[Quick Summary: A run down, former singer-songwriter gets a second wife and a second chance with his daughter and career.]
I think people like suspense because it is unpredictable.
But what is unpredictable any more without guns or car chases?
Perhaps one key is to create characters who:
a) are dedicated to clear motives
b) and their motives clash.
This script is a good example of pure character work being the unpredictable factor rather than external stimuli like explosions.
Before the scene below:
- The protagonist, Mac, used to be a famous singer until he became an alcoholic.
- Dixie is Mac's ex-wife and is still touring as a famous singer.
- Sue Anne (18) is their daughter, who hasn't seen her dad since she was 6.
- Harry is Dixie's manager.
- Dixie has spoiled Sue Anne, giving her everything except freedom.
- The tour has stopped in a town near Mac's house.
- Note that the unpredictability spring from within these characters. We are constantly uncertain because we don't know how far the characters will go.
INT. DIXIE'S DRESSING ROOM - NIGHT.
SHE is changing her clothes. Sue Anne and HARRY come in.
DIXIE: I told you to wait up here with me when you weren't out front watching the show.
SUE ANNE: I'm sick of watching the show. I've seen it a hundred times.
DIXIE: Then stay up here.
SUE ANNE: I don't want to sit around here by myself.
DIXIE: Then watch T.V.
SUE ANNE: I'm sick of that, too.
SHE starts out.
DIXIE: Where are you going?
SUE ANNE: I'm going back to the hotel.
DIXIE: Why?
SUE ANNE: To change my clothes. I've got a date tonight.
DIXIE: Who with?
SUE ANNE: None of your business.
DIXIE: God damn it. What do you mean it's none of my business.
HARRY: Now, come on, honey. Don't get excited. You still have the rest of the show to do. [His motive is clear: make sure Dixie gets back on stage.]
DIXIE: She's going on no date unless I know who she's going with. [Dixie's motive is clear: don't let Sue Anne go on this date.]
SUE ANNE: Try and stop me. [Sue Anne's motive is clear: I will go on this date.]
DIXIE grabs her. SUE ANNE yanks her arm free and runs out. DIXIE follows to the door.
DIXIE: (Screaming): Sue Anne. Sue Ann. Sue Anne. (She turns to Harry.) Harry, go after her. Tell her I said she'd better get back here and get back fast.
HE runs out after her.
WHAT I'VE LEARNED: Characters don't need complicated motives, but they must be strong clashing ones in order to setup the uncertainty of "how far will they go?"
Tender Mercies (1983)(undated)
by Horton Foote
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