A message to AD Chris Arthur-Henly Robinson

keskarel navapeac <keskarel@gmail.com>

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Production Assistants

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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

Keskarel The Script, by Chris Arthur-Henly Robinson

keskarel navapeac <keskarel@gmail.com>

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Vimeo article: Slating
3 messages

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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

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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.

Keskarel The Script, by Chris Arthur-Henly Robinson

Keskarel The Script, by Chris Arthur-Henly Robinson

The characters and the dialogue in Keskarel were entirely improvised by the actors in our live action storyboard, directed by sylviatoyindustries and written by Chris Arthur-Henly Robinson. 75% of what we shot during the creation of the storyboard was thrown out as the characters lived an ever-changing story in their fictional world. Our collaboration resulted in a solid story to which Chris is givin dimensionality in his scriptwriting based on the storyboard. We will be sharing first draft of Chris's script in this blog, sometimes by pasting in, as in this post, but also by uploading video of readings at story conferences so our readers can share the experience of Keskarel's continuing process.

Interior of a house at dusk Keskarel is wearing a white lace dress and high heels she stands taunting her husband (Nima) with a frozen chicken in her hands.

Keskarel

You wanted chicken; I’ll give you a chicken.

Nima

What the hell are you doing? Stop it. Sit down.

Keskarel

No I will not sit down.

Keskarel is still taunting him with the chicken.

Nima

You’re annoying me, stop this shit and sit down.

K antagonizes’ him further, Nima begins to duck.

Keskarel

I will not sit down.

Nima

Yes you will.

Keskarel

No I will not—you wanted chicken here it is.

Nima screams and then Keskarel hits him with the chicken. Nima hits the floor; Keskarel hits him again, then again again as his legs twitch. She drops the chicken and backs up to the edge of the kitchen door. She glances into the living room. She looks back at her husband, then out the door again, she glances at Nima one last time then she runs out of the house. Nima is shown lying motionless on the ground. Keskarel slams the door behind her.

The scene switches: mid afternoon on a busy street. Keskarel glances into a laundry mat and goes inside. She looks for a place to hide. She veils her body in a washer, then she feels silly. She gets out and staggers around the place like a drunken buffalo. She settles on the seat farthest away from the window and takes deep breathes clutching her face with both hands. She picks up a magazine then she puts it down. She taps her feet on the floor. A parade of customers walk through the door. Keskarel panics, she heaves heavy sighs and her body shakes. She runs out of the laundry mat.

The scene changes: Keskarel walks around the city at dusk. She looks at pretty dresses in store front windows. She ogles wonderful food at pastry shops.

The scene switches: Keskarel goes into a convenient store; it is night time. She walks into the store after seeing a (For Rent Inquire Within) sign on the window. She approaches the clerk.

Nidal

Hello can I help you?

Keskarel

I saw that you have a sign up it says there is an apartment for rent.

Nidal

(Pauses and smiles)
I do have a sign up.
Keskarel
My name is Keskarel

Nidal

Please to meet you Keskarel my name is Nidal.

The two shake hands.

Keskarel

How much is the apartment you have for rent?

Nidal

$1600 a month.

Keskarel

(Shakes her head)
No, I can give you $1,000 a month Nidal.

Nidal

(Smiles)
I could go as low as $1500. That is one hundred dollar off. That is the best I can do in this economy.

Keskarel

How about $1,100 I can do $1,100 dollars. This is close.

Nidal

I would like to help you, but I have a family and my wife would kill me if I rented out an apartment for $500 dollars less a month than it should be, to a pretty woman.

Keskarel

(Smiles)
I could give you $1,200 a month this is even closer than $1,100.

Nidal

(Laughs)
You seam very nice but, $1500 is as low as I can go.

Nidal pauses and the two stare at each other.

You’ve never rented a apartment before, have you?

Keskarel

(Smiles)
I used to live with my husband, but I cannot live there anymore.

Nidal

This may be rude of me to say, but can I ask why you don’t live there anymore.

Keskarel

I can not say. I do not want to say is, this is what I meant to say.

Nidal

(Nidal runs his hands through his hair.)
It’s none of my business. I ask too many questions. I apologize for asking. I can go no lower than $1400 a month.

Keskarel

(Smiles)
I thought it was $1500?

Nidal

Yes I said it is $1400?

Keskarel

I can pay $1400.

Nidal

Now I will need your driver’s license and I will need to pull up your credit history and I…

Keskarel

I give you three months rent advance. I do not want to give you license.

Nidal scratches his head.

Nidal

I could get in trouble with the…

Nidal stops and he stares at Keskarel.

Nidal

I can show you the apartment tomorrow or if you wait an hour I can show it to you after I close up my shop.

Keskarel does some quick math.

Keskarel

I do not need to see it I would like to move in tonight.

Keskarel opens up a money belt, she fumbles with it and money goes all over the place. She crawls on her hands and knees and collects all. She counts out $4,200 then hands it over to him. Nidal is reluctant to take it, but he does. Keskarel stuffs the rest of her money into a money belt.

Nidal

You might want to be a little more carful with all that money.

Nidal smiles and hands her a set of keys he keeps hidden in the register.

Keskarel clutches onto the keys and holds them close to her heart.

Keskarel

Thank you so much.

Nidal nods, Keskarel walks to the window and takes the for rent sign off.

The scene switches: it is day time and Keskarel is staring out her casement into the adjacent neighbor’s house. She begins to remember an argument she had with her husband, the one in the beginning leading up to the chicken incident. In the memory Nima has just come home from work. He walks into the house and Keskarel has laid out a decadent table spread for their one year anniversary.

Keskarel

How does it look my sun?

Nima

It looks great.

The two kiss and Keskarel sits down at the table with him. He examines the hamburgers K has set out for the two to eat and snarls at it.

Keskarel

I have been thinking of you all day today baby. When I was mixing the burger meat all I could think of was how you will like it.

Nima is reluctant to eat it.

Keskarel

What’s wrong why are you not eating?

Nima

There’s nothing wrong with it.

Keskarel

Then why don’t you eat it? You don’t like it?

Nima

If you were thinking of me you would have known I like my hamburger cooked I don’t like anything raw really.

He flips over the bun.

Nima

I can’t eat this I am sorry this will make me sick. You should have made chicken or something baby…

Keskarel

It is good, you haven’t even tried it. I spent so long making it good for you it will not make you sick.

Nima shows it to her.

Nima

The blood has actually soaked through the bread.

Keskarel

I worked all day to make this for us. It is very good and special just try it.

Nima

I love the thoughtfulness of it, but the blood is soaking through the bread. Do you see all those little bits of pinks?

Keskarel

Yes I know but…

Nima

Remember how I like it a little bit more well done? You remember that right?”

(K begins to cry.)

Nima

Its okay you’ll get better. You can’t possibly get any worse.

Keskarel

My mother never taught me to cook like the other mothers did. I didn’t want to give it to you well done it is bad for you.

Nima

The blood is soaking through the bread. I cannot not eat this Keske it will make me sick. I don’t want you too either.

Keskarel

When you talk to me like this it makes my whole world go black.

Nima

Maybe you should turn on a light in your black world and you would be able to tell if something was cooked right or not—(laughs) I know that you’ll get better baby next time just try cooking chicken or something a little easier.

The scene changes: Night time, The Videographer films Keskarel as she brings up bags of groceries to her house from her window.

Scene switch: Early morning. The Videographer is filming Keskarel from her window again as she takes her trash out. Keskarel runs back into her house and begins to panic.

The scene switches: It is mid day. Keskarel sees The Videographer walking inside of the apartment complex and decides she must confront her. She waits for the sound of The Videographer’s door to shut then she storms out of her house to knock on the Videographers door.

KNOCK KNOCK!

Keskarel

Why you take picture of me.

The Videographer

Excuse me. I don’t even know who you are.

Keskarel

I am your neighbor and I see you with the camera filming me when I take groceries in or take out trash. I need my privacy.

Keskarel is breathing heavily she has to collect herself.

Keskarel

Please do not take my picture lady I need my privacy.

The Videographer sighs.

The Videographer

What’s your name?

Keskarel

Keskarel.

Keskarel puts out her hand to shake The Videographer’s, but The Videographer ignores her and Keskarel puts her hands back by her side.

The Videographer

I filmed you Keskarel because that is what I do. I take pictures for a living. I do it all the time.

Keskarel

Please stop. I can’t have anyone take pictures of me.

The Videographer pulls a camera from her back pocket

The Videographer

You mean like this.

She films Keskarel. Keskarel gets mad. The Videographer laughs.

Keskarel

Please stop it.

The Videographer puts her camera to the side and smiles

The Videographer

I film things because, it makes life more interesting. I don’t discriminate. I point it at everybody. Most people smile and wave at me when I film them.

Keskarel

I no smile, I no wave I think it is weird that you are always filming people.

The Videographer

I like taking pictures of interesting things and interesting things are often weird.

The Videographer points her finger at Keskarel.

The Videographer

And you’re weird honey, not me.

Keskarel

No you are the weird one.

The Videographer

Listen honey this is America and I have the right to film whatever I want too.

Keskarel

I know it is American law that you cannot take picture of someone unless they sign release.

The Videographer laughs

The Videographer

Have you seen yourself on the web? No body sees what I shoot and no one would care even if I did post it. Give me a break who are you anyways?

Keskarel

I already introduce myself to you I am Keskarel.

The Videographer laughs.

Keskarel

You no take my picture, you cannot without my permission. You cannot film without release I know.

The Videographer

Oh you know, you know, you know the law? You’ve been in America for five minuets and you think you know the laws?

Keskarel

I have been here seven years. I know a little bit of the law.

The Videographer

So how do you know you need a release? Do people try to film you all the time? What are you a high fashion model or something?

Keskarel

I once was.

The Videographer laughs.

Keskarel

Oh you don’t believe me, how do you think I get here?

The Videographer

You probably snuck on a boat or were apart of some mail order bride service; now that I can believe.

The Videographer shakes her head

The Videographer

I know you’re weirder then me.

The Videographer shakes her head again.

The Videographer

And you’re paranoid too.

Keskarel

No lady I just don’t like my picture being filmed. I am trying to be nice because we are neighbors.

The Videographer

Do you think the K.G.B. is going to come after you if I film you? America doesn’t have all that K.G.B. and big brother shit you guys have in Russia. All I know about you people is that you had some stupid Revolution and there were the White Russians and the Red Russians and you ware Ushanka hats and your Tsar was murdered and you all have those stupid accents that make you sound mad all the time.

Keskarel

This is bullshit lady, I make simple request and you make fun of my accent and my country. I have never done anything to you.

The Videographer

No, this is not bullshit, this is free speech.

Keskarel

No you are taking advantage it is not free speech.

The Videographer

All I did was film you.

The Videographer shakes her head.

The Videographer

Why don’t you get with it and be free, join us American’s, enjoy your rights, stop worrying about impeding on mine—Leave me alone.

The Videographer slams the door shut in Keskarel’s face. Keskarel leans her head up against The Videographer’s door and yells.

Keskarel

Please don’t pick on me anymore. Please stop filming me.

The Videographer (From behind her door)

Bye.

The scene switches: Keskarel walks down the stairs from her apartment carrying lots of bags in her arms. The Videographer is going the other way. The two pass. The Videographer is on the top and Keskarel is about to walk out the front door, but is interrupted when the Videographer yells, holding her camera.

The Videographer

Got ya!

The scene switches: Keskarel sees The Videographer going to the convenience store. 

She runs down and follows the Videographer out the door. Keskarel yells after her while running.

Keskarel

Hi lady I don’t want to fight anymore with you.

The Videographer does not acknowledge her, she keeps on walking.

Keskarel

Hi lady I am trying to say I am sorry we are fighting. We are neighbors we should be friends. We probably have more in common than we are different.

The Videographer ignores her.

The scene changes: Keskarel runs in front of The Videographer before they walk into the store and tries to open the door for her. The videographer glares, pushes her away and ambles in all alone.

The scene changes: The videographer is at the counter filming the shop owner Nidal.

Nidal

Hello, how are you doing?

The Videographer leans on the counter pulls her torso away, still filming.

The Videographer

I’m fine. I’m just doing that thing I do.

Keskarel runs up and interrupts the two. 

The Videographer points her camera at Keskarel. Keskarel glares.

Keskarel

Do you have a soy cheese pizza?

Nidal

Of course we do its probably hidden somewhere in the back.

Keskarel

I am sorry to interrupt, but I could not find it will you help me.

Nidal smiles.

Nidal

Of course

Nidal walks around the counter. The Videographer glowers at him, still filming as he goes back to find the soy cheese pizza for Keskarel. The Videographer turns to Keskarel with her camera and asks.

The Videographer

Do you always act so helpless in front of men?

Keskarel

I am not helpless I just could not find the soy cheese pizza.

The Videographer

You really eat that stuff?

Keskarel

It is very good.

The Videographer

Uh huh, pizza is supposed to have cheese on it in America.

Keskarel

It is very good and good for you, it has no cholesterol. And you can buy pizza with no cheese on it in America so not all pizzas in this country must have cheese.

The Videographer

I’m trying to get onions here okay that’s all I want.

Keskarel

I am very excited about soy cheese pizza you can not find them in grocery stores in my country.

The Videographer

Grocery stores? This a liquor store.

Keskarel

No this a grocery store.

Nidal comes back with the soy cheese pizza in his hand. He smiles at the women and goes back behind the counter to ring Keskarel up, but The Videographer interjects.

The Videographer

I was first. Why are you ringing her up before me?

Nidal sighs.

Nidal

Okay I will ring you up.

The Videographer

No let her go first if she wants her soy cheese pizza so badly.

Keskarel

Please go before me you are first in line.

The Videographer stares at Keskarel, still filming her.

The Videographer

No.

Keskarel walks in front of her, someone else walks into the store. He is a petty thief and he looms in the background waiting to rob anything, someone or even the whole damn store if need be.

Keskarel

You must go first.

Nidal starts to ring up her things. While he does this The Videographer takes out a money clip out of her pocket and waves it in the air filming everything with her free hand.

The Videographer

This place used to stand for something there wasn’t any soy cheese pizza nonsence.

Nidal laughs.

Nidal

Stand for something what exactly does that mean? Stands for something, this is a store, not a political canidate.

The thief runs and steals The Videographer’s money then he runs out of the store. The Videographer does not know her money has been taken.

The Videographer

It just means—it’s a feeling like pride you can’t put it into words…

Keskarel and Nidal are gawking at The Videographer.

The Videographer

What?

Keskarel

Someone stole your money lady. He steal your money and run out of the store.

Keskarel points to the door, but no one is there.

The Videographer

No one took my money, my money is right here in my pocket.

Nidal

She’s right you know, she’s right someone stole your money. Someone just took your money and ran out the door.

The Videographer checks her pockets empties her wallet out onto the counter waiting for money to fall out like rain, but nothing happens. The Videographer checks her pockets again and gasps when she finds out its been taken from her. The Videographer pauses, holds her camera up to K’s face and yells.

The Videographer

You took it, you took it, I’m going to report you.

Keskarel

I didn’t take it. Someone else take your money and run out the store.

The Videographer

None of you did anything to help me.

The Videographer pounds on the counter.

The Videographer

You could have helped.

The Scene Switches: The robber is running down the street waving his cash in the air.

Scene change: Mid day, interior of the adjacent neighbor’s house directly across from K’s apartment, the one her window looks out onto. A woman answers the door, but fixes her hair in the mirror first. She opens the door and a man is standing outside.

Mike

Hi you Linda.

Linda

Yes this is my house and you must be Mike.

Linda opens the door and lets him in. The two shake hands.

Mike

I am Mike that’s my name.

Mike is carrying a stack of Shakespearian plays in his hands.

Mike

I brought some stuff I didn’t know how much stuff you had.

Linda

Oh okay. Thanks. Why don’t you have a seat.

Mike

Here

Mike points at the couch.

Linda

Sit wherever you want.

Mike sits down, while Linda shuffles around in her kitchen.

Linda

Can I get you something to drink Mike?

Mike

Yea maybe a water; a water sounds nice.

Linda

I also have Diet Coke if you would like.

Mike puts the books on a coffee table and adjust his glasses.

Mike

No water will be fine.