TODAY'S NUGGET: Tender Mercies (1983) - How A Simple, Clear Motive Can Be Quite Unpredictable (Suspense)

[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

TODAY'S NUGGET: #19 WGA Script of All Time - To Kill a Mockingbird (1962)

[Quick Summary: Scout, a 6 y.o. tomboy, observes her attorney father Atticus defend a black man in a 1932 racially charged Alabama town.]

Horton Foote wrote an incredibly fast read (it's 136 pgs.!)

I liked that it's told from a child's point of view because the situation is filtered much differently than an adult. 

These children are very observant, & so much of the real meaning comes out in subtext.

ex. Who knifed bad Mr. Ewell?  Jem? Boo Radley?  Does it matter?  Atticus tells Scout that Ewell fell on his knife & asks if she understands.  She tells him yes & repeats the story he told earlier about shooting a mockingbird.

WHAT I'VE LEARNED: As the children struggle to learn about very serious subjects, the audience also grapples with them.

I liked that there was a message wrapped in a story (not a story wrapped in a message).

To Kill a Mockingbird (1962)
by Horton Foote