63. Were tense and/or hopeful (and usually false) expectations for this interaction established beforehand?
64. Does the scene eliminate small talk and repeated beats by cutting out the beginning (or possibly even the middle)?
65. Is this an intimidating setting that keeps characters active?
66. Is one of the scene partners not planning to have this conversation (and quite possibly have something better to do)?
67. Is there at least one nonplot element complicating the scene?
68. Does the scene establish its own mini-ticking clock (if only through subconscious anticipation)?
69. Does each scene both advance the plot and reveal character through emotional reactions?
70. Does the audience have (or develop) ...