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
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