[Quick Summary: After many years apart, a film director and a sculptor (who were once married) unexpectedly meet again on a plane.]
Though unproduced, this script was written by Frederic Raphael, whom I consider one of the best at memory time jumps (see here) and showing emotional gridlock.
Raphael is particularly good at the bittersweet of "I can't live with you, I can't live without you." This keeps us wanting to know what comes next.
For example, in the scene below:
- Matt and Martha got married, had a son, then had an acrimonious divorce for unknown reasons.
- Several years later, their paths crossed when they were seated together on a plane.
- They have just had a cautiously pleasant conversation.
- This scene shows they're defensive, so they're not connecting, yet they have a great dynamic together.
- This scene keeps us wondering what is keeping them apart.
- The banter is a trademark of this writer's voice. It's not just clever, but also pointed and humorous.
INT. THE PLANE. DAY.
... They both "sleep", smiling faintly. This sparring is not without warmth. But it's dangerous.
MATT: Are you busy?
MARTHA: Yeah, I'm pretty busy.
MATT: I meant, like now, are you?
MARTHA: I meant now. What do you want me to do? Sew on a button?
MATT: Take a look at this script.
MARTHA: You know your trouble, Matthew?
MATT: Sure. I haven't done anything great. But I have made my father feel proud of me. And ashamed of himself. I set him up in business finally. I hope that was nice of me.
MARTHA: What's it all about?
MATT: My mother was right to throw him out, but I can't forgive her for marrying him.
MARTHA: That's very up-front of you, but I only meant: what's the script all about?
MATT gives her the look. What a bitch sometimes!
MATT: It's a re-make...
MARTHA: You always said they never worked.
She's hit a nerve.
WHAT I'VE LEARNED: I really like that the gridlock comes from character, i.e., each side has something historically unresolved between them. Yet they do what everyone does in the meanwhile, and try to carry on.
The intrigue/suspense for me is the fact that Martha is difficult and pushes Matt, but she's the only one who will tell him the truth (and vice versa).
This Man, This Woman (unproduced)
by Frederic Raphael
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