Here's an exposition trick, using a catalog as a specially printed prop.
Dressed like a 1960's centerfold, a Stepford trophy housewife lounges on the couch, intently reading what may be a lingerie catalog. She realizes a car is going to arrive, so she rises to examine herself carefully in detail in the hall mirror. The scene is better lit, but similar to the opening of Cherry 2000 - slow close-ups and pans across her body, with title credits. Once she is certain she is perfect, she turns to freeze before the door. In a short time, we hear the car arrive, the opening and closing the car door, the sound of keys as Mistress lets herself in. Housewife has come to life, and smiles and presents herself in her Stepford manner, to her well-dressed Mistress returning from work. Housewife makes a cocktail for her Mistress, who is sitting on the sofa. HW joins Mistress, who has noticed the catalog. HW very gently introduces the idea to Mistress that they should buy their first fembot.
They go to the dining room. Using a stock footage shot, we see HW has set an impressive table of food, and two place-settings. The camera shoots them at dinner, not looking down to where the full table of food should be. HW pulls out the chair at the head of the table out for Mistress, then seats herself on the opposite side from where the second plate was set (not that you see the empty table in front of HW). HW eats nothing, says nothing while Mistress eats. Back and forth the camera goes, Mistress seen from HW's angle, but HW is not seen from Mistresses' angle (we want the viewer to identifiy only with HW). HW is seen from across the table, up close on HW's face; her eyes watching eagerly, patiently, close-up on parts of her pretty Mistress. HW periodically raises a glass to her lips, but only pretends to sip, so the level doesn't go down. Dinner moments, like HW pours Mistress more water. Mistress finishes, and begins the fembot conversation again.
After dinner, lying together on the couch, HW and Mistress leaf through the sales brochure, talking about how the fembots perform, what they can do, everything. You get to see pictures, pages like maybe from Kube^2's phenomenal work. The actresses would have a printed prop to handle, serving to connect them to the brochure's content. Viewers get that fembots must be real, because they exist in the brochure. I think this is a powerful narrative, opportunity to gracefully dump a metric ton of exposition into a story.
A major point of the exposition is how a fembot's calculations don't resemble a human mind. A fembot is an unthinking thing, and her perceptions and memories are entirely programmable. A fembot's personality is an illusion. She is unreal, an utterly changeable non-person.
As they look at the catalog, we see visuals of the factory; of their memories; and of what naughty fun they would have with a fembot. There is so much potential to show brief bits of action - other locations, fragments of scenes, a moment in public outside - actions which you could normally never establish without a lot of time and awkward exposition. Because the housewife and her Mistress provide voice-overs, the audience knows how to read the moments shown, including the housewife's memory of her wedding proposal by Mistress.
The couple gets to the brochure's back pages, and they see the conversion kit option.
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Remember, this housewife is ultra-Stepford, nutso. Anyone who doesn't like involuntary upgrades can precipitate their HW's crisis whatever way they wish.
This sleeper Housewife wasn't able to see that the framed photo is herself in her bridal dress. She couldn't see that she is the fembot shown partially disassembled on the cover of the brochure. Now she's malfunctioning seriously - but don't worry, she's not too deeply disturbed by the revelation. As the brochure explained earlier, a befuddled fembot is fun, and a sobbing fembot is no good. They aren't programmed to hate themselves, but the transition to "self"-understanding is delightfully turbulent. She has to adjust to the concept that she has transitioned to the final, perfect stage of her being. Just as she had grown from a nervous teen into a sensuous woman; so now has she developed from an adult woman into a perfect Stepford robot.
- Dale Coba