[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
