[Quick Summary: In 1968, George, the hairdresser who just wants to open his own shop, can barely juggle several love triangles, jealous women, and a shaky financier.]
I'm exceedingly impressed by the love triangles in this script.*
Here's a short summary (if you want to follow along):
- This is a story about George and 4 others: his ex (Jackie), his new girl (Jill), his married lover (Felicia), and Felicia's husband who is the money man (Lester).
- George is currently sleeping with Felicia and Jill, and used to date Jackie.
- Lester has fallen for Jackie and doesn't want Felicia to know.
- George wants to own his own salon but is broke. Felicia introduces him to Lester.
- Lester may invest, but wants George to escort Jackie to a party in which Lester and Felicia are attending.
- George has a date with Jill, but agrees to take Jackie. Someone else invites Jill.
- All five characters attend the party, and misunderstandings follow.
How was it possible to keep George's numerous relationship so clear in all the chaos?
I think it's because each character was fully formed. Each one had:
- a well defined desire from the start, i.e., what he/she wants
- a conflict with one (or more) character(s).
For example, in the scene below at the beauty shop:
- Felicia wants George and is willing to take crumbs. (Felicia v. George)
- George wants to keep the women happy and get his own shop with the fewest number of strings attached. (George v. women)
- Jill wants George to commit to a relationship. (Jill v. George)
.
ex. "FELICIA: George!
George winks at Mary, heads back.
FELICIA (continuing; going right on): I'm not used to that kind of treatment.
GEORGE: What kind of treatment?
FELICIA (going right on): I've never been treated that way, and I'm not going to start now.
GEORGE: Jesus, I don't know, baby, I been cutting too much hair lately. I'm losing all my concepts...
Jill has entered the shop. She approaches George.
JILL: George.
GEORGE: Hey, baby, what's happening?
JILL: They want me to go to Egypt for three weeks.
GEORGE: Great.
Jill stands there now, not knowing what to say.
GEORGE (continuing): Jill, say hello to Felicia.
JILL: Hello
FELICIA: Hello.
JILL: George.
GEORGE: Yeah, baby...
JILL: How did it go at the bank?
George looks away.
GEORGE: Great.
JILL: Could I talk to you for a second?
GEORGE: Hey, I'm, you know --
JILL: Could I?
George moves away from Felicia.
GEORGE: Yeah.
JILL (with some feeling): I said I wasn't sure if I could go.
GEORGE: Go where?
JILL (impatiently): Egypt!
GEORGE: Oh great, listen, baby, I gotta get back, okay?
JILL: Okay, but how did it go at the bank?
GEORGE: Great...can we talk later?
NORMAN (the shop's owner): George!"
WHAT I'VE LEARNED: It is so clear here what desires drive the characters. (Yet until I started writing, I had no idea how difficult it was to articulate clearly.)
Also, it was refreshing to see well rounded female antagonists with lives of their own instead of flat, 2-D props for the protagonist.
Shampoo (1975)(undated)
by Robert Towne and Warren Beatty
*Was this a comedy? A drama + comedy? I am not sure, but it was funny!
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