Ten Points to Consider When Writing the Script

#1 Expand the Marge character (and rename her). Marge should be Elliot's love interest in the film the moment they meet (even though there is no time for more than longing glances and an occasional kiss). Marge should just be a casual working girl, caught up in events beyond her control. For a good example of this, look at the role of Natalya Simonova in the James Bond 007 film "Goldeneye". Keep the same set of events in the movie as in the book namely a) Elliot hides under the floor of American Interdyne b)clocks her boss c) she helps him escape and d)he goes to her house to talk with her after escaping from the building. The expansion of the Marge character from the book to the screen is crucial because it provides David with someone to talk to in the scenes in which he goes to Lockyear in the middle of the night and back to Senterex. For those scenes in the book, David thinks a lot to himself. You can't have that in a motion picture. She should be with him everywhere he goes, because her life is in just as much danger as his is now.

#2 Expand the Bernie Levy character. Make him a long time friend of David's, which makes Bernie's decision to shoot David all the more agonizing. Bernie was a veteran as well, so he should be a contemporary of David's in this regard.

#3 The book starts off almost immediately with David being shot at by Bernie, but this should be reworked for the film, with the assasination attempt not in the film until 30 minutes onward so that back stories and red herrings can be put into place first..

#4 Limit the amount of flashbacks. In fact, you could probably reduce the flashbacks to two. Those being flashbacks of the unit finding the village and Kreuter impaling the heads on the sticks and the other flashback of David testifying against Mamba Jack in the courtroom. These two flashbacks get at the heart of David's past.

#5 Rework the ending ever so slightly. The one weakness that the book has is that it leaves some readers with the impression that David didn't care enough about the world to sacrifice his own life; that he took his own chances when he fled Senterex with Marge, not knowing what the virus would ultimately do to him. This is not the actual case, as Joseph Garber has pointed out. But for clarity's sake the adjustments can be accomplished this way: add some background to David's history. Make him someone who was trained in biological warfare and actually knows how to defeat this deadly virus (and that's why he heads to the mountains). Thus, the story goes that the real reason Ransom and his team want David dead is not that he'd infect others, but because he'd kick the virus, live, and then blow the whistle on the entire operation.

#6 Red Herrings. You need more of them. As a suspicious reader, I almost can always figure out where a plot is headed whenever I read a book or watch a movie. Vertical Run was different. It left me totally confounded. I was unable to figure out why they were after him right up to the very end. But that might not be so easy when using film as your medium. Throw in more red herrings. Is is David's wife that is after him? Is she upset because David has decided on a divorce (have their marriage falling apart in the first 30 minutes)? Or is David being "downsized" by a ruthless new company that is taking over Senterex? Or is someone back to settle old scores from Vietnam? Could it be that David really is having delusions as a result of exposure to Agent Orange during Vietnam? Keep the viewers guessing right up to the very end with a variety of scenarios while downplaying David's trip to Lockyear and the ensuing problems.

#7 The first 30 minutes should be used to establish David's relationship in Senterex, his personal relationship with Bernie and Helen, and his trip to Lockyear.

#8 Make sure the ending makes clear to the audience that Mamba Jack, Marge and David have teamed up and will seek revenge against The Specialist Consulting Group (in Vertical Run 2). Use the last page of the book as voice over material while the audience watches a hooded man in a grey sweatsuit jogging along a high trail on Mount Excelsior. As the voice of one of The Specialist Consulting Group's agents is overheard, we see two figures come out of the forest from either side of the lone jogger (Colonel Kreuter). Kreuter doesn't stop jogging, but instead, the two figures, Marge and David, pull up along side of him and jog with him in place, towards the camera. The voice over says: "Cover your butts gentlemen. We've got a situation on our hands" and with that, the silhouettes of David, Marge and Krueter run towards the camera, fill it, and then the film fades to black and then to the credits, with the clear implication that these three are in cahoots to do some real damage to this organization that has made their lives miserable all of the sudden.

#9 Try to eliminate some of the more gruesome violence and explicit language from the book and aim for a PG-13 rating.

#10 Leave in David's encounter with the villainous hookers. It's dynamite!

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