Chapter 239: My One True Love, Only My One True Love...
The plot of this script continues from the previous "At the Threshold of an Era" advertisement, so the male and female leads are already in a "long-married couple" mode from the very beginning, having gone through life and death tribulations. So naturally, there is no need for the previous acquaintance and love build-up, and they go straight to intimate scenes...
To better resemble everyday life, Li Sishi's long hair was left down, and the stylist even used water to wet the ends and parts of her hair, simulating the state of wet hair that is not quite dry after washing up.
Ling Chenyi, who was being ridden by her, had short hair, but the ends of his hair were slightly damp. The dim light from the bedside lamp illuminated his face, making his profile appear even more distinct and clear.
The camera was set up on the left side of the foot of the bed, and it would be pushed in from a spying angle when filming. So this time, Li Sishi was facing away from the camera. In contrast, her relatively petite figure under her long hair could not hide the tall and strong body in front of her. Therefore, this stark contrast highlighted the relative harmony between strength and gentleness, adding a touch of ambiguity to the hazy scene.
Because she was straddling his lap, the height difference between the two was not only completely leveled out, but the female protagonist, who was riding on him, even achieved a "superior" angle because of the male protagonist's reclining posture.
It must be said that this kind of "superior" visual control is truly a unique and wonderful feeling, especially when the person below you is a particularly handsome and fair-skinned young man. Coupled with the dim and ambiguous lighting and his gentle, water-like gaze, Li Sishi felt as if she were using the opportunity of shooting an advertisement to freeload off the "top of the list of Hong Kong's richest women who most want to be kept"...
The "top scorer" was in pretty good shape tonight. Noticing Li Sishi's absent-mindedness, he gently touched her hand with his arm under the thin blanket on the bed as a reminder. However, his prepared look only fueled a desire to wantonly bully this pure soul.
Their eyes met for a moment, and Li Sishi, regaining her senses, casually swept her long hair, which was draped over her back, to one side.
The next second, a large, well-defined hand covered the cheek that wasn't obscured by long hair. Then, the fingers slowly moved to the back of the head, half of them penetrating between the long, black hair, while the rest covered the junction of the back of the head and the nape of the neck. The warm breath enveloped the face, and the eyes that were still somewhat clear in their hazy state began to become infatuated.
Then came a deep, lingering kiss.
Because the back of her head was held down tightly, the female lead in the play was unable to dodge or escape even a fraction of an inch.
Despite being in the "riding" position, the person beneath him is the one who is restrained. This mutually restraining yet intensely entangled posture subtly suggests that the two are in love but also in a state of mutual antagonism.
Li Sishi tilted gently in agreement.
Just as the tender kisses were about to travel to her neck, a beeping sound, as if a message was being sent, inappropriately interrupted this extremely intimate atmosphere.
But how could the male protagonist, already immersed in intimacy, bear to let go? He gently placed his hand on the female protagonist's shoulder to stop her from moving, while he managed to free one hand to reach over and pick up the pager from the bedside table.
The camera zooms in to film a close-up of a pager message: "Class A Operation: All Private Activities Cease."
The editing and splicing of the footage only takes less than a second, but during the on-site filming, the male lead, who was interrupted by a message during the intimate moment, could only get out of bed and quickly change his outfit with the help of the stylist and staff.
After changing out of his casual loungewear—a short-sleeved shirt and shorts—into a full-body dark-colored spy outfit, he once again stood in his scripted position by the wall in the early hours of the morning, looking eager to leave: "I'll be back soon, this time for real..."
Before the words were even finished, a skincare bottle was thrown at him, its force and angle clearly demonstrating the owner's anger.
It's clear that after the two "retired from the underworld," the female lead didn't want the male lead to get involved in dangerous situations again and hoped that they could let go of everything and truly retire from the underworld. However, the male lead couldn't let go of his work. Whenever an emergency message came, he would still put on his old agent outfit again and ask the female lead to wait for him at home.
But this time it was a much more difficult emergency to resolve—when the male protagonist, dressed in a secret agent's uniform, ventured alone into a dangerous area to investigate, the female protagonist, who was left at home, seemed to sense something and picked up the old communicator, which was now slightly dusty, and gently pressed the power button.
A faint blue light flashed, and the pager, which had been dormant for a long time, once again became its owner's communication tool.
It's clear that this time, in addition to the male protagonist's extremely fast message transmission speed and wide signal range, the main features also include the female protagonist's super long standby time.
Just as the protagonist was about to investigate further, he discovered that the place he was in contained a timed self-destruct device. His cell phone, which was clipped to his waist, suddenly rang with an emergency ringtone. So, while continuing his investigation, he answered the phone: "Hello?"
“You have 9 seconds left, you need to leave quickly—7 6…”
"Who are you?"
The familiar yet unfamiliar voice left the male protagonist momentarily confused. "Where's my communications assistant, Tony?"
"It's May, let's talk later, 3, 2..." Hearing the countdown getting closer and closer, the male protagonist didn't bother to find out if the person on the other end of the phone was really his lover who had planned to completely "retire from the world." He quickly turned around, spotted the exit, and pounced out.
Compared to filming "Speed" on location in the early hours of the morning, Li Sishi was quite relaxed in the room set up as a communication base. In this series of advertisements, she was always an accompaniment to the male lead, but due to the length of the advertisements and the character settings, she occupied the only female lead role in this series of advertisements. So this is the standard good job with high pay, little work, and good exposure.
Aside from the screenwriter's constant focus on balancing romance and plot, which often results in the two leads relying on brief intimate scenes to showcase their deep affection due to time constraints, this job has virtually no downsides—of course, this working style might even be considered an "advantage" that many people would be willing to do even if they were paid to…
After all, who wouldn't want to take advantage of their work to get a free ride with the top-ranked rich woman on the Hong Kong socialite list—and filming this ad wouldn't just be free, but would actually get paid after the "job"...
Of course, the main purpose of this advertising campaign is to let the male lead, Ling Chen, show off his good looks and sell the new pager and mobile phone. So, in addition to speeding up the race, Ling Chen's character also has scenes of dodging trams with his agile hands. In the end, he will drive a super cool supercar to the stadium that the clues point to, and confront the culprit behind all the events.
After discovering that the culprit was dressed as a clown delivering balloons to children at the stadium, and that the clown had already taken a little girl hostage, the protagonist stared at the problematic balloon among a pair of colorful balloons. Then, holding the phone, he said goodbye once again to the "new contact" on the other end, who was very likely his girlfriend: "If fate allows, we will definitely meet again."
In the previous advertisement, he personally saw his girlfriend off and then stayed behind to face the enemy, ultimately escaping with a narrow escape.
This time, he will not back down when facing the culprits who arbitrarily take lives.
But the only difference from before is that this time, as he moved forward, his eyes no longer held only the courage to forge ahead and be invincible, but also a hint of apprehension stemming from lingering attachment.
To protect the world, he was willing to forge ahead without hesitation; but for the one he loved, he displayed unwavering courage, even at the cost of his own life.
His fear of losing his life made his loved ones his only weakness and a source of even greater courage.
"But this time, you might not have to rely on yourself alone." As the voice on the other end of the line fell, several helicopters roared in and several dazzling white lights shone directly at the clown. At the same time, the protagonist seized this fleeting opportunity, snatched the little girl from the clown's arms, followed by a heavy punch and a side kick, knocking the clown to the ground and releasing all the balloons.
Those vibrant colors floated up into the night sky and then exploded into a dazzling display of sparks.
After filming the scene where the male lead confronts the mastermind disguised as a clown at the stadium and rescues the kidnapped little girl, the crew on location called Li Sishi to inform her to go to the stadium to continue filming the final scenes.
Because after the male lead rescues the little girl and releases the colorful balloons containing the bomb into the sky to resolve the situation, a large number of reporters will come to interview him, so Li Sishi also has to arrange some outdoor scenes according to the script to continue filming the plot where the male lead discovers that his new contact is his girlfriend.
After handing the rescued little girl over to his teammates who had rushed over to help, the male protagonist dialed another number on his mobile phone, and immediately heard a ringing response from the scene.
The crowd parted like a tide, and next to the incredibly cool supercar, the female protagonist, also dressed in a spy outfit, smiled as she held her ringing cell phone and looked over with approval, encouragement, support, and a hint of eagerness in her eyes.
According to the original script, the male lead should look in the direction of the female lead and tenderly call her name "Ah May" to end the advertisement.
But in the early hours of the morning, the male lead seemed to have a new idea – he walked over with a smile and then hugged the female lead, played by Li Sishi, tightly.
The tone remains the same, full of deep affection, but the lines have changed: "I'm sorry to have kept you waiting."
Let's go home.
Luo Ji's annual blockbuster commercials are divided into three segments due to television time constraints, which are then shown in rotation and edited together with the new album and songs released at midnight.
The only difference is that the background music for this new advertisement is no longer Ling Chen's new song, but the title track of his album "Heaven and Earth" from last year, "My One True Love Is You," which affected sales due to his manager's betrayal. Rumor has it that Ling Chen took the initiative to request the use of this song, and Luo Ji Telecom finally agreed to his request to use the old song after Ling Chen's insistence, as a new attempt.
As for whether the reason for this decision—that Ling Chen felt the songs on the album were a pity and therefore wanted to revive this old song that had been released for more than half a year—no one knows.
It wasn't until Li Sishi saw the full version of the advertisement, which was over four minutes long and matched the length of the background music, after all three segments of the advertisement had finished playing that she vaguely noticed a clue—or perhaps it was just a hint—from the fusion of lyrics, time, and visuals: Ling Chen had always had a lot of ideas about his music videos, and in this MV-style advertisement, when the male lead said the line "Let's go home" to the female lead, the lyrics of the background music also happened to be the line "If one day we can really meet again, I will never forget it for the rest of my life."
Only a lifelong love can be seen for a day and never be forgotten.
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