Main Characters
Sterling Archer
Description
CLOSE-UP: the ruggedly handsome, sweat-slick face of our hero, STERLING ARCHER. His cold steel-blue eyes smolder with hatred.
Differences
No differences noted.
Lana Kane
Description
CUE sultry MUSIC as we CUT TO HIS POV, SLO-MO, of:
LANA KANE: Archer’s ex. She’s about 30, with deep sloe eyes, an impossibly gorgeous mixed-race complexion, and an island-tinged British accent that would melt a framing hammer. She is BUTTONING up her BLOUSE as she walks out of the COPY ROOM.
Differences
Lana was originally British in the pilot script.
Malory Archer
Description
MALORY ARCHER, director of ISIS. She’s watching this from her adjoining office, glaring over her nth TOM COLLINS of the day. She is about 60, and impeccably styled, heels to hair; though still beautiful, she radiates an air of steel-clad hardassness.
Differences
No differences noted.
Cyril Figgis
Description
CYRIL FIGGIS – mid-30’s, pasty, in a SWEATER VEST – emerges from the COPY ROOM tucking his SHIRT TAIL into his pants with one hand, and holding a thick MANILA FOLDER with the other.
Differences
No differences noted.
Cheryl Tunt
Description
Outside the corner office, CHERYL – 26, very pretty – types on her computer while trying, unsuccessfully, not to cry. She looks up in surprise to see Archer standing at her tidy desk.
Differences
No differences noted.
Pam Poovey
Description
Chubby, mousy PAM sits behind her tchotchke-covered desk with a DOLPHIN PUPPET on her hand.
Differences
No differences noted.
Act Breakdown
Screenwriting Elements
Non- Descriptive Setting
Although the detail in the background has to be fully planned out and created through story boards, this is still a script for the story and actors. The only descriptions given are anything relevant to the plot.
Rapid-Fire Montage
Page 10, 14 and 22
There are three montages noted in the pilot script. Two of them are considered rapid-fire or quick because the sequences are described in one or two sentences. The third montage is more common as it encompasses an entire scene with a voice over from Archer. All three provide good examples of how much or how little detail you’d like to include depending on the importance of the scene. The two quick montages are used as flashbacks (one ended up being cut from the pilot) and the long montage was an important scene that moved the plot forward.
POV Direction
p.16
POV direction is usually written in the first few drafts for the actor to work with. Since there is no physical actor, it is used for the sake of the reader and the animator in this script.
Flashbacks
p.18 p.24 p.30
Archer has several examples of flashback and relies on them for comedic relief. Note the use of ‘Flashback’ at the beginning of each slug line and ‘Back to Scene’ to end the flashback.
Voiceover
p.22
Voice over is used in the entirety of the montage scene where Archer breaks into his organization. If it’s more effective to have the voice over of a character for an entire scene, don’t feel the need to shorten it. However, make sure there is action happening to break it up instead of one big monologue.
Sound Effects
p.35
Instead of dialogue there is an insert that says [just grabbed sort of noise] for Lana. It is directions for the voice actor, and something you’ll see more of in animation scripts.