A rolled-up dollar bill lowers. The lies are snorted.

thank you! this is very helpful.

Emotional state is the most important thing in cinema. I usually use "known" actions.

"Head lowered, he trudges slowly..."

"Fists balled, brow furrowed, he stands..."

Comparison works well also. I can't really think of any examples of "internal."

GREAT advice, Scott. Really helps.

- E.C. Henry from Bonney Lake, WA

Other examples:

500 DAYS OF SUMMER (p 12)

Summer starts to eat.

SUMMER
Let's just eat and we'll talk about it after. I'm starving.

Without another word she goes back to her pancakes. tom watches her eat like this is the worst travesty in the history of mankind.

SUMMER
(mouth full)
Mmm, you're so right. These ARE great!

Tom looks at his food in disgust. He may never eat again.

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PRISONERS (p 12)

Loki grabs a shotgun out of his car and leads the way, moving fast, unrelenting. Carter and Wedge can barely keep up.

Loki's maybe ten feet from the RV's side door when ITS ENGINE ROARS to life. IT STARTS BACKING UP, positioning for the on-ramp. Carter and Wedge look to Loki -- What now?

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Two examples that, I think, show how to competently break the rule.

Also... Two scripts that were written on spec. One by a lesser-known writing duo (Scott Neustadter & Michael H. Weber), and one by an unknown beginner (Aaron Guzikowski).

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