suburban house from a moving perspective.”
And now we see a suburban house on the screen.
Now we see the old guy again.
Now the suburb—
Now the ol—
I guess it’s supposed to transition us into the movie. As if your brain slowly starts to picture the old guy’s words.
We now see the suburban house continuously.
“The usual credits start to roll,” the old guy reads.
Even though we now see this suburban house, we still hear the voice of the elderly guy. It’s like you’re looking at a picture book with your grandfather.
“The scene changes. We are now in the house, in a room that has been emptied for renovation,” he reads.
And—
swoop
—there we see this room on the screen. Someone is painting something next to a window.
the shooting script
NARRATOR (
an elderly man
). Jim, a man in his forties, was holding a brush and a bucket of paint. He was drawing a decorative line on the wall next to the window. He stepped back to scrutinize his work— probably more to plan the next step than to dwell on his success so far. He looked irritated about something—the way a man must look when his wife has repeatedly told him to renovate some room he doesn’t even like to use or something.
Jim was trying to give the window an ornamental frame. Again, he didn’t look too happy.
Jim came to a decision.
(
We clearly see that he has come to a decision . . .
)
NARRATOR. He took a chair, and put it in front of the window. Then he stood on it and started to look for the beginning of the adhesive tape. First with his fingernails, then with his teeth. Finally he put the end of the tape on the wall. This time
over
the window—the same way he must have done earlier on the sides. It looked awkward. The chair was too small and he had to work so far over his head that he could hardly see what he was doing.
At this moment the door opened and Beth came in. She was eating an apple.
BETH. How’s work progressing?
NARRATOR. Jim apparently couldn’t hear her
.
Or he was so deep into the taping that he wasn’t able—or in the mood—to process an answer. Right at this moment he ran out of tape.
JIM. Damn it.
BETH. What’s wrong?
JIM. Tape’s empty. Do you really think it needs a line over the window? I think it looks pretty good like this.
NARRATOR. It is obvious to the viewer that it needs one.
BETH,
still eating her apple
. No. It definitely needs one.
JIM,
exhausted
. So give me some tape.
(We see a close-up on Beth’s mouth chewing the apple.)
NARRATOR. Jim was looking at Beth, annoyed at the way she ate her apple.
BETH. Hmm. (She gives it another glance.) If you lead your brush real carefully, you can do it without the tape.
JIM. Come on—I can hardly see it from down here. (He sighs.) I told you, we need a ladder.
BETH. You move the brush, and I’m going to lead you from back here. I can see it beautifully from here ... Just move the brush real slow.
NARRATOR. Jim didn’t care about the line anymore, so he put his brush to the left starting point.
BETH. Okay, you can start.
NARRATOR. Jim started to move the brush.
(
We see a close-up of the brush going over the wall.
)
BETH’S VOICE, from behind. A little up.
(
We keep looking at the moving brush.
)
BETH’S VOICE, again. Now down.
(
Our view cuts from the brush to Beth.
)
BETH. Up. (
She tries to focus better on the brush.
) I said up—you’re still going down!
NARRATOR. Jim made a face toward the window.
BETH. Down. (
She observes it, then gets a little irritated.
) Down!
NARRATOR. This last comment from behind triggered something Jim couldn’t—and didn’t want to— control. He made a small but clearly exaggerated downward move.
BETH. Up! Up! Up!
NARRATOR. The already much-strained rubber band in Jim’s mind snapped.
JIM,
stupidly mimicking Beth. U
p! Do
wn
!
U
p! Do
wn
! (
He
looks back to Beth.
) What about this! (
He starts to
move the brush up and down over the wall.
) Eh? What about that! Up! (
Up goes the brush.
)
And now we see a suburban house on the screen.
Now we see the old guy again.
Now the suburb—
Now the ol—
I guess it’s supposed to transition us into the movie. As if your brain slowly starts to picture the old guy’s words.
We now see the suburban house continuously.
“The usual credits start to roll,” the old guy reads.
Even though we now see this suburban house, we still hear the voice of the elderly guy. It’s like you’re looking at a picture book with your grandfather.
“The scene changes. We are now in the house, in a room that has been emptied for renovation,” he reads.
And—
swoop
—there we see this room on the screen. Someone is painting something next to a window.
the shooting script
NARRATOR (
an elderly man
). Jim, a man in his forties, was holding a brush and a bucket of paint. He was drawing a decorative line on the wall next to the window. He stepped back to scrutinize his work— probably more to plan the next step than to dwell on his success so far. He looked irritated about something—the way a man must look when his wife has repeatedly told him to renovate some room he doesn’t even like to use or something.
Jim was trying to give the window an ornamental frame. Again, he didn’t look too happy.
Jim came to a decision.
(
We clearly see that he has come to a decision . . .
)
NARRATOR. He took a chair, and put it in front of the window. Then he stood on it and started to look for the beginning of the adhesive tape. First with his fingernails, then with his teeth. Finally he put the end of the tape on the wall. This time
over
the window—the same way he must have done earlier on the sides. It looked awkward. The chair was too small and he had to work so far over his head that he could hardly see what he was doing.
At this moment the door opened and Beth came in. She was eating an apple.
BETH. How’s work progressing?
NARRATOR. Jim apparently couldn’t hear her
.
Or he was so deep into the taping that he wasn’t able—or in the mood—to process an answer. Right at this moment he ran out of tape.
JIM. Damn it.
BETH. What’s wrong?
JIM. Tape’s empty. Do you really think it needs a line over the window? I think it looks pretty good like this.
NARRATOR. It is obvious to the viewer that it needs one.
BETH,
still eating her apple
. No. It definitely needs one.
JIM,
exhausted
. So give me some tape.
(We see a close-up on Beth’s mouth chewing the apple.)
NARRATOR. Jim was looking at Beth, annoyed at the way she ate her apple.
BETH. Hmm. (She gives it another glance.) If you lead your brush real carefully, you can do it without the tape.
JIM. Come on—I can hardly see it from down here. (He sighs.) I told you, we need a ladder.
BETH. You move the brush, and I’m going to lead you from back here. I can see it beautifully from here ... Just move the brush real slow.
NARRATOR. Jim didn’t care about the line anymore, so he put his brush to the left starting point.
BETH. Okay, you can start.
NARRATOR. Jim started to move the brush.
(
We see a close-up of the brush going over the wall.
)
BETH’S VOICE, from behind. A little up.
(
We keep looking at the moving brush.
)
BETH’S VOICE, again. Now down.
(
Our view cuts from the brush to Beth.
)
BETH. Up. (
She tries to focus better on the brush.
) I said up—you’re still going down!
NARRATOR. Jim made a face toward the window.
BETH. Down. (
She observes it, then gets a little irritated.
) Down!
NARRATOR. This last comment from behind triggered something Jim couldn’t—and didn’t want to— control. He made a small but clearly exaggerated downward move.
BETH. Up! Up! Up!
NARRATOR. The already much-strained rubber band in Jim’s mind snapped.
JIM,
stupidly mimicking Beth. U
p! Do
wn
!
U
p! Do
wn
! (
He
looks back to Beth.
) What about this! (
He starts to
move the brush up and down over the wall.
) Eh? What about that! Up! (
Up goes the brush.
)
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