatting, except for the dialogue at times,
is accurate. The writer might want to consider having
the script read aloud to hone the speeches.
A
good, solid story with excellent research by bonobo

Some of the descriptive paragraphs are too long, though the
detail is good. Some of the formatting is off, making readability an issue.
You don't put the character list in the slug line. Split
dialogue needs a new character heading and a (cont'd). Research work is
excellent, shows you did your homework. Good use of adjectives for description.
The dearth of new and strange names are hard to keep up with. I realize this is
a cultural issue.
The amount of dialogue reads like a stage play. A lot of the story is told in
the dialogue. Much of it could have been told in the description. The
amount and severity of the rape
scenes may be authentic but they're coming off as exploitative. Overall,
it's a good story that needs to be told. Learning proper screenplay format would
make the script more readable. If you shorten
and reduce the descriptive paragraphs you would also make reading a lot
easier. This script is definitely worth editing and rewriting.
Way too much detail by:
jmanders

This is a rather compelling story.
Its problem lies in paying so much attentiion to incidental details, that the
story is lost in the mix. Using the proper names for body wraps and head pieces,
and tools and such, as well as the nicknames, titles, and appellations of every
person involved in the story, made it very difficult to keep up. For so many
things to be out of a reader's ken, makes it difficult for us to identify with
what's going on. The actual actions of the story and the horrible things that
befell Ama are interesting, but that's where the focus needs to be, not on the
correct terminology to describe an eighteenth century toothbrush. Also, I have
never seen so many lenghty monologues in one script. And I felt that some of the
words and comments used by a number of uneducated characters were a bit too
sage. Case in point, Hatcher reflecting on Ama's viewpoint toward her
"oppressors." Also, there were a few too many characters with little
in the way of introduction. Your structure is sound, and the concept intriguing,
but a rewrite is in order. I would also recommend addressing some of the leaps
in time. The tranistion from ship to shore after Ama's eye-loss was jolting. As
a title, "Ama" would do just fine
Here is the
introduction.
ama
FADE IN:
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A late
eighteenth century map of the continent of Africa. Slow ZOOM IN on
what is now north-eastern Ghana. |
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TEXT |
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1772.
Asante conquers Dagbon and exacts an annual tribute of 500 slaves. |
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West
African savannah dotted with baobab, silk cotton and dawa-dawa trees. A
band of horsemen raises a cloud of dust. Title and Credits over. |
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PAN over
landscape to discover and slowly ZOOM IN on: |
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EXT.
Nandzi's father's COMPOUND -- Nandzi's family -- MORNING |
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The
compound is an isolated cluster of thatched rondavels, linked by a low mud
wall. Distant drums. Nandzi's father, TIGEN, Tigen's three younger
BROTHERS, his two WIVES and their CHILDREN, leave the compound on foot and
strike out over the savannah to attend a funeral in the nearest village.
They turn to wave. |
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ext.
compound courtyard --NANDZI, NOWU |
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NANDZI is
17. She is barefooted, dressed in a simple cloth wrapper. Her baby brother
NOWU, is on her back. She waves back to her family and watches them
disappear over the brow of a hill. Humming a lullaby, she takes Nowu's
weight with one hand and tucks in the end of her cloth with the other.
Nowu whimpers. Nandzi twists her head to look at him. He is asleep. She
feels his forehead; then bends to pass through the low door of a rondavel.
She lays Nowu down on a sleeping mat and returns to the courtyard. |
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Sitting
down on a stool to rest, she sees and smells the soup which is simmering
in a pot on a low fire. She looks around guiltily, then ladles some soup
into a bowl. She puts the bowl to her lips. |
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She is
startled by the drumming of horses' hooves. She stands up and in her haste
drops the bowl. |
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End of
Titles and Credits. |
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EXT.
SAVANNAH -- ABDULAI, DAMBA, ISSAKA AND COMPANY |
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Twenty
horsemen gallop towards the compound. They wear heavy leather jackets and
ride with their legs straight. They are armed with spears and bows and
arrows. ABDULAI, on a white horse, is their leader. The men bunch close
behind him in a cloud of dust. Their guttural WAR CRIES rend the air. |
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They rein
in their mounts. Neighing and snorting, the horses rise on their hind
legs, prance and turn as the riders struggle to control them. Abdulai
signals silence. Only the horses' blowing disturbs the peace. Abdulai nods
to the two horsemen alongside him. DAMBA and ISSAKA dismount, hand their
reins to others and stretch. Then, spears in hand, they advance nervously
through the low doorway. |
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EXT.
compound courtyard -- Damba, Issaka |
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Damba
sees the pot on the fire. Silently he points to it. Issaka kicks at a hen,
which flees, its chickens in pursuit. They peer into one room, then
another. ENTER YAKUBU. |
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Yakubu |
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What are
you two up to? Abdulai is impatient. |
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Damba |
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Tell him
we are searching. Don't you see the pot on the fire? They could be hiding. |
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They pass
into Nandzi's room. |
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INT.
Nandzi'S ROOM -- Damba, Issaka |
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Issaka |
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There is
nothing here. |
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Damba |
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Wait. |
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He flips
the skins aside with the point of his spear. NANDZI and NOWU lie revealed.
Nandzi screams and clasps her hands over her head, as if trying to make
herself invisible. Nowu, woken, begins to cry. |
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Damba |
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Ah, what
have we here? |
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|
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Abdulai |
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Issaka,
Damba. If there is no one . . . |
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He sees
the Nandzi cringing on the floor. |
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Abdulai |
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What have
we here? |
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He
strides across the room and grabs Nandzi's upper arm, lifting her to her
feet. Nowu is holding her cloth and as she is pulled away from him, the
cloth unwinds, leaving her unclothed. She tries, but fails, to catch the
garment. |
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Abdulai |
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What have
we here? |
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He
relaxes his grip on Nandzi's arm and at once she tries to run; but the
doorway is blocked by Issaka and Damba. Moving swiftly, Abdulai grabs her
two arms from behind. |
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Abdulai |
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Get out
of here. |
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Abdulai |
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Now let's
have some fun together, shall we? |
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He grabs
her waist from behind and pulls her against him. Nandzi struggles,
striking him repeatedly with her elbows. |
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Nandzi |
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You
beast. You filthy pig. |
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Abdulai |
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I don't
hear your language, my darling, but I am sure that those are words of
love. |
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Abdulai |
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Issaka!
Damba! |
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Damba's
head appears in the doorway. |
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Abdulai |
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Remove
this child. |
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Now get
out. Get out! |
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Abdulai
struggles to hold on to Nandzi with one hand, releasing his pantaloons
with the other. The pantaloons drop to his ankles. He forces Nandzi down,
pinning her to the ground as he mounts her. He sighs. Nandzi continues to
scream abuse and struggle. He holds her wrists. She twists her head and
snaps her teeth over his index finger. |
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Abdulai |
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(in pain) |
 |
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You
bitch. You filthy, verminous bitch. I will teach you to trifle with
Abdulai. I will teach you. Remember me. My name is Abdulai. General
Abdulai. |
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He puts
the weight of his elbows on her arms. Then he begins to drive into her. |
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Nandzi |
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(Screams
in pain.) |
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EXT. OPEN
COUNTRY -- Abdulai -- day |
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Abdulai,
in leather armor, drives his spear repeatedly into the body of a dead
enemy. |
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INT.
Nandzi's ROOM -- Abdulai, Nandzi |
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Abdulai
puts his finger in his mouth to stem the flow of blood. He rises slowly to
his feet and draws up his pantaloons. He picks up Nandzi's cotton cloth,
tears off a strip and bandages his finger. Nandzi lies sobbing. |
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Abdulai |
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Damba.
Collect the loot and take this hussy back to the camp. Let's get out of
here. This place gives me the spooks. |
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Turning from them he examines
his finger. The blood has soaked through the bandage.
Interesting link: http://www.qemovies.com