A Clockwork Orange: Alex has only a finite number of ways to overcome the effects of society’s pressure on him. First he tries to live without regard to societal rules, then turns to the Ludovico treatment to escape punishment from the State, then to his parents for shelter, inadvertently to Mr. Alexander, and finally to the Minister of the Interior, Fred.

A Doll’s House: Nora and Torvald’s marriage will strengthen if only “the wonderful thing happens”-it doesn’t.

The Age of Innocence: There are only so many avenues open to the characters to achieve the story goal: Mrs. Mingott and the families’ concern about discretion limits the ways they manage Ellen’s problematic existence; The van der Luydens serve a classy lesson to society by inviting Ellen to their dinner party; May and Newland’s wedding date is moved up; Mrs. Mingott reminds Newland that Ellen is a married woman; Running out of ways to prevent a scandal, Mrs. Mingott sends Ellen away to Europe. Social conventions limit Newland’s options regarding an open relationship with Ellen. Ellen’s options for living independently in New York are so limited that she moves to Washington, D.C., then, Europe.

All About Eve: Margo tries convince to Bill, Lloyd, and Karen that Eve isn’t as innocent as she appears. Failing to do that she must bide her time until Eve’s maliciousness is revealed to everyone. One by one, Eve’s manipulations alienate everyone who has befriended her. She’s finally caught in a web of her own deceptions by Addison DeWitt. Eve has no choice but to comply to his demands or be exposed as a liar and lose the acting career she desires above all.

All That Jazz: All the options for keeping Joe alive, and therefore the production of NY/LA afloat, are exhausted at the time of his death.

Amadeus: Salieri has run out of options to further Mozart’s ruin, so he contrives to impersonate the ghost of Mozart’s father to frighten Mozart to death. At the end of the story, he attempts suicide to outwit God.

Apt Pupil: As evidence of the true nature of his relationship with Dussander mounts, and his connection with the murdered winos becomes apparent, Todd is faced with the option of revealing (and reveling in) his evil nature or suffering through the indignities of a court case in an attempt to maintain his upstanding reputation:

Richler could suspect, but suspicion was the best he could do. Unless there was some sort of concrete evidence binding Todd to the old man. Exactly the sort of evidence Rubber Ed French could give…Yes, Rubber Ed was the link they didn’t have….And would even that end it? Oh, no. They would get his high school graduation picture next and start showing it to the stewbums [sic] down in the Mission district. What next? Court next….It would all be dragged through the newspapers… (King, 1982, pp. 284-285)

Barefoot in the Park: There are only so many ways to forestall divorce and restore marital bliss.

Being There: There are only a limited number of sources the doctor can fully investigate to find out Chance’s background before he comes to the realization that Chance truly is who he claims to be, a simple gardener.

Body Heat: There are a limited number of ways that Mattie can get away with the murder and the inheritance. One by one the opportunities to thwart Mattie are closed down as her plan tightens.

Boyz N The Hood: There is an indefinite amount of time to choose a finite number of options to get outta the hood.

Braveheart: William can only do so much without the support of the Scottish nobles, their armies, and their clansmen. His last option for securing Scottish freedom is Robert the Bruce.

Bringing Up Baby: Although a timelock is indicated in the opening scene (Alice reminds David that they will be getting married the next day), that apparent deadline comes and goes while David and Susan are chasing George to get the bone. Since the goal is obtaining the million dollars, David can essentially take as much time as he needs until he either gets the money, or through his actions completely blows the opportunity.

Bull Durham: There’s no set time limit indicated, and in fact none occurs. It’s only after Annie and Crash focus Nuke’s pitching, that he moves on to the majors. If it hadn’t, he’d probably stay in Durham as long as anybody else.

Candida: As rivals for Candida’s affections, Morell and Marchbanks feel the only option in settling the matter is for Candida to choose between the two men.

Casablanca: After Ugarte’s killed, Laszlo turns down Major Strasser’s offer of visas in exchange for naming other Underground leaders. Ferrari offers a single exit visa, but Ilsa refuses to leave without Victor. Their only remaining option is Ugarte’s Letters of Transit — which are in Rick’s control.

Chinatown: There are only a limited number of clues from which Jake can determine what is going on.

The Client: There are only so many ways Marcus can delay giving the information, and once they have been exhausted he has to spill the beans, or else.

The Crucible: There are only a certain number of constraints that can be put on Salem’s theocracy in the face of that society’s burgeoning independence before the power of the theocracy collapses. This is illustrated in Parris’ plea to Hathorne and Danforth to postpone the hangings to allay the outrage of the townspeople over innocent people’s executions:

Parris: I tell you what is said here, sir. Andover [a nearby town] have thrown out the court, they say, and will have no part of witchcraft. There be a faction here, feeding on that news, and I tell you true, sir, I fear there will be riot here.

Hathorne: Riot! Why at every execution I have seen naught but high satisfaction in the town.

Parris: Judge Hathorne–it were another sort that hanged till now. Rebecca Nurse is no Bridget that lived three year with Bishop before she married him. John Proctor is not Isaac Ward that drank his family to ruin. (To Danforth): I would to God it were not so, Excellency, but these people have great weight yet in the town. Let Rebecca stand upon the gibbet and send up some righteous prayer, and I fear she’ll wake a vengeance on you. (Miller 127)

El Mariachi: After Moco shoots off El Mariachi’s guitar playing hand, takes the life of Domino, then commits the ultimate insult of laughing at him, El Mariachi feels he has no choice but to kill him.

Four Weddings And A Funeral: Though each member of the group’s biological clock may be ticking away, it is the narrowing of their choices for potential significant others that brings the story to an end. Besides, the title itself sets up the limit. Once the four weddings and the funeral have happened, the story should naturally reach its conclusion.

The Fugitive: There are only so many one-armed murderers in Chicago, only so many places to hide, and once Richard Kimble is caught again, it is unlikely that he will be able to escape a second time.

The Glass Menagerie: Though becoming an “old maid” has an implied time limit, it is actually the number of possible ways that the family can be kept together that ultimately brings the story to a point of crisis. Once the various avenues are explored, the story conflict must be addressed.

The Godfather: There are only a limited number of Corleone’s who have the ability to maintain the family’s powerful stature (a limited number of candidates for the new “Godfather”). There are only a limited number of ways to keep the other families loyal and submissive to the Corleones.

The Graduate: Ben’s future is completely open. There is no particular time limit imposed on his decision to step into his future (although his parents do get a bit anxious at the length of time it seems to take him). In fact most of the story revolves around Ben’s weighing of options. The story comes to a climax when Ben decides not to take advantage of any of the options presented to him by the adult world.

The Great Gatsby: The objective characters have explored all possible avenues for fulfilling basic drives and desires.

Hamlet: Though the Ghost is impatient for revenge, there is plenty of time to murder Claudius. There are, however, only so many ways to bring about the downfall of Claudius without bringing down the rest of the royal family and friends.

Harold and Maude: Harold exhausts the potential marriage partners his mother supplies, holding out for Maude; Maude feels that she’s lived her life to the fullest, and that the options life has left for her are not worth living for, and so she finally chooses death.

Heavenly Creatures: Pauline runs out of options in her quest to stay with Juliet: she first gets depressed and tries to make herself ill; she thinks of committing suicide; she suggests going to live with the Hulme family, then with Juliet in South Africa; she and Juliet plan to be discovered in Hollywood; she finally chooses an extreme solution–her plan to “moider Mother.”

I Love Lucy: Lucy feels she has exhausted the personal ways she had planned to tell her husband about their impending bundle of joy, and allows him to discover the news while singing in front of an audience.

Klute: Klute runs out of prostitutes who can connect Tom with the violent stalker. Jane and Arlyn are murdered, and Bree is surely next. Out of options, Klute investigates family and friends of Tom, and discovers that his employer Cable sent the obscene letters.

Lawrence of Arabia: Lawrence exhausts himself spiritually and physically trying to overcome the obstacles in his path. What’s missing is: the willingness of the Arab tribes to put aside squabbles and govern themselves; the artillery needed to more easily defeat the Turks, which the British refuse as it could be later used against them; a charismatic Arab leader to take Lawrence’s place. Feisal’s final dismissal brings Lawrence’s mission to an end:

FEISAL: There is nothing further for a warrior here. We drive bargains. Old men’s work. Young men make wars — and virtues of war are the virtues of young men — courage and hope for the future. And then old men make the peace, and the vices of peace are the vices of old men — mistrust and caution. It must be so.

(Bolt and Wilson, p. II-121)

Lolita: The objective characters run out of options by the end of the story. Quilty tries everything to talk his way out of being shot, but Humbert refuses to be bribed. Lolita, worn-out, disillusioned, and old at age seventeen, has no choice but to stay with Dick: “He (Quilty) broke my heart. You merely broke my life” (Nabokov 254). Humbert, a physical and mental wreck after refused by Lolita and killing Quilty, must allow himself to be picked up by the police.

Othello: Othello struggles with the idea that Desdemona is unfaithful: At first he refuses to believe it and he demands proof; he flusters Desdemona when she cannot produce a handkerchief he has given her; he “overhears” Cassio speaking of his affair with Desdemona; he sees the handkerchief in the hands of Cassio’s mistress. Now convinced that Desdemona has betrayed his love, Othello’s only option is to kill her. Facing her insanely jealous husband, Desdemona pleads innocence, when that fails, she begs for her life, then for one more day, then just to live until the morning. Othello rejects her requests and smothers her to death. An example of how the optionlock is illustrated by a minor objective character is found in Roderigo. Having lost Desdemona to Othello, Roderigo at first threatens to drown himself, then he engages Iago to promote his cause with Desdemona; he follows her to Cyprus; helps to discredit Cassio whom he believes is Desdemona’s lover; loses all his money when he’s duped by Iago; attempts to kill Cassio and fails–then is killed by Iago.

The Piano Lesson: Berniece exhausts all of her arguments against Boy Willie selling the piano. When he ignores her and starts to move the piano out of the house, Berniece is forced to threaten him with a gun. Boy Willie tries to sway Berniece to sell the piano by telling her his dream to own land, reasons that if she doesn’t play the piano he should sell it, and recalls their father’s anguish at being a sharecropper. When his heartfelt pleas fail to move her, he arranges to sell the piano anyway, even under threat of being shot. When Sutter’s ghost attacks him and Berniece saves him by playing the piano, Boy Willie has no choice but to let the piano stay in the family home where it belongs.

Platoon: The war will be over if the platoon and the rest of the American military run out of men; If the men in the platoon become two timers (if they get substantially injured twice) they return home; If the U.S. Military achieves their objective of winning the war, then the war will be over and the goal will have been met. The enormous loss of lives sustained in the last battle clearly indicates the U.S. military’s failure in making progress in the Vietnam War.

Pride and Prejudice: The objective characters move within a limited society, in which there are only so many possible marital connections one can make. As people are paired off, choices of a spouse are narrowed. In the case of Elizabeth and Mr. Darcy, the story is forced to a climax when Elizabeth gathers all the information necessary to exonerate his character and realizes there is no other man for her but him, and he learns she cares for him, making it possible for him to propose for a second time without fear of rejection.

Quills: Coulmier only has a finite number of ways (and The Marquis’ body parts) to stop The Marquis from telling his tales.

Rain Man: Charlie pressures the EPA to get his cars passed, gives his customers a discount, and gets an extension on his bank loan, but still loses his cars and goes bankrupt. Susanna pleads with Charlie to be compassionate toward his brother, then having exhausted all her arguments, the only thing left for her to do is to leave Charlie. Charlie does everything he can to make Raymond comfortable during their road trip, and then in his home, but his best efforts aren’t enough to satisfy Raymond’s needs. Having failed to convince Charlie to return Raymond, Dr. Bruner offers Charlie a payoff. Finally, Charlie’s forced to realize the best place for Raymond is at Walbrook.

Rear Window: When digging up the flower bed provides no evidence, (Jeff and) Lisa’s last chance to find incriminating evidence is to go inside Thorwald’s apartment in search of the wedding ring.

Rebel Without a Cause: Plato, concerned that Buzz’s friends will do harm to Jim, believes he has no other option but to brandish a gun to protect his friend; Jim’s angst has turned to utter devastation when Plato is killed, which at this point leaves him one of two options, continue to spiral downward in his depression, or look to his father to resurrect his spirits; once Frank recognizes he may lose his son, he takes the option to grow up to be a real man and father; and so forth.

Reservoir Dogs: Although Mr. Pink wants to go to a motel and Mr. Orange wants to be dropped off at a hospital, the robbers must wait at the warehouse for the arrival of their boss, Joe. In the search for the informant, various members of the group are eliminated as suspects; when Joe arrives, he narrows it down to one–Mr. Orange–and forces a showdown.

Revenge of the Nerds: It is when the objective characters run out of options that the story is forced to a climax. The nerds have done everything it seems they can to redeem themselves in the face of the school, yet when the Alpha Betas trash their house, the nerds find out they are still nerds. It is then, with the pep rally focusing on the Alpha Betas, that Lewis and Gilbert acknowledge their problems and decide to face their nemesis one last time.

Romeo and Juliet: With their two only children dead, the Montagues and Capulets come to their senses and reconcile.

Rosemary’s Baby: There are only so many people Rosemary can turn to for help. One by one they are eliminated until the baby is born.

Searching for Bobby Fischer: There is no indication whatsoever of how much time passes in the story. The climax is the championship game itself. The nature of the game is a loss of pieces, a narrowing of options, checkmate.

The Silence of the Lambs: Although time is running out for the Senator’s daughter, no set time limit is indicated. There cannot be many places where a murder victim worked as a seamstress and rare death’s head moths (which were found inside her corpse) are bred.

All Good Things (Star Trek: The Next Generation): Picard only has one option to save mankind–solve the meaning of the “paradox” and figure out a way to destroy the spatial anomaly.

Star Wars: There are only so many places that the Rebel forces can be hiding. It does not matter how long it takes the Empire to find the Rebel base, but once they do the showdown must occur.

Sula: Nel’s only options are to keep or release her anger after she accepts her guilt in Chicken Little’s drowning and confronts Sula for the part she has played in the dissolution of her marriage and their friendship.

The Sun Also Rises: In the end, most of the objective characters have run out of options. They had been drifting from “pillar to post” attending boring and repetitive social functions. After the frenetic activities of the fiesta, they come to the end of the road and are just as morally empty and disillusioned as ever.

Sunset Boulevard: There are only so many ways Joe can get a large amount of cash quickly enough to keep his car from being repossessed, stay in town, and keep himself in the Hollywood game. Having tried every way she knows to achieve her comeback–and failing, Norma attempts to hold onto the man who makes her feel loved. When this too fails, she succumbs to her ego and destroys him. Betty does everything she can to get Joe to develop his story with her, then she tries to convince him to leave Norma and come away with her until he makes her believe that he’s a lost cause.

Taxi Driver: Travis first seeks fulfillment in a woman, Betsy. When that fails, he goes to Wizard for counseling. When he has no answer, Travis can’t take it any more and seeks an outlet in violence, trying to kill Palantine. This option fails and he wreaks mayhem on those in the pimp business, finally running out of options when surrounded by police.

To Kill a Mockingbird: There is no time limit in the effort of bringing Tom Robinson to justice. Even after a verdict of “guilty,” Atticus plans to appeal. This last option is exhausted when Tom Robinson is fatally shot in an attempt to escape incarceration.

Tootsie: Michael, an actor who hasn’t worked in two years, needs $8,000 to produce a play that he can star in. At first he’s willing to take any lowly acting job to get the money, then he’s told his bad reputation is keeping him from working with New York producers. He would do commercials in Hollywood, but those producers don’t want him either. Michael pretends to be Dorothy Michaels, auditions for a soap opera, and gets the role. He can’t tell his neurotic girlfriend that he got the part she failed to obtain. He lies to her and leads a secret life. As Dorothy he falls in love with Julie, but can’t tell her he is really a man. He’s forced to continue his masquerade because Dorothy’s contract is renewed. If he tells the truth, he’ll risk prosecution for fraud, and most certainly Julie. When he slips in his role as Dorothy and tries to kiss Julie, she thinks Dorothy’s a lesbian and breaks off their relationship. Julie’s father proposes to Dorothy, and an actor on the soap tries to seduce Dorothy. Michael can’t handle the complications of his pretense, and is forced to make the shocking revelation on live television that he is really a man. Once he does this, he can court Julie as a man, and a better one at that for his experience of acting as a woman.

An example of how optionlock is illustrated by a minor objective character is illustrated in Les: He courts Dorothy and proposes. Then he’s put off, and has to wait for his answer. But when he learns Dorothy is really a man, there is no other option for him but to find a “real” woman.

Toy Story: There is not a specific time limit forcing the story to a conclusion; there is, however, a “race” between Woody and the moving van (figuratively and literally). One way of discerning an Optionlock story is the problem gets bigger as time passes, forcing the characters to consider their options more quickly. In Toy Story specifically, the looming problem is that the moving van is getting away while Woody’s options for reuniting with Andy are becoming increasingly slimmer. When RC Car’s batteries run out, Woody tries to light the rocket with the match. When the match fails, he uses Buzz’s helmet as a magnifying glass to light it. The rocket strategy almost doesn’t work either, but just as disaster seems imminent, Woody’s final option is to trust someone else to be in charge for once (when Buzz uses his wings to let them “fall with style” back to Andy), and that’s what finally results in success.

Unforgiven: After Munny and the Kid eliminate Davey and Quick Mike, Munny takes out the men in Greely’s bar until he’s sure there are none left as mean as he is, none left to harm the whores or to disrespect Ned’s body:

“Munny is still down on one knee pointing his pistol and looking through the thick smoke for someone to shoot but it seems there are no threats left.”

(Peoples, p. 124)

The Verdict: There are only a finite number of witnesses and avenues of prosecution — once they’re explored, that’s it.

Who’s Afraid of Virginia Woolf?: There is not any time limit to the games that George and Martha are playing with (and without) their guests. However, there are rules that limit the “playing field.” Once those rules have been sufficiently exceeded, events will change from being a game to becoming real.

Washington Square: There are only so many suitors for Catherine’s hand that are acceptable to her father, and the one man (Morris Townsend) that Catherine is willing to marry is not among them. Morris deserts Catherine once he is certain Doctor Sloper will deny Catherine an inheritance if they marry. After Doctor Sloper passes on, Morris comes back to court Catherine. Unforgiving of his past betrayal, she refuses his suit, spending the rest of her days as a spinster.

When Harry Met Sally: Harry must go through a certain number of empty relationships before realizing Sally is “the one.”

The Wild Bunch: The Wild Bunch run out of options in trying to get Angel back from Mapache: Pike tries to buy him back with Angel’s share of the gold, then with half of his own, but Mapache won’t bargain:

MAPACHE: No, I don’t need gold…I don’t sell that one.

(Green and Peckinpah, p. 103)

Finally, confronted by the determined Wild Bunch, he relents:

“MAPACHE: You want him…? Take him… […] MAPACHE GRABS HIM BY THE HAIR and his other hand flashes across the boy’s throat as he shoves Angel into the Americans, the blood splattering them from his severed throat.

AS PIKE STEPS BACK TO AVOID Angel’s falling body, he draws his forty-five automatic and fires twice into Mapache.”

(Green and Peckinpah, p. 108)

The climactic shootout ensues.

Witness: Schaeffer and McFee eliminate all who know of their crimes–the undercover cop and Carter–with only Book and Samuel remaining as a threat to them; hunted by his boss Schaeffer, Book has no place to hide except the Amish community; after Book’s fist fighting, Schaeffer narrows down the search to Lapp farms; Book kills off Fergie and McFee, with only Schaeffer left as a threat; surrounded by Amish witnesses, Schaeffer can’t kill them all and has no option but to give himself up, ending the story.

Excerpted from
Dramatica Story Development Software

Blade Runner: The replicants only live four years from their incept date and their end is rapidly approaching–which is why they escaped from Offworld and came to Earth. Batty, the last of the renegade replicants, ages and dies, allowing the physically inferior Deckard to triumph and the story to end.

Charlotte’s Web: Mr. Zuckerman must decide that Wilbur is too valuable to live before he is to be butchered next winter, “‘almost all young pigs get murdered by the farmer as soon as the real cold weather sets in. There’s a regular conspiracy around here to kill you at Christmastime'” (White, 1952, p. 49).

The Philadelphia Story: The wedding is to be held at noon on Saturday, and all of the action plays out within that time frame. In virtually every scene, some reference is made to the impending wedding.

The Simpsons Christmas Special: Homer only has until Christmas Eve to make it the best Christmas ever.

X-Files: Beyond the Sea: Scully and Mulder have only five days to find the two teens before they’re murdered — Lucas Henry, the kidnapper, is preparing to re-enact a grisly anniversary. In one week Boggs, who claims to have powers to help find the victims, will be executed. As the story progresses each deadline moves the story closer to its climax.

Excerpted from
Dramatica Story Development Software

STORIES that have Driver of Decision:

A Doll’s House: Mrs. Linde decides to visit Nora; Nora decides to forge her father’s signature to obtain a bond; Krogstad decides to threaten Nora with exposure if she doesn’t help him keep his position; Nora decides to leave her husband; and so forth.

The Age of Innocence: The story is moved along by decisions: Ellen decides to leave her unfaithful husband and return to New York, which leads to her being snubbed; Mrs. Mingott decides to publicly support Ellen, so May and Newland immediately announce their engagement to unite both families behind Ellen; When leading society families decide to refuse invitations to a dinner party Mrs. Mingott holds for Ellen, Mrs. Archer and Newland go to the van der Luydens for help; Ellen decides to divorce her husband, so the family asks Newland to advise her against it, because it would mean total social disgrace for Ellen and the family as divorce is taboo in their Victorian society.

All About Eve: Karen decides to introduce Eve to Margo, and Eve’s story gains Margo’s sympathy; Margo decides to take Eve into her home as her secretary, and this allows Eve to begin her manipulations; Max Fabian’s decision to make Eve Margo’s new understudy, without clearing it first with Margo, causes Margo to blow-up at everyone–leading to Bill’s decision to break up with her.

Amadeus: From the outset, as the play is a memory, we see that Salieri made a decision to oppose Mozart. All the action follows, including Salieri’s decision to tell us the story as “Ghosts of the Future!” He also decides to attempt suicide. In the objective story, the Emperor decides to change his habit and visit a rehearsal of “Figaro.” This results in the Emperor restoring a dance which the Director of Opera to the court had removed. The Director, Rosenberg, becomes Mozart’s enemy. Also, Mozart decides to go against his father and marry Constanze, resulting in his father refusing further financial assistance.

Apt Pupil: Todd decides to blackmail Dussander; Dick Bowden allows his son to continue his relationship with “Arthur Denker” despite his poor grade report; Rubber Ed decides to look up Todd’s grandfather; and so forth.

Barefoot in the Park: Corie’s decision to take an apartment on the sixth floor leads to conflict with Paul:

Paul: (Breathing with great difficulty, looks back down the stairs.) It’s six flights…Did you know it’s six flights?

Corie: It isn’t. It’s five.

Paul: (Staggers up the step into the room, and collapses on the suitcase.) What about that big thing hanging outside the building?

Corie: That’s not a flight. It’s a stoop.

Mrs. Banks’ decision to drop in unexpectedly on the newlyweds increases the tension between Paul and Corie:

Mother: Well, I really had no intention of coming up, but I had a luncheon in Westchester and I thought, since it’s on my way home, I might as well drop in for a few minutes…

…I know you must be busy.

Paul: Well, as a matter of fact–

Corie: (Stopping him.) No, we’re not, are we, Paul?

(He kills her with a glance.)

Corie makes the decision to set her mother up with Victor Velasco–without Mrs. Bank’s knowledge–thus creating conflict:

Corie: Well, if I told you it was a blind date with Mr. Velasco upstairs, I couldn’t have blasted you out of the house.

Mother: A blind date…(Doesn’t quite get it yet.) With Mr. Velasco…(Then the dawn.) The one that…? (She points up, then panics.) Good God! (Takes a big gulp of her martini.)

Body Heat: Each major turn of events is preceded by a decision that determines the nature of subsequent actions: Ned’s decision to pursue Mattie from the outdoor concert precipitates Mattie’s seductive behavior (the ice cream incident) and her unexpected disappearance; the decision to kill Edmond Walker forces the subsequent preparations and execution of the murder; Ned’s decision not to reveal Mattie’s involvement with the “botched” will leads to the redistribution of the inheritance (in Mattie’s favor) and an intensified investigation into the suspicious nature of Edmond’s murder; Ned’s decision NOT to go into the boat house forces Mattie to be “blown up” by the booby trapped door; etc.

Boyz N The Hood: The story deals with the decisions kids must make while growing up in the hood, and how every decision they make impacts their lives.

Bull Durham: Annie decides who her lover/student will be this year. Crash decides to stay (or decides not to quit). The unseen team management is seen only in terms of their decisions (to hire Nuke and Crash, to fire Bobby, the player with the sixteen game losing streak).

Candida: “Candida” focuses on the decision Candida is asked to make, to stay with Morell or leave with Marchbanks:

Morell: We have agreed-he and I-that you shall choose between us now. I await your decision.

It is made clear, however, that Candida may decide on neither man:

Candida: Oh! I am to choose, am I? I suppose it is quite settled that I must belong to one or the other.

Morell: Quite. You must choose definitely.

Marchbanks: Morell: you dont understand. She means that she belongs to herself. (Shaw, 1895, p. 551)

Casablanca: Ugarte’s decision to entrust Rick with the Letters of Transit makes it difficult for Ilsa and Laszlo to obtain them; Rick’s nod of the head to let the band leader strike up “La Marseillaise” causes Strasser to close the club and threaten Laszlo; Laszlo’s altruistic decision to put Ilsa’s safety before his own impresses Rick so much that he helps the couple escape, putting himself at risk; etc.

Charlotte’s Web: Mr. Arable decides to spare the runt’s life and allow Fern to raise Wilbur; after Charlotte decides to help her best friend stay alive she implements a plan of action; Wilbur decides to take Charlotte’s egg sac back to the farm; and so forth.

Chinatown: Noah’s decision to use Jake to find his granddaughter forces the subsequent actions to take place; Hollis’ decision to oppose Noah leads to the breakup of their friendship and to Hollis’ eventual murder; Evelyn’s decision to trust Jake with the truth leads to her death; etc.

Four Weddings And A Funeral: The story is about commitments and marriages. The decisions to enter into each marriage drives the action forward.

The Fugitive: Dr. Kimble’s decision to report the failing results of RDU90 (Provasic) leads to his wife’s murder; the jury’s guilty verdict leads to Dr. Kimble’s death sentence; the guard’s decision to open the grating leads to the wreck; Dr. Kimble’s decision to return to Chicago leads to multiple chases and near misses; Dr. Nichols’ decision not to turn in Dr. Kimble leads to his being hounded by Gerard, etc.

The Glass Menagerie: Decisions drive actions in the story: Amanda’s decision to marry “father” has led to her abandonment; Laura’s decision to never return to Rubicam’s Business School drives Amanda to skip the D.A.R. meeting; Amanda’s decision to look for alternative means of supporting Laura drives her to telemarket subscriptions and Tom to bring home the gentleman caller; Tom’s decision to join the Merchant Marines leads to the power being turned off; Jim’s decision to keep his engagement a secret leads to the fiasco at the Wingfield’s; Tom’s decision to leave for good forces Amanda and Laura to support themselves; etc.

The Godfather: If it were not for decisions made in the Objective Story, the characters would not be forced to take the actions that they do. The “Turk,” Sollozzo’s move to hit Don Corleone is an action which is forced by the Don’s decision to not support his drug running scheme. The deliberations about how to deal with the “Turk” lead to Michael having to murder him. Sonny’s considerations about how the gang war should be fought leads to a prolonged conflict and his own death. The Don’s decision to end the war leads to Michael’s return to the States. Tessio’s decision to betray Michael leads to his own assassination. Michael’s decision to become the new “Godfather” leads to the “Baptism of blood” massacre. There are always a variety of ways for everyone to proceed towards their goals, and the characters constantly deliberate over them, forcing actions to follow.

The Graduate: Mrs. Robinson decides to seduce Ben; Ben later decides to take her up on her offer; Ben decides to acquiesce to a date with Elaine; Ben decides he’s going to marry Elaine; Elaine decides, at the altar, to leave her groom and run off with Ben.

The Great Gatsby: Although in love with the young soldier, Gatsby, in his absence Daisy decides to marry Tom:

“And all the time something within her was crying for a decision. She wanted her life shaped now, immediately-and the decision must be made by some force-of love, of money, of unquestionable practicality-that was close at hand.”

The Buchanans, Gatsby, Nick, and Jordan decide to go into town on the hottest day of the year, which results in confrontation and death:

“So we drove on toward death through the cooling twilight.”

Once he is disillusioned, Nick decides he can no longer live in the East:

“After Gatsby’s death the East was haunted for me like that, distorted beyond my eye’s power of correction. So when the blue smoke of brittle leaves was in the air and the wind blew the wet laundry stiff on the line I decided to come back home.”

Harold and Maude: After the Chemistry lab explosion, Harold decided he liked being dead, and took up faking suicide; Mrs. Chasen tells Harold what she’s decided to do with his life:

MRS. CHASEN: I only have a few minutes, Harold, but I do want to inform you of my decision. […] In short, Harold, I think it is time you got married.

(Higgins, p. 11)

Mrs. Chasen decides the answers to the dating questionnaire herself; Confronting Maude in the nude, Harold starts to make his own decisions:

MAUDE: Do you disapprove?

HAROLD: Me! No. Of course not.

MAUDE: (she wants the truth) Really. Do you think it’s wrong?

HAROLD: (thinks, decides, reports his conclusion) No.

(Higgins, p. 34)

Maude decides to end her life, bringing the story to an end.

Heavenly Creatures: The Art class teacher decides to pair up Pauline with Juliet, which begins their bonding process; getting a diary for Christmas a second time, Pauline decides on a more selfish New Year’s resolution; Mrs. Hulme decides she’s more interested in Bill’s feelings than his wife’s, leading to their affair and her divorce; Mr. Hulme decides to go to England, and place Juliet in South Africa; Mrs. Rieper decides that Juliet and Pauline should spend their last three weeks together; etc.

Lawrence of Arabia: Dryden decides that Arab Bureau needs its own man on the spot, and sends Lawrence to Arabia; Lawrence decides to cross the Nefud and take Akaba, endearing him to both Arabs and British; Allenby decides to sit back and let Damascus fall apart, so he can step in and take the reins; etc.

The Philadelphia Story: Tracy has decided to marry Kittredge; Sidney Kidd decides to trade the story on Seth Lord for an account of Tracy Lord’s wedding; Tracy and the family decide to play along with the ruse; Dexter and Seth both decide to show up for Tracy’s wedding; Dexter and Mike decide to turn the tables on Kidd; Ultimately Tracy decides she doesn’t want to marry George after all.

The Piano Lesson: The story is moved along by decisions: Boy Willie decides to buy Sutter’s farmland and sell the piano to finance his own farm. He decides to pressure Berniece to sell the piano which causes her to fight him with accusations and finally threaten his life. Doaker decides to educate Boy Willie about the importance of the piano to the family, inciting Wining Boy to support Berniece which further divides the family. Avery’s decision to exorcise Sutter’s ghost causes a struggle against good and evil which forces Berniece to act to save her brother.

Platoon: Chris Taylor decides to drop out of college and enlist in the military for active duty in Vietnam; Sgt. Barnes decides to send Sgt. Elias’ squad out for an all night ambush resulting in Gardner’s death and Chris’ injuries. These two soldiers were new to the platoon and lacked the experience they needed and might have gained if Barnes hadn’t decided to send them out so soon; It’s decided that the platoon should move further on to a nearby village suspected of Viet Cong activity. The platoon commits war crimes against the village as a means of releasing frustration for the deaths of the members in their platoon. Elias’ decision to report Barnes’ criminal conduct at the village precipitates a rift between the members in the platoon (some siding with Barnes and others siding with Elias), and ultimately causes Barnes to kill Elias. Sgt. Barnes’ decision to kill Elias and later, his decision to try and kill Chris, provokes Chris to kill him.

Pride and Prejudice: Mr. Darcy’s decision not to ask Elizabeth to dance at their first meeting is why she and her family and friends take an instant dislike to the man; Elizabeth’s refusal of Mr. Collins’ proposal gives leave for her best friend, Charlotte, to encourage his attentions; Elizabeth’s decision not to reveal Wickham’s true nature leads to her youngest sister committing folly; and so forth.

Reservoir Dogs: Joe decides to form a gang to pull the heist; Mr. Orange chooses to go undercover; Mr. Nice allows Mr. Blond to stay in the warehouse with the kidnapped cop. At film’s end, Mr. Orange decides to confess to Mr. White, who decides to kill him rather than giving himself up to the police.

Rosemary’s Baby: Rosemary and Guy’s decision to break their lease and take the apartment at the Branford is the initial catalyst for the story. Guy’s agreement to have dinner with the Castevets leads to the unspoken offer of trading his wife for his career. It is Guy’s decision to agree to the scheme that puts the plot in motion. At the climax of the story, it is Rosemary’s decision to become a real mother to her child that resolves the story problem.

Searching for Bobby Fischer: Josh decides to keep the chess piece instead of trading it for a baseball. He reluctantly decides to play and defeat his dad. Dad decides to seek classes for Josh. After initially refusing to accept Josh as a student, Bruce decides to teach Josh. Josh ultimately decides to compete at the championship for himself. He offers the draw to Jonathan.

The Sun Also Rises: The decision the objective characters make to go to Pamplona for the festival of the bulls precipitates the action that follows. During the week’s frantic festivities, events come to a head. For example, Brett takes up with the young bullfighter, Romero, and ultimately leaves town with him; Robert Cohn, pugnacious and wildly jealous, hits Jake and Mike and beats up Romero.

Taxi Driver: Travis’ decision to become a taxi driver, especially one who will work anywhere, exposes him to lowlife “scum”:

PERSONNEL OFFICER: We don’t need any misfits around here, son.

TRAVIS: You kiddin? Who else would hack through Bed-Sty or Harlem at night?

PERSONNEL OFFICER: You want to work uptown nights?

TRAVIS: I’ll work anywhere, anytime. I know I can’t be choosy.

(Schrader, p. 5)

Travis’ decision to pursue Betsy leads him to volunteer; Betsy’s decision to go to a porno movie with Travis makes her reject him, which in turn ramps up his alienation; Iris’ choosing of Travis’ taxi to seek refuge in brings her and Sport to Travis’ attention; Sport’s decision to pay Travis with the “dirty” $20 bill leads Travis to pay back the “wages of sin” with death; etc.

To Kill a Mockingbird: Atticus decides to take Tom Robinson’s case even though he is certain to lose; the jury decides Tom Robinson is guilty of raping Mayella although evidence points to the contrary; Aunt Alexandra decides to move into the Finch household and exert her influence over the children; Heck Tate decides against arresting Boo Radley for Bob Ewell’s death “‘It ain’t your decision, Mr. Finch it’s all mine'” (Lee, 1960, p. 303); and so forth.

The Verdict: As a courtroom drama, the direction of the case follows various decisions and ultimately comes down to a single decision — the verdict.

Who’s Afraid of Virginia Woolf?: The decision to have the guests over drives the initial actions of the story; Martha’s decision to tell Honey about their “son” forces George to change tactics and begin to intentionally play games with them (formally it was only between he and Martha); Martha’s decision to ignore George’s warning and tell them about his being a “big . . . fat . . . FLOP!” drives George to smash the bourbon bottle; George’s decision to ignore Martha’s passes at Nick and to read a book drives Martha to follow through with her threats and go to bed with Nick; etc.

Washington Square: Morris Townsend decides on Catherine Sloper as his heiress, and begins to court her; Aunt Penniman decides to lend her help to the courtship; Catherine decides Morris is the man for her and attempts to convince her father as such; Doctor Sloper decides Morris is not fit to be his daughter’s husband and begins to wage a campaign against the scoundrel; and so forth.

When Harry Met Sally: Harry and Sally decide to share a ride to New York; Helen decides to leave Harry; Sally decides she wants more out of the relationship with Joe than he is willing to give; Jess and Marie decide they like each other better than their blind dates; and so forth.

The Wild Bunch: Harrigan decides to wait until the Wild Bunch come out of the railroad office and catch them in the act, thus causing the townspeople’s slaughter; Thornton makes a decision to hunt down Pike rather than face jail; Pike allows Angel to take a case of guns, leading to his capture by Mapache; The Wild Bunch decide to go for the gold and get guns for Mapache; Pike decides to rescue Angel from Mapache’s men; etc.

Excerpted from
Dramatica Story Development Software