Like Someone in Love Page #4

Synopsis: Like Someone in Love I is a Japanese-language film directed by Iranian director Abbas Kiarostami. It has been selected to be screened in the main competition section at the 2012 Cannes Film Festival. Written by Abbas Kiarostami.
Genre: Drama
Director(s): Abbas Kiarostami
Production: IFC
  1 win & 5 nominations.
 
IMDB:
7.0
Metacritic:
76
Rotten Tomatoes:
83%
NOT RATED
Year:
2012
109 min
$144,289
Website
751 Views


Here we go left.

And then right.

Here we are.

- Hi.

- Hi.

Sorry, pal.

How did this small guy

manage to move such a giant.

He has three dan in karate.

- You like that?

- What?

That he is strong.

I used to like it.

Where did he find the photograph?

It's old.

I took it two years ago

when I came to Tokyo.

I throw them to the garbage

whenever I find one...

buy maybe I missed some.

Also my grandma saw one.

What do you see in him exactly?

I'm not sure.

You will seat in the back?

What are you talking about?

Again?

Why else would you come for?

All yours.

I will take a look.

Give me two minutes.

Look at that.

Hello.

Maybe you don't

remember me, professor.

I was in the police school.

I took your course.

The police school?

I was also enrolled in sociology.

I was actually teaching...

an annual sociology program there.

You don't know me.

I find it logical.

We were few.

However now we are

almost neighbours.

Really?

Can I buy you a coffee?

I'm late to work,

unfortunately.

What do you do now?

I left the police.

I am now a freelance worker.

That's good.

I recently read

your last book...

and it was very interesting.

Thank you very much.

I left the police...

but I'm interested in the topic

of violence in the society.

Do you know each other?

We know each other from

many years ago.

Almost ready.

Come a bit further.

A bit more.

Ready.

You can drive without worries.

It was very worn out.

Put it back.

You will leave today?

Yes.

We can have lunch together.

Some other time.

Would you give me your mobile phone?

I don't have a mobile phone.

Give me yours and I will call you.

Here you have my card.

- Have you arranged anything for later?

- No.

Let's go eat together?

We have to talk.

- Thank you for this.

- No, I thank you.

Always take care of yourself.

How much do I owe you?

Nothing.

- I insist.

- Nothing, really.

I will arrange it with Akiko.

I owe you one.

We will go for lunch to the bookstore

if you change your mind.

Okay.

See you at 1 o'clock.

I will help you get out.

Attention to your right.

Are you okay?

Drive safely.

Sorry for the wait.

At least we know

where we are going.

What will I do?

Don't worry.

Things will get better.

Whatever will be, will be.

- You understood it?

- I understood.

Looks like they know

each other well.

Noriaki will ask him

about you.

He will find out that

he was your student.

I had told him...

that my grandfather

was a fisherman.

Fisherman?

Never mind.

Everyone has two grandfathers.

From the father

and from the mother.

One can be a fisherman

and the other a teacher.

Indeed.

I still worry.

Don't worry.

Everything will be okay.

Whatever will be, will be.

Whatever will be, will be.

The future we can't

predict.

What will be, will be.

What did you two

talk about?

Relax,

about nothing special.

I didn't tell him

anything specific.

He asked me

if I was your grandfather.

I replied that I am as much

your grandfather as I'm his.

You could be my granddaughter.

And you can call me

whenever you need me.

Do you have my number?

Here is the bookstore.

Don't get stressed.

You don't need to

worry about anything.

- I'm leaving.

- Bye.

Mr. Watanabe?

You must be happy that

your granddaughter came to see you.

Was also your daughter with you?

Sorry, but your car...

Could you park it a bit

farther ahead next time?

If you park like that,

I can't see outside.

Seriously? I think

you can see very well.

I park exactly there...

upon your request.

Because I offered to

clean the windshield...

with the short hose.

I can wash it somewhere else.

Yes, but I told you

that I will do it.

I don't take my words back.

That wasn't very polite.

Hello, Mr. Watanabe.

We had a small problem

in printing.

I already called you yesterday...

but your voicemail

wasn't working.

Call us as soon as possible,

please.

Thank you.

Mr. Watanabe?

Are you there?

It's Miwa.

Are you home?

They called me

from the printing house.

Hello, Mr. Miwa?

Really?

Hold on,

I will take a look.

It's like a line is missing.

They stopped printing

and they aren't happy.

I won't take long.

- Let me read it to you.

- Yes, tell me.

Will your also look

in your computer?

Where can I find it?

Chapter 10, page 132.

Page 132.

Line seven.

I will read it to you.

"man with little experience..."

Then?

Hello?

The line cut off.

Sorry, the line cut off.

Hello?

Who is it?

Akiko!

What is going on?

Where are you?

I'm coming to get you.

Stay where you are.

Don't move. I come right over.

Get in the car.

Why do you sit here?

It's cold, let's go upstairs.

I want to be alone

for a while.

No, let's go inside.

Let me see it.

I will go to the pharmacy.

Wait for me upstairs.

Go, there is nobody there.

Miss...

What happened to you?

Aren't you the granddaughter

of Mr. Watanabe?

You look exactly like

your mother when she was young.

Of course, after what happened,

nothing was the same.

But this belongs to the past.

Your mother also came?

No.

Why do you talk like that?

I have a toothache.

Gargle with salt water.

I saw you this morning...

when you left with

your grandfather.

But later, he came back alone.

I wanted to ask you something.

I told him something

and he became angry.

At least you look at me.

Lately...

he doesn't look at me or greet me.

I didn't ask anything difficult.

Only if he could maybe

park a bit farther back.

You will stay long?

I'm not sure.

Your mother didn't come

to see her father?

No.

Nowadays people don't

visit the elderly.

I'm single...

and I don't have children,

and that's it.

I spend my time

looking through the window.

It's my only hobby.

All I have left.

Let me tell you something.

I would have liked to

marry your grandfather.

Really?

How can I say it?

When your grandmother came...

I had to forget my dreams.

The truth is that

those times with your grandfather...

She was his colleague,

an educated woman

cute, tall.

How know how men are.

She caught his attention.

Me, however,

to tell you the truth...

I was beautiful in my time.

Maybe not so tall.

Of course, I had

my disabled brother.

If I had married your grandfather,

since we are neighbours...

I could have taken care of

both him and my brother.

Unique opportunity.

I could not ask

for anything better.

But then, your grandmother came.

It was meant to be, I guess.

Now I look at him

when he passes by.

It's my only pleasure.

Sorry, it's my brother.

Take this away from here!

Take it!

Why didn't you go upstairs?

It's cold.

Come in.

Sit.

I will reheat the soup.

No, you said you don't eat soup.

Do you prefer some milk?

I will warm it for you.

Do you drink milk?

Let's see if I have any.

I do.

I will heat it for you.

It won't take long.

It's coming.

Show me your wound.

Let me see.

Move your hand.

We must clean it.

Otherwise it will swell.

We will fix it.

That's what we will do.

Don't be afraid,

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Abbas Kiarostami

Abbas Kiarostami (Persian: عباس کیارستمی‎ [ʔæbˌbɒːs kijɒːɾostæˈmi] ( listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid Saless and Parviz Kimiavi. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. more…

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Submitted on August 05, 2018

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    "Like Someone in Love" Scripts.com. STANDS4 LLC, 2024. Web. 22 Dec. 2024. <https://www.scripts.com/script/like_someone_in_love_12588>.

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