TODAY'S NUGGET: White Nights (1957) - How to Make Your Point by Visually Sequencing a Scene

[Quick Summary: One lonely night, a lonely guy connects with a lonely girl, though she is waiting for her boyfriend who left her a year ago.]

This is my first exposure to the neo-realistic, post-war, Italian filmmaker Luchino Visconti (best known for The Leopard).  

One of the things Visconti does well is plumbing the depths of character with the sequencing of his visuals. 

This is an element of cinema that has been difficult for me to learn, i.e., that the sequencing of pictures can convey to the audience more about the character's internal feelings even than plot alone. 

A good example is the scene below. Prior to this scene: 
- Mario wanders around at night and doesn't want to go home.
- He's come to work in this small town a few months ago.
- He sees Natalia on a bridge, waiting for someone. 
- He follows her, but she disappears.
- He eventually finds her and they engage in a conversation.
- She tells him the story, that she lives with her anxious, protective grandmother, and that they had a Lodger in the house.
- She and the Lodger fell in love, but he has had to go away for business for a year.. 
- She promised  to wait for him, with no guarantees.  Mario thinks she's absurd.
- The sequencing of the visuals (FLASHBACK, PRESENT, JUXTAPOSITION) does tell the story, but the purpose of the scene is more about conveying the emotional impact on Mario.
- Notice how Mario's abrupt objection changes the dynamic (and how the audience feels as well).
- Also notice the effective juxtaposition at the end.  The visual contrast of  the situations (Mario and Natalia apart and upset vs. a kissing couple close and happy) makes us feel even more for Mario.

Outside, along the canals. Night. 

NATALIA'S VOICE: We came here too. He told me again that he couldn't take me with him then...he couldn't marry me then... but he swore I was the only woman who could make him happy.

The lodger and Natalia walk along the canal in a nocturnal setting very similar to the present scene.

LODGER: Listen to me, Natalia. I have to go away for a year. And I can't ask you to promise me anything. I don't want you to promise me anything. I don't want you to be unhappy because of me. You have to be free. When I come back next year, if you still love me then, I swear to you, we'll be happy.

NATALIA"S VOICE: You want to test me, I told him. But I'm not afraid. I'll wait for you.

Outside. Night.

Natalia speaks to the young man, whose back is to the camera.

NATALIA: I'll be here to meet you a year from now...at this very time...and you'll still love me... and I'll be yours... yours forever... 

With those words, Natalia has drawn closer to Mario, almost as if she were addressing them to him, with the same intensity that she mist have had with the other man. Mario at once moved and uncomfortable, moves a bit away from her.  

NATALIA: He left the next morning... and.. I'm here to wait for him.

There is a long silence. Natalia bows her head.

MARIO (violently): But this story is absurd! 

To recover from the emotion the girl's closeness and her confessions have provoked in him, Mario raises his voice and speaks with irritation and extreme agitation.

A pair of lovers who have been kissing in a dark corner not far from them. Mario and the girl turn in alarm.

WHAT I'VE LEARNED:  My fear in my own writing is that the audience won't connect the dots in my sequences. It helps to see here how the visual sequencing flows with the clear purpose of making a point (hearing Natalia's story --> results in an impact on Mario). 

White Nights (1957)
Story and script by Suso CecchiD'Amico & Luchino Visconti
Based on the novel by Fedor Dostoevski

TODAY'S NUGGET: The Temptations of Doctor Antonio (1962; part of the Boccaccio '70 anthology) - When Hypocrisy is Revealed in a Satire

[Quick Summary: Outraged Dr. Mazzuolo tries to get a provocative billboard of a woman removed, but is shocked when the billboard woman literally speaks to him.]

In this short film, Dr. Mazzuolo lives a "very moral" life and has definite ideas of how women should behave and dress. 

When a billboard goes up with a provocative woman drinking milk, Dr. Mazzuolo is outraged.  He causes a loud commotion to get it taken down. 

The satire is his obsession over a paper billboard and the over-the-top lengths he'll go to get rid of it.  It's hypocritical because his motives are not particularly virtuous. 

This is best seen in the scene below:   
- Dr. Mazzuolo has gotten the billboard woman covered up with a covering, but the rain has brought it down.
- Anita, the gigantic billboard woman, comes to life and speaks to Mazzuolo.
- Her sheer size is so exaggerated vs. Mazzuolo.  It's a good visual of how he feels; of her vs. him; of one man trying to fight against a larger idea. 
- I really liked the irony of this scene too. Anita's unexpected reaction to Mazzuolo's verbal abuse (shower of tears) brings home to me that he could deal with the billboard woman as an idea but had difficulty dealing with a real woman.

 E.U.R. quarter. Night.

... He laughs once more, harshly and somewhat hysterically. His laughter is suddenly echoed by Anita's, which explodes unexpectedly, bloodcurdling despite her cordial tone. Mazzuolo shudders in horror.

MAZZUOLO (with mixed aggressiveness and terror): What's so funny? ...

ANITA: You laughed, so I laughed too. What's the matter, can't I even laugh? I have a cheerful disposition, you know ...

To overcome his terror, Mazzuolo now explodes in violent abuse, all a-tremor with sanctimonious indignation.

MAZZUOLO: No! ... I can laugh. Not you? Your laugh is cynical or irresponsible! ... You haven't any right to laugh at decent people! You think it's so easy to be decent and pure? It's much easier to be licentious, like you are! For shame! ... Do you have any idea of the ruinous effect you have on people? on the family? on Society? ... Ah, you're just taking the sun, eh? ... Enjoying the scenery? ... You liar! ... I'll shout it right to your face: liar, hypocrite, corrupter of morals! ... You're sowing ruin and scandal! ... If so many decent people go wrong ... if there's so much evil in this world of ours, so wanting in faith and hope, it's your fault! ...

An enormous tear plunges down from on high, forming a little puddle on the ground beside Mazzuolo. Then another, and another. Sidestepping to avoid them, Mazzuolo goes on, his face flushed with wrath.

MAZZUOLO: ... You're crying? ... Cry, cry, it'll do you good! ... I'm glad I made you cry! ... At last I've been able to confront you face to face ... give you a moral whipping ... Weep, weep! 

He opens his umbrella as the huge tears continue to shower down around him. 

WHAT I'VE LEARNED: I liked that the writers didn't try to soften the hypocrisy and make Dr. Mazzuolo more likeable. Satire requires that characters are unrepentant as they go hard after what they want in order to lampoon them.

The Temptations of Doctor Antonio (1962) 
by Federico Fellini & Ennio Flaiano & Tullio Pinelli

TODAY'S NUGGET: Il Bidone (The Swindle)(1955) - Don't Be Afraid of the Discomfort of a Confrontation

[Quick Summary: Three con men must deal with the job and family pressures.]

In reading this second of three scripts by Fellini et al.,  I am reminded:
a) that great conflict confronts something the character values (stakes).  
b) do not to shy away when the confrontation gets uncomfortable.  In fact, it's the writer's job is to lead the audience through the discomfort. 

The scene below is an excellent example of a character who tries to "save face" during an uncomfortable confrontation: 
- Roberto, Picasso, and Augusto are con men together.
- Picasso is married to Iris. She has no idea he's a con man.
- Augusto brings Roberto, Picasso, and Iris to Rinaldo's house for a party. 
- Rinaldo is a competing con man and an acquaintance.
- Rinaldo suspects Roberto has stolen a guest's cigarette lighter and pressures him to confess. 
- The stakes are about status.
- Notice how Roberto tries to evade the confrontation and how Rinaldo will not allow him to dodge it (tension).
- Note also that it's the writer's job to put these characters through the situation, not avoid or lessen the discomfort.

Rinaldo's apartment. Night.  

At the door, Iris, Picasso, and Roberto are preparing to leave. Roberto winds a silk scarf around his neck; as he sees Rinaldo, he addresses him with his usual bantering voice and brazen assurance.

ROBERTO:  Oh, here's our hospitable host! ... I was looking for you to thank you for this magnificent evening, and to wish you the very best for the coming year.

IRIS: Thank you.

PICASSO: We really thank you.

RINALDO (staring into Roberto's eyes): Listen ... There's a girl in there that's lost her cigarette case ...

ROBERTO (displaying regret): Really? The poor girl ... I'm sorry ... Of course it's what you'd expect, with all this confusion.

RINALDO: The cigarette case happens to be gold.

ROBERTO: Sorry, I don't understand.

Picasso and Iris hold their breath. Iris still does not fully understand. Picasso looks at Roberto in alarm. Augusto appears just behind Rinaldo, and other people are gathering about. Roberto's bearing is still self-assured.

RINALDO: You don't understand! You didn't happen to find it, did you?  You know, lots of times a person might be thinking of something else and doesn't remember. And then, when they get home, they find it.

He laughs as he stares at Roberto.

ROBERTO: You know, I still don't understand.

Rinaldo laughs again. Another man whispers to him.

MAN: You know this guy's really a scream? 

RINALDO: You know what I'd do if I were you?

ROBERTO: No, what?

RINALDO: I'd start looking for it and I'd find it.

LADY (to the swarthy little man): What's going on?

LITTLE MAN: I have the impression, dear Countess, that somebody's pinched something.

ROBERTO: Listen, the thing is ...  Of course I'd be very glad to do it, but you know, I ... (Augusto is staring severely at Roberto. Roberto glances at him and then feigns aggressive astonishment) What is this anyway? ... What do you want from me? ... Excuse me, what kind of a way to talk is that?

RINALDO (calm, sure of himself): My friend, you got a long way to go ... before you can come play around in here ... The lady wants to smoke - offer her a cigarette, no?

ROBERTO (trying to react once more): You mind telling me what you're driving at?

RINALDO (with icy calm): Come on, make believe you were just joking, no? You say you were joking and everybody'll be happy. (Shouting angrily) Well, you going to tell us you were joking, yes or no?

Roberto looks around. There is an icy pause; then, with a slight smile, he goes over to the woman Rinaldo has indicated, takes the gold cigarette case out of his pocket, opens it and holds it out to her.

ROBERTO: Well, yes, I was joking. (To the lady) You got scared, didn't you? I was just joking.

The lady takes the cigarette case; Rinaldo throws an ironic kiss to Roberto and opens the door.

LADY: Thanks.

ROBERTO: You're welcome. (To Rinaldo) Satisfied?

Rinaldo: My God!

Only slightly embarrassed, Roberto waves broadly to the crowd.

ROBERTO: Happy New Year to everybody!

He departs

RINALDO (turning to Augusto): Augusto, what the hell kind of friends do you have anyway?! And you go around with them too?

Augusto is standing stock-still.

Iris is pale as death.

Picasso is mortified.

They hurry out.

Rinaldo begins to dance with Luciana.

RINALDO: Hey, Lucy, sew up your pockets! 

WHAT I'VE LEARNED: This scene reminds me that real confrontation is messy and takes time to explain the stakes and tension, i.e., I need to give it more room on the page to breathe than I think. 

Il Bidone (1955)
by  Federico Fellini & Tullio Pinelli
Story by Federico Fellini & Ennio Flaiano & Tullio Pinelli

TODAY'S NUGGET: I Vitelloni (1953) - One Unspoken Way to Reveal an Unplanned Pregnancy Without Feeling Forced

[Quick Summary: A character study of the lives of five young men in a small Italian town.]

I have to admit that I've been reluctant to read more of Federico Fellini's writing because of my previous experience reading 8 1/2 (1963). 

I may have to revisit 8 1/2 after reading today's script,* which was written 10 years earlier.  

I like this script because it feels like real, small town life, yet isn't boring; it moves forward, yet doesn't feel forced. How does that work? It's harder than it looks.

One good example of this is the scene below in which a pregnancy is discovered: 
- Fausto, Moraldo, and Leopoldo are friends and attend a festival together.
- Sandra is Moraldo's sister.
- Fausto is dating Sandra. 
- Sandra enters a beauty pagent at the festival.
- After she has been crowned Miss Siren, she faints.
- Her family calls for a doctor.
- Notice mother's behavior and how it changes from concern to suspicion to accusation. It's all very unspoken and natural, not mannered or forced.

Kursaal hall. Night. 

The doctor leans over Sandra and listens to her heart as Moraldo continues to comfort his still-frightened mother.

MORALDO: Mama, Mama, calm down, calm down. It's nothing.

MOTHER: What d'you mean nothing; look at her!

Fausto makes his way through the crowd in the main hall but stops at the doorway to the little room and looks inquiringly at Leopoldo, who is already stationed there.

LEOPOLDO: Sandra's fainted; she's sick.

The doctor has completed his examination and stands up, silent.

MOTHER (anxiously): Is she better?

She leans over Sandra, who opens her eyes.

SANDRA: Mama!

MOTHER: Darling!

Sandra sees Fausto standing in the doorway. She immediately drops her eyes and suddenly bursts into desperate tears, hiding her face in her hands.

SANDRA (sobbing): I want to die, I want to die

Her mother bends over her and rests her face gently on the girl's hair.

MOTHER: Oh my dear little Sandra, my lovely girl, what are you saying? You want to die just tonight, when you've just become Miss Siren? No, darling, don't say such things, not even as a joke! (Turning to the doctor) Doctor, what's wrong with her?

Fausto, evidently uncomfortable, watches the scene from the doorway. The mother continues to look uncertainly at the doctor as if to elicit an answer. Moraldo is frowning.

MOTHER: Answer!

The doctor looks gravely into the mother's eyes and then at Moraldo.

MANCINELLI (clapping his hands): All right, young folks, everybody out.

At the doctor's words, the mother is struck by a sudden suspicion. She looks first at Moraldo, then at Sandra. Moraldo silently turns to gaze at Fausto.

Fautso, who was about to enter, steps back warily and then makes his way out through the crowd. 

WHAT I'VE LEARNED: Mother's emotions flit from concern to suspicion to accusation at a very fast speed, just based on looks.  

The writers had to be astute observers of character to get Mother's pacing of emotions correct.  They had to be specific and true to life, otherwise the audience will not grasp that we are clocking her unspoken train of thoughts. 

I Vitelloni (1953) 
by  Federico Fellini & Ennio Flaiano
Story by Federico Fellini & Ennio Flaiano & Tullio Pinelli

*Fellini was nominated for 14 Oscars, 8 of which were for writing (including this script and 8 1/2).

TODAY'S NUGGET: Darling (1965) - How Excellent Writing Elevates Character in an "Impersonal Sex Scene"

[Quick Summary: An amoral model who sleeps her way to the top has to face consequences in the Swinging Sixties of London.]

Frederic Raphael is an astute writer who nails character with real panache and nuance. (See my reviews for Two for the Road and This Man, This Woman).

For example, many other writers would describe an "impersonal sex scene" by focusing on characters' beliefs about sex (transactional) and where they are mentally (occupied with other relationships).

But Raphael (who won an Oscar for this script) adds something special: humanity.  

Prior to the scene below:
- Diana, a model, lives with Robert, a tv director.
- She truly cares for Robert, who is difficult sometimes. 
- She has no qualms about a side relationship - only for recreational sex - with Miles, a businessman.
- Diana tracks down Miles at his gym where he was fencing.
- They retreat to his flat for sex.
- See my bolded section below and my comments in brackets.

INT. MILES' BEDROOM. DAY.

Small change, all silver, being stacked with great care on top of the chest of drawers. The money graded through half crowns to a tuppence.

MILES takes a hanger out of the wardrobe where his suits hang in neat rows like executed gentlemen. He takes out a hanger and holds it out.

DIANA's bare arm takes it. The essence of this scene is that the two are never seen embracing or in two-shot. They undress and seduce each other very coolly, in ritual, never as part of a relationship, never in mutual joy. [These bolded sentences impressed me.  2nd sentence: Raphael, who also wrote for tv, is very aware of what the camera (i.e., visuals) can say that dialogue cannot.  By keeping them apart visually, the sex feels impersonal. 3rd sentence: I thought the description exactly nailed the feeling of this sexual seduction. It's also rather ironic. They're here for sex, to feel better, but they're not really engaged with each other or feeling much at all.]

DIANA: I always feel as if there's one more corner to turn...and I'll be there.

MILES: (sitting on a chair, taking off his shoes) And so you will.

DIANA raises a stocking over her head.

DIANA: And there'll be another.

MILES: (taking off his sweater) That's the attraction of corners.

The coverlet is pulled off the bed and neatly folded.

DIANA: I do love Robert, you know. 

MILES: Why not? 

WHAT I'VE LEARNED: This isn't your typical "impersonal sex scene."  I believe the humanity of these characters, that they're contradictory beings.  It's totally realistic to me that they'd try to keep emotions out of a very emotion filled act.

Darling (1965) 
by Frederic Raphael

TODAY'S NUGGET: The Best Man (1964) - Jabs in the Subtext of a Dialogue Heavy Satire

[Quick Summary: Two candidates - Russell, a ruthless one and Cantwell, a principled one - attempt to solidify the party's nomination for presidency.]

Today's script was written by playwright Gore Vidal, adapted from his own play. 

When the script was published, the editors wrote this interesting observation:

"But essentially the script consists of rather large master scenes only. There are fewer than 100 master scenes, a small number for a feature film, and all involve a considerable dependence, in the script, upon dialogue rather than action or cinematic effects. The result is a fairly long script built around a limited number of settings. For the most part, then, author Vidal leaves the handling of the master scenes in cinematic terms to the director and the crew."  (my own underlining)

Rather than focus on "cinema" and try to expand the world with multiple settings, I thought it was smart that Vidal:
1) kept to the spirit of the play and kept it intimate with limited setting;
2) kept the focus of the script on the duel between these two candidates;
3) avoided the trap of a dialogue heavy script (more "telling" than "showing") with great subtext beneath the surface of the words.

The scene below is a good example (particularly subtext). Prior to this scene:
- Cantwell and Russell are both running for the party's nomination.
- Cantwell is about to concede to Russell, who has released Cantwell's negative medical records to the voters.
- Alice is Russell's wife.
- Note that Russell, who has the upper hand in this scene, is playing games with Cantwell.  He's trying to rile Cantwell with jabs in the subtext.

INT. CONVENTION ROOM 2

Aide gives Cantwell a note; he glances at it perfunctorily.

RUSSELL (gaily): Hi, Joe! Long time no see!

CANTWELL: Yes . .  Mrs. Russell, I'm Joe Cantwell . . . I don't think we've met.

Cantwell shakes Alice's hand. 

ALICE: How do you do. 

RUSSELL: I thought you would be busy working on your acceptance speech. Or is it already written?

CANTWELL (begins): Now, Bill, as I see the picture. . .

RUSSELL: I've been working for months on my acceptance speech, trying to strike that delicate balance between humility and confidence.

CANTWELL: Yes. Now as I see this convention . . . 

RUSSELL: You of course have a gift for hitting the right note.

CANTWELL: Yes. . .

RUSSELL: I like the way you always manage to state the obvious with a sense of real discovery.

CANTWELL: Yes. Now, Bill . . .

RUSSELL: And that wonderful trick you have of . . .

CANTWELL (exploding): Bill, at least let me get one word in edgewise!

RUSSELL (laughs): I'm sorry, Joe. I couldn't resist it. (to the others) I was using Joe's technique: never let the other man get started. Talk right through him. Also, whenever Joe starts a sentence with "Now Bill" . . . you know he's up to no good.

CANTWELL (quickly): Now, Bill . . .

RUSSELL: See?

Cantwell controls himself with some difficulty. 

WHAT I'VE LEARNED: Though the filmmakers could take care of the cinema part, they needed the writer Vidal to do what they could not, i.e., bring the inter-personal dynamics, set the stage, include the subtext in dialogue.

The Best Man (1964)(8/28/63 final shooting script)
by Gore Vidal
Based on his play 

TODAY'S NUGGET: A Hard Day's Night (1964) - The Importance of Giving Non-Actor Protagonists (The Beatles) Something Interesting to Do (Character)

[Quick Summary: The Beatles try to keep themselves - and Paul's grandfather - out of trouble while getting ready for a tv performance.}

What kind of script works for super-duper famous musicians who aren't actors? 

Today's script tackles that task, as it was written for the four Beatles as they hit their stride in 1964.* (And it must've worked well, as it's an Oscar nominated script!) 

I think the trick of this script was that:
-  It gave each of the four guys something to do. Each one has his own mini-story within the larger story.
- The guys poke fun at their fame and don't take themselves seriously.
- It doesn't require the musicians to be actors.
- It puts the guys in quirky situations that the average guy would also find amusing.

For example, in the scene below: 
- George is looking for Ringo and goes into a building across from the theater labeled "Canteen and Executive Office."
- Simon, the executive, doesn't know who George is or that he's famous. 
- Simon thinks George is an actor who is giving his opinion on clothes for teenagers.
- The irony is that Simon dismisses George's opinions as irrelevant, though George actually could have a lot of sway over Simon's customers.

INTERIOR OFFICE 

...A Collection of shirts is produced and GEORGE looks at them. While he is doing this SIMON briefs him.

SIMON: You'll like these. You really "dig" them. They're "fab" and all the other pimply hyperboles.

GEORGE: I wouldn't be seen dead in them. They're dead grotty.

SIMON: Grotty?

GEORGE: Yeah, grotesque.

SIMON (to Secretary): Make a note of that word and give it to Susan. I think it's rather touching really. Here's this kid trying to give me his utterly valueless opinion when I know for a fact within four weeks he'll be suffering from a violent inferiority complex and loss of status if he isn't wearing one of these nasty things. Of course they're grotty, you wretched nit, that's why they were designed but that's what you'll want.

GEORGE: But I won't.

SIMON: You can be replaced you know, chicky baby.

GEORGE: I don't care.

SIMON: And that pose is out too, Sunny Jim. The new thing is to care passionately, and be right wing. Anyway, you wont' meet Susan if you don't cooperate. 

GEORGE: And who's this Susan when she's at home?

SIMON (playing his ace): Only Susan Compey, our resident teenager. You'll have to love her. She's your symbol.

GEORGE: Oh, you mean that posh bird who gets everything wrong?

SIMON: I beg your pardon?

GEORGE: Oh, yes, the lads frequently gather round the T.V. set to watch her for a giggle. Once we even all sat down and wrote these letters saying how gear she was and all that rubbish.

SIMON: She's a trend setter. It's her profession!

GEORGE: She's a drag. A well-known drag. We turn the sound down on her and say rude things.

SIMON: Get him out of here!!

GEORGE (genuinely surprised): Have I said something amiss? 

WHAT I'VE LEARNED: This script showed me that one interesting thing you can do for non-actors is to put them into situations where they have to react as average people, not famous people.

A Hard Day's Night (1964) 
by Alun Owen

*A short time line to give you context:
- 1960: The Beatles started as a group.
- February, 1964: They appear on The Ed Sullivan Show in the U.S. 
- March -April, 1964: This film was shot.
- July, 1964: This film premiered.

 

TODAY'S NUGGET: The Defiant Ones (1958) - How Does an Oscar Winning Script Build Up to an Unexpected Turn/Twist?

[Quick Summary: Two chained prisoners, one black, one white, escape and have to work together to get to freedom.]

How does one craft an unexpected turn in a script?

In this Oscar winning script,* I noticed that the turns were built on a hope-fear-hope-fear rhythm.

For example, in the scene below: 
- Two prisoners, Cullen and Jackson, are shackled together and have been on the run for days. 
- Cullen is white. Jackson is black.
- They come across a single woman and her son.
- They hold the woman at gun point and send the son to fetch a chisel and hammer.
- The scene begins in fear: These men have been through a lot in prison, don't like each other, and are chained together.
- The scene turns hopeful: They final get the shackles off.
- Fear strikes again out of nowhere: They've been so afraid of their pursuers (external), the last thing they thought would trip them up is their bodies (internal). 

INT. CABIN -- FULL SHOT

...Jackson lays his wrist on the stone and holds the chisel over the cuff. Three ringing blows and the iron falls off his wrist.

CULLEN: Now me.

They exchange instruments. Jackson aims carefully. One smash and the iron separates. Jackson looks at Cullen and grins sickly. Cullen reaches for the gun. Both men measure each other. 

CULLEN (licks his lips): We cut loose now.

Jackson's grin fades. His eye hood. Without warning, he drops the hammer, staggers Cullen catches him and carries him to the  bed..  

 WOMAN: What's the matter with him?

CULLEN: He's sick. Got poison in his system. 

WHAT I'VE LEARNED: The fear-hope-fear-hope rhythm is a good tool to keep the story going. The suspense can hide an unexpected upcoming turn/twist. 

The Defiant Ones (1958) 
by  Nathan E. Douglas and Harold Jacob Smith
Based upon the story, "The Long Road," by Douglas and Smith

*FYI: This film was nominated in 9 times, including the first nomination for an African American actor for Sydney Poitier.

TODAY'S NUGGET: The Misfits (1961) - A Really Great "Willow-O'-the- Wisp" Role for Marilyn Monroe

[Quick Summary: A recent divorcee attracts three very different men in Reno, NV.]

One thing that isn't often mentioned about this film is that playwright Arthur Miller wrote Marilyn Monroe a really great character in the part of Roslyn.*

(I do imagine it didn't help Monroe that her husband (Miller) had written her a role is about a divorcee, and she was about to become one in reality.)

Roslyn is fully fleshed out.  On the one hand, she's effervescent, a "willow o' the wisp," and a fun charmer.

On the other hand, her emotional honesty can be rather blunt.  She dips in and out of humor as well as emotional quagmires with amazing dexterity. 

Prior to the scene below:
- Roslyn got a divorce and is now staying with Isabelle. 
- Roslyn meets Guido, who falls for her, and Gay, who's not as impressed.
- Roslyn wants to leave Reno for the countryside.
- Guido suggests the four of them go out to see his house in the country.
- Guido built the house for his wife, who died in the house giving birth 
- In the scene below, the foursome have just arrived at Guido's house.
- The house is half built, and overrunning with weeds.
- There's no front steps. The door is a few feet above the ground.  
- Guido has just said his wife wasn't like Roslyn, not graceful. Roslyn adds "She's dead."

Guido, struck with guilt and wounded by some aspersions on his fidelity to a previously hallowed wife, tries to keep his grin and the gay mood, but his eyes are resentful, and he halts. On the couch, Gay and Isabelle are observing, eating sandwiches and drinking, sensing something serious now.

GUIDO (Trying to laugh at her): What do you mean by that?

ROSLYN (She stays close to him looking up into his face): Whyn't you teach her to be graceful?

GUIDO: You can't teach that.

ROSLYN: How do you know? I mean you do you know? I mean did you ever dance that way with your wife? 

GUIDO: Well she just couldn't make that kind of . . . 

ROSLYN: You see? She died, and she never knew how you could dance! I mean it's nobody's fault, but to a certain extent -- (She holds thumb and index finger a half inch apart) -- I mean just to a certain extent maybe you were strangers.

GUIDO (Defensively; hardening): I don't feel like discussing my wife. 

ROSLYN (she takes his arm -- the jazz is going, she is high now): Oh! I didn't mean to make you mad. I just meant that if you loved her you could have taught her anything. Because we have to die, we're really dying right now, aren't we? All the husbands and all the wives are dying every minute, and they are not teaching one another what they really know! (Genuinely trying to plead with him) You're such a nice man, Guido -- why are you so afraid?! (She wipes her hair out of her eyes to blot out the sight of his resentful face, and suddenly . . . ) I want air! (She goes quickly to the door and starts to step out. GAY rushes from the couch and catches her before she goes down where the step is missing. ISABELLE rushes right behind him. GAY, holding her. . .) 

GAY: You better lie down, girl.

ISABELLE: Come on, let's get back home. Heist her down, Cowboy. 

ROSLYN: No, I'm all right, I'm all  . . . ! (She starts once again to walk out the door. GAY leaps down to the ground and SHE falls into his arms standing up. She looks into his face, laughing in surprise at her sudden drop) How'd you get out here?

ISABELLE (Calling from the threshold): Get me down, Cowboy! Get in the car, Roslyn! -- we're goin' home! 

WHAT I'VE LEARNED: I marveled at that Miller didn't betray Roslyn's effervescence while allowing for great emotional dexterity. It would be so easy to favor one way or the other. 

The Misfits (1961)
by Arthur Miller

*Things that are often said about this film:
- It was the last film for Marilyn Monroe and Clark Gable.
- Both passed away shortly after the film. 
- It was written for Monroe by her husband, the playwright Arthur Miller.
- Monroe did not enjoy filming. 
- She and Miller were having problems and would divorce after the film wrapped. 

TODAY'S NUGGET: The Day After Tomorrow (unproduced) - An Effective Use of "SAME TIME" and "CUT TO:" for Clarity, Tempo

[Quick Summary: After he spots the man who killed his father, a traumatized surgeon goes on the run to pursue the killer.]

Writers Clement and la Frenais are well-known for their humor, but I have also enjoyed their action chops. 

Today's script has great action that's easy to follow, even though there are multiple, simultaneous story arcs.  I wasn't ever lost or confused.  How did they do it? 

As I read, I noticed two helpful sets of transition words that I tend to forget to use*: 

1) Using SAME TIME - This was sort of a "hold the main arc for a minute, we're taking a side trip" reminder to me.

 2) Using "CUT TO:" - When reading at full speed, I didn't pay much attention to this.  Looking back, I do think it's very helpful as a rhythm thing, to unconsciously flag that there was going to be a switch in tempo. 

The scene below is a good example that uses both these transitions: 
- Paul was a child, when Kanarack killed Paul's father.
- Paul saw Kanarack in their house and never forgot Kanarack's face.
- Paul hires a p.i. who tracks down Kanarack and the location of his house. 
- Paul goes into Kanarack's house to find proof this is the right guy.
- Try reading this scene at full speed first.  Then re-read it, noticing that "SAME TIME" and "CUT TO" are subtle clues to changes of POV and tempo.
- Also notice that despite the multiple arcs, there is clarity because there is unity of action: Paul is trespassing in Kanarack's house. Kanarack is after Paul. Someone is shooting at them both. 

EXT. SAME TIME. KANARACK'S HOUSE

The Jaguar pulls up the driveway...Kanarack climbs out. Sees the broken window.

                                                                   CUT TO: 

INT. SAME TIME. KANARACK'S HOUSE -- CLOSET

Paul rummages in a FOOTLOCKER...Packets of MONEY in various CURRENCIES...Paul finds a plastic ENVELOPE...Opens it as he moves to the bedroom to read them in the daylight... 

                                                                   CUT TO:

INT. SAME TIME. KANARACK'S HOUSE -- KITCHEN

As Kanarack enters the kitchen, the cat SCURRIES OUTSIDE...Kanarack listens intently as he tiptoes inside...Slowly, quietly he opens a drawer...Finds a CHEF'S KNIFE...Knife at the ready, he tiptoes inside...

                                                                   CUT TO:

INT. SAME TIME. KANARACK'S HOUSE -- BEDROOM

As Paul moves to access the daylight from the windows, he riffles through the DOCUMENTS in the plastic envelope...PASSPORTS with several different IDENTITIES, all with Kanarack's photo...Also DRIVER'S LICENSES...

                                                                   CUT TO:

INT. SAME TIME. KANARACK'S HOUSE -- STAIRS

Brandishing the knife, Kanarack moves slowly up the stairs...

                                                                   CUT TO:

INT. SAME TIME. BEDROOM

As Paul continues to go through the documents, something catches his eye. His brow furrows, puzzled... 

A DIPLOMATIC PASSPORT issued by the government of SYRIA, with Kanarack's photo and a phony identity...

                                                                   CUT TO:

INT. SAME TIME KANARACK'S HOUSE

POV -- THROUGH TELESCOPIC SIGHT

Following Paul through the lace curtains of the bedroom windows...A SNIPER, 20s, Palestinian, on a nearby rooftop...The CROSSHAIRS line up over Paul's HEAD...

                                                                   CUT TO:

INT. SAME TIME. KANARACK'S HOUSE -- BEDROOM

Paul looks at the Syrian passport, thinks a beat...Glances out the window...He pulls the curtain back for a better look...

PAUL'S POV

As the CAT plays on the front lawn...

CLOSE ON -- PAUL

Wondering...How did the cat get on the front lawn... He realizes...That Kanarack is INSIDE THE HOUSE...Just as... 

                                                                   CUT TO:

INT. SAME TIME. KANARACK'S HOUSE 

...The SNIPER pulls on the trigger of his silenced .580 SNIPER'S RIFLE...PFFFFFT!...

                                                                   CUT TO:

INT. SAME TIME. BEDROOM

Paul TURNS inside just as the glass SHATTERS...A floral pillow EXPLODES in feathers as the headboard of the bed behind it SPLINTERS..

Terrified, Paul THROWS himself to the floor... 

                                                                   CUT TO:

INT. SAME TIME. KANARACK'S HOUSE -- STAIRS

Kanarack hears the noise of the impact, the thud of Paul's body as it falls...He FREEZES on the stairs... 

WHAT I'VE LEARNED: When I write, these transitions seem clunky, sticking out like sore thumbs. However, when I read, they establish a tempo, so they aren't as noticeable, more like background players.

Also: unity in an action scene helps keep multiple story arcs from being confusing. 

The Day After Tomorrow (unproduced)
by  Dick Clement and Ian La Frenais

* I visualize these transitions like bowling alley gutter bumpers that keep kids' bowling balls on track (photo example here).