James Bond and Indiana Jones are exceptions to the general rule because they are franchise characters. Is this the logline for a film franchise?

Sgt. Howie is motivated by more than curiosity; it’s his job to solve the mystery, bring the guilty to justice. More to the point, he’s a devout Christian and celibate; the Celtic rituals and sexual mores of the locals deeply offend his morality and sensibility — that’s his subjective conflict. Is your reporter religious? IOW: what internal, subjective conflict is induced by her encounter with the cult?

I guess that’s the key point: the situation must not only create an external conflict but an internal one. And the internal one usually arises because of a character flaw. Why? What’s the purpose of the character flaw? What’s the point? Well, one point is having an (objective) internal conflict to complement an (subjective) external one that amplifies overall dramatic tension. It also enhances dramatic suspense; that is, it amplifies the fear in the audience’s mind that the protagonist may fail.

So what’s Ripley’s internal conflict? To begin with, she’s a fairly strong character. As the safety officer her prudent judgement calls are right while everyone is wrong. But she initially complies with bad orders, but then does she have much choice, she’s overruled by the captain? Finally, Ripley must take charge and muster every resource (internally and externally) to eventually go face-to-face with the alien. She’s the last chance for a character to succeed where everyone else has failed.

(Her character arc in stronger in the sequel: she must face down her nightmares, literally.)

So I guess the question to ask is: what internal conflict does the situation put the writer in?