5

Plotting
The Twists & Turns
Once you have an understanding of structure and the purpose of
each section of the story, you can begin to think of the actual
step-by-step plan for constructing the plot. Structure gives you
the basic plan, the framework, but plotting is the real nuts and
bolts construction of your story. It orchestrates the action and
conflict, designs the sequences, and creates the story line so that
the progression of events makes sense, builds suspense and
moves your audience.
Constructing a believable, exciting plot is never easy. Plot
isn't a complex structure that drops complete from thin air to the
writer and then is handed over to a group of characters to act out.
Plot develops as you turn the general theme and the characters
into specific details- actions, dialogue, circumstances, time and
place. Good plot evolves organically from the reaction of a partic-
ular character in a particular situation.
The plot of your story depends on the protagonist pushing the
action forward, whether from her own design or as a reaction to
the situation.
If the protagonist isn't committed to the drama, the
audience can't commit to the story. If the plot is a mere natural
sequence of incidents, with no real orchestrated rising action, it'll
 Writing Short Films
Plotting The Twists & Turns

be ineffective as well. The incidents may reveal your characer

but if they don't advance the plot a step further towards the g a simple conclusion. A plot is always aimed at the point it makes
situation, they'l be of no dramaj
sis, if they don't lead to a big in the climax and resolution.
value. Plot is made interesting by the obstacles standing in po Second, plots are based on causally related events (and this
tagonist's way. The audience watches with anticipation, in siE is the basis of all plot construction as we'll see later in this chap-
or ter). It isn't "a" happens, then "b" happens, and then "c" happens
pense, waiting to see what the hero will do, if he'll succeed fi
It's "a" happens and causes "b" to result, which in turn causes "c"
If the attainment of the goal is too easy or unrealistic, no one wi
and so on. These cause-and-effect relationships between the
care. But if the struggle is fierce and the suspense intense, the
scenes are instrumental in creating continuity of action while
audience will feel satisfied at the end of the film.
also developing the conflict, characterizations and the overall
The simplest form of plot is one in which the screenwriter
meaning of the work.
places the protagonist in a predicament, keeps him there as long
Third, a plot must have enough conflict to awaken the audi-
as suspense is maintained, and then extricates him in a surprs
ence's desire to see what happens next. Depending on the story,
ing but logical way. This goes along with what the seasoned
sCreenwriter once told the novice: "Get your protagonist up a
te
conflict can be strong or subtle
- but there has to be enough to
arouse your audience's interest. More importantly though, con-
then throw rocks at him, and then get him down in a unexpected
lict can't just be conflict for its own sake; it must be significant to
way" It's good advice, but keep in mind that in addition to the the characters to be meaningful to the audience.
bare predicament, you must provide interesting and logical rea Plot is a series of interrelated actions that progresses through
sons for the character falling into the predicament, logical caus a struggle of opposing forces to a climax and resolution that
es for his inability to get out, and finally a logical but unforeseen defines the meaning of the work. The use of such factors as con-
escape. fict, suffering, discovery, reversal, tension, suspense, etc. in the
In the last chapter we discussed the overall structure of a plot's overall arrangement builds momentum and arouses curios-
short film, and illustrated various forms of conflict the protagonist ity. Films that don't have a clear plot often feel aimless. They
can face. Now we focus on the process of selecting and ordering seem like a mere sequence of events that never leads anywhere.
the scenes that develop the conflict and
create the plot, the blue Story is the starting point, but an effective plot made of scenes
print for the drama. But before we do, let's define exactly what we with strong cause and effect relationships is the goal.
mean by "plot."
Defining Your Plot
WHAT IS PLOT? Sometimes your material gives you a plot almost ready made.
Many people confuse plot with story. Story, as defined in the More often, you need to create one where none exists. Once you
Concise Dictionary
of Literary Terms, is a sequence of events know your protagonist and his goal, a good starting point is to
designed to interest, amuse or establish exactly what forces are in conflict with him. Ask your-
inform its audience. It doesn't
need conflict or desire, but self, who is trying to accomplish or decide something? What does
most stories make use of these factors
to some degree. he wish to do? Who or what opposes the main character?
Plot, however, refers to the overall organization of your Consider both internal and external forces. What will the result of
materialthat makes it coherent the commitment, action, struggle be?
and compelling. Creatinga strong
plot is dependent on three
important factors. First, plot refers to Next, determine the moment when conflict begins. This is the
the arrangement of
events to achieve an intended effect. A plot is initial action or, as defined in the last chapter, the inciting inci-
Constructed to make
a point, to reach a climax that produces a dent. Then find the moment the character succeeds or fails in his
specific result at the
end. It isn't a string
of events that arrives a'

84 85
 Wniting Short Films Plotting TheTwists
& Tuns

effort: the climax. Both should grOw from the character's CONFLICT
nature and situation.
basic
hae THE ROLE OF
Hhould be obvious by now that contlict is integral to narrative
Now focus on the active moments in your material, driven filmmaking. ACtion in drama and fiction depends on it.
the
moments of conflict, change, growth, and discoverv page (or screen) static, immo-
without conflict a story sits on the
moments are usually the most dramatically significant. or viewer) goes along for a little
A clear bile and the audience (reader
understanding of them will help organize the material
around
the
uhile but finally gives up on it because it hasn't kept their atten-
points which will be the most etfective to emphasize. These are tHan
Conflict engages the audience's initial interest by getting
the moments that should be prolonged within the drama. can
It them to wonder
what happens next with this problem? A film
be helpful to list possible scenes, but an actual scene-by-scene of true love, but unless it empha-
might be about the selflessness
outline can be done later. isn't
sizes a strong conflict for the characters to face, the audience
Think of your film in terms of broad blocks of movement. For care.
really going to
example: The role conflict plays in dramatizing a great story is not lim-
Abalanced situation (main exposition)
ited to engaging your audience's interest.
Conflict plays a key role
Some force unbalances the situation (inciting incident) audience. As we mentioned in
in revealing your character to the
The character's reaction (or his decision to act) Chapter 3, a character reveals his true nature under the stress of
Consequences ofthe character's action's (obstacles choose between the easy and the hard,
& conflict. It forces him to
complications) is shown.
and in his response his essential nature In Lijfe Lessons,
Re-establishment ofbalance (main
climax & resolution) each time Lionel faces a conflict with Paulette over another man,
or any
his actions show him as desperate and capable of almost
NewBalance thing. In Election Night, Peter stands up to the racist tirades even
or
though it gets him no closer to his ultimate goal. In The Powder
Degeneration into chaos
Keg, Harvey, tacing death, admits to regrets about his life. Conflict
brings the characters face to face with reality and makes them
Determine which scenes
fall into which categories. Scenes show themselves.
that have to do
with the initial conflict belong
Scenes that dramatize near thebeginning Conflict also forces emotion out into the open. Again, from
the protagonist's struggle probably
in the middle. Scenes belong Lije Lessons, Lionel's passions animate each scene, from one to
that show growth or change
ter will most likely go in the charac- the next making them rich and expressive. In Election Night,
in the second half Peter's emotional responses motivate reactions that push the
dramatic crisis
point undoubtedly
of the story. The most
then result in relates to the climax that will story toward its climax. In The Powder Keg, both Harvey and the
either the re-establishment
ation of a new balance of balance or the cre driver respond to the looming threat with powerful emotions.
or chaos.
This is only a These scenes come alive, becoming more intense and interesting
general plan from
afraid to change, which to work. Don't be When characters express emotional reactions, the audience gen-
reorganize or even
anead. Once a delete scenes as you mov erally feels them too, creating a deeper connection between
general plan is
Scene-by-scene laid out, creating a more specinc
outline of the them. This strengthens the effect of the work as well as making
betweenthese plot will provide
broad story the connections for stronger scenes.
acters need beats. Change
to be shown. and growth in tne ar-
have to be incorporated Complications, obstacles,
always keep into the line surpi Positive& Negative Conflict Development
the conflict of action. Remember in order for conflict to really be effective, it has to develop and
front and
center in your mind.
aiiect the protagonist and other characters. This means conflict

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Plotting-The Twists & Turns

can't be conceived as merely a series of hurdles your protagonie

has to get over as she moves from her desire to her oal
must examine everything in our lives to figure out how we can
Problems press down upon the protagonists making their jour.
neys that much more difficult (and so more interesting), ih
succeed
- or we have to reexamine our goals. Something is
going to have to give.
Election Night, Peter has to get out of three cabs before he decides Your protagonist's failure to hit his goals can either defeat him
just to try to make it on foot to the polling place. All three racis or force him to change in ways that allow him to grow and suc-
taxi drivers succeed in driving him off; he doesn't overcome any ceed in his quest. How he changes-grows or disintegrates
deepens your characterization of him, as well as creating surprise
of them in his quest to vote. This drives up the tension level-we twists and developing your film's theme.
ask how will he ever succeed?
Using failure to propel change or growth is commonplace in
In most stories we see conflict developing both positively and
negatively for the protagonist. In Life Lessons, Lionel convinces feature screenwriting. In shorts, we often see that the protagonist
doesn't change: i.e., Lionel in Life Lessons or the brother and sis-
Paulette to stay, but she won't sleep with him anymore (a positive
ter in PEEL. In these cases, the characters' failures force changes
result and a negative one). Then it looks as if he's driven her away
on others or in their situations. (And of course they bring about a
with his inability to mentor her (negative), until she reconsiders
change in us, the audience, as we learn about these characters.)
after watching him paint (positive). He tries to get her away from
In Life Lessons, Paulette changes and leaves, and Lionel's art is
the young artist at the birthday party, but drives her right to him;
successful. In PEEL, the siblings move from driving home to being
she flaunts the younger man to Lionel by bringing him home and stuck on the side of the road with no compromise in sight. In
sleeping with him in front of Lionel (negative again). other shorts, change is pronounced. In Election Night, Peter is
When conflict develops positively and negatively, it makes it completely changed by the end of the film, going from believing
less likely that the audience can predict how the film is going to in change to someone who's learmed it's impossible (or at least,
end. They can't assume the hero will definitely prevail in the end that he won't be the one to change things). In Franz Kaka's It's a
because his track record to that point involves obstacles that he Wonderful Life, Kafka learns he has friends after all.
hasn't completely hurdled. If every obstacle were easily sur- As your protagonist encounters the challenges in the story,
mounted, there'd be no real tension in your film. (Even a simple, especially the crises that don't turn his way, ask yourself how they
Forrest Gump-type character who seems to prevail through little affect him. What are the emotional consequences as well as the
more than good luck must face obstacles that cause us to doubt real world cost (i.e., affect on the plot)? Then look for ways you
his success.) An audience that assumes a character can deal with can show these results in the action of the story
anything may not wait around for your climax, however nuanced
it is. Negative outcomes create tension that casts doubt on Unity of Opposites
whether the hero can succeed, and keep endings less predictable. Most films describe a conflict between characters
the
nist and antagonist- although this is not always the case.
protago-

Failure as Teacher Conflict can arise from an external situation or inner problems.
But when conflict develops between a protagonist and antagonist
Negative outcomes do something else in addition to creating
suspense and hiding the ending. They set up incidents of failure. it works best when the characters are locked together with no
Failure can be a terrific teacher for your protagonist, just as it is compromise possible between them. We refer to characters
locked in a zero sum game as the unity of opposites. Such unity
for real-life characters. (Even business magazines like Fortune
quite obviously helps create a strong rising conflict. The charac-
and Forbes sing the praises of those who successfully manage
ters have purpose and strong convictions, and will fight for what
failure and learn from it.) Failure demands examination. If we're
committed to our goals, but have trouble reaching them, we

89
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Films
Writing Short

Plotting- The Twists & Turns

more evenly matched they are, the
they want. The stronger
and the more suspenseful the outcome
battle Gregory Dunne and directed by Tony Richardson, from the
Strong unity of opposites
depends on how the ch: hn
eponymous Hemingway story, the emotional conflict escalates to
locked together in contlict. Characters
may simply have are
the same aheart-wrenching recognition for the protagonists that is sure to
goal, and only one can win. Family relationships ker cting be the
source of pain for both for a long time to come, yet noth-
characters in constant association through love, need, untoward occurs in the film.
and pe ing physically
graphical location. Love can also bring ostensible opposite Obviously, physical violence makes for good drama, too,
together, until their shadow personalities emerge
Walked With A Zombie Try to make the unity (what binds
( e hecause it's a strong representation of
mising positions. Film will always rely
use
the meeting of uncompro-
on violence to tell many
the
stories just as dreams often violence to get attention and
characters together) as specific as possible to understand
what
their messages. In many successful feature fillms and
fuels the conflict and what must give or change in the charach illustrate
The Red Balloon, The
shorts (Occurrence at OwI Creek,
acters
in order for them to find a resolution.
Appointments of Dennis Jennings), physical violence is an intricate
If the conflict of your story revolves around a situation, or the success. more important, though, in
part of the story and its It is
antagonist is a force and not a person, find a way to personalize
a short film for the violence to have a point. Because there's so
the obstacle for the protagonist. A clash of man
against nature directly serve the story will
can be translated into a personal conflict only little time, violence that doesn't
if the audience appear all the more gratuitous.
understands that nature presents or objectifies a
challenge the
protagonist has set for himself. You need
to know what the force Conflict Rises in Waves
represents to the character. It is not a conflict between man
and To be effective in constructing a plot, conflict needs to rise in
nature or man and beast, but a struggle
going on within the man waves. Along the way there are temporary cease-fires or "fixes"
himself. When the
nature of the conflict is clear, a strong unity of but they can't last. Life Lessons careens from one temporary solu-
opposites can be achieved
in this situation, too. tion to another. The first crisis arises when Paulette announces
In The Old Man and
the Sea, adapted from the Emest she's leaving and clearly Lionel doesn't want her to go. Lionel
Hemingway script by
Peter Viertel, the old man is striking back at solves his problem, convincing Paulette to stay by swearing she
the encroachments
of age, and catching the fish is his only way won't have to sleep with him anymore. This seems to work until
he can. In The
Macomber Affair, adapted from nother Lionel won't really tell her how he really feels about her own art.
Hemingway story by This sends Paulette reeling, and it looks as though she's headed
Casey Robinson and Seymour Bennely
Macomber is really
fighting his own for home for sure. But she gets caught up in watching him paint,
stones, and the fear not a lion. In tneso
films made
from men are
and reaflims her commitment to art.
dknesses within themselves.
matic devices The
them, both
ig
fish and lion are creativcu
These short-term solutions just prolong the audience's arrival
for telling the at the moment of final confrontation with the antagonist.
story in terms of action.
Types of Delaying the confrontation can build tension, but also allows the
Conflict writer to fill in important details about the main characters. These
in film conflict
oftenrelate doesn't always mean
physicalvi1oe
details help define the audience's relationship to the characters.
far more A plot deepens and grows by including scenes that dramatize the
quickly
ence because to emotional conflict thantO physi-
main characters' reactions to the plot's events. As with real rela-
relationships.we've all experienced emotio nal friction in tionships in life, we need time to understand the allies we have
cnoional scars. Very few
adults have and the foes we face.
story, Hills In the short film
Short
Like White based on anotner Hemingway
Elephants, and
adapted by Joan Didion ai

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Films Plotting The Twists & Turns

Wnting Short

Probabilities & Necessity

Possibilities,
conceived and handled, the PRINCIPLES OF ACTION
conflictisproperly THE has to be set in motion. We
drama has been conceived, it
when the
hetter chance of fulfilling the audience's expectations once conflict his wants and goals to push the
action
has abete hle to predict the outcome, but because Ce the protagonist and story. But as the
able and resolution of the
because we're
conclusion feels true to us. At the beginning forward to the climax forward to create basic momentum and
inevitabilityof the of artion and conflict move why this story is
screenplay, anything is possible. But after the first cene, the a good story needs Scenes that reveal
a tension, characters, what the conflict
nccibilities of what can happen become increasingly limited stake for the
grom happening, what's at consequences of taking action. All this
Once the beginning defines
a specitfic situation, charaç them and the audience
means to
into a meaningful whole for the
and conflict, the screenwriter leaves the realm ofthepossi has to be
orchestrated
ters
realm of the probable. The characters
mine the drama.
ble and enters the fol without slowing scene relation-
the confi tas action describe three sets of
more lines of probability in reaction to The principles of threads of the story together.
low one or us weave all these
that, by the end, the screenwriter is limited
t
that help causality. One action
the plot unfolds so ships
necessary. Because the characters have said and
great plots are based on the laws of audience
only what is All causes another and so on. The
can be only one necessary resolution causes another and this conclusions about
done specific things, there between scenes, draws
from the start. A relationships
This doesn't mean the climax is inevitable what creates real
sees the
and follows along. This is
good writer constructs a plot that gets the audience asking what the meaning of it all,
narrative momentum. relationships through:
will happen next and what the final outcome will be.
The plot
Screenwriters build strong causal
must appear as though it's changing directions to keep
the audi- relationships between scenes
ence guessing. Otherwise, the audience loses interest.
a put-down
(How
of a
. Cause and Effect
2. Rising Conflict
(attack and counterattack)
many times have you heard "predictable" as Foreshadowing Conflict
3.
movie?)
As the protagonist faces obstacles and complications,
he
Cause & Effect Scene
Relationships
must alter his course. New characters bring new possibilities
to
(Action & Reaction) and cause a reaction in
the
the plot. Psychological transformations can alter the action.
Each scene should advance the action depends on this: that we
can cas drama
Missed opportunities,
misunderstandings, failures-all following scene. The language of Since
understand what's going on.
outcome. Some of the best surprises in
doubt on the story's
see the cause and the effect to the end of
is not resolved until
COne irom the transformation
of character. A characterchangein the protagonist's overall story goal goal and what
Or grows to do nd pursuit of that
something right or to do something wron8 the film, we are dramatizing the does-
o doing affects the outcome the way. The successful plot
of the screenwriters
film. It's nof happens as a result of it along the pursuit of the
showing the active
the toate
and orchestrate these changes into the acu nt focus solely on the scenes antagonists. It
film so the audience
goal or the points of active
conflict between the
Problems
will accept them. characters, especially the
with the ending indicac
of a script generally don'tintegrat aiso includes the reaction of the main the losS
roublewith one or complications and crises,
two final scenes, but a plot protagonist, to the obstacles, char-
ed-and characters that> before encounters. By showing
nat. Audiences
that are not logically realized-far es and even successes, he or she
audience is better able
to
acters' reactions to the conflict, the
Dul
a theater saying tney liked a film
often leave responses to
didn't like
the ending, to own emotional
avoid problematic As Screenwriters you must know how
before cnuty with them through their
endings through
the final
scenes. effectiveplottinglong
piou
what's happening.

93

92
 Writing Short Films
Plotting The Twists & Turns

Irwin Blacker said in The Elements of Screenwriting, "Plot is

more than a pattern of events; it is the ordering of emotions" In the film's next scene, the two of them get ready for a party,
Cause and effect scene relationships allow you to show these acting like an old married couple. This scene, which is the begin-
emotional reactions within the parameters of the plot. Without ning of a new sequence, is also the end of the previous one. We
dramatizing the emotional side of the story, films lose dimension. learn here that Paulette's response to Lionel's art is to reverse
herself and continue working for him. Writer Richard Price wastes
Ifa plot is all action and no emotion, it winds up melodrama, and
no time with a separate scene for Paulette's story point. He lets
the audience will be less likely to fully embrace it. A plot pushed
the audience put two and two together, and keeps the plot mov-
by action and not by characters' emotions uses characters as
ing ahead as he now gets ready for the next section of the story.
puppets to be manipulated. Director Sidney Lumet said in Making
All good stories concern themselves with the characters'
Movies, "Drama is when characters move the plot; melodrama,
emotional responses to the action. Good writers know they must
when plots move characters." Cause-and-effect plotting will nat
show this side of the story to keep the audience relating to the
urally lead you to characters moving the plot, because emotions material. It helps us to understand the characters' motivations
build and force action more realistically than one arbitrary action and to feel empathy for them. As you construct your plot, remem-
that gives rise to another. ber to incorporate scenes showing the important characters'
In Life Lessons, the relationship between the scenes is mas- responses to the main story points. The questions to ask yourself
terfully handled. Sequences built on actions and reactions that as you plot with a cause-and-effect approach are: what would my
keep the film focused and moving ahead. Let's look at one exam character feel as a result of what has just happened and, what
ple: after Paulette reconsiders her plan to leave New York and would he do then?
extracts a promise from Lionel that she won't have to sleep with
him, the witer escalates the conflict again in a different manner. Rising Conflict
A new sequence begins by showing Lionel critiquing Paulette's Rising conflict is also based on causal scene relationships. We
paintings. Full of self-doubt, Paulette wants more than anything distinguish this type of cause-and-effect plotting from mere
for someone, Lionel, to tell her if she is any good. The one thing action and reaction by the nature of the conflict. Rising conflict
Lionel is incapable of lying about is art. Art is about having to do entails attack and counterattack. We see this when characters
it; it's not a choice. And she is, after all, still young. All his pussy battle each other, most often during the second half of the story.
footing around further frustrates Paulette. As Lionel leaves the The attacks and counterattacks must become increasingly more
scene, he kicks himself for what he's said, showing his reaction serious and threatening to the protagonist as the story progress-
to the increased anxiety he knows he's caused her. es. As the attacks and counterattacks escalate they lead directly
The scene that follows shows Paulette's reaction: in tears, she to the last crisis and climax. Real tension results from a strong ris-
phones her mother and asks if she can come home. We see her ing conflict when the antagonists are evenly matched as well as
pain, her frustration, while in the background Lionel's music blasts locked together.
Bob Dylan's "Like a Rolling Stone." The scene helps us empathize In PEEL, the film begins with the sister and brother already in
with Paulette since most of us have felt pain, frustration and self- conflict. The sister's first line of dialogue from the back seat of the
doubt. Next, Paulette marches into the car is a subtle jab at her brother.
studio, angry about the
music, about everything, yelling to "If you don't want other people's opinions, don't ask for
get his attention. Lionel's
unbreakable concentration at the canvas them," she says. Silence, except for the boy's bouncing of the
forces her to view the
painting taking shape underneath his masterful brushstrokes. In orange off the windshield. She continues: "It was a really scrappy
her face we watch her anger melt bit of land... that's my opinion." At first, the brother does not reply
away and awe replace it. She is
not in awe of Lionel the person, but Lionel the artist. but tension permeates the car. The boy begins peeling the orange

94 95
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Writing Short Films

Plotting The Twists &Turns
and dropping the skin out the window. His father (the brother
responds by telling the boy not to do it. The boy ignores him and home and hears their voices ringing from her room. He turns up
keeps dropping pieces of peel. This is still action and reaction. the stereo and plunges into his painting.
In My Generation, Bob goes on the attack at the midpoint
The sister asks the boy for a piece of orange and he screams
when he decides to knock off his grungy hitchhiker Todd. Only
"NO" He jams the orange onto his finger. This becomes too much
Todd counters the move by revealing he has a similar agenda and
for the father. He slams on the brakes and orders the boy out of
he goes after Bob first. The two battle trying to kill each other
the car to pick up every piece of peel he's dropped. The boy refus.
until interrupted by another traveler who turns the plot in a new
es. "We're not leaving here until you pick up every piece of peel
direction.
on the highway," the father says. Father and son stubbornly stand
their ground while, in the car, the sister stews because she want Foreshadowing the Conflict
ed to be home by five. The father tries once more, admonishing
To foreshadow means to show, indicate or suggest something
the boy that he had better do it. Still, the boy refuses, now gestur- beforehand. In film or fiction, when we foreshadow conflict, we
ing defiantly as if to throw the orange at his father. It's a puny are letting the audience know it's coming. Foreshadowing, too, is
attack from a pint-sized aggressor, but an attack just the same. based on causality; but it's different from simple cause-and-effect
His father angrily counterattacks by throwing the car into gear scene relationships and rising conflict because the effect of the
and driving straight at the boy! He stops as the bumper rubs up foreshadowing isn't felt until later in the film or story. Since
against his son's knees! Now the boy hurls the orange at his there's little time to waste in a short film, foreshadowing isn't as
father. It splatters against the windshield with a smack, and the readily employed as the other forms of conflict in the plot because
boy runs off. the writer needs to pin down the problem as soon as possible.
Jane Campion wastes no time building the conflict. She starts Nevertheless, foreshadowing does appear in short films, most
in the middle of it, employing a clear attack and counterattack often in the setting up of opposing characters. At the beginning of
formula. The tension created grabs the audience and makes them The Man in the Brooks Brothers Shirt, the young writer sits in a full
pay attention. lounge car, reading her book and talking with other travelers. She
At the beginning of the second half of Life Lessons, writer has an amusing, cynical manner. Along comes a businessman
Price establishes Lionel's stature in the art world at the birthday who quickly clears the car with his clearly ribald attitude. Only the
party with Lionel recounting a clearly often told story about how young woman remains, now happy to be alone with her book, a
he became an artist. As he tells the tale, he sees a young man political treatise The Coming Struggle. The businessman, though,
take an interest in Paulette. Jealousy flashes as he rushes to dis- sets his sexual sights on her, and none of her sarcasm or put-
cover who the young man is. Lionel downs can dissuade him from his pursuit. This foreshadows a ris-
whisks Paulette away into
ing conflict between the characters. It makes the audience ask,
the bathroom. "People are laughing at
you," he tells her, clearly
on the attack. He lies about the young man's intentions, which "What's going to happen next?"
only relieves Paulette's anxiety and makes her laugh. She thought At the beginning of Words, we meet the young orthodox
he was going to tell her they were laughing priest Father Kiril with an older priest. After some initial exposi-
at her because of her
work. Lionel thinks his point is considerably worse. Stung, tion, they walk past a group of children playing war with turtles
Paulette tries to leave, but Lionel won't let her inside a ring of wood. The two priests enter their church and as
out of the bath- they start their prayers with their brethren, writer/director Milcho
room. He leaves first, and stands against the
door, barring her
exit. The next scene shows Lionel in a group singing "Happy Manchevski cuts back to the children lighting the ring on fîire.
Birthday'" to the host as Paulette grabs Intercutting with the priests chanting their prayers, a child discov-
the artist and flaunts her
exit in Lionel's face. This is her ers a box of live ammunition and empties the shells into the
counterattack. Lionel returns

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