Henry had some interesting exchanges with Michael and Arthur. Riding in the car with Michael, right after he's introduced, Henry sets up an analogy for the story world while talking about a fantasy book he's into. "…you have all these characters who don't know each other and they don't know why they're here and nobody has any alliances," (18). This is the story of Michael Clayton. We're not quite sure who's good, who's bad, or what some of the characters are working towards. Later, on the phone, Henry tells Arthur about the dream the characters in his fantasy book have. "They're all having this dream that they should go to this one place" (40). First, the vision quest and special dream seem to parallel Arthur's opening monologue as he talks about his ethereal vision (rebirth, embryonic fluid, realizations) of how he needs to behave to move forward with his life. As the scene plays out, Henry is talking about his fantasy book, but he could easily be talking about the events in the story world of Michael Clayton. Arthur's reposes to Henry seems to be about his own situation as well. For instance, this exchange on page 40 [square brackets my comments]: ARTHUR: But they're not crazy, are they? [Arthur, looking for reassurance that he isn't nuts and his actions are the right way to proceed.] HENRY: No, it's real. It's really happening. [Henry, responding about the book, but giving Arthur an answer to his situation.] ARTHUR: It is happening, isn't it? Something larger than themselves they're just, not ready, are they, to hear it --. [Arthur's response clearly about his situation. Something larger than himself, something people won't be ready to hear.]

There are several stand out moments that did it for me. Arthur in the alley with Michael. Michael at the end with Karen. My favorite line was, I think... Mr. Ivers "Okay proceed or Okay you understand." It was the non-dialogue in that scene that did it for me.

Arthur's monologue - you've heard all the advice in the world about making sure you grab them with your opening... well here's the real deal. This sprawling, impressionistic picture of the story that's about to unfold, incomprehensible to us now but making complete sense in retrospect. (As an aside, it's another great device in this script that the words of a madman in the beginning become the most prescient of the whole movie by the end - as ours and Michael's perspective shifts and we move outside the supposedly "sane, normal" world of Kenner, Bach and Ledeen and U/North.) Dialogue-wise, the spine of the film is the discussion of Michael's identity. In the beginning, with Greer in the Westchester mansion, he admits he's a janitor; later in the movie (but earlier in the chronology of the story) we see that contextualized in his discussions with Arthur. It comes up several times throughout ("who's Michael Clayton") and crystallizes for Michael, unsaid, when his brother Gene says the line about cops thinking he's a lawyer, lawyers thinking he's a cop, but "you know exactly who you are." Soon after, we're at the climax, where Michael tells Karen all about himself in no uncertain terms: fixer, bagman, the guy you pay. Gotta agree with Chris about the best exchange in the movie being Karen and Verne on the street talking about killing Arthur without talking about it. All subtext and pure gold.

"I'm not the guy you kill, I'm the guy you buy," is such a perfect, memorable line. Doubly powerful that the first time it's spoken is the first time it's not true.

Okay, we all recognize this excerpt from Arthur's opening monologue: ARTHUR EDENS (V.O.) Michael. Look at me, Michael. Look at me and make believe. Make believe it’s not just madness. Because it’s not just madness... ARTHUR EDENS (V.O.) ...I mean, yes -- okay, yes -- elements of madness -- the speed of madness -- yes, the occasional, euphoric, pseudo-hallucinatory moments that, yes -- fine -- agreed -- distracting -- nostalgic -- all of that -- but that’s just the package -- the plate -- think of it as a tax -- The Mania Tax -- The Insanity Tax -- or like advertising on TV -- it’s the freight -- the weight -- it’s the price of the show... In the script, that is reprised at the end and into credits. Compare to the current ending with Michael getting into the cab, paying the driver $50, then a long take on his face as credits start to roll. One of the smartest decisions Gilroy made was not to include this dialogue at the end. When you have a great actor, let them act. And those minutes on Clooney's face with all the uncertainty there is a terrific way to end the story. Michael may have done the right thing with Karen. But his life is still a mess. And the universe is still morally ambiguous. And we see all that in Michael's face in the taxi. A reminder that movies are primarily a visual medium and sometimes the best dialogue... is no dialogue.

My favorite lines: Arthur Edens: "I'm Shiva, the god of death" (I wish there had been a beat left in after that.) Michael Clayton repeats that line to Don Jeffries later. Verne: "You mean okay, you understand? Or okay, proceed?" In fact, I loved that whole street scene with Karen Crowder. Michael Clayton: "I’m not a guy you kill! I’m the guy you buy!"

I tried to download the script but it's gone. :(

Mike, email me, okay?

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