Office Lady: Lisa is a much more competent Western version of one of these. Offscreen Teleportation: When Lisa is about to leave the lavatory http://www.newprintinformatica.com.br/index.php/network-of-roughly-150-local-service-provider-partners-when/, Rippner appears on the other side of the doorway. Rippner somehow beats Lisa to her house towards the end of the film despite having a punctured throat, which should have slowed him down. One Last Job: This job was implied to be Rippner’s last one with his employers. Opposites Attract: Word of God mentions in the commentary that a part of Rippner’s attraction to Lisa stems from the fact that he can never be with something like her due to his job and his revealed true colors causing Lisa to hate him. Overprotective Dad: Lisa’s dad is well intentioned, but overprotective. Papa Wolf: Inverted and then played straight. Lisa gets serious to protect her dad’s welfare, and then he embodies the trope when he comes to her rescue. The Pen Is Mightier: Lisa stabs Rippner with a pen in order to escape the plane. Pet the Dog: Rippner surprisingly has a few concerning Lisa. When he headbutts Lisa, the first thing Rippner does is fix Lisa’s hair and gently rest her head against her seat before tending to himself. In the lavatory scene, he expresses concern over the scar and who gave her it, and according to Word of God, Rippner’s “that it was out of your control” line was “something a friend would say to a friend” and it had “a friendly, compassionate undertone to it.” Plot Sensitive Snooping Skills: Rippner has watched Lisa for eight weeks, but during his first few conversations with her, he realizes she has a secret he doesn’t know and wants to know just what it is. Before The Reveal, Rippner even stumbles upon the secret quite a number of times without realizing it by asking if Lisa’s father had any reason to be worried about her and later asking her if someone broke her heart. It is only during the lavator

This is a hard character to successfully pull off, probably because they usually start out more as a plot device than a character. In many cases they exist solely to create tension and keep the lovers apart, so there’s a real risk that your Romantic False Lead, rather than proving a worthy rival to the main character’s romantic interests, will simply end up being a rather flat, boring character who just seems to show up and occupy space between the two romantic leads. As a result, this can often risk the show falling into a Romantic Plot Tumor. Furthermore, except in rare cases the False Lead is unlikely to generate the same loyalty or sympathy as the main character, meaning that if your audience is Genre Savvy about what’s happening they’re likely to just spend the time the False Lead’s around loudly wishing for him or her to just go away (and possibly die) already so the two characters they’re interested in seeing together can actually get together.

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