Ethan and Joel Coen’s NO COUNTRY FOR OLD MEN. Anton Chigurh (Javier Bardem) as the taciturn, maniacal killer who will stop at nothing to recover the money found by an unlucky Llewelyn Moss (Josh Brolin) while Sheriff Bell (Tommy Lee Jones) tries to make sense of it all. The Coen Brothers seem to be masters of writing/directing the screw ball comedy but equally at home with dark, twisted tales like Blood Simple (debut?) and now No Country for Old Men; one of their best.

Great example, Kevin. The narrative is driven literally by a briefcase full of cash. Great movie.

I have a true version of this story: When we were in Prague, my late husband, who was a highly eccentric and sometimes violent alcoholic, came across a carpet bag on a bench in the park. On top was an open newspaper, and a pair of long leather gloves, crossed. He looked around. No one was in sight. He opened the bag, thinking he'd take whatever cash he found and leave the rest. Inside was a wallet, and some other personal items, and a magazine. When he reached for the wallet, the magazine moved - revealing that the rest of the satchel was packed with bundles of cash. His heart raced, remembering the very deliberate way it had been arranged...and he put it all back as closely as he was able, and then walked away, looking over his shoulder the entire tram-ride - certain that someone must have been watching. I have played with the "what if" story - but not written it yet. What if he'd picked that money up? Was it a ransom? Drug money? Around that time, there were two separate incidents where people were found in Prague with Uranium...was it a payment for that? And what would have resulted? ...dammit, I really need to write more.

In academic circles the object of everyone's affection is called "The Golden Fleece", but most screenwriters know it as "The MacGuffin". There are a few ways you can go about it: * The object is completely interchangeable and is in itself meaningless (the rabbit's foot in MISSION IMPOSSIBLE 3) * The object plays an important part (the ark in RAIDERS OF THE LOST ARK) * The object is worthless junk (the cd in BURN AFTER READING) * The content is never revealed (the suitcase in PULP FICTION, but in the original script, it's filled with diamonds) * It's a person, not an object (Helen in TROY)

Another ‘bag of cash’ escapade is the 1993 film, MONEY FOR NOTHING starring John Cusack, directed by Ramon Menendez, written by Mark Bowden [Article, ’The Joey Coyle Story']... Ramon Menendez & Tom Musca (screenplay) and Carol Sobieski (screenplay).... Based on the true story of mostly unemployed Chicago longshoreman/dockworker Joey Coyle who found $1.2 million in cash that fell from the back of an Armored truck. In the film, ‘Joey’ (Cusack) decides to keep the money and run. Soon Joey can’t help himself and starts spending some of the cash and it’s a trigger for suspicion among the locals at his neighborhood pub. Within days the lost Armored Truck money story is all over the 6’o’clock news. From there, Joey begins spiraling downward with paranoia as he wonders if he was seen picking up the cash -and just who might now be on to him. As Joey tries unsuccessfully to cover his tracks, botches an attempt to launder the cash locally, He ultimately realizes getting out of town before the cops close in is the only option He has left. CUSACK is terrific as the hopeful, increasingly paranoid, lovable looser who’s cockiness keeps disrupting his ability to think clearly and figure out how to pull off this 'finders keepers’ once-in-a-lifetime opportunity. Scott- seems like theres an interesting story in there somewhere about the complexity of multiple writer credits on a studio project...?!

I haven't seen that movie, but it's right in the pocket of this movie story type. Re multiple writer credits: You think it's bad? Imagine if the WGA didn't set a limit on the number of possible credited writers, which I believe is still 3 (writing teams are considered 1). There are special circumstances where they will allow more writers, such as with movies by ensemble comedy troupes, but they cap it because to include ALL of the writers involved would, the thinking goes, diminish the value of a written or screenplay by credit. What this means is writers are some of the few people who may work on a movie who do NOT get their names listed, if they do not receive official writing credit. Off the top of my head, if they had an Additional Writing By credit and listed everyone who had been involved in the development of the movie's script, I would have at least 5 more credits. I have served as a credit arbiter perhaps a dozen times and on one project, there were 15 writers and writing teams. You can check out this post here which discusses how Fox hire 11 writers for The A-Team. It's quite rare for a written by or screenplay by credit to reflect the fact that the writer was the absolute sole writer on the project. Others have been involved, either for a dialogue polish or to work on one actor's part or a production draft, not enough to deserve a shared credit or in the case of script doctors, not wanting to receive any official credit. As complex and fraught with peril as the writing credit system is, it's much better than it was before the studios handed over credit determination to the WGA. Back then the production company could name ANYONE they wanted as the writer with no accountability. Which is why if you check a screenwriters credits for movies made in the 20s-40s, you will find lots and lots of "uncredited" credits.

Many thanks for your perspective (above) Scott... and the link for the ‘Fox’ article/Post. All great lil’ history lessons. Remembering some comments from William Goldman’s Book (Adventures in the Screen Trade) and what you’ve expressed, I suppose ‘respect’ for the writer is growing... s l o w l y. Funny isn’t it: Without a script, so many out there don’t have a job. Oh my g... did I type that... or just think it? Too late... and probably not the first writer guilty of both transgressions. FYI- Somehow I must have missed Thursday’s Post on ‘The Business of Screen Writing: Writing Credits'... also a very good read. Thx., Kevin