Through the Olive Trees Page #5

Synopsis: The movie focuses on one of the events in Zendegi Edame Darad (1992), and explores the relationship between the movie director, and the actors. The local actors play a couple who got married right after the earthquake. In reality, the actor is trying to persuade the actress that they should get married.
Genre: Drama
Director(s): Abbas Kiarostami
Production: Artificial Eye
  5 wins & 5 nominations.
 
IMDB:
7.8
Rotten Tomatoes:
83%
G
Year:
1994
103 min
750 Views


and all their exams.

If we're both illiterate,

life will be impossible!

So you don't want her

because she's illiterate, is that it?

But Tahereh doesn't want you

for the same reason.

Why are you annoyed then?

I'm not annoyed!

Yes you are,

just a bit annoyed.

I think...

if land-owners married land-owners,

rich people married rich people...

and illiterates married illiterates,

nothing would work.

It's much better

if people who read

marry illiterates,

rich people marry poor people,

homeless people

marry land-owners.

So that everyone...

can help each other out.

I think that's better.

If two people marry

and end up with two houses,

they can't have their head in one

and their feet in the other!

Am I right or wrong?

They can't do that!

Indeed, they can't do that,

but they can live in one

and rent out the other, can't they?

Can't they?

That's possible.

Tahereh?

Miss Tahereh?

Grandmother?

Scene 14, shot 1, take 1

Action!

Tahereh...

Tahereh, where did you put

my white socks?

Look in your clothes,

I already looked,

they're not there.

Maybe near the fireplace.

They're not there either.

I don't know what you do

with my things!

I know!

You put them in your shoes!

I'll gladly go and look

but I know they're not there!

But since you say so, fine,

I'll go and look in my shoes...

Ah, the white socks are here!

You look

as if you just got married.

That's right!

- How long ago?

- Five days.

Five days or five months?

Five days!

- The night of the tremor?

- No...

One day later.

Hossein...

Why lower your head?

Stand up straight when you talk.

Let's do it again.

- Sound?

- Yes?

- Recording?

- Ready.

Camera!

Scene 14, shot 1, take 2.

Action!

Tahereh, where did you put

my white socks?

Look in your clothes.

I already looked,

they're not there.

- Maybe near the fireplace.

- I already looked.

I don't know what you do

with my things!

You must have put them

in your shoes!

I'm sure they're not there.

But since you say so, fine.

I'll go and look in my shoes...

But I know they're not there.

Ah, the white socks are here!

You look

as if you just got married.

Yes.

How long ago?

Five days.

- Five days or five months?

- Five days!

- The night of the tremor?

- No, one day later.

All right...

What's going on?

Hey, don't pour any water?

- I was watering the flowers.

- The flowers?

Look to see

if there's anyone below!

I'm not saying

not to water them!

- But look below first!

- Sorry!

So many people were buried

under the rubble,

a few drops of water on my head

won't harm me...

Don't yell at her!

There can't have been

many victims in your family...

for you to go and get married

the day after the quake.

There were. Cousins,

aunts, uncles...

All told,

there must be 25 dead...

Cut!

It's 65!

No, sir. I lost 25 people.

No, it's 65! Start again.

Hossein, get ready.

Ahmad, wait a second.

Go on, Ahmad,

go and sit over there.

Quick... Ready to go?

Ready?

Faster!

They're rolling.

Hossein, ready?

Wait a minute,

the sun's gone behind the clouds.

We'll have to wait five minutes.

Maybe less.

Excuse me, while we wait,

could you listen to this tape?

There's a noise.

Does it bother you?

Let me listen first.

Do you want a close shot?

Wait, I'm listening to the sound.

Tahereh...

When I ask about the socks,

don't go thinking it's me.

It's not.

It's what the director wants.

I am not the kind

who keeps asking:

"Where are my socks?"

If I get married,

I'll have enough tact...

to put away my socks,

my clothes and all my things!

I want to get married

simply to be happy,

not to have you cook for me

or look after my clothes

I'd like you to carry on studying

if you want to,

while I work

and go to eat at the bazaar.

The only thing I want...

is your happiness.

I want to make you happy.

Okay? We're ready.

Is your heart with me?

Tell me.

Scene 14, shot 1, scene 3

Action!

Why doesn't he start?

- Why don't you start?

- Tahereh!

Where did you put my socks?

Look in your clothes.

I already looked!

No, they're not there.

Maybe near the fireplace.

The fireplace?

No, they're not there either!

I don't know what you do

with my things!

Look in your shoes.

They're not in the shoes either,

but I'll check.

I know they're not there...

I'll gladly have a look,

but I'm sure they're not there.

Since you say so, fine.

Ah, they are here,

in the shoes.

You look

as if you just got married!

Yes.

How long ago?

Five days.

- Five days or five months?

- Five days!

The night of the tremor?

No, one day later.

Hey, don't pour any water!

I was watering the flowers, sorry!

You can water them but check to see

if there's anyone below first!

- Sorry!

- It doesn't matter!

So many people were buried

under the rubble,

a few drops of water on my head

won't harm me...

Tell me...

There can't have been

many victims

in your family

if you got married the day after.

There were. Cousins,

aunts, uncles...

All told,

there must be 25 dead...

Not! Not 25! 65!

- You have to say 65 people.

- 65?

But I swear I only lost 25!

Well say 65 anyway.

- We need new film.

- Hossein, ready?

Go back up.

Esmail, untie the ropes.

We'll put the canvas away.

The shadow has to be there.

Mrs. Shiva,

some paper, please. Thank you.

Whose pen is this?

We haven't yet had

the chance to laugh

or talk together.

I've only spoken to your mother

and your grandmother.

But old people don't understand

what young people feel.

They've forgotten their youth.

I want to know... if your heart...

is with me or not.

That's right.

Read your book and

don't pay any attention to them.

They're busy directing.

They're not bothered about us.

If you dare not say yes

turn the page of your book,

that will be my reply

The problem, I think, is the house.

So I'll go and I see the owner

and talk to him

so that he'll give me this house.

It won't cost a lot.

We'll be able to live here

because it brings us luck.

Ever since we got here,

flowers have bloomed inside,

flowers to wish us welcome.

We don't need

this sack of plaster any more.

We've done that shot.

I'll ask them for that plaster

and buy two other sacks.

I can turn this house

into a very beautiful place.

I'll put a window over there.

When you wake in the morning,

and the mountains

you'll see opposite

and mountains of opposite

will make your heart joyful.

I swore that I'd never do

any more masonry again.

If I have to do it,

it will be only for you.

But I want to know

if your heart is with me.

Don't worry about the others.

If you turn a page,

I'll have my reply.

Mr. Jafarian, we're shooting.

Ready?

Sound.

Camera.

Scene 14, shot 1, take 4

Action!

- Hossein! Hossein!

- Yes.

Why don't you say anything?

Are you asleep? Go on, speak.

Tahereh!

Where are my white socks?

Look in your clothes.

I already looked.

They're not there.

Maybe near the fireplace.

They're not there.

I don't know what you do

with my things!

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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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