THE CALLING:

A STUDY: exploring the mind and world perception of one such ‘girl’ (GIRL) and such peoples on one such island.

DOCUMENTING/DOCUMENTATION OF:

- The PAST AND CURRENT EXPERIENCES that add to the CURRENT PERCEPTION/OUTLOOK/MINDSET of one individual

- The psychology of an actual event/series of

- The entire experience through one PERSPECTIVE and the PERCEPTIONS of that perspective

- The events in real life: the emotion associated, the imaginary associations, the memories associated.

        - The emotion/s

        - The imagination

        - The memory

- The full perception of the entire experience/journey

- the film as the facilitator to the actual complete experience

FACILITATING THESE CONCEPTS:

POETIC EXPLAINATIONS

THE SYMBOLS

- Narrator: calm self, completes self when disconnected, future self? Knowing self.

        - CHARACTERS (Frith, Arash, Girl, coveralls)

        - THE NOISE/THE ISLAND

        - God is Frábært

        - CARDBOARD PUZZLE

- IT’S A CALLING REPEAT CONVO: (Understanding perspectives, confrontation with self, other’s perspectives on world, vs yours.  Can’t talk into understanding)

- The WHITE ROOM (the thinking room)

THEORIES/EXPERIENCES BEING EXPLORED

STORY ELEMENTS

THE FILM:

SCENES:

SET UP OF WORLD:
(Learning about characters, the noise, the country, building up to a break off of a new understanding)

  1. SOCCER FIELD: (image) Super wide shot (SWS) of two far off figures playing soccer on field at the edge of the world.  An ocean, and vast sky lay just beyond, almost reaching out and engulfing the field in it’s mass.
  1. Move in on the two figures – see they both have on bright red earmuffs.  It is silent.  Silent film? We see them motioning to each other (action soccer meets sign language silent film).  
    Some in slow motion?
  2. AIR PRESSURE EXPLANATION: CU of Frithgeir - “The air pressure is really weird here.”  
  3. (car?: “Can’t hear my thoughts – it’s too loud.” “Same thing.”)
  4. Pan around and see a figure amongst the entrance to a neighborhood.  SWS - It is a she - and she is standing still, with earmuffs, staring at the soccer players.

  1. I THINK IT’S A CALLING/WHITE ROOM/NUMB: (COLOR ATTRIBUTION… WHAT WE WEAR?)
  1. WS, dream-like, painting: The Robotic conversation
  2. Girl’s long walk up to camera.  The camera is lower than her head, she bends down, hooking the camera with her eyes and lifts it up to meet her stance.

- This is a documentary…

- what do we want the viewer to know here? What do we want to say about the film at this point? the story, the theories… etc.

  1. Huge white letters on screen in front of face: flashing phrases – keeps flashing through phases until she walks away.
  1. AN ISLAND, ISLAND
  2. LOUD NOISE
  3. ONE YEAR AGO
  4. BUT ALSO RIGHT NOW

3. THE CITY:

  1. (a stroll)
  2. Looks at Violin Maker shop - Violin maker goes to door, puts on coat, hat, earmuffs on top, and heads out for lunch.
  3. Lilja pops herself up on window ledge, puts on earmuffs, opens window, and lights up a cigarette.
  4. Bike – tall huge bike – woman in skirt - earmuffs.
  5. Shots of the city in earmuffs (children, etc.)
  6. See Mauri & Lauren amongst lit up trees.
  7. Girl joins M & L (ON VISTING FRIENDS)
  8. Lake walking/duck dance
  9. Look at mountain

 

  1. GIRLS IN HOUSE:
  1. Mauri drawing…
  2. Mauri at window with muffs on
  3. ON VISITING FRIENDS VISITING.
  4. Cut to girl on couch (deer above) – “you met Frith? Yea? haha.  The girls don’t really respond, Mauri is staring out window; Lauren is spinning her tea bag. Friends seem distracted by something.
  5. (throughout scene we hear the IINTRUDING DRONE of the outside ‘noise.’  Mauri is, throughout, distracted, almost taunted by this.)
  6. Cut to: Girl on couch (different position), ON THE NOISE AND ABOUT ADJUSTING 

(Responding to Mauri’s angst mood):  I know – It’s… really loud.  I know.  Ha – it’s kind of hard… I’m not surprised you are having a hard time with it today.  It’s all very interesting, intriguing, experiential when you hear about it… but when you are here… it’s different.  It’s real. … and it is really affecting… really… disrupting at times.  It gets hard to think, you can’t live the way you’re used to…

  1. See Mauri on steps – playing with earmuffs – looking in direction of girl, or out window.

“I’ve been here half a year already… I had to adjust to a lot of new things, this noise being a big part of that.

(pause)

…it WAS exciting putting on the first pair of earmuffs… going out in it.  Really hearing the intensity of it.  The daily difference of being alone in your head with your thoughts.  That’s what it felt like to me… these earmuffs on – making the world silent, a drone, making what’s inside of those muffs, the outside world you hear.

(pause)

It’s so loud outside, and sooo quiet under those earmuffs.  It’s like… with the earmuffs on, you are left alone with all your thoughts, having to listen to them, instead of being able to direct them outward.
You know… it was… pretty nuts after a while.  Realizing I am to live here, to make all of this ‘normal’ – annnnd… things that are ‘nuts’ usually are pretty interesting to deal with.

(pause)

I mean, honestly, it was… something I really had to deal with, and I still am.  At points thinking I knew exactly what was going on… at points… I realizing, feeling like I didn’t know anything.  So drastic - moments of complete empowerment, to moments of helpless…

Ha, and really… right now… I’m not even sure where it is I am.  I’m… certain I’m over a big hump of it.  I know that.  I’m over the big initial adjusting hump.

Now… it feels like… I’m… I’m just here.

  1. Mauri looking out window

(The GIRL has been speaking so much of her own experience – hard for Mauri to take in, or understand because it’s not what she is right now experiencing.  She appreciates the talk, but her thoughts are with herself.)

(On not understanding other’s experiences?)

  1. Girl is sitting up now.

So… it’s… a really good time for you to be here.  I’m sure I needed something like this. Some… ‘time off’… I dunno, some time away from myself – a new perspective, a renewal, or a reminder… something.

(pause)

Yea – ha… you probably won’t get used to it… not in the short time you’re here.  Maybe… it’s better just to laugh at it for now… instead of trying to live with it…?  Maybe ‘getting used to it’ isn’t really something you need to do…

(careful not to overstep her boundaries, but she wants to help, give advice)

(pause)

You’re leaving so soon.  Maybe just… experience it…?...

(good idea happy energy)

Hey!… let’s go on a trip.  Yea - Let’s go on a trip before you leave.

  1. Mauri looks her direction and smiles

  1. CARDBOARD PUZZLE: girl alone in white room with small cardboard/blank puzzle.

  1. VIK TRIP –
  1. IN HOUSES
  2. ON MARLA: Intensity, the power of the environment AND of the NOISE.
  3. VIK CALM MOMENT… (first time we hear/feel a true ‘pleasantness,’ calmness to the noise…


  1. SEA BARON AFTER TRIP (next day):
  1. (music)
  2. Girls at the wooden table of a seafood restaurant.  Pleasant, calm, still.  Suddenly a voice starts to creep in… a voice very different from this pleasant-like moment; excited, energetic, overwhelmed, figuring things out, fast ramble of a voice.  Reflecting, drawing excited conclusions…

VO: “Really…  I’ve… I’ve been here.  I’ve been milling in it, objectifying it… I’ve been completely engulfed in it, head first, head down, heavy in it… ah… engulfed in it… but… without it!  
Basically… ignoring that this thing is so REAL.  I don’t know if I’ve ever felt anything so REAL.  I’ve been completely, ah… cut off from it… separated from it.  But not feeling it, not really with it… definitely NOT understanding it.  Ah… trying to understand something didn’t go near - distant from the very thing that brought me here.

  1. NARRATOR at same table – camera at her in front of owls, or finds her from the case of owls.

Blank faced narrator

Narrator VO: ON BEING OVERWHELMINGLY EXCITED

White letters flash fast on screen: ON BEING OVERWHELMINGLY EXCITED

  1. Girls leave restaurant and NARRATOR GIRL STANDS AT DOOR BEIND THEM.  CU OF NARRATOR: ON THE SHEDDING NEW SPECTACULAR, SPLENDED, LIGHT OF NEW SPECTACULAR SPLENDED OUTLOOKS AND THE OH SO WONDERFUL EXCITEMENT OF THESE NEW REALIZATIONS… ON THE UP, UP, UP AFTER THE DOWN, DULL, DOWN.
  2. We are now following the girls as they walk in the city.

I used to feel something - before I came here I felt something. It was real then… clear.
I was in love with it!  It was so obvious!

And now I am here.  I’ve been here - right in it… I’ve… I dunno! I’ve, I’ve forgotten…

Ha – maybe because it’s so loud… I mean, it’s really loud.  Haha. Ah! I’ve been shut in a room… trying so much to figure something out…

And literally, literally, literally - right out my window.  

  1. WALKING TO BOAT:

Guys… to stand on that mountain yesterday… to be tossed around in it… feeling its strength!... but to also feel its comfort, its constant smooth vibration in that setting sun… I’ve felt it, but I’ve never been in it like that! Never like that… but still… it felt like a memory, or… blahhh…  
Ah.

No.  No… I’m just excited.  I feel like I know something again.  I’ve been pulled out.

My plan of action… all upside down now… which, is a wonderful thing.
HA! Seriously! Being knocked over by that!
SERIOUSLY!

  1. TAKE OFF EARMUFFS AT MOUNTAIN (NARRATOR UP IN AIRWAVES OFFICE OVERLOOKING
  1. MOUNTAIN OPERA ROOFTOP:
    (call Anna’s stepdad)
  1. (Moment of Awe in the noise – but not awe she is in.)

  1. CARDBOARD PUZZLE 2:
  1. Girl in white room alone with cardboard puzzle
  2. New pieces get tossed on! (some with color!)

  1. A FAKE CLEMONTINE CONVERSATION: In café/white room café with self – acting out the conversation of Clemontine – Clemontine talking to some people around (no other people around)
  1. The girl (as girl) asks the blank seat in front of her a question.
  2. The blank seat answers with a story
  3. You know, I quit my job, and basically jumped a plane to come here.  I had had it… You know what my boss said to me?  Ah It was the last straw –
    (pause)
  4. After giving me a list of random, insulting chores, I asked him what my job was… and you know what he told me? He told me that my job was “to LISTEN.”  Ahhh… can you believe it?  
  5. …to listen TO HIM…
  6. …that was it.  I was outta there

AWE/EXCITEMENT INTO CALM - DEVEOPING NEW OBSERVATIONS, REALIZATIONS INTO THEORIES & INTO HOPEFUL, POTENTIAL UNDERSTANDINGS – INTO NEW PURPOSE - EMBRACING THE NEW PERSPECTIVE (calming down after rush of excitement)

  1. WALKING WITH AN ARMFULL OF BANANAS/COURTYARD TEA:  (Arash or Frith with girl – Arash = human, real-life moment, Frith = dream, mental creation of event…)
  1. Girl walking with an armful of bananas.  The sky is grey, unimpressive, the bananas bright, yellow, vibrant.   (Shoot on a grey/blue day.) It’s nice to see her so content and calm after so much internal/external ‘ranting and rambling’ - after such a full-on rush of excitement.
  2. COURTYARD: Cut to WS of a table – bananas on it, girl sitting, steps leading up and splitting behind her leading to two different doorways, with a yellow light slightly filling up the arched doorway on the left.
  3. Cut now to two people at the table, the new arrival is eating a banana.  (MALE in blue shirt buttoned to neck.)
  4. As some time passes, we get a calm voice (thought/non-verbal communication - Girl to Arash)

I’d been… studying the affect that this place has on people - The noise has had on people – on a culture, on communication, on way of life.
(pause)
(Arash responds throughout, non-verbally, treating as a normal conversation – is hearing what she is thinking? Is this a representation of a conversations they’ve already had? Is her body language, facial expression communicating this again? Communicating what she is thinking?  Is this common of this place? Is this special to these people?)
“… all of that… is an aspect of this, but it’s all been about how this outside factor, affects us…

…but maybe it also has to do with how… we chose to be affected… and even…

how we… affect it…?

  1. Sitting and eating banana.
  2. Scene turns orange? (Transit to Sunball…)


  1. FOLLOW THE LEADER: (Continues convo into FOLLOW THE LEADER) At the sunball and parking garage.
  1. DOWN STEPS:
    “…Less focus on the way it’s making us think, and more on the way we
    ARE actually… thinking…”
  2. FOLLOW THE LEADER: SILENCE - choreographed scene, conversational dance/movements in silence.  Movements of conversation
  3. SITTING ON THE GARAGE (STAGE): Cut to a (visually) non-verbal conversation, but again, with nods and responses like a real convo.

“so there are the sociological affects of this noise on the people…
(pause)
…and… the opportunity is see is to not just understand that… this noise and this place, but to actually move forward, beyond that – to new… theories…  

With how…

ha… with how the affects on people actually affect our outlook… on the noise …and of this place, and of life in this place… of life… how the affects affect…

  1. Scene rotates around 2 sitting on stage/garage rail – circles around them, now behind.  Camera lowers to reveal garage opening, feet dangling on the far side of the garage. (during convo? After convo?)

  1. HOTTUB EARMUFFS: Girl in tub with muffs – others in tub with muffs.  
  1. She is looking around at the people.  Confident.  She’s pretty confident about things right now.  (yea… this place is great. This is great.)
  2. (narrator appears above her? Looking down at her?) In clothes? In bathing suit?)  ON TRUST IN - ON AWE WITH - HUMANITY, MANKIND, THE WORLD AROUND US, THE WORLD OF US.
  3. Narrator gone.  Left with girl in tub.

  1. BACK AND FORTH/IT’S A CALLING/NO IT’S NOT: at the coffee shop in the harbor. (yellow, red, energetic coloration)
    (Understanding perspectives.)
  1. WS she sits alone – content, confident, happy with place, people, time.  She looks out the window at the harbor around her.  It’s beautiful.  (Detail shots and back to wide)
  2. (Cut to) The chair across from her now occupied.
  3. They sit contently for a minute, each sipping coffees, looking out window, and sharing smiles.
  4. A BATTING GAME OF QUESTIONS AND ANSWERS.  She starts with ‘It’s a calling”… Frith joking with her - ‘you can’t be serious about all of this.’ (Camera convo shots, CU, MS, etc)
  5. NARRATOR AT CAMERA AGAIN? NEEDED? IT’S A CALLING REPEAT CONVO: (Understanding perspectives, confrontation with self, other’s perspectives on world, vs. yours.  Can’t talk into understanding… etc)

Up until this point – we need the narrator.  The girl is very separated, not making complete sense – the narrator signifies separation, and also provides the calm info, that we don’t exactly understand with the girl.  It’s as if, in these moments (that the girl is in) it would be nice to actually have this ‘narrator’ as to make the full connection in what is going on.  

ON… MAKING CONNECTIONS: CONNECTIONS WITH NEW THEORIES AND PURPOSE – A MOMENT OF TRUE ENLIGHTENMENT ON A SITUATION – NOT JUST PERCIEVED, HOPEFUL, EXCITED ENLIGHTENMENT

At this point – connections are made – subtle, strong, real, but not overwhelming.  She is beginning to become more connected, more stable with all she is learning – less separated.  We don’t need the narrator for some time…  We are fully with her, and she is fully with herself.

  1. NATHAN SHOW: through glass and in reflections:  
  1. Cut to a Piano through a glass window.  The drone of the outside noise… is… sounding nice with the piano music.  Girl passes, and the camera follows her inside.  The muffled, constant, now very delicate drone of the noise seems to be matching the music…
  2. The show continues, she notices – is she the only one? Is this really happening? She focuses, listens…
  3. Nathan, and others leave.

  1. PLAYING WITH WINDOW: CU searching, searching shots of girl at the window.  
  1. Girl is lifting latch, letting in whistles of noise
  2. She is starting to explore more than just think and theorize and ‘ramble’ about it.  She is letting in whistles of noise… whistles of noise – and starts to compose a song with it.

ON A JOURNY OF EXPLORATION: BASED ON NEW THEORIES PLUS RELEVANT CONNECTIONS – SEEMS TO NOW BE GUIDED TO THE NEXT STEP

  1. BACK AT MUSEUM ALONE:  WS of girl standing distanced, still, staring at the piano.  Alone.  (she even resembles the still, calmness of the narrator.)
  1. We see girl scanning head around, at a distance inspecting the ceiling and walls of the space – she is thinking about the echo, the reverberation, the sound heard in this space.  Camera drifting, floating up to noise and walls to see what she might be seeing.  The drone we hear now… is slightly unpleasant.
  2. Perspective shot of her searching the space with her eyes (the drone begins to pulse… begins to carry a beat, sound nicer as we see what she sees).  
  3. Cut to WS of girl now sitting at the piano.  CU of finger as she taps a key… the drone… droning… droning of the noise seems to be changing.  Is the drone changing pitch?  She taps another key.  Is the drone changing pitch?  She begins to fall into a trance, into a piano tapping, key holding, steady trance.  We go there with her.
  1. A TALK WITH NATHAN 
  1. the music – being affected by noise around him?  And was he… does he with his music embracing the noise? - even add to the sound in the environment around us – was this affecting how we, in the room, viewed and accepted the noise???  Is Nathan special?  Is he ‘super-human?’ She is reserved in this conversation, but sort of ‘prying…’

  1. A TALK WITH OTHERS: series of conversations
  1. Montage?
  2. Paul, Mikael, Erik
  3. Others
  4. Mixed with white room, faux conversations

  1. KINDERGARTEN INTERVIEW: Kids without muffs.
  1. She stands at the concrete wall of kindergarten.  Observing. (Do we see her first find the kindergarten?)
  2. We are now inside of the kindergarten sitting face to face with a frazzle-haired caretaker.
  3. The interview
  4. Outside with caretakers
  5. Observes the children
  6. Cut to: girl in playground with muffs, to alone in playground in blue jumpsuit without muffs, to children playing around her… she stands in middle still. Still.

  1. IT’S A CALLING/NO IT’S NOT: back at the café (same café, same attire, slightly different color tone – more blue)
  1. this time, the Girl is concerned for Frith.  (Concerned about his pessimistic view on life).

  1. YOGA-ISH REMOVAL TRAINING SESSION: She visits a room, observing a class.  
  1. She eventually follows them out to the metal boat and watches their earmuff removal.  Interesting… she takes it in as something to learn… but does not view this as ‘the answer.’  Actually seems distanced form these people, seems to not relate – in what she wants not exactly in what they are doing…

  1. GOD IS Frábært:  she sits outside, beneath a large, white, dream-like, intriguing building
  1. Cuts of angling buldings
  2. Cuts to thinking girl
  3. HUGE WHITE LETTERS APPEAR ON SCREEN: God is Frábært!
  4. Back to her thinking, unaware of white letters that were on the screen.

WANTING ANSWER – FORCING ANSWER? WANTING IT TOO SOON? NEEDS TO GROW WITH HER KNOWLEDGE MORE.

  1. PARKING GARAGE/STAGE AT NIGHT… (Match Cut from Parking garage at day with feet dangling)
  1. We spy on the girl – she is crouched down in the corner of the concrete garage attempting to remove her earmuffs.
  1. BACK AT METAL BOAT: ALONE standing out at mountain but leaves earmuffs on.  Is contemplating… Is stern, stiff, serious.
  1. Flash of:
    FOOTBALL ARMS AT MOUNTAIN METAL: quick shot - girl at mountain metal, dream like with arms up resembling angles of mountain metal.  No earmuffs, hair pulled up, no coat.  Lifts head/cut.  But she doesn’t do it.  She stands still.

  1. IT’S A CALLING/NO IT’S NOT: back at the café (same café, same attire, slightly different color tone – more blue/grey)
  1. this time, Frith is concerned about the girl – worried about her mental health, her stability, how she is handling herself.
  2. (in a sense – worried for her own sanity – for the amount of time she’s been flying high with this, for a bit it seems – she’s been the one steaming this now – tugging this along... will she soon realize it is just her?)

NEEDS TO GET OUT: JITTERY, AFRAID, INTENSE, VERY MUCH HAS BEEN HAPPENING – SHE HAS BEEN TAKING IN VERY MANY LIFE ALTERING REALIZATIONS AND INFORMATION.  (JITTERS BEFORE IT BECOMES REAL… EMOTIONALLY, SUBCOUNSIOUSLY SENSEING THE FUTURE)

  1. WALK HOME – PERCEPTION PLAY: She is walking home.  
  1. We flip back and fourth between her view/a passer’s view/outside view – from colorful to dull – from colorful to dull – her own view flashing from colorful to dull – colorful to dull.  
  2. on the walk, her view shifts from colorful, outside normal/dull – to own view flashing from dull to colorful, to too colorful (overcompensating) to dull, to whither of color to dull.
  3. She is unable to hold her perspective on hope alone… she needs an experience to hold this in place, to justify things further now.

  1. NEEDS TO GET OUT:  For some reason… she feels… like she needs to get out.  Maybe she has encountered something too intense.  Overwhelming.  
  1. She hides under pillow, with earmuffs on – trying to shut out noise completely…
  2. It starts out sort of ‘fed up’ but in a non-series way… throughout the scene we get the idea she feels this overwhelming moment very much
  3. She… was… she thought she was there.  She felt it, she felt so good about everything she was learning, everything she was feeling.  She thought she was at the answer – but… it didn’t come?  Why is she so shaken now? Why does she want to get away now?  What’s the deal? But she feels it.  She needs out.  
  4. When she tries to shut it out, it gets stronger, affects her more = she needs to shut out more… ignoring, fighting - “don’t think of the white elephant, and if you do, I’ll kill you” (sort of feel as she fights it towards the end)
  5. She wants comfort, wants home, wants this feeling she has now to go away.  But she doesn’t even know what this is.  She doesn’t know.  She feels exhausted.  I NEED TO GET OUT…  I need a break from this.
    (subconsciously realizing something is to come?)
  6. She exhausts herself.

NUMB: RESERVED – DEFENDING HERSELF AGAINST HER OWN EMOTIONS – EXHAUSTED – BEGINNING TO BECOME HER?

  1. IT’S A CALLING/IT’S A LOUD NOISE: Numb - In white room
  1. Robotic, NUMB – passion turns numb, Dead - almost.
  2. Two facing – a glass wall between them.  They can see each other, but there is no connection.

  1. A VERY ‘HUMAN’ DOWN-TO-EARTH TALK/MEETING WITH A FRIEND: she seeks a connection, a real-life, on the ground, tangible connection.  Not just a strong connection with her mind, or this intangible feeling/world around her.  She seeks something real to connect to – maybe to again feel that she is real.
  1. She meets Arash at a coffee shop/or Sea Baron
  2. playing cards – normal – no talk about the noise… a break… she’s been flying high with it for quite a while.  A break.  
  3. This is nice.  Yea.  This is calming and nice… but you know… she knows what lingers in the back of her mind…
  4. When she goes to leave, she sees a puzzle on top a table, part cardboard - part colored, pretty close to being finished – it seems very much obtainable that this puzzle will be finished.  The chairs around it are empty.  
  5. Camera - She sees something, we pan/cut to puzzle/scene ends with puzzle.)

CONFRONTING: POSITIVE CONFRONTATION – KNOWING, NO DISCUSSION OR THOUGHT ABOUT WHAT SHE IS TO DO.  DOING AS SHE DRIFTS, FEELS, AND THINKS.

  1. ROAD TRIP ALONE:  Spends time amongst the ‘pure sound’ alone.  
  1. Cut to car – alone.
  2. At first she’s robotic – numb – still.  Almost afraid to get excited… to respond to emotionally or drastically.  She takes in her surroundings carefully and calmly.
  3. See her sitting in car for a long time – not moving – staring out window.  Either on the edge of complete break-down/suicide even, or of a blissful revival.  At this point – it could go either way.
  4. Something gets inside of her.  It starts to affect her again. Moments when the documentary becomes aware of itself…  Subtle – calm, but strong moments – calm, lifting but strong, but not overtaking her…  Her head stays on.  We see many smiles.
  5. A still moment, dream moment of ‘painting.’  Girl in ‘real life’ sitting in the middle of a green field, impressive mountain shape beyond her.  She is lounging and has on earmuffs.  Match cut of her without earmuffs, with a jumpsuit on.  Match cut back to real life.
  1. I THINK IT’S A CALLING: not facing – sitting parallel.  Robotic, but not heavy – not confronting – like parallel poems.

DOING AS SHE DRIFTS, FEELS, AND THINKS - INTO KNOWING DOING IT: TAKING INNITIATIVE ON THE THINGS SHE KNOWS AND THINGS AND FEELS – DOING IT ON THE GROUND - A ‘REAL’ – IN TIME – RIGHT TIME – EXPERIENCE.

  1. ELEGANCE HANDS AS EARMUFFS (WATER RISING):
    DOING IT THROUGHLY: (white letters on screen?)
  1. Putting on Coveralls – tripping to put a leg in.
  2. A walk to the shore
  3. Past blue house.  Stands – takes a moment’s rest
  4. Stops at the ROAD AND LIGHTS TO OCEAN: she turns and camera cuts to wide wide (painting shot) of girl on road with lights to ocean.
  5. Crouched, head down, breathing, hands over ears, she lets them slip to her neck.  Arms blissfully on either side of her neck, eyes closed, trying to bare the sound – she slides hands back over her ears – fast.  Deep breath, tries again, sliding hands down, jolting head up with a very deep breath – hands on shoulders… and around back up, throwing head down.  Deep breathe.  She brings her face straight, hands cupping ears.  Calm breathing… calm breathing.   Her chin raises, her neck lengthens and she flattens her hands.  They slowly hover - flat hands over ears, slightly touching they begin to circulate.  Eyes closed, hands and head lightly circulating.  Head down, sliding hands back to wrap around the back of her head – palms over ears - her eyes open.  She stares down.  She stares down, unblinking.  She rises suddenly, circulating, opening the palms to her ears, her fingertips still attached to the back of her head…
    She is in blue coveralls.
    She hears something…
    wonderful.
    She lowers her hands, her arms.
    She is still.  Her eyes are wide.
    Her eyes wide - She is almost terrified to move – to wake the loud noise once more.  
    Her mouth falls open.  She is breathing fast.  
    With a deep breath she un-stiffens and her eyes close. Her eyebrows pinch in.  Her head is floating on water.  Bobbing.  Eyelids drifting on clouds.  It is warm all around her.  Her eyebrows rise.  And she chooses.  She smiles, raises one eyebrow, laughs to herself, with her head tilted left, stares into the ground once more.  Patient, breathing.  Still.
    Her eyes begin to move.  She knows… she chooses to believe she knows and with a deep breath, she brings bright red earmuffs to her head… and over her ears.

A BREAK FROM HER: A WRAPPING UP: ONE LAST SURPRISE: WHAT COMES OF HER

  1. END: I THINK ITS A CALLING - NEW: WITH SELF
  1. A café… we spy on conversations, random café people.  We spot Girl at a table with a tea and a notebook (or book).  We go to her. Settle on her.
  2. Off screen – “I think it’s a calling.”  This gets the girls attention.  ‘I’m not sitting with anyone… could they be talking to me?”
  3. She looks up – we pan around to see a girl (self?) at an opposite table staring straight at her.  Girl stares at her… (herself) - she’s not going to answer.  She is surprised to see herself sitting there – she feels so whole now… so ‘together,’ so connected.  
  4. She blinks and turns her head sideways – almost as if she feels sorry for the girl sitting across from her.
  5. girl blinks at her.
  6. She blinks
  7. Huge white letters on screen:
  8. She blinks again
  9. She looks around the café – she spots Frith sitting in the café.  He is unresponsive to her.  It is not a conversation with Frith.  
  10. She looks back at the girl in front of her.
  11. She must accept the constant conversation with self.  Also the constant conversation with ‘other perspectives in life.’  Aware of this = a good thing.
  12. Cut to Girl - She looks down.  She tilts her head right.  The tilt says, “ah… believe that if you want to believe.”

  1. END
  1. Cut to: GIRL IN PAINTING: calm, mountain, space, transformed noise.  
  2. She takes a walk – passes many things – kindergarten, yoga trainers at boat, Frith (high five), Arash see’s her and catches up to join, passes Tiu Dropar, bends down and waves at some friends in the window, passes old man at door – waves, he waves back, passes herself a number of times – at kindergarten, in café, places around the city.
  3. END (she still has to wear earmuffs outside.)  
    VO? Or White letters?: It’s like the cold – you have to wear gloves and a hat… but at the same time, you can embrace it, you can live in it, you can think differently about the cold – instead of fighting it, hating it, running away from it – you can embrace it in different ways – by running in it, skiing, ice-skating – working with it, but even still, having to wear coats, gloves.  The cold is still cold… the sound is still loud.
  4. (white phrases flashing, mixed with spectacular images/scenes flashing behind - end of movie?)