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
quarter?”
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
feelings?”
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
husband.”
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
understand.”
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
that.”
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.
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