The Mask Of Zorro Script Pdf

The Mask Of Zorro Script Pdf

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The problem with that is most screenwriters have never read an outline, treatment, or scriptment that went into production. A simple Google search on how to write treatments will offer you endless directives and rules to follow, but the truth is that there's no single way to write an effective outline, treatment, or scriptment.

Treatments vary in length and cover the more specifics of the story, utilizing prose in the form of descriptive paragraphs that tell the story from beginning to end with all of the plot points, twists, turns, revelations, and character descriptions, but void of much dialogue.

Keep in mind that a scriptment is not a screenplay. As Cameron states, most of the writing is in treatment prose using paragraphs to explain the story and summarize what the characters are saying. The screenplay format elements of character names and dialogue are only used sparingly to feature the major moments within the story.

The Mask of Zorro is a 1998 American swashbuckler film based on the character of the masked vigilante Zorro created by Johnston McCulley. It was directed by Martin Campbell and stars Antonio Banderas, Anthony Hopkins, Catherine Zeta-Jones, and Stuart Wilson. The film features the original Zorro, Don Diego de la Vega (Hopkins), escaping from prison to find his long-lost daughter (Zeta-Jones) and avenge the death of his wife at the hands of the corrupt governor Rafael Montero (Wilson). He is aided by his successor (Banderas), who is pursuing his own vendetta against the governor's right-hand man while falling in love with de la Vega's daughter.

In 1821, Don Diego de la Vega, a Spanish-born California nobleman, fights against the Spanish in the Mexican War of Independence as Zorro, a mysterious masked swordsman who defends the Mexican peasants and commoners of Las Californias. Don Rafael Montero, the corrupt governor of the region, sets a trap for Zorro at a public execution of three innocent peasants. Zorro stops the execution, and Montero's soldiers are thwarted by two young brothers, Alejandro and Joaquin Murrieta. Zorro fights the remaining Spanish soldiers and thanks the Murrieta brothers by giving Joaquin a silver medallion. Don Montero suspects de la Vega of being Zorro and attempts to arrest him at his home. A swordfight begins, a fire breaks out, and de la Vega's wife Esperanza, whom Montero held unrequited love for, is shot and killed during the ensuing scuffle. While Diego's home burns, Montero takes his infant daughter, Elena, as his own before sending de la Vega to prison and returning to Spain.

In October 1992, TriStar Pictures and Steven Spielberg's Amblin Entertainment were planning to start production on Zorro the following year, and hired Joel Gross to rewrite the script after they were impressed with his adaptation of The Three Musketeers.[19][20] At the time, Spielberg was producing Zorro with the potential to direct.[21] Gross completed his rewrite in March 1993, and TriStar entered pre-production, creating early promotion for the film that same month at the ShoWest trade show.[22][23] By December 1993, Branko Lustig was producing the film with Spielberg, and Mikael Salomon was attached as director.[24] In August 1994, Sean Connery was cast as Don Diego de la Vega, while Salomon stated that the rest of the major cast would be Hispanic or Latino. The first chosen for the role of Zorro in his young version was Andy García, a fashionable Latin actor at the time.[25] Colombian singer Shakira was also initially considered to play Elena but turned it down due to her limited acting experience (despite having co-starred in the Colombian TV series El Oasis) and poor English skills at the time.[26] Pre-production proceeded even further in August when Salomon compiled test footage for a planned April 1995 start date.[27]

JEMCS 1.1 (Spring/ Summer2001) The Unmasking of Indian Slavery in The Mask ofZorro and in Chato's Appeal to the President J.DouglasCanfield thepopular 1998 American filmTheMask ofZorro, directed byMartinCampbelland starring Anthony Hopkinsand Antonio Banderas, a groupofCaliforniaMexicandons are escorted bytheirformer royalgovernor, RafaelMontero, toan extraordinarysight ,thesiteofa goldmother lodediscoveredin Mexican California approximately sevenyearsbefore thestrike at Sutter's Millin 1848. Allofa sudden,from an orecar at the topofan incline,a raggedand batteredoldwhiteman accosts thegroup, proclaiming himselfone ofthe "disappeared/and startingthe car racingdowntheinclineas iftoprecipitate himself intotheir laps withone last defiant blowforliberty.A renegadeAmerican armyofficer, working hand-in-glove withthese Californios, one CaptainHarrisonLove,shootstheattacking oldmanat thelast instant. The mad whiteman is ThreeFingeredJack ,erstwhile partner of the Muriettabrothers,the Robin Hoods of California (thoughhistorically it was Joaquin who led the revoltagainst theproposedGreaserActin 1853, designedtoprecludeLatinos from owning mines).Jackhad beencapturedbytheblondAmerican officer, whoanswersthedisguisedAlejandro Murietta's question ,"Wheredidyou findall thesepeople"withthenonchalant "Anywhere we wantto." Thefirst implication is thattheminers are prisoners, and ifwewatchcarefully, we see thatone ofthem is the friarwho in the beginningofthe filmtriedto keep the Murietta boysoutofharm'swayand latergavesanctuarytothe pursued Zorro. Jack speaks fortheminers:"Nowtheycall us thedisappearedones. Butyoucan see,weain'tdisappeared;we just been a littlehardtofind.* Screenwriters TedElliott and Terry Rossiopeppertheirscript withthe Spanish word,desaparecidos. Peasants earlyin cut scenes wonderwhitherthe villagersare disappearingto. The 118 TheJournal forEarlyModern Cultural Studies writers obviously playoff thephrase los desaparecidos9 familiar to Americansas signifying vanishedpoliticalopponentsofoppressiveregimesin LatinAmerica, especiallytheArgentina and Chileofthe 1970s. These opponents - Leftists, unionorganizers ,journalists,psychologists, students - weredisappeared,the verbbeingdistorted intoan eerietransitive as ifthevictims were erased from life,from history. Butas weviewthisscene- as wellas thelateronewherethe minersare lockedin theirpens tobe annihilated, thuscovering theentirescam from MexicanPresidentSanta Anna - we notice thatthevast majority ofthesedesapareddos are indios. In the script,Alejandrosenses theenormity ofthesituationupon noticinga child'sfootprint in thedust. Thisis childlabor. In the film he senses itfrom watching an Indianchildcarry a headpack oforeup a ladderbehindanotherIndianwhosefeetare shackled . This is Indian slavery. Tellingly, the penultimatescript uses theterm"slaves"throughout thesescenes, butthisis lost in the finalscript,amendedapparently byJohnEskow,which uses such euphemismsas "prisoners" and "workers." YetThreeFingeredJack calls a spade a spade: People like himand the RobinHood Muriettasmerely steal things,butMontero and his lieutenantsand nowhisfellow dons,byenslavingIndians,"steal people'slives." In an important sense, Spain and Mexico's(andCalifornia's) dirty littlesecretis unmaskedbeforeour eyes - at least, before theeyesofa popularaudienceinAnglo-American mass culture. For roughlythreehundredand fifty years Spanish (as well as Dutch, French,Portuguese,and English)colonies in the New Worldsystematically enslaved FirstPeoples. Supposedlythe SpanishCrownoutlawedslavery, justifying itonlyintheinstance ofcaptivesofwar,so NuevaEspana called theslaves culledon Indian slave raids "prisonersofwar." Distinguishedhistorian JackForbesalmostforty yearsago attributed nearlyeveryoutbreakofhostilities between Spanishand Indiansoverthosethree and a halfcenturiestoresponsesto such slave raids. So scholarsknow. Well,somescholars. WhenI rana study groupon this topica fewyears ago, severalwell-meaning colleagues invariousareas ofSouthwestern studieswereappalled at theirownignoranceoftheextentofsuch slavery.Andmost layAmericansare simplyignorant ofIndian slavery. To them, slaverymeansAfricanAmericans . Norarewe talkinghereabouta systemofso-calledpeonage. Spain builtitschurchesin theNewWorldwithIndianslave labor ,supposedlycompensatedforbythe"wage"ofbaptism. The Canfield 119 country workedits minesin particularwithIndians,whowere oftenworkedto death,thus creatinga constantneed formore slaves. Theydidn'tdie onlybecause ofEuropean diseases, but because theywereworkedand housed likethe Indians in The Mask ofZorro, underabsolutelyhorrible conditions. ThecharacterAlejandro Murietta wincesat theseconditions. Upuntilnowhe has beenmotivated primarily byrevenge for the murderbydecapitationofhis brother Joaquin. Even his mentor ,Don Diegode la Vega,theOld Zorrointhefilm, seemsmotivatedprimarily byrevenge againstMontero, whosesoldiersshot his wifeand who stolehis babydaughterand had himimprisoned ,evenas Montero himself was beingforced tofleeCalifornia in the face ofthe success ofthe MexicanRevolution in 1821. OldZorro'soriginal motivation, intheoriginal story and thefilm, had been tohelpthepeasants resistaristocratic oppressionand winthatrevolution.Montero, whohas Don Diegoand hisfamily in his power,calls theOld Zorroa "traitor toyourcountry and yourclass." Yetevenas DonDiegocounselshisprotege Alejandro, whomhe is grooming to replacehimas theNewZorroand help fight Montero 's nefarious plottocontrolCalifornia, thattherole ofZorroshouldbe morethanpersonalvendetta,he himself refusestohelpAlejandro free theslaves because hehas a personal agenda- avenging hiswife's deathand freeing hisdaughterfrom Montero.He arguesthatingiving thepeopleeverything he had as Zorro,he thereby literally lost everything he had. But now Alejandrobecomesmotivated by«altruism: "Whatabout theprisoners ?"he asks, havinglearnedthatMontero and Loveplan to destroy theevidenceoftheirplotagainstSanta Annabyblowing up theminewiththe"workers* sealed initssilence. "Whatabout thepeople?* Havingpassed his medallionto theMuriettasfor theirhelpingto save his lifein the openingscene ofthe film, Don Diego nowfully passes thetorch:"Theystillhave Zorro." Don Diego'splan toforce Montero toadmittherealpaternity ofElena toherfaceand to settletherivalry betweenthemin a personalduel failswhenshe pleads forMontero.Knowing now thetruth,however, she freesDon Diego,and all oftheconcludingaction ofthe filmfocuseson freeing the slaves beforethey are entombed. Don Diegoshowsup intimetodistractMontero so thatAlejandrocan defeatLove. In the middleofthese two... 2b1af7f3a8