Sorry for the essay, dude, lol. You're definitely making a valid point, I just wanted to point out that I'm not just trying to throw together any plot as long as I get certain scenes/jokes in, but I want to have a good plot while doing so. I mean, it could work if I just never explained why the ex-wife was chosen, but that, to me, would just be a bad plot. By finding ways to link everything together, it's merely the linear extension of my characters' personalities, and how they would handle the specific plot situations throw at them.
Ms. Hamasaki has A) one name that starts with the English letter "A" B) a known willingness to marry outside her nationality So don't assume that this is not "Mrs. A" Spoiler Don't assume that it is either. I'd have a bigger allowance if my wife was the "Japanese Madonna." I hope.
Oh, I know. All of this stuff is subjective. Hell, when I write a story, it starts out as me literally just thinking of random scenes I think I would like, and then I figure out characters and plot after that to put them together. This current screenplay started out as me thinking of two scenes: 1. A goofy guy singing along to funk music while killing zombies. 2. A man absolutely flipping out and slaughtering a guy that kills his dog. Took those two scenes, and figured out a story to link them together. I even had one stupid two-liner that turned into a complete screenplay: Nicholas: Click click Oliver: Did you just make a "click click" noise with your tongue? Guns don't click when they're out of ammo, Nicholas!
Maybe he wants someone who doesn't have a criminal record and isn't under the 'wanted' list? That reminds me of the type of people who coerce an airplane passenger to take and send their contraband for them.
