FADE IN.
Act 1
INT. CINEMA - AFTERNOON
PETER and his WIFE are seated among 2 dozen audience. The film opens with combat images.
PETER (V.O.): Is this an action film?
On screen, we see the heroine waking up,
PETER (V.O.) (Cont'd): It's just a dream. Does she play a lot of fighting video games?
We see on screen quiet suburban life of the heroine and her husband.
PETER (V.O.) (Cont'd): Her husband is a government special agent.
Peter and his wife continue to follow the narrative structure of the story.
PETER (V.O.) (Cont'd): The husband is tasked to surveil the heroine. He has to kill her if necessary.
We see on screen the heroine is consulting a psychiatrist.
PETER (V.O.) (Cont'd): The heroine is suffering from amnesia. How would she grow later on.
Act 2
INT. CINEMA - CONTINUOUS
We see on screen the images of a Japanese seaside town.
PETER (V.O.) (Cont'd): The scenes reminds me of my many visits to Japan.
On-screen images of household routines between husband and wife.
PETER (V.O.) (Cont'd): As a tourist, I didn't witness the daily life of any Japanese housewife.
Pausing.
PETER (V.O.) (Cont'd): I just witnessed part of my elder daughter's routines.
On-screen images of trips to the market and cooking in the kitchen.
PETER (V.O.) (Cont'd): My wife loves cooking. Her soups and dishes can be better than those in restaurants.
Pausing.
PETER (V.O.) (Cont'd): Living an ordinary life by the seaside looks good.
We hear the dialogues: There's nothing to do...Have a baby! You'll be busy every day.
PETER (V.O.) (Cont'd): That's very true. In story-telling, this is the heroine's inner conflict.
Then, we see scenes of political lobbying, corporate communications and cafe operations.
PETER (V.O.) (Cont'd): These are the fun and games part of the screenplay. We like to see something different, apart from the spy thriller.
Pausing.
PETER (V.O.) (Cont'd): I love the cosy cafe scene. Recently, I've drunk more coffee than before.
We see on screen husband and wife imagining their future at the top of a hill.
PETER (V.O.) (Cont'd): The heroine dreams to operate a cafe called Mer de Memoire.
Pausing.
PETER (V.O.) (Cont'd): Sea of Memory - what a nice name. I love the sea and treasure my memory.
Pausing.
PETER (V.O.) (Cont'd): Living an ordinary life by the seaside is dreamy.
Later, we see on screen bad guys closing in.
PETER (V.O.) (Cont'd): The twice and turns not only escalate the conflicts, they also create the tension and suspense that put the audience on the edge.
PETER: Oh! The heroine is hurt. All is lost...
We see on screen the husband is about to be killed.
PETER (V.O.) (Cont'd): This scene is called dark knight of the soul - a difficult and significant transition to a deeper transition of life.
Pausing.
PETER (V.O.) (Cont'd): Immersed in the film, I'm begging for relief.
Pausing.
PETER (V.O.) (Cont'd): In other words. the rising action in the middle of the story has led to the climax.
Act 3
INT. CINEMA - CONTINUOUS
Later, we see on screen the husband pointing a gun at the heroine.
PETER (V.O.) (Cont'd): Is he going to kill her?
We hear: Bang! And then we see on screen the heroine's blood as she falls into the sea.
PETER: Oh!
Peter takes a deep breath.
PETER (V.O.) (Cont'd): Is this the creative ending?
On screen, we see the husband appearing on top of a hill.
PETER (V.O.) (Cont'd): He looks relaxed. Could the heroine still be alive?
In the next scene, we see heroine appearing, showing the bullet wound scar in her chest.
PETER (V.O.) (Cont'd): Although it's too good to be true, I'm relieved.
Pausing.
PETER (V.O.) (Cont'd): Would they've a kid and operate the Cafe Mer de Memoire?
Seeing end credits on screen, Peter turns to his wife who does look happy with the final image.
PETER: What's the name of this film?
WIFE: Caution: Hazardous Wife... Let's go to the market, and then I'll do the cooking.
FADE OUT.
THE END

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