By Train to New York (50 photos)
Enabling circumstances are the circumstances that the hero creates or finds for himself; they are the circumstances that surround the hero at the beginning of the story and that allow him to maintain his flaw. Remember, the hero views his flaw as a defense mechanism, something necessary for his survival. Thus it's natural for the hero to seek out or create a set of circumstances (a job, a neighborhood, a set of friends, et al.) that enables him to maintain that critically important flaw.This isn't just talking about screen characters but people in real life. It figured into the cat lady story, and now it colors the way I see everybody, including myself.
The hero usually has a flaw at the beginning of the story. This flaw hinders him (or her) in some way, even if the hero doesn't realize what the flaw is--or that it is hindering him.That's humans in a nutshell.
The hero most often views his flaw as a defense mechanism he needs for his survival. The hero does not view his flaw as a flaw, but as a way of coping with life, as a behavior that protects his life metaphorically or perhaps even literally. That is why the hero has not already let go of his flaw--he actually does believe that he needs it.
The door closes, and JANICE and the CASSANOVA are alone in the room. He is a man in his twenties, and we can see from his style that he thinks a little too much of himself. His shirt is open halfway down his chest to expose his chest hair. He is wearing gold chains around his neck. His hair is slicked back as though out on a date. He sits down immediately in the chair closest to the door. He and JANICE obviously don’t know each other.
The CASSANOVA is clearly uncomfortable with the waiting. He is sitting with one leg crossed over the other, and his free foot is twitching nervously. He looks past JANICE to the dressing mirror on the wall opposite him. He examines himself in the mirror, takes a comb out of his pocket and fine-tunes his greasy hair. Then he gets up from his chair and peruses the snack table. He takes a diet soft drink and a bag of chips and returns to his seat.
EXT. -- FRONTIER TOWN, ARIZONA TERRITORY -- LATE 1800s
We find ourselves in a classic sagebrush boomtown in the Old West, approaching high noon. The town has a short Main Street lined with the typical wooden storefronts of a Wild West settlement, including a saloon, livery stables, mercantile store, blacksmith shop, a rooming house and a church. Main Street ends at the railway station. The town is well-kept but appears nearly deserted. A tumbleweed blows across Main Street in the wind.
Two local COWBOYS walk slowly down Main Street, side-by-side, heading toward the train station. An undefined tension hangs in the air, and they nervously finger the guns on their hips. As they scan the buildings along Main Street, we see there are other men hidden along the street. One man is inside an open window of the blacksmith shop; another is hunched down on a rooftop, and a third is on the second floor of the rooming house behind half-drawn curtains. Other men are positioned in various hidden and partially exposed places along Main Street, each with a gun at the ready. The two cowboys exchange nods with each of the men they pass, as if to say, “Are you ready?”