If your heroine has to say something to her now-married crush, and he ushers her into another room for the conversation, have it be his bedroom and not his living room. Every time she takes a step closer or farther from that bed, she’ll feel it.As I mentioned before, The Town does it wrong. A bank robber has to woo the teller that he held up, so he meets with her at a Laundromat, then a Dunkin’ Donuts, then a community garden. These are neutral locations. If he has to talk to her again, why not force him to go back to the bank to do it? That’s a very uncomfortable location for him. It will constantly remind both him and the audience of the essential danger of this relationship.
This is your world. If you create a setting with subtextual meaning, then that’s one less thing you have to cram into the text. You take the burden off the dialogue. Don’t make your characters keep saying what they’re worried about, put what they’re worried about in the room, between them and their goal, and force them to physically go over, under, or through it to get what they want.
Don’t get embarrassed. The audience is far more accepting of unlikely locations than they are of melodramatic dialogue. If you give your actors a lot to react to, then they get to underact. If you make them churn up all the drama through dialogue, then they have to overact. Make it easy for them by choosing a location that is as extreme as you can get away with. Don’t just lower your archaeologist into an ancient crypt, make it an ancient crypt filled with snakes (after you’ve pre-loaded the scene by mentioning that he really hates snakes). Don’t just put him undercover at a Nazi rally, put him face-to-face with Hitler! Now you’ve got a memorable scene.