2018 OSCARS: The Big Sick (2017) - "Keeping Lovers Apart" Complication at the End of Act 1

1) EXCELLENT, FAST READ. Did I say FAST? (Comedies = FAST READS, people.)

2) EXCELLENT COMPLICATION AT THE END OF ACT 1. I thought this script stands apart from other rom-coms because of this very important turning point.

What happens at the end of Act 1?
 
According to rom-com guru Billy Mernit, structuring conflict in a rom-com includes a "Sexy Complication (Turning Point)":

"Traditionally occurring at the end of Act 1, a new development that raises story stakes and clearly defines the protagonist's goal; most successful when it sets man and woman at cross-purposes and/or their inner emotions at odds with the goal." p. 112 (underline mine)

Furthermore, this is the moment

"when the story's central conflict is crystallized in no uncertain terms. A problem is defined that forces the central character to act or react; now we know what the story is about, and we have a pretty good idea (generally better than the characters do) about where we're headed next." p. 112-113.

In this script, the end of Act 1 is different than most rom-coms because it entwines both the cultural and romantic conflicts. 

In the scene below, note how it accomplishes several things at once:

a) It shows the characters' contrasting cultural backgrounds.

b) It shows how the characters' emotions are at odds with the goal:
- Emily's anger at Kumail's shame/fear is in the way of being with him.
- Kumail's fear at what his family thinks is in the way of being with Emily.

b) It crystallizes the conflicts that each must now overcome.

ex. "INT. KUMAIL'S APARTMENT - NEXT MORNING

Emily is eating cereal in bed. Kumail in the kitchen making coffee.

KUMAIL (calling out): Hey, I liked our friends. That Craig guy or was it Greg? I can never tell with those names. I'm glad I like him cause I don't want to have to come up with excuses to avoid him, you know. Like, oh no, I have kite surfing tonight.

Emily opens the cigar box and sees the headshots of the women. She flips through them. [The headshots are: 1) an interesting cultural behavior; 2) symbolic of Kumail's romantic indecisiveness.]

KUMAIL (O.S.)(CONT'D): Did you know in the UK it's pronounced "Crayg". Which is good because that's actually how it's written, right? He's a "Crate" guy.

Kumail enters.

KUMAIL (CONT'D)(sees her with the box): I was going to tell you about that. [This is his Achilles' heel. He hides from conflict.]

EMILY: Are you like judging Pakistan's Next Top Model or something? Seriously, who are these women? [She is direct and surprised that he has not been.]

KUMAIL: You know how we have arranged marriage in my culture? These are those women. [A little cultural explanation, a little sidestep.]

EMILY: These are women in Pakistan who want to marry you? [She grapples with the cultural differences.]

KUMAIL: They're not in Pakistan.

EMILY: You've met these women? [She asserts her worth and tries to judge whether he values it too.]

KUMAIL: Just with my parents. We haven't like - [More sidestepping. Both cultural and romantic.]

EMILY: You're not serious about this, are you? [She's getting mad, moving away from the goal.]

KUMAIL: It's my mom's thing, I just go along with it. [Digging deeper hole. Both cultural and romantic. Telling mom "no" is scary in any culture.]

EMILY: So what does your mom think about you and me, then? [She goes for the big elephant in the room.]

Beat.

EMILY (CONT'D): She doesn't know about me, does she? [She's embarrassed/ mortified that he doesn't think they are worth the fight.]

KUMAIL: No.

Emily storms out of the bedroom."

WHAT I'VE LEARNED: Using both cultural and romantic conflicts to keep the lovers apart is a fresh, interesting spin on the typical rom-com.

The Big Sick (2017)
by Emily V. Gordon & Kumail Nanjiani

TODAY'S NUGGET: Out of the Past (1947) - Double Cross as Extension of Character (vs. Plot)

[Quick Summary: A retired detective double crossed his former client over a beautiful woman, and now the client is back with a second (possibly frame) job.]

Did you know that this is "one of the greatest of all film noirs"? I did not.

I do know that this script excels at the satisfying double/triple/quadruple crossing.

After reading this, I wondered how much of it was plot (40%) vs. how it made me feel (60%). Where did those feelings stem from?

Roger Ebert summarized it best:

The scenes in San Francisco, involving the murder of Eels, the whereabouts of the tax records and the double-dealing of Meta Carson, are so labyrinthine, it's remarkable even the characters can figure out who is being double-crossed, and why. The details don't matter. What matters is the way that Jeff, a street-wise tough guy, gets involved in the face of all common sense, senses a trap, thinks he can walk through it, and is still fascinated by Kathie Moffat. (underline mine)

That's it! Early on, the script convinced me of Jeff's hazardous feelings for Kathie.

Then when the crazy double/triple/quadruple crossing began, it wasn't so much another plot device, but more an extension of Jeff's character.

The scene below is early in the script. Notice how Kathie connects to (seduces?) Jeff:

ex. "EXT. BEACH - NIGHT

....Without looking at him, she speaks very softly.

KATHIE: When are you taking me back?

He glances grimly at her, looks away, puts the pipe in his mouth. They are silent for a moment, while she waits.

JEFF (quietly): Is that why you kissed me?

KATHIE: No.

A little pause. He lights the pipe.

JEFF: Whit didn't die.

KATHIE (slowly; thinking): He didn't?

JEFF: No.

KATHIE: Then why --

JEFF: He wants you back.

KATHIE (slowly): I hate him. (crushing some sand in her tight fingers) I'm sorry he didn't die.

JEFF: Give him time.

There is a little silence again, with only the surf breaking in.

JEFF: There was a little business -- about forty thousand bucks....

KATHIE (fiercely): I didn't take it!

JEFF: How did you know it was taken?

KATHIE: It's what you meant. (looking away) I don't want anything of his, or any part of him!

JEFF (quietly): Except his life.

KATHIE: I didn't know what I was doing. I didn't know anything, except how much I hated him. (a pause) But I didn't take anything. (looking at him, softly)I didn't -- Jeff.

She takes his head and pulls it down on her lap. He looks up at her and she bends over him.

KATHIE: Won't you believe me?

JEFF: Baby -- I don't care."

WHAT I'VE LEARNED: I'd always considered the "double cross" as a plotting device. I don't know if I've ever seen it in a script before as a possible extension of character.

Out of the Past (1947)(final draft)
by Daniel Mainwaring (writing as Geoffrey Homes)
From his novel, "Build My Gallows High."

TODAY'S NUGGET: Freedomland (2006) - Setup/Payoff; By The End of Page One

[Quick Summary: A black cop has his doubts when a bleeding white woman stumbles into his sector, claiming she was car-jacked with her 4 y.o. son still in the backseat.] 

BAD NEWS: This script irritated me a bit because:
- I didn't know what it was trying to say.
- A few key setups were paired with tepid payoffs.

GOOD NEWS: It had my attention by the bottom of page one.

In short, the writer surprised me with a twist.

The script begins with a typical chase (cops after bad guys).

My thoughts: "I know where this is going."

But by the end of page one, there is a twist that upended my expectations.

My thoughts: "Where is this going?!?" I was excited to turn the page.

Here is the lower half of page one.  How soon do you realize the twist?

ex. "The two chased men split up; one running into the woods; the other (Eric) into a massive dormitory of some kind -- so big it blots out the weak winter sun.

Eric, before he squeezes through the rotted door, tosses a package (drugs?).

The two cops break into the clearing and then split up, the white one (BOYLE) chasing the kid who went into the woods, the black cop (LORENZO) going after Eric in the fortress-like abandoned dorm.

Lorenzo disappears inside through the same rotted door.

HOLD ON THE WINTRY STILLNESS;

a buckshot creaky sign tells us we're looking at "FREEDOMLAND VILLAGE - CHILDREN'S UNIT A".

After that hold, we see Lorenzo slowly back out of that same rotted door almost like film being shot in reverse.

Despite the wintry air, he is sweating. HE looks totally haunted, almost shell-shocked, as if he forgot what he had gone into the building for in the first place.

He stands there for a beat, just trying to come back to himself, then --

BOOM -- ERIC COMES BUSTING OUT THAT ROTTED DOOR,

almost leaping into Lorenzo's arms, as if he wants this cop to save him from something.

ERIC (near-babbling): Yo Lorenzo, get me the fuck out of here, man, just get me the fuck..."

WHAT I'VE LEARNED: 1) It's good to upend the reader's expectations; 2) Be sure that you pay off whatever you set up.

Do both of the above, not either/or.  Doing #1 well will not cover for lack of #2.

Freedomland (2006)(undated)
Novel and script by Richard Price

TODAY'S NUGGET: Flightplan (2005) - When the Antagonist's Identity is Delayed

[Quick Summary: When a widow flies back to the U.S. with her husband's casket, her fragile mind is strained when her 4 y.o. daughter goes missing on the plane.]

What I liked about this script:
- Strong female lead
- It's a real page turner
- Interesting mystery: Is the mother delusional with grief or not?
- Several nice twists & turns, red herrings

What I didn't like about this script: The antagonist takes too long to show up.

I do understand why structurally there is a delay in the reveal.

First, there is plenty of pipe to lay down (ex. the search of the plane; why the female protagonist, Kyle, is distraught; etc.)

Second, the antagonist is continually manipulating Kyle's situation from off screen.  So he is "there," although we do not see him.

Third, part of the mystery is who the antagonist could be.

Fourth, it's a matter of taste and preference how to tell this story.

But for my two cents, the script didn't zip as much until the antagonist shows up (well into Act 2), as in the scene below (SPOILERS AHEAD):

ex.  "INT. AIRJEST - UPPER DECK - ROW 35 -WINDOW - CONTINUING

She rushes toward the window. Through it she sees the apron of the tarmac:

A Plain FBI SEDAN approaches. CARGO-GUYS off-load suitcases and golf-clubs. There's that pallet bearing the Mercedes and its smashing window

...And David's casket, rolling off a conveyor belt.

But now Kyle has to picture Julia inside it. God no... 

Her legs fail her; she literally folds toward the floor. Breathing feels impossible. We stay on her, tight on her face, as:

CARSON (cont'd): She'll wake up in about an hour, give or take, and find herself face to face with your husband. You fuck with me, even a little, and she'll die in there - there's about five hours worth of oxygen inside.

A four year-old girl, in a coffin with a corpse. It's unimaginable, enough to drive a mother mad.

And that's just what it's doing - we can see it Kyle's eyes.

She backs away from the window, into the aisle. Carson takes out his phone, casually.

CARSON (cont'd): Now. Let's talk about your exit strategy.

She's about to explode. It's coming...

CARSON (cont'd): After the money is wired  you're going to --

Bang. She goes off.

In a blur, she has bolted down the aisle, catching Carson completely off-guard.

CARSON: Goddamit...

He takes off after her."

WHAT I'VE LEARNED: Even when it doesn't work for me, I admire when writers attempt a bold structure (here, concealing the antagonist's identity as late as possible).

Flightplan (2005)(current revisions by Billy Ray, dated 6/8/04)
by Peter Dowling, rev. by Larry Cohen, Terry Hayes, and Billy Ray

TODAY'S NUGGET: Shattered Glass (2003) - A Contradictory Character

[Quick Summary: Based on a true story. A well-liked young staff writer from the esteemed The New Republic reports on the most fascinating stories,* until a journalist fact-checks one and finds it is fictional.]

I find contradictory characters both fascinating and frustrating, i.e., good reading.

Here, for example, I like AND dislike the Stephen Glass character.

a) I LIKE HIM BECAUSE: He's doesn't brag, is entertaining, thoughtful, and loyal.  He's the friend that enters when all others exit.

ex. "INT. NEAR-EMPTY BALLROOM - TNR TABLE - RESUMING

Lane looks over theother reporters at this table - recalling that painful time:

LANE: No one on the staff would speak to me. No one... (they nod, remembering) Except for Stephen.

The Staffers react, surprised. Very.

                                                                                                     CUT TO:

INT. TNR SUITE - HALLWAY - NIGHT (FLASHBACK)

It's late; the suite is still. Glass walks down the hallway in his socks, checking to see thatnoone's around to spot him... Then he ducks into:

INT. LANE'S OFFICE - CONTINUING (FLASHBACK)

Lane looks up from his desk, drained - and thrown... because Glass is standing in his doorway.

GLASS (softly, with compassion): How's it goin', Chuck?

Lane sighs with relief. He's got an ally."

b) I DISLIKE HIM BECAUSE: He lives in denial, even when the reputation of others is on the line.

The scene below is a conference call between Glass and Lane (his boss), and Penenberg, a Forbes Digital Tool reporter, who has questions about a Glass article.

ex.  "PENENBERG: Um, a few other people we can't seem to locate. Julie Farthwork, Frank Juliet, and Restil's agent - Joe Hiert...We called the numbers you gave us and got voice-mails for all three. And all the e-mails we sent came back saying "no address" or "account closed."

GLASS: Really? 'Cause I've e-mailed them about a million times each. Hiert's on-line all day long.

PENENBERG: Did you ever call these people and get them directly?

GLASS: No. I always left messages and spoke to them when they called back.

PENENBERG: I see.

That hangs there...as we SPLIT SCREEN INTO FOUR SEPARATE IMAGES, each a little slice of tension: Lane's eyes, his notepad, Glass' fidgeting hands, the mini-cassette.

INTERCUT with Penenberg, who is as calm as can be...

PENENBERG: And the references in the article to Nevada law enforcement officials. Was Jim Ghort the only one you spoke to?

GLASS: Yes.

PENENBERG: Do you have a phone number for him?

GLASS: Yeah. Definitely. Somewhere around here.

Glass looks through his notes as if inconvenienced. Then:

GLASS (cont'd): Ready?

PENENBERG: Mmm-hmmm.

GLASS: 605-43--

PENENBERG: Wait.

GLASS: Huh?

PENENBERG: 605. That's not Nevada.

GLASS: Oh.

He pauses. Lane tightens.

GLASS: I guess I got him mixed up with another source. I just have to -- (shuffling pages) Ghort is actually the guy who told me about the Law Enforcement Officials. (more shuffling) I might have to --

LANE (sharply): Give him the number, Stephen.

END SPLIT-SCREEN...as a deafening silence fills both offices. Glass looks wounded.

...and Penenberg and Foroohar look stunned. They know that a lined just got crossed...

PENENBERG (for Foroohar only): This guy is toast.

Foroohar nods."

WHAT I'VE LEARNED: The contradictory nature of the Glass character (both loyal and untruthful) gives a familiar story a new angle.

Shattered Glass (2003)(revised draft, dated 5/20/02)
by Billy Ray
From an article by Buzz Bissinger

*He bamboozled The New Republic into printing at least 41 invented or partially invented articles.