The applicability of this marrative model to comedy

  Key words:  instances echo and invert one another.
                      an important function comprise the epitasis.  
                     motivation: each scene should have a purpose,and the forms that purpose can, ideally      take.The unmotived happy ending is a failure, resulting from lack of craft or the interference of other hands. 

• This model is in fact generically specific, is general compositional principles. I would like to stress the extent to which it is capable of shedding light on individual films.
• In the case of Blind Date, for instance, one can see that there are two potentical catastrophes corresponding to two different instances of complication, that they echo and invert one another, and that the final denouement is a resolution of the romance plot, to which other strands of the narrative are therefore, ultimately, subordinate.
• Alcohol, meanwhile, emerges as an element with a number of important functions. It is responsible for the complications comprising the epitasis.
• Kristin Thompson: Each scene should be associated with its purpose, which is to say that the outline of a play should comprehend: First 'cause' or beginning; secondly, development; third, crisis; fourth, climax or effect; fifth denouement or sequence.
• These principles extend beyond issues of structure. They also concern motivation: the extent to which each scene should have a 'purpose', a justification, and the forms that purpose can, or should, ideally take.
• Here comedy can become a exception to the regimes of motivation, however, Screenplay manuals are dissatisfied with forced or tacked-on happy endings. The characters, writes Frances Marion, must be extricated in 'a logical and dramatic way that brings them happiness'. The unmotived happy ending is a failure, resulting from lack of craft or the interference of other hands.

   <Almost Perfect>, the whole film show spoof, no purpose, no causal motivation.