Thursday, July 28, 2011

A message from Chris Arthur-Henly Robinson: "Hi Sylvia here is the last scene."

Gmail keskarel navapeac <>

hamlet in russian - please listen to this pronunciation and practice saying it by thursday night
2 messages
keskarel navapeac <> Tue, Jul 26, 2011 at 10:32 AM
To: diana slampyak,  Nima Nejad, Christopher Robinson|ru|hamlet


The Keskarel the Movie production team

Christopher Robinson  Wed, Jul 27, 2011 at 5:36 PM
To: keskarel navapeac <>
Hi Sylvia here is the last scene. After I finish my summer session in a
couple weeks I would like to complete the script the week in a half I
have off before my fall semester begins, at least most of it. It
should be pretty easy since we have all the material right here. We
can figure out the fill in shots we will need tomorrow. I think we
want this one, the beach scene and the one where we show K moving in.
Also a little blurb about this scene; I wanted to start the scene
before K and V go to K’s old home. I thought it would be a more linear
storyline if there was a beginning to this scene even though it starts
in mid shot.
The Very Last Scene.
(K and V are walking down the street together, we film the two with
the hand held, medium long shot from the front. Also the two have been
drinking the “wodka.”

a. The two are silent while they walk and look around at other things
going on around them, until K says “What happened next? You forgot to
tell me the last part of the story.”
b. V heaves a great big heavy sigh before saying, “We started seeing
each other."
c. “Couldn’t you already see each other?”
d. V shakes her head, “It is another way of saying dating.”
e. K looks confused, “But I thought you did not like him, you said he
was ugly, why would you see an ugly man?”
f. “I was lonely and he told me he would lose weight if I went out
with him. (V giggles) I made it clear that I have not nor will I ever
date a fat person—what a loser he did what ever I told him…”
e. K interrupts, “I think this man is very romantic, he wanted to
change so you would like him. It is very hard to lose weight.”
f. V responds, “It wasn’t romantic and he never lost the weight it was
embarrassing to be seen with him.”
i. K grins, “Maybe if you were nicer you could see a man that was not fat.”
V doesn’t say anything, the two walk on and with out saying anything K
walks into a convenient store (any store is fine) and buys something,
(we keep the camera focused on them from behind then we switch to a
long shot from the front while the two stroll on the street again. V
films K as she attempts to stuff her change into a money belt, money
is going every which way falling on the street. K scrambles to pick it
a. While K scampers around on her hands and knees, while V films her
and asks, “How do you have all that money? I've never seen you work?”
b. K collects all her cash and rises up and the two go on, V continues
filming the events of her life going on around her. K suddenly stops
and decides to take a seat. V stops camera still in hand, looks back
at K then walks back over to her and takes a seat then asks, “Why are
you sitting?”
c. K speaks softer than she had been before and replies, “I am sad?”
(Close up of the two with the hand held, mid body shot)
d. “I’ve never seen you when there was not some twinge of sadness in you.”
e. K doesn’t pay attention, “Before I got married my grandmother
handed me a large pile of money and said to me (K clears her throat
when she speaks again she smiles and imitates her babushka) “You are
marrying an Arab man, I have known some Arab men and I have never
trusted any of them. (K clears he throat again, smiles and continues
in a more familiar voice, “She told me to hide the money and never let
him see where I hid it; so I did what she said. (K stops then collects
herself) This was stupid of me he would have never stole the money
from me he was, is a good man.
e. V looks around with her camera while she say’s, “Why are you always
so sad? You’re a mess.”
K gets up from the curb, mutters something to herself and begins to
walk (We fade out into a long wide shot) V staggers up behind her and
a. “Where are you going?”
b. K raises her hand up to hale a taxi, they find one and before they
get in, V turns to K and asks, “Where are you going?” K doesn’t
answer, the cab zooms on, V say’s, “I’ve never known anyone who gets
in a cab without knowing where she is going.” (We film the two from
the front seat with the hand held, medium mid body shot)
c. K responds with, “I am tired of being sad so I will speak to my
husband now.”
d. V laughs “Alright.”
c. (K looks at V likes she wants to say something else, but she does
not and instead stares out her window, while V films out hers. The two
are quiet until they reach the house. When they get out, we do a long
shot with the camera as they open the doors and watch the cab ride
away. They walk towards us, but we still stay in a long shot.
From here we use the material of the two we shot on Nima’s birthday.
We will begin again from the point where they are all running after K.
K runs, they follow; K runs, they still follow then K looses them in
an alley. Once lost she dashes into the subway. We follow K with the
hand held from behind, in a long shot as she walks down the stairs
into the darkness. She pays, descends down more steps and lurks down
to the darkest corner of the train station. She takes a seat and rocks
back and forth, wondering why she went to see her husband then ran
away from him when she saw him and left her friend. We film the whole
of the station and then we see K and Nima walking down the stairs to
look for our protagonist. V trails behind Nima as they look around the
place, (We follow them from the front, a long shot into a medium shot
as the two try to find K. At some point, still unable to discover K's
where about, Nima looks back at V and says,
a. “What are you doing? Who are you and why are you here?"
b. V says, “I’m looking for K (she pauses) then says, “She's my friend.”
c. Nima laughs, “I'm her husband—why don't you leave us alone, this is
a matter between a husband and his wife.” (I am going to leave this
next line up to your discretion. I figure V would be able to respond
to a line like this better than I could.)
(After a verbal scalding, the two silently continue their search. They
eventaully find K hiding in the corner and walk over to her, (We still
our following them with the camera, long shot. I would like it if we
had two cameras going, when they find K, approach her and stand by her
we fade into a medium mid body shot while they talk, we can rotate the
camera to each character while he or she speaks) I do not want to
write this I think it would be better resolved with improve. The
ques—Nima starts out the conversation with, why did you run away from
me. I also want Nima to ask K why V is there many, many times. I want
K to express her regret with an enormous amount of sympathy and leave
with V I want the last shot being the two walking off into the
hypothetical sunset together why Nima watches)
[Quoted text hidden]

Sunday, July 24, 2011

Keskarel - update this weekend

First rushes from yesterday. Clips from this segment are rendering in the timeline "as we speak," and the updated storyboard will be posted before dawn.

Friday, July 22, 2011

Keskarel - update this week: The final cut, 3rd Pass - we are almost done!

This is the final version, minus 1) the pivotal incident subplot storyline scenes, nicknamed 'Hamlet + Ophelia' and featuring Steven Lewis + Sapna Gandhi; 2) the ending, which the characters have not revealed to us yet; and 3) pickup. We will post the last pass with the real ending and all the pickup we shoot for the rest of this summer on September 18th, after the movie is screened in San Francisco for a private audience in September 2011!

Thursday, July 21, 2011

A message from sylviatoyindustries

putting my photo in this post because it gets really personal for me this weekend, when i shoot the Hamlet + Ophelia scene with my youngest "sibling," brother-in-law Steven Lewis (whose first love is theatre!) and my dearest, darling Sapna (Sapna Gandhi), who gets shockingly more beautiful every year! it is so flattering that two people (who have LA agents getting them auditions and work on a regular basis) think it will be fun to work on my 'little movie.' wow!

Wednesday, July 20, 2011

A message from sylviatoyindustries

progress on the final cut
i worked on the sound last evening and it is much improved. tonight i will be doing a little resequencing, having: 1) watched the Storyboard twice in the last 24 hours; and 2) had a 20 minute story conference with AD Chris; 3) the placement of some events is just wrong and doesn't make sense in the world of the Story

planning pickup
in chronological order (we will add to this list):
1) return to the laundromat with Diana and show Keskarel with the money belt, having had her freakout, start thinking about her next move, which in the real world would involve money. we still like the idea that her grandma insisted on giving her a stash of cash "just in case," and think it likely that Mikael, in the last scene or so, will ask her what she's been living on.
2) show 2 scenelets or so leading up to the Videographer putting a "don't even think of knocking" sign on her door.
3) reshoot the Videographer hearing the neighbors' "fight" without!!! sculpture in the frame.

Keskarel Plot Development: Epiphanies and confusion

Text to AD Chris from Sylvia -

Epiphanies: 1. All 3 including the husband the videographer and K have to go to the beach for the beach scene. 2. The videographer has to resolve the neighbors' noise issue because she's the one with the hangup.
Email to Sylvia from AD Chris -
I was confused about the text I received earlier today, I think we should just stick to the things we talked about, I guess I just don't understand it. I want to write the final scene tomorrow and I think you should write the scene selection piece and I can take a look at it because you probably have a better idea of what you want from the story. After I finish the last part we should have a story conference and figure out what all else we need to do.

Text to AD Chris from Sylvia -

i understand. we will talk. please watch the whole new version of the storyboard. or we can watch it together. you will see it's already almost complete. the domestic disturbance subplot must be resolved, as does the "triangle" of friendship, namely k, V and mikael

keskarel's money situation should be dealt with in the first scene - i suggest shooting pickup of k in the laundromatic right before she runs out - when it's logical she'd start thinking about her next step - revealing a money belt under her shirt, full of euros & dollars. done and done.

Keskarel: New scenes by Chris Robinson

I am going to need help with sequencing this scene. I get right to the action in it with no explanation and I bring a little bit of back story into it, because the girls have yet to really gossip about men and I think that needs to come into the equation a little bit if only for a brief moment. - Chris

Monday, July 18, 2011

Dear Zentropa

no, i am not crazy. i view all artist's queries as requests for information. if i get more than just a form letter back (you'd be surprised how often it happens - reason i do it), there likely will be information that helps me write my next query. - sylvia


Keskarel, A Quicktime Storyboard - The final cut (Second Pass)

This is the final version, minus about 3-5 scenes and more timeline cleanup. The movie will be screened in San Francisco for a private audience in September 2011! We will post the last pass at that time. Keskarel is a feature-length Quicktime storyboard in progress, directed and produced by sylviatoyindustries. The writer and Assistant Director is Chris Robinson. Our Keskarel is Diana Slampyak, an SF Bay Area actor with extensive improvisation experience. The cast also includes Nima Nejad, Nidal T. Musallam, Steven Lewis, Sapna Gandhi and Nena St. Louis. Our guest cinematographer is Michael Lewis. Keskarel is shot on Canon Vixias.

Friday, July 15, 2011

A message from sylviatoyindustries

Last night, the Keskarel company was smokin' - mostly Nima, who was on-camera by himself most of the time. We found out that he's ticklish, can always find his mark and his voice can go down quite low when he growls "Kesky." We also found out that Nidal is the personification of pokerface. That's all i'll say for now. rushes by midnight.
- sylvia

Wednesday, July 13, 2011

A message from sylviatoyindustries to the Keskarel Cast: Hey Nima: But it's your birthday!

                                         keskarel navapeac <>

hey, Nima!

keskarel navapeac <> Wed, Jul 13, 2011 at 3:56 AM
To: Nima Nejad
Cc: diana slampyak, Christopher Robinson, Nidal
thursday the 14th is your birthday? you don't really want to shoot on your birthday, do you? especially since you're the one who'll be doing the heavy lifting in most of the scenes! we'll have a cake for you, for sure - but it's up to you.


The Keskarel the Movie production team

Keskarel - update this week: The final cut begins - we are almost done!

Gmail keskarel navapeac <>

The new timeline

keskarel navapeac <> Tue, Jul 12, 2011 at 11:29 AM
To: diana slampyak, Nima Nejad, Nidal, Christopher Robinson
Cc: Sapna
guys, this is the plan for the final version, minus about 3-5 scenes - i need nima & diana to watch the first scene - it is very different, and will change what happens, which likely involves the audience finding out right away when Nima/Mikael gets up off the floor laughing, and then waiting for K to come back - which of course doesn't happen until the end of the movie. Since Nima is available this Thursday night, Nidal, I hope we can get a short scene of him coming into Nabila's with a photo and description. Most likely, Nidal's character will lie, thinking he's protecting Keskarel. Also, as it turns out, not knowing the City, K also doesn't know that the laundromat where the taxi dropped her off at the end of the movie (more about that later this week), is only a few blocks from Nima/Mikael's apartment.
More later.

Monday, July 11, 2011

A message from sylviatoyindustries to the Keskarel Cast

Gmail keskarel navapeac <>

Tomorrow night

keskarel navapeac <> Mon, Jul 11, 2011 at 8:13 AM
To: diana slampyak, Nima Nejad
Cc: Christopher Robinson
hey, Diana said she accidentally deleted this, so i'm resending.

i spent 7 or 8 hours yesterday cleaning up and resequencing the storyboard. after seeing the flow, i think we will hold off on the second laundromat scene (below). even with trimming, the movie is 63 minutes. a first film like this will just not be crisp if there is anything redundant. crispness helps balance unknownness.

you all should know that the old kitchen scene has been chopped up and woven into the laundromat scene as flashbacks. i think once i clean up the transitions the pace of the scene will be at a nice clip. however what that means is that scene is still happening after what we shoot tomorrow night, and we will have to have some scenework to show the couple temporarily making up before the big gundown. the storyboard is rendering, now and it will take all day. but once it's up tonight, it would be a good idea for you all to watch the beginning of the movie. i will send the link tonight, or you can watch it on the blog or Facebook.

also, Mike and i will reshoot the Videographer with her headphones on with no sculpture in the picture. that is a continuity fix that's simple.
---------- Forwarded message ----------
From: Christopher Robinson
Date: Sun, Jul 3, 2011 at 1:16 PM
Subject: Here are three more scenes
To: keskarel navapeac <>

Hi Sylvia, I had a lot of dreams last night, woke up at six thirty had
brunch with my wife and got to work. So this would be a combination of
the many things we have discussed for our project. I hope you enjoy
the beats.
I figure we need two more scenes after these three. For the next scene
I would like a beat where V convinces K to go back to her husband, K
says something like, “I want to go to the beach first, it is the place
where I think best, the place that gives me strength.” V agrees then
the two get lost and do not end up making it back to Nima’s.
In the final scene V can say something about a surprise she has for K,
K say’s, “I love surprises,” and the two can take the bus back towards
Nima’s. Along the way V convinces K to go back home. I would like to
improvise the meeting between Nima and K; I would like to show K
waiting by the steps for him. He comes in sees K invites her in, they
talk, things happen and our movie ends.
I would like the grocery store scene to be improvised, but we should
meet up and together we can make the prompts. We can also think of
more scenes if needed.


A message from AD Chris Arthur-Henly Robinson

Gmail keskarel navapeac <>

The last 2 scenes

Christopher Robinson  Sun, Jul 10, 2011 at 10:48 PM
To: keskarel navapeac <>
Hey Sylvia, this is the second to last scene as clearly marked below. I
am still working on the last scene.
I might have to get it to you by tomorrow afternoon. I have a rough
draft for the last one, but I spent a lot more time on this last scene
then I thought, but I really love it and I hope you do too.

Second to the last scene

Both of the girls are riding on a train headed towards the ocean; we
follow them around with the hand held; wide shot, until they find a
seat. When they sit down, we pan into a close up of their faces, they
do not talk to each other, instead they both look at the other
passengers and the scenery. V begins the conversation; K is staring
down at her shoes, humming something. We keep the camera focused on
them from the adjacent seat to theirs just showing their faces and mid
sections or what ever you see when you look behind at the next seat on
a MUNI train.
a. V is looking outside when she says, “You don't want to be alone
when you’re my age. You don’t, really its no way for anyone to live.”
She turns around and stares at K who is still looking at the ground,
she waits for K to lift her head.
b. K lifts her head and says, “Maybe, I should not be alone for the
rest of my life with a different man that is not my husband.
c. V looks away and giggles then says, “He’s probably the only man in
this city that would marry you.”
d. K ignores her and glances around the bus. When she gets a thought
she stares at V and whispers, “There must be a reason I mean,” she
leans in closer, “there must be a reason I hit him. There must be a
reason I killed him.”
e. V: “Except you didn’t kill him.” She looks intently at K as to make
some profound point that is lost on her. “You hit your husband because
you were angry. People get into ridiculous arguments when they get
f. K: “Have you ever been married.
g. Pan out to medium shot of the window V looks out. She twists around
to K, we go into the same adjacent shot in front of our ladies as V
say’s, “What was wrong with him? You said that you married the wrong
man, why? I know, he didn't hit you,” V laughs, “You’re the one that
hit him—was he mean to you or something?”
h. K looks away, out her window and mumbles. “No, but still he may be
the wrong man for me.”
i. “When people get married they are stuck together like glue. Stuck,
stuck, stuck…That is why I have never been married I don’t want to be
j. K shakes her head. “I love this city. The architecture is so beautiful.”
k. V looks straight ahead. “If anything he married the wrong…” V stops
herself. “You cannot hide out in that apartment you have, that is no
way for anyone to live.”
l. K turns around and stares at her: “I don’t understand you just said
you will never marry, why do you care about my marriage?”
m. V: “Because some people are not meant to be alone—I’m fine—but you,
but you are the type that needs someone else.”
n. K has tears running down from her face, there is a brief pause as
she looks out the window and says, “It has always made me feel so good
looking at the pretty buildings in this city and the trees in the
o. V goes to put her hand on K shoulder as she glances out her window,
but cannot seem to set it down. She rests her hand down on her own lap
and says, “Things will be better if you’re with him. You won't have to
live in that cruddy apartment of yours.”
p. K is still looking away. We pan out to get her P.O.V. wide shot of
the window as the train goes by Golden gate park, we hear her whisper:
 “When I look at the trees here I feel like I am in a rain forest,
they do not have trees like this where I come from. They only have
long lines of factories and snow. They only have women that stand in
long lines to get married to rich men, they think will take them away
to someplace better.”
q. We switch back to the original close up of the two from the seat
ahead of them. They are silent as they look outside. V is filming, she
looks down at her camera and looks at the trees and tries to see them
the same way as her friend, but she cannot, she gets frustrated, sets
her camera down and say’s, “Honey you cannot avoid this anymore. You
have to go see him that doesn’t mean you have to love him or stay with
him it just means...
r. K is looking down at her hands: “I like my home.”
s. V looks at the side of her face. “Are you listening to me?
t. K shakes her head, “Yes you are saying maybe I married the wrong man too.”
u. V smiles and says “You really are impossible.”
v. K pulls the bell the two are silent until K says, “This is our
stop. This is where I would get off to go to my old home.”
w. The two get up, V forgets her camera as she follows her friend we
do a close up of the camera being left on the train then pan out and
follow the two with a wide shot.

They step outside, medium hand held shot. V stares at K walk away and
yells out,
a. “Where are you going.”
b. K stops and turns around, P.O.V. wide shot of K, “I follow you out
here and listen to you cause you tell me I need to see husband and
this is okay because you are my friend,” she balls her hands into a
fist close up of her hands then face, “but if I am going to do this
big thing I must go to the beach first.”
c. Medium shot of V as she sighs and asks, “Why?”
d. Pan to V close up into her face, “The beach is the place where I
figure things out the best and we are not at the house yet.”
e. We follow V with the camera, medium shot as she tries to catch up
to K and rants, “I don't like the beach. I don’t like the water, the
waves crashing blaring in my ears, the air is salty and the birds
don’t get me started on birds…”

Medium shot of the two as they step onto the sand V is still listing
off her aversions to the beach.
a. Wide shot of K as she walks away from V. She smiles, the wind blows
her hair up and she twirls around.
b. Wide shot of V glowering.
c. Hand held medium shot with the hand held as V catches up to K. We
follow them from the front as the two begin to walk. V turns to K and
says, “What are you going to say to him when you see him? What do you
say to a man you think you killed, but did not? You know I am still
not clear about the whole thing.”
d. K interjects with, “I haven't thought about it.”
e. V says, “What do you mean you haven't thought about it.
f. We remain with the same shot from up front, K says, “I don't want
to think about it because I don't like that it will be hard.”
g. V says, “But your going to do it?”
h. K shakes her head yes and says, “I don't know.”
i. V says, “What do you mean you do not know?”
j. This last part will be improvised, V tries to tell K what to say,
but K shakes her head no many times or how many times is up for
interpretation because you the actors will be managing it.

We focus the camera on K long shot pan into a medium shot as she
spontaneously runs to the waves, Wide shot of the two as V chases her.
Close up of K as she pulls her keys out of her pocket and throws them
into the ocean. V catches up to her, after she has done it, K is
huffing and puffing. Medium shot of the two from behind as they look
at the waves together for a several minuets in silence. V laughs and
says, “Well how are you going to get back inside your house now.”
End Beat.

Sunday, July 10, 2011

Keskarel - update this weekend: We are almost done!

short meeting yesterday with AD Chris Arthur-Henly Robinson - he in his capacity as writer. we discussed the "what" of the last two scenes we need to finish the story - the last two scenes! As Chris starts back to school tomorrow, he's trying to get the scenes done today. we will post them as soon as he does.

another meeting yesterday with our shooter, Mike Lewis, who will re-shoot the early morning, dark kitchen, coffee-making scene in which the Videographer hears the neighbors fighting, and tries to shoot what's happening. in addition to improving on the low-tech look of the scene (the first one that we shot last fall), Mike's sequencing will make it clearer that the Videographer can't see what's happening - she only hears it, which is frustrating for her.

finally, sylvia begins tweaking and cleaning up the timeline today. we are almost done!

thanks for watching!
Keskarel, a Quicktime storyboard

Monday, July 4, 2011

Great notes from one of our FB followers today!

      Ms. R:  for some reason, I found these clips strung together disturbing

      Keskarel, a Quicktime Storyboard: since the movie is comedy of error with a dark underside, your reaction is a good sign!

      Ms. R: yes, i've been following along to the extent possible - this is one of those dark-dark scenes as it progresses, instead of a light with dark underbelly - like the fight

      Keskarel, a Quicktime Storyboard: that's really really helpful - i will pass that on to the plotmeister, AD Chris, as we are now in tweaking mode
There's a lot more on our page - please "like" us:

Sunday, July 3, 2011

Good things come to those with great collaborators: A message from AD Chris Arthur-Henly Robinson

Gmail keskarel navapeac <>

Here are three more scenes

Christopher Robinson  Sun, Jul 3, 2011 at 1:16 PM
To: keskarel navapeac <>
Hi Sylvia, I had a lot of dreams last night, woke up at six thirty had
brunch with my wife and got to work. So this would be a combination of
the many things we have discussed for our project. I hope you enjoy
the beats.
I figure we need two more scenes after these three. For the next scene
I would like a beat where V convinces K to go back to her husband, K
says something like, “I want to go to the beach first, it is the place
where I think best, the place that gives me strength.” V agrees then
the two get lost and do not end up making it back to Nima’s.
In the final scene V can say something about a surprise she has for K,
K say’s, “I love surprises,” and the two can take the bus back towards
Nima’s. Along the way V convinces K to go back home. I would like to
improvise the meeting between Nima and K; I would like to show K
waiting by the steps for him. He comes in sees K invites her in, they
talk, things happen and our movie ends.
I would like the grocery store scene to be improvised, but we should
meet up and together we can make the prompts. We can also think of
more scenes if needed.
I will write the last scenes by the end of the week so they will be
ready for our next meeting. The final thing: I would like to watch the
movie with you. I’m good at sequencing things so we can develop an
outline together quickly, I want to do it as fast as possible because
if we harp on it for to long it won’t be as good I don’t know if that
is true, but I would like to think it was. I am tired of writing so I
will stop I hope you have a great forth of July I will see you soon.

The Fight:

(Long shot of K lying on a couch in a snuggy or something comparable
fade into a medium shot of her eating a tub of pop-corn, we hear her
husband walk through the door. We pan around the room (aerial shot of
the room) there is laundry, cups and food wrappers strewn across the
floor. Back to Medium shot of K as she watches her television,
preferably Russian soaps which we show then switch back to K.
K waves when Nima walks in. We switch to a wide shot of K as he
blocks the television when he greets her. Medium shot of K as she asks
him to get out of the way. Switch to N as he moves to the right. Hand
held medium shot as we watch N pace around the room, he exudes
exasperated sighs, masculine moans, ECT. Long shot of N as walks in
front of the front of the television. Medium shot of K as she waves
her hand to shoe him away. Long shot of Nima fade into a Medium shot
as he stares at her and says:

a.      “You are…” Pan back to K who is looking on with wide eyes,
pensively. Back to Nima hand held medium shot—“You’re a disappoint, a
total…complete and total, disappointment.” Pan to K (long shot) as she
crawls into a ball.
b.      Medium mid body shot of Nima as we watch him say, “When we first
met— when I asked you to marry you, I would have never imagined you
would be like you are now...”
c.      Medium shot of K as she curls up into a tighter ball. We follow
Nima with the hand held as he paces around again, pulling at his
hair. We circle around the two, long shot as K responds, “I like our
life very much.”
d.      We circle around Nima as he looks back at her, chuckles and says,
“Our life, our life… maybe it’s good for you…but me, (he points to
himself and then hits his chest) it’s not good for me at all. He
mutters to himself, “Its not good for me not even a little bit.
e.      Switch back to K Medium shot of K who is sobbing quietly.
f.       Back to Nima Long shot with the hand held as he looks out the
window, We go into a medium shot circling around him as he goes on, “I
thought I was the luckiest guy in the world when I met you,” he looks
back at K then out the window again. “I really did I called my parents
and told them so. I smiled a lot more then and now I…”
g.      Pan back to medium shot of K fade into a close up of her face as
she say’s, “Stop saying this please I do not like when you are mean.”
h.       Back to Nima medium shot, “If you don’t want me to be mean, don’t
be such a disappointment—you don’t do anything, ever. What happen to
your…” He raises his hands in the air. “You know what it really
doesn’t matter what I say, your impossible.”
i.      Medium shot of K as she uncurls herself and sits up, “I will try
harder I promise.”
j.      Pan back to Nima, hand held medium shot as he sighs and say’s.
“I’m so frustrated with you,” he points at the dinner table and
mutters, “No dinner.” Points at the laundry. “No clean clothes.” We
circle around him hand held medium shot. “You haven’t worked in over a
year—you’re not trying to get any sort of sustainable work.”
k.      Pan back to K medium shot as she whispers, “I try I promise you it
is very hard.”
l.      Back to Nima close up of his face. “I never imagined our life
would be like this when we got married.”
m.      Back to K close up of her face as she replies, “I will try harder I
promise, don’t be angry with me.”
n.      We circle around the two with the hand held, long shot, Nima looks
at her, then back out the window and sighs. While he is looking out
the window he says, “I had such big dreams when I was a child such big
dreams and now look at me, I live like a good dam vagrant. For God
sakes don’t you have any pride? My parents would roll over in their
graves if they were dead.”
o.      Pan to K, medium shot, she is sobbing, “I will try harder I
promise.” Long shot of K as she watches Nima collect his things then
leave. “When will you be back? K yells; we hear him yell back as we
fade into an extreme close up of K, “I’ll come back when you’re not
such a disappointment. When you realize how lucky you are to have me.”
Stay on K’s face as she weeps, “But don’t you think you are lucky to
have me.”

There is no response fade out end of beat.

K and V go to the Laundromat:

Hand held long shot of V and K as V watches K with her camera trying
to put her laundry in the machine, she has a difficult time (add in
some slapstick) V watches the only way she can, in absolute disgust,
we get a extreme close up of her face then pan back out to a handheld
medium shot of the two. Once K has persevered we do a POV of K as she
attempts to put a nickel into the washer instead of a quarter with no
success. After she tries to jam it into the machine we pan into a
close up of V as she reaches for K’s hand, with her free hand, stay in
a close up of the coin, pan out medium hand held close of V as she
looks at the coin and ask,

a.      Pan out circle around the two, medium shot, as V say’s with her
camera held up, “You’re using the wrong coin—I mean do you realize
that? You need a quarter. Do you have a quarter?”
b.      We are still circling around the two, medium shot, with the hand
held as K looks at her nickel and responds with “Isn’t this a
c.      “It is not working so it isn’t a quarter—you need a quarter—that’s
twenty five cents—here we use different coins for different things I
know they have that where you come from to. What do you call your
money anyways?”
d.      Rubbles.
e.      “Yes rubbles”; we are circling around K and V with the hand held
incase you forgot.
f.      “We do.” K says with a smile, “We have many different coins for
many different things in Russia.”
g.      “So use the right dam coins.”
h.      Close up of K’s pocket as she pulls a series of coins out. First a
dime, pan out, medium shot as she asks, “Is this the right one?” Pan
over to V, close up of her face, V shakes her head “Does that look
like it’s the right one. I mean look how small it is for God’s sake.
i.      Pan back out circling around the two with the hand held, medium
shot, as K shrugs her shoulders and say’s “I don’t know.” K pulls
another coin out. V shakes her head, she lugs out another and this
time she’s got it right. Close up POV as K puts it in. Medium shot of
K as she watches V do her laundry. V sits down and we pan out to a
medium shot of the two we keep the camera there for the duration of
the scene as the machines are clanking away.
j.      V looks over at K who is following along the words with her index
finger we do a close up of this and then pan out as V asks, “How did
you ever learn to get along in Russia? I mean it is like you can’t do
anything right and then you have the strange thing going on with your
husband—you really are one of the weirdest people I have ever met.”
k.      K puts the magazine down. She is compelled by the same kind of
anger she was the day of the infamous chicken incident with her
husband. “Why do you always say stuff like this to me?” Is it that you
do not think I feel because I am from another country—because I have
l.      V giggles. “No I talk to you the same way I talk to everyone else,
if you do not like it you can go home.”
m.      “But I have laundry in the machine I cannot go home.”
n.      V sets her camera down in here lap, she does this with out knowing
why, her voice gets a little less shrill when she say’s, “I’m sorry
okay. I just don’t know why you’re here with me and not home with your
o.      K looks down at the ground and mumbles, “I cannot go back home.”
p.      “Well you can’t go on hiding from your husband, don’t you remember
till death do you part.” Close up of V as she raises K’s head up with
her finger and the two look in each others eyes. Pan back out medium
shot as V say’s “I know most people don’t take the vow seriously, but
I know it means something to you, because you’re a better person than
most people I have met.”
q.      K shakes her head yes. “It means a great deal to me.”
r.      V looks down at her camera and strokes it she almost picks it up,
instead she puts her hands on K’s shoulder and says, “Than why in the
hell did you leave.”
s.      (K) “I can’t tell you.” “Why” I cannot.” “Why?” “Because I am—I was
a very bad wife and it is embarrassing.” “You can’t be that bad.” V
examines K’s face, “Yeah you probably were.” Close up of K’s face as
she giggles.
t.      K rubs the pages of the magazine as silence creeps up on the two.
After the pause we go into an extreme close up of K’s mouth as she
whispers “I almost killed my husband.” Pan out as V and K stare at
each other. K huffs and puffs then says, “I had never done anything
violent until that day, but hit him until he fell down and did not
move anymore. I thought he died and then I saw him again that day—do
you remember?”
u.      How could I forget?”
v.      K smiles and say’s, “I thought about going back long and hard, but
I cannot bring myself to do this.”
w.      K picks up the magazine and puts it over her eyes. V looks at her
and then picks up her camera off her lap and points it out of the
window and say’s, “If he is still alive, it isn’t murder so go back.”
x.      We circle around the two medium hand held shot as K say’s, “You…” K
say’s with a smile on her face, “Your camera was down—on your lap the
whole time. I’ve never seen it down before, you put camera in your lap
when I was talking to you.
y.      “I did not”
z.      “You did,” K says again with a smile on her face. “I did not.” V
says nudging her friend.

Fade out End of Laundry Beat.

The Mustang Scene—

Wide shot of V as she finds K hiding behind a terrace, peaking around
its edges watching the back of a man, as he walks away.

       a. Pan in, medium mid body shot of V as she asks “What in the hell
are you doing?
       b. Medium mid body shot of, K, “I am hiding.”
       c. Switch, “From who?”
       d. Close up of K’s face as she say’s. “My husband.”
       e. Switch, “But he’s walking away from you.” Pan out. “I don’t know
why you are hiding from him and I don’t know if I care, but you don’t
need to hide now he’s gone—there is really nothing about you that I
       f. Switch, “We need to hide again.”
       g. Switch “You are hiding.”
       Pan out, long shot as V takes K’s arm. (We keep original footage or
we film it again. I really enjoyed the dialogue in this scene so I
would like to match it up to the original if we were to shot it
again.) Long shot as they peek around the corner and don’t see
anything then they go and hide behind a mustang; long shot into a
close up of them looking behind the window of the Mustang.
h. Long shot into a medium shot of the two crotched behind the car. V
looks at K and sighs “What did your husband do to you?”
i. Close up of K as she looks down at the ground.
j. Medium hand held shot as we do a kind of half circle around the two
as they have their discourse. V asks “Did your husband beat you or
something?” K shakes her head and then V says “I think violence is the
worst thing a man can ever do to a woman that is why I would never let
it happen to me.” “Was he mean to you?”
k. K doesn’t answer. The two stare at each other and K say’s
“Sometimes, but not all the time.”
l. “Did he call you names or something?” “Sometimes, but not always. K
whispers “Sometimes he said I was a…a…a…disappointment.”
m. V begins to laugh, then says, “All men think women are
disappointments, unless they are just like their mother’s.”
n. Pan in to close up of V’s face as she states, “I met his mother
once and she was like me, maybe that is why he did not like me?
o. Pan out to medium shot of the two, “There’s something else.”
r. K shakes her head emphatically “No there is not nothing else I just
wanted him to be happy. I wanted me to be happy. I want you to be
happy, but no one is happy and I force myself to suffer alone until I
know I am happy and I can make him happy.”
s. Close up of K, “No one should do that honey—I mean no one should
live their life like that.”
t. Close up of K’s face as she smiles. “Why do you call me honey? I
have never heard this?”
u. Pan out, medium shot, “Because you are sweet.” K points the camera
right in K’s eyes she has been holding it up this whole conversation.
“There is more to a woman than her husband. A lot of woman don’t know
v. “You called me honey. That is the nicest thing you have ever said to me.”
w. Long shot of the two laughing. “And it was the nicest thing I will
ever say to you K. Come on this is stupid hiding out here.”
y. Stay in the long shot as V grabs K’s arm. Follow the two from
behind as they walk back into the apartment, the shuts and we fade
out, end of Mustang beat.