[Quick Summary: An actress, newly out of rehab, struggles to manage her sobriety, her daughter, and seeking a new job.]
I think the genius of Neil Simon scripts is that it looks simple on the surface.
However, the structure and conflict has great depth and complexity.
For example, the scene below is about:
- a long standing disappointment
- the external and internal conflicts that one feels
- use of non-verbals
First, note that each character has his or her own INTERNAL conflict:
- For Georgia, who has just fallen off the wagon: disappointment in herself.
- For her friend Jimmy: feeling let down by his faith in her temporary sobriety.
Then, note that there is also another layer of EXTERNAL conflict between them:
- For Georgia: guilt, needing reassurance from someone that she's offended.
- For Jimmy: irritation at her repeated offenses and love
Finally, the audience understands all of this through one character not looking at the other character, silence, a hand squeeze.
ex. "INT. TAXI - NIGHT
Jimmy and Georgia sitting on opposite sides, looking out opposite windows, wordlessly.
GEORGIA: ...I think I fucked up, didn't I?
Jimmy doesn't say a word. She looks toward him.
GEORGIA: Give me your hand...Jimmy? Give me your hand... I'm cold.
He doesn't look at her but reaches over and puts his hand on top of hers and gently squeezes it."
WHAT I'VE LEARNED: I was impressed that so much disappointment could be conveyed by Jimmy's non-verbals.
Only When I Laugh (1981)(3rd draft (July, 1980))
by Neil Simon
Based on his play, "The Gingerbread Lady"
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