Lost in her dream: She is from Shanghai | 誠品線上

Lost in her dream: She is from Shanghai

內容簡介

內容簡介 The car is parked on a lonely street near the East River. We HEAR MEI-LIN SINGING "THE END IS SILENCE."

作者介紹

作者介紹 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 Wu1950 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

產品目錄

產品目錄 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. — 212. INT. AN INNER OFFICE OF THE CONSULATE--A MOMENT LATER. — 223. EXT. A PARK--A LITTLE LATER. — 254. INT. MICKEY'S BEDROOM--PAST MIDNIGHT. — 265. INT. MEI-LIN'S BEDROOM--EARLY EVENING. — 296. INT. A LARGE ROOM IN A HOUSE--EVENING. — 347. INT. ANOTHER ROOM OF THE HOUSE--A LITTLE WHILE LATER. — 368. INT. A POOLHALL IN QUEENS--NIGHT. — 439. INT. A MOVING CAR--A LITTLE LATER. — 4310. EXT. A JUMBO JET TOUCHES DOWN IN THE L.A. AIRPORT--EARLY MORNING THREE MONTHS LATER. — 4511. INT. THE LOS ANGELES AIRPORT--A LITTLE LATER. — 4512. INT. THE RECEPTION AREA AT THE L.A. AIRPORT--A LITTLE LATER. — 4513. INT. A TELEPHONE AT THE L.A. AIRPORT--A LITTLE LATER. — 4514. A TICKET COUNTER AT THE L.A. AIRPORT--A LITTLE LATER. — 4615. EXT. A TWIN-ENGINE JET LANDS IN ALBUQUERQUE--AFTERNOON THE SAME DAY. — 4816. INT. THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 4817. INT. A TELEPHONE AT THE ALBUQUERQUE AIRPORT--A LITTLE LATER. — 4818. EXT. A SMALL PROP PLANE LANDS IN ROSWELL--TWILIGHT THE SAME DAY. — 4819. INT. THE ROSWELL AIRPORT--A LITTLE LATER. — 4920. EXT. CAB STAND AT THE ROSWELL AIRPORT--A LITTLE LATER. — 4921. EXT. TIMOTHY'S HOUSE--AFTER MIDNIGHT THE SAME EVENING. — 4922. INT. A SOCIAL CLUB IN CHINATOWN, QUEENS,--SUNDAY AFTERNOON. — 5123. EXT. A NEARBY BACKYARD--A LITTLE LATER. — 5324. INT. THE LIVINGROOM OF TIMOTHY'S HOUSE--EARLY MORNING THE NEXT DAY. — 5525. EXT. NEW MEXICO LANDSCAPE--CONTINUATION. — 5626. INT. THE LIVINGROOM--A MOMENT LATER. — 5727. INT. A FANCY CHINESE RESTAURANT IN QUEENS--EVENING. — 5828. INT. THE KITCHEN OF TIMOTHY'S HOUSE--LATE THAT SAME MORNING. — 6229. INT. TIMOTHY'S FOUR-WHEEL DRIVE CAR--A LITTLE LATER. — 6530. EXT. NEW MEXICO LANDSCAPE. — 6531. EXT. A HIGH POINT IN A MOUNTAIN PASS--A LITTLE LATER. — 6832. INT. A COFFEE SHOP IN QUEENS--MORNING. — 6933. EXT. THE COFFEE SHOP--CONTINUATION. — 7134. INT. TIMOTHY'S LIVINGROOM--AFTER MIDNIGHT SOME DAYS LATER. — 7135. EXT. A BUS STATION IN ROSEWELL, NEW MEXICO--THE NEXT EVENING. — 7436. INT. INSIDE THE BUS--A FEW MOMENTS LATER. — 7737. INT. INSIDE THE BUS--AN HOUR LATER. — 7838. EXT. A TRUCK STOP--MORNING. — 8039. INT. THE TRUCK STOP--A LITTLE LATER THAT MORNING. — 8140. INT. INSIDE THE BUS--THAT AFTERNOON. — 8341. INT. INSDIE THE BUS--THAT NIGHT — 8442. INT. PORT AUTHORITY BUS TERMINAL IN NEW YORK--THE NEXT MORNING. — 8543. INT. AN APARTMENT OF THE UPPER WEST SIDE--A HALF-HOUR LATER. — 8744. EXT INT. THE FRONT DOOR OF A NIGHTCLUB IN QUEENS--NOON THE NEXT DAY. — 8945. INT. THE NIGHTCLUB--A FEW MINUTES LATER. — 9046. INT. THE LADIES' ROOM AT THE CLUB--A FEW MOMENTS LATER. — 9347. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 9348. INT. NEAR THE EXIT OF THE CLUB-CONTINUATION. — 9449. INT. THE DANCE FLOOR OF THE CLUB--CONTINUATION. — 9450. INT. MICKEY'S MOVING CAR--A LITTLE LATER. — 9951. INT. THE FRONT HALL OF ARTHUR'S APARTMENT--LATER THAT DAY. — 10252. INT. A CHINESE NIGHTCLUB--LATE EVENING. — 10553. EXT. THE ESPLANADE AT BATTERY PARK CITY--TWILIGHT. — 10854. INT. AN INNER OFFICE AT THE CITY BUILDING--THE NEXT MORNING. — 11055. EXT. TERRACE RESTAURANT ATOP A HOTEL IN MIDTOWN--EARLY THAT EVENING. — 11156. EXT. THE STATEN ISLAND FERRY--TWILIGHT. — 11457. INT. ARTHUR'S APARTMENT--EVENING. — 11658. INT. A TAXI NEAR 34TH STREET IN MANHATTAN--EARLY AFTERNOON. — 11859. INT. WATCH DEPARTMENT AT MACY'S--A LITTLE LATER. — 12060. INT. A CHINESE TELEVISION STUDIO--A FEW DAYS LATER. — 12361. INT. AN EXPENSIVE TEA-HOUSE IN FLUSHING CHINATOWN--A LITTLE LATER. — 12562. INT. ARTHUR'S APARTMENT--EVENING, TEN DAYS LATER. — 12763. INT. A LARGE NIGHTCLUB--EARLY EVENING THE SAME DAY, A SATURDAY. — 12864. INT. A PRIVATE CLUB IN QUEENS CHINATOWN--A LITTLE LATER. — 13465. EXT. A PAY TELEPHONE ON A STREET IN QUEENS CHINATOWN--AN HOUR LATER. — 13766. INT. MEI-LIN'S ROOM--EARLY EVENING. — 13867. INT. THE LIVINGROOM OF THE APARTMENT--CONTINUATION. — 13968. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 14769. INT. THE LIVINGROOM OF THE APARTMENT--A LITTLE LATER. — 14970. INT. MEI-LIN'S ROOM--A LITTLE LATER. — 15071. INT. THE KING'S INNER OFFICE--THAT SAME MORNING. — 15172. EXT. A STREET IN CHINATOWN--LATER THAT DAY. — 15573. INT. THE KITCHEN OF MICKEY'S HOUSE--EARLY EVENING. — 15774. INT. A CAR IN CHINATOWN--THE SAME TIME. — 16175. EXT. THE CAR AT THE CURB IN CHINATOWN--CONTINUATION. — 16276. EXT. TENEMENT STREET IN UPPER MANHATTAN--A LITTLE LATER. — 16277. INT. THE TELEVISION STUDIO--THE SAME TIME. — 16278. INT. THE GROUNDFLOOR HALLWAY OF THE TENEMENT--A MOMENT LATER. — 16479. INT. THE STAIRS OF THE TENEMENT--A MOMENT LATER. — 16480. INT. THE TELEVISION STUDIO--THE SAME TIME. — 16481. INT. AN UPPER HALLWAY OF THE TENEMENT--THE SAME TIME. — 16582. INT. THE TELEVISION STUDIO--THE SAME TIME. — 16683. INT. YOHANCE'S APARTMENT--THE SAME TIME. — 16784. INT. THE TELEVISION STUDIO--THE SAME TIME. — 16785. INT. THE KITCHEN OF YOHANCE'S APARTMENT--THE SAME TIME. Tyrone stops in the kitchen and speaks to a MAN WITHOUT A SHIRT. — 16886. INT. THE TELEVISION STUDIO--THE SAME TIME. — 16987. INT. THE BACK ROOM OF THE APARTMENT--THE SAME TIME. — 17088. INT. THE KITCHEN OF THE APARTMENT--CONTINUATION. — 17089. INT. THE CONTROL BOOTH--THE SAME TIME. — 17190. INT. THE HALLWAY OUTSIDE THE APARTMENT--THE SAME TIME. — 17291. INT. HALLWAY OUTSIDE THE CONTROL BOOTH--CONTINUATION OF TELEVISION ACTION. — 17392. INT. STAGE DOOR OF THE STATION--CONTINUATION. — 17493. EXT. THE TENEMENT STREET IN UPPER MANHATTAN--THE SAME TIME. — 17594. EXT. A STREET IN HARLEM--A MOMENT LATER. — 17695. INT. THE MOVING TAXI--A FEW MOMENTS LATER. — 17796. EXT. THE TAXI--CONTINUATION. — 17897. INT. THE TAXI--CONTINUATION. — 17898. EXT. THE STREET--CONTINUATION — 17899. EXT. A STREET IN CHINATOWN--THE NEXT DAY. — 180100. INT. THE RECEPTION AREA OF A TRADING COMPANY--A MOMENT LATER. — 180101. INT. THE KING'S INNER OFFICE--A HALF-HOUR LATER. — 181102. INT. THE UPSTAIRS HALLWAY OF MICKEY'S HOUSE--THAT AFTERNOON. — 183103. INT. ANN'S BEDROOM--CONTINUATION. — 184104. INT. MEI-LIN'S ROOM--A LITTLE LATER THAT EVENING. — 186105. INT. ANN'S BEDROOM--CONTINUATION. — 187106. INT. LIVINGROOM OF ARTHUR'S APARTMENT--CONTINUATION. — 188107. EXT. A PARKING LOT IN QUEENS--TWILIGHT. — 189108. INT. MICKEY'S CAR--A LITTLE LATER. — 193109. EXT. THE PARKED CAR--CONTINUATION. — 195

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試閱文字

自序 : 〈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

試閱文字

內文 : 〈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.

最佳賣點

最佳賣點 : A series of shots of Shanghai, the river, people. A young woman, MEI-LIN, walks through the crowd, separates herself from it.