Chapter Fifty-Four: Analyzing the Plot, Layer by Layer

"That's right, there are indeed a few seemingly illogical parts in the plot—these are actually intentional little Easter eggs," Gu Zhi said with a smile to Gao Yuanyuan, looking at her with evident appreciation. The fact that she could raise these questions showed how much attention she’d paid to the script.

The others wore thoughtful expressions as well.

"At the end of the film, Song Mingxi meets a strange old man under the big tree. Aren't you curious why such a character appears? It seems as though, with or without him, the plot wouldn’t change at all," Gu Zhi continued, posing a new question rather than answering Gao Yuanyuan’s.

"I was wondering about that when I read the end of the script," Huang Haibo spoke up, somewhat to Gu Zhi's surprise. "It might have worked better as a solo scene for Song Mingxi—it would really test the leading actress’s skills. Bringing in a weird old man felt rather abrupt and unnecessary, to be honest." Though only a supporting actor, his role finished well before the end, Huang Haibo had clearly studied not only his own scenes but the entire script in depth.

"A fine actor—what a pity," Gu Zhi thought to himself, recalling what would later happen to Huang, and nodded to him in acknowledgment.

"You’re very observant. The old man was deliberately put there by me, and in fact, he doesn't just appear once—he shows up twice in the film."

"Twice? That can’t be. Did I miss something?" Huang Haibo immediately opened the script and began searching, as did Tong Dawei and Gao Yuanyuan, while Ni Dahong simply closed his eyes to recall the scenes.

"No need to look," Gu Zhi said, "There are two related details I didn’t write into the script. I’d planned to add them during filming, but since we’re discussing it, I’ll explain them in detail now."

Everyone paused and turned their attention to Gu Zhi, awaiting his explanation.

"The first detail: at the end of the film, when Song Mingxi is talking with the strange old man under the tree and reopens the time capsule, a UFO will slowly pass overhead. I plan to have the effects team add this in post-production. And no, the UFO isn't there just for laughs."

"After Song Mingxi and Liu Qian have been separated for two years, Liu Qian comes to the place they agreed upon, opens the time capsule they buried together, and the frog that suddenly appears inside is connected to the UFO."

"Three years later, Song Mingxi returns from England to the same tree and encounters the strange old man. In truth, this old man is Liu Qian, who has traveled back in time via the UFO."

"What?"
"A UFO traveling back in time?"

From the moment Gu Zhi mentioned the UFO, the main cast were completely bewildered. Wasn’t this supposed to be a romantic comedy? How had it turned into science fiction?

Unfazed by their surprise, Gu Zhi continued, "Earlier in the story, Song Mingxi mentions that she thinks UFOs are actually time machines—a little clue for everyone. In an alternate timeline, Liu Qian never gets to see Song Mingxi again, and that's the reason for the UFO’s appearance."

"As for the second detail: when Song Mingxi and Liu Qian first meet on the subway, Song Mingxi forcefully makes a young man give up his seat. During filming, I’ll have Director Lu Chuan include an extra shot—a lingering shot of the people sitting next to where Liu Qian is standing. Among them, an old man is intently watching Liu Qian."

At this, Lu Chuan nodded in agreement. "When Gu Zhi and I discussed the storyboards, he specifically instructed me to hold that shot a little longer."

Gu Zhi gestured for Lu Chuan to continue, then said, "By now, you must have guessed who that old man is—it’s the very same strange old man who later chats with Song Mingxi under the big tree."

"Song Mingxi talks about ‘someone from the future’ in several places. She always says she wishes she could be that person, but the story actually hints that it’s Liu Qian. He travels back in time to save their love, so that the two who didn’t end up together can meet again."

"So, at the end of the film, the first thing Song Mingxi says to Liu Qian is, ‘You probably won’t believe me, but I think I’ve met someone from the future.’ That line actually reveals that the strange old man is Liu Qian from the future."

"By traveling through time to change the past and affect the future, the older Liu Qian ensures that, upon returning to the future, the two are together. The internal logic of the film echoes that of ‘The Butterfly Effect.’"

"In ‘The Butterfly Effect,’ every attempt to change the past brings unexpected disaster, and none ends well—even the protagonist takes his own life in the end."

"But in ‘My Sassy Girl,’ there is only one ending, and it’s a happy one. Consider it my way of giving the audience a little hope."

"This is the biggest Easter egg in the film. Does everyone understand now?" Gu Zhi had thoroughly dissected the movie and even drew a connection to ‘The Butterfly Effect.’

From the moment he’d decided to shoot ‘The Butterfly Effect,’ Gu Zhi had already planned for ‘My Sassy Girl’ to be his second film. He chose it not only for its influence across Asia, but also for its connection to his previous work.

On the surface, the two films seemed unrelated, but Gu Zhi’s deliberate arrangement created a hidden thread linking them. It wasn’t laid out explicitly, but concealed as a subtle clue. Gu Zhi believed that when viewers who had seen ‘The Butterfly Effect’ discovered the link, they would be overjoyed.

For the audience, this was also a tribute to his previous film, adding another layer of emotional resonance.

"This... is this really possible? That the two films are connected like this?!"

In the meeting room, countless images flashed through everyone’s minds—they were left stunned and speechless. Now, as they looked at Gu Zhi, their eyes reflected a complex mix of feelings: admiration, surprise, appreciation, awe, envy—and, from the two ladies, Gao Yuanyuan and Liu Qi, a hint of infatuation and adoration.

Clap, clap, clap, clap...

Ni Dahong was the first to start applauding, followed by the others, and soon the small meeting room resounded with enthusiastic applause.

"Thank you," Gu Zhi said repeatedly, standing up after Ni Dahong led the way, bowing to everyone with genuine gratitude.

These few present were the first "audience" to know the film’s true inner workings, and their recognition moved Gu Zhi. It made him more certain about his creative choices. He’d always made films for audiences, and nothing made him happier than their approval.

"No wonder San Ye values you so much. It’s hard to believe you’re so young. The new generation really is overtaking the old! If we old guys don’t work harder, we’ll be left stranded on the beach," Ni Dahong exclaimed, surprised by this young newcomer’s abilities.

He had seen ‘The Butterfly Effect’ before, and though he hadn't said it aloud, he’d never thought much of such ‘science fiction films,’ seeing them as creative but lacking depth and too divorced from reality.

His decision to join Gu Zhi’s new project had been partly out of respect for Han Sanping, and partly because he hadn’t had any roles for the past few months—a way to pass the time and earn some money. Even the most selective actors from the old generation still needed to work.

He hadn’t expected Gu Zhi to be so impressive! Only now did Ni Dahong realize that perhaps, including himself, the older generation in the film industry had underestimated Gu Zhi.