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Love Triangle in Hong Kong Drama

Luca confronts Christie about messages he found on her phone from Teresa while Christie's phone was in Luca's possession. Christie tries to explain but Luca leaves, upset. Christie narrates how she met both Luca and Teresa - Luca is kind but conventional, while Teresa is fun yet reckless. Christie was drawn to both of their different personalities.

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0% found this document useful (0 votes)
19 views12 pages

Love Triangle in Hong Kong Drama

Luca confronts Christie about messages he found on her phone from Teresa while Christie's phone was in Luca's possession. Christie tries to explain but Luca leaves, upset. Christie narrates how she met both Luca and Teresa - Luca is kind but conventional, while Teresa is fun yet reckless. Christie was drawn to both of their different personalities.

Uploaded by

furness_lian6284
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF, TXT or read online on Scribd

Untitled

by

Lian Furness

Lian Furness
South Island School
Dani Howard Hong Kong
1

OPENING. SCENE- CHRISTIE’S APARTMENT

Interior of Christie’s apartment living room. All three char-


acters are standing up. Both Teresa and Luca are shot in slow
motion, shouting at a shocked Christie who is standing still,
motionless. The shouting is muted, to convey a sense of shock
from Christie’s POV. She is positioned in a way that shows
some detail of her apartment, for example a few photo frames,
an empty bottle of wine, a TV. There is several seconds of
Christie looking at the camera, without speaking.

CHRISTIE
Eye spy, with my little eye. I tried
to have it all, but I didn’t care
why. I stand here and stare, what
more can I do? I didn’t want one, I
had to have two.

0:12
2

SCENE- CHRISTIE’S APARTMENT

There is a frustrated and loud knocking at the door, Christie


runs out of the bedroom, and goes and thrusts open the front
door. Luca is standing there.

LUCA
Who’s Teresa?

CHRISTIE
Wha-how’d...

LUCA
How’d I Know?

Christie looks down to her side, and taps her pocket, and
looks back up.

CHRISTIE
You took my phone? Earlier... didn’t
you, you took my phone!

Luca reaches into his pocket and takes out Christie’s phone.

LUCA
“You make me feel like nothing ever
before.”

Christie tries to get phone, Luca puts hand to stop her.

LUCA
“I love you too”

CHRISTIE
I can’t believe you would take my
phone...

LUCA
I’m glad I did. You sent a message
at 12:43. You were with me at 12:43.
With me. In bed.

CHRISTIE
Luca, seriously just listen!

LUCA
I’m done listening.

Luca leaves back through the front door, Freeze-Frame on


Christie’s face.

0:42
3

SCENE SHOT MONTAGE

The following voice overs will be accompanied by appropriate


images suiting the visuals, for example, Teresa in a cell,
Luca in his bedroom, Luca at work etc...

CHRISTIE
(v.o)
Let me explain. I met two people
this year... Luca. The sweetest guy
you could think to meet. He’s Mr.
Society. He follows the rules. After
getting a degree from Cambridge in
Economics, he worked in an orphanage
for two years in Thailand, as he
wanted to do something meaningful.
He now works in Hong Kong for a
Bank, but deals largely interna-
tional charity relations. He plans
to get married before thirty, have
three beautiful but mischievous
children, retire to Australia, grow
old and die.

1:12

Then you have Teresa. The party


girl, cares about social status,
drinking and having fun. Teresa left
home at seventeen and moved to Hong
Kong in what was a role of the dice,
flip of the coin sort of decision,
but it worked; she loved it. She has
been to prison once, for drunk driv-
ing. She spent three months there,
where she played cards excessively,
gambling and winning money of other
inmates. Now twenty-three, she bar
tends, and with the exception of a
better understanding of the social
clockwork, she is not that different
from before.

1:40
4

SCENE- CHRISTIE’S APARTMENT

Back to Christie and Luca.

CHRISTIE
Luca, seriously just listen!

LUCA
I’m done listening.

CHRISTIE
Luca!

LUCA
Do you want to know why I stole your
phone?

Pause.

CHRISTIE
Why?

LUCA
Because for some strange reason, I
was gonna put your ringtone for me
as ‘Our Song.’

Pause, Luca starts to walk off again.

CHRISTIE
Babe...

Luca turns back round to face her.

LUCA
Thought it’d be romantic. Then your
phoned beeped. ‘New Message: Teresa-
Hey, coming to yours at around
seven?’ Funny that, as you were
meant to be working that night, so I
read the rest.

Another freeze-frame of Luca looking at her.

2:05
5

MEETING LUCA. SCENE- A DIFFERENT APARTMENT

Christie and Luca are sitting on a sofa at night time, the


lamp is on, and they both have a glass of wine in their hands.
Their body language is leant into each other, both are smil-
ing. There are post-meal empty plates on a table.

CHRISTIE
(v.o)
He really was the sweetest guy. I
first met him through a friend, they
fixed us up on date, and it was
pretty awkward, but hey, I thought
I’d see how it went.

LUCA
You don’t think you want kids?!

CHRISTIE
Haha, it’s not that I don’t like them!
It’s just, I see them as very compli-
cated.

Luca looks away, smiling.

CHRISTIE
You really want kids huh?

LUCA
Yeah. Since I was little, I’ve always
wanted to have children knowing that
I’ve given life to someone would...

CHRISTIE
Yeah?

LUCA
It would be amazing.

CHRISTIE
You big softy!

LUCA
Shut up...

CHRISTIE
So how many kids do you want?

LUCA
Well three! Two boys and a girl.
6

CHRISTIE
Yeah? How come?

Conversation is shown to continue.

CHRISTIE
(v.o)
He really was the sweetest guy.

2:38
7

SCENE- CHRISTIE’S APARTMENT

Back to Christie.

Luca leaves, and Christie leaves the door slightly ajar. She
turns and you she goes into the bedroom, where Teresa is sit-
ting on the bed. She looks annoyed.

CHRISTIE
I’m sorry.

TERESA
You said it was over...

CHRISTIE
I know, it’s just...

TERESA
Come on. What do you take me for?

CHRISTIE
Well what did you expect? We were
gonna get married? Have three kids,
grow old in Australia or something?

TERESA
What?

CHRISTIE
It’s just...

TERESA
You know what? I was changing who I
was for you. But this was obviously
just for fun.

2:55

Another freeze-frame of Teresa looking at her.

CHRISTIE
(v.o)
But it was all fun. I don’t know if
I’d say just for fun, but Teresa was
different. It could be fun and seri-
ous at the same time. I met her when
I was already dating Luca. She was
fresh, exciting. I wanted her.

3:10
8

MEETING TERESA. SCENE- HONG KONG PARK

Christie and Luca are overlooking the pond on the bridge in


Hong Kong Park. He looks at his watch, kisses her on the
cheek, and leaves. She remains on the bridge, looking at the
water. She walks around the corner, where she sees Teresa
looking through the bush, behind a ‘no climbing’ fence.

CHRISTIE
You alright there?

Teresa stands up, and smiles. She has a colourful single hair
extension in her hair.

TERESA
Just looking for stuff.

CHRISTIE
What kinda stuff?

TERESA
Anything.

CHRISTIE
In a bush?

TERESA
Yeah a bush.

CHRISTIE
How come?

TERESA
Well, the way I see it. The sort of
people that climb over fences that say
not to are the sort of people that do
before they think. Trying to impress
girlfriends, boyfriends, mates and
stuff. Those sort of impulsive people
usually don’t check things, like their
pockets for example. Hence, me in a
bush.

Pause- takes time to digest.

CHRISTIE
Makes absolute sense... Want some
help?

3:39
9

Muted, Christie climbs in to help Teresa to look in the


bushes. Shake hands and start laughing. Banter!

TERESA
I’m Teresa.

CHRISTIE
Amen.

TERESA
Funny!

CHRISTIE
I’m Christie.

TERESA
How’d you do?

CHRISTIE
Are you from the 1930’s.

TERESA
I like to be polite.

CHRISTIE
(v.o)
She was really cool, I quite liked
her, she was so different to Luca
though. She seemed to not care about
the rules, and live in the moment,
not always planning the future. The
opposite to him, almost.

3:51
10

SCENE- CHRISTIE’S APARTMENT

Back to Christie.

Teresa walks out of the bedroom and walks to the living room,
picking up her coat from the coatrack. Christie follows her.

CHRISTIE
Where are you going?

TERESA
Home... I need to clear my head.

CHRISTIE
But you’re Miss Anti-conformist! Are
you really that bothered that I’m
still seeing him?

TERESA
It’s that you lied.

4:02

Christie sits down, and Teresa opens the door revealing Luca.

Interior of Christie’s apartment living room. All three char-


acters are standing up. Both Teresa and Luca are shot in slow
motion, shouting at a shocked Christie who is standing still,
motionless. The shouting is muted, to convey a sense of shock.
She is positioned in a way that shows some detail of her
apartment, for example a few photo frames, an empty bottle of
wine, a TV. There is several seconds of Christie looking at
the camera, without speaking.

CHRISTIE
(v.o)
I stand here and stare, what more
can I do? I didn’t want one, I had
to have two.

That’s how I got here. Both of them


screaming at me, screaming at each
other. I liked them both, I did. I
wanted to chose, but was it too
late? It was interesting, they were
both so different, one of them love
rules the other pisses on them.
Could I save my relationship with
either of them? Or could I just...
run.
11

4:32

Christie runs from the apartment, and now has a running mon-
tage. She runs for ages, using cool locations (perhaps Lamma
using chase scene skills?) Something signifies that time
passes, change of clothing, different hair, slowly slips into
a montage of Christie, showing some of her personality traits.
Show not tell. Through Central etc... Our song plays a little
bit. She’s walking and she sees a no climbing sign. She climbs
over and has a little think.

CHRISTIE
(v.o)
I knew it was probably too late but
the more I thought about it, the
more I realised that I didn’t want
my future planned. I liked the spon-
taneity. I liked the freshness and
the fun, I liked not knowing what
each day held.

4:45

Ends with Christie outside bar where Teresa works, as if she


has made up her mind. Sees Teresa and smiles, then sees Luca
move and give Teresa a kiss on the cheek.

CHRISTIE
Eye spy, with my little eye. I tried
to have it all, but I didn’t care
why. I stand here and stare, what
more can I do? I tried to pick one,
but they were a-two.

4:57

Common questions

Powered by AI

Christie's decision-making reflects her indecision and desire for both stable and unpredictable experiences. By maintaining relationships with both Luca and Teresa, she unintentionally sets herself up for conflict and heartbreak . Her failure to choose between them results in both relationships deteriorating; Luca feels betrayed upon discovering her messages with Teresa, unable to reconcile her infidelity with his future plans . Teresa, on realizing she ranks secondary to Christie’s indecisiveness, feels deceived and misled . Ultimately, Christie’s choices lead to the loss of her relationships and force her into self-reflection, as seen when she runs to find solace in her preference for spontaneity over commitment .

The 'no climbing' sign serves as a symbol of rebellion against constraints and societal norms. For Christie, encountering the sign represents her choice to eschew conventional paths and embrace the unpredictable . Her willingness to cross boundaries, literalized through climbing over the sign, aligns with her attraction to Teresa's nonconformist lifestyle and stands in contrast to Luca's adherence to societal rules . This moment signifies Christie's desire for freedom and reflects her inner turmoil regarding stability versus spontaneity, serving as a metaphor for her overall journey towards self-discovery and acceptance of ambiguity in life .

The narrative structure, interspersed with freeze-frames, enhances storytelling by intensifying emotional moments and emphasizing Christie’s internal conflict. Freeze-frames, such as those capturing Luca’s confrontation and Teresa's disillusionment, momentarily halt the narrative to spotlight Christie's pivotal reactions and decisions . This technique underscores points of emotional tension and allows the audience to engage deeply with her psychological state at critical junctures. The juxtaposition of motion (scenes depicting movement, such as Christie's running) with these pauses adds a rhythm that mirrors her oscillation between decision and indecision, amplifying the narrative's tension and thematic depth .

Luca and Teresa represent two opposite poles in Christie's life, causing her emotional turmoil. Luca is described as 'Mr. Society,' who follows rules, has a planned future involving marriage and children, and works towards meaningful contributions in society . In contrast, Teresa is depicted as a free spirit, unconcerned with societal norms and living for fun and excitement; she has a history of impulsive behavior like drunk driving . This stark contrast creates tension as Christie is drawn to different parts of their personalities—Luca's stability and Teresa's spontaneity. This dichotomy pulls Christie in opposite directions, feeding into her internal conflict and contributing to the narrative's overarching tension, as her desires and reality clash .

Spontaneity is central to Christie's character development, shaping her actions and affecting her relationships. Initially, her attraction to both Luca and Teresa stems from their respective representations of planned stability and spontaneous living . However, as Christie’s narrative unfolds, her increasing inclination towards spontaneity becomes apparent, particularly in moments like climbing the 'no climbing' sign and eventually choosing to embrace Teresa's lifestyle unconventionally . This decision underscores her rejection of a predetermined life trajectory, impacting her relationships as her inability to fully commit leads to the breakdown of trust with both partners. Luca's rigid expectations clash with her evolving desires, while Teresa’s acceptance of change resonates more deeply, culminating in Christie's choice of freedom over a conventional future .

Christie's internal conflict is characterized by her desire to maintain relationships with both Luca and Teresa despite their contrasting personalities. She expresses this conflict through the phrase 'I didn’t want one, I had to have two,' which highlights her struggle to choose between them . Her relationships with Luca and Teresa are distinct; Luca represents stability and adherence to societal rules, while Teresa embodies spontaneity and a carefree attitude . Christie's actions, such as keeping both relationships secret and her ultimate decision to run, reflect her inability to decide, driven by her enjoyment of spontaneity and fear of committing to a planned future .

The motif of rules and rule-breaking is central to the story's exploration of character dynamics and themes. Luca embodies adherence to rules, exemplified by his structured life plan that includes marriage and children . Teresa, on the other hand, symbolizes defiance and spontaneity, frequently breaking societal norms, such as her past misdemeanor of drunk driving and her unconventional approach to life . This motif is evident in Christie's attraction to both characters for their distinct qualities—she enjoys the security Luca offers through rule-following and the thrill Teresa brings through rule-breaking. Consequently, this dichotomy highlights the story’s themes of freedom versus security and the complexity of human desires .

Voice-over narration provides direct insight into Christie's inner thoughts, offering an unfiltered view of her motivations and emotions that are not explicitly conveyed through dialogue. This narrative device allows audiences to comprehend her conflict between her dual attractions to Luca and Teresa, her indecision, and her ultimate preference for spontaneity over certainty . The voice-over transforms observational scenes, such as Christie observing the 'no climbing' sign, into personal reflections on her life choices, thus deepening the audience's empathy for her character and highlighting the narrative's central themes of freedom and choice .

The story explores individuality and conformity through its characters. Luca embodies conformity, with a structured life plan aligning with societal expectations of career, marriage, and family . Teresa represents individuality, living spontaneously and disregarding societal norms, evident in her impulsive behavior and lifestyle choices . Christie is caught between these two extremes; her attraction to both Luca and Teresa suggests a struggle between conforming to societal norms and embracing individual freedom. This tension reflects her internal conflict and highlights a broader societal commentary on the challenges of balancing personal desires with collective expectations .

The final scene, where Christie observes Teresa and Luca together, marks the culmination of her character arc. This moment symbolizes the consequences of her indecision and the realization that her simultaneous pursuit of both relationships has inadvertently united them without her involvement . Her presence as an observer underscores her isolation resulting from her earlier choices and indecisiveness. Furthermore, this resolution reveals a significant transformation in her character, as Christie acknowledges the complexity of her desires and the consequences of avoiding commitment. The scene encapsulates her journey from seeking both stability and spontaneity to accepting the unpredictable nature of her chosen path, thereby highlighting her development from uncertainty to self-awareness .

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