“If I take the money I’m lost.”
Lawyer Frank Galvin (Paul Newman) in The Verdict
One of my all-time favorite screenplays and movies is The Verdict. I happened to see it when when it first came out in theaters back in 1982 when I was in film school. And as I revisit it from time to time it I just appreciate the multi-layers of the film.
The David Mamet screenplay is listed at 91 on WGA’s list of 101 Greatest screenplays just after Sidways and before Psycho. It was nominated for five Oscars including Best Picture, Sidney Lumet’s direction, and Paul Newman lead role.
I think the film follows the Simple Stories/Complex Characters model, but what the film does is shows us a textured glimpse into the legal world. I haven’t read the Barry Reed book which the screenplay is based on, but my guess is Reed did the heavily lifting.
Reed (1927-2002) served in the Army during World War II before getting his law degree at Boston College. He was in private practice in Boston specializing in, according to Wikipedia, medical malpractice, personal injury, and civil litigation cases.
He’d actually been practicing law for 25 years before The Verdict novel was published so he had plenty life experiences to draw on. But there is a simplicity how the screenplay handles all the complexities of law and medical which make the script a wonderful study even for the new screenwriter.
The core the story is about a fading, alcoholic lawyer whose mentor throws him a case that appears to be an easy cash settlement case. One that will help him get back on his feet. That is until Galvin’s conscience kicks in and he decides to try the case for justice to prevail. And at the same time be a personal redemption for himself.
On page 38 of the screenplay Galvin actually verbalizes to a female friend in a bar what I believe is the theme of the story:
“The weak, the weak have got to have somebody to fight for them. Isn’t that the truth? You want another drink?”
At the end of a Christopher Lockharts’ post Screenwriting 101 he has an excellent detailed outline of The Verdict which is well worth your time to read. Here’s some of his highlights:
LOG LINE: A drunken, washed-up attorney struggles against a goliath law firm to win a medical malpractice suit.
Galvin is introduced as an attorney lower than an ambulance chaser – he chases Hearses. He is a washed-up attorney- glory days long behind him. He is a drunk – who only seems to show signs of life when he is in a bar.
For physical/external storyline: MICKEY jolts GALVIN into consciousness, reminding him that he has five-days to prepare for the ONLY case on his docket. This is a definite money-maker that will ensure GALVIN some much needed income (page 6-7).
For psychological/internal storyline: GALVIN visits his comatose client in the nursing home. He comes to understand the severity and enormity of the case before him (page 8).
PLOT POINT: END OF ACT ONE
GALVIN decides to try the case, “I have to try this case. I have to do it, Mick. I’ve got to stand up for that girl” (page 31). NOTE: This is the point in the story where the goal is establinshed. GALVIN’s goal is to win the case. A MAJOR DRAMATIC QUESTION is proposed: WILL GALVIN WIN THE CASE? The MDQ is the linchpin of the dramatic narrative – the purpose for which the story is being told.
P.S. To find a link to most of the 101 WGA top scripts visit Simply Scripts.
The End of the Rope Club (Oscars ’14) Galvin belongs in the end of the rope club Oscars ’83.
Writing ‘Flight’ Another alcoholic/redemption story with some echoes of The Verdict. And one Lockhart actually had a role in getting produced.
Emotional Evolution/Devolution (Part 2)
Sidney Lumet (1924-2011)
Show Don’t Tell (Tip #46) Great example from The Verdict
Scott W. Smith
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