FIRST TEN ZEN: “Mission: Impossible” (1996)
We've seen it all before, haven't we? At least, we feel like we have every time a new blockbuster sequel, prequel, or reboot surfaces for its big theatrical run. Arguably the best ones stay true to the spirit of the original while giving us something new and meaty to keep us going along for the ride. But even if the original isn't well received, if it's able to rake in money at the box office, it's almost guaranteed there will be another film on the way.
One such film, Mission: Impossible, was both popular and successful. In this First Ten Zen analysis, we'll examine the first ten pages of three different script drafts (from screenwriter David Koepp's website), which were excellent blueprints for the 1996 spy thriller blockbuster. (Note that numerous minds that went into this script. The two 1994 drafts are credited to David Koepp, based on a story by Brian De Palma & Steve Zaillian, and a previous screenplay by Willard Huyck & Gloria Katz; the Final Shooting Script contains no writing credits on the title page, though Robert Towne is credited alongside Koepp as one of the film's writers.)
The 1994 Drafts
The first few pages of both 1994 drafts are nearly the same, save a few swapped-out lines of action and dialogue to add texture to the scene. The latter draft is also a little cleaner, and Koepp trims unnecessary lines for flow and pacing. In these drafts, we immediately meet EUGENE KITTRIDGE, who records a secret spy message in his dimly lit office. Once he greets the intended recipient, we cut to an airplane, where, through sleek, coded dialogue, JIM PHELPS acquires the message via videotape from a privy FLIGHT ATTENDANT.
As Phelps watches the recording, Kittridge fills him (and us) in on a dire situation: a former KGB officer, ALEKSANDER GOLITSYN, has stolen half of the CIA NOC list, which contains encrypted information about many cover agents' identities — and he intends to collect the other half and sell the completed list on the black market. Kittridge believes Golistyn will attempt to steal the second part of the NOC list at an upcoming embassy function and urges Phelps to apprehend the bad guys, provide proof of the theft, and recover the stolen items.
As Kittridge sent a team of their regular collaborators to Prague to help Phelps complete this seemingly impossible mission, we visually "meet" the members during the voiceover. Though this technique does nothing to simplify meeting multiple characters in a short amount of time, and at the beginning of a script at that, visually — as a movie — this is an efficient and concise way to introduce characters and put names to faces. In this down-low introduction, we meet HARMON (tech ops), SARAH (local intelligence), and JACK (security and access/exfiltration), who all cross paths like strangers but who are all interconnected in their web of occupational confidentiality. Kittridge also mentions our protagonist, ETHAN HUNT, who will be the point man on the mission. With the pertinent information delivered, we know what this movie is going to be about, who some of the key players are, and can easily identify an obfuscated tone that will be present throughout the story –– all by page five.
Kittridge signs off by reminding Phelps that the message will shortly self-destruct. As if he's done it a million times (and he probably has), Phelps cleverly lights a cigarette to mask the smoke created by the decomposing videotape. At this, both scripts tell us we're dealing with professionals, there's real danger, the stakes are life and death, and there are many more secrets to uncover.
It isn't until Scene 7 on page five that both drafts take different turns; the former presents Ethan and CLAIRE, two agents who seem to have a romantic relationship and who disagree about Ethan's future as a spy and… other things. Claire encourages Ethan to come clean about their affair (it's revealed shortly that Claire is married to Phelps), and Ethan indicates wanting to get out of the spy game altogether. Claire may be part or all of the reason. By page ten, we've been treated to a little cloak-and-dagger activity and established the pair's undercover entanglement with complications to come. Then, Ethan and Claire meet Phelps in a Frankfort airport; Ethan pleads his case for leaving, but Phelps guilts him into finishing this mission first, as it's their own people who are in danger. Ethan reluctantly agrees.
In the latter draft, Koepp gives us a more dynamic beat; he shows us why these spies are the best and underlines a prevalent theme for the film: things aren't always what they seem. This version of Scene 7 takes place in a shabby hotel room, where GENNADY ZOSIMOV has seemingly regained consciousness in the middle of a crime scene. A woman lies "dead" under bloody sheets, and it appears Zosimov is to blame. A couple of Russian soldiers try to work out the series of events while Zosimov sobs and struggles to recall exactly what happened. One of the soldiers, identified as "Anatole," offers to help, but only in exchange for information. As soon as Zosimov complies, his drugged drink knocks him right back out. And that's where the fun starts!
The soldier isn't Anatole but is revealed to be Ethan Hunt. He peels off his face — a prosthetic — to reveal his true appearance. Claire — the "dead woman" in bed — rises; it was all an intricately-laid ruse to squeeze information out of Zosimov. The spy team's workers strike the set, and Zosimov is carried away, probably returned to wherever "they" snatched him from. Ethan and Claire reflect on a successful mission. Claire is pleased with their victory, but Ethan is sullen; he knows what is in store for Zosimov once it's well-known that he gave up information. As our spies speak, like in the previous draft, Ethan seems to want out (or at least a break), but his connection to Claire is left ambiguous. Here, it appears Ethan may have unrequited love for Claire, but a shot written in both script drafts tells us all we need to know about the dynamic: we see Ethan and Claire on the airplane and dissolve to an image of Phelps waiting for them in the airport, which makes it look like Phelps literally stands between them.
Things unfold similarly in this draft once Ethan and Claire meet Phelps in the Frankfort airport. However, there's a deeper connection between Ethan and Phelps. The senior agent uses a sense of family to motivate Ethan to stay on for this important mission. It's made personal. Ethan's vulnerability to Phelps is much more apparent in this version, adding another facet to Ethan's psychology.
The second version of the script is thus more efficient in character development than the first. Scene 7 introduces us to Ethan, showing his talent and efficacy as a spy, as well as his compassion and humanity beneath it all. We see his dilemma: he's in love with his colleague's wife, and that colleague may be more of a mentor and father figure beneath it all. There's conflict everywhere we look! Mix in the over-arching NOC list mission and a backdrop of shady characters and dangerous situations where we don't know who to trust, and we get the first installment of this gangbusters action/spy/thriller franchise.
But.
Were the openings of either 1994 drafts the best hook to get us into the film and/or series?
The Shooting Draft
Let's look at Koepp and Towne's shooting draft, dated August 16th, 1995. Sure, the script was already sold by this point, but the amount of information contained within the first ten pages is still crucial in hooking an audience. Rather than introduce us to Kittridge and Phelps, they establish the rules, and slowly enveloping us in the grander story, we immediately find ourselves in the action. The shooting draft starts us in the hotel scene we've just read, but with a few notable differences. For one thing, Zosimov is now KOSIMOV, and we are fully aware that this is a spy mission. Jack watches it all transpire on his surveillance monitor, and we watch along with him. However, the stakes are immediately raised in this draft, as Claire is seemingly dead — and will need a hit of adrenaline to revive her after the mission. When Jack expresses that she was "under for too long," it adds urgency for us — and the team — to work quickly, or Claire will surely die.
We don't see the bigger picture in terms of the NOC list, but we experience the subterfuge and seriousness of Ethan's work. Also long gone is the compassionate Ethan, who cringed over Zosimov's fate. This Ethan is snippy, decisive, and yells, "Get rid of this scum!" once he's given them what they need. But that doesn't mean Ethan lacks humanity. It's just shown in a subtly nuanced capacity; Ethan shows clear frustration from the risk Claire took in the mission, and he warns, "If you're gonna do this again, Claire, it's not gonna be on my watch."
Claire then slips on her wedding ring, which angers Ethan more than saddens him, causing him to bark orders at his team to clean up on the double. Koepp then cuts to Scene 3, where we see Phelps' wedding ring, making a visual connection between himself and Claire. Now, have we been hooked? A tense scene of mystery and intrigue, an impatient man of action and passion, and a possibly unrequited love from his mission partner? We still haven't seen the big picture yet, but the tone, the protagonist, and a potential love interest storyline are established, and at only page five, there's still plenty more to come!
Scene 3 follows suit with the previous script's airplane scene; the Flight Attendant gives Phelps the secret correspondence from Kittridge that lays out the NOC list operation. As "MacGuffin" is a term used to describe a thing or happening that's the focus of the plot/characters but holds no other significant value, the NOC List is our MacGuffin. Ethan Hunt is our protagonist. And among them, forbidden love — and the world itself — may hang in the balance.
The airport scene is skipped in the shooting draft. It is unnecessary, as Ethan's reaction to Claire's wedding ring tells us plenty, and Phelps's ring hints at more. Instead, we cut from the airport to a safe house in Prague. Here, we meet the team as they prepare for the big mission. Jack, Sarah, Claire, Ethan, Phelps, and new addition HANNAH. Some team members test equipment while Phelps and Ethan argue over the younger spy's plan to take time off. There is clear tension between these characters, and though it's about Ethan's intended leave on the surface, Claire is clearly at its core. Phelps drops hints, asking what went wrong in Prague, which has Ethan and Claire in such a weird mood. Ethan deflects like a pro. Page ten ends with Phelps' dialogue, where he responds about his trip to Chicago at the Drake Hotel (a major clue that will be significant later), but also starts a joke about infidelity that concludes on the next page. It's likely Phelps suspects something.
Will Ethan's personal life complicate the mission? Will it compromise the trust of the agents involved? We don't even know what we don't know yet. But through a series of twists, turns, action scenes, and intriguing, layered characters, Koepp expertly answers all of those questions in a successful script that ultimately inspired seven more films — and counting!
Your mission, if you choose to accept it, is to read all three drafts and see what lessons you can learn and apply to your own writing, and to take a look at the last First Ten Zen: The Conjuring… before they self-destruct!
