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1. Pilot Scripts Pdf
2. Entourage Pilot Script

Genre: TV pilot (comedy)
Premise: A low-level hitman heads to LA for his latest job, only to inadvertently befriend his target, an aspiring actor.
About: Today’s script was written by SNL vet, Bill Hader, and Silicon Valley producer, Alec Berg. Whereas Netflix has embraced the “throw a bunch of shit at the wall and see what sticks” strategy, HBO still has to slot shows into a proper schedule, and is therefore more discerning about what they air. It’s for this reason that they still have the edge over Netflix. It’s also why, when something gets an official commitment from the network, you know it’s beaten out a ton of other quality material (last I heard, HBO had something like 100 projects in active development).
Writers: Alec Berg & Bill Hader
Details: 36 pages (Third Draft)

Since yesterday’s script was the antithesis of funny, I spent the last 24 hours on a comedy script hunt, a laugh-quest, if you will. After traversing many of Los Angeles’ landmarks – Randy’s Donuts, Rodeo Drive, the Capital Records building, I met a sinewy little fellow who called himself “Maurice Bubblestilskin the III.” “Psst,” he said to me, while I tried to hail a Lyft. “Psssssst!” he said again. And from under his cape, he passed me this, “Barry.” ‘Best project HBO’s got going for it,” he assured me, before slipping back into his tent and screaming at himself for 5 minutes. And that’s how I came across Barry.

Hitman-Comedy is a sub-genre with a lot of history behind it, and that’s because, like all good comedy, it’s built on top of some heavy irony – A comedy… about killing people. I’m surprised we don’t yet have the definitive hitman comedy. Could there be some flaw in the concept that keeps these scripts from being great? I’m sure we’ll find out. Grab my hand and hop in my Scriptshadow canoe while I paddle you through Barry’s plot.

Barry is lonely. But WAY worse than that, he lives in Cleveland. If there is a more hideous fate than being lonely in Cleveland, I don’t know what it is. The only time Barry has anything to do is when he’s on the job. Barry is a hitman, you see. He’s paid to kill people.

Barry has a Charlie’s Angel’s disembodied boss named Fuches who calls Barry whenever he’s got a job for him. And Fuches has a new target in Los Angeles. If Cleveland is our idea of hell, Los Angeles is Barry’s. Barry begrudgingly flies to LA, where he’s introduced to a medium-grade Chechen crime boss named Goran Pazer. Pazer is pissed because some trainer named Ryan Madison is fucking his wife.

Pazer has hired Barry because he can’t have his fingerprints on the murder. And it’s a fairly simple job. Ryan is a nobody trainer. So, theoretically, all Barry has to do is wait until he gets home and put a bullet in his head. But Barry makes the mistake of following Ryan to an acting class (yup, it’s LA, so Ryan is also an actor!). And after being lured into the class by a beautiful young actress, Barry bumps into Ryan, who assumes he’s a fellow actor, and asks Barry to do a scene with him.

Barry does the scene with Ryan, likes it, and is then pulled out for drinks with the acting class. Being such a lonely guy, this is an exhilarating experience for Barry. But now he has a dilemma. He has to decide if he’s going to kill his new buddy, Ryan, or wiggle out of his contract and pursue his new dream – ACTING! Unfortunately, Barry’s hand is forced when the Chechens step in and take care of Ryan on their own. The plan is to kill Barry next, but Barry kills them first. And that’s how Barry finds himself an aspiring actor in LA… with the Chechen mob after him.

I want to take this opportunity to reiterate a great screenwriting device that works every time you do it. It’s mostly a comedy thing but you can use it in any genre. It’s called the “Mid-Scene Twist,” and the structure behind it is quite simple. You make the audience believe the scene is one way. Then, at the midpoint, you reveal that it’s something completely different.

We open on Barry, washing up in his bathroom, getting ready for the day. He looks at himself in one of those, “What the hell am I doing with my life?” ways. He plucks a gray hair, frowns, straightens up, then walks out. As he walks through his apartment, we notice… GUN HOLES IN THE WINDOW? Oh, and then there’s a murdered dude on the floor. This isn’t Barry’s apartment. No, Barry is a hitman, and he’s just finished a job.

In this case, the mid-scene twist was subtle. But it’s a lot more interesting than say, showing the hit. We’ve seen hits before. Hell, I think every single movie in history has a hit. So to start with a mid-scene twist was a much stronger choice.

A more aggressive form of the Mid-Scene Twist came at the beginning of an, unfortunately, terrible movie – Snatched (that Amy Schumer Goldie Hawn jungle flick). But it was a good scene!

In it, Amy’s character is at a clothing store, picking up dresses to try on, excitedly telling the employee helping her about the amazing vacation she’s about to go on with her fiancee. The employee seems a bit overwhelmed as Amy continues to grab new articles of clothing and gab away.

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Finally, when the employee can get a word in edgewise, she says, “So are you going to set me up with a fitting room?” And we realize that it’s actually AMY who is the employee, and the other girl the customer. Amy then becomes defensive, frustrated that this woman isn’t appreciating her upcoming vacation, and the two eventually go their separate ways. It’s a simple premise, the mid-scene twist, but very effective when done well.

Start us off one way. Twist it into something else. Usually the opposite of what we assumed.

As for the rest of Barry, it was good. It was a little different. More importantly, it was unexpected. And this is where all the amateur writers screw it up. Because I know the amateur version of this script. I’ve read it a million times. Barry has to kill a guy. He goes over to the house. But, oh no, ZOINKS, the guy shows up with the wife he’s fucking! And the only place for Barry to hide is… ZOINKS!… UNDER THE BED! So he has to hide under the bed while the two have sex! Oh the shenanigans! Oh how the hilarity is ensuing!

No.

NO NO NONO ONONONOONNOONONOON

If you write that version of the script, you are a failure as a writer. I’m not kidding. Your job as a screenwriter IS TO GIVE US THE UNEXPECTED. If you give us what we expect, why would anyone pay you? If they want the version everyone expects, they write it themselves. They pay you to come up with unexpected complications and obstacles that keep the story fresh.

And that’s exactly what happens here. I never thought in a million years that Barry would get drawn into an acting class, and start to like acting, and start to like a girl in class, and wonder if he wants to move to LA, and kill the guys who hired him instead of the guy he was supposed to kill. I didn’t expect any of that. And so, even if I don’t like what the writer did with the story, I acknowledge that he gave me something unique.

Now, as it so happens, I did like what the writers did here. My only issue is with “Barry” is Barry himself. He’s such a quiet character. Quiet characters are hard to make interesting. And to build an entire show around a quiet character is more challenging than they may be anticipating. But I was still intrigued by what Barry would do next. That’s a sign that I’m connecting with the character.

We’ll see what happens once this hits the air. Im predicting, at the very least, a multiple-season pick-up.

[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius

What I learned: When writing TV shows, think about character advancement. Where are they in their career now and is there opportunity for them to move up over time? Because that’s where you’re going to find your Season 2, Season 3, Season 4, is in the character advancing in their career. Breaking Bad is the most obvious example of this. He’s a small time drug dealer at the beginning. Then, by the end, he becomes a major force in the meth business. Here, Barry is a low-level hitman. So there’s lots of room for him to move up the ladder.

'Entourage' is the pilot episode of the American comedy-dramatelevision seriesof the same name. Written by Doug Ellin, and directed by David Frankel, it originally aired on HBO in the United States on July 18, 2004.

Pilot Scripts Pdf

Plot[edit]

Entourage Pilot Script

The episode opens with Turtle walking into a restaurant, greeting every female by name as he goes. When he meets up with the group, he tells Vince to sign a poster for Head On (Vince's new movie co-starring Jessica Alba). When asked why, Turtle explains that it's for the girl who hooks the group up with all of their Nike shoes. The group then engages in a discussion of how bad promo photos can sink an actor's career, until two extremely attractive females walk by and Turtle starts to harass them. After the girls leave, the group discusses whether or not they should attend their high school reunion back in New York City, and their disapproval of Eric's on again / off again girlfriend Kristen.

Next the guys head to the premiere of Head On, where Johnny 'Drama' tries to get out of the limo before Vince. As the guys walk up the red carpet and comment on the girls in attendance, Eric tells Turtle to go and make sure that Ali Larter is not sitting within ten rows of Vince. When Vince has a reporter take his picture with his brother Drama, the photographer can't place where he knows Drama from. When Eric tells Vince to go take a picture with Alan, Vince is unsure of who that is, and Eric has to remind him that Alan is the man who financed Head On. While Vince takes the pictures, Ari starts harassing Eric to get Vince to read the script for Matterhorn, a buddy cop type movie set in Disneyland. Ari promises court side Los Angeles Lakers tickets if Eric gets Vince to read the script.

While they are talking, Turtle interrupts to tell 'E' that he's lined up a 'revenge fuck' who looks just like his ex, Kristen, and who's apparently told Turtle that she 'puts out'. As Turtle describes the girl, Ali Larter comes over and looks very annoyed, and then proceeds to aggressively quiz Eric on Vince's whereabouts. We are left to assume that there was a relationship that went sour between Vince and Ali.

After the premiere the guys head back to their house with some girls in tow for a pool party. The guys spend time trying to get with each girl. The next morning Drama and Turtle pester Eric with tales of how the girls they ended up with the night before performed in bed, and try to get Eric to talk about how his was. When Vince comes down, Eric asks Vince if he's read the script for Matterhorn yet. Vince says no, and asks E what he thought of it. When Eric says he thought it sucked, Vince says 'OK. I trust you', then explains how he never read the script for Head On and didn't know who the killer was until he saw the film the night before.

The guys then take a trip to the Warner Brothers studio to meet with the director for Matterhorn. On the way, Turtle tells the guys about Arnold the rottweiler he is getting for Vince from Black Hack. As they walk into the studio, we learn that Drama is Vince's half-brother and that Vince and Turtle originally moved to Hollywood to follow Johnny around. Just before they walk in, the guys exchange greetings with Mark Wahlberg.

When the guys get back home, they discuss the meeting with the director, and Ari calls to tell Vince that the director loved him and wants to sign him to do Matterhorn for $4 million. Vince asks Eric what he thinks, and E tells him he thinks it's time Vince read the script. While Vince struggles to read the script, the guys hit golf balls into the neighborhood, trying to hit the homes of other actors, such as Pierce Brosnan. After a while the guys switch from golf to basketball while Vince finishes reading the script. After reading it, he still has the same opinion, that is Eric was right and the script sucks but the $4 million would be sweet.

When Ari calls, Vince tells him what Eric thinks of the script but Ari doesn't care. Vince, however, values Eric's opinion and tells Ari to talk to E about it (even though E wants to talk to Ari even less than Ari wants to talk to E). Ari decides to have dinner with Eric to discuss Vince's future. Vince likes this as now he won't always have to 'be in the middle of things'. The dog arrives but the guys are too afraid to take it out of the cage so they have Turtle dress up in full hockey gear as they open the cage from the second story of the house via a draw string.

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At dinner Eric and Ari spar with verbal insults and discuss why Eric doesn't think that Vince should do Matterhorn. Eric threatens to slap Ari if he ever insults him again and we learn that two years prior Vince couldn't get a call back from Ari. After dinner Eric passes out watching SportsCenter, and Turtle and Drama wake him up to get ready to go to Las Vegas. Eric doesn't want to go so they tell him that his ex-girlfriend Kristen is sleeping with Vince Vaughn. Eric believes them at first then realizes (thanks to Drama's overacting) that they are lying to him.

Vince enters the room and takes Eric aside to find out why he threatened Ari and tells him he can't do that. Eric explains that Ari was being condescending (in particular deriding his former role as a manager at Sbarro), so Vince asks if Eric thinks he should fire Ari. Eric sarcastically says yes and Vince begins to make the call. When Eric sees this, he stops him and Vince tells E he wants him to make his decisions. From this point, Eric is now his unofficial manager. After this, Vince and E decide not to go to Vegas. Vince also wants to skip the reunion but Eric is looking forward to it and wants to go and convinces Vince go as well.

The next day, the guys are getting ready to head to the airport and Eric asks Turtle if he got the Bose headsets. Turtle has no clue what E is talking about, and Eric berates him to go get them. After Turtle gets in the car, Vince asks Eric what that was about as he didn't ask for any headsets. Eric points at the car and says 'you also don't want to ride in a car that has that on it'. As Turtle drives off we see a bumper sticker on the back of the car that reads 'I ♥ Cock', as E reminds Drama that he's next. Ari calls again and Vince hands the phone to E. Eric answers and Ari asks for Vince. E tells him Vince wants them to talk instead. Ari then tells him that Colin Farrell took Matterhorn. When Eric breaks the word to Vince he says, 'I hope you know what you're doing, pizza boy.'

Production[edit]

The pilot was written by series creator Doug Ellin and directed by David Frankel. On reading the script, Frankel was concerned that Ferrara was too young for the role of Turtle, Dillon was too old to play Drama, and Grenier was very unlike Wahlberg/Vince. Furthermore, Connolly was ambivalent about his part. However, Frankel was impressed by the group once all together and felt that Connolly's sincerity boosted the show.^[1] Ellin's first version of the script had the show beginning at the movie premiere, with no-one liking Vince's acting but none willing to tell him. HBO executives rejected this version, and urged Ellin to make it more upbeat.^[2]

Mark Wahlberg's entourage in this episode includes the real life Turtle, Eric, and Johnny.

Reception[edit]

The pilot was initially broadcast on July 18, 2004 in the United States on HBO.

Phil Gallo of Variety was critical of the episode, citing what he perceived as a lack of subtext and bland characters. However, he praised Piven's giving Ari Gold 'an intensity and a moral void that gets better with each episode', and foreshadowed what he saw as better writing by episode 3.^[3] Conversely, Tim Goodman of the San Francisco Chronicle cited the show's and characters' soullessness as reasons the show is entertaining.^[4] Ken Tucker of Entertainment Weekly gave the episode an A-, describing it as 'excellent, dirty fun', praising the casting, in particular Dillon and Piven.^[5]

Frankel received a 2005 Emmy nomination for Outstanding Directing for a Comedy Series for his work on this episode.

Music credits[edit]

• 'Bang Bang Boom' by Drag-On
• 'Grown Man Sport' by INI
• 'Rocky Mountain Way' by Joe Walsh
• 'Eminence Front' by The Who
• 'Hey Ya!' by OutKast
• 'Hey Mama' by Black Eyed Peas
• 'Fire (Yes, Yes Y'all)' by Joe Budden
• 'Wanna Get to Know You' by G Unit
• 'Oooh.' by De La Soul feat. Redman
• 'Barely Holding On' by Sean Anthony
• 'Cold Hard Bitch' by Jet
• 'Lucifer' by Jay-Z

References[edit]

1. ^HBO (2009). Entourage: A Lifestyle Is a Terrible Thing to Waste. Simon and Schuster. p. 14. ISBN9781416579397.
2. ^THR staff (20 July 2011). ''Entourage': 10 Never-Told Secrets'. The Hollywood Reporter. The Hollywood Reporter. Retrieved 30 May 2015.
3. ^Gallo, Phil (14 July 2004). 'Review: 'Entourage''. Variety Magazine. Variety Media, LLC. Retrieved 30 May 2015.
4. ^Goodman, Tim (17 July 2004). 'HBO shows its sitcom chops with Wahlberg-conceived 'Entourage' nailing Hollywood's young Babylonians'. San Francisco Chronicle. Hearst Communications, Inc. Retrieved 30 May 2015.
5. ^Tucker, Ken (16 July 2004). 'Entourage'. Entertainment Weekly. Entertainment Weekly Inc. Retrieved 30 May 2015.

External links[edit]

• 'Entourage' at HBO.com
• 'Entourage' on IMDb
• 'Entourage' at TV.com