The Elevator

INT. ELEVATOR OF SCHOOL BUILDING - DAY

A young man SEBASTIAN (20s, wearing glasses and a plaid shirt over beige pants, awkward looking) is standing in the corner of the elevator anxiously. He looks down at his feet where his funky cartoon socks peak out from his short pants. In his hands is a wooden box.

Loud noises outside dim as door closes.

The elevator is well lit but looks worn. Miscellaneous posters of is hung on one side of the elevator. One of them reads "CHESS TOURNAMENT"

Suddenly, we here a thud. SEBASTIAN looks up to see LAURA (woman, 40s, wearing heels and formal attire) blocking the door with one hand.

SEBASTIAN glances.

LAURA pauses after making eye contact with SEBASTIAN, looking a bit fright, then walks in the elevator calmly.

LAURA

(coughs)

Hm .

LAURA presses floor six. Her finger stops when she sees the fourth floor being pressed. She backs off to stand next to SEBASTIAN, keeping an awkward distance.

Silence. The elevator begins to move upwards.

LAURA (CONT' D)

(In an accent)

Are you uh -

Suddenly, a loud thud reverberates in the elevator and it abruptly stops.

LAURA grabs onto the handle at the back of the elevator. The wooden box in SEBASTIAN'S hands fall and chess pieces splatter across the floor.

SEBASTIAN

(annoyed)

Ah flip!

They both bend down to pick up the pieces. SEBASTIAN quickly gathers them all whilst receiving the few pieces picked up by LAURA.

SEBASTIAN (CONT' D)

Thank you thank you. I'm sorry.

Jeez, this is quite the scene...

LAURA

Not at all.

Beat.

LAURA looks up at the elevator display, which went dim.

LAURA (CONT' D)

We should really call for help. I hope this still works.

She presses the 'SOS button on the elevator. It makes a jarring buzzing noise.

Silence.

LAURA takes a moment to observe SEBASTIAN.

LAURA (CONT' D)

You uh - going to the chess tournament?

SEBASTIAN

Yeah. I just started this summer, so there's really no competition.

Beat.

LAURA

Well there's a process... to everything.

Beat.

LAURA ( CONT' D)

Is this uh, you re first? First competition:

SEBASTIAN

Yeah. You can really tell huh. I'm
amateur looking though I'm probably
the oldest in this group.

Silence. SEBASTIAN catches LAURA's long gaze. He grows more uncomfortable and pretends to check is watch.

LAURA

I'm sorry. I don't mean to stare. It's just…
you really remind me of my son.
He used to play chess as well.

LAURA smiles dryly.

SEBASTIAN

(Loosening up)

Oh. Why did he stop playing?

LAURA

Well he didn't... He uh... he passed away in a car
accident. He was just 5 years old, but
I imagined him to grow up to someone like you.

SEBASTIAN

(Stuttering)

I'm so sorry. Jeez, I don't mean to

LAURA

No it's okay. That was a long time

Silence.

EXT. ROAD IN SUBURB - DAY - FLASHBACK

A boy, 5 years old, sitting in the car. The car drives past the school swiftly.

INT. INSIDE THE CAR - DAY - FLASHBACK

The boy is peering out the window in the backseat. He is wearing cartoon socks with monkeys on them.

WE GO BACK TO INT. - ELEVATOR - DAY

LAURA

(Regretful)

God I should've said he stopped playing cause he didn't like it
anymore huh? Sorry to make it so gloom. The day's
probably not so great for you already.

SEBASTIAN

No, no not at all. I mean I really don't stand a chance at
winning anyway. I'm just here for shits and giggles.

Beat.

SEBASTIAN (CONT' D)

You know, I started playing only because it's my father's
un-lived dream. After he left us I needed something
to distract myself from all the chaos.
I'm still not great but I enjoy the control it gives me.
I sometimes wonder if that's why he yearned it...

They both stand still looking at the elevator door. The air in the elevator dense.

LAURA

(To herself)

Control…

Beat.

LAURA (CONT' D)

I wonder if thats why Seb was so obsessed.
I mean he played and played and played and played...

Suddenly, the elevator engine turns on and it begins to ascend again.

LAURA (CONT' D)

Oh great! It's working again!

(TO SEBASTIAN)

You can probably still make it to your game.

She looks up to see the elevator is approaching floor 4.

By the way, what's your name?

SEBASTIAN

Uh. It's... I'm Sebastian.

LAURA freezes. Contemplating. Before she can react, the elevator stops at four and the door slides open.

SEBASTIAN (CONT' D)

Um… take care.

We see SEBASTIAN walk out of the elevator and the door closes.

FADE OUT.

Luoyang

EXT. HOUSE PARTY- NIGHT

A house is lit with music faintly booming inside. It’s a dark summer night. The streets, slightly lit, seem extra quiet. A woman (Alex, 29, wearing a leather jacket and white maxi-dress) is smoking alone in the garden. Blue LED lights reflecting onto her face.

The door squeaks open and noises from inside the house crescendos. A woman (Kaia, 27, wearing casual business attire) walks into the garden.

KAIA

(chuckling, relaxed, to the room)

I’ll be right back.

She closes the door and it quietens. KAIA turns around and

freezes, as she sees ALEX leaning against the wall.

Silence. Muffled loud music still booming behind the walls.

ALEX sees KAIA’s face. Her smoking motion stops. She fixes her posture, and quickly stubs out the cigarette with her feet.

KAIA (CONT’D)

(awkward)

Mhm.

She looks away. Then not knowing what to do, she looks back.

She opens her mouth to say something but her words delay.

KAIA (CONT’D)

(uncomfortable)

Hey… It’s been a while. Didn’t expect you to be the type to show up at reunions.

Beat.

ALEX

I didn’t expect you to be hiding out in the backyard either.

(beat.)

how’s life?

KAIA

Nothing new.

Silence. ALEX takes out the cigarette pack in her pocket. She

offers KAIA a cigarette.

EXT. RURAL STREETS WITH FOOD CARTS - DAY - FLASHBACK

Young ALEX and KAIA walking together on the street, eating the street food in their hands. We watch from their back. They walk side by side, shoulders slightly brushing.

YOUNG ALEX

No they did NOT find out!

YOUNG KAIA

You deserve a sanction 1000.

YOUNG ALEX

Shut up! You deserve to not tell me

what to do.

WE GO BACK TO EXT. HOUSE PARTY - NIGHT

KAIA shakes her head and declines the cigarette.

ALEX

Confirmed. Nothing‘s changed indeed.

They both chuckle softly.

ALEX doesn’t light her cigarette but puts it back into the

box.

ALEX (CONT’D)

Finance burning you out huh.

KAIA

Yeah. But I asked for it.

(beat)

I heard you got married?

ALEX

Yeah. Not what you expected huh.

KAIA

No.

(wryly)

You still hate children?

ALEX

Well, I’m not as obsessed as you
were but, no, I plan to have kids.

I/E. CONVENIENT STORE - DAY - FLASHBACK

Young ALEX and KAIA buy two ice creams from a street owned convenient store.

YOUNG ALEX

(to the shopkeeper)

Two Magnums please.

They unwrap their ice-creams and starts walking out.

YOUNG ALEX (CONT’D)

(taking a bite)

What you up to later? You got practice? I’m
going back to Shanghai tonight just so you know.

Silence. KAIA eats her ice-cream without responding for a

moment.

YOUNG KAIA

You should stop wasting your time
with those people.

(beat)

I mean what are you even doing with them?

YOUNG ALEX

(confused)

What are you trying to -

YOUNG KAIA

You think they’re smart,
interesting, cool people but really
they have no clue what they want.

(beat)

I mean unless you don’t either, but
I don’t know about that.

ALEX stops walking and KAIA continues.

YOUNG ALEX (O.S.)

The fuck is this about?

KAIA stops walking and turns around.

YOUNG ALEX (CONT’D)

I mean is this what you wanted to
say all along? Really, how -

YOUNG KAIA

You know who you are, Alex. But
someone needs to help you. Cuz it
doesn’t seem like you are.

ALEX nods with disappointment and laughs dryly.

YOUNG ALEX

(staring)

And who are you to think you’re
the one who can.

WE GO BACK TO EXT. HOUSE PARTY - NIGHT

ALEX and KAIA stare at each other for a moment. KAIA looks away, glancing at the garden. There are no flowers or furniture in the garden, only a tree in the corner and wildly sprouting grass.

KAIA

(takes a breath)

I should go back, they’re probably -

ALEX

(cutting her off)

Want to go? My car’s outside.

ALEX looks at her contemplatively. KAIA looks back. Before

KAIA responds with anything, ALEX starts walking towards the door.

ALEX (CONT’D)

I’ll grab my bag.

She leaves and KAIA stands alone in the garden. Watching.

EXT. ALLEYWAY - NIGHT - FLASHBACK

YOUNG ALEX

Look at me. Look at me.

(silence, then angrier)

YOUNG KAIA

(defensively)

What? What do you want me to say?

YOUNG ALEX

(scoffs)

Really? You don’t know what I want
you to say? I asked four times to
speak to you and after you agree
you say nothing?

Silence.

YOUNG KAIA

I don’t know what you want from me

and what all this is.

YOUNG ALEX

(laughs)

Fine. Let me tell you. You don’t
just ghost someone after telling
them you care about them. You at
least have to tell me what the fuck
is going on.

YOUNG KAIA

Nothing.

YOUNG ALEX

I mean was it our fight? That was
almost a year ago and you never
mentioned it after.

YOUNG KAIA

(angry)

I said nothing.

YOUNG ALEX

You think I’m going to believe in
‘nothing’ after everything.

YOUNG KAIA

(cutting her off)

And the fight, that was my mistake.
We don’t need to talk about it.

YOUNG ALEX

I don’t believe you. I don’t
believe this is what you truly
think about what happened with us.

YOUNG KAIA

Well I can’t help you.

WE GO BACK TO EXT. HOUSE PARTY - NIGHT

A car is parked on the street. ALEX walks out from the house and walks towards the drivers seat.

INT. CAR - NIGHT

ALEX ignites the car and KAIA sits down next to her, closing the door. They sit in silence for a moment. Then ALEX starts playing “BIRDS OF A FEATHER” - Billie Eilish.

KAIA

(smiling)

That’s old.

ALEX

Yeah. Still one of my favorites.
Where do you want to go?

Beat.

KAIA

You know, I never said sorry about
what happened.

Beat. Both not looking at each other.

ALEX

Kaia, you don’t have to -

KAIA

I guess I was too afraid to...
really think about how I felt.

(beat)

I really wasn’t used to being so -

ALEX looks at her. KAIA senses this and looks back too.

ALEX

It’s okay. I know.

KAIA smiles softly.

ALEX (CONT’D)

You know what, we should go get ice
cream. I mean its only like, 2 in
the morning.

They both laugh, feeling both close and distant.

End of scene.

Nvwa Mends The Sky

Heaven of all heavens,

                 god of all Gods

When Buzhou1 split to a thousand pieces,

                 begging the sky to fall,

                                  flaming its trees and flooding its valleys,

Mankind’s weeping was merely a rhyme.

Who am I to bear the pain, caused

                 by thine nasty, gaunt anger.

Petulant child, who canst thus seize thine anguish

                 leads to pain.

When I sat by Ruhe2, molding and malleating

                 did I beat

the weight of my heart,

                 in each replication

into thee?

Who am I to bear the pain,

now that I am praised

as the holy mother,

Disguised

in beautiful sacrifice.

As I gathered stones and mystical leaves

                  I melted them into a slurry.

And used the smelted rocks

to paste over the ripped firmament.

I chopped the four feet off a giant tortoise,

and used them as the pillars

                                    to heaven.

I slayed thy great black dragon,

                  slayed reeds and grasses and

burned them to ash. I stopped

streams screaming in

all directions alive.

Then, the sky was mended and the earth was even.

The waters had stopped. And I am once again the holy mother.

The creator.

Heaven of all heavens,

God of all gods.

When you created me,

Who were thou to sacrifice?

When I sat by Ruhe, molding and malleating

                  I felt nothing but loneliness,

but that loneliness in vain.

I shaped until my fingers ached,

                  I made ren3 so I can feel

like maybe,

I am one.

so how do I bear the pain?

when I am mother only because

I made thee

My heart aches, but a voice rings:

“But saviors aren’t selfish,

                  Saviors sacrifice”

For that I know the calamity

Tilted the sky,

                  From now on the sun and moon

                                    And all stars and light

                  Will naturally return

to where I lay.

The earth was tilted,

                  Therefore all rivers,

                  Will naturally flow

To where I will be.

---

1.         Buzhou – the mountain split by Zhurong and Gonggong in their battle that broke the sky

2.         Ruhe – the river where Nvwa shaped humans using mud

3.         Ren – Chinese character for ‘people’ or human. The name Nvwa gave the figures she created 

Author’s Statement:

My creative retelling of “Nvwa Mends the Sky” reimagines one of Chinese mythology’s most well-known origin figures through a more intimate and emotionally complex lens. While the traditional folktale frames Nvwa as an unwaveringly benevolent mother-goddess figure who restores the order of the world after male-driven destruction, my poem aims to complicate that archetype. Rather than embodying pure selflessness, Nvwa in the retelling experiences resentment, loneliness, longing, and a desperate desire for understanding. These are feelings that are often erased in mythic portrayals of femininity strength. Therefore, this reframing addresses with my goal of interrogating the cultural expectation that female divinity is synonymous with selfless sacrifice, an expectation that is inherently objectifying perspective of women.

Drawing from Harris Mirkin’s critique of women being portrayed as passive supporters of male action, I want to resist the narrative pattern in which female figures’ entire existence is to restore order and “clean up” the chaos caused by men. To do this, I wanted to write the poem in Nvwa’s perspective. Chinese mythologies are often written in an omniscient, third person perspective. In my poem, however, Nvwa’s voice is heard directly. Through her voice, I channeled the vulnerabilities and nuance of emotions one might feel when being so selfless and powerful. Moreover, Nvwa’s voice directly challenges subordinate expectations. She calls the Zhurong and Gonggong ‘petulant’ and refers to their temperament as ‘nasty’, rejecting any obligation to bear pain on their behalf. Instead, her genuine and inescapable feeling of suffering for the ren is a demonstration of her empathetic strength and is also driven by her selfish desires. Moreover, her labor, gathering of stones, melting metals, slaying beasts, is not framed as a natural maternal duty but as a burden created by her own contradictions. This added nuance in Nvwa’s intention of being the savior repositions her not as an idealized supportive, selfless mother but as a subject with agency, frustration, and internal conflict, all doing so without negating any of the powerful things she’s done.

Furthermore, I tried to preserve the binary oppositions in the original myth through the diction in the poem. Binary opposition is common in mythtales, as highlighted by Alan Dundes’ analysis of mythic archetypes and their reliance on oppositional pairs such as order/chaos and male/female. I believe this is an important aspect to preserving the mythic property of the story. Traditionally, Nvwa restores order after male-driven chaos; in my version, the juxtaposition of chaos and Nvwa’s order and composure still exists. The repetitive juxtaposition of ‘I’ against the external tragedy constructs the oppposition of Nvwa and her environment. I purposefully did not change the essence of the story, as I don’t think the issue of the opposition can be resolved by changing the result or invalidating the heroic property of the mother, but to reveal its nuance and subleties. Therefore, binary is still present, but Nvwa becomes aware of her role within it.

Since this is a retelling of a narrative story, my poem also leans towards a narration instead of a purely lyrical one. Thus, I chose to write a free-verse poem with no fixed structure or rhyme scheme. I have taken much inspiration from John Keats’ poem “Ode on a Grecian Urn.” Like Keats, I employed direct address to create a lyrical conversation between Nvwa and the divine order. In Keats’ poem, he begins by addressing the Urn: “Thou still unravish'd bride of quietness” (Keats). Taking inspiration from this method, I began my poem by addressing elusive divine figures, thereby revealing Nvwa’s state of confusion and internal turmoil. Keats’ layered stanzas and stream of consciousness flow helped shape the repetitive questioning that organizes my poem: with each return to “Who am I to bear the pain”, the poem echoes the repeated reframing of the same thought in Nvwa’s mind, but each time with slightly different emotions and revealing different information, eventually revealing the truth. This format allowed me to elevate the poem’s tone while preserving the introspective and confessional quality that distinguishes my retelling.

Ultimately, my retelling of “Nvwa Mends the Heavens” uses Nvwa’s archetype as a foundation to reflect on the wider understanding of the ‘mother’ in mythtales. Nvwa is no longer a distant and inherently reductive symbol of motherly perfection, but as a real being who feels and wrestles with the cost of creation and sacrifice, thereby resisting the idealized feminine archetype.

Works Cited

Dundes, Alan. “Binary Opposition in Myth: The Propp/Levi-Strauss Debate in Retrospect.” Western Folklore, vol. 56, no. 1, 1997, p. 39, https://doi.org/10.2307/1500385.

Hamilton, Mae. “Nuwa – Mythopedia.” Mythopedia, 2022, mythopedia.com/topics/nuwa/.

Keats, John. “Ode on a Grecian Urn.” Poetry Foundation, 1819, www.poetryfoundation.org/poems/44477/ode-on-a-grecian-urn.

Mirkin, Harris. “The Passive Female the Theory of Patriarchy.” American Studies, vol. 25, no. 2, 1984, pp. 39–57, www.jstor.org/stable/40641862.

Little Things

If you are what you see, and the world is nothing but what you feel

            just maybe

You won’t ever feel the sky stare into your eye and see

            what you see for the first

                        time. Or may be someone

who carries it on their shoulders,

            performs it in their mind every time you stare at a tree and feel

                        absolutely nothing

But dare you forget what you saw. Be pulled and thrusted by its weight on your blades.

As you tread the world where trees are buildings and buildings clouds,

where skies are canvases and nothing

            means anything.

Right?

If you are in the same game played

already by the same people understood

already by the same nobody except

            those who have already lost.

            What?

            Losers losing

                        the epitome of

                        humanity.

Reality is a montage of

            aesthetic      little       things.

pieced together to make feeling that beauty now im possible.

Yet I watch,

the game made to watch

            people burn to win

                        to find they have won everything

            but only,

only at the cost of unseeing.

Then, maybe you’ll want to know:

what is the difference?

What Is the difference between the world in Your Eyes and this.

So, scrape out those restlessly resting eyeballs

            in those soft pits. Gently

            remove them,

                        just to Project

                        your Illusion onto

            My illusion onto

Theirs.

Just to make us unsee.