Pirates of the Caribbean: The Curse of the Black Pearl is a phenomenal adventure film complete with swashbuckling action on the high seas, comedic relief, a likable antagonist, romance, twists, and unforgettable heroes. I’ve watched it about a thousand times. When I became a screenwriter, it was one of the first screenplays I wanted to study.
Lo and behold, the publicly available screenplay is not the shooting script. It is instead an early draft—indeed, the cover page refers to it as a “FIRST DRAFT” from Sep. 1, 2002 (principal photography lasted from October 2002 through March 2003).
This invaluable opportunity gives students of screenwriting a glimpse into how screenplays are professionally improved and revised.
We might have had an inkling that the story had gone through an evolution based on the credits alone. But even a solitary writer can tell you they will revise a lot. But if all you’ve ever read is a final draft or even the screenplays from award-winning films, it can be hard to know how to fill the gap from your first draft to an Oscar-winning draft, so Pirates of the Caribbean gives us an excellent learning opportunity here.
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Trimming the Fat
We can see how the first Pirates of the Caribbean found a quicker pacing than the screenplay did right from the get-go. It’s always easier to trim excess dialogue than to add it in. It’s not always easy to know when to do that. On page two of the screenplay, Elizabeth insists she’d find it fascinating to meet a pirate. Governor Swann replies: “And that’s what concerns me. Elizabeth, we will be landing in Port Royal soon, and beginning our new lives. Wouldn’t it be wonderful if we comport ourselves as befits our class and station?”
She obliges and then says to herself: “I still think it would be exciting to meet a pirate… ”
In Pirates of the Caribbean, the interaction ends with Swann saying, “And that’s what concerns me.” It becomes a moment of humor, highlighting how a young, high-class girl thinks a pirate encounter would be exciting. This also paints a great character description of Elizabeth, who, of course, will go on to have many adventures with pirates. Very unladylike indeed.
They’ve also cut out her talking out loud to herself. In truth, people don’t talk to themselves that often. When we do, it’s rarely helpful, informative, or entertaining. The creative team was right to remove it and get to the exciting next moment: the discovery of Will Turner and the burning remains of a pirated ship.
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‘Pirates of the Caribbean: The Curse of the Black Pearl’ (2003)
Character Development
In comparing the screenplay draft with the film, you can see how the characters gained richness and depth over time. This makes sense. As scripts are revised, there are often passes made for each character to distinguish them from one another and to find moments where they can shine. It doesn’t hurt to make final casting selections and infuse actors’ essences and interpretations into the writing.
Take adult Will Turner’s introduction. In the script, he is given this description:
The caller, dressed in rough clothing, stands in the foyer, looking very out of place, and knowing it. He holds a long presentation case. He polishes the toes of his boots on the back of his calves, but it doesn’t help. It then goes on to offer a little more befitting a protagonist: The caller turns—it is WILL TURNER. Handsome, with a watchful demeanor that gives him a weight beyond his years.
In Pirates of the Caribbean, his rough clothing isn’t precisely noticeable, but to bring alive the “looking very out of place and knowing it” bit, the creative team had actor Orlando Bloom examine a wall sconce closer—and break it off, to his horror. He quickly hides the evidence as a servant returns to fetch him.
This is another bit of humor in our character introduction. We’re learning that we’re on a fun adventure with laughs ahead, joined by characters who are not just pretty damsels (Elizabeth) or smooth operators (Will).
We don’t see the “weight beyond his years” until a few moments later when he demonstrates his skill and knowledge of a blade in such a way as to hint that he truly knows more than he’s letting on.
‘Pirates of the Caribbean: The Curse of the Black Pearl’ (2003)
Dialogue and Comedy
The dialogue goes through some refinements from script to screen, but none more so than Captain Jack Sparrow’s. When prompted by Royal Guards to explain his intentions in Port Royal (and no lies!), he responds: “None? Very well. You rumbled me. I confess: I intend to commandeer one of these ships, pick up a crew in Tortuga, and go on the account, do a little honest pirating.”
Here’s Jack’s response: “All right then. I confess. It is my intention to commandeer one of these ships; pick up a crew in Tortuga; raid, pillage, and plunder; and otherwise pilfer my weasley black guts out.” A little more colorful, no? The rule of threes strengthens comedy by employing a joke structure that lists three items, with the first two being similar and expected, and the third being exaggerated, inappropriate, or surprising.
Another throwaway joke for Jack Sparrow comes moments later when Elizabeth falls off a cliff in the middle of Commodore Norrington’s proposal to her. The camera cuts back to Sparrow and his confrontation with the Royal Guards. He’s just finishing a story with, “And then they made me their chief,” as Elizabeth disappears beneath the surface of the water nearby.
‘Pirates of the Caribbean: The Curse of the Black Pearl’ (2003)
It’s such a subtle moment for Sparrow—perhaps even improvised on set that day—that adds more mystery and depth to his backstory. Who made him their chief? How did he win over a foreign people? It’s such a funny little moment that peppers the scene just before the action breaks out. It wasn’t in the first draft of the script, but it sure adds amusement to the film.
These kinds of moments are found throughout Pirates of the Caribbean. If it was in the shooting version of the script, it may have been overlooked—it so easily belongs. By seeing what the screenplay looked like without that beat, a writer can start to train their eye to identify those moments in their writings that might be perfectly fine but are missing a little extra something special.
Stronger Ending
While the foundation for an exciting and satisfying ending is there in the screenplay, the film makes notable improvements. The finale offers subtext to big character moments, such as waiting to give Will and Elizabeth a kiss until the final moments at sunset. The screenplay has them kiss at the end of the battle, and, a bit awkwardly, they talk about it.
As written, this moment had been built up since the two met in the opening scene feels clunky and cringe. In the film, Will misses his chance to kiss Elizabeth yet again, still needing another moment of growth towards becoming the man he wants to be. Instead, it’s after he decides to rescue Jack from the gallows that he finally wins the girl.
And speaking of the girl, Elizabeth is given no real agency in the finale. Norrington rescinds his proposal early on, which dissipates the will-they-won’t-they romantic tension between Will and Elizabeth. She refuses to stay locked away safely, yes, and supposedly “captains” the Black Pearl toward battle, but not to any significant effect. Then, she arrives at the scene where Jack and Will have won the day, and she kisses him.
Instead, in the film when Elizabeth refuses to stay locked away safely, she urges the crew of the Black Pearl to join her in rescuing Jack and Will. When they refuse, she rows to the battle herself and takes part, fighting off members of cursed Barbossa’s crew. She wins the day just as much as the men.
In the screenplay, Jack and the crew of the Pearl escape on their own. In the film, Will stages a rescue. Elizabeth recognizes what he’s about to do and causes a distraction that buys him crucial seconds resulting in his success. When they finally kiss, it is as equals who have proven themselves to be courageous, clever, and loyal.
Conclusion
Anytime you get the chance to read multiple versions of a screenplay, I highly recommend it. Being able to track the progress of a story is so helpful in learning how to make your progress.
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Shannon Corbeil is a writer, actor, and U.S. Air Force veteran in Los Angeles with appearances on SEAL Team and The Rookie. She was also a 2023 DGE TV Writing Program Finalist and her screenplays have placed in various contests. You can read more about her on her website or come play on Instagram and Twitter!
