Tim

It’s up to us to fix this. (off Sara’s doubt) We go back to where it all began.

I like the way Ron Bass handled it though.

No need to be slavishly devoted to that way of executing the scene just because it was the writer’s first thought (and arguably not the best solution, even in the writer’s estimation). Focusing on the Goal of the Scene is how you get to the best solution. Showing us her facial reaction is not the goal of this scene so no need to stick to that.

But by writing unspoken things (as John calls it) the writer exhibits a lighter touch. For instance “Before Sarah can ask –” indicates to both actors how the dialogue is supposed to play without going into detail about what, exactly, they should be doing (what sort of faces they should be making). It leaves the interpretation up to them.

Line Facial reaction Line

It almost seems like there’s some fear of describing a reaction. Why not use “Sarah nods” or “Sarah squints” or “Sarah looks up” if that’s what the scene needs and that’s the simplest way to describe the action?

         TIM
 It’s up to us to fix this.

Sarah is confounded.

         TIM
 We go back to where it all began.

@Mike, The “quizzical look” is accurate but it feels flat to me. I think John’s last option captures the original intent perfectly (or, who knows what the original intent was, but it gets us where we need to go in the most immediate way possible. Unless her reaction is super important (as in Johnny’s hilarious example), I wouldn’t bother to explain the look on her face. Seems the point of the exchange is to just get us “Back to where it all began” (maybe that’s the original intent).

Why not…

TIM: It’s up to us to fix this.

(Sarah gives a quizzical look)

TIM: We go back to where it all began.