2018 OSCARS: Molly's Game (2017) - Assumptions & Doling Out Information

[Quick Summary: Former Olympian-turned-high-stakes-poker-acilitator Molly Bloom seeks a criminal attorney to defend her against federal racketeering charges.]

Two thoughts:

A) PROCESS OF ADAPTATION. I'm fascinated by the evolution of this project.

-The book was written before Molly was arrested.
-Sorkin realized that LOTS of interesting stuff happened before and after publication.
-If Sorkin had limited himself to the book, it would've been an entertaining, but typical story focusing on glitz and glam, rather than a deeper character study.
- The script uses the book, but relied heavily on personal interviews.

B) ASSUMPTIONS.

"She [Molly, who he met] wasn't who I expected her to be." - Sorkin

This is a complex story, as per usual with the material Sorkin chooses.

I was interested in how he used assumptions to dole out information.

In the exchange below with an attorney that she hopes to hire,  Molly is loyal to her former boss and clients but not these four clients. [Why? It's explained later.] 

ex. "CHARLIE (pause): Let me ask you something. Reardon -- in the book --he didn't say "Poor people bagels," did he. (beat) I think I know who he is, I think I know a real estate lawyer who worked with him and quit. He called them "nigger bagels," right?

MOLLY (pause): I'm not telling you his name, he's not involved in this. [She protects her former not-so-nice boss?]

CHARLIE: But you were willing to name the movie stars.

MOLLY: None of that matters. Why is the FBI arresting me two years after -- [She sold out on former clients? Why?]

CHARLIE: Were you paid extra in your book deal to name the movie stars?

MOLLY (pause): Yes. [Ah! An answer! But we learn later this isn't the full story....]

CHARLIE: I'm not your guy, Molly. I wish you good luck but this just isn't for me.  [We understand why Charlie is reluctant to represent her.]

MOLLY hears that but still doesn't leave."

WHAT I'VE LEARNED: This script is structured to allow the set ups enough time to play out.  There was no rush to get to the pay offs. They had to be earned.

ex. In the above scene, Molly let others think the worst of her and there was no rush to defend herself.

Molly's Game (2017)(dated 12/29/15)
by Aaron Sorkin
Adapted from the book by Molly Bloom

2018 OSCARS: Logan (2017) - Clarity of Showing What is at Stake; Tension

[Quick Summary: Logan, the Wolverine, escapes with Dr. Xavier and a newly discovered mutant, Laura.]

Yes, this is a Marvel movie.

No, it's not a typical canned "superhero" movie, but actually more of a Western.

Yes, it is Oscar worthy for its level of difficulty and finesse.

No, you should not skip this script even if you don't like Westerns or superhero films.

Why? It does an excellent job of clearly showing what is at stake.

(Another way to look at "stakes":

In order to enjoy a movie [vs. a book], you need to be invested pretty quickly....What do I need to know to care enough to go on this ride? ("Logan & Scott Frank"))

In the scene below, Logan has just illegally bought pills.

Notice:
1) how the writer shows rising tension by using hope-fear-hope-fear; and
2) how the writer reveals WHY Logan is afraid (it's not for himself).

ex. "INT. LOGAN'S LIMO -- OUTSIDE HOSPITAL -- MOMENTS LATER

Logan, now carrying the bag, hurries through the rain to his Limo. [Hope! He got the pills.] He climbs inside starts it up but is startled by the back door opening and closing. Logan spins to face -- [Fear]

A SMILING MAN in the back of his stretch. This is Donald Pierce, 35. A southern boy, smooth and playful.

PIERCE: As I live and breath. The Wolverine. And he's a junkie now. [Fear]

LOGAN: Who the fuck are you?

PIERCE: Y'know, you got some buckshot in your door....

LOGAN: Get out. Now.

PIERCE: Has she found you yet? ...Gabriela? (off Logan's blank look) See, I'm not looking for you, mutey. Not really. I'm looking for someone who's looking for you. She took something of mine. Something for which I am responsible. When I wasn't looking. Mexican lady. Long hair, long legs, Long gone. Has her sights on you. (off Logan's glare) No bells? [Hope. This is not about Logan or anyone he knows.]

LOGAN: I don't know any Gabriela. So get the fuck out.

Pierce just smiles, unfazed, then shifts his gaze to Logan's bag of pills. Peering in, quasi-conspiratorial:

PIERCE: I know what you're hiding, amigo. Cue ball south of the border? [Fear. Pierce knows where Logan's hideout is and who is there.  This is why Logan has been working so hard.]

Logan tenses, says nothing.

LOGAN: What do you want?

PIERCE: A little...cooperation.

Flicks a business card.

PIERCE (cont'd): If she does find you."

WHAT I'VE LEARNED: When showing what is at stake, be sure to layer in some hope-fear-hope-fear, so that the audience will understand its importance to the character (especially when the audience may/may not agree).

Logan (2017)
by Scott Frank & James Mangold, and Michael Green
Story by James Mangold

2018 OSCARS: The Disaster Artist (2017) - Tone & Finding That Fine Line

[Quick Summary: Actor/director Tommy Wiseau and new friend Greg Sestero live out their dreams by unintentionally making the greatest bad movie, The Room.]

I was intrigued by this adaption.

First, it was not a run-of-the-mill, behind-the-scenes story, despite the ad campaign.  It actually was a deeper story about friendship and dreams.

Second, the tone walked a fine line that leaned to heartfelt vs. too comedic or unkind.

In this DGA interview, actor/director James Franco talks about crafting tone and cites these key factors:

- The main character has an "affable arrogance" that made it ok to laugh at him.
- The book's tone set the stage.  It emphasized "relatable" rather than mocking.
- Franco went to writers known for 'relationship' films.
- They aimed for a funny, crazy story, but it was more about dreamers than comedy.

In the scene below, notice that it's ironic, funny, but does not ridicule.

Tommy's "I-know-everything" arrogance makes it easy for Peter and Bill to sell double the equipment. 

Is this taking advantage? No, because Tommy WANTS to be sold all of it.

We laugh because Tommy can't see the flaw (and probably doesn't want to either).

ex.  "INT. BIRNS & SAWYER PRODUCTION SOUNDSTAGE - DAY

...BILL: Hey, customer's always right, right? So, uh, you looking to shoot 35 or HD?

Tommy clearly has no idea what that means.

TOMMY: I shoot both.

Peter and Bill are flabbergasted. Greg tries to be helpful.

GREG: I think he's asking if you want to shoot on digital or film.

TOMMY: My ears work. I want to shoot with both cameras.

BILL: But...you can't do both.

TOMMY: Why not?

PETER: You would need twice the equipment, twice the crew...They're not even lit the same --It's just not done.

TOMMY: So what you're saying is...I will be first.

PETER: What I'm saying is... NO ONE. WOULD EVER. Do it.

TOMMY: Exactly. (beat) I am not no one. I am Wiseau.

Greg high fives Tommy. Bill and Peter are stunned. Who are these guys? Peter is about to respond when Bill intervenes.

BILL: Can you gentlemen give us a moment?

Bill and Peter step off to the side. We can't hear what they're saying but they talk animatedly while keeping a keen eye on Tommy and Greg. After a few more beats, Peter and Bill return. Their attitude very different.

PETER: So we talked about it. We'll sell you all the equipment you need. And we'll give you a reduced rate on everything if you decide to shoot here.

TOMMY: Good. I like this spot.

Peter looks to Bill. They're trying to contain themselves.

PETER: Terrific! Sounds like we have a deal."

WHAT I'VE LEARNED: I thought tone was key in capturing the atmosphere around this confusing, well-meaning, selfish, contradictory, arrogant character.

It showed us what he was like without telling us what to think about him.

The Disaster Artist (2017)
by Scott Neustadter & Michael H. Weber
Adapted from the book, "The Disaster Artist: My Life Inside The Room, The Greatest Bad Movie Ever Made," by Greg Sestero & Tom Bissell

2018 OSCARS: Call Me By Your Name (2017) - Showing Awkwardness

[Quick Summary: In 1980s Italy, a 17 y.o. boy falls in love for the first time with the family's summer lodger, an American male graduate student.]

Though I'm only halfway through, I am quite impressed with the level of difficulty of the Oscar scripts this year. *

Today's script is quite a high wire act:

1) It's an effective, slow burn drama, AND

2) It shows what a 17 y.o.'s journey through awkwardness feels like, AND

3) It happens during every day life.  There is no "grand crisis" that speeds things up, i.e., no guns, violence, car crash, death, etc.

This script is unusual in that it makes you FEEL Elio's awkwardness through contrasting behaviors (Elio vs. others).

In the scene below, notice:
- Elio is the only one who is unsure and who is not relaxed.
- The other characters may feel that way too, but handle it differently because: a) they're older, and b) have more life experience.
-  Even Oliver is not rattled, though he does not know what to do with the egg at first. He catches on faster than Elio does. 

ex. "EXT. GARDEN IN FRON OF THE KITCHEN - PERLMAN VILLA - DAY

The PERLMANS are eating breakfast outside, in front of the kitchen. OLIVER comes out and sits down, watching how ELIO expertly cracks his soft-boiled egg shell, then attempts to do the same, but only a tiny bit of the shell is pierced, so he pretends to busy himself with his coffee and pushes the egg in its cup away. MAFALDA asks him if he would like juice. He says "Please". She looks down at the discarded egg.

MAFALDA: Lasci fare a me, Signore. (Let me)

She slices the top off and returns to her kitchen.

ANNELLA: Did you recover from your trip, caro?

OLIVER: Big time.

ELIO, who has been trying not to stare at their guest and is concentrating on spreading honey on a piece of bread, now lifts his head and speaks, growing unnaturally loud:

ELIO: I can show you around.

OLIVER: Good. Are we far from town? I need to open a bank account.

Both Professor PERLMAN and ANNELLA look up, interested.

PERLMAN (smiling): None of our residents has ever had a local bank account.

Elio turns in his seat to get a better view of Oliver, who is sitting beside him.

ELIO: Should I take him to Montodine?

PERLMAN: I'm think they're closed for summer vacation. Try Crema.

OLIVER: Is that your orchard?

PERLMAN: Pesca, ciliege, albicooche...(peaches, cherries, apricots...)

ANNELLA: Pomegranate.

MAFALDA returns with a pitcher of apricot juice on a little tray and proceeds to fill Oliver's glass. OLIVER tastes it, then enthusiastically downs it. ELIO realizes he is staring at OLIVER, his head tipped back with his throat swallowing the juice, and notices the Star of David on a necklace around his neck. OLIVER smacks his lips and begins to eat his second egg, giving it a sharp crack. MAFALDA brings him a third egg.

ANNELLA (CONT'D): Have another egg.

OLIVER (shaking his head): I know myself. If I have three, I'll have a fourth, and more.

ELIO has never heard someone Oliver's age say, I know myself. It's somewhat intimidating. He lowers his eyes."

WHAT I'VE LEARNED: I liked that awkwardness was shown in behavior here, rather relying on dialogue to express it.

Call Me By Your Name (2017)
by James Ivory
Adapted from the novel by Andre Aciman

*In the five years that I've read all the nominated Oscar scripts, this year's group of competitors are the strongest that I've seen.

2018 OSCARS: Three Billboards Outside of Ebbing, Missouri (2017) - In the Space Between Two Characters

[Quick Summary: In a small fictional town, grieving, embittered mother of a rape victim buys three billboards to provoke the police into action.]

Two McDonagh scripts, then and now:

1) THEN

A few years ago, a development exec asked me to cover an unproduced script by a guy called Martin McDonagh.  I went in cold, knowing nothing, as I preferred.

I was not prepared. Not for the levels of graphic violence, swearing, nudity, etc.* Not for my wincing and/or reading in trepidation between my fingers.

Not for the brilliant grasp of story.  And especially not for my paradoxical reaction.

Officially, I was offended on behalf of humanity. 

Unofficially, I couldn't stop reading (even though I was officially offended).

What was so special?  Whether I agreed or not...Whether I might be shocked, appalled, or embarrassed, I understood what the characters wanted and why.  

2) NOW

McDonagh's scripts are getting even better. There is still clarity of motive.

However, I thought today's script was a particularly good example of the third "thing" that develops in the space between two characters.** 

In the scene below, Sheriff Willoughby is dying of cancer.  He wants the protagonist Mildred to get rid of the billboards. She wants him off her back.

Notice what forms between them in this push-and-pull scene.

ex. "WILLOUGHBY: What's Charlie think about these here billboards of yours, an ex-cop like Charlie?

MILDRED: Ex-cop, ex-wife-beater. Same difference, I guess, right? [We learn more of Charlie. What is our opinion of him? Somewhere between W and M's opinions?]

WILLOUGHBY: His word against yours, though, right? (pause) Charlie don't know about them, does he?

MILDRED: It's none of his business. [Ah! W uncovered M's secret.]

WILLOUGHBY: He's kinda paying for 'em though, ain't he?

MILDRED: I'm paying for 'em. [Do we think Charlie should know? Again, probably somewhere between W and M's opinions.]

WILLOUGHBY: This month you are. How about when...

WILLOUGHBY suddenly let's [sic] out a short sharp cough which spurts a spray of blood that hits MILDRED in the face, wholly by accident. Horrified, shaking, WILLOUGHBY tries to wipe her face with a handkerchief, MILDRED almost in tears at his embarrassment.

WILLOUGHBY (cont'd): I didn't mean to... [W's shame is about more than the blood.]

MILDRED: I know... [M knows what he means.]

WILLOUGHBY: It was an accident...

MILDRED: I know, baby. [M, at her most tender. This is startling, contrasted to her behavior everywhere else. ]

WILLOUGHBY: It's blood.

MILDRED: I know. [She's embarrassed for him, even if she can't say it.]

They're both in tears, and there's a desperation in his eyes, as he sits there shaking.

MILDRED (cont'd): I'll go get somebody... [Helpless M is not seen often. It's uncomfortable for all.]

She rushes out the door."

WHAT I'VE LEARNED: I liked how this space between two characters was so alive and active.  Also, it requires the audience to get involved (infer, deduce, etc.)

Three Billboards Outside of Ebbing, Missouri (2017)
by Martin McDonagh

*None of which was ever gratuitous, surprisingly enough.
**I wonder if this is due to McDonagh's playwright training?

2018 OSCARS: The Shape of Water (2017) - What a Non-Verbal, Developing Romance Looks Like

[Quick Summary: In a 1962 top secret Baltimore facility, a mute janitor falls in love and frees an amphibian man, who the government wants to exploit.]

My two cents:

1) Pros and Cons

PRO: This script has several, very strong, three dimensional characters.

CON: The script delved into several characters' personal lives in order to show their bias against the creature. It pulled me out of the main story and felt tangential.

PRO: It is well written and very emotional on the page.

CON: Was there a purpose to the narration on p.1-2? It was confusing to me.

2) What a Non-Verbal, Developing Romance Looks Like

I did think the following montage was quite effective to show the developing intimacy between Elisa and the creature.

It's so romantic how they're learning more about each other and responding.   

ex. "MONTAGE

- Five eggs. Boiling. Dancing slowly in the water.
- Elisa sets all five Boiled Eggs on the edge of the pool.
- The creature emerges. Does the sign for "egg". [He has adapted to her language.]
- Elisa chooses new records.
- Her locker room is filling up with LP's. [She's trying to figure out what he likes.]
- Elisa travels on the bus with more eggs and records. [She's making a real effort.]
- Elisa mops - a smile on her face. Zelda watches, concerned. [She shows the effects of a real relationship.]
- Elisa readies her bath - mesmerized by the water. [She thinks about him.]
- Giles watches as Elisa "borrow" extra eggs from his fridge. [Her behavior is changing.]
- Elisa packs all 7,8,9 eggs in her paper bag.
- Elisa shows a new record to the creature in the cylinder. [She brings him a gift.]
- She mops while the music plays

Quietly, Hoffstetler enters the lab just as the song ends:

The Amphibian Man bangs on the glass to ELISA and signs: "play a different record." His markings brighten. [He shows physical signs of emotional changes.]

ELISA signs- asking him to "point." The AMPHIBIAN MAN points. Elisa turns the record around. "MOONGLOW" by Benny Goodman plays.

Elisa dances in front of the cylinder. [She delights in his choice.]

The AMPHIBIAN MAN swims, delighted! [He delights in her.]

Elisa walks over and puts one hand up against the glass, slowly, the creature puts a hand up "against" hers. His markings active and color-changing. [They connect physically and emotionally.]

Her smile turns wistful. She keeps her hand there. Leans her forehead on the glass. [They show longing.]

Hoffstetler watches- a tray of raw fish in his hands- Mesmerized. Moved."

WHAT I'VE LEARNED: Non-verbal romance = Showing how two souls learn and connect with each other.

The Shape of Water (2017)
by Guillermo Del Toro & Vanessa Taylor
Story by Guillermo Del Toro

2018 OSCARS: Lady Bird (2017) - Humor Through Situation

[Quick Summary: A very clear, amusing character study of a 17 y.o. Sacramento girl's senior year, with the typical self-absorption and arrogance of youth.]

I liked this script because the characters were fully formed and three dimensional.

I will remember this script because:

1) The situations were very specific.*
2) The humor came out of these very specific situations (vs. funny dialogue).

This is the scene below:
- A 17 y.o. has not gotten into the school of her choice.
- This is likely her first taste of harsh reality settling in.
- She has little life experience, so handles disappointment poorly (lashes out).
- Marion is the mother. Larry is the father. Miguel is adopted brother. Shelly is Miguel's girlfriend.

Note how the humor comes out of specifics:
- The situation is funny because her hysterics are disproportionate to the big picture.
- It starts controlled and deteriorates into argument (very universal!)
- It's not so much WHAT is said as HOW words are used to thrust and parry.

ex. "INT. FAMILY/COMPUTER/MIGUEL'S ROOM. DAY.

Lady Bird sits at the computer with a list of instructions in front of her - Marion, Larry, Shelly and Miguel stand behind her.

LADY BIRD: It's a new system - you just enter your social security number and... [I like the building of anticipation here.]

She is presses [sic] ENTER and is lead you [sic] to a website that lists all the schools in the UC system she applied to with a "yes" or a "no" beside them. They all say no except for...

LADY BIRD (CONT'D): DAVIS?! [LB is outraged.]

MARION (relieved): Davis is good. Maybe you should have looked at it. [Very grounded response.]

LADY BIRD: It's only half an hour away! Less if you're driving fast! [This is her criteria?! Funny.]

LARRY: I went to graduate school there.

SHELLY: Lots of smart people go to Davis.

LADY BIRD: I thought Berkeley had to accept me. You and Miguel went there. I'm a legacy. [An entitled, childish, emotional response.]

LARRY: Eh, not if we don't give money. [Realistic, parental response.]

MIGUEL: And you get bad grades. [Snarky sibling response.]

LADY BIRD: Oh what do you know about it? [She doesn't know how to deal, so picks a fight.]

MIGUEL: Meaning?

LADY BIRD: Nothing. [Passive aggressive, insult.]

MIGUEL (turning red): What are you implying? YOU FUCKING RACIST. [He's offended. Conflict escalates.]

LADY BIRD: I didn't say anything. [She defends her "non" position.]

MIGUEL: I DIDN'T PUT DOWN MY RACE! [He defends against her "non" position.]

LADY BIRD: I'm sure they had no idea, MIGUEL! [More passive aggressive attacking.]

MIGUEL: You are actually fucking evil. What is wrong with you?

MARION: GO - GO TO YOUR ROOM!

LADY BIRD: I'm not FIVE!

MARION: I did not raise you like this, I didn't --

LADY BIRD: I don't have to go ANYWHERE! I'm not going to a fucking university that's famous for it's fucking AGRICULTURAL SCHOOL. [She, stung by rejection, erupts with nonsense.]

She runs out, furious. She'd kick the computer if she could.

LADY BIRD (O.S.)(CONT'D): AND MIGUEL AND SHELLY YOU'LL NEVER GET JOBS WITH ALL THAT SHIT IN YOUR FACE! [She gets the last word.]

Miguel self-consciously puts his hand to his nose-ring, rotating it. Shelly mentally tallies all her piercings."

WHAT I'VE LEARNED: I'm beginning to understand that humor can come from the structure of the situation, i.e., "not what characters say, but how they say it (and what it's used for)."

Lady Bird (2017)
by Greta Gerwig

*I have noticed that when a situation is very specific, it seems very universal as well.

2018 OSCARS: Get Out (2017) - Emotional Building Blocks

[Quick Summary: When a young African American man accompanies his Caucasian girlfriend to meet her parents, he uncovers an awful horror.]

"A screenplay is not written to be read. It is written to be filmed."

Ugh.  True, but ugh.  What does it mean?!

How can you NOT read a screenplay?

How do you write something (words) to be filmed (pictures)?

As a new writer, I had the bright idea that I could just copy shooting scripts.  Wrong.

Years went by and I continued to read shooting scripts but wrote crap.  Why?

I was focusing too much on shooting script format and style (ex. he sits, she stands) rather than how WORDS form PICTURES THAT CONVEY AN EMOTION (ex. he jumps to his feet every time she gets up from the dinner table).

Today's shooting script is a good example to study.

It's not perfect and I wished for a little more than the utilitarian style.

However, if you can see the big picture, each scene conveys an emotional building block moving us forward.

How does the scene below make you feel? Loyal? Like a team?

ex. "INT. ROSE'S CAR - CONTINUOUS

...Rose finally pulls her driver's license from her purse. The Officer looks at it and over at Chris.

OFFICER RYAN: You two coming up from the city?

ROSE: Yeah. My parents live in the Lake Pontaco area. We're up here for the weekend.

OFFICER RYAN: Sir...? Can I see your license?

CHRIS: Oh...yeah. I have a state I.D.

ROSE: Wait, why?

OFFICER RYAN: Ma'am?

ROSE: He wasn't driving?

OFFICER RYAN: I didn't ask if he was driving, I asked to see his I.D.

ROSE (to Officer Ryan): But why? It doesn't make any sense.

CHRIS: Here.

Chris offers Officer Ryan his I.D.

ROSE: No, fuck that. He shouldn't have to show you his I.D. because he hasn't done anything wrong.

CHRIS: Baby. It's okay --

OFFICER RYAN: Ma'am, any time there is an incident we have the right to --

ROSE: That's bullshit!

OFFICER RYAN: Ma'am...

There is a tense silence. Officer Ryan gives up. Not worth the trouble. Officer Ryan's walkie chimes in.

OFFICER FROSTY: Everything alright up there Crowsie?

He presses his walkie button.

OFFICER RYAN: Yeah, I'm all good. (to Chris and Rose) You guys drive safe.

Rose and Chris get into their car.

OFFICER RYAN (cont'd): Get that headlight fixed...And the mirror."

WHAT I'VE LEARNED: When they say "Screenplays are written to be filmed," they mean that they are filming a scene that convey an emotion --> series of emotional scenes --> a story.

Get Out (2017)
by Jordan Peele

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."