Monday, December 26, 2011

A message from sylvia toy: Happy Holidays

Thanks for following our blog, which is almost one year old!

We were supposed to be just having fun yesterday at Christmas dinner, but Mike, Chris, Miranda and i had a brief meeting over the cassoulet, and agreed:
  • Mike and Chris's first directoral story conference will happen at the end of the week and an update will be posted;
  • Miranda will start the costuming process on http://www.polyvore.com/ - which looks like a cool way to work;
  • We have a scene designer 90% confirmed.
- sylvia

Saturday, December 17, 2011

Friday, December 2, 2011

A message from sylviatoyindustries




status

keskarel navapeac <keskarel@gmail.com> Fri, Dec 2, 2011 at 10:42 PM
To: Christopher Arthur-Henly Robinson, bymikelewis, diana slampyak
hey. imagine you are finishing the semester. winter blues are worse than usual at our place because of my mom's death. i have the flu and will probably have to lay a little low while my lungs fix themselves over the next few weeks. but i think we should pick one scene with Diana, design and set it up and shoot it.

we need to get our feet wet. how about the week after Christmas?

--

Thanks.
The Keskarel the Movie production team




Thursday, November 17, 2011

A message from sylviatoyindustries

Gmail keskarel navapeac <keskarel@gmail.com>

the script doctoring

keskarel navapeac <keskarel@gmail.com> Thu, Nov 17, 2011 at 2:14 PM
To: Christopher Robinson, Michael Lewis
hey. i think my doing the initial dramaturgy, i.e. is the script true to the throughline etc., is okay. but, for instance, i think the end is weak and needs further thought. i don't think i should be involved in that. i have my own opinion, but other than the initial cuts, that's the most major input i should have on the script at this point. and Chris, you should run any of those cuts you disagree with by Mike, who is a really good dramaturg.

--
sylvia

Thanks.
The Keskarel the Movie production team

A message to AD Chris Arthur-Henly Robinson: Great job!

Gmail keskarel navapeac <keskarel@gmail.com>

producer's notes

keskarel navapeac <keskarel@gmail.com> Thu, Nov 17, 2011 at 7:02 AM
To: Christopher Robinson
Cc: Michael Lewis
first scene:
  1. enough already with my wife would kill me
  2. nix the flirtation

second scene and following between K & V:
  1. the purse snatching scene is about a purse snatching and the characters' reactions - the scene is 4 1/2 pages, and only 1 1/2 deals with the mugging. needs adjustment
  2. V is shooting, not filming - no use of the word film in this film
  3. the dialogue between pages 11-16 'shoot/don't shoot' is repetitive. it needs to progress or it will be static
  4. nix helpless in front of men; V is not feminine enough to be that catty
  5. nix This place used to stand for something there wasn’t any soy cheese pizza nonsense.

first therapy scene:
  1. A W E S O M E
  2. after the scream, add cutaway to people on the sidewalk looking up towards a window in reaction to the scream

V & K scenes following the scream:
  1. V is not living on the edge financially. she does not need money from K - she needs electricity. she is not an artist. videographers can easily make enough to live comfortably. she owns at least 5 cameras, most likely, and a million batteries, she has a bad habit of forgetting to recharge, so when she runs out of electricity just as she needs to upload from the camera, she's screwed. needs adjustment
  2. THE VIDEOGRAPHER is reading a book: probably not - she stays up all night editing

K & Nidal (pages 29-32)
  1. A W E S O M E

V & K ( pages 32-42)
  1. awesome up to here See that’s the problem with most women they think the worst thing in the world is being alone. It’s the greatest lie ever perpetuated by men. There is nothing wrong with being alone. i know this story is a feminist for you.but this character is not a feminist, does not give a shit and would not say anything like this - way too movie of  the week in the 70's. if K becomes more feministically minded, it will come from her own character growth. needs adjustment

K & Nidal (pages 42-44)
  1. A W E S O M E
Pages 44-end
  1. nix Never mind. I will accept this, but buying presents for me to make everything okay it’s just like a damn man.
  2. nix any insinuated incest - way too 1990's movie of the week. V's uncle was a mean person who had rage issues, period.
  3. nix Pink shirts are for helpless women that are the mercy of domineering men.
  4. rework  (Whispering, but in an assertive voice.)
    You never tell anyone what you are about to say to me. You hear, not me, not your priest, not your lawyer, no one. Don’t ever talk about it again. No one knows what you did and we are going to keep it that way. more movie of the week. needs adjustment.
  5. this does not work with our throughline, plot points or backstory, so i am cutting it. need to rework, following the throughline and the plot points:
    INT. THE VIDEOGRAPHER’s Apartment – Night.
    THE VIDEOGRAPHER hears thumping sounds coming from the ceiling, banging, thump, thump, it ruminants like a bass drum, shakes her house and makes her thighs tremble. She takes a deep breath, covers her ears and reaches for her camera. She staggers to the window and films her reflection against the casement. She begins to talk to herself as the thumping noises intensify.
    Cut to: flash back scene- narrator speaks over. Pan out to a rushing gushing blushing river as it rushes over grey rocks, two woman stand at the shore laughing. Narration comes over the image.

    EXT. At a Rushing River – Day.
                             NARRATOR
    Remember when you and Ophelia walked down to the Laertes River after your classes together? Do you remember smoking cigarettes and drinking her daddy’s whiskey she stole from his dresser drawer? Ophelia would talk about the boys in your classes. You would laugh and say how they annoyed you. You both really liked your teacher Mr. Horatio. You both admired his, strong back, soft skin and big brown eyes. He talked so nice and articulate; nothing like your uncle.
    Cut to: scene change, The Narrator speaks over the image.
    INT. The Two At Their Graduation – Day.
                             NARRATOR (CONT’D)
    Remember when you both graduated from High School? You went to different colleges, her at Dakota State in Madison and you at Black Hills in Spear Fish. But you still found time to drive 200 miles through the ice and the plains of the State you couldn’t wait to leave, every weekend.
    Cut to: Scene change, The Narrator speaks over the image.
    INT. Dorm Room – Night.
                   NARRATOR (CONT’D)
    One night, you told Ophelia ‘I can’t ever see my aunt and uncle again,’ she told she didn’t like her daddy, she called Claudius either.
    Cut to: Scene change, The Narrator speaks over the image.
    INT. A Restaurant – Night.
                             NARRATOR (CONT’D)
    And the two of you went out to Pang’s Place in Siuox city for Christmas together. You ate mash potatoes, minced pies and fruitcake and you kept asking her if she was hungry, but she just shook her head no.
    Cut to: Scene change, The Narrator still speaks over the image.
    INT. Dorm Room – Night.
    NARRATOR (CONT’D)
    You remember when her skin began to turn yellow? Remember when she clutched at her belly and told you about all the pains in her abdominals. Remember when she whispered,
    OPHELIA
    ‘The doctor’s say I have pancreatic cancer. They say I’m gonna die from it.”
    Cut to: Scene change, The Narrator speaks over the image.
    INT. Hospital - Day.
    She got so skinny; you tried to make her eat and she wouldn’t. You even brought her Swiss cheese her favorite kind of food with you every time you visited.
    Cut To: The present.
    INT. VIDEOGRAPHER’S APARTMENT – Night.
    Thumping sounds go on all around her from upstairs, she covers her ears.
    THE VIDEOGRAPHER
    (Crying)
    Stop it I remember. I don’t want to remember anymore.
    Cut to: Scene changes, The Narrator speaks over the image.
    INT. Hospital - Night.
    NARRATOR
    You sat by her hospital bed, playing cards all night until she forgot your name. Until she forgot how to talk; until she forgot how to smile; until she forgot how to laugh. You had to call the nurses to give you extra Kleenex, when Ophelia would fall asleep.
    Cut to: Scene change, The Narrator speaks over the image.
    EXT. Shots of Traffic – Day.    
    NARRATOR (CONT’D)
    Do you remember the 39 line the one that got you to the hospital? Do you remember the time you got stuck in traffic?
    Cut to: Scene change, The Narrator speaks over the image.
    Cut to: INT. Bus – Day Time.
                              NARRATOR (CONT’D)
    You shuffled your feet, stared at your watch and glowered at the little Chinese boy standing next to you, when he wiped his runny nose on your sleeve.
    Cut to: Scene change, The Narrator speaks over the image.
    INT. Hospital - Night.
    NARRATOR (CONT’D)
    Do you remember when you walked into the hospital?
    Cut To: The present.
    INT. VIDEOGRAPHER’S APARTMENT – Night.
    Thumping sounds continue to come from upstairs, THE VIDEOGRAPHER covers her ears again.
    THE VIDEOGRAPHER
    Stop it I want to forget I want to forget so badly it hurts, leave me alone.
    Cut to: Scene change, The Narrator speaks over the image.
    INT. Hospital - Night.
    NARRATOR
     A feeling like something was gone buzzed inside your stomach. You ran up to the forth floor. And when you walked into her room her family was gathered around her. When you came to see Ophelia that last time she did not breath no more. She asked for you, Claudius said when you rushed in. His thick mustache twitched and he smelled like old spice and Whiskey. In a moment of clarity Ophelia had solicited you, but you were on the bus, its wheels turning slowly like a windmill without any wind.
    Cut to: OPHELIA the same room as before, earlier. She opens her eyes. She looks around the room, her family circling her. She can’t find THE VIDEOGRAPHER so she ask.
    OPHELIA
    ‘Where is Adalyn?’
    Cut to: Scene change, The Narrator speaks over the image.
              INT. Hospital – OPHILLA’S Corpse On The Bed.         
                             NARRATOR
    You looked at her blue face, clutched onto her hands and thought about how alone she must have felt when she died.
    Cut To: The present.
    INT. VIDEOGRAPHER’S APARTMENT – Night.
    Thrashing noises keep coming from upstairs, THE VIDEOGRAPHER stares intently at her self, she puts down her camera and looks at her wrinkles in the window. She looks down at her camera very intently, the camera is older than her others. The narrator narrates as we see THE VIDEOGRAPHER inspect her self and her video-camera.
    NARRATOR
    She went out to a part town she had never been before and she wondered into a store she had never been before and she saw it in a glass case like a shining metallic tree in the sun. With it, she thought, I will never miss any single thing again. She then wondered why all her favorite people had to die.
    THE VIDEOGRAPHER looks up at the ceiling.
--


Thanks.
The Keskarel the Movie production team

Tuesday, November 15, 2011

Keskarel - update this week: The script is done!

Gmail keskarel navapeac <keskarel@gmail.com>

next week

keskarel navapeac <keskarel@gmail.com> Tue, Nov 15, 2011 at 2:54 AM
To: bymikelewis
Cc: Christopher Robinson
reading now. thanks, Chris.
---------- Forwarded message ----------
From: Christopher Robinson
Date: Mon, Nov 14, 2011 at 10:29 PM
Subject: Re: next week
To: keskarel navapeac <keskarel@gmail.com>


Here is the final final script I hope you enjoy it. I also hope you
are sleeping right now. It was great to talk to you tonight. I will
see you on Thursday.




--


Thanks.
The Keskarel the Movie production team




Final script for movie.doc
542K

Saturday, November 12, 2011

A message from AD Chris Arthur-Henly Robinson

Gmail keskarel navapeac <keskarel@gmail.com>

next week

Christopher Robinson  Sat, Nov 12, 2011 at 12:29 PM
To: keskarel navapeac <keskarel@gmail.com>
Okay I reformatted up to page 105. I am going to finish the rest on
Sunday night. You are more than welcome to read on, but it needs a
little more work.
[Quoted text hidden]


Final script for movie.doc
541K

Wednesday, November 9, 2011

A message from AD Chris Arthur-Henly Robinson

Gmail keskarel navapeac <keskarel@gmail.com>

next week

Christopher Robinson  Mon, Nov 7, 2011 at 1:43 PM
To: keskarel navapeac <keskarel@gmail.com>
I am going to reformat the script and do some more editing, so I will
send it to you on Friday so you can read it before I visit. I hope
that you are doing all right. I miss our meetings, I haven't heard you
and Mike argue in a while, this is very sad.

On Sat, Nov 5, 2011 at 9:21 PM, Christopher Robinson wrote:
> Okay I have to work until six, but I will come straight there, script in hand.
>
> On Sat, Nov 5, 2011 at 6:52 PM, keskarel navapeac <keskarel@gmail.com> wrote:
>> how about Saturday? we're shooting an A****le video, but probably will be
>> way done by 3 or 4 oclock.
>>
>> On Fri, Nov 4, 2011 at 5:03 PM, Christopher Robinson wrote:
>>>
>>> I would love to meet, maybe next Monday or Saturday. I hope that you
>>> are feeling a little bit better and I look forward to seeing you next
>>> week.
>>>
>>> On Fri, Nov 4, 2011 at 12:40 PM, keskarel navapeac <keskarel@gmail.com>
>>> wrote:
>>> > hey, i really can't stand talking on the phone at the moment. but maybe
>>> > we
>>> > can meet next week when you have time available. let me know.
>>> >
>>> > --
>>> >
>>> >
>>> > Thanks.
>>> > The Keskarel the Movie production team


Tuesday, October 25, 2011

A message to AD Chris Arthur-Henly Robinson

Gmail keskarel navapeac <keskarel@gmail.com>

Production Assistants

Christopher Robinson  Wed, Oct 19, 2011 at 11:12 PM
To: keskarel navapeac <keskarel@gmail.com>
I will talk to him tomorrow. I hope you are feeling better the script
is going very well in fact I am working on it at this very moment I
think it should be done in the next couple of weeks, hopefully sooner.
It's looking very good.


On Tue, Oct 18, 2011 at 3:16 PM, keskarel navapeac <keskarel@gmail.com> wrote
> chris arthur-henly:
>
> about your friends who you would like to work on the movie, please ask them
> to email "attn nena sylvia" with what they would like do, including what
> they already know how to do and what they want to learn how to do. tell them
> we start in January and once we have a schedule, we will make specific
> assignments. please ask your editor friend to send me links - no music
> videos or anything with a lot of effects; i am only interested in his
> experience with straightforward visual storytelling.
>
> --
>
>

> Thanks.
> The Keskarel the Movie production team

A message from sylviatoyindustries

i apologize for my absence - i have been holding vigil for my beautiful mother, Lela Shanks, who died yesterday morning. i am grateful to Mama for so many things - not least of which is encouraging me as an artist.

a lot is going on - Chris is almost done with the script, we are recruiting PA's, the actors are stoked and we will be shooting the real deal movie soon.
sylvia

Thursday, October 13, 2011

Keskarel The Script, by Chris Arthur-Henly Robinson

Gmail keskarel navapeac <keskarel@gmail.com>

Vimeo article: Slating
3 messages
keskarel navapeac <keskarel@gmail.com> Wed, Oct 12, 2011 at 4:51 PM
To: bymikelewis, Christopher Robinson, sylviatoyindustries
http://vimeo.com/videoschool/lesson/139/the-wonders-of-slating

--


Thanks.
The Keskarel the Movie production team




Christopher Robinson <christopherro73@gmail.com> Wed, Oct 12, 2011 at 11:58 PM
To: keskarel navapeac <keskarel@gmail.com>
Hey Sylvia, here is the script for our third meeting. Some of the scenes
are a little jumbled because they are additions, but most of it is
ordered from where we last read. I hope you enjoy it and I made sure
to keep all the same plot points.
[Quoted text hidden]


Script for Sylvia and I's third meeting.doc
91K
 
   
Cut to a man and a woman walking into Keskarel’s neighbor’s house. The house is decorated with crystals and exotic tapestries from exotic lands. Rocks line the windowsills; there are throw pillows on the ground and flowery multicolored striking scarves over all the lamps, making it dim. The two are lead into a living room by Keskarel’s neighbor, Zusa at night. Zusa is wearing a green head wrap and an ethnic print blue dress that almost touches the floor when she walks. Zusa points to a black leather couch that seems outside of the other decorations.

Zusa

Please sit down.

Cut to Jim and Jennifer as they walk over to the couch and plop down. The couple is in their thirties, dressed in casual business attire.

Cut to Jim and Jennifer as they sit, twitch and stare at the doctor until she interjects.

Zusa
Okay I will start the introduction process, Jim I spoke with Jennifer over the phone, my name was once Linda, but I have changed it to Zusa, which means sweet in Yiddish, but you don’t need to know that.

Zusa is suddenly quiet again as she watches them. She turns to Jennifer.

Jennifer it is so nice to finally meet you.

Cut to Jennifer smiling. Jim is looking around squinting his eyes. There is a long silence and Jennifer tries to break it.

Jennifer
What do you want us to start with doctor, do you want me to tell you about the problems Jim and I have been having.

Cut to the doctor as she puts her finger over her lip, SHHH—

Zusa
No, No I do not start my first sessions like that we wait and see.

Cut to Jennifer looking at Jim, Jim is glaring at the doctor.

Jim
What in the hell is that supposed to mean? I’ve never heard of any doctor waiting and seeing.

Jim looks at Jennifer who is looking at Zusa.

What the hell kind of place is this Jen I know you didn’t find it in the Yellow Pages?

Cut to Jim as he begins to yell.

Jim
What the hell is this Jennifer I demand an answer.

Jennifer
Sally told me about it Jim, now stop it, please for the sake of our marriage.

Cut to Zusa as she begins to laugh, cut to Jennifer with tears coming out of her eyes. They both look at her as her laughter resonates throughout the room.

Zusa
Good. Good you both are already doing so wonderful.

Jim
What in the hell is that supposed to mean? Damn it all to hell Jennifer what is this, this is one hell of a way to end my work day, the game was on and…

Zusa interrupts Jim.

Zusa
Now Jim I am going to need you to shut up. We are going to try something else—

Zusa pauses and looks around her place, Jim, with a scowl, and Jennifer are waiting for her. Zusa stands up and paces around stroking her chin.

Jennifer interrupts Zusa thought process.

Jennifer

What’s our next step Zusa?

Zusa glances back at them.

Zusa
When I say engage I won’t you to scream as loud as you can.

Jim

What the hell? No way.

Cut to Jim as he looks at Jennifer.

Jim
Jen I want to leave. I’m in hell. Literally this is my worst goddamned night mare, if there was a hell I would be stuck there with you and her.

Cut to Jen who does not acknowledge Jim, instead she looks at Zusa.

Jennifer

Jim’s like this he doesn’t like to try anything new he’s afraid someone will laugh at him.

Cut to Jennifer as she looks at Jim.

Aren’t you darling?

Jim
You’re the one that would rather rot in the depths of hell before you had sex with me.

Jennifer
Well if you tried harder and were more…

Cut to Zusa as she laughs again, the two look over at her and she yells.

Zusa

Engage.

Cut to the two as they stop and stare at her.

Zusa

Engage.

Cut to the two staring.

Zusa

Engage.

Cut to the two staring again.

Zusa

Goddamn it I said Engage.

Cut to the two staring. Zusa Pounds her fist on the table, looks up and glowers at the two.

Zusa

Engage.

Jim and Jennifer look at each other and then both yell as loud as they can.

Cut to The Videographer in the morning with a faint light coming from the windows. She tries to turn on a light, but it flickers, Close up as its last remains dwindle. She staggers around then sits on her couch exasperated. She stares down at her camera. She turns it on and it greets her, we pan out and see her talking to it, she mumbles under her breath.

The Videographer
You’re the only person. Thing—I got to talk to, my only goddamn friend. Goddamn it all my monies been taken, my good cameras gone and all I got is you and your preset message. You’re the only dam person in the world that will talk to me and you’re a fucking machine. No man…

Cut to The Videographer tugging at her hair and looking out the window.

The Videographer

No damn kisses—just you.

Cut to The Videographer looking back down at her camera.

The Videographer

Well good morning asshole.

Cut to The Videographer as she shakes the camera.

The Videographer

Good Morning fucker.

Cut to the power turning back on. The Videographer gets up, smiling, she runs to her light switch it flicks on then dwindles out again. She tries again and again, nothing. She claws at her hair and falls over her dresser. Cut to her stumbling out her front door into
the hallway. Pan out The Videographer is about to knock on Keskarel’s door, but she hears crying. She puts her ear against her door and frowns. She thinks about knocking but, decides not to. She shakes her head and walks back into her house. Cut to a long
shot of her silhouette as she sits on her couch playing with her camera. She watches as it slowly runs out of batteries.

Cut to wide shot into a close up of Keskarel at dusk going back to her old house, it is a white apartment complex with a red door. She stops by the front and paces around. She puts her keys in the lock and twist; she stops herself and takes them out. She shuffles around on the stoop, looks up at her old window and sighs. She looks up again, looks out onto the streets and the cars turns around and staggers back for home.

Cut to Keskarel in her living room looking at a necklace her husband once gave her, she strokes it and hums an old Russia folk song, we hear it come in like an orchraster as the camera pans out on Keskarel. Over the music we hear Mikael’s voice come in as we focus on the necklace.

Mikael

I will love you forever Keske, I really will I mean that, until the day I die.

We hear Keskarel laughing.

Mikael

Until my last dying breath.

Keskarel laughs again.

Keskarel

You are very silly, forever is too long to love someone.

Cut to Keskarel in the present as she takes a swig of vodka, pan around the room and make it spin like she sees it. Keskarel hums the same song louder and louder, music plays along, she takes another sip of her vodka. Then cut to the couple’s first fight at night
when Mikael gets off of work. Keskarel is lying on a couch in a bathrobe, fade into a medium shot of her eating a tub of pop-corn, we hear Mikael walk through the front door.

Cut to Keskarel in the present drinking another sip of vodka. She gets up and staggers around her house as loud banging comes from the upstairs.

Cut back to the fight. Cut to the couple’s apartment, pan around the room. There is laundry, cups and food wrappers strewn across the floor. Cut to medium shot of Keskarel as she watches her television (A Russian soap) which we show then switch back to Keskarel. She waves to Mikael as he walks in. We switch to a wide shot of Keskarel as Mikael turns off the television. Medium shot of Keskarel.

Keskarel

Why did you do that I was enjoying watching it.

Cut to wide shot of Mikael as he paces around the room, he exudes exasperated sighs, masculine moans, ECT. Long shot of N as walks in front of the front of the television.

Mikael

You are…

Cut to Keskarel who is looking at Mikael wide eyed and pensive.

Keskarel

What am I?

Cut back to Mikael hand held medium shot shaking.

Mikael

You’re a disappoint. A complete and total disappointment.

Cut to Keskarel long shot as she crawls into a ball. Cut to Medium shot Mikael as he strides across the room looking out the window.

Mikael

When we first met— when I asked you to marry me, I would have never imagined you would be like you are now—lazy and self-obsessed and…

Keskarel

Self-obsessed?

Mikael laughs.

Mikael

Goddamn it Keskarel your English you have to get better—

Keskarel

I am trying. I am trying to be better wife I just take break because it is very hard trying to be good wife. It makes my body shake.

Mikael

Your body shake huh? Did it shake all day did it exhaust you?

Mikael comes in closer to her shaking his head. Keskarel is quiet.

Mikael

I am trying to be mean, but you’re a fucking disappointment. What am I supposed to say to the guys at the office when we talk about our wives? Am I supposed to lie and say you’re wonderful?

Cut to a medium shot of Keskarel as she curls into a tighter ball. Cut to Mikael as he walks away from Keskarel and paces around their place again. He pulls at his hair and sighs. We circle around the two, long shot of Keskarel.

Keskarel

I like our life very much together there is no need for us to be mean.

Cut to Mikael as he looks back at her, the living room is becoming darker. He laughs.

Mikael

Maybe our life is good for you—but me, (he points to himself and then hits his chest) it’s fucking awful.

Cut to medium shot of Keskarel who is sobbing quietly. Cut to Long shot of Mikael with the hand held as he looks out the window again. He quiets his voice almost like a whisper as he goes on.

Mikael

I know you can get better Keske.

He raises his voice gradually.

Mikael

When we first got married I thought I was the luckiest guy in the world. I really did I even called my parents and told them so. I smiled a lot more then and now…Well I got to believe I can get back to that place.

He looks up. Cut to Keskarel tensing up getting out of her ball.

Keskarel

If you need change I can do it, but I cannot when you are mean. We are man and wife. We are friends and lovers. We are not enemies we are a team.

Mikael

If you don’t want me to be mean, don’t be such a disappointment it’s that simple—you don’t do anything, ever. What happened to you?

Cut to Mikael as he raises his hands in the air.

Mikael

You know what it really doesn’t matter what I say, you’re impossible.

Keskarel

I am not impossible. I will try harder, if you try to calm self.

Cut to Mikael, medium shot the house is almost all the way dark.

Mikael

I’m so frustrated with you baby.

He points at the dinner table.

Mikael

No dinner.

He points at the clothes on the floor.

Mikael

No clean clothes. What am I supposed to wear to work tomorrow?

Cut to circling around Mikael with a hand held, medium shot. Cut to Keskarel, close up of her face, she grinds her teeth.

Keskarel

If this is how you feel it is important. I will try much harder I promise, don’t be angry with me.

Cut to a long shot of Mikael as he looks at her, than back out the window. Close up of his face as he sighs.

Mikael

I had such big dreams when I was a child such big dreams and now look at me. For God sakes Keske don’t you have any pride? My parents would roll over in their graves if they were dead. Seeing me live like this, my mother always kept a clean house.

Cut to Keskarel as she watches Nidal collect his things. He does and then he begins to make his way to the front door.

Keskarel

When will you be back?

Mikael

I’ll come back when you realize how lucky you are to have me.

Keskarel

When will that be?

Cut to the present, medium shot of Keskarel as she takes another sips and lays her head onto the ground. The camera fades out.

Cut to another therapy session. The same couple is in the living room at night same setting as before, sitting in front of the Psychiatrist who is playing with her hands and staring at the two. Jim breaks the silence.

Jim

What the hell are we going to do today?

Jennifer sighs.

Zusa

Jim you have a propensity towards anger.

Zusa smiles.

A real hell of propensity towards anger.

Jim

I don’t. And if I do it’s because this (Jim puts his hands up to indicate parenthesis) therapy is bull shit it is the dumbest thing…

Jennifer interrupts.

Jennifer

Jim tries to dominate to show his (Jennifer puts her hands up to indicate parenthesis) male superiority.

Jim

What the hell that is not true.

He looks over at Zusa

I took a women’s lib class in college once and I…

Zusa interrupts.

Zusa

Silence!

Cut to Zusa throwing her hands in the air.

I think your scared Jim.

Jim

What the hell am I scared of?

Zusa

Women Jim. You’re so scared it keeps you up at night. I think you try to understand them, but you cannot and that is why you are so inadequate and you feel alone Jim. You feel like you are nothing and the world weighs down on you so hard that you are just a little shrivel of a man that only has a whisper of a voice.

Jennifer laughs. Cut to Jim looking at her, then back at the psychologist.

Zusa

Jim I want you to hit me like you want to hit Jennifer.

Jim

No what the hell I would never hit Jennifer. No hell no I don’t hit women and I…

Zusa interrupts.

Zusa

Hit me you pussy. You coward of a man.

Cut to Zusa standing up, she is wearing a multicolored Kimono it flaps, she spins in a circle, yelling.

Zusa

Hit me, hit me you coward, hit me, hit me.

Jennifer is laughing. Cut to Zusa glowering at Jennifer, while Jim shakes clutching his fist.

Zusa

Why are you laughing Jennifer. Misses weak little pathetic angry man. I haven’t seen anything between you two to even make me want to help you. Your pathetic worthless people who don’t know how to live.

Cut to Jim as he takes off his tie and rises up and tries to attack Zusa. He lounges forward and misses, our psychologist pushes him down on the floor.

Jennifer

What the hell are you doing? Stop it Zusa.

Zusa kicks Jim. Cut to Jim staggering back up to his feet. Cut to Zusa pushing him down again. Cut to Jennifer as she tries to intervene, she lounges then gets pushed onto the floor with her husband. Zusa kicks Jim, runs to his wife and kicks her too. dragsZusa Jim across the floor and sits him up under the window sill lined with quartz rocks. Cut to Jennifer looking up at Zusa and Jim with a bloody nose. Zusa clasped onto Jims bloody lips and squeezes them together as she looks at Jennifer. She lets go and smiles.

Zusa

That was perfect you too. You see you’re working together. You were beautiful there absolutely beautiful. You see that you still love one another.

Zusa stares at the two.

Zusa

Get up.

The two look at each other.

Zusa

Get up and sit your asses back on the couch.

Cut to Jim and Jennifer as they stagger over to the couch. Cut to Zusa as she takes a deep breathe, sits down and smiles as she sits across from the two.

Cut to Keskarel looking up. Cut to The Videographer doing the same thing.

Cut to The Videographer knocking on Keskarel’s door. It is mid afternoon. She is holding two metal chairs in her hand. She sets them down as she waits for Keskarel to answer. Keskarel opens the door.

The Videographer

I am sorry I…

She gives Keskarel one of the chairs. Keskarel takes it.

Keskarel

Thank you. What are these for?

Cut to The Videographer as she pushes her way through the door. She is carrying one of the chairs and her cameras.

The Videographer

You need some furniture. I found these in my storage just lying there unused—my damn fuses blew out again I need to recharge the batteries.

Cut to The Videographer as sets her chair down and her camera’s on top of it. Cut to The Videographer as she she plugs in her chargers. Keskarel sets one of the chairs down silently next to The Videographer and runs into her kitchen. We hear her shuffling in the background looking for something. Cut to The Videographer as she plugs her camera in the charger and sighs. Keskarel comes out holding a very poorly wrapped present for The Videographer. When The Videographer looks up at her, Keskarel is smiling.

Keskarel

We both buy each other presents, how silly is this?

The Videographer doesn’t say anything. Keskarel sets the box in her lap.

The Videographer

What the hell is this?

Keskarel

Unwrap and you will see.

The Videographer looks down at it before unwrapping it and laughs.

The Videographer

They don’t teach you people to wrap presents in Russia?

Cut to The Videographer as she tears open the gift.

The Videographer

This really is the worst wrapping…

Cut to The Videographer mouth opening as she stares at the box.

Keskarel

The man at video store said this is best camera, he has.

The Videographer gasp, she gets out of her seat and goes to hug Keskarel, but backs away before getting there.

Keskarel

It is charged already, you no need to plug it in. I thought we could go to park and you can film things like you like to do there where it is pretty instead of here and we can talk.

The Videographer

Is this black mail or something? I mean why on earth or anywhere else would you buy me a camera?

Cut to Keskarel smiling.

Keskarel

What is black mail? I don’t know what this means, but if it bad thing, no, I just trying to make things right that I made wrong.

The Videographer

You come from one of the most corrupt countries on the planet and you don’t know what black mail is?

Cut to Keskarel shaking her head.

Keskarel

Not all of my country is bad and corrupt. There are many good people and things. It is beautiful day I do not want to stay in home.

The Videographer

If there are good people there why did you leave… Oh never mind—what the hell did you mean make right the wrongs I don’t understand? Jesus now I sound like you.

Keskarel

I saw you get stuff stolen and I laugh at you and then I laugh at you when you outside of store. I was hurt that you always mean to me. I want to make peace and you no need someone not to laugh, you need friend. Now everything is okay.

The Videographer

Buying presents for me to make everything okay. You’re just like a damn man.

Keskarel

I can take back if you don’t want.

The Videographer

No, no, no.

Keskarel

Taking present to make everything okay is just like woman.

Cut to The Videographer smiling.

The Videographer

A lot of people laugh at me I don’t care, but no one’s ever gotten me a camera before.

Keskarel

It is meant for friend to enjoy. Let us go to park now and you can enjoy it.

Cut to the two getting up, as they walk The Videographer turns and looks back at

Keskarel.

The Videographer

This still doesn’t make us friends.

Cut to Kekarel as she nods her head.

Keskarel

Of course we are friends now.

Cut to the two at the park. The sun is shining, the wind is blowing and the world is at ease with itself. The Videographer puts her camera together and begins to film stuff after she’s finished.

The Videographer

Okay now we are here were at the stupid park, what do you want to do?

Keskarel

We enjoy its beauty why the sunshine’s down on us. We make jokes and be normal like
friends do.

Cut to The Videographer pointing the camera at Keskarel.

The Videographer

Don’t you people say comrade in Russia? You use the word friend so goddamned much I don’t get it I thought it was comrade this and comrade that?

Keskarel

We enjoy parks beauty and talk like comrades. We be normal.

Cut to The Videographer filming the people around her, dogs running children laughing, young couples kissing.

The Videographer

You can’t just snap your fingers and be friends with someone, no matter how hard you try it doesn’t happen like that, it’s not about proximity or what should be, it’s about what happens. It’s natural.

The Videographer stops filming and admires her new camera.

Although I got to say this camera sure helps with the whole friendship thing you love so much.

Cut to Keskarel smiling.

Keskarel

If what you say is true about friends then why you have no friends. You old and you have many opportunities for natural friendships to occur?

Cut to The Videographer as she sets her camera down.

The Videographer

Old—you’re not much younger than me. Watch out it sneaks up on you and bites you like a snake, and I used to have friends, but there all dead now.

Cut to Keskarel as she laughs.

Keskarel

All friends are dead did they all die at same time?

Cut to The Videographer as she laughs. Keskarel pulls out a flask, filled with vodka. The Videographer points her camera at her. Keskarel takes a sip then she hands it to The Videographer.

Keskarel

Drink.

Cut to The Videographer as she sets her new camera down and stares at the flask.

Keskarel

This is the way many friendships start in my country—comrade.

Cut to Keskarel as she smiles at The Videographer, The Videographer looks around as she goes to take a swig.

The Videographer

I can’t believe I am doing this. Drinking “wodka” in the park with a Russian, how cliché.

Cut to The Videographer taking a taste, she almost gags. Keskarel reaches for the bottle. The Videographer shoes her hand away and takes another. After she has finished she hands the flask to Keskarel. Keskarel takes a sip and wipes her mouth. The Videographer holds her camera in her lap and plays with its many features.

Keskarel

See it is good.

The Videographer

It ain’t good, but it’s doing the trick.

Cut to The Videographer shooting again. Keskarel has her hands behind her back, she’s leaning back and enjoying the closest star to earth’s wonderful rays as beads of sweat drip on to the table below the women.

The Videographer

I have had friends before.

Cut to Keskarel looking up at her and straitening her back.

The Videographer

I used to have a man and he was my best friend. We even lived together. He was the best friend I ever had. He was sweet and handsome and he liked me and I loved him. I mean he got angry sometimes that I was always filming things, but he loved me. And we
laughed. Oh how we laughed and we made passionate…

Keskarel

Passionate what?

The Videographer

We had great sex.

Cut to The Videographer as she takes the flask from Keskarel and takes another sip.

The Videographer

I can’t believe I am telling you this.

Keskarel

Tell me more please don’t be embarrassed.

The Videographer

I am not embarrassed.

Cut to The Videographer, she pauses and picks up her camera again.

The Videographer

He took me out to dinner and he introduced me to all his friends and I liked his friends, they were interesting and funny and then…

Cut to The Videographer as she stops.

Keskarel

And then what?

Cut to the two being interrupted by a loud banging sound, something drops and it resonances like thunder. Both women jump back. Cut to them as they look at each other.

Keskarel

You tell me the rest later.

The Videographer

Maybe.

Cut to the bang. Both woman jump back again. There is silence and then Keskarel breaks it.

Keskarel

Have you heard something like? Um…something like that bang? It is like a walking on the roof, like a stomping, like thunder in a rain storm.

Keskarel stomps her feet.

Then there are screams. You hear?

Cut to The Videographer as she points her camera at Keskarel.

The Videographer

No I’ve never heard it.

Keskarel

It is very loud. It would be very hard not to hear.

The Videographer

I have my head phones on a lot, so I’ve never heard it.

Keskarel

This sound is loud, you can hear from headphones?

The Videographer

Never have.

Keskarel

You have say you hear me before, how you hear me and not noise? I think you hear sounds like I do.

Cut to The Videographer as she raises her voice.

The Videographer

Those sounds, those bangs like thunder. What goes on in other people’s places is none of our business.

Keskarel

You do hear than?

Cut to Keskarel as she intently looks at The Videographer. The Videographer looks away.

Keskarel

We pay for quiet, we pay for peace, we pay for freedom, when we hear strange noises, it is our business.

The Videographer

No, it isn’t.

Keskarel

We are supposed to let loud violent sounds go on without helping and…

Cut to The Videographer interrupting. She sets down her camera and stares at Keskarel.

The Videographer

There is nothing we can do about it, there’s nothing. People that do that shit are crazy, what they do is…I can’t talk about this with you.

Keskarel

First you no want to talk about man you once loved and now this. You must talk about something. It is scary.

The Videographer

Yeah it’s scary, people that do shit are really scary. There monsters. That is why you stay out of the way and hope they don’t pay attention.

Keskarel

I know but sometime we must...

The Videographer

You don’t know. You don’t know like I know. Your parents…they didn’t just up and leave you, they didn’t die in a car accident when you were a little girl; did they?

She doesn’t give Keskarel time to answer.

Your parents didn’t leave you with a crazy monster that…

Cut to Keskarel as she grips onto The Videographer’s arm. The Videographer thinks about pulling away, but she does not, she leans in closer.

Keskarel

I am very sorry you suffer so much tragedy. Would you like more vodka?

The Videographer

Yes.

The Videographer takes the flask from Keskarel. She holds it up to her lips before she takes a taste then goes on and takes that sip. She nearly gags then she wipes her mouth and looks away.

The Videographer

When my parents died, I had to go someplace. My grandparents decided they were too old to take me. The only other family I had left was my aunt and uncle. The first thing I remember about my uncle is that he used to stick his head in my bedroom door every goddamned night and yell, “go to sleep.” I would lay in my bed shaking and waiting.

The Videographer stops and whispers

Waiting for...

Cut to the Keskarel interjecting after The Videographer is silent for a while.

Keskarel

What were you waiting for?

The Videographer

Would you stop asking me questions and let me tell the goddamned story.

Keskarel smiles and lowers her head after The Videographer glares at her.

The Videographer

Waiting for him to become a monster. I’d hear my aunt screaming and then I’d hear their door slam. Then I heard locks, he carried around keys and he locked their door from the inside. And I’d be waiting for it all to stop so I could do what my uncle wanted, but it
wouldn’t stop and I could never get to sleep. My aunt would just keep screaming all night long. I would try and put my pillow over my head and I would bit down on it. And I’d hear the same sounds than that I hear coming from upstairs.

Cut to The Videographer pausing scratching her thigh.

The Videographer

The next fucking morning my aunt would walk past my door and she was always all banged up, but she’d act like nothing happened the night before. You never knew when or how it was going to happen. I was so afraid he might do it to me. So I never said anything and I can’t talk about that. Okay?

Keskarel leans in close and puts her hand on The Videographers shoulder.

Keskarel

When you talk you heal self—finish story.

The Videographer

No, no there is not enough vodka in the world to make me keep on talking about this.

Cut to The Videographer waving her hands in the air.

Keskarel

You must talk about problems. It is only way to combat bad things that happen to you in life.

The Videographer

No…cut, cut, cut, that’s the end.

Keskarel slips her hands into The Videographer.

Keskarel

This is why you are so strange, you afraid of people. The more you talk about things the less strange you become.

The Videographer

No, not today, not any day.

Cut to The Videographer rises up and walks away. tries to extend her arms out.Keskarel The Videographer pushes them away. Keskarel calls out after her.

Keskarel

No stay please, we were becoming friends it was natural good thing.

Cut to The Videographer as she turns around about twenty feet from Keskarel.

The Videographer

Thank you for the camera Keskarel. It is very beautiful, I mean that, thank you from the bottom of my heart.

Cut to The Videographer as she turns around and walks away shooting the scenery around her.