First Sunday
Durell Washington and LeeJohn Jackson are best friends and bumbling petty criminals. When Durell learns that his ex-girlfriend plans to move to another state with their son Durell Jr.--unless they can get her $17,000 to pay off a debt--Durell and LeeJohn ultimately come up with a desperate scheme to rob their neighborhood church. When the duo fumbles their way through the break-in, they discover someone has beaten them to the punch. In order to get their hands on the money, Durell and LeeJohn are forced to spend the night in the presence of the Lord and his followers--and end up getting a lot more than they bargained for.
Working with a moderate budget of $20.0M, the film achieved a steady performer with $38.8M in global revenue (+94% profit margin).
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
First Sunday (2008) showcases deliberately positioned narrative design, characteristic of David E. Talbert's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 36 minutes. With an Arcplot score of 6.8, the film balances conventional beats with creative variation.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Durell is shown as a struggling ex-con working dead-end jobs, barely able to provide for his son. His baby mama threatens to move to Atlanta with their son if he doesn't pay $17,000.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 12 minutes when Durell gets fired from his job at the wheel factory and realizes he has only 24 hours to come up with the money or lose his son forever when his ex moves to Atlanta.. At 13% through the film, this Disruption is delayed, allowing extended setup of the story world. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 25 minutes marks the transition into Act II, occurring at 26% of the runtime. This indicates the protagonist's commitment to Durell makes the active choice to rob the neighborhood church with LeeJohn. They gather supplies and plan the heist, crossing the moral line from desperate father to criminal., moving from reaction to action.
At 49 minutes, the Midpoint arrives at 51% of the runtime—precisely centered, creating perfect narrative symmetry. Of particular interest, this crucial beat Discovery that the church money has been embezzled by the board member Ricky. The stakes raise as real criminals arrive, and Durell realizes he's in over his head. False defeat: the situation is much worse than a simple robbery., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 72 minutes (75% through) represents the emotional nadir. Here, Durell's son arrives outside the church and learns his father is the robber. The look of betrayal and disappointment on his son's face represents the death of Durell's self-image as a good father. His worst fear realized., demonstrates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 77 minutes initiates the final act resolution at 81% of the runtime. Durell realizes the solution isn't stealing money but doing the right thing. He chooses to expose Ricky, protect the congregation, and face consequences. Combines his street smarts with newfound moral clarity., demonstrating the transformation achieved throughout the journey.
Emotional Journey
First Sunday's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs proven narrative structure principles that track dramatic progression. By mapping First Sunday against these established plot points, we can identify how David E. Talbert utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish First Sunday within the comedy genre.
David E. Talbert's Structural Approach
Among the 3 David E. Talbert films analyzed on Arcplot, the average structural score is 7.0, demonstrating varied approaches to story architecture. First Sunday takes a more unconventional approach compared to the director's typical style. For comparative analysis, explore the complete David E. Talbert filmography.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid. For more David E. Talbert analyses, see Almost Christmas, Baggage Claim.
Plot Points by Act
Act I
SetupStatus Quo
Durell is shown as a struggling ex-con working dead-end jobs, barely able to provide for his son. His baby mama threatens to move to Atlanta with their son if he doesn't pay $17,000.
Theme
A character mentions that "sometimes you gotta lose everything to find what really matters" - establishing the film's theme about redemption through community and faith versus quick money.
Worldbuilding
Introduction to Durell's desperate situation, his relationship with son, his unreliable friend LeeJohn, and the Baltimore community. Establishes their history of petty crime and current financial desperation.
Disruption
Durell gets fired from his job at the wheel factory and realizes he has only 24 hours to come up with the money or lose his son forever when his ex moves to Atlanta.
Resistance
Durell and LeeJohn debate various schemes to get money quickly. They consider and reject legitimate options. LeeJohn suggests robbing the church, knowing it collects cash donations. Durell resists but desperation grows.
Act II
ConfrontationFirst Threshold
Durell makes the active choice to rob the neighborhood church with LeeJohn. They gather supplies and plan the heist, crossing the moral line from desperate father to criminal.
Mirror World
Inside the church, Durell encounters the congregation members - particularly the choir director Tianna and Pastor - who represent the moral/spiritual world that challenges his criminal intentions.
Premise
The "heist gone wrong" comedy unfolds. Durell and LeeJohn take the congregation hostage but discover the church is broke. Interpersonal dynamics, comedic situations, and the revelation of each congregation member's secrets and humanity.
Midpoint
Discovery that the church money has been embezzled by the board member Ricky. The stakes raise as real criminals arrive, and Durell realizes he's in over his head. False defeat: the situation is much worse than a simple robbery.
Opposition
External pressure from police outside and the real thief Ricky inside creates escalating tension. Durell's growing connection to the congregation conflicts with his criminal agenda. The community's problems become his problems.
Collapse
Durell's son arrives outside the church and learns his father is the robber. The look of betrayal and disappointment on his son's face represents the death of Durell's self-image as a good father. His worst fear realized.
Crisis
Durell faces the darkness of his choices. The congregation members share their own struggles and forgiveness. Durell processes that his quick-money scheme has hurt the one person he was trying to help.
Act III
ResolutionSecond Threshold
Durell realizes the solution isn't stealing money but doing the right thing. He chooses to expose Ricky, protect the congregation, and face consequences. Combines his street smarts with newfound moral clarity.
Synthesis
Durell and the congregation work together to catch Ricky and recover the money. Resolution with police, community comes together, and Durell makes peace with his son. The church is saved through community action, not theft.
Transformation
Durell is shown as part of the church community, relationship with his son restored. He's found legitimate work and purpose. The closing image mirrors the opening desperation but shows a man connected to community and faith.