Lost in her dream：She is from Shanghai（filmscript英文劇本）

A series of shots of Shanghai, the river, people. A young woman, MEI-LIN, walks through the crowd, separates herself from it.
　
The car is parked on a lonely street near the East River. We HEAR MEI-LIN SINGING "THE END IS SILENCE."

 

巫本添 John Bon-Tien Wu
台灣員林人，民國39年（西元1950年）出生。紐約社區報《周報》經濟專欄及房地產專欄作家（2003-2010）。輔仁大學英文系畢業、NYU紐約大學戲劇藝術碩士MA、NYU紐約大學電影電視製作碩士MFA、NYU紐約大學房地產研究所（1998-2000）。曾和Michael Kirby合寫英文表演劇劇本和電影劇本。合創SoHo結構主義者工作室。Kaplan NYC「正式邏輯」講師；法學教授 Albert DEMEO 的學生，曾榮獲中華民國兩屆電影金穗獎《夢幻與回憶》、《劇場情人》。
　
John Bon-Tien Wu
1950 Born in Yuan-Lin Taiwan. Economy and Real Estate Columnist of Weekly New York Community Times (2003-2010).
BA in English Literature, Fu Jen Catholic University (1968-1972), Taipei Taiwan.
MA in Drama, NYU (1975-1976), Manhattan NYC
MFA in Filmmaking and TV Production, NYU (1976-1979) Manhattan NYC.
Studied in Graduate School of Institute of Real Estate, NYU (1998-2000) Manhattan NYC.
Screenwriter, playwright.
Co-writer with Michael Kirby. Member of SoHo Structuralist Workshop (1975-1979).
Formal Logic instructor, Kaplan (2000-2001) Manhattan NYC.
Student of Law Professor Albert Demeo (1984-1986) Brooklyn Law School NYC.
Two Times Taiwan Golden Harvest Awards for Outstanding Short Films: The Theatre Lovers, Fantasy and Memory.
　
【作品】
《剖影》The Anatomy of A Shadow詩、散文合集
《四面是畫》Poetry and Prose Four Sides Are Paintings詩、散文合集
《巫本添的各種風貌》Various Features of John Bon-Tien Wu評論、短篇小說、詩、散文合集
《慾望的堅持：鴿翎及其他端短篇》中譯本，譯自約翰．阿布代克（John Updike）原著Pigeon Feathers and Other Stories
《尚未熄滅》Not Extinguished Yet漢文詩集
《永遠的謝晉：理想中國的藝術良心》Everlasting Jin Xie: The Art Conscience of Ideal China散文集
《Love and Survival》英文詩集
《發生的事情Happening》散文集
《書痴：文學劇本》Bibliophile: Literary Scenario
《Lost in her dream: She is from Shanghai》filmscript英文劇本
《解析經濟大衰退2008-2009》The Analysis of the Great Recession (2008-2009) 經濟專欄集

〈PREFACE〉
　
Michael Stanley Kirby (1931 – February 24, 1997) was a professor of drama at New York University. He wrote several groundbreaking books, including Happenings, Futurist Performance and The Art of Time. He was editor of The Drama Review from 1969 to 1986.
Lost in her dream (She is from Shanghai)
Written by John Bon-Tien Wu
Revised by Michael Stanley Kirby

1. A series of shots of Shanghai, the river, people. A young woman, MEI-LIN, walks through the crowd, separates herself from it. Now the woman is shown full-frame. The image freezes. — 21
2. INT. AN INNER OFFICE OF THE CONSULATE--A MOMENT LATER. — 22
3. EXT. A PARK--A LITTLE LATER. — 25
4. INT. MICKEY'S BEDROOM--PAST MIDNIGHT. — 26
5. INT. MEI-LIN'S BEDROOM--EARLY EVENING. — 29
6. INT. A LARGE ROOM IN A HOUSE--EVENING. — 34
7. INT. ANOTHER ROOM OF THE HOUSE--A LITTLE WHILE LATER. — 36
8. INT. A POOLHALL IN QUEENS--NIGHT. — 43
9. INT. A MOVING CAR--A LITTLE LATER. — 43
10. EXT. A JUMBO JET TOUCHES DOWN IN THE L.A. AIRPORT--EARLY MORNING THREE MONTHS LATER. — 45
11. INT. THE LOS ANGELES AIRPORT--A LITTLE LATER. — 45
12. INT. THE RECEPTION AREA AT THE L.A. AIRPORT--A LITTLE LATER. — 45
13. INT. A TELEPHONE AT THE L.A. AIRPORT--A LITTLE LATER. — 45
14. A TICKET COUNTER AT THE L.A. AIRPORT--A LITTLE LATER. — 46
15. EXT. A TWIN-ENGINE JET LANDS IN ALBUQUERQUE--AFTERNOON THE SAME DAY. — 48
16. INT. THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 48
17. INT. A TELEPHONE AT THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 48
18. EXT. A SMALL PROP PLANE LANDS IN ROSWELL--TWILIGHT THE SAME DAY. — 48
19. INT. THE ROSWELL AIRPORT--A LITTLE LATER. — 49
20. EXT. CAB STAND AT THE ROSWELL AIRPORT--
A LITTLE LATER. — 49
21. EXT. TIMOTHY'S HOUSE--AFTER MIDNIGHT THE SAME EVENING. — 49
22. INT. A SOCIAL CLUB IN CHINATOWN, QUEENS,--SUNDAY AFTERNOON. — 51
23. EXT. A NEARBY BACKYARD--A LITTLE LATER. — 53
24. INT. THE LIVINGROOM OF TIMOTHY'S HOUSE--
EARLY MORNING THE NEXT DAY. — 55
25. EXT. NEW MEXICO LANDSCAPE--CONTINUATION. — 56
26. INT. THE LIVINGROOM--A MOMENT LATER. — 57
27. INT. A FANCY CHINESE RESTAURANT IN QUEENS--EVENING. — 58
28. INT. THE KITCHEN OF TIMOTHY'S HOUSE--LATE THAT SAME MORNING. — 62
29. INT. TIMOTHY'S FOUR-WHEEL DRIVE CAR--A LITTLE LATER. — 65
30. EXT. NEW MEXICO LANDSCAPE. — 65
31. EXT. A HIGH POINT IN A MOUNTAIN PASS--A LITTLE LATER. — 68
32. INT. A COFFEE SHOP IN QUEENS--MORNING. — 69
33. EXT. THE COFFEE SHOP--CONTINUATION. — 71
34. INT. TIMOTHY'S LIVINGROOM--AFTER MIDNIGHT SOME DAYS LATER. — 71
35. EXT. A BUS STATION IN ROSEWELL, NEW MEXICO--THE NEXT EVENING. — 74
36. INT. INSIDE THE BUS--A FEW MOMENTS LATER. — 77
37. INT. INSIDE THE BUS--AN HOUR LATER. — 78
38. EXT. A TRUCK STOP--MORNING. — 80
39. INT. THE TRUCK STOP--A LITTLE LATER THAT MORNING. — 81
40. INT. INSIDE THE BUS--THAT AFTERNOON. — 83
41. INT. INSDIE THE BUS--THAT NIGHT — 84
42. INT. PORT AUTHORITY BUS TERMINAL IN NEW YORK--THE NEXT MORNING. — 85
43. INT. AN APARTMENT OF THE UPPER WEST SIDE--A HALF-HOUR LATER. — 87
44. EXT/INT. THE FRONT DOOR OF A NIGHTCLUB IN QUEENS--NOON THE NEXT DAY. — 89
45. INT. THE NIGHTCLUB--A FEW MINUTES LATER. — 90
46. INT. THE LADIES' ROOM AT THE CLUB--A FEW MOMENTS LATER. — 93
47. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 93
48. INT. NEAR THE EXIT OF THE CLUB-CONTINUATION. — 94
49. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 94
50. INT. MICKEY'S MOVING CAR--A LITTLE LATER. — 99
51. INT. THE FRONT HALL OF ARTHUR'S APARTMENT--LATER THAT DAY. — 102
52. INT. A CHINESE NIGHTCLUB--LATE EVENING. — 105
53. EXT. THE ESPLANADE AT BATTERY PARK CITY--TWILIGHT. — 108
54. INT. AN INNER OFFICE AT THE CITY BUILDING--THE NEXT MORNING. — 110
55. EXT. TERRACE RESTAURANT ATOP A HOTEL IN MIDTOWN--EARLY THAT EVENING. — 111
56. EXT. THE STATEN ISLAND FERRY--TWILIGHT. — 114
57. INT. ARTHUR'S APARTMENT--EVENING. — 116
58. INT. A TAXI NEAR 34TH STREET IN MANHATTAN--EARLY AFTERNOON. — 118
59. INT. WATCH DEPARTMENT AT MACY'S--A LITTLE LATER. — 120
60. INT. A CHINESE TELEVISION STUDIO--A FEW DAYS LATER. — 123
61. INT. AN EXPENSIVE TEA-HOUSE IN FLUSHING CHINATOWN--A LITTLE LATER. — 125
62. INT. ARTHUR'S APARTMENT--EVENING, TEN DAYS LATER. — 127
63. INT. A LARGE NIGHTCLUB--EARLY EVENING THE SAME DAY, A SATURDAY. — 128
64. INT. A PRIVATE CLUB IN QUEENS CHINATOWN--A LITTLE LATER. — 134
65. EXT. A PAY TELEPHONE ON A STREET IN QUEENS CHINATOWN--AN HOUR LATER. — 137
66. INT. MEI-LIN'S ROOM--EARLY EVENING. — 138
67. INT. THE LIVINGROOM OF THE APARTMENT--CONTINUATION. — 139
68. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 147
69. INT. THE LIVINGROOM OF THE APARTMENT--A LITTLE LATER. — 149
70. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 150
71. INT. THE KING'S INNER OFFICE--THAT SAME MORNING. — 151
72. EXT. A STREET IN CHINATOWN--LATER THAT DAY. — 155
73. INT. THE KITCHEN OF MICKEY'S HOUSE--EARLY EVENING. — 157
74. INT. A CAR IN CHINATOWN--THE SAME TIME. — 161
75. EXT. THE CAR AT THE CURB IN CHINATOWN--CONTINUATION. — 162
76. EXT. TENEMENT STREET IN UPPER MANHATTAN--A LITTLE LATER. — 162
77. INT. THE TELEVISION STUDIO--THE SAME TIME. — 162
78. INT. THE GROUNDFLOOR HALLWAY OF THE TENEMENT--A MOMENT LATER. — 164
79. INT. THE STAIRS OF THE TENEMENT--A MOMENT LATER. — 164
80. INT. THE TELEVISION STUDIO--THE SAME TIME. — 164
81. INT. AN UPPER HALLWAY OF THE TENEMENT--THE SAME TIME. — 165
82. INT. THE TELEVISION STUDIO--THE SAME TIME. — 166
83. INT. YOHANCE'S APARTMENT--THE SAME TIME. — 167
84. INT. THE TELEVISION STUDIO--THE SAME TIME. — 167
85. INT. THE KITCHEN OF YOHANCE'S APARTMENT--THE SAME TIME. Tyrone stops in the kitchen and speaks to a MAN WITHOUT A SHIRT. — 168
86. INT. THE TELEVISION STUDIO--THE SAME TIME. — 169
87. INT. THE BACK ROOM OF THE APARTMENT--THE SAME TIME. — 170
88. INT. THE KITCHEN OF THE APARTMENT--CONTINUATION. — 170
89. INT. THE CONTROL BOOTH--THE SAME TIME. — 171
90. INT. THE HALLWAY OUTSIDE THE APARTMENT--THE SAME TIME. — 172
91. INT. HALLWAY OUTSIDE THE CONTROL BOOTH--CONTINUATION OF TELEVISION ACTION. — 173
92. INT. STAGE DOOR OF THE STATION--CONTINUATION. — 174
93. EXT. THE TENEMENT STREET IN UPPER MANHATTAN--THE SAME TIME. — 175
94. EXT. A STREET IN HARLEM--A MOMENT LATER. — 176
95. INT. THE MOVING TAXI--A FEW MOMENTS LATER. — 177
96. EXT. THE TAXI--CONTINUATION. — 178
97. INT. THE TAXI--CONTINUATION. — 178
98. EXT. THE STREET--CONTINUATION — 178
99. EXT. A STREET IN CHINATOWN--THE NEXT DAY. — 180
100. INT. THE RECEPTION AREA OF A TRADING COMPANY--A MOMENT LATER. — 180
101. INT. THE KING'S INNER OFFICE--A HALF-HOUR LATER. — 181
102. INT. THE UPSTAIRS HALLWAY OF MICKEY'S HOUSE--THAT AFTERNOON. — 183
103. INT. ANN'S BEDROOM--CONTINUATION. — 184
104. INT. MEI-LIN'S ROOM--A LITTLE LATER THAT EVENING. — 186
105. INT. ANN'S BEDROOM--CONTINUATION. — 187
106. INT. LIVINGROOM OF ARTHUR'S APARTMENT--
CONTINUATION. — 188
107. EXT. A PARKING LOT IN QUEENS--TWILIGHT. — 189
108. INT. MICKEY'S CAR--A LITTLE LATER. — 193
109. EXT. THE PARKED CAR--CONTINUATION. — 195

 

〈Lost in her dream: She is from Shanghai〉節錄
　
1. A series of shots of Shanghai, the river, people. A young woman, MEI-LIN, walks through the crowd, separates herself from it. Now the woman is shown full-frame. The image freezes.
A frozen black-and-white picture of a young man, MICKEY, in Queens, New York. He is in exactly the same position, his image is exactly the same size, as Mei-Lin. Superimposed over the still image of Mickey is the main title: She's from Shanghai. When the title disappears, the image moves briefly, changing position. Then we cut back to color, back to Shanghai, back to Mei- Lin.
For each of the front credits, the sequence of shots is the same: A color shot of Mei-Lin that freezes and then cuts to a frozen black-and-white shot of Mickey in the same position and screen size. After the superimposed title, the black-and- white image moves. Mickey, in the brief glimpses we get of him, appears in a violent context--checking a pistol, with a wrecked car, near a burned-out building, etc.
After the last front-credit, we see Mei-Lin hurry along the street. The camera has difficulty keeping up with her, finding her. She arrives at the U.S. Consulate in Shanghai.
2. INT. AN INNER OFFICE OF THE CONSULATE--A MOMENT LATER.
The ASSISTANT CONSUL is seated behind a large desk looking at a file. Nearby is the required United States flag. Family pictures and photographs of the Assistant Consul with important government officials decorate the walls. The Assistant Consul himself is fairly young, about 30, tall, goodlooking in a boyish way, confident, relaxed, talkative. We hear the door close, and he looks up. For a long moment, he looks toward the camera--at Mei-Lin, whom we do not see. This scene is entirely in English.
ASSISTANT CONSUL
That's all right, Ms. Liu. You can sit down.
There is the sound of the chair as Mei-Lin sits. The gaze of the Assistant Consul shifts down slightly--to her legs, which are just off-camera.
ASSISTANT CONSUL
Well, ahhhhhhh... Good morning. How are you?
MEI-LIN
[OC]
Fine, thank you. And you?
ASSISTANT CONSUL
Yes. Now before we begin, I was wondering… This is entirely off the record, of course. I… uggghh... if you would have dinner with me this evening? [pause] Or lunch? It's almost lunch time. You could wait for me.
The camera PANS to Mei-Lin and STOPS on her.
MEI-LIN
[smiling, after a pause]
No. I'm afraid not. Thank you very much.
ASSISTANT CONSUL
[OC]
Yes, well... [pause] You're not married, are you Ms. Liu?
MEI-LIN
If I were, it would say so in my application.
ASSISTANT CONSUL
Yes. Of course.
　
The camera is on the Assistant Consul now as he stands and wanders a little restlessly.
ASSISTANT CONSUL
All right. Let's get right to the point. The point is, Ms. Liu, that we can not grant you a visa. [pause] Do you know why we can not grant you a visa? [Pause. Mei-Lin does not say anything.]
[continued]
ASSISTANT CONSUL
[continued]
Because you are too good-looking. [pause]
Does that surprise you? [Pause. Mei-Lin does not say anything.] Don't you agree that you are good-looking? [Pause. Mei-Lin does not say anything.] Anyone just looks at your photograph, and... You are extremely beautiful, you know that, and if we gave you a visa, you would never return to your own country. It would be too easy for you to hook some wealthy American and move to the suburbs. [pause] We've had lots of experience in this sort of thing. We know how it works. [pause] So we're not giving you the visa. [pause] It's all decided. [pause] There's nothing you can do about it. [Pause. In Chinese] I'm sorry.
As the Assistant Consul watches her, we hear Mei-Lin get up and go out, the door closing behind her.