FRIDAY'S SCRIPT TIP:
SUSPENSE? JUST ADD A WEAPON!
Keeping the audience on the edge of their seat is the function of SUSPENSE.
Suspense is not the same as action, nor is it the same as surprise. Suspense is the
ANTICIPATION of action. The longer you draw out the anticipation, the greater the
suspense.
Hitchcock explained; "Two men are having an innocent little chat. Let us suppose that
there is a bomb underneath the table between them. Nothing happens, then all of the
sudden, BOOM! There is an explosion. The audience is surprised, but prior to this
surprise, it has been an absolutely ordinary scene, of no special consequence.
"Now let us take a SUSPENSE situation. The bomb is underneath the table, but the
audience knows it... Probably because they have seen the villain place it there. The
audience is aware that the bomb is going to explode at one O'clock, and there is a clock
in the decor. It is a quarter to one. In this situation, the same innocuous conversation
becomes fascinating, because the audience is longing to warn the characters on the
screen: 'There's a bomb beneath you, and it's about to explode!'
"In the first case, we have given the audience fifteen seconds of SURPRISE at the
moment of the explosion. In the second case, we have provided them with fifteen
MINUTES of SUSPENSE."
Suspense adds spice to any scene - it doesn't have to be a thriller or action script.
Comedies frequently use suspense... many of the laughs in ABOUT A BOY come from
the anticipation that Rachel Weisz may discover that Nicholas Hoult is not really Hugh
Grant's son. Every lie Hugh Grant tells is a ticking bomb that we know will eventually
blow up in his face. Even though you can use suspense in comedies and dramas and
musicals and romances, the most common place to use suspense is in a thriller.
UNFAITHFUL takes a dramatic scene and creates suspense just by adding a weapon.
Bland suburbanite Edward Sumner (Richard Gere) has discovered that his sexy wife
Connie (Diane Lane) is having an affair with a hunky SoHo book dealer named Paul
Martel (Olivier Martinez)... and goes to confront him. This is a dramatic situation made
volatile and dangerous just by showing us a very sharp butcher's knife sitting on the
table near the two men. A deadly weapon within easy reach.
SUMNER
How did you? Meet my wife?
MARTEL
By accident. On the street. There was
a wind storm, she bumped into me and --
SUMNER
You're him.
MARTEL
She told you about that?
SUMNER
Yes. This is where you meet?
Martel glances at the knife.
MARTEL
Yes.
SUMNER
And she likes it?
MARTEL
Well, I guess - she never complained.
SUMNER
Do you stay in all the time? Or do you
go out, too?
MARTEL
It depends. Sometimes yes, we go out.
Martel moves closer to the table... and the knife.
SUMNER
She likes this neighborhood?
MARTEL
Yes. More exciting than the suburbs, I guess.
SUMNER
We've been married eleven years. We have
a son.
MARTEL
Yeah. She told me.
SUMNER
He's the reason why we left the city.
Connie thought it would be better for him.
MARTEL
Oh? She said it was your idea.
SUMNER
You talk about me?
Sumner picks up a snow globe near the bed.
SUMNER
Where did you get this?
MARTEL
It was a Gift.
Sumner twists the globe and it begins playing a music box tune.
MARTEL
I didn't know it made music.
SUMNER
Why would she do that?
MARTEL
Maybe she just wanted to buy me something.
SUMNER
She didn't buy it. I gave it to her. I'm
feeling sick.
MARTEL
You want some water?
Sumner sits down on the bed. In his hands the snow globe keeps playing the tune.
SUMNER
I'm feeling sick. I'm not well.
I'm not feeling well.
Sumner SLAMS the snow globe onto Martel's head... killing him.
Just having that knife on the table instantly creates suspense. We know that either man
might grab for it at any time - and that makes the conversation exciting. Will Martel say
something to set Sumner off? You think that "more exciting than the suburbs" crack is
going to do it - but Sumner maintains control. That knife is right there - will Martel grab it
and kill Sumner? Tension builds. We wait for someone to grab that knife. We anticipate
the action - and that turns a dramatic conversation into a real edge-of-the-seat
experience.
There is a great scene in KILL BILL 2 where Uma Thurman (the bride) confronts David Carradine (Bill) as he is making sandwiches. It is a tense conversation, made *intense* by Carradine using a big shiny sharp knife to make the sandwiches - you keep waiting for him to throw it at her. This would have been a normal scene - tense, but not life threatening - if Carradine had been stirring tomato soup with a wooden spoon. No threat from the spoon. But we know what he can do with that shiny sharp knife. If Uma says or does the wrong thing - he could easily kill her. This ups the suspense.
Tension is unresolved conflict. The conflict has to exist below the surface, and it has to threaten to erupt at
any minute. When you throw a gun or a knife into the scene, the tension escalates.
Want to add suspense to your dramatic conversation? Just add a weapon!
The 2001 London Class on 8 CDs! Recorded *live* the morning after the Raindance Film Festival
wrapped. The two day class on 8CDs, plus a workbook, plus a bonus CD with over 300 screenplay PDFs - all 3 BOURNE movies, all 3 MATRIX movies, all 3
Indiana Jones movies, plus all kinds of action and thriller and scripts from Hitchcock films.
Yeah, I threw in some Charlie Kauffman and rom-com scripts and some National Lampoon Vacation movie scripts,
too. Plus, an orginal brochure for the class. All for one reasonable price: $99.95
