Anora
Executive Summary
Poster
Overview
Genres: Drama, Thriller, Romance, Comedy, Crime, Action, Legal, Slice of Life
Setting: Contemporary, New York City, including various nightlife venues, a mansion, and a private airport
Overview: In 'Anora,' we follow Ani, a 23-year-old Russian-American dancer at a bustling gentlemen's club in Manhattan. The story begins with Ani navigating her work environment, showcasing her charm and independence while performing for various clients. As she develops a connection with Ivan, a wealthy Russian man, their relationship evolves from playful flirtation to deeper emotional entanglements. The middle of the story explores the complexities of their romance against the backdrop of family expectations and societal pressures, leading to a chaotic New Year's Eve party that further complicates their bond. As Ani confronts the realities of her marriage and the power dynamics at play, the narrative builds towards a climax filled with tension and conflict, ultimately forcing Ani to assert her agency and navigate the tumultuous waters of love and betrayal.
Themes: Transactional Relationships & Exploitation, Search for Authenticity and Genuine Connection, Class Conflict and Social Inequality, Cultural Clashes and Identity, Female Agency and Empowerment
Conflict and Stakes: Ani's struggle to maintain her marriage to Ivan amidst family pressures and personal turmoil, with her safety and future at stake.
Overall Mood: Chaotic and tense, with moments of intimacy and vulnerability.
Mood/Tone at Key Scenes:
- Scene 1: The opening scene is vibrant and energetic, reflecting the lively atmosphere of the club.
- Scene 12: The mood shifts to tense and confrontational as Ani confronts Ivan about their marriage.
- Scene 25: The courtroom scene is chaotic and filled with rising frustration as Ani fights against the annulment.
- Scene 30: The mood is frantic and chaotic as Toros reacts to the news of Ani's marriage to Ivan.
Standout Features:
- Unique Hook: The juxtaposition of the glamorous nightlife with the dark undercurrents of family drama and personal struggles.
- Plot Twist: The revelation of Ivan's true family background and the implications it has on his relationship with Ani.
- Distinctive Setting: The vibrant and chaotic nightlife of New York City serves as a backdrop for the characters' emotional journeys.
- Innovative Ideas: Exploration of the complexities of modern relationships within the context of wealth and power dynamics.
Comparable Scripts:
- The Deuce
- Showgirls
- Hustlers
- The Girlfriend Experience
- Crazy Ex-Girlfriend
- The Night Manager
- The Sopranos
- 9 Songs
- The Players Club
Writing Style:
The screenplay exhibits a diverse writing style, blending elements of gritty realism, sharp wit, and intense character drama. While there's a variety of influences, a consistent thread is the focus on dialogue-driven scenes with complex character interactions and high stakes.
Style Similarities:
- Quentin Tarantino
- Aaron Sorkin
- David Mamet
Pass/Consider/Recommend
Consider
Explanation: Anora is a compelling story with a unique premise and strong female lead, but requires significant structural and thematic refinement. The screenplay's strengths lie in its vibrant characters and setting, but pacing issues, underdeveloped subplots, and inconsistent tone hinder its overall impact. Revisions focusing on narrative streamlining, thematic consistency, and a more nuanced exploration of Ani's character arc are crucial before considering production.
USP: The unique selling proposition of 'Anora' is its exploration of the clash between the worlds of high-society and the working class, and the ways in which power dynamics and family secrets can complicate even the most personal of relationships. The script offers a unique perspective on the challenges of navigating cross-cultural relationships and the lengths that people will go to protect their status and legacy. Additionally, the screenplay's strong character development and narrative drive make it a compelling piece of storytelling that would be of interest to audiences seeking complex, character-driven dramas.
Market Analysis
Budget Estimate:$25-35 million
Target Audience Demographics: Adults aged 18-45, particularly those interested in drama, romance, and stories set in the nightlife scene.
Marketability: The screenplay features a compelling mix of romance, drama, and the allure of the nightlife, appealing to a broad audience.
The unique setting of New York's nightlife combined with themes of love and betrayal can attract viewers looking for intense emotional experiences.
The character dynamics and conflicts provide opportunities for strong performances, which can draw in audiences and critics alike.
Profit Potential: Moderate to high, given the potential for strong box office returns and interest from streaming platforms, especially with a star-studded cast.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is gritty, realistic, and sharply witty, blending high-stakes drama with dark humor and cultural nuances. It's characterized by a fast-paced, energetic style that emphasizes vivid descriptions, authentic dialogue (including a blend of English and Russian), and complex character interactions driven by power dynamics and hidden motivations.
Best representation: Scene 8 - Flirtations and Tensions. This scene best exemplifies the writer's unique voice because it perfectly encapsulates the blend of witty banter, unexpected twists, and underlying tension that defines their style. The seemingly light-hearted post-coital conversation abruptly shifts to a reveal that introduces a significant plot element and adds depth to Ivan's character. This unexpected juxtaposition of humor and serious revelation is a recurring stylistic element throughout the script and is perfectly realized in this scene.
Memorable Lines:
- Toros: You scream and the gag goes back on. (Scene 36)
- ANI: I’m glad to be divorcing your sorry ass. You're pathetic, man. (Scene 57)
- ANI: You two are fucking dead for this. I’m Ivan’s fucking wife! (Scene 33)
- IVAN: Will you marry me? (Scene 18)
- TOROS: FUCK! (Scene 21)
Characters
Ani:A 23-year-old dancer navigating the complexities of her relationships and career in the nightlife scene.
Ivan Zakharov:A wealthy and reckless heir, struggling with family expectations and his relationship with Ani.
Toros:Ivan's associate, who is protective and aggressive, often caught in the middle of family drama.
Galina Stepanovna:Ivan's mother, who disapproves of Ani and is determined to control her son's life.
Garnik:A member of Toros's crew, often caught up in the chaos surrounding Ivan and Ani.
Diamond:A fellow dancer who is competitive and often antagonistic towards Ani.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - A Night at Headquarters | Sensual, Intense, Dark | 7.5 | 9 | 7 | 8 | 7 | 6 | 8 | 7.5 | 6 | 8 | 7 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
2 - Winter Nights and Unresolved Tensions | Intimate, Tense, Casual | 7.5 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
3 - Tensions in the Locker Room | Sarcastic, Defiant, Confrontational | 8.2 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
4 - A Toast to Accents | Playful, Friendly, Charming | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
5 - After Hours Encounter | Sensual, Intimate, Playful | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
6 - A Warm Welcome at Ivan's Mansion | Intimate, Formal, Curious | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
7 - Seductive Intentions | Sensual, Playful, Intimate | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
8 - Revelations in the Bedroom | Seductive, Playful, Informative | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
9 - Flirtations and Tensions | Sensual, Playful, Flirtatious | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
10 - A Night of Charm and Mischief | Sensual, Playful, Charming | 8.5 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
11 - Midnight Flirtations | Seductive, Playful, Tense | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
12 - Midnight Interruptions | Sensual, Playful, Tense | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | |
13 - New Year's Negotiation | Playful, Seductive, Negotiation | 8.5 | 8 | 9 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | |
14 - Taking a Stand | Tense, Light-hearted, Defiant | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
15 - A Week of Freedom | Intimate, Playful, Sensual | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 4 | 5 | 5 | 8 | 6 | 9 | 8 | 9 | 8 | 8 | 8 | |
16 - Beachside Revelations | Playful, Intimate, Amused, Lighthearted | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 6 | 3 | 6 | 4 | 6 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
17 - Vegas Indulgence | Seductive, Playful, Luxurious | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 6 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 9 | |
18 - A Night of Sushi, Sake, and Surprises | Playful, Seductive, Humorous, Emotional | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
19 - Bittersweet Farewell | Playful, Intimate, Tense | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
20 - Burden of Doubt | Playful, Light-hearted, Humorous, Sarcastic | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
21 - Intimacy and Tension | Intense, Romantic, Anxious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
22 - Urgency and Intimacy | Intimate, Playful, Tense | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
23 - Tabloid Tensions | Tense, Suspenseful, Serious | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
24 - Unexpected Guests | Tense, Playful, Intimate | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
25 - Confrontation at the Mansion | Tense, Confrontational, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
26 - Tension in the Mansion | Tense, Confrontational, Suspenseful | 8.5 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
27 - Divided Loyalties | Tense, Confrontational, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
28 - Urgent Confessions | Tense, Urgent, Conflicted | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
29 - Chaos at the Mansion | Tense, Angry, Confused, Upset, Humorous | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
30 - Fractured Ties | Tense, Emotional, Defiant, Confused | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 9 | 8 | 8 | |
31 - Fractured Ties | Tense, Frantic, Defiant, Chaotic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
32 - Desperate Struggle | Intense, Chaotic, Violent | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 10 | 9 | 10 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | |
33 - Defiance and Chaos | Intense, Chaotic, Violent | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
34 - Tension in the Mansion | Tense, Aggressive, Defiant | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
35 - Fractured Ties | Intense, Tense, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
36 - Negotiating Freedom | Tense, Intense, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
37 - Departure from the Mansion | Tense, Frantic, Defiant | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
38 - Blocked Paths | Tense, Frantic, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
39 - Confrontation at the Vape Shop | Tense, Aggressive, Confrontational, Urgent | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
40 - Frantic Search at Tatiana's Grill | Tense, Frantic, Confused, Aggressive | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
41 - Cold Confrontations | Tense, Defiant, Aggressive | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - The Great Car Rescue | Frantic, Intense, Chaotic | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
43 - Chaos in the Search for Ivan | Tense, Frantic, Desperate | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
44 - Desperate Search in the Night | Tense, Frantic, Desperate, Agitated, Exhausted | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
45 - Midnight Tensions | Tense, Aggressive, Desperate | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | |
46 - Ambition and Intrigue at the Diner | Intense, Tense, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
47 - Hedonistic Encounters | Tense, Frantic, Aggressive, Desperate | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 6 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
48 - Fractured Bonds | Tense, Dramatic, Confrontational | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
49 - Chaos Unleashed | Tense, Chaotic, Confrontational, Dramatic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
50 - Desperation in the Backseat | Intense, Confrontational, Desperate | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
51 - Desperate Measures | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
52 - Courtroom Chaos: The Battle for Marriage Legitimacy | Tense, Confrontational, Chaotic | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
53 - Chaos on the Courthouse Steps | Desperation, Frustration, Chaotic | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
54 - Frustration at the Tarmac | Tense, Humorous | 8.5 | 9 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
55 - Family Confrontation at the Airport | Tense, Emotional, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
56 - Tarmac Confrontation | Tense, Confrontational, Emotional | 9.2 | 9 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 10 | 8 | 10 | 9 | 8 | 9 | 10 | 9 | 8.5 | 8 | 8 | |
57 - Turbulence of Emotions | Tense, Playful, Aggressive, Emotional | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
58 - Divorce in Vegas: A Clash of Families | Tense, Confrontational, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
59 - Tensions Unveiled | Sarcastic, Confrontational, Intense | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 6 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | |
60 - Snowbound Turmoil | Tense, Emotional, Intense, Awkward | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - A Night at Headquarters
The night is banging at HEADQUARTERS, a gentlemen's club in
the heart of the city. A large central part of the room is
filled with couches and seats where flirting and light lap
dances happen. Around the edge of that are smaller curtained
off areas and rooms where even more “in-depth” dances and
interactions happen. A pop song blasts in the club. There are
50 girls and 15 guys downstairs and 20 girls and 5 guys
upstairs. Throughout the club are 3 security guards, a DJ,
the owner and the owner’s right hand man. The music is so
loud that everyone is essentially shouting at all times.
The camera dollies down a row of lap dances, one after
another. Some are heavy grinding while others are putting on
a show. We land on the sixth dancer who is facing away from
her customer as she thrusts back on him. This is ANI (23).
The camera locks on a medium CU shot on her face.
The opening credits roll over this section.
HARD CUT TO:
2.1 INT. HEADQUARTERS - VARIOUS - NIGHT - LATER 2.1
The camera follows Ani throughout her night, establishing the
club's operations, social interactions, clientele and
geography. It’s full of private rooms each with their own
style. Ani performs different types of dances, some private,
some out in the open.
CUT TO:
2.2 INT. HEADQUARTERS - FIRST FLOOR BAR - NIGHT - LATER 2.2
Ani sweet talks a BUSINESSMAN (50’s) into getting a dance.
A2.2 INT. HEADQUARTERS - FIRST FLOOR - NIGHT A2.2
Ani gives a lap dance to a client. There is casual small talk
with the customer, keeping it light and fun.
B2.2 INT. HEADQUARTERS - FIRST FLOOR - NIGHT B2.2
Ani gives a lap dance to a client in a different area.
C2.2 INT. HEADQUARTERS - FIRST FLOOR - NIGHT C2.2
Ani gives a lap dance to a client in a different area.
D2.2 INT. HEADQUARTERS - FIRST FLOOR - NIGHT D2.2
Ani gives a lap dance to a client in a different area.
2.3 OMITTED 2.3
Ratings
Scene 2 - Winter Nights and Unresolved Tensions
She gives a topless lap dance to a DUDE (40) in a different
private room.
CUT TO:
2.5 INT. HEADQUARTERS - PRIVATE ROOM - NIGHT - LATER 2.5
She gives a more performance-type lap dance to another DUDE
(58) in a different private room.
3 OMITTED 3
4 INT. HEADQUARTERS - BACKSTAIRS - NIGHT - LATER 4
Ani’s friend/co-worker LULU (19) walks down the stairs and
scans the room. She sees Ani and motions to her - putting up
two fingers and pointing upstairs. Ani sees this and excuses
herself from the bar conversation she’s having.
CUT TO:
5 OMITTED 5
6 INT. HEADQUARTERS - PRIVATE ROOM - NIGHT - LATER 6
Ani and Lulu give a private 2-on-1 dance to a middle aged
man. While grinding, without the guy noticing, they exchange
looks that say... “want to smoke?”
7 EXT. HEADQUARTERS - FRONT SIDEWALK - NIGHT - LATER 7
In the winter night, Ani and Lulu shiver as they pass a blunt
back and forth. A bouncer is admitting two businessmen into
the club in the background.
A8 INT. HEADQUARTERS - MAIN FLOOR - NIGHT A8
From a distance, we observe Ani and her co-workers work the
main floor. (We roll without a cut for ten minutes) Ani knows
some of the clients by their first name.
Ani passes by DIAMOND (23). They clearly are not fond of each
other.
DIAMOND
Ani, was Robert at the club
yesterday?
ANI
Yeah.
DIAMOND
And did he ask for a dance?
ANI
Yeah.
DIAMOND
And did you give him one?
ANI
Yeah?
Diamond is not pleased.
DIAMOND
Ok.
Diamond walks away with an expletive under her breath. Ani
shrugs it off.
ANI
Ok.
B8 OMITTED B8
C8 OMITTED C8
Ratings
Scene 3 - Tensions in the Locker Room
Ani is eating dinner from a tupperware container while
scrolling on her phone(in a super distinctive blinged out
pink phone case). Lulu is sitting in front of the mirror next
to two other dancers. They are doing their make-up and
vaping.
ANI
Dude, the DJ is a fuckin’ asshole.
I swear to god.
LULU
He’s Jimmy’s cousin. That’s the
only reason he has this gig.
ANI
Fucking attitude on this guy. I
gave him my playlist and he said
maybe. Fucking maybe.
LULU
And how old is he? Like 40? Shit.
JIMMY (50) HQ’s owner and DAWN (30), HQ’s manager, enter the
dressing room.
JIMMY
Ani.
Ani doesn’t want to answer.
ANI
Yeah?
JIMMY
Got a kid that wants someone who
knows Russian.
ANI
Your cousin better show some
respect around here or he ain’t
getting shit from the girls.
JIMMY
I’ll talk with him. C’mon.
ANI
I’m so deadass right now, Jimmy.
JIMMY
Seriously, what? What do you want
me to do?
ANI
He gave me attitude when I gave him
my playlist.
JIMMY
That’s it? Attitude? I’m so sorry
your feelings are hurt but I don’t
really give a care. Alright?
(MORE)
JIMMY (CONT'D)
I’m dealing with a lot of straight
up BS tonight. Let’s go.
ANI
I’m eating here.
DAWN
That’s why you have tupperware, to
keep things fresh. C’mon.
LULU
Where’s what’s-her-name?
DAWN
Who? Katya? She’s been gone for
three months.
JIMMY
Lulu... mind your own business.
ANI
Jimmy.
JIMMY
He’s a spender. Let’s go.
Ratings
Scene 4 - A Toast to Accents
Ani and JIMMY arrive at table twelve where IVAN (21) is
sitting with his friend ALEKS (20’s, Russian-American), who
is already in conversation with another dancer.
JIMMY
Gentlemen, please meet Ani. She’ll
take care of you tonight. Let me
know if you need anything.
ANI
Hey, I’m Ani.
IVAN
Ivan.
(Russian)
Sit down, sit down. You’re a
beautiful girl.
Ani sits next to Ivan.
ANI
Thank you.
IVAN
(Russian)
You speak Russian, right?
ANI
I don’t speak Russian but I know
Russian.
Ivan is confused.
ANI (CONT'D)
I can speak Russian but I’d just
prefer not to. But you go ahead,
speak Russian. I can understand.
IVAN
I don’t understand.
ANI
(Russian)
Ok, hello Ivan. I’m Ani. This is
how I speak Russian. (beat) Do you
still want me to speak Russian?
They both laugh.
ANI (CONT'D)
You see? I’m terrible.
IVAN
You’re not bad.
ANI
Well thank you but I disagree.
IVAN
So how do you know Russian then?
ANI
My grandmother never learned
English so... But enough about me.
You two from Russia?
IVAN
I am. He lives here.
ANI
Cool. On vacation?
IVAN
Yes. I guess you could say that.
I’m speaking Russian, ok?
ANI
Whatever you want.
IVAN
(Russian)
Ok. Because I probably sound
terrible in English.
ANI
You’re not bad.
IVAN
(Russian)
You need a drink so we can cheers
to our bad accents.
ANI
I’d love one.
IVAN
(Russian)
Let’s get a bottle.
ANI
Want to bring it to VIP?
Ratings
Scene 5 - After Hours Encounter
Ani gives Ivan a dirty lap dance.
During the dance, Ivan places a $100 bill in Ani’s bikini
bottom strap. Ani turns it up a notch. Ivan places another
$100 bill in the strap, she turns around and straddles him,
reaches back and removes her top.
ANI
No touching, ok?
IVAN
(smiling)
No touching.
She rides for a little while and then... another $100 bill.
She smiles and spins around. Now sitting on his lap, she
grabs his hands and places them on her breasts as she
continues to grind back into him.
When the fourth $100 bill is offered...
ANI
Ok, can you sit on your hands for
me?
IVAN
Sit on my hands?
ANI
Yeah, hands under your legs.
Ivan complies.
ANI (CONT'D)
And you gotta keep them there ok?
(Russian)
This is a no-no. But I like you.
Ivan nods. Ani stands, turns and removes her bottoms.
Twirling the thong around on her finger, she sits and
straddles. Ivan is losing his mind.
11 INT. HEADQUARTERS - UPSTAIRS COUCHES - NIGHT 11
Ivan and Ani are lounging on one of the black leather
couches. One her legs is up over his. They toast and do a
shot of vodka. Ivan says his cheers in Russian and talks Ani
into toasting in Russian as well.
IVAN
(Russian)
Do you work outside the club?
Ani knows what he’s asking.
ANI
Give me your phone.
Ivan gives Ani his phone, unlocking it as he passes it to
her. Ani puts her contact in the phone. And hands it back to
him.
ANI (CONT'D)
Text me.
12 INT. SUBWAY CAR - DAWN 12
The sun has not risen yet but the sky is beginning to lighten
as Ani rides the subway by herself, barely staying awake. She
arrives at the Brighton Beach train station.
13 EXT. SUBWAY STATION - DAWN 13
Ani exits the station as five commuters in business attire
are entering.
A14 EXT. BRIGHTON BEACH AVENUE - EARLY MORNING A14
Ani walks the almost empty streets from the subway station to
her apartment building.
B14 EXT. BRIGHTON BEACH AVENUE - EARLY MORNING B14
She approaches her apartment building and walks up the front
steps.
14 INT. ANI’S APARTMENT - BEDROOM - DAY 14
Bright daylight pours through the window. Ani is sound asleep
wearing an eye mask. A knock on her door. VERA (25), Ani’s
sister enters.
VERA
Yo. Yo.
Ani starts to stir.
VERA (CONT'D)
Did you pick up milk?
Ani wakes and pulls the mask down. Annoyed, she looks at her
sister.
ANI
Do you see milk in the fridge?
VERA
No.
ANI
Then I didn’t pick up the fucking
milk.
Vera slams the door. Ani puts the mask back on and turns
over.
Ratings
Scene 6 - A Warm Welcome at Ivan's Mansion
Ivan’s huge waterfront MANSION sits behind a privacy gate
manned by a security booth. Ani’s Uber arrives at the address
and she steps out. She approaches the DAY GUARD.
ANI
Hello. I’m here for Mr. Zakharov.
DAY GUARD
Ivan?
ANI
Yeah.
DAY GUARD
Your name?
ANI
Ani
The guard confirms her name on his iPad and opens the gate.
16 EXT. MANSION DRIVEWAY/ENTRANCE - DAY 16
Ani walks through the gate and approaches the mansion. She is
impressed. She rings the doorbell. Ivan answers with boyish
excitement.
IVAN
(Russian)
Hello. Welcome. Come in.
17 INT. MANSION - FOYER - CONTINUOUS 17
Ani enters, taking in the gorgeous home. The first floor
features an oversized kitchen, living area and dining room,
double height foyer and a separate large office space. Floor
to ceiling windows provide water views.
Ivan takes Ani’s coat and hangs it in a closet near the front
door.
IVAN
(Russian)
Want something to drink?
ANI
I’ll take a water.
IVAN
(Russian)
Water? You sure? You can have
anything you want. Vodka? Tequila?
Coca-Cola?
ANI
Water’s good.
Ivan walks towards the kitchen leaving Ani in the foyer.
IVAN
(Russian)
Ok, suit yourself. Sparkling or
flat?
ANI
Either is good.
Ani is overwhelmed with the space.
ANI (CONT'D)
Wow. Not too shabby.
Ivan approaches with a bottle of VOSS water.
IVAN
What is “not too shabby?”
ANI
Oh... beautiful. Your home is
beautiful.
IVAN
(Russian)
Yeah? Ok.
(hands her the water)
Sparkling.
ANI
Thank you.
IVAN
(boyishly points up)
Bedroom’s upstairs.
CUT TO:
Ratings
Scene 7 - Seductive Intentions
Ivan leads Ani upstairs to the master bedroom.
19 INT. MANSION - MASTER BEDROOM - CONTINUOUS 19
They enter the beautiful room. The bed donned with designer
sheets is unmade. Ani walks towards the window overlooking
the basin.
IVAN
Excuse the mess. They haven't fixed
my bed yet... (to self, as he tries
to tidy the bed) Is it so
difficult?
ANI
Nice view.
IVAN
My view is better.
Ani turns to see Ivan ogling her body. She chuckles.
ANI
Ok.
(beat)
So what are you looking for?
IVAN
Sex.
ANI
(chuckling)
Yeah, I know. I mean... anything
special?
IVAN
Yeah, special sex.
ANI
Special sex. So... a little bit of
everything.
IVAN
(Russian)
That sounds special. Yeah.
SMASH CUT TO:
Ani finishes removing her clothes. Ivan watches.
ANI
Want to take your clothes off?
IVAN
Yes, I do.
Ivan strips in seconds.
ANI
(looking at his crotch)
Ready to go. Alright.
Ani seductively pushes Ivan down so he’s seated on the side
of the bed. She takes a condom from the bedside table.
ANI (CONT'D)
Do you want to put this on or do
you want me to put in on for you?
Ivan motions for her to do it. Ani tears open the condom
wrapper with her teeth and removes it. Ani puts the condom on
Ivan.
ANI (CONT'D)
There we go.
She starts by kissing his chest, moving to his nipples, down
to his stomach...
IVAN
(Russian)
Wait, I need to do it right now.
Ratings
Scene 8 - Revelations in the Bedroom
Ani and Ivan are having sex. Ivan is like a jackrabbit. Ani
is slightly amused by his boyish enthusiasm and lack of
finesse.
CUT TO:
21 INT. MANSION - MASTER BEDROOM - LATER 21
Ivan is dabbing. He points to cash on the bedside table.
IVAN
That’s for you. Tip.
Ani takes it and flips through the bills. There’s a lot.
ANI
Oh, wow. Thank you.
As Ivan is exhaling...
IVAN
(Russian)
That was amazing.
ANI
Very nice of you.
Ivan smiles and dabs again.
IVAN
You want?
Ani takes the dab and smokes. Ivan hits a button on the wall
and a television slowly rises from the console in front of
the bed while Ani and Ivan talk. A music video channel plays
on the television.
ANI
How old are you?
IVAN
21. You?
ANI
Older than you.
IVAN
(Russian)
What are you like... 25?
ANI
23!
IVAN
(Russian)
You act like a 25-year-old.
ANI
You’re funny.
IVAN
Funny? Why?
ANI
I don’t know, you’re just funny.
IVAN
Funny cool, right?
ANI
Yeah, funny cool.
(beat)
So what do you do to... get all
this?
IVAN
(Russian)
What do you think I do?
ANI
What do you think I think you do?
IVAN
I’m big drug dealer.
ANI
Really?
IVAN
No.
(beat)
I’m big guns dealer.
ANI
Really?
IVAN
No.
ANI
You made some app or something?
IVAN
(Russian)
I do have some cool ideas for apps
but no.
Ani waits for the real answer.
ANI
So?
Ivan answers in a way that indicates he is not exactly proud.
IVAN
(Russian)
My father is Nikolai Zakharov.
Ani doesn’t know who that is.
IVAN (CONT'D)
Google him.
Ani takes out her phone.
ANI
What’s his name again?
IVAN
Nikolai Zakharov. Z. A. K. H...
Ani types away. She stares at the screen.
ANI
Got it. Oh.
(beat)
Oh.
We see the Wiki Page of NIKOLAI ZAKHAROV. Ivan leans over and
points at the screen.
IVAN
(Russian)
Yeah, see there. Children. Ivan
Zakharov. That’s me.
ANI
Oh shit.
Ratings
Scene 9 - Flirtations and Tensions
Lulu is looking at Ani’s phone with her jaw dropped. Ani is
visibly happy.
LULU
Oh shit.
ANI
Yeah. And... seeing him again
tomorrow.
LULU
No way.
ANI
Yeah... guess he had fun.
Ani notices Diamond listening in. Diamond is sipping
Strawberry Yoo-hoo from a glass bottle with a straw.
ANI (CONT'D)
Want to mind your business?
DIAMOND
You’re makin’ it our business.
(Diamond turns away and
under her breath...)
Chatty bitch.
Diamond looks Ani straight in the eyes as she slowly and
obnoxiously slurps the last of the Yoo-hoo. Ani stares back.
Dawn enters.
DAWN
Ok, which one of you decided to
bedazzle my clipboard?
LULU
Oh that’s cute.
DAWN
Whoever did this owes me a new
clipboard.
23 INT. MANSION - LIVING ROOM - DAY 23
Wearing a thong, netted top and pleasers, Ani crawls across
the living room floor. She’s giving an erotic dance, similar
to the way she would if on a club’s stage. She turns and
crawls back toward the couch. We reveal that we are in Ivan’s
living room. Ani crawls up and on to Ivan where she removes
her top.
24 INT. MANSION - LIVING ROOM - DAY - LATER 24
IVAN
(Russian)
That was crazy good. You’re the
best.
Ani smirks, amused and flattered.
Ivan is playing video games and dabbing. He passes it to her.
IVAN (CONT'D)
(Russian)
Hey, you should come to my New
Year’s party.
(English)
It’s going to be bangin’.
Ani smiles.
ANI
I might have to work that night.
IVAN
(Russian)
You might not have to work that
night.
(beat)
ANI
Can I bring someone?
IVAN
(Russian)
Not if it’s a guy.
(English)
I don’t want a sausage party.
ANI
She’s not.
IVAN
(Russian)
Ok, then. See you here.
ANI
So you paid for an hour and there’s
still like 45 minutes if you want
to go again.
IVAN
(Russian)
Oh shit, yeah!
CUT TO:
Another jackrabbit session. Ani can’t help but laugh when he
climaxes in seconds.
Ratings
Scene 10 - A Night of Charm and Mischief
Ani and Lulu are having fun being mischievous and doing bumps
of coke in the backseat of the Uber.
25 EXT. MILL BASIN - STREET - NIGHT 25
Ani and Lulu exit an Uber. They are dressed to the nines in
high heels and clothes way too skimpy for the freezing
weather. They hear the pulsing bass from the party. A MANSION
BOUNCER and the NIGHT GUARD checks them in.
They approach the house which radiates colored light.
LULU
(in awe)
No way.
There are partyers visible in all the windows. Two very
intoxicated partyers sit on the steps outside.
26 EXT. MANSION - DOORWAY - NIGHT 26
The two approach the front door... music pounding.
LULU
Oh shit. (whispers) Can you adjust
my tits? I think my tits are off.
Ani jumps to the rescue. The door opens in mid fix. Two guys
exit with drinks in hand. Ani and Lulu enter the house.
27 INT. MANSION - NIGHT - CONTINUOUS 27
The place is packed with partiers... drinking, smoking and
dancing.
Ivan who is trying his hand at DJ’ing spots Ani. He makes a
beeline for them. The DJ steps back in.
IVAN
(English)
Hey... New York’s hottest girl is
here!
The girls laugh.
ANI
This is my friend Lulu.
Ivan is very charming. He gets on one knee and kisses her
hand. The girls laugh.
CUT TO:
Ratings
Scene 11 - Midnight Flirtations
Ivan is the king of the party. TOM (early 20’s, Russian-
American) and Aleks are the two friends we see the most with
Ivan. Alek’s girlfriend DASHA (24) is also present.
Ivan is helping the girls to take shots from the ice
sculpture (a voluptuous woman’s bust). Aleks is nearby and
notices Ani from the club.
ALEKS
Hey! I know you! Happy New Year!
Ani introduces Lulu to Aleks. Aleks intro’s Dasha.
A29 INT. MANSION - NIGHT - LATER A29
Aleks and Dasha are out of earshot of Ani and Lulu.
DASHA
(Russian)
How do you know them?
ALEKS
(Russian)
That’s the escort Ivan is fucking.
B29 INT. MANSION - NIGHT- LATER B29
Ivan leads a drinking game. Ani and Lulu watch him. The girls
are having a great time.
C29 INT. MANSION - NIGHT - LATER C29
Ani is dancing with Lulu, putting the other dancers to shame.
LULU
(screaming over the music)
Does he have a brother?
ANI
(screaming over the music)
Happy New Year’s, bitch.
D29 INT. MANSION - THIRD FLOOR - LATER D29
Ani and Lulu explore upstairs.
29 INT. MANSION - FAMILY ROOM - LATER 29
MUSIC IS BLASTING and DISCO LIGHTS ARE PULSATING. In the
FAMILY ROOM/LIVING ROOM AREA, Ani, Lulu, Ivan and his party
entourage/hanger-ons are draped over a large, extravagant
couch. Lots of open drug-use. Champagne flows and shots of
vodka are being poured. Everyone is having fun. During the
chaos, Ani and Ivan toast their champagne glasses.
On the other side of the room, Tom’s sister CRYSTAL (18,
little sister-type) jumps on Ivan and tries to make out with
him. Ivan pushes her away.
IVAN
(screaming over music)
Whoa, whoa, whoa. I’m a taken man
already.
CRYSTAL
Oh really?
IVAN
This is Ani. Ani, this...
CRYSTAL
Crystal.
IVAN
Crystal.
ANI
Hi.
CRYSTAL
Hey. Well cool.
Crystal awkwardly exits the moment.
Ivan leans into Ani so he doesn’t have to yell.
IVAN
(Russian)
Thank you.
(referring to Crystal)
She’s a little...
(he indicates “crazy”)
ANI
Anytime.
IVAN
(Russian)
You look great.
ANI
Thank you.
(beat)
You were right. This is bangin’.
IVAN
(Russian)
Having fun?
ANI
Yeah.
IVAN
(Russian)
Are you available tonight?
ANI
Maybe.
IVAN
Maybe?
ANI
Well it’s New Year’s Eve.
IVAN
(Russian)
Yeah?
Ani thinks about it for a moment.
ANI
(whispering)
I have holiday rates.
Ivan smiles.
IVAN
(Russian)
I’m glad you came.
ANI
Me too.
Ratings
Scene 12 - Midnight Interruptions
The Times Square ball drop coverage is on the large TV in the
living room. Aleks jumps up on a nearby couch.
ALEKS
Oh shit! It’s almost midnight!
(Russian) It’s almost midnight.
This gets everyone’s attention. Behind them, in the KITCHEN
AREA, two men stand out in the midst of the youthful party.
TOROS (50’s, Armenian-American) and GARNIK (40’s, Armenian-
American) monitor the proceedings with their arms crossed.
TOROS
Hey, this is not a jungle gym, get
off of there.
Aleks complies.
TOROS (CONT'D)
Fucking kids.
The countdown begins. The kids are screaming 10, 9, 8...
30 INT. MANSION - BALCONY - LATER 30
The crowd is watching fireworks in the distance. They light
up the NYC skyline with every color. Tom offers everyone
swigs from the champagne bottle. Using the fire pit to light,
Ivan and his buddies shoot roman candles off the balcony. Ani
and Lulu join in.
CUT TO:
31 INT. MANSION - MASTER BEDROOM - LATER 31
Ani is riding on top of Ivan.
ANI
That feel good?
Ivan can barely respond, he’s in such bliss. Suddenly, a
knock on the door. Ani stops humping.
IVAN
Yeah?
TOROS (O.S.)
(Russian)
Ivan, we’re leaving. You good?
IVAN
(Russian)
Whatever. I’m busy, man. The fuck.
Ivan gives a “pay no mind” look to Ani.
ANI
(after a beat)
All good?
IVAN
All’s great.
Ani starts up again.
CUT TO:
Ratings
Scene 13 - New Year's Negotiation
It’s New Year’s Day. The bright orange low winter sun shines
on Ani’s face causing her to wake. Slowly coming to, she
looks at her phone.
ANI
(amused)
Oh shit.
Ani looks over at the sleeping Ivan. She gets out of bed and
starts dressing. Ivan wakes up.
IVAN
Good morning.
ANI
No, no dude, it’s 5 o’clock... PM.
IVAN
(Russian)
Oh good afternoon. Well, come back.
C’mon. Don’t go yet.
ANI
Dude, I work tonight. I got shit to
do.
IVAN
(Russian)
Here, come back. Please. Just a
minute.
He pats the bed. Ani plays along and sits. Ivan looks at her
but doesn’t say anything.
ANI
Yeah?
IVAN
(Russian)
So... I want you to be exclusive
with me. For the week. And we can
have... fun.
Ani is fluent in Russian yet still struggles especially with
larger words.
ANI
What’s
(Russian)
’exclusive’?
IVAN
I don’t know... only with me.
ANI
Exclusive.
IVAN
Yes, exclusive.
ANI
Like how... exclusive?
IVAN
(Russian)
Hang with me and my boys for the
week. We can have fun. Party.
Like... be my girlfriend for the
week.
Ani studies him.
IVAN (CONT'D)
(English)
My horny girlfriend for the week.
Ivan laughs at his own joke. Ani smirks.
IVAN (CONT'D)
(Russian)
No, but seriously.
Ani doesn’t answer but makes the “pay me” gesture with her
fingers.
IVAN (CONT'D)
(Russian)
Oh... of course... how about 10K
for the week?
Ani takes a beat.
ANI
15, cash, up front.
IVAN
No problem.
Ani wasn’t expecting that.
IVAN (CONT'D)
So... deal?
ANI
Deal.
Ani pauses and smirks
ANI (CONT'D)
You know, I would have done it for
10.
IVAN
(Russian)
I would have gone to 30.
Ani hits him playfully.
33 INT. MANSION - MASTER BEDROOM - AFTERNOON 33
Ani steps out of Ivan’s room and walks through the mansion.
We follow her downstairs. A man and two women from a cleaning
service are working on the previous night’s mess. Ani
politely smiles at KLARA (27) when they make eye contact. She
exits the front door.
Ratings
Scene 14 - Taking a Stand
In the back seat, Ani tries to hold in her excitement but it
peeks through every so often.
35 INT. HEADQUARTERS - POLE ROOM - NIGHT 35
Ani pole dances for a group of guys out for a birthday
celebration. She removes her top to transition into lap
dancing. She moves from one guy to the next as they place
bills in her bikini bottom.
B35 INT. HEADQUARTERS - UPSTAIRS BAR - NIGHT B35
The guys are exiting the pole room. Ani hugs each guy as they
exit. Dawn stands next to Ani.
DAWN
Come with me.
A36 INT. HEADQUARTERS - HALLWAY - NIGHT A36
Ani, with Dawn in tow, walks down the hall, through the
kitchen and towards office.
DAWN
He’s not going to be happy. I’m
telling you right now. He’s not
going to happy.
ANI
Oh please.
36 INT. HEADQUARTERS - HQ KITCHEN - NIGHT 36
Ani and Dawn enter.
ANI
Hey Jimmy.
Jimmy spins in his office chair.
DAWN
Go ahead. Tell him.
Ani is about to speak.
DAWN (CONT'D)
Tell him. Cause I don’t want to.
ANI
I am Dawn. Thank you.
JIMMY
Whoa. Whoa. What’s going on?
DAWN
What’s going on is she wants a week
off. That’s what’s going on.
ANI
I thought you wanted me to tell
him.
DAWN
You see what I deal with. I had the
schedule done... already
distributed. And she pulls this
last minute.
JIMMY
What? We just gave you New Year’s.
ANI
Jesus Christ Jimmy. When I’m
getting health insurance, worker’s
comp and a fucking 401k, you can
tell me when I work and not work.
JIMMY
Thank you Ani! Love you! Thank you
very much.
A37 INT. HEADQUARTERS - HALLWAY - NIGHT A37
Ani walks away from the door.
ANI
Um, I don’t know what you’re
talking about, but anyway I’m not
taking any more shifts this week.
JIMMY
Thank you Ani! Love you! Thank you
very much.
Ratings
Scene 15 - A Week of Freedom
Ani swings a duffle bag over her shoulder and passes by her
Vera who is sitting on the couch watching TV but glued to her
phone. Vera’s boyfriend VLAD (late 20’s) is splayed out on
the couch next to her.
ANI
Back next Tuesday.
VERA
Today is Tuesday.
ANI
Correct. And I’ll be back next
Tuesday.
VERA
That’s a week.
ANI
You got that right.
The door shuts hard behind her.
A38 EXT. ANI’S APARTMENT - DAY A38
Ani walks down steps with luggage and into a black car Uber.
ANI/IVAN/FRIENDS PARTYING MONTAGE.
The next section shows us the crazy fun week that Ani has
with Ivan. Ani is physically close to Ivan at all times,
giving him the “girlfriend experience”.
38.1 Ani plays video games with Ivan and his friends. 38.1
They have a pile of pizza boxes and bags of candy, etc.
38.2 They party at VIP tables at NYC’s best clubs. 38.2
(We show 7 club interiors and 4 exteriors)
38.3 INT. MANSION - MASTER BEDROOM - NIGHT 38.3
Ani and Ivan have sex in the master bedroom.
38.4 INT. MANSION - SAUNA - DAY 38.4
Ani and Ivan have sex in the sauna.
38.5 INT. MANSION - FATHER’S OFFICE - DAY 38.5
Ani and Ivan have sex on the rug of the upstairs office.
38.6 INT. MANSION - DAY 38.6
Ani and Ivan have sex in the shower.
38.7 INT. MANSION - MASTER BEDROOM - DAY 38.7
Ani and Ivan have sex in the master bedroom.
38.8 OMITTED 38.8
A39 EXT. BOARDWALK - DAY A39
Ani and Ivan walk up on to the boardwalk toward the smoke
shop.
39 INT. VAPE SHOP - DAY 39
Ani and Ivan hang at the Vape Shop managed by Tom. Crystal
and Aleks are there as well. They smoke... a lot.
Ratings
Scene 16 - Beachside Revelations
Ani, Ivan, Crystal, Tom and Aleks are high, laughing and
watching a polar bear swimmer in the cold water. Crystal and
Ani are watching the guys rough house.
CRYSTAL
So you’re Russian?
ANI
Well Russian-American I guess.
CRYSTAL
Born there?
ANI
Yeah but I been here since I was
three.
CRYSTAL
That’s cool. Yeah, I’m Russian...
but I was born here. (Beat) Sucks.
Ani is amused.
ANI
How old are you?
CRYSTAL
17.
ANI
And you two are dating?
Ani points to Tom. Crystal bursts out laughing.
CRYSTAL
Tom? (laughing) No! He’s my cousin.
(to the guys in Russian) Hey... Ani
thought Tom and I are dating.
The guys think this is the funniest thing they ever heard.
Ani is very confused. Finally...
IVAN
They’re cousins!
40 INT. MANSION - RANDOM BEDROOM - DAY 40
Ani and Ivan get a couples massage.
41 OMITTED 41
42 INT. MANSION - MASTER BEDROOM - NIGHT 42
Ani and Ivan lounge naked on the bed smoking and watching a
movie.
43 INT. MANSION - LIVING ROOM - DAY 43
A cleaning staff works around Ani and Ivan lounging on the
couch. The two lift their legs for the vacuum.
IVAN
(Russian)
Klara, you want a hit?
Ivan offers the dab to her and she smiles.
KLARA
(Russian)
Not today, Mr. Zakharov.
Ivan turns to Ani.
IVAN
(English)
The last time Klara smoked, my mom
caught her doing a cryo session.
KLARA
What did you say?
IVAN
(Russian)
Nothing. I promise.
They all laugh.
ANI
Wait, you have a cryo chamber?
IVAN
(Russian) Yeah, my mom thinks it
makes her younger. Want to try?
A44 INT. MANSION - GARAGE - DAY A44
The two walk through the garage. Ani has a towel draped
around her. They both wear flip-flops. They walk by a
PORSCHE, ROLLS ROYCE and MERCEDES JEEP.
IVAN
I got the keys confiscated because
I brought the Porsche to a take-
over and fucked up the bumper.
(beat) My parents are assholes.
44 INT. MANSION - BASEMENT - DAY 44
Ani stands in a cryo chamber engulfed in flowing steam. She
is shivering as they both laugh.
45 OMITTED 45
B46 OMITTED B46
46 INT. MANSION - ZODIAC ROOM - NIGHT 46
Mid-week, Tom, Aleks, Dasha and Crystal are hanging in the
house. Lines of powder spin from person to person on the Lazy
Susan.
CRYSTAL
Is this coke or K?
ANI
Calvin Klein.
DASHA
(Russian)
The best K I’ve ever had was in
Vegas.
IVAN
Great idea. Let’s go to Vegas right
now!
Ratings
Scene 17 - Vegas Indulgence
Ani, Ivan, Tom, Aleks, Dasha and Crystal, take a private
flight to Las Vegas. Ivan and Ani are sipping champagne. Ivan
chats away in Russian about a cool DJ set he saw the other
night.
Ani sips her drink while watching the face of the flight
attendant eating from tupperware in the kitchen area.
48 INT. CAESARS PALACE - LOBBY - EVENING 48
The opulent lobby of Caesar’s Palace-- the chandeliers,
bright lights, statues and columns are pure Vegas. A HOTEL
MANAGER approaches Ivan.
HOTEL MANAGER
Welcome back to Caesars Palace, Mr.
Zakharov. Your suite is just about
ready. We didn’t know you were
coming and the suite was occupied
but they’re out and housekeeping
should be done any minute.
IVAN
What the fuck, man. You mean I have
to wait...
The hotel manager doesn’t know how to reply.
IVAN (CONT'D)
(with a big smile)
I’m fucking with you, man! No
problem. We’ll be on the floor!
It’s great to be back!
CUT TO:
49 INT. CAESAR’S PALACE - PENTHOUSE - NIGHT 49
They enter their stunning suite. Everyone is very impressed.
CRYSTAL
(to Ani)
What a life, right?
CUT TO:
50 INT. CAESAR’S PALACE - PENTHOUSE - MASTER BEDROOM - NIGHT 50
Ani enters the bedroom with some sexy lingerie and
seductively crawls on to the bed.
SMASH CUT TO:
Ani and Ivan have fun sex.
CUT TO:
51 INT. CASINO - HIGH ROLLERS TABLE - LATER 51
Ivan loses 200K gambling. They laugh about it.
CUT TO:
52 INT. LAS VEGAS - CLUB - NIGHT 52
Dancing and drinking bottled water and taking bumps of coke
and K.
CUT TO:
53 INT. CAESAR’S PALACE - PENTHOUSE - DAY 53
Ivan and Ani are getting hangover IV’s. A nurse sits nearby.
Ani is loving every minute of it.
CUT TO:
54 EXT. LAS VEGAS - ROOFTOP POOL - DAY 54
Ivan and Ani have a splash fight while holding their fancy
cocktails.
CUT TO:
Ratings
Scene 18 - A Night of Sushi, Sake, and Surprises
A hip and fun crowd gather at the Las Vegas hot spot.
The crew enjoy a huge and elaborate sushi platter and drink
bottles of sake.
CUT TO:
A56 INT. CAESAR’S PALACE - PENTHOUSE - NIGHT A56
The crew returns from a crazy night. They run through the
penthouse like kids.
B56 EXT. CAESAR’S PALACE - PENTHOUSE BALCONY - NIGHT B56
Looking over the city, Ani smokes a cigarette and Crystal
vapes. Off in the background, Dasha and Aleks are having an
argument in Russian.
DASHA
(Russian)
Yeah right you would.
She storms off and Aleks follows. Crystal, in show off mode,
turns to Ani.
CRYSTAL
I bet they’re going to have make-up
sex.
ANI
And it’s going to be crazy.
They laugh.
CRYSTAL
You know... I only fuck FOB’s.
ANI
Oh yeah? (amused) How many FOB’s
have you fucked?
CRYSTAL
I mean... well my ex was a FOB and
he’s the only guy I’ve ever
fucked... but you know, I plan to
only fuck FOB’s moving forward.
ANI
Cool. (beat) They can be fun.
56 INT. CAESAR’S PALACE - PENTHOUSE - BEDROOM - NIGHT 56
Ivan is behind Ani, once again pounding away like a
jackrabbit.
ANI
Ok, hold on. You know... it could
last longer and be better if you
take it easy. Here... just let me.
She takes control and shows him how it’s done.
CUT TO:
57 INT. CAESAR’S PALACE - PENTHOUSE - BEDROOM - MINUTES LATER.57
Ani and Ivan are in bed post-coital.
ANI
I hope you had fun this week.
IVAN
I hope you had fun this week.
ANI
I did.
(beat)
We should do it again sometime.
They lie there for a moment.
IVAN
(Russian)
I leave to go back to Russia at the
end of the month. I promised my dad
that I’d start working for his
company.
ANI
Oh... it all makes sense now.
They laugh.
ANI (CONT'D)
I’m gonna miss you. Does that sound
weird?
IVAN
You’ll miss me or my money?
ANI
Money, of course.
They laugh.
IVAN
If I got married to an American, I
would never have to go back.
ANI
Yeah, who would you marry?
IVAN
I don’t know... Crystal? Your
friend Lulu? She’s hot.
They laugh.
IVAN (CONT'D)
You?
ANI
(mocking his accent)
You?
They laugh.
IVAN
It is Vegas. Don’t people get
married in Vegas?
ANI
Don’t fuck around.
IVAN
I’m not fucking around.
ANI
Ok, well then go get married.
IVAN
Ok. Let’s get married.
ANI
You asshole.
IVAN
What?
ANI
Don’t tease me with that shit. That
ain’t cool.
Ivan waits a moment.
IVAN
Will you marry me?
ANI
Seriously?
IVAN
Seriously.
ANI
You want to marry... you want to
get married?
IVAN
(Russian)
Because I like what we have going
on here and I think you do too... I
think you’d like it even if you
weren’t paid to. (English) And I
become American! And my parents can
go screw!
Ani processes.
ANI
You’re serious.
IVAN
Yes, I’m serious. I said I’m
serious.
Ani considers it for what seems like forever. Finally she
waves her left hand drawing attention to her ring finger.
ANI
Three carats.
IVAN
I’d look terrible if you had
anything under four.
Ani’s smile is a mile wide.
CUT TO:
MONTAGE. LAS VEGAS MARRIAGE. VARIOUS LOCATIONS.
58.1 I/E. WEDDING CHAPEL - NIGHT 58.1
Next thing they know, Ani and Ivan are running through the
Las Vegas streets to a WEDDING CHAPEL. They get married.
Ratings
Scene 19 - Bittersweet Farewell
They party the next day, celebrating the marriage, ending the
day at the FREMONT STREET EXPERIENCE saluting under a dancing
light show and “God Bless the USA” plays.
CUT TO:
59 INT. PRIVATE JET - DAY 59
They are on the jet headed back to NYC. Ivan, Tom, Aleks,
Dasha and Crystal are passed out. Ani studies Ivan. The harsh
sunlight creeps up Ivan’s face. Ani sees this. She reaches
over and pulls down the window shade.
CUT TO:
60 INT. HEADQUARTERS - LOCKER ROOM - NIGHT 60
Ani is clearing out her locker. Lulu, Jimmy and Dawn are
present. There are three other dancers in the room including
SUNNY (21). Everyone is happy for Ani. Dawn, who hangs in the
back, is the only one looking a little sour.
SUNNY
Oh my god. You’re so lucky.
LULU
You hit the jackpot, bitch.
JIMMY
She hit the Lotto, PowerBall and
Mega Millions, bitch.
They laugh.
ANI
I’ll come back and visit you guys.
Get myself a private or two.
They laugh.
JIMMY
So this is for real? Because if so,
I got to stop letting high rollers
in. They’re stealing my girls.
They laugh. Ani zips up her bag. The gang hugs and says
goodbye. Ani passes Dawn. They look at each other.
DAWN
Come here kid.
They hug.
ANI
Love you Dawn.
DAWN
I’ll miss ya kid.
CUT TO:
61 INT. HEADQUARTERS - VARIOUS - MOMENTS LATER 61
Ani walks toward the door with her packed bag. Lulu walks
aside her, proud of her friend. Ani runs over and hugs a few
friends near the bar. Near the entrance, she passes Diamond
who is standing near the door.
DIAMOND
Got your whale?
Ani stops and slowly turns.
ANI
Seems I did. Didn’t I?
DIAMOND
I give it two weeks, bitch.
The two women are in each other’s faces.
LULU
Hey hey hey.
It’s all about to explode... when Ani suddenly grabs
Diamond’s head and plants a big fat obnoxious kiss on the
lips. Diamond immediately reacts and pushes Ani away. Ani
laughs. Diamond lunges forward but Lulu and the HQ SECURITY
GUARD jumps in before she can connect. Ani exits into the
night.
Ratings
Scene 20 - Burden of Doubt
Ani is dragging two large pieces of luggage out of the
doorway.
VERA
He married you for a green card.
ANI
Whatever. It’s not about a green
card. He could easily buy
citizenship.
VERA
But you’re getting him a green
card.
ANI
It’s not about the green card. He
likes living here in America...
with me.
VERA
How well do you know him?
ANI
How well do I know him... did you
hear what I said? Try to keep up.
His dad is loaded... Nikolai
Zakharov. Fucking Google him. He’s
worth 22... billion.
BILLLLLIIOOOONNNN.
She waits for her sister’s reaction. She’s still processing.
ANI (CONT'D)
Don’t worry. I’ll keep paying the
rent. Understand? Ok? Ok. Bye.
The door closes and Vera looks at Vlad who is planted on the
couch.
VLAD
(Russian)
Did she say billion?
CUT TO:
MONTAGE. ANI “BECOMING MRS.” VARIOUS LOCATIONS.
63.1 I/E. RING SHOP - DAY 63.1
We see Ivan and Ani shopping for wedding rings.
63.2 I/E FUR SHOP - DAY 63.2
They pass by a fur shop. They eye the black Russian sable
winter coat in the window.
CUT TO:
Ratings
Scene 21 - Intimacy and Tension
Ani is wearing the coat as they walk down the sidewalk.
CUT TO:
65 INT. MANSION - DAY 65
Ani moves into the mansion. She places a few picture frames
in the bedroom. One of her with her sister and mother.
Another with Lulu and friends. She fills the bathroom with
her products and the closet with her clothes. She quickly
becomes very comfortable in her new home.
Ani admires Ivan’s mother’s closet. It’s huge and is lined
with designer clothes, shoes and handbags. She sees a
designer eye mask.
CUT TO:
They are having sex in the closet.
A66 INT. MANSION - BATHROOM - DUSK A66
Ani smokes a blunt in her bubble bath.
B66 EXT. MANSION - BALCONY - DUSK B66
Ani and Ivan are out on the balcony smoking cigars. They both
wear expensive, plush white bathrobes. They hold and kiss
each other in romantic, domestic bliss.
We pull out from the house (helicopter shot) to show the
expanse of the property and Manhattan in the distance.
CUT TO:
66 EXT. ARMENIAN CHURCH - NEW YORK CITY - DAY 66
A crowd is entering the church for a baptism.
67 INT. ARMENIAN CHURCH - BACKROOM - DAY 67
Toros is on his cellphone.
TOROS
(Russian)
This can’t be true. Impossible.
The priest stands in the background slightly concerned. We
hear the voices of Ivan's father NIKOLAI ZAKHAROV (56) and
Ivan's mother, GALINA ZAKHAROV (41) screaming on the other
end.
TOROS (CONT'D)
(Russian)
No, let me assure you, this is
impossible. These are just rumors.
I was with him on New Year’s Eve,
he isn’t married.
Toros is starting to sweat.
TOROS (CONT'D)
(Russian)
No, no, no disrespect. Of course.
Ok. But it can’t be true.
(beat)
No, I’m at... I’m not there right
now but I’m headed there.
(he looks to the priest
and shakes his head.)
I will let you know ASAP. You’ll
hear from me in 30 minutes max.
Yes, understood. Ok. Bye.
The gravity of this moment is sinking in.
TOROS (CONT'D)
FUCK!
He’s so pissed he can only half apologize to the priest.
Ratings
Scene 22 - Urgency and Intimacy
Toros walks out into the main area of the church where the
family and friends are finding their seats. He spots his
right hand man GARNIK who’s with his mother in the middle of
one of the pews. He runs over and motions to him. TOROS’S
WIFE (44, RUSSIAN) clocks this from across the room.
TOROS
(in a shouting whisper)
Garnik, I need you now. Come.
GARNIK
Now?
TOROS
Right now. It’s an emergency.
GARNIK
Ivan?
TOROS
Get over here.
Garnik gets up and squeezes by the other guests, annoying
everybody.
TOROS (CONT'D)
Here.
He removes a key card from his set of keys and hands it to
Garnik.
TOROS (CONT'D)
(Armenian)
I need you to grab the Russian and
get over to the house NOW!
Across the room...
Toros’s wife turns to their son.
TOROS’S WIFE
What is he up to?
69 INT. MANSION - LIVING ROOM - DAY 69
Ivan and Ani are nestled together on the couch. Ivan is
playing an online video game. The framing passes tightly over
them and reveals the 4-carat ring on Ani’s finger. The shot
rests on Ani’s face as she watches the video game.
We see the flash of a cell phone (off-screen) coming from the
coffee table. Ani looks at it.
ANI
(Russian)
Come on. Just answer or shut it
off.
Ivan grabs the phone and turns it off.
IVAN
(Russian)
There. Off.
He settles back on to the couch and resumes the game.
ANI
Ivan.
IVAN
Yeah?
ANI
What did they say when you told
them?
IVAN
(Russian)
I don’t want to talk about them.
ANI
You did tell them, right?
IVAN
Yeah sure.
ANI
I mean...
(Russian)
This is good news. Right? Parents
usually want their kids to get
married.
IVAN
(Russian)
Yeah, but my parents are dicks. And
whatever.
ANI
(Russian)
Well, no matter what. I hope they
like me... You know... Like, when
we meet.
Ivan is clearly uncomfortable with this topic and changes
course.
IVAN
(Russian)
When will I meet your family?
ANI
(Russian)
Well, if you want to go to Miami...
my mom lives there with her man.
(beat) and you can meet my sister
anytime although I’m sure she’ll
try to steal you... she’s loves
Russian guys.
Ivan mimics her accent.
ANI (CONT'D)
(English)
Hey. I’m tryin’ here. Asshole. Ok,
English from now on for me.
IVAN
(Russian)
Your Russian is wonderful! It’s
great.
ANI
You liar.
Ani playfully seduces him. She climbs on top of him and they
start to fool around. Eventually they are having sex on the
couch with her on top.
INTERCUT WITH:
Ratings
Scene 23 - Tabloid Tensions
In Igor’s 1983 Mercedes Diesel, Garnik and IGOR (early 30’s,
Russian) discuss the job as they are headed to the Zakharov
mansion. They are both smoking.
GARNIK
(Russian)
Komsomolskaya Pravda ran a photo of
him and some girl at a basketball
game. And they are saying she’s a
prostitute.
Igor laughs. Garnik almost breaks but stops himself.
GARNIK (CONT'D)
(Russian)
It’s not funny, man. Don’t laugh.
If it’s true, Toros and I are
fucked. Well, I’m not as fucked as
Toros but still.
IGOR
(Russian)
Sounds like tabloid bullshit.
GARNIK
(Russian)
Probably. But look... if things get
crazy, don’t get rough with Ivan.
Actually, don’t even touch Ivan.
Let me deal with him.
IGOR
(Russian)
What do you need me for then?
GARNIK
(Russian)
In case his boys are here... and
they want to play games.
They arrive at the front gate. Igor opens the driver’s side
window. Garnik leans over Igor and addresses the security
guard.
GARNIK (CONT'D)
Hey. Is Ivan home?
DAY GUARD
He hasn’t left while I’ve been here
but my shift just started.
GARNIK
Do you know if he got married?
DAY GUARD
I just started my shift. I don’t
know...
GARNIK
Open the gate.
The gate opens and Igor drives on to the property.
Ratings
Scene 24 - Unexpected Guests
Garnik and Igor exit their car and walk toward the house.
It's a cold winter day and their breath is visible. The men
arrive at the door. They ring the doorbell.
72 INT. MANSION - LIVING ROOM - DAY 72
Ani and Ivan are startled mid-humping.
Ani crawls off of him.
ANI
Expecting guests?
Ivan motions to her to keep quiet. Ani is confused. Ivan gets
up, pulls up his basketball shorts and tip-toes over to the
door. Ani pulls up her panties. He looks through the windows
to the side of the door. He recognizes Garnik. He has a
silent freak out.
ANI (CONT'D)
(mouthing)
What?
The men see Ivan standing there with nothing but his shorts
which tents a boner. Igor chuckles at the sight. Garnik is
not amused.
IVAN
(Russian)
What? What do you want?
GARNIK
(Russian)
Ivan, we have to talk.
IVAN
(Russian)
Go away guys. I’m busy.
Garnik tries to talk to Ivan through the glass, projecting
his voice.
GARNIK
(Russian)
Please Ivan, we have to talk.
IVAN
(Russian)
No. I have a guest.
Ani’s eyebrows raise at the word guest.
GARNIK
(Russian)
Ivan, please.
IVAN
(Russian)
Not today. Goodbye! Go away.
Ivan shoos them away with his hand and begins to walk towards
Ani who is now concerned.
ANI
Who’s that?
IVAN
(Russian)
Nobody, baby.
Ratings
Scene 25 - Confrontation at the Mansion
GARNIK
(Russian)
Son of a bitch.
Garnik takes out the key card and touches the pad, opening
the door.
74 INT. MANSION - DOORWAY - DAY 74
Ivan realizes the door is opening and quickly runs towards
the door and tries to push it back closed. Garnik sees this
and thrusts his foot in the door jam to stop it from closing
entirely.
IVAN
(Russian)
Hey! You can’t just enter my home.
GARNIK
(Russian)
Ivan, please open the door.
IVAN
(Russian)
Fuck you, Garnik. I don’t have to
listen to you.
Ivan is pushing hard against the door.
GARNIK
(Russian)
That hurts my foot. Please stop
that.
IVAN
(Russian)
Fuck you.
GARNIK
(Russian)
Ivan, your father sent us.
IVAN
(Russian)
My father sent you?
GARNIK
(Russian)
Well, not me. Your father sent
Toros and Toros sent us.
IVAN
(Russian)
Where’s Toros?
GARNIK
(Russian)
He’s busy and he’s very upset with
you... if this is true.
IVAN
(Russian)
If what’s true?
GARNIK
(Russian)
Did you get married to some
prostitute?
ANI
What did he say?
Garnik peeks around the crack of the door and sees Ani on the
couch.
GARNIK
(Russian, to Ivan)
Are you married? To her?
IVAN
(Russian)
Yes! Ok? Bye.
GARNIK
(Russian)
So you and her are married?
IVAN
(Russian)
Yes. I’m married.
GARNIK
(Russian)
Like officially with a license?
IVAN
(Russian)
Yes, officially. Goodbye!
GARNIK
(Russian)
You’re in a lot of trouble.
Ivan tries to push Garnik’s foot out of the way and
forcefully starts to close the door.
GARNIK (CONT'D)
(Russian)
Wait. Wait. I need to see the
marriage license.
Ivan can’t believe the request. Garnik follows that up with a
gentler approach.
GARNIK (CONT'D)
(Russian)
Now c’mon the faster we do it, the
faster we’re out of here.
IVAN
(Russian)
You’ve got to be kidding me. My
parents are fucking crazy!
Pathetic. Ok, they want proof. We
give them proof.
Ivan stops pushing the door. The guys enter.
IVAN (CONT'D)
(Russian, to Ani)
Where’s the marriage license?
Ani is very confused. Igor gives her the once over. Ani
catches him doing it.
IVAN (CONT'D)
(English)
The marriage license.
ANI
It’s in the desk. In the office.
What’s going on?
Ivan starts marching toward the elevator off the kitchen.
IVAN
(Russian)
Nothing. My parents are just being
assholes.
ANI
Who are these guys?
IVAN
(Russian)
My father’s monkeys.
The elevator opens and Ivan and Garnik step in.
Ratings
Scene 26 - Tension in the Mansion
We watch the elevator take Ivan and Garnik to the 3rd floor.
Ivan is fuming and throwing insults at Garnik.
76 INT. MANSION - LIVING ROOM - CONTINUOUS 76
Ani sits on the couch not knowing what to think. Igor nods
politely at Ani. Ani is very uncomfortable.
ANI
What’s going on here?
IGOR
I don’t know.
ANI
What are you doing here, that’s
what I’m asking.
IGOR
I really don’t know.
Ani is frustrated.
IGOR (CONT'D)
I’m Igor.
Ani has no interest in conversing with him.
ANI
I’m Ivan’s wife.
77 INT. MANSION - 3RD FLOOR - CONTINUOUS 77
Ivan and Garnik exit the elevator and walk down the hall to
the office.
78 INT. MANSION - OFFICE - CONTINUOUS 78
Ivan enters the office and walks over to the desk, opens the
drawer and lifts up the marriage license.
IVAN
(Russian)
Look. See?
GARNIK
(Russian)
Let me see that.
Ivan hands him the marriage license. Garnik takes out his
phone.
IVAN
(Russian)
What are you doing?
GARNIK
(Russian)
I’ve been asked to take a photo of
the license.
IVAN
(Russian)
My parents asked for a photo?
GARNIK
(Russian)
Toros.
IVAN
(Russian)
Oh my god. You people are pathetic.
Garnik takes a photo of the license and hands it back to
Ivan.
IVAN (CONT'D)
(Russian)
Ok, on your way.
Garnik proceeds to text the photo.
CUT TO:
Ratings
Scene 27 - Divided Loyalties
The baptism ceremony has begun. Toros is standing at the
altar holding the child. Toro’s wife stands next to him. He
feels the vibrating phone in his pocket. He can’t resist and
reaches down with one hand to check his phone. It’s obvious
he is not happy with what he’s seeing.
TOROS
No!!!
The whole church reacts.
TOROS (CONT'D)
Excuse me, Father.
The priest continues the ceremony. Toros attempts to text
back.
80 INT. MANSION - LIVING ROOM - DAY 80
Ivan and Garnik exit the elevator and enter the living room.
Garnik is watching his phone.
ANI
Is everything ok?
IVAN
Yes.
ANI
What’s going on?
Ivan is leading Garnik and Igor toward the front door.
IVAN
(Russian)
Time to say goodbye. My wife and I
would like some privacy, thank you.
And tell Toros to go fuck himself.
GARNIK
(Russian)
Hold on.
IVAN
(Russian)
What do you mean? Leave.
GARNIK
(Russian)
I need to see what Toros says.
IVAN
(Russian)
What? C’mon. Enough is enough. Out.
Ding! Incoming text. Garnik reads the text.
GARNIK
Standby.
IVAN
Standby?
(Russian)
What the fuck does that mean?
GARNIK
(Russian)
He wrote,
(English)
‘stand by’. So we stand by.
IVAN
Stand by outside, man.
GARNIK
(Russian)
Ivan, with all due respect... your
father sent us over.
IVAN
(Russian)
Toros sent you over.
CUT TO:
Ratings
Scene 28 - Urgent Confessions
Toros can’t take it anymore.
TOROS
(to priest)
Father, I’m sorry.
Toros hands the child to his wife.
TOROS (CONT'D)
Here. I’ll be right back.
Toros exits the nave into the backroom. Everyone is confused.
Toros’ wife looks appalled.
A82 INT. ARMENIAN CHURCH - BACKROOM - DAY A82
Toros runs into the backroom of the church. He dials and puts
the phone to his ear. After a few seconds...
TOROS
(Russian)
Hello sir. Hello ma'am. So yes,
apparently it is true.
Toros pulls the phone away from his ear, the screams are so
loud.
CUT TO:
82 INT. MANSION - LIVING ROOM - DAY 82
Tensions are escalating.
ANI
Hey... you guys work for Ivan’s
family... so I’m thinking that
means you work for him. He told you
to take it outside. Now, take it
outside.
CUT TO:
83 INT. ARMENIAN CHURCH - BACKROOM - DAY 83
Toros’ phone call continues.
TOROS
(Russian)
I’ve seen the marriage license.
Screams come from the other side and once again Toros has to
pull the phone away from his ear.
TOROS (CONT'D)
(Russian)
Oh, I can't. I’m not with him. I’m
actually not there. Garnik is. But
I’m going over there right now to
fix this. It will be fixed. Do not
worry.
Toros listens to the angry Zakharovs on the other end for a
moment.
TOROS (CONT'D)
(Russian)
Oh no. That’s not necessary.
Really. You don’t have to... I can
handle this. Ok, ok. Got it. Yes
sir. And yes, ma'am.
Ratings
Scene 29 - Chaos at the Mansion
Garnik and Igor are being pushed out the door by Ivan. Igor
is doing as asked and completely complying. Ani is standing,
arms crossed. Garnik is delaying as politely as possible.
IVAN
(Russian)
Get out now or I’ll have my father
fire your fucking ass!
A85 INT. ARMENIAN CHURCH - NAVE - DAY A85
Toros storms out of the backroom wearing his winter coat. He
doesn’t stop walking but addresses the parents and priest.
TOROS
I’m so sorry I must go. There’s an
emergency.
Everyone is in shock. He turns to his wife.
TOROS (CONT'D)
Ivan.
TOROS’S WIFE
(Russian)
Are you kidding me?
B85 INT. MANSION - DOORWAY/FOYER - DAY B85
Finally saved by the ring tone. Garnik looks and shows them
that Toros is calling.
GARNIK
It’s Toros.
He answers.
85 EXT. ARMENIAN CHURCH - FRONT STEPS - DAY 85
Toros storms out of the church. He screams into his phone.
TOROS
Put me on speaker so the hooker can
hear as well!
86 INT. MANSION - FOYER - DAY 86
ANI
What the fuck! I’m not a fuckin’
hooker!
IVAN
She’s not a hooker, she’s an erotic
dancer!
GARNIK
(Armenian)
You’re already on speaker.
Igor is slightly amused by the chaos. Ani is confused, upset
and starting to get angry. Toros (on speaker) proceeds to lay
into Ivan (in Russian). He tells him how irresponsible he is
and how much he screwed him after allowing him so much
freedom while in America. Garnik awkwardly holds the phone
for everyone to hear.
TOROS
(Russian)
I don’t check in on you in two
weeks and you marry a whore?!?
ANI
I’m not a fucking whore you fucking
Russian piece of shit.
IVAN
(Russian)
They’re Armenian.
ANI
You Armenian piece of shit!
Ratings
Scene 30 - Fractured Ties
While screaming into his phone, he jumps into his WHITE
ESCALADE and tears out of the parking lot. The call goes
through his car radio speakers.
87.1 /.2INT / EXT ESCALADE & MANSION FOYER - CONTINUOUS 87.1 /.2
We intercut between the escalade (87.1) and the mansion
(87.2).
TOROS
(Russian)
Well guess what? You really did it
this time. Ready? Ready? YOUR
PARENTS ARE ON THEIR WAY!
IVAN
(Russian)
WHAT!?!?
TOROS
(Russian)
Yes. Like a school boy, you’re
being picked up by your parents
because you were naughty. We’re
meeting them tomorrow at noon.
IVAN
NOOOO!
TOROS
And taking your ass back to St.
Petersburg, so start packing.
IVAN
FUCK!!!!
Garnik feels like he’s being screamed at so he places the
phone down on the counter and steps back.
ANI
(to Ivan)
We’re married, baby. They have to
accept that.
Ivan can’t handle this news. This is all new to Igor who
silently is amused by the twists and turns he is hearing.
TOROS
Accept that? That’s funny. Ok.
(Russian)
Ivan, I’ll be there in ten minutes
and you and the streetwalker are
coming with me...
ANI
Did he just say streetwalker?
TOROS
(Russian)
...down to city hall where we’re
getting this marriage annulled.
ANI
What? What does that mean?
TOROS
We are going down to city hall
where this fake marriage will be
annulled. Canceled. So be ready to
go by the time I get there. And
missy... you’re out of that house
TONIGHT!
It strikes Ani at that moment that her new life could be
taken away in a flash.
ANI
I’m not going anywhere you, fucking
piece of shit.
(MORE)
ANI (CONT'D)
We’re not getting divorced because
you tell us to. Go fuck yourself!
Right Ivan?
IVAN
(Russian)
My parents are coming?
TOROS
(Russian)
Yes, you little shit. They are
leaving Russia now.
Ivan is silent.
TOROS (CONT'D)
(English)
You hear me?
Finally...
IVAN
(Russian)
Well, I’m out of here so fuck you.
Ivan turns to Ani. Ivan grabs his jeans and tee shirt and
throws them on.
IVAN (CONT'D)
(Russian)
C’mon, get dressed. We’re going.
ANI
Wait what?
GARNIK
(Russian)
No, Ivan. You can’t leave.
Ivan opens the closet near the front door, grabs his jacket
and sneakers. The closet door remains open.
IVAN
(Russian)
The fuck I can’t. (English to Ani)
Let’s go!
ANI
Going where? What? What’s going on?
CUT TO:
Ratings
Scene 31 - Fractured Ties
Toros is racing down the street while hearing all of this
commotion through his speaker.
TOROS
Wait. Did he say he was leaving?
No! Don’t let him leave.
89 INT. MANSION - LIVING ROOM/FOYER - DAY 89
Ivan is grabs his phone.
ANI
Ivan, why do we have to leave our
house?
IVAN
Let’s go, let’s go, let’s go.
ANI
Let me get dressed. Ivan, what’s
happening?
She suddenly realizes he is about to leave. Igor steps
forward and blocks her way. Garnik is doing everything he can
to diffuse the situation.
IVAN
Ok, Bye.
Ivan hits the GATE button on the console. Ivan exits.
ANI
Ivan! Wait! Are you fucking kidding
me?
CUT TO:
90 INT. TOROS’ ESCALADE - DAY 90
On speakerphone and driving, Toros is freaking out. It’s all
out of his control.
TOROS
Did he say bye? NOOOO! Get him!
What’s happening!
CUT TO:
91 INT. MANSION - FOYER - DAY 91
GARNIK
(Russian, pointing to Ani)
Keep her here.
Garnik runs after Ivan. Ani moves toward the door. Igor
blocks her way.
IGOR
(to Ani)
Please sit down.
ANI
Get out of my way.
IGOR
Please.
Igor grabs her shoulder to stop her.
ANI
Get your hands off me.
IGOR
Calm down.
ANI
Don’t fucking touch me.
Igor points to the couch and begins to push her toward it.
Ani sees red and swings at Igor.
Ratings
Scene 32 - Desperate Struggle
Ivan runs through the open gate. Garnik is close behind but
slips on an ice patch and goes down.
GARNIK
Ivan!
93 INT. MANSION - FOYER/FAMILY ROOM - CONTINUOUS 93
Ani swings again. Igor is doing his best to keep his cool.
This time she strikes with her left hand. The wedding ring
breaks skin on Igor’s cheek. First blood.
IGOR
(Russian)
Impressive.
Ani continues to back away as Igor approaches.
ANI
Stay away from me!
She attempts to run to the side door and Igor runs to block
her from leaving. She grabs the menorah off the table behind
the couch and throws it at Igor. He ducks and the meorah hits
a painting on the wall, shattering the glass frame.
Ani runs around the couch but Igor leaps the couch and grabs
her. She screams bloody murder.
CUT TO:
94 INT. TOROS’ ESCALADE - DAY 94
Toros hears Ani’s screaming through the speaker.
TOROS
What’s happening!
95 INT. MANSION - FAMILY ROOM - DAY 95
Ani is fighting hard. They fall against a side table that
causes a red lamp to topple and shatter across the marble
floor. Igor is doing his best to subdue Ani but she is
fighting back like a wild banshee. She frees one of her arms
and pounds away at Igor, hitting him in the side and neck.
Their bodies fall against another table, adorned with vases
and a candle holder, which all topple to the floor. The
landline phone remains on the table.
96 INT. TOROS’ ESCALADE - DAY 96
Toros tears around a corner. He hears the screaming and
commotion.
TOROS
Are you killing her? What’s
happening? Stop it!
97 EXT. MANSION/STREET - DAY 97
Outside the mansion, Garnik chases Ivan down the street. Ivan
is far ahead. Finally Garnik gives up on pursuing Ivan and
runs back. The security guard looks stumped.
DAY GUARD
What’s going on?
GARNIK
Nothing.
DAY GUARD
Everything ok?
GARNIK
What?
DAY GUARD
Everything ok?
GARNIK
Yeah.
DAY GUARD
Ivan having one of his tantrums?
Garnik is frazzled and doesn’t reply. Trying to run, Garnik
limps back toward the house. The guard is amused as if he’s
seen something like this before.
DAY GUARD (CONT'D)
Fucking Russians.
98 INT. MANSION - FOYER/FAMILY ROOM - DAY 98
Igor gets her pinned on the couch, holding her hands down. It
is nearly impossible because of how hard Ani is resisting.
Ani screams and swears. Igor sees the landline phone within
arm’s reach and grabs it off the table. He pulls the phone
and cord right off the base, flips Ani over and ties her
wrists. Ani screams and struggles even more.
Garnik enters the front door.
GARNIK
(Armenian)
Oh my god.
(Russian)
What’s happening?
IGOR
(Russian)
Help me. She’s crazy.
GARNIK
(Russian)
What’s happening?
IGOR
(Russian)
She’s crazy. Come and help me
please!
ANI
Help me! He’s attacking me.
GARNIK
(Russian)
What did you do to her?
IGOR
(Russian)
You want me to keep her from going
or what?
GARNIK
(Russian)
Yes but...
IGOR
(Russian)
She’s out of fucking control. Look!
He points to his bleeding face.
Ratings
Scene 33 - Defiance and Chaos
TOROS
Garnik! Garnik, you fucking idiot!
Toros is totally distracted by what he’s hearing and is
screaming at the radio. He looks up and panics. He slams on
the brakes and comes to a screeching halt right in front of a
young child in the middle of the street. The child gives
Toros a WTF look.
TOROS (CONT'D)
Jesus fucking christ.
The kid slowly moves out of the way and Toros drives off.
100 INT. MANSION - FAMILY ROOM - DAY 100
IGOR
(Russian)
I need your help. Grab that cord
and tie her legs.
GARNIK
(Russian)
That cord?
IGOR
(Russian)
Yes, hurry man, that cord.
ANI
You two are fucking dead for this.
I’m Ivan’s fucking wife.
Garnik grabs the cord from a shattered lamp that still has
the lightbulb socket attached. He approaches Ani’s feet
reluctantly. Suddenly, she kicks him square in the face,
breaking his nose. He falls back and crashes through the
glass coffee table. Glass shatters everywhere.
Disoriented and in pain, Garnik stands and cups his face.
GARNIK *
(Russian) She broke my fucking noce
man. (English) You broke my nose
you fucking bitch!
ANI
Good. I’m glad I broke your fucking
nose.
Garnik realizes his nose is bleeding and like a zombie walks
towards the kitchen.
ANI (CONT'D)
You two are fucking dead for this.
I’m Ivan’s fucking wife!
This echoes through the house.
Ratings
Scene 34 - Tension in the Mansion
Garnik stumbles into the kitchen and opens the freezer.
B101 INT. MANSION - FAMILY ROOM - CONTINUOUS B101
ANI
Let me the fuck go.
IGOR
Please stop.
ANI
I’m not fighting you. I’m not going
to run. You’re fucking hurting me.
Let me go.
IGOR
I can’t.
C101 INT. MANSION - KITCHEN - CONTINUOUS C101
Garnik can not find ice and takes a bag of frozen dumplings.
D101 INT. MANSION - FAMILY ROOM - CONTINUOUS D101
Ani is exasperated.
ANI
I will make sure you go away for
this. Look, there are cameras
everywhere. You’re so fucked.
Igor does not reply.
101 INT. TOROS’ ESCALADE - DAY 101
Toros lays into the horn as he speeds down the Belt. He
pounds the steering wheel in frustration.
102 INT. MANSION - FAMILY ROOM - DAY 102
ANI
Just wait until Ivan sees what you
did to me.
IGOR
The Ivan that just left you?
ANI
He didn’t leave me. He went for
help.
IGOR
I don’t think so.
Garnik slowly walks into the family room. He grabs his phone
on the way.
GARNIK
Toros, we have a situation here
man.
TOROS
I’m pulling up now!
Garnik, dumpling bag to his face, sits on the couch across
from them.
GARNIK
(Russian)
She broke my fucking nose, man. You
broke my nose you fucking bitch!
Ratings
Scene 35 - Fractured Ties
Toros speeds up to the gate.
TOROS
Open the gate!
GUARD
Ok but sir...
TOROS
Open this fucking gate now!
105 INT. MANSION - FAMILY ROOM - DAY 105
ANI
Fucking piece of shit. I bet you
like this, don’t you. You getting
off on this? Psycho fuck.
IGOR
I don’t like this. I’m not being
paid enough for this.
ANI
I can feel you getting hard
motherfucker.
106 EXT. MANSION - DRIVEWAY - DAY 106
Toros exits the Escalade and darts to the front door. He
scans his card and pushes open the door.
107 INT. MANSION - FIRST FLOOR - DAY 107
Toros enters the mansion.
ANI
Vanya!
IGOR
It’s not Vanya.
Toros enters and cannot believe what he sees. The family room
is in shambles, shattered glass and ceramic, Garnik holding
the dumpling bag to his face, Igor bear hugging Ani on the
couch and no Ivan to speak of.
Total shock and awe. Toros can not believe it.
TOROS
Oh my God. Oh my god. What? What is
happening? Who did this?
GARNIK
She did this!
ANI
Hey! You the fuck on the phone?!?
Toros doesn’t even hear Ani, he’s in such shock.
TOROS
What the happened? What the fuck
happened?
GARNIK
She happened!
ANI
Yo! Boss man! I’m talking to you!
What’s happening? Tell this fuck to
let me go!
TOROS
(to Garnik) Did you touch Ivan?
Where’s Ivan?
GARNIK
No, Ivan took off when you told him
his parents are coming and this
bitch freaks out. Fucking kicks me
in the face, I think she broke my
nose, man.
ANI
That’s not true! What the fuck is
happening!!!!
TOROS
What do you mean took off?
ANI
Yo! Fuck face!
GARNIK
He ran away.
TOROS
Ran away?
GARNIK
Yes! Ran away!
TOROS
On foot?
GARNIK
(Armenian) Yes, he ran away man.
ANI
They scared him!
TOROS
Oh my god.
GARNIK
I was trying to stop Ivan from
leaving and...
TOROS
Trying? You just stop him from
leaving. There’s no trying. What
are you talking about?
Toros takes his phone from his pocket and attempts to call
Ivan.
GARNIK
(Armenian)
I can’t touch the fucking guy. What
are you talking about?
Toros looks at Igor.
IGOR
(Russian)
What? What did he say?
TOROS
(Russian)
Why did you let him leave?
IGOR
(Russian, referring to
Garnik then Ani)
He told me not to touch the guy.
And I was dealing with her.
It goes to voicemail.
TOROS
He’s not answering. Let me think.
Let me think.
He puts the phone back in his pocket. Finally Toros
acknowledges Ani.
TOROS (CONT'D)
Is this her?
ANI
If you mean Ivan’s wife? Yes! Tell
him to let me go.
TOROS
Where’s Ivan!
ANI
You tell me! Please, I’m not going
to run. Tell him to let me go.
GARNIK
No, don’t let her go.
ANI
Tell him!
TOROS
Let her go!
GARNIK
No, don’t. She’s an animal.
TOROS
She’s a girl. What are you talking
about?
GARNIK
She doesn’t fight like one.
TOROS
Let her go!
Igor finally releases her. He lifts Ani off and she sits to
his left.
ANI
Fuck! Now fucking untie me!
Toros sees the phone cord around her wrist.
TOROS
Why is she tied? What is happening!
ANI
That’s what I want to know! What
the fuck is happening!
TOROS
Where’s Ivan.
ANI
I told you, I don’t know. Please
untie me.
TOROS
Call him!
ANI
Untie me!
TOROS
Why is she tied up.
GARNIK
Look!
Garnik points to his face. Toros looks over to Igor. Igor
pulls his collar to reveal the bite mark.
TOROS
What, the two of you get beat up by
a little girl?
ANI
Untie me now, motherfucker. This is
so fucking illegal!
GARNIK
Don’t do that!
Ani stands up.
ANI
You fuck! Untie me now!
Igor jumps up and pulls her back down on the couch.
TOROS
And c’mon. This is overkill. Untie
her. Ridiculous.
IGOR
(Russian)
I don't suggest that. Get what you
need first. She’s not co-operative.
ANI
Shut the fuck up.
GARNIK
I’m leaving if you untie her!
TOROS
I need you to call Ivan.
ANI
Untie me and I’ll call him.
TOROS
Where’s your phone.
ANI
Untie me.
GARNIK
Don’t do it.
TOROS
Call him and get him back here and
then you’ll be untied.
ANI
Fuck you!
TOROS
Where’s your phone!
Ani turns away.
IGOR
It’s in the other room.
ANI
Fuck!
TOROS
Get it.
Igor gets up and walks to the living room. On the coffee
table, lies Ani’s phone - with the name Ani in rhinestones.
Toros paces the living room.
TOROS (CONT'D)
We have until noon tomorrow morning
to find this little prick and get
you two split.
ANI
Look. Your guy fucking attacked me.
Both of them did. They forced their
way in, fought with Ivan and then
physically attacked me. What is
going on?
TOROS
I’m sorry it went down that way but
it looks like they're the ones who
were physically attacked. Now let’s
call Ivan and tell him to get back
here.
Toros face ID’s her and starts scrolling through contacts.
ANI
It’s under HUSBAND.
He calls and it goes to voicemail. This is another indication
to Ani that Ivan does not care for her well-being.
TOROS
(to Ani)
Great husband you have here.
Ditches you and now doesn't answer
your calls. Yeah, this marriage is
real, my ass.
ANI
Look, I don’t know what kind of
family drama is going on here but
Ivan and I are married. It’s a real
marriage and I’m not getting
divorced.
TOROS
The marriage isn’t real and we are
getting it annulled and you have no
say in it. So let bygones be
bygones and let’s go find Ivan and
get this fixed.
ANI
I’m his wife. I think I have a say
in it.
TOROS
Look. You two got married
illegally. It’s a fraud marriage
and we are getting it annulled
right now.
ANI
We are two consenting adults who
are legally married and there’s
nothing you can do about it.
TOROS
(shouting)
This is just Ivan playing around!
Get over it!
ANI
No it's not, you have no idea.
TOROS
Oh yeah, how long have you known
Ivan? When did you meet?
Ani doesn't reply.
TOROS (CONT'D)
You don’t know this guy.
ANI
I know my husband.
TOROS
No you don’t. He took you for a
ride, lady. This is classic Ivan.
(beat)
Little bastard. I've been dealing
with his shit since he was six-
years-old. Now his parents are
going to kill me and my fucking
family will never speak to me
again. This little prick!
ANI
I love my husband and I plan on
being with him forever.
TOROS
You are not in love and neither is
he.
ANI
(seething)
I can’t wait to have Ivan’s
children. I’m probably already
pregnant.
TOROS
I hope you’re not because we’ll be
taking care of that as well if you
are.
ANI
The fuck you will.
TOROS
Hey! Ivan doesn’t love you. He just
hates his parents. Now let’s go
find Ivan and get this taken care
of.
ANI
Ivan won’t divorce me.
TOROS
Ha! He shamed his family, marrying
somebody like you. And if you think
for a minute this will be allowed
to continue, you’re dead wrong.
ANI
I’m staying married.
TOROS
We’re getting this annulled now.
ANI
The fuck we are. And I would like
you to leave my home now. Or I’ll
be pressing charges.
Toros laughs.
TOROS
This isn't Ivan’s house. This is
his father’s. You’re technically
trespassing.
ANI
I’m married to Ivan and this is our
home!
TOROS
You married Ivan, not his father.
Everything in here is Ivan’s
father’s. The money belongs to his
father. Ivan has nothing. (beat)
The bedroom you two have been
fucking in... that’s his parent’s
room. His is down the hall... the
one with the spaceships on the
wall... cause he’s a fucking child!
Toros leans into her.
TOROS (CONT'D)
(very serious)
Look, the son of Nikolai Zakharov
is not marrying a whore.
Ani doesn’t reply.
TOROS (CONT'D)
Rich marry rich. That's the way it
works. Not this.
(beat)
You help fix this or you’re going
to be arrested.
ANI
Me arrested!?
(shouting)
You should be fucking arrested!
TOROS
(pointing to the scarf)
What did I say?
Ani lowers her voice.
ANI
Arrest me for what?!
TOROS
Fraud, trespassing, extortion,
theft.
ANI
What?!?! Theft?
TOROS
Yes, you married Ivan to steal from
his family.
ANI
I’m sorry... what?
TOROS
You heard me. I think it’s pretty
clear that Ivan was taken advantage
of by a...
(making it up as he goes
along)
scheming... prostitute... because
of his family’s wealth.
ANI
What?
TOROS
And I’m sure you already have a
criminal record so...
ANI
Fuck you. He proposed to me. He
wanted to get married. Look, he
bought me a 4 carat diamond wedding
ring.
Ani rolls to her side to show him the ring.
TOROS
Give me that.
ANI
NOOOOOO!
Toros gestures to Igor to help him take her ring off. Ani
screams bloody murder. Finally they succeed in removing the
ring.
TOROS
This is the property of the
Zakharov’s.
Igor clocks Toros putting the ring in his jacket pocket.
ANI
RAPE!
The men are perplexed.
ANI (CONT'D)
RAPE!
The men panic.
TOROS
What is she saying? Rape? What
rape?
Ani continues to scream.
TOROS (CONT'D)
Shut up! Shut up! Shut her up.
ANI
Help! Rape! Rape! Help!
Toros covers her mouth with his hand. She bites and he pulls
it away.
IGOR
She’s a biter. If you want her to
shut up, you need to gag her.
TOROS
We have to shut her up. The guard
will hear!
Toros runs to the closet in the foyer and grabs a designer
red scarf.
CUT TO:
Ratings
Scene 36 - Negotiating Freedom
Toros is smoking a cigarette and talking on his cell while
Garnik is spitting blood onto the snow bank in the backyard.
TOROS
Oh, don’t give me that shit.
They’re landing at noon. You get us
in front of the judge first thing
or the family will be cutting ties
with the firm tomorrow. Simple as
that.
CUT TO:
109 INT. MANSION - FAMILY ROOM - DAY 109
Ani sits bound and gagged on the couch. Igor stands between
her and the front door with his arms crossed.
IGOR
I'm sorry I had to do that but you
gave me no choice.
Ani turns and stares him down.
IGOR (CONT'D)
Just do what they say. It’ll be so
much easier.
CUT TO:
110 EXT. MANSION - PATIO - DAY 110
TOROS
We’ll see you at 9. Yeah, I have
it.
(beat)
Yes. Ok.
Toros hangs up and looks through the glass at Ani on the
couch.
TOROS (CONT'D)
(Armenian)
Ok, time to break this broad.
He chucks the butt and heads inside.
111 INT. MANSION - FAMILY ROOM - MOMENTS LATER 111
Igor removes the gag. The men stand over Ani. Ani looks up at
the three men with pure hatred in her eyes.
TOROS
Ok? Calm now? Going to behave?
Ani just stares.
TOROS (CONT'D)
Trust me. I know. I know what
you’re thinking.
TOROS (CONT'D)
You’re thinking that this little
shit betrayed you. I know how you
feel because he’s betrayed me too.
GARNIK
Me too.
TOROS
He’s betrayed all of us. And most
importantly, he betrayed his family
by marrying you. He’s a spoiled
brat who doesn’t want to grow up.
And he pushed it too far this time.
But I want to help you. The way I
see it... this was a green card
marriage and therefore Ivan owes
you a green card marriage fee.
That’s only fair. We get this
annulled and I will see to it that
you get a 10K fee, good?
Toros moves forward to take off her gag.
TOROS (CONT'D)
No screaming ok? You scream and the
gag goes back on.
She nods and he takes the gag off.
TOROS (CONT'D)
10K. That’s as good as you’re going
to get honey.
ANI
(long beat)
I want to talk to Ivan before
agreeing to this.
TOROS
We want to talk to Ivan too. So we
want the same thing.
After a long beat...
ANI
So let’s find Ivan.
TOROS
Ok, but look at me. When we find
Ivan, which we will. And we get
this marriage annulled, which we
will. You walk away with 10K and
never contact Ivan again. Yes?
Another long beat...
ANI
Sure.
TOROS
Ok, untie her.
(turning to Garnik)
The license and his passport.
Ratings
Scene 37 - Departure from the Mansion
Ani removes her lashes from her eyes, washes her face and
opens the bathroom door. Igor is waiting outside the door.
ANI
Excuse me. I would like some
privacy while I change.
113 EXT. MANSION - FRONT STEPS/DRIVEWAY - DAY 113
Ani and the guys exit the house, walk down the front steps
and across the driveway to the Escalade. Ani wears the black
sable coat. Toros is shoving the passports in his inside
pocket as he looks over the license.
TOROS
Anora Mikheyova?
ANI
Ani, it’s Ani.
TOROS
It says Anora.
ANI
I know. But I go by Ani, thank you!
Igor is clearly listening to this exchange. In the
background, a mid size car with Klara and her co-workers
enter the open gate.
114 EXT. MANSION/INT. TOROS’ ESCALADE - DAY - CONTINUOUS 114
Igor opens the back seat door for Ani. She gets in. Toros
snaps and points to the back. Igor gets in the backseat with
Ani.
ANI
Why is he getting back here with
me? I don’t want this fucking
psychopath back here with me.
GARNIK
Because I’m not sitting back there
with you. You’re the fucking
psychopath!
Klara and her two co-workers are walking toward the house.
They carry cleaning supplies. They pass the escalade as Toros
is backing out. Toros opens the window.
TOROS
You have a big mess to clean in
there.
He reaches in his jacket and pulls out a $100 bill and hands
it to Klara.
TOROS (CONT'D)
Here. No questions.
A115 OMITTED A115
Ratings
Scene 38 - Blocked Paths
TOROS
He hangs there?
ANI
Yeah and his friends own it or
manage it or some shit.
TOROS
And he’ll be there?
ANI
I have no fucking idea.
TOROS
Ok, he better be there.
GARNIK
I have to go to the hospital, man.
TOROS
No, you don’t. You’re fine. We find
Ivan and then... my wife will patch
you up. She’s good at that.
GARNIK
(Armenian)
I think I have a concussion, man.
The two continue to argue about going to the hospital. In the
backseat, Igor turns to Ani.
IGOR
Sorry for what happened back there.
It didn’t have to be that
difficult.
Ani turns and glares and then turns forward.
ANI
I don’t want him talking to me.
TOROS
(Russian) Leave her alone man.
Garnik begins complaining again.
IGOR
(Russian)
Swing by my place. I have something
for him.
TOROS
Goddamn it!
A116 EXT. BRIGHTWATER - DAY A116
They are parked in front. Igor exits the building, enters the
car. He hands three pills up to Garnik who pops them in his
mouth. Igor is taken aback to see him take all three at once.
TOROS
Ok? Good? Let’s go.
Toros drives off.
116 EXT. WEST 10TH ST. - DAY 116
The escalade pulls on to 10th St.
TOROS
The hell is this?
The car can’t pull any further forward due to the street
being closed and blocked by two concrete NYPD barricades.
Toros throws it in to park.
TOROS (CONT'D)
Ok, out. Let’s go.
The crew exits the parked Escalade. Toros looks back and
locks the car with his key.
IGOR
(Russian) Car is ok there?
TOROS
It’s fine. Let’s go.
The crew walks down 10th Street past the CYCLONE
rollercoaster.
117 OMITTED 117
Ratings
Scene 39 - Confrontation at the Vape Shop
They walk up onto the boardwalk and take a right... walking
down to the Vape Shop.
119 INT. VAPE SHOP - DAY 119
The crew enter the small shop. Crystal and Tom are behind the
counter. They can tell something is up.
CRYSTAL
Hey Ani.
ANI
Hey guys. Have you guys seen Ivan?
Crystal and Tom look at each other. Tom shakes his head.
CRYSTAL
Not today.
TOROS
You talk to him today?
TOM
Who are you?
TOROS
I asked you a question.
TOM
And I asked you a question.
TOROS
Look, Ivan’s in a lot of trouble.
We need to find him. We need to
know if you talked with him?
TOM
And I’ll ask you again... who the
fuck are you?
Toros is triggered. Igor can tell this may get ugly. Ani
jumps in.
ANI
Can you call Ivan for me?
CRYSTAL
And why can’t you call him?
ANI
Just... can you do me a favor and
call him?
CRYSTAL
Actually I find this peculiar.
(beat)
Who are these guys and why are you
asking other people to call your
husband for you?
ANI
Crystal, we have a problem and I
need to find Ivan.
Crystal looks at Tom.
CRYSTAL
What’s the problem?
TOROS
Enough. One of you call Ivan, now.
TOM
This isn’t our business man. We
haven’t seen him so...
Tom motions for them to leave the shop.
TOM (CONT'D)
...Thank you.
TOROS
If you aided him in this fraud of a
marriage, then it is your business.
Ani’s heart drops. Garnik steps in.
GARNIK
One of you better get Ivan on the
line now.
Crystal and Tom laugh at Garnik.
TOM
What does ‘on the line’ mean, you
old fuck.
TOROS
One of you call Ivan now.
Again they refuse.
Toros has had enough and walks towards the counter
aggressively.
TOROS (CONT'D)
Give me your phone, you little
fuck.
Tom takes out a golf club.
TOM
I don’t think so.
Tom comes out from behind the counter holding the golf club.
The crew begins to back up.
TOM (CONT'D)
Leave. Now. C’mon. Out.
Igor does not like being threatened and moves slowly. Tom
pokes Igor to get him out the door. Not a good move. Igor
stops, turns and looks at Tom.
IGOR
What are you planning to do with
that?
TOM
I’m planning out beating your ass
if you don’t get out now.
Suddenly, Igor snatches the golf club out of Tom’s hand.
IGOR
Now what?
TOROS
Call Ivan now or my friend here is
going to practice his stroke on
your fucking face.
TOM
Fuck you.
Igor looks at Toros who gives an approving nod. Igor swings
the club down through the glass shelves on his right. They
explode and shatter numerous glass bongs in the process.
Tom and Crystal scream for him to stop. He turns and smashes
the top of the glass counter.
CRYSTAL
Stop! Tell him to stop!
Ani looks at Crystal.
ANI
Fucking call Ivan. NOW!
Shaking, Crystal calls Ivan.
Ani grabs the phone.
TOROS
Speaker.
Ani hits the speaker button. They hear it goes to voicemail.
Ani drops the phone. Toros spins to Tom.
TOROS (CONT'D)
You. Call him now.
Tom starts to call him.
TOROS (CONT'D)
Speaker.
It goes to voicemail. We hear Ivan’s obnoxious greeting
again.
TOROS (CONT'D)
Where are his other friends?
Ani looks at Crystal.
ANI
Is he with Aleks?
CRYSTAL
(in tears)
I told you. I don’t know.
Tom struggles on the floor in pain.
TOM
He can’t be with Aleks! Aleks is at
work.
TOROS
Where does he work?
Crystal looks to her brother for approval. Tom shrugs.
CRYSTAL
Tatiana’s.
TOROS
Ok, let’s go.
The crew files out of the shop.
HARD CUT TO:
Ratings
Scene 40 - Frantic Search at Tatiana's Grill
They walk out onto the boardwalk. Igor is still winding down
from the confrontation and Ani is obviously very upset about
being hung up on. Ani steels herself against the cold wind
with the sable.
TOROS
Ok, let’s go.
ANI
We’re walking!?!
GARNIK
Why don’t we drive?
IGOR
(Russian)
That’s a 10 minute walk.
Toros starts walking.
TOROS
It’s faster if we walk. I’m not
finding parking again.
Ani, Igor and Garnik huff and puff as they follow Toros. We
track with the four down the boardwalk. They all smoke.
121 EXT. TATIANA’S GRILL - DAY 121
The sea themed and more low-key sister of the famed TATIANA’S
GRILL, a Brighton Beach staple. The crew arrives.
122 INT. TATIANA’S GRILL - DAY 122
The crew enter and are greeted by a HOSTESS.
HOSTESS
Table for four?
TOROS
Where’s Aleks?
HOSTESS
Aleks?
They look around the main room where an affable SINGER
performs and patrons enjoy the music. Ani points toward the
kitchen.
ANI
There he is.
They storm the kitchen causing a scene.
123 INT. TATIANA’S GRILL - KITCHEN - DAY - CONTINUOUS 123
Aleks is startled to see the crew charging into the kitchen.
ALEKS
What’s going on?
ANI
Have you seen Ivan?
ALEKS
No, what’s going on?
TOROS
You talk with him? You know where
he is?
ALEKS
The fuck is going on?
Aleks is confused and overwhelmed. His co-workers back away
from the building chaos.
ANI
We have an emergency. We need to
find Ivan.
ALEKS
I haven’t seen him today.
TOROS
Call him.
ALEKS
Call him?
TOROS
You heard me. Call him.
Aleks takes out his phone and calls Ivan. Toros snatches the
phone out of Aleks’s hand. He listens. Goes to voicemail.
TOROS (CONT'D)
Fuck. He knows we’re looking for
him.
ALEKS
Can I have my phone back please.
TOROS
Where can I find Ivan?
ALEKS
He’s probably at home. I don’t
fucking know.
ANI
He’s not there. And Tom and Crystal
haven’t seen him.
Toros is about to explode. He looks into the main section of
the restaurant and has an idea.
ALEKS
Yeah well, I don’t know either so
can you guys please... you going to
cost me my job here.
Toros turns to Ani.
TOROS
I need a photo of Ivan.
Ani shrugs.
TOROS (CONT'D)
C’mon, you must have a photo of the
man you married.
ANI
You’re not taking my phone again.
TOROS
Give me your fucking phone!
ANI
I will fucking scream if you touch
me.
IGOR
Use his Instagram.
TOROS
I don’t have Instagram. I’m an
adult.
GARNIK
Here.
Garnik, opens his phone and passes it to Toros. Garnik looks
at Ivan’s Instagram account.
TOROS
If we looked at his fucking
Instagram we would have known this
shit two weeks ago.
He choses the first photo. It’s a photo of Ani and Ivan. He
zooms past Ani to enlarge Ivan’s face. He storms out of the
kitchen into the main room.
124 INT. TATIANA’S GRILL - MAIN AREA - CONTINUOUS 124
He swiftly walks across the room and grabs the mic out of the
performer’s hands.
TOROS
Everybody. Listen up.
Everything Toros says, he repeats in Russian.
TOROS (CONT'D)
I need everybody to take a look at
this photo. We have a missing
person and we need help now. Has
anybody seen this kid?
Toros proceeds to walk around the room, showing the customers
the silly photo of Ivan, disrupting everybody’s Sunday
dinner. Nobody has seen him.
A125 INT. TATIANA’S GRILL - KITCHEN - CONTINUOUS A125
ALEKS
The fuck is going on?
ANI
Could he be with Dasha?
ALEKS
Pfft. Not unless he’s in the
Bahamas with her and her new fuck
boy.
ANI
Fuck.
ALEKS
Yeah, she left my ass the minute we
got back from Vegas. And you know
why? ‘Cause she said I’d never
propose to her the way Ivan
proposed to you. Can you believe
that shit? And the thing is... I
would. I would have. I’m actually
like a romantic, you know.
Ani is not listening.
Ratings
Scene 41 - Cold Confrontations
They exit Tatiana’s.
TOROS
Goddamn it!
A strong gust of cold wind blows in from the beach. The crew
cringes.
TOROS (CONT'D)
Ok, well, let’s go. No time to
waste.
ANI
What? All the way back?
GARNIK
(Armenia)
This is why we should have driven
man. My fucking head is going to
explode.
TOROS
The cold is good for that, c’mon.
ANI
I’m not walking the whole way back.
You can get the car and pick us up.
TOROS
The hell I am. It’ll be dark soon.
Move.
Toros leads the crew down the boardwalk.
126 EXT. BRIGHTON BEACH/CONEY ISLAND BOARDWALK - MINUTES LATER126
The crew march through the cold. Ani is shivering. Igor
reaches into his pocket and pulls out the red scarf from
earlier.
IGOR
(to Ani)
Hey.
Ani is startled when she sees him holding the red scarf
towards her.
She stops walking.
ANI
The fuck?
IGOR
Here. This will help.
(Russian)
You’ll get a nasty cold if you
don’t cover your neck.
ANI
Why do you have that with you?
IGOR
What?
ANI
Why did you bring that with you?
Igor looks down at the scarf and realizes he shouldn't answer
that question.
ANI (CONT'D)
In case you had to gag me again
motherfucker?
Igor has no words.
ANI (CONT'D)
Yeah, that’s what I thought. Fuck
you, you piece of shit.
Unfuckingbelievable.
Ani storms ahead. Igor trails behind. They all walk in
silence for a while. Quite a while. The wind is strong and
cold. Finally...
ANI (CONT'D)
Fuck it. Give it to me.
Igor hands her the scarf. She throws it around her neck and
continues walking.
Ratings
Scene 42 - The Great Car Rescue
The crew approach the 10th St. They turn off the boardwalk
and low and behold, the Escalade is in the middle of being
attached to a tow truck.
TOROS
No! Nooooo!
Toros runs down the street. Garnik tries to keep up. Toros
starts screaming at the TOW TRUCK DRIVER that is elevating
the front of the Escalade.
TOROS (CONT'D)
That’s my fucking car. No! Detach
it now!
TOW TRUCK DRIVER
Can’t man. Policy. Once it’s
attached, it’s coming with me.
Toros shoves the driver away from the controls.
TOROS
Coming with you my ass. You’re not
taking my car. Garnik! Igor! Help
me. We’e fucked if he takes this.
Garnik starts arguing with the
driver as well.
TOROS (CONT'D)
This isn’t legal. You can’t do
this!
ANI
(to Igor)
I don’t think your boss understands
the definition of legal.
TOW TRUCK DRIVER
Hey man. Don’t make me call the
police.
Ani and Igor stand on the curb watching this incident go
down.
TOROS
How much?
TOW TRUCK DRIVER
They’ll tell you at the yard.
TOROS
No, how much you want. Here. Here.
Take it.
Toros holds out a $100 bill.
TOW TRUCK DRIVER
I can’t take that.
TOROS
Ok, fuck you then.
Toros runs around the other side of the Escalade and jumps in
it. Turns it on, throws it into reverse and hits on the gas.
Nobody can believe what’s happening. Suddenly it becomes a
tug of war between the Escalade and the tow truck. Toros is
burning rubber on the rear tires. The tow truck driver is
screaming for him to stop.
The Escalade is overpowering the tow truck and the truck’s
front end starts to lift off the ground. Toros is in battle
mode.
TOROS (CONT'D)
You asked for this! You’re not
taking my car.
Igor and Ani are impressed.
The Escalade’s front hits the ground and tears off the
attachment, taking some of the front bumper with it. The
front of the tow truck slams to the ground. Boom!
Toros opens the door because lowering the window would take
too much time.
TOROS (CONT'D)
C’mon! Get in the fucking car! Get
in!
Garnik, Igor and Ani run to the Escalade and jump in. Toros
throws it into Drive. He swerves over the sidewalk, hits a
trash can and back on to the street. He tears down 12th St.
Ratings
Scene 43 - Chaos in the Search for Ivan
They fly under the subway tracks. Toros checks the rear view.
He starts to laugh in triumph.
TOROS
Nothing is going to stop me! I’m
going to find Ivan if it kills one
of us.
They fly up onto the Belt Parkway.
129 EXT. BELT PARKWAY - DUSK 129
We watch them traveling laterally next to the Escalade.
TOROS
We are going to find this fucker if
it takes all fucking night.
He speeds off into the last moments of the sunset.
130 I/E. BRIGHTON BEACH RESTAURANTS - NIGHT 130
The next section plays out as a montage as the crew scours
Brighton Beach, Coney Island and Sheepshead Bay for Ivan.
The crew hits restaurants (Varenichnaya, Ocean View, etc.),
bars (Volna, Cafe Max, etc.) with interesting interactions
with staff and regulars as they ask if anyone has seen Ivan.
Toros shows the Insta photo to everybody. No luck.
131 INT. TOROS’ ESCALADE - NIGHT 131
They are driving to the next location. Igor touches Ani’s
coat.
IGOR
This is real mink, isn’t it?
ANI
No.
IGOR
Oh, it feels real.
ANI
It’s fucking real, asshole. But
it’s not mink. It’s fucking sable.
Worth a lot more than mink. And
don’t fucking touch it again.
132 I/E. BRIGHTON BEACH - NIGHT 132
The crew hits all the major Russian restaurants bothering
people while they’re eating. One manager tells them that Ivan
ate there an hour ago. Toros gets hopeful.
A133 INT. RUSSIAN BATH HOUSE - NIGHT A133
The crew enter and show the photo to the customers. No luck.
TOROS
Where else would he be?
After a long beat...
ANI
He likes gaming.
133 OMITTED 133
134 OMITTED 134
A135 OMITTED A135
135 EXT. BRIGHTON BEACH/CONEY ISLAND - NIGHT 135
They continue the search. They hit an internet cafe first. No
luck.
Barely functioning, Garnik waits in the car as the Toros, Ani
and Igor explore more establishments including a billiards
hall.
136 INT. ESCALADE - NIGHT 136
They continue the hunt. Suddenly out of nowhere, Garnik
vomits. He then cups his mouth and continues to vomit,
causing it to spray.
TOROS
No!!!!
HARD CUT TO:
137 WIDE EXTERIOR. 137
Toros slams on the brakes. The cars behind the escalade slam
on their brakes. Blaring horns and screaming obscenities.
Toros pulls to the side of the road. Garnik is wallowing in
pain. Igor and Ani are both amused and disgusted.
CUT TO:
Ratings
Scene 44 - Desperate Search in the Night
Garnik leans on the car as Toros cleans the interior.
TOROS
What did you give him, goddamn it!
IGOR
(Russian)
He vomited because he has a
concussion, not because of
Oxycodone.
Toros notices Ani and Igor are having a smoke right next to
the gas pump.
TOROS
Honestly... with how this day has
been going... get the fuck outta
here!
They walk away from the pumps. Igor attempts small talk but
mostly it is silent and awkward. They snub out their smoke.
139 INT. ESCALADE - NIGHT 139
Toros is fuming, Garnik is holding his head, looking quite
sick.
Ani and Igor are exhausted.
TOROS
Clubs should be opening now. Which
ones did you go to with him?
ANI
I don’t know. We hit a bunch.
TOROS
Take me to every one.
140 EXT. BRIGHTON BEACH - VARIOUS CLUBS - NIGHT 140
The search continues. Toros shoves his bright phone in
people’s faces. He shows the photos to managers, bouncers and
bartenders.
TOROS
See this guy? Has he been here
tonight?
BOUNCER
Yeah, he was here. We cut him off
about an hour ago.
This happens at every bar/club they hit. It seems they are
just missing Ivan, sometimes by minutes. They are one step
behind him.
IGOR
(Russian)
He’s doing a crawl. He’s on a
bender.
Ultimately no luck. It’s been a long night. Everyone looks
like shit. Garnik has gotten higher and higher as the hours
pass.
CUT TO:
Ratings
Scene 45 - Midnight Tensions
It’s very late. The crew is seated at a booth. Garnik is
inebriated. Ani and Igor are tired and hungry. Toros is on
the verge of tears.
TOROS
I’m so fucked. I’m so fucked. We
have six hours to find him and get
to City Hall.
Toros takes a beat.
TOROS (CONT'D)
Ivan fucked me harder than he
fucked you, trust me.
Ani’s in no mood to argue.
ANI
Oh yeah?
Igor disagrees but keeps it to himself.
GARNIK
If we haven’t found him by now,
we’re not finding him.
TOROS
Did I ask you? Keep your opinions
to yourself.
ANI
Give me one of those oxy’s.
IGOR
No.
ANI
Why?
IGOR
Because I don’t have anymore plus
I don’t deal drugs.
ANI
(mocking his accent)
‘Cause I don’t deal drugs.
IGOR
I don’t.
ANI
Yeah right, a gopnik who can afford
to live at Brightwater and not deal
drugs, ok?
IGOR
I’m a gopnik? (beat) I’m living
with my grandmother.
ANI
Pfft. Faggot ass bitch.
Igor is sightly taken aback.
IGOR
Why am I faggot ass bitch.
ANI
They say you’re born that way. I
don’t know.
The table behind them is getting especially rowdy. They are
clubbers having their end of the night drunk food. It’s
driving Toros crazy. Finally, Toros stands and addresses the
clubbers.
CUT TO:
142 INT. HEADQUARTERS - MAIN ROOM - NIGHT 142
The camera moves up the hallway of HQ. We reveal that it is
Ivan, clearly very drunk and wearing sunglasses. He walks
down the long hallway toward the main room. A red neon HQ
sign hangs above a victorian couch at the entrance of the
room. Diamond and JENNY (21) smile and say hello to Ivan as
he passes. Diamond recognizes him and looks at Jenny.
CUT TO:
Ratings
Scene 46 - Ambition and Intrigue at the Diner
Toros is standing up lecturing the table of clubbers.
TOROS
Your entire generation are entitled
babies, you know that?
It’s disgusting. Look at you. No
respect for elders or authority. No
ambition. No goals. Except to buy
your new cool sneakers.
CUT TO:
144 INT. HEADQUARTERS - LOCKER ROOM - NIGHT 144
Lulu and two other dancers are in the locker room. Diamond
excitedly enters. She slams her Strawberry Yoo-hoo down on
the make-up table.
DIAMOND
Ani’s fucking billionaire husband
just strolled in and he’s looking
for action.
LULU
Vanya?
Diamond chucks her bills in her money box and sprays herself
with perfume.
DIAMOND
And I’m going to give him some.
She takes a swig of mouthwash and spits it.
LULU
Vanya’s here?
DIAMOND
‘Scuse!
Diamond pushes past Lulu and turns back to her.
DIAMOND (CONT'D)
That marriage must be in the toilet
already.
CUT TO:
145 INT. DINER - NIGHT 145
TOROS
No work ethic. Lazy. Stupid.
Arrogant. Uneducated. Tik Tok all
day. Instagram. Spoiled. What is
wrong with you? I’ve been working
since 16-years-old.
The clubbers laugh at this Karen moment.
ANI
He’s at HQ!!!
The guys spin and look at Ani who is reading the text on her
phone.
TOROS
Where?
ANI
Fucking HEADQUARTERS!
Ratings
Scene 47 - Hedonistic Encounters
Ivan, already drunk, is at the first floor bar. Two girls
flanked him as he does a few shots. Diamond approaches from
behind and shoves her way next to Ivan.
146 INT. HEADQUARTERS - NIGHT 146
Diamond is grinding hard into Ivan’s lap.
DIAMOND
You’re Vanya, right?
A big smile on Ivan’s face.
IVAN
That’s me.
HARD CUT TO:
147 EXT. DINER - NIGHT 147
The group is marching across the parking lot to the ESCALADE.
ANI
Got ketchup on my fuckin’ sable.
TOROS
Go. Go. Get in! Get in the fucking
car!
CUT TO:
148 INT. TOROS’ ESCALADE - NIGHT 148
ANI
Still stinks, bro.
They tear out of the parking lot and race to HEADQUARTERS.
149 EXT. BQE - NIGHT 149
The Escalade races through the night.
CUT TO:
150 INT. HEADQUARTERS - PRIVATE ROOM - NIGHT 150
The dirty lap dance continues as Ivan slams down hundreds.
DIAMOND
Why don’t we go upstairs to a
private room?
CUT TO:
Ratings
Scene 48 - Fractured Bonds
The gang drives through the tunnel.
CUT TO:
152 EXT. HEADQUARTERS - NIGHT 152
The crew arrives and jumps out of the Escalade. They race
inside.
153 INT. HEADQUARTERS - NIGHT 153
The crew walks down the long hallway.
ANI
Where is he?
LULU
Don’t flip but he’s upstairs in a
private with Diamond.
TOROS
Oh thank god!
Ani has no words. She storms across the floor, the crew right
behind her. They pass numerous dancer/client interactions.
Some dancers recognize Ani and call her name.
They walk swiftly up the stairs and down the other hallway,
through the 2nd floor main room and in the back area where
the private rooms are.
There are multiple rooms and almost every door is shut.
ANI
Vanya!
TOROS
IVAN!
A154 INT. HEADQUARTERS PRIVATE ROOM - CONTINUOUS A154
Diamond and Ivan immediately halt the humpin’. Ivan puts his
finger to his lips and makes the “shhhh!” sound.
TOROS
Fuck it!
Toros opens one of the doors. Wrong room. Ani and Igor follow
suit. Garnik is too slow to take action.
SOMEONE IN ROOM (O.S.)
‘What the hell!’
Lots of wrong rooms and pissed off dancers and clients. Some
naughty things happening behind some of those doors.
Finally...
Ani opens the door to the right room. They storm in. Diamond
jumps off Ivan.
ANI
Get out!
Ivan starts to get up.
TOROS
Not you! Sit down!
Diamond moves out of the way of Ani and the crew surrounding
Ivan.
Lots of drama.
ANI
Ivan!
TOROS
(Russian)
You son of a bitch!
GARNIK
Look! Look at my face. This is your
fault!
Ivan is drunk and does not want to deal with any of this. He
puts his hands in the air as if he is surrendering.
IVAN
Ok. Ok. Ok.
ANI
Ivan. Look at me. What’s going on?
IVAN
Hello.
ANI
Ivan. I’ve been calling and
texting. Why didn’t you...Why
didn’t you wait for me. I was
coming but they forced me to stay.
They tied me up and fucking gagged
me.
Ivan laughs.
ANI (CONT'D)
It’s not a joke Vanya. They
assaulted me and... we’ve been
looking for you all night Vanya!
IVAN
I’m found.
ANI
Please talk to them. They think
we’re going to get divorced.
TOROS
It’s not a divorce because it’s not
a marriage, it’s an annulment.
Ivan doesn’t answer.
ANI
Ivan!
Ivan still doesn’t reply.
ANI (CONT'D)
IVAN!
IVAN
(Russian)
Stop screaming. That’s fucking
loud. Shit.
ANI
Tell them you don’t want this.
IVAN
(Russian)
Are my parents here yet?
TOROS
(Russian)
They’ll be here at noon. C’mon!
We’re getting this annulled.
ANI
Wait. Shut up. I said I wanted to
talk to him. Hold on! Ivan, what
the fuck. We’re married. Let’s stay
married. Ivan.
Ivan looks at Toros and back to Ani.
IVAN
(Russian)
What do you want me to do? There’s
nothing I can do.
ANI
What? What do you mean? I... I... I
want to stay married to Ivan. Don’t
you?
IVAN
(Russian)
Do we have to talk about this now?
ANI
Yes! Ivan! Yes! Right now!
(to Toros)
This isn’t fair. He’s drunk. He
doesn’t know what’s going on.
Diamond stands in the doorway with a big smile.
DIAMOND
And we just dropped some molly.
ANI
Fuck off! Can you get her the fuck
out of here...
Garnik tends to Diamond and starts pushing her away from the
private room doorway.
DIAMOND
Oh look at you? Looking for some
company?
GARNIK
Not now honey.
Dawn storms in.
DAWN
What’s going on? What’s happening?
Lulu and Igor try to de-escalate and Diamond is all about
escalating.
Other dancers have gathered outside the private room, curious
to see what the commotion is about.
ANI
Ivan... please. Talk to me. Please.
IVAN
(Russian)
C’mon. I can’t handle this right
now.
ANI
And I can? Ivan. This is fucked up.
TOROS
C’mon, you can talk in the car.
ANI
Fuck you! He has not agreed to
this! This is not happening!
TOROS
Fuck this.
Toros pushes Ani aside and leans down to Ivan, close.
TOROS (CONT'D)
(Russian)
Ivan, your parents are going to
disown you if you don’t right this
wrong. Your mother was crying when
they called me. Crying! You made
your mother cry. That is shameful.
ANI
Oh what the fuck.
TOROS
We are getting this sham marriage
annulled. We are meeting your
parents and they are taking you
home. And you are finally growing
up. Ok?
ANI
Don’t listen to him.
IVAN
I have to go back to Russia.
ANI
Ok, and I can come with you.
Whatever you’re going through with
your family, I’m here for you
because I’m your wife.
IVAN
That’s not a good idea.
ANI
No, if I have to live there until
we sort things out, that’s what
we’ll have to do. Because we’re in
this together, right?
IVAN
Maybe this whole thing wasn’t such
a great idea.
Ani doesn’t know if Ivan is serious but she knows there is
truth in that statement.
ANI
What wasn’t?
TOROS
Ok, let’s go.
Ivan stands.
ANI
Ok? Ok? Just like that?
TOROS
Yes, let’s go.
Ratings
Scene 49 - Chaos Unleashed
Jenny walks swiftly through the kitchen and down the hall.
She leans in to the office.
154 INT. HEADQUARTERS - OFFICE - CONTINUOUS 154
Jenny leans into the office.
JENNY
Jimmy! Ani’s out there with three
goons causing a scene.
JIMMY
Russian Ani?
155.1 INT. HEADQUARTERS - PRIVATE ROOM / THROUGH CLUB - CONTINUOUS
155.1
Toros grabs Ivan by the collar and drags him out.
TOROS
(Russian)
Run and I’ll sic him on you.
Ani can’t just leave like this.
ANI
Wait. Ivan. I love you and you love
me. Right?
Toros points to Igor.
TOROS
(Russian)
And trust me, you don’t want that.
(English)
You do this to your family... and
me... and then just go on a bender?
Disgraceful.
They exit the room and begin walking out of the club. Diamond
trails behind them throwing insults at Ani.
DIAMOND
This is crazy funny. You in here
braggin’, all proud... playing high
and mighty like your shit don’t
stink. Look at you now bitch.
The crew led by Toros is escorting drunk Ivan out of the
club. Jimmy and run down the stairs.
155.2 INT. HEADQUARTERS - STAIRS - CONTINUOUS 155.2
Ani follows followed by Igor and Garnik. They make it down
the stairs. Diamond is stalking them hard, pushing past
Garnik.
DIAMOND
And guess what bitch... he told me
he was going back to Russia
tomorrow and he just wanted one
last bang!
If Ani is fazed by this, it doesn’t show.
GARNIK
Don’t fuck with her.
Garnik points to his broken nose. Diamond doesn’t back down.
DIAMOND
Come back here again without these
fucks and you won’t be leaving.
Igor tries to diffuse the situation.
IGOR
Ok, ok.
155.3 INT. HEADQUARTERS - MAIN FLOOR / FRONT ENTRANCE - CONTINUOUS
155.3
Ani continues to march ahead. They make it on to the main
floor... almost to the front entrance. Jimmy and Dawn are
trailing.
DIAMOND
And looks like I called it, don’t
it?
Ani slows down.
DIAMOND (CONT'D)
Two weeks on the fucking nose.
Ani turns and... explodes. She swings and charges Diamond.
Igor tries to intercept but Ani is too fast. Ani tackles
Diamond and their bodies hit the floor. Toros holds on to
Ivan for dear life. Everybody tries to stop the fight making
the moment even more chaotic. Full on brawl. Igor, Garnik,
Jimmy, Dawn and a security guard are doing their best to stop
it. Some girls are coming to Diamond’s defense while Lulu and
others defend Ani. Punches and kicks. A table is pushed over,
glasses shattering on the floor.
In the back lap dance area, three topless dances including
Sunny react to the noise.
Back on the floor...
JIMMY
Cut it! Eddie! Cut it!
The music stops... now just the sounds of screaming and
swearing. Jimmy has had enough of this drama in his club.
JIMMY (CONT'D)
Out of here now! I don’t care if
you take it outside but get out of
here.
Finally Igor pulls the kicking and screaming Ani off Diamond
and drags her out the door.
A156 EXT. HEADQUARTERS - 552 W. 38TH ST. - NIGHT A156
They load into the Escalade. Toros shoves Ivan in the back
between Garnik and Igor. He turns and shoves the Ani in
front.
Ratings
Scene 50 - Desperation in the Backseat
TOROS
We got you, we got you, we got you.
Ani, still trying to calm herself down, turns and tries to
talk sense in to Ivan to no avail.
ANI
Vanya! You have to listen to me
right now. They are trying to get
us divorced. Do you understand what
is happening?
No response from Ivan.
ANI (CONT'D)
Pull over. Ivan and I aren’t
finished talking.
TOROS
You can talk at the courthouse.
ANI
That wasn’t the deal.
TOROS
The deal is that you get 10K and
walk away and that’s what’s
happening.
ANI
Vanya! Do you hear him? They want
me to take money to leave you!
No answer.
ANI (CONT'D)
Vanya!
GARMIK
Oh my god. Will someone shut her
up.
ANI
Vanya!
IGOR
He’s passed out. He doesn’t hear
you.
ANI
This wasn’t the deal. Vanya doesn’t
know what’s happening.
TOROS
Yes he does. He knows he fucked up.
He knows he’s going back to Russia.
We wouldn’t have had to chase him
all night if he didn’t know that.
ANI
He’s scared.
TOROS
Yes! He should be. And when the
judge asks him if he wants an
annulment, he’ll say yes... because
if he doesn’t, his father cuts him
off.
ANI
You motherfucker. This isn’t fair.
TOROS
Life isn’t fair.
Ani screams in frustration and pounds the dashboard. Igor
leans forward, around the right of the headrest.
GARNIK
Can we go home now?
TOROS
No, we’re staying here in
Manhattan.
Ani is silent, calculating her next move, while they drive
through the city. Toros continues to chastise Ivan.
TOROS (CONT'D)
You really must hate me. Really.
And that is sad to me. Because I
let you get away with so much shit
over the years. Bailed you out
countless times. But I thought you
finally grew up.
Ratings
Scene 51 - Desperate Measures
The Escalade parks in front. Toros throws it into park and
settles back.
TOROS
Now we wait.
Ani looks lost as she stares out the window. Igor is aware of
Ani’s state.
157 EXT. COURTHOUSE - CENTER STREET - MORNING 157
TOROS
Ok, c’mon. Wake up. There he is.
Ani is wide awake. Igor and Garnik begin to stir. Ivan
doesn’t.
TOROS (CONT'D)
Ok, c’mon. Wake up. There he is.
Let’s go!
Toros gets out of the Escalade. Ani turns to Ivan who is
still quite intoxicated.
ANI
Don’t worry, I’m going to handle
this.
158 EXT. COURTHOUSE - DAY 158
Toros is shoving Garnik in the front seat of the Escalade.
TOROS
Do not get a ticket, do not get
towed, do not fall asleep. Keep
your phone on. Hear me?
Toros motions for the crew to walk up the steps of the
courthouse where MICHAEL SHARNOV (late 40’s), the NYC family
lawyer greets them.
SHARNOV
Good morning everyone. Ok, the
judge is being very kind and bumped
us up... Hello Ivan.
Ivan doesn’t acknowledge.
SHARNOV (CONT'D)
(Russian)
Ivan. It’s Michael Sharnov, your
father’s attorney. Remember me?
TOROS
He’s tired.
SHARNOV
I see.
(to Ani)
And you are...
ANI
The lucky lady.
SHARNOV
I see. And who is this?
Sharnov points to Igor.
TOROS
We may need him.
SHARNOV
Ok, not sure what that means and
don’t want to know. Let’s go. Get
your ID’s ready.
159 INT. COURTHOUSE - ROTUNDA - DAY 159
They look like quite the motley crew as they walk through the
rotunda.
SHARNOV
(Russian)
I talked to him. I know he wants
this done. But does he know that
his son is inebriated?
TOROS
(Russian)
He’s not inebriated. He just woke
up.
SHARNOV
Toros please. C’mon man. I can’t
risk losing my license...
TOROS
I repeat... do you want to continue
working for the Zakharov family, or
not?
SHARNOV
Why do I agree to this shit. C’mon.
Ratings
Scene 52 - Courtroom Chaos: The Battle for Marriage Legitimacy
The crew walks in to the courtroom and settles in front of
the judge’s bench.
JUDGE
Ok Mr. Sharnov. Consider yourself
fortunate our schedule is on the
lighter end today. Now, what’s the
urgent matter.
SHARNOV
Your honor, we are here to file a
complaint and request for immediate
annulment of a union that took
place under duress. Ivan Zakharov
and...
Sharnov looks at Ani’s ID.
...Anora Mikheyova married on...
He looks at the marriage license.
...January 10th...
ANI
Duress my fucking ass.
Gasps and from the entire courtroom. The judge hits his gavel
several times.
JUDGE
First and last warning. I hear
profanity again and you’ll all be
charged with disorderly conduct.
Mr. Sharnov, what’s going on?
SHARNOV
Your honor...
ANI
This is bullshit. My husband and I
do not agree to this annulment. It
is being forced upon us...
TOROS
Shut up! She does agree. Get her
out of here.
The room blows up.
ANI
Me and my husband, who is clearly
intoxicated and unable to make an
informed decision, are being forced
by these men to annul our
legitimate marriage.
TOROS
She’s drunk and doesn’t know what
she’s saying.
JUDGE
Ok, order in the court.
ANI
I’m not drunk... we were legally
married at a legitimate marriage
center in Las Vegas and have the
license to prove it. Neither me nor
my husband will be signing
anything.
Sharnov does a double take.
SHARNOV
They got married in Nevada?
He looks down at the license and sees the State of Nevada
seal.
TOROS
Yeah, so?
SHARNOV
Um, you didn’t tell me that.
TOROS
So?
JUDGE
Mr. Sharnov, you and your clients
will be escorted from this
courtroom...
SHARNOV
Yes, your honor. No problem. Just a
second your honor.
Sharnov turns to Toros again and speaks to Toros in Russian.
SHARNOV (CONT'D)
(Russian)
I can’t get it annulled here.
TOROS
(Russian)
What are you talking about? Why?
SHARNOV
(Russian)
They got married in Nevada. This is
New York.
TOROS
Yeah and?
SHARNOV
(Russian)
We can file for one but if you want
this now, you have to go there.
TOROS
Are you fucking kidding me?
SHARNOV
We need to... I need... I’m
requesting...
JUDGE
Out of my courtroom now!
Thee courtroom is chaos.
CUT TO:
161 OMITTED 161
Ratings
Scene 53 - Chaos on the Courthouse Steps
On the front steps, the freaking out continues. Toros makes a
scene.
TOROS
Why the fuck did you get married in
Vegas? Couldn’t you have gotten
married here?
ANI
We were in Vegas when we decided
to. When Ivan fucking proposed to
me!
TOROS
I’m so fucked. I’m so fucked.
They’re landing in two hours.My
heart. I honestly think I’m going
to have a heart attack.
Toros sits down on the steps of the courthouse. He holds his
head and weeps.
A163 EXT. TORO’S ESCALADE - DAY A163
Toros opens the front door and tears Garnik out of the front
seat.
GARNIK
All done?
TOROS
No! They fucking got married in
Vegas.
GARNIK
What?
The crew piles in and Toros drives away.
163 INT. TOROS’ ESCALADE - DAY 163
They drive in silence. Toros wiping tears from his eyes. Ani,
again seated in front.
Suddenly Ivan starts vomiting on himself. Igor and Garnik
start to freak out. Toros barely reacts.
TOROS
(Russian)
I don’t care. Shit yourself for all
I care. I don’t care anymore.
They all lower their windows. Ani doesn’t know what to think.
CUT TO:
Ratings
Scene 54 - Frustration at the Tarmac
The Escalade drives on to the property and parks in front of
the hanger entrance.
165 OMITTED 165
166 EXT. PRIVATE AIRPORT - TARMAC - DAY 166
The Zakharov private jet lands. Toros walks onto the tarmac
to greet them. They are walking down the boarding stairs. Two
customs agents approach with a customs sniffer dog.
TOROS
(Russian)
Hello Nikolai Zakharov. Hello
Galina Stepanovna.
GALINA
(Russian)
Where is he?
TOROS
(Russian)
He’s inside.
The dog sniffs Galina as she b-lines it for the terminal.
Toros turns to Nikolai who is lighting a cigarette.
TOROS (CONT'D)
(Russian)
So I have some bad news.
NIKOLAI
(Russian)
More bad news?
TOROS
Yeah.
(beat)
You’re not going to be happy...
NIKOLAI
(Russian)
I’m already not happy.
Toros does not want to say it.
TOROS
Well...
NIKOLAI
Well what?
(Russian)
The hooker’s a guy or something?
TOROS
(Russian)
No. No. But they didn’t get married
here in New York. So we can’t get
an expedited annulment.
NIKOLAI
(Russian)
Oh my god. Where did they get
married?
TOROS
Vegas.
NIKOLAI
(Russian)
Of course he did. Little bastard.
Ratings
Scene 55 - Family Confrontation at the Airport
Galina storms in. Garnik, Igor and Ani stand.
GALINA
(Russian)
Ivan, is this true? What did you
do? You smell like alcohol.
Ivan holds his head in his hands. Vomit stains all down the
front of his jacket.
GALINA (CONT'D)
(Russian)
He’s drunk? Garnik, he’s drunk!
GARNIK
(Russian)
Yes, ma’am. He’s intoxicated. Not
our fault.
Ani slowly approaches Ivan and Galina.
IVAN
(Russian)
Mom! Stop! This is embarrassing.
GALINA
(Russian)
Disgusting! You’re embarrassed? Do
you know how embarrassed your
father and I are! You’ve disgraced
us.
ANI
(Russian)
Hello Mrs. Zakharov, I’m Anora.
It’s so wonderful to finally meet
you. I’m so grateful to be Ivan’s
wife and a part of your beautiful
family.
Galina turns to Ani.
GALINA
(English)
Ivan is not your husband and you
are not part of this family and
your Russian is embarrassing.
Ani remains composed.
ANI
M’am, Vanya and I are in love and
we would like you to accept this
marriage.
GALINA
Vanya is not in love with you. And
we will not accept this.
Ani looks at Ivan who looks away. Ani almost vomits.
Suddenly, Toros and Nikolai enter the terminal.
NIKOLAI
(Russian)
Galina! Galina! Um... Toros has
something to tell you.
Ratings
Scene 56 - Tarmac Confrontation
Galina, dragging Ivan, is leading the crew through the hanger
toward the plane at a swift pace. Ani is numb and walking
with them. Igor stays close.
GALINA
(English)
Fuck! You are all idiots. How could
this happen!
ANI
Vanya.
Ivan doesn’t look back.
ANI (CONT'D)
Vanya.
GALINA
Shut her up. And Toros, we will be
discussing your future of lack of
one with the company. You let him
trot off to Vegas, my god. Hurry!
They see the assistants bringing luggage off the plane.
GALINA (CONT'D)
(Russian)
No, back on the plane!
(to Toros)
I want us refueled and in the air
in 10 minutes! Fuck!
TOROS
(Russian)
Yes, Ma'am.
Galina, Nikolai, Toros and Garnik board the plane. Ani stops
at the bottom of the steps.
ANI
Vanya!
Ivan finally turns around.
IVAN
What!
ANI
So we’re just going to get
divorced!?!
IVAN
Yes! Of course! What are you
stupid?
Ani doesn’t know what to say. Ivan’s demeanor shifts.
IVAN (CONT'D)
But I want to thank you for making
my last days in America fun.
Ani has given up the fight.
ANI
Yeah, you had fun?
IVAN
Yes, now let’s go.
Ani does not follow. She watches Ivan ascend the steps. She
turns away. Igor who is waiting next to her, averts his eyes.
INT. PLANE - CONTINUOUS
Ivan boards the plane and takes his seat.
GALINA
Where is she?
OMITTED
OMITTED
EXT. TARMAC - MOMENTS LATER
Galina swiftly descends the steps.
GALINA
Board the plane now.
ANI
I’m not doing that.
GALINA
You’re getting on that plane and
getting a divorce.
ANI
Oh, I’ll be getting a divorce.
Sure. But I’m getting a lawyer,
suing Ivan and your family and I’ll
walk away with half. We don’t have
a pre-nup.
Long beat.
GALINA
Do that and you lose everything.
Any money you may have, although I
doubt you have any, will be gone.
You have a house? A car? All
gone.(she leans in) Your life and
the lives of your family and
friends will be destroyed. If you
doubt I can do that, please go
ahead, see what happens.
Ratings
Scene 57 - Turbulence of Emotions
They are mid-flight. The interior of the plane is lavish and
gaudy. There are two seating areas, a food and drink area and
a couch facing a wide screen TV. Russian news plays on the
TV.
Ivan and his parents are seated on one side of the plane. Ani
and Igor are seated on the couch in the rear. Toros sits
across from Garnik on the other side.
It’s been a long night and the crew is looking spent.
IGOR
Netflix and chill?
ANI
Fuck no.
In the front, Ivan’s parents will not let up from
reprimanding him. He tries to defend himself but he spirals
into drunken nonsense.
Toros tries to interject at some point, which only causes
tensions to flare.
Igor stares at the bar. He goes over and pours two shots of
vodka. He returns and hands her one. She takes it. Igor lifts
his glass to toast. Too late, Ani does the shot. She turns to
see him holding the shot glass in the air.
ANI (CONT'D)
Like I would have toasted you.
Pfft.
On the other side of the plane...
Garnik, drink in hand, leans over to the family...
GARNIK
(Russian)
I just want to say that it is an
honor to be finally able to spend
time with your wonderful family and
thank you so much for trusting in
Toros and I over the years...
The family dismisses him in disgust.
TOROS
Shut up. Why are you drinking?
(under his breath)
You fuckin’ idiot.
Toros takes the drink out of his hand.
TOROS (CONT'D)
You know what? Go. Go back there.
Go.
Garnik stumbles to the back.
He plants himself on the couch next to Ani and Igor.
GARNIK
I understand and forgive you for
what you did.
ANI
Ok great. I’m so grateful for your
forgiveness.
Garnik lays his head down on the couch and is asleep in
seconds.
Igor and Ani have a back and forth that is aggressive, yet
has a playful undercurrent.
In the front of the plane, the argument has reached its peak.
Ivan is crying.
IVAN
(Russian)
I’m sorry, ok! God. Look, She was
my escort for the week and we got
drunk and got married. Sorry! But
we’re going to fix it so come on,
stop. Jesus.
This is too much for Ani to bear. She stands and gestures
toward Ivan on the other side of the plane.
ANI
(Russian)
I’m glad to be divorcing your sorry
ass. You're pathetic, man.
TOROS
Igor.
Igor pulls her to sit back down on the couch.
ANI
Pathetic bitch ass motherfucker.
Ani is boiling inside. After a beat...
IGOR
What’s your favorite color?
ANI
My favorite color?
Ani tries to read Igor.
ANI (CONT'D)
The fuck? Why?
Still reading...
IGOR
I don’t know. Just a question.
ANI
Are you macking on me right now?
IGOR
Macking?
ANI
You find this the opportune time to
mack on my ass right now?
IGOR
What’s macking?
ANI
Why?
IGOR
Why what?
ANI
Why do you want to know?
IGOR
Because I don’t know what else to
talk about and we’re sitting next
to each other for the next three
hours.
ANI
Fuckin’ scumbag, man. Now? Pffft.
And asking my favorite color?
That’s like junior high school
level macking. Fucking Russian
girls must be easy, shit.
Now Igor gets it.
IGOR
I was actually asking to take your
mind off him. And I should add...
you’re not my type. I wasn’t
macking.
Ani stares and reads him.
ANI
Lie.
IGOR
Not a lie.
ANI
Liar.
IGOR
No.
The plane lands in Las Vegas.
Ratings
Scene 58 - Divorce in Vegas: A Clash of Families
The group gets in two black SUVs on the tarmac.
171 I/E. SUV - DAY 171
They drive through Las Vegas.
172 EXT. RAPID DIVORCE CENTER - PARKING LOT - DAY 172
They pull in and park in front of a rapid divorce center.
173 INT. RAPID DIVORCE CENTER - DAY 173
Everybody piles into the small office. The receptionist is
taken aback by the amount of people. The ATTORNEY greets them
and starts the annulment process.
Garnik is asleep on a chair in the corner.
Ivan does not think twice when asked to sign the papers.
Ani is disgusted. She steps forward.
IGOR
(Russian, interjecting)
So, I don’t want to be out of line
but I think it would be appropriate
if Ivan apologizes to Anora.
Toros cringes.
GALINA
(Russian)
Actually, that is out of line. My
son won't apologize to anyone.
TOROS
(Russian)
It’s okay, look, he doesn't know
what he’s talking about. He’s
tired, y’know, he’s helped us all
day.
ANI
Because your son’s a pussy.
Toros turns his attention to Ani and starts to escort her
out.
GALINA
And you are a disgusting hooker.
ANI
And your son hates you so much that
he married one to piss you off.
Your family is trash.
Ani looks at Ivan.
ANI (CONT'D)
Take a last look ‘cause this is the
best you'll ever get, bitch.
Toros immediately escorts Ani and Igor out.
GALINA
Wait, is that my scarf?
Ani looks down at the scarf and slowly slides it off her neck
in a taunting way. She drops it to the floor. Toros reaches
down and picks it up for Galina as Ani and Igor exit the
room. Ani then takes off her Sable and throws it on Ivan’s
head. She then exits.
174 EXT. RAPID DIVORCE CENTER - DAY 174
Ani takes the designer sunglasses out of her coat and puts
them on.
Toros walks them to one of the SUVs. As Ani and Igor get in
the SUV, Toros gives instructions to the driver and hands
Igor key car and bank card.
TOROS
Take them to Harry Reid, domestic
flights.
He looks to the backseat.
TOROS (CONT'D)
Igor is going to take you back. You
can stay at the house tonight but
you need to be out in the morning.
Igor will get your money when the
bank opens.
Beat.
TOROS (CONT'D)
And thank you.
Toros goes back into the divorce center.
175 I/E. SUV - DAY 175
Ani and Igor drive through Las Vegas to the airport. It’s a
silent ride.
Ratings
Scene 59 - Tensions Unveiled
Ani and Igor are on a crammed domestic flight. Ani is asleep.
A baby cries. Igor covers Ani with his jacket.
CAPTAIN
Flight attendants please prepare
for landing.
177 EXT. LAGUARDIA AIRPORT - CURB - DUSK 177
They take a taxi from the airport. The sun is setting.
178 INT. MANSION - MASTER BATHROOM - NIGHT 178
Ani takes a shower. When she is drying off, she looks around
the gorgeous bathroom. Nice while it lasted.
CUT TO:
178A INT. MANSION - LIVINGROOM - NIGHT 178A
Ani is smoking a blunt. Igor is on the couch aside her. They
are not speaking. New York 1 plays on the TV. The weather
report is covering the snow storm about to hit the tri-state
area. Finally Ani passes Igor the blunt. He accepts.
IGOR
Happy Birthday to me.
ANI
It’s your birthday?
IGOR
Yesterday.
ANI
Yesterday was your birthday?
IGOR
Yeah.
ANI
Happy Fucking Birthday.
IGOR
Thank you. (beat) I was 30.
ANI
Great.
IGOR
I like Anora.
Ani turns and looks at him with a “WTF” face.
IGOR (CONT'D)
The name. Anora.
(beat)
The name. More than Ani.
She turns back to face forward.
ANI
Says the fuck head named Igor.
(beat)
Fucking... Igor.
IGOR
Igor means warrior. It's a good
name.
ANI
Yeah? Igor means hunchback weirdo
you, fucking clown. Can you shut
the fuck up, please?
IGOR
Toush.
ANI
What?
IGOR
Toush.
ANI
Touché? You fucking moron?
IGOR
Touché.
ANI
Try figuring out English before
attempting French you, dumb fuck.
IGOR
And your name is better?
ANI
Fuck no. That’s why I don’t fuckin’
use it.
IGOR
But what does it mean?
ANI
What does what mean?
IGOR
Anora.
ANI
In America, we don’t care what
names mean. And I’m not interested
in conversation, man.
Igor googles it.
A few moments of silence as they light up cigarettes.
IGOR
You’re better off this way, trust
me. This is a fucked up family.
ANI
Did I ask for your fucking opinion?
IGOR
No.
ANI
Exactly.
IGOR
Ok, I was just being nice.
ANI
Nice? You fucking assaulted me,
dude. So go fuck yourself.
IGOR
I didn’t assault you.
ANI
You don’t call that assault? You’re
right... it’s fucking BATTERY... as
well as fuckin’ kidnapping and I’m
sure a million other felonies. Fuck
you, dude.
IGOR
(Russian)
That wasn’t assault. I had to calm
you down. You didn’t get hurt.
ANI
What? You attacked me, tied me up,
gagged me. You’re psychotic.
IGOR
You were in no danger of injury or
harm.
ANI
Pffff. If Garnik wasn’t there,
you’da raped me, guaranteed.
IGOR
I would have raped you?
ANI
No doubt.
Ani gets up off the couch, walks to the fridge to grab a VOSS
water and begins walking toward the stairs.
IGOR
Why would I have raped you?
ANI
I can see it. You sick motherfucker
would’ve raped me. You have rape
eyes.
IGOR
I have rape eyes?
ANI
Yes.
IGOR
No. I wouldn’t have raped you.
Ani turns.
ANI
Oh yeah... why?
IGOR
Why?
ANI
Yeah.
IGOR
Why what?
ANI
Why wouldn’t you have raped me?
Igor thinks about it for a moment.
IGOR
Because... I’m not a rapist?
ANI
Nope, because you’re a faggot ass
bitch.
She turns towards the stairs. Igor has nothing. He watches
her ascend. He sits there for a moment and then grabs the
remote and turns off the TV. He hears Ani’s footsteps on the
stairs.
Ani comes back down the stairs with a pillow. She throws a
pillow on the couch.
IGOR
Goodnight.
CUT TO:
Ratings
Scene 60 - Snowbound Turmoil
Ani lies in bed after she wakes. It’s snowing and she looks
out to a winter wonderland.
CUT TO:
Ani is packing. Clothes, photo frames, toiletries.
A181 INT. MANSION - LIVINGROOM - LATER A181
Igor slowly awakens on the couch. He sees the falling snow.
181 INT. MANSION - FOYER/DOORWAY - LATER 181
Ani and Igor are leaving the mansion, wheeling out her three
large pieces of luggage. They open the door.
It’s snowing.
CUT TO:
182 EXT. BANK - DAY - LATER 182
It continues to snow outside. We see Igor and Ani making the
transfer with a bank teller.
CUT TO:
183 EXT. ANI’S APARTMENT/INT. IGOR’S CAR - DAY 183
Igor and Ani are parked in front of Ani’s apartment. The snow
is coming down hard.
Igor reaches into his pocket and pulls out the ring and
passes it to her (the one she cut his face with).
IGOR
Don’t tell Toros.
Ani takes it.
ANI
Thank you.
Ani places it in her inside pocket. He jumps out and grabs
the luggage and brings it up to the porch. He notices Ani has
not exited the car. He comes back to the car and opens the
door and looks in.
IGOR
Ok?
ANI
Have a cigarette?
Igor gets back into the car. He reaches into his inside
pocket and gets a pack. He gives her a cigarette and takes
one for himself. He lights both. They sit in silence and
smoke. The only noise is the steady windshield wiper.
ANI (CONT'D)
This car is very you.
IGOR
It’s my grandmother’s.
(beat)
You like?
ANI
No.
They finish the cigarette. They both chuck their butts
through the crack in their windows.
Ani stares at Igor. It’s awkward. Finally she moves toward
him. He’s not sure how to react. She climbs on top of him,
forcing the seat back.
IGOR
What are you doing?
Ani reaches down, opens his pants and takes off her panties.
Igor is slightly resisting but finally relents. She quickly
gets him aroused and sits down on him and rides him. He is
confused and concerned yet allows it to happen.
Suddenly she explodes and begins punching and slapping his
face. He is completely taken by surprise. Ani lands a shot or
two as he scrambles to block her pounding fists. Ani screams
as she pounds away. Finally Igor gets hold of her hands and
subdues her. He holds her wrists so she cannot continue
swinging.
IGOR (CONT'D)
(Russian)
Stop! Stop! Just fucking stop! What
is wrong with you!
Ani begins to sob and collapses on him. He holds her as she
cries.
184 EXT. ANI’S APARTMENT/BROOKLYN STREET - DAY 184
The snow continues to fall around the idling car.
CUT TO:
CREDITS.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
ani | Throughout the screenplay, Ani undergoes a significant character arc. Initially, she is portrayed as a confident and playful dancer who enjoys her independence and navigates the club environment with ease. As the story progresses, Ani's relationships become more complicated, particularly with Ivan, leading her to confront her vulnerabilities and the realities of her marriage. She transitions from a carefree spirit to a strong-willed woman who fiercely defends her rights and desires, especially when faced with betrayal and manipulation. By the climax, Ani's emotional turmoil culminates in passionate confrontations, showcasing her resilience and determination to fight for her marriage. Ultimately, Ani emerges as a more self-aware individual, having learned to balance her independence with the complexities of love and commitment. | While Ani's character arc is compelling, it could benefit from deeper exploration of her internal conflicts and motivations. The screenplay presents her as a strong and assertive character, but there are moments where her emotional vulnerabilities could be more pronounced. This would create a richer narrative, allowing the audience to connect with her struggles on a deeper level. Additionally, the transitions between her playful demeanor and emotional confrontations could be more gradual, providing a clearer sense of her evolution throughout the story. | To improve Ani's character arc, consider incorporating more scenes that delve into her backstory, revealing the experiences that shaped her independence and resilience. This could include flashbacks or conversations with other characters that highlight her past struggles and triumphs. Additionally, allow for moments of introspection where Ani reflects on her choices and the implications of her actions, creating a more nuanced portrayal of her emotional journey. Finally, ensure that her confrontations with Ivan and other characters are not only reactive but also proactive, showcasing her growth as she learns to navigate her relationships with greater awareness and intention. |
lulu | Lulu begins as a loyal and supportive friend to Ani, providing comic relief and encouragement. As the story progresses, she faces challenges that test her boldness and self-assertion. A pivotal moment occurs when she must confront a personal issue that threatens her carefree attitude, forcing her to reflect on her own identity and the importance of standing up for herself. By the climax, Lulu evolves from a sidekick role into a more independent character who asserts her own needs and desires, ultimately strengthening her bond with Ani and showcasing her growth. In the resolution, Lulu embraces her adventurous spirit while also recognizing the value of vulnerability and deeper connections. | While Lulu's character is well-defined and provides essential support to Ani, her arc could benefit from more depth and personal stakes. Currently, her development seems secondary to Ani's journey, which may limit her impact on the overall narrative. Additionally, her transformation could feel rushed or underexplored, as the screenplay may not fully delve into the internal conflicts that lead to her growth. | To improve Lulu's character arc, consider giving her a subplot that highlights her personal struggles or aspirations, allowing her to have her own journey alongside Ani's. This could involve a conflict that challenges her carefree nature, such as a romantic interest or a career opportunity that forces her to choose between loyalty to Ani and her own ambitions. Additionally, incorporating moments of vulnerability where Lulu expresses her fears or insecurities could create a more relatable and multi-dimensional character. This would not only enhance her growth but also deepen the emotional resonance of her relationship with Ani. |
ivan | Ivan's character arc begins with him as a charming and carefree individual, enjoying life and making connections with others, particularly with Ani. As the story unfolds, he is confronted with the realities of his family's legacy and the secrets he harbors, including a hidden marriage. This leads to a significant internal conflict where he must choose between loyalty to his family and his love for Ani. Throughout the screenplay, Ivan transitions from a playful flirt to a more serious and conflicted character, ultimately facing the consequences of his reckless behavior and the impact of his choices on his relationships. By the end, Ivan emerges as a more self-aware individual, having navigated his internal struggles and made a choice that reflects his true desires, leading to a resolution with Ani and a newfound sense of identity. | While Ivan's character arc is rich with potential for depth and complexity, it risks becoming convoluted due to the rapid shifts in his personality and motivations. The transition from a carefree, charming figure to a conflicted individual can feel abrupt, and the hidden marriage subplot may detract from the central romance with Ani if not handled delicately. Additionally, Ivan's character sometimes leans too heavily on stereotypes of wealthy playboys, which could limit his relatability and depth. | To improve Ivan's character arc, consider providing more gradual development of his internal conflicts. Introduce subtle hints of his family obligations and personal struggles earlier in the screenplay to create a more cohesive transition from charm to conflict. Additionally, explore his relationship with Ani in greater depth, allowing their interactions to reveal layers of his character and motivations. This could involve moments of vulnerability that showcase his emotional struggles, making his eventual choices more impactful. Finally, ensure that the hidden marriage subplot is integrated seamlessly into the narrative, allowing it to serve as a catalyst for Ivan's growth rather than a distraction from his relationship with Ani. |
toros | Toros begins as a loyal and protective figure, deeply invested in the well-being of his family and friends. As the story progresses, he faces escalating conflicts that challenge his sense of duty and loyalty. His authoritative nature leads him to make aggressive decisions, often resorting to intimidation and manipulation to maintain control. However, as he navigates the complexities of his relationships, particularly with Ivan, he experiences moments of self-reflection that force him to confront the consequences of his actions. By the climax, Toros is pushed to a breaking point, where he must choose between his desire for control and the well-being of those he cares about. Ultimately, he learns to balance his protective instincts with empathy, leading to a more nuanced understanding of loyalty and responsibility by the end of the feature. | While Toros is a compelling character with a strong presence, his arc could benefit from deeper exploration of his internal conflicts. The screenplay presents him as a domineering figure, but it risks making him one-dimensional if his vulnerabilities and motivations are not fully fleshed out. His aggressive tactics may alienate the audience if they do not see the emotional stakes behind his actions. Additionally, the resolution of his arc may feel rushed if the transformation from a controlling figure to a more empathetic one is not adequately developed. | To improve Toros's character arc, consider incorporating more scenes that highlight his internal struggles and moral dilemmas. Show moments of vulnerability where he questions his methods and the impact of his actions on those around him. Introduce secondary characters who challenge his worldview and force him to confront his flaws. Additionally, allow for a gradual evolution in his character, where small victories in empathy and understanding lead to a more significant transformation by the climax. This will create a more relatable and dynamic character that resonates with the audience. |
igor | Igor's character arc begins with him as a confident and loyal follower, focused on fulfilling his duties without question. As the chaos unfolds, he becomes increasingly conflicted, struggling to balance his loyalty to Ivan with his discomfort over the situation. This internal conflict leads him to moments of hesitation and regret, as he grapples with the consequences of his actions. Throughout the screenplay, Igor evolves from a stoic enforcer to a more vulnerable character, ultimately finding the courage to assert his moral compass. By the climax, he must confront his past decisions and choose between blind loyalty and doing what he believes is right, leading to a resolution where he seeks redemption and support for Ani, solidifying his transformation into a more compassionate and self-aware individual. | While Igor's character arc is rich and layered, it risks becoming overly complex without clear resolution. His internal struggles are compelling, but they may confuse the audience if not adequately highlighted throughout the screenplay. The balance between his loyalty to Toros and his moral dilemmas could be more pronounced, as the audience may lose sight of his motivations amidst the chaos. Additionally, the shifts in his demeanor—from stoic to vulnerable—could benefit from clearer triggers or pivotal moments that catalyze these changes, ensuring that his evolution feels organic and relatable. | To improve Igor's character arc, consider establishing clearer stakes for his internal conflict early in the screenplay. This could involve flashbacks or dialogue that reveal his past actions and the guilt he carries, providing context for his hesitations. Additionally, introduce specific moments where Igor must make choices that directly impact Ani or the group, allowing the audience to witness his growth in real-time. Strengthening his relationships with other characters, particularly Ani and Toros, can also enhance his emotional journey, making his eventual decision to assert his moral compass more impactful. Finally, ensure that his moments of humor and light-heartedness are strategically placed to provide relief while also deepening his character, allowing the audience to connect with him on multiple levels. |
garnik | Garnik's character arc begins with him as a loyal and anxious investigator, deeply concerned about the implications of Ivan's marriage. As he confronts various challenges, including his loyalty to Toros and his growing conflict with Ani, he becomes more assertive and authoritative. However, his journey is marked by internal struggles, as he grapples with his sense of duty versus his personal well-being. By the climax, he faces physical injury and emotional exhaustion, which forces him to confront his vulnerabilities. In the resolution, Garnik emerges as a more balanced character, having learned to navigate the complexities of loyalty and personal integrity, ultimately finding a way to support his friends while also prioritizing his own well-being. | Garnik's character arc is compelling but could benefit from deeper exploration of his internal conflicts. While his loyalty and sense of duty are clear, the screenplay could delve more into the emotional toll these conflicts take on him. His evolution from a no-nonsense investigator to a more vulnerable character is intriguing, but the transitions between these states can feel abrupt. Additionally, his naivety sometimes undermines his authority, which could be better balanced to maintain his credibility throughout the story. | To improve Garnik's character arc, consider incorporating more scenes that highlight his internal struggles and the consequences of his decisions. This could involve flashbacks or conversations that reveal his past experiences and how they shape his current actions. Additionally, providing moments where Garnik's naivety leads to significant consequences could enhance his growth, forcing him to confront his limitations. Finally, allowing him to have a pivotal moment where he asserts his own needs and boundaries could create a more satisfying resolution to his arc, showcasing his development from a loyal but conflicted character to one who understands the importance of self-care alongside duty. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Overall Grade Correlation with Plot and Character Development | Scenes with an overall grade of 8 or 9 consistently score highly in 'Plot' and 'Characters'. This suggests a strong narrative structure and well-developed characters contribute significantly to the overall scene quality. Conversely, scenes with lower overall grades (Scene 1, for example) show weaknesses in these areas. Focusing on strengthening the plot and character arcs in weaker scenes could greatly improve their overall impact. |
Tone and Emotional Impact: A Complex Relationship | While many scenes with high overall grades utilize 'Playful', 'Sensual', and 'Intimate' tones, a nuanced relationship exists between tone and emotional impact. Scenes 4, 5, 15, and 16, despite high overall grades and playful tones, have surprisingly low emotional impact scores. This might indicate that the playful tone overshadows emotional depth. Consider exploring ways to integrate stronger emotional beats within playful scenes to enhance their impact. Conversely, scenes 28-32 achieve high emotional impact with 'Tense', 'Intense', and 'Chaotic' tones, indicating a successful balance between tone and emotion. |
Dialogue's Role in Emotional Impact and Overall Grade | A strong correlation is observed between high dialogue scores and high emotional impact, especially in scenes 28-32 and 56. Conversely, scenes 4, 5, 15, and 16, while possessing high overall grades, suffer from low dialogue and emotional impact scores, hinting that the dialogue may not be effectively conveying the intended emotions. Analyzing how dialogue contributes to emotional depth and improving weaker dialogue sections could increase the emotional resonance of these scenes. |
Conflict and High Stakes: A Driver of Overall Scene Quality | Scenes with consistently high scores in 'Conflict' and 'High Stakes' (e.g., scenes 28-58) tend to also receive high overall grades. The final act (scenes 28 onwards) shows a marked increase in both these elements, indicating a successful build-up of tension towards the climax. This suggests that actively increasing conflict and raising the stakes can greatly enhance the perceived quality of the scenes. |
Character Change as a Narrative Tool | While most scenes maintain a solid score in 'Character Changes,' the lower scores in the beginning (Scene 1, 4, 5) might indicate a slower pace of character development initially. A gradual increase is seen, particularly in the climax and resolution, signifying that impactful character arcs happen towards the end. Considering ways to integrate more significant character changes earlier could enhance narrative momentum and audience engagement. |
Unexpected Shift in Tone and Theme in the Final Act | A noticeable shift occurs from primarily playful/sensual tones in the first half to tense/confrontational tones in the second half (from scene 28). This represents a significant change in narrative focus, from a lighter, possibly relationship-driven narrative to a more conflict-driven climax. This shift, while potentially effective, should be considered for pacing and thematic consistency; ensuring the transition feels natural and justified for the audience. |
Climax and Resolution: Impactful but Potentially Over-Reliant on Tension | The final act (scenes 28-60) features consistently high scores in 'Tense', 'Intense', and 'Confrontational' tones, along with high scores in 'Conflict', 'High Stakes', and 'Emotional Impact'. While this builds a strong climax, there's a risk of relying too heavily on tension. Exploring the inclusion of moments of relief, reflection, or subtle emotional shifts could provide a more satisfying and nuanced resolution. |
Writer's Craft Overall Analysis
The writer demonstrates a strong aptitude for creating scenes with engaging dialogue, tension, and compelling character interactions. Many scenes effectively build suspense, convey emotional depth, and establish clear conflicts. However, there's a recurring need for deeper character development, more nuanced exploration of power dynamics, and a more consistent approach to pacing and structure across all scenes. The writer shows a talent for capturing specific moods and atmospheres, but this strength needs to be paired with tighter structural choices to optimize the overall narrative impact.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Story: Substance, Structure, Style and the Principles of Screenwriting' by Robert McKee | This book provides a comprehensive guide to narrative structure, character development, and storytelling principles, directly addressing many of the recurring improvement suggestions regarding scene structure, pacing and character depth. |
Book | 'Save the Cat!' by Blake Snyder | This book offers practical advice on screenplay structure and creating compelling characters, addressing a key area for improvement identified in multiple analyses: scene structure and character development. |
Screenplay | Analyze and study several screenplays by Aaron Sorkin (e.g., 'A Few Good Men', 'The Social Network') and David Mamet ('Glengarry Glen Ross'), paying close attention to their distinctive dialogue styles, character development, and pacing. | These screenwriters excel in creating intense, dialogue-driven scenes with complex character relationships, directly addressing the writer's need for improvement in dialogue, character interaction and power dynamics. |
Video | Watch behind-the-scenes footage of films known for their strong character-driven narratives and dynamic scene work. | Observing how directors and actors bring scenes to life can offer valuable insights into scene structure, pacing, and character performance, enhancing the writer's understanding of the visual and performative aspects of their work. |
Exercise | Rewrite existing scenes, focusing solely on improving the pacing and structuring elements, using McKee's and Snyder's frameworks. Experiment with different approaches to reveal information and build tension.Practice In SceneProv | This allows the writer to actively apply their new understanding of narrative structure and pacing in a practical way, directly addressing a core weakness identified in the scene analysis. |
Exercise | Create a character profile for each major character, including detailed backgrounds, motivations, fears, and relationships with other characters. Then write scenes that highlight those aspects in subtle ways using dialogue and action.Practice In SceneProv | This exercise directly addresses the writer's need for deeper character development, urging them to think beyond surface-level characterization and to integrate internal and external conflicts into the scenes. |
Exercise | Write a scene with two characters who have opposing goals but are forced to work together. Focus on crafting dialogue that reveals the underlying power dynamic through subtext and subtle actions. Analyze the scene by identifying the moments when the power dynamic shifts.Practice In SceneProv | This exercise enhances the writer's ability to explore subtle power dynamics and subtext in their dialogue, an area identified as needing significant improvement. |
Stories Similar to this one
Story | Explanation |
---|---|
The Deuce | This HBO series explores the rise of the porn industry in New York City during the 1970s and 1980s, focusing on the lives of sex workers, their struggles, and the dynamics of the adult entertainment business. Similar to Ani's story, it delves into the complexities of relationships within this world, the impact of societal norms, and the personal aspirations of those involved. |
Showgirls | This cult classic film follows a young woman who arrives in Las Vegas to pursue her dreams of becoming a dancer. The themes of ambition, exploitation, and the harsh realities of the entertainment industry resonate with Ani's journey as she navigates her career in a gentlemen's club and her relationships with clients and colleagues. |
Hustlers | Based on a true story, this film follows a group of strippers who band together to turn the tables on their wealthy clients. The film shares similarities with Ani's experiences in the club, showcasing the camaraderie among dancers, the manipulation of powerful men, and the moral complexities of their choices. |
The Girlfriend Experience | This anthology series follows high-end escorts who provide not just physical intimacy but also emotional connections to their clients. The exploration of relationships, power dynamics, and the personal lives of women in the sex industry parallels Ani's interactions with her clients and her evolving relationship with Ivan. |
Crazy Ex-Girlfriend | While primarily a musical comedy, this series features a protagonist who makes impulsive decisions in pursuit of love and happiness, often leading to chaotic situations. Ani's impulsive marriage to Ivan and the ensuing drama reflect similar themes of misguided romance and the consequences of chasing after an idealized relationship. |
The Night Manager | This miniseries involves espionage, luxury, and the dark underbelly of wealth and power. The character dynamics and the tension between personal desires and external pressures mirror Ani's experiences with Ivan and the complications arising from their relationship amidst a backdrop of affluence and danger. |
The Sopranos | This iconic series delves into the lives of mobsters and their families, exploring themes of loyalty, betrayal, and the complexities of personal relationships. The tension between Ani and Ivan's families, as well as the criminal undertones of Ivan's background, resonate with the themes of familial obligation and the consequences of one's choices. |
9 Songs | This film tells the story of a couple's relationship through a series of concerts and intimate moments. The focus on physical connection, emotional highs and lows, and the exploration of a relationship in a unique setting parallels Ani's evolving relationship with Ivan amidst the backdrop of parties and intimate encounters. |
The Players Club | This film centers around a young woman who takes a job at a strip club and navigates the challenges of the environment, including friendships, rivalries, and the pursuit of a better life. The themes of empowerment, exploitation, and the complexities of working in the adult entertainment industry are similar to Ani's experiences. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Stripper with a Heart of Gold | Ani, a dancer in a gentlemen's club, navigates her work while showing depth and complexity in her character, particularly in her interactions with clients and friends. | This trope features a character who works in a morally ambiguous profession but possesses a kind heart and good intentions. An example is the character of Nomi Malone in 'Showgirls', who, despite her circumstances, seeks a better life. |
Love Triangle | Ani finds herself torn between her feelings for Ivan and the complications arising from his family and her own past. | A love triangle involves three characters where one is romantically interested in two others, creating tension and conflict. A classic example is the triangle between Katniss, Peeta, and Gale in 'The Hunger Games'. |
The Rich Boy and the Poor Girl | Ani, from a working-class background, becomes involved with Ivan, a wealthy heir, highlighting class differences. | This trope explores the dynamics of relationships across socioeconomic divides, often leading to conflict and growth. An example is 'Pretty Woman', where a wealthy businessman falls for a sex worker. |
The Party Scene | The screenplay features multiple party scenes, showcasing the hedonistic lifestyle of the characters, particularly during New Year's Eve. | Party scenes often serve as a backdrop for character development and plot progression, highlighting themes of excess and escapism. An example is the lavish parties in 'The Great Gatsby'. |
The Mentor | Characters like Jimmy and Dawn provide guidance to Ani, navigating her career and personal challenges. | Mentor characters offer wisdom and support to the protagonist, helping them grow. An example is Mr. Miyagi in 'The Karate Kid', who teaches Daniel valuable life lessons. |
The Dangerous Love Interest | Ivan's connections to a notorious family and his reckless behavior create a sense of danger in his relationship with Ani. | This trope involves a romantic partner who poses a threat or brings chaos into the protagonist's life. An example is Christian Grey in 'Fifty Shades of Grey', whose dark past complicates his relationship with Anastasia. |
The Big Misunderstanding | Miscommunications and assumptions lead to conflicts between Ani and Ivan, particularly regarding their marriage. | This trope involves characters misunderstanding each other's intentions, often leading to conflict. An example is the miscommunication between Elizabeth Bennet and Mr. Darcy in 'Pride and Prejudice'. |
The Strong Female Character | Ani exhibits resilience and determination as she navigates her complex life and relationships. | This trope features a female character who is independent, capable, and often challenges traditional gender roles. An example is Furiosa in 'Mad Max: Fury Road', who leads a rebellion against oppression. |
The Climax at the Wedding | The story culminates in a chaotic confrontation surrounding Ani and Ivan's marriage, leading to a dramatic climax. | This trope often involves a significant event, like a wedding, where tensions peak and conflicts are resolved. An example is the wedding scene in 'The Graduate', where chaos ensues as the protagonist disrupts the ceremony. |
The Redemption Arc | Characters like Ivan may seek redemption for their past actions, particularly in relation to Ani. | This trope involves a character seeking to atone for their mistakes and grow as a person. An example is Tony Stark in 'Iron Man', who evolves from a self-centered billionaire to a hero. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Transactional Relationships & Exploitation | Ani's work as a dancer in a gentlemen's club, her interactions with clients like Ivan, and the overall dynamic of her relationships (including with Ivan's family) highlight the transactional nature of her relationships, where money, status, and power significantly influence the dynamics and interactions. | This theme explores the complexities of relationships where intimacy and affection are often intertwined with economic exchange. It questions the ethics and consequences of such arrangements and challenges the audience to examine the power dynamics at play. | ||||||||||||
Strengthening Transactional Relationships & Exploitation:
| ||||||||||||||
Search for Authenticity and Genuine Connection | Despite the transactional nature of her work and relationships, Ani seeks genuine connection and love. Her interactions with Ivan, her friendships with Lulu and other dancers, and her eventual pushback against exploitation all demonstrate this longing for something more meaningful. | This theme contrasts with the transactional nature of her relationships and adds emotional depth to the story. It shows the human desire for genuine connection despite the circumstances. | ||||||||||||
Class Conflict and Social Inequality | The stark contrast between Ani's working-class life and Ivan's wealthy background underscores the disparities of wealth and power in society. This difference shapes their interactions and highlights the complexities of their relationship. | This theme explores the social dynamics and power imbalances inherent in a society with significant wealth disparity, influencing the characters' actions and decisions. | ||||||||||||
Cultural Clashes and Identity | Ani's Russian-American heritage and Ivan's Russian upbringing create a cultural context for their relationship. Their interactions, communication styles, and differing perspectives enrich the narrative and provide additional layers to their dynamic. | This theme introduces complexities in communication and understanding, adding further layers to the already strained relationship. | ||||||||||||
Female Agency and Empowerment | Ani's decisions, her ability to negotiate her terms, and her eventual assertion of her own agency demonstrate the complexities of female empowerment within a patriarchal structure. | This theme subtly explores the challenges and triumphs of women navigating a male-dominated world, highlighting the need for self-determination and agency. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is gritty, realistic, and sharply witty, blending high-stakes drama with dark humor and cultural nuances. It's characterized by a fast-paced, energetic style that emphasizes vivid descriptions, authentic dialogue (including a blend of English and Russian), and complex character interactions driven by power dynamics and hidden motivations. |
Voice Contribution | The writer's voice contributes to the script by creating a compelling and immersive world, establishing a distinct tone that balances the glamorous excesses of the wealthy with the harsh realities of the club scene. The blend of humor and tension keeps the audience engaged while exploring themes of ambition, loyalty, betrayal, and the clash between cultures and classes. The realistic dialogue and detailed descriptions enhance the emotional depth of the characters and their relationships, making them relatable despite their sometimes extravagant circumstances. |
Best Representation Scene | 8 - Revelations in the Bedroom |
Best Scene Explanation | This scene best exemplifies the writer's unique voice because it perfectly encapsulates the blend of witty banter, unexpected twists, and underlying tension that defines their style. The seemingly light-hearted post-coital conversation abruptly shifts to a reveal that introduces a significant plot element and adds depth to Ivan's character. This unexpected juxtaposition of humor and serious revelation is a recurring stylistic element throughout the script and is perfectly realized in this scene. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and nuanced exploration of complex themes such as agency, intimacy, and cultural dynamics within the adult entertainment industry. It avoids sensationalism by focusing on character development and authentic dialogue, offering unique perspectives on familiar settings and situations. The incorporation of cultural elements, personal struggles, and the interplay of power dynamics among characters enhances its originality.
- Most unique situations: The most unique situations in the screenplay are the exploration of the escort-client dynamic with humor and negotiation tactics, the depiction of a marriage proposal set against a backdrop of cultural and familial expectations, and the portrayal of a chaotic brawl in a nightclub that escalates into a confrontation involving multiple characters. Additionally, the emotional complexity of Ani's relationship with Igor, which shifts from intimacy to violence, adds depth to the narrative.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its character interactions and the unfolding of personal conflicts. The twists in character relationships, such as Ani's confrontations with Ivan and the unexpected dynamics with Igor, keep the audience engaged. However, certain plot points, such as the marriage annulment and familial pressures, follow familiar tropes, which slightly reduce the overall unpredictability.
Goals and Philosophical Conflict | |
---|---|
internal Goals | Ani's internal goals evolve from seeking validation and self-worth in a challenging work environment to asserting her identity and independence in the face of adversity, culminating in her fighting for her marriage and ultimately navigating her emotional conflicts. |
External Goals | Ani's external goals progress from earning money through her work as a dancer to securing her relationship with Ivan despite external pressures, culminating in an intense fight for her marital rights amidst familial opposition and the threat of annulment. |
Philosophical Conflict | The overarching philosophical conflict revolves around personal agency versus familial obligation—Ani's pursuit of autonomy and love stands against the oppressive expectations from Ivan's family, representing broader themes of identity and self-determination versus societal and familial constraints. |
Character Development Contribution: Ani's evolution showcases her journey from a position of vulnerability and dependence to one of empowerment and assertiveness, reflecting her growth as she learns to navigate complex relationships and stand up for her rights.
Narrative Structure Contribution: The tensions fueled by Ani's and Ivan's external and internal goals shape the narrative arcs, propelling the story forward and creating escalating conflicts that bring the characters to critical moments of confrontation and clarity.
Thematic Depth Contribution: The interplay of Ani's goals and the overarching philosophical conflicts deepen the screenplay's exploration of self-identity, power dynamics in relationships, and the societal implications of marriage and love, enriching the story with layered emotional and moral dilemmas.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a stark contrast between opulent luxury and gritty urban realities. High-end settings dominate: gentlemen's clubs and strip clubs in Manhattan, luxurious mansions with waterfront views, private jets, lavish hotels (Caesars Palace), casinos, and even a cryo chamber. This contrasts sharply with the seedier aspects of the nightlife industry, locker rooms, a late-night diner in Brooklyn, Coney Island beach, and the cold, sometimes dangerous, streets of Brooklyn and Manhattan. The weather also plays a significant role, shifting from the harsh winter cold to the warm Las Vegas sun.
- Culture: The screenplay prominently features a blend of Russian and Armenian cultures, with American culture serving as a backdrop. The Russian culture is displayed through language (frequent use of Russian), customs (family dynamics, power structures within the Zakharov family), and traditions. Armenian culture is shown through religious ceremonies (baptism), family structures, and social interactions. The clash and interplay between these cultures, along with the American context, create tension and conflict.
- Society: The societal structure is largely hierarchical and transactional. Wealth and power, particularly within the Russian criminal underworld (as represented by Nikolai Zakharov and his family), heavily influence character relationships and actions. The sex work industry is presented as a transactional environment, with money determining relationships. Family loyalty and honor are strong themes, especially within the Russian and Armenian communities. Legal and social structures often feel tenuous, with characters operating outside the law and facing potential repercussions.
- Technology: Technology is present but not overwhelmingly dominant. Smartphones are used for communication, information gathering (looking up Ivan’s father), and social media. Other technological elements include a television rising from a console in a mansion bed, security gate systems using iPads, and modern technology in the private jet and luxurious settings. Vaping and video games are also present, contributing to the modern setting.
- Characters influence: The world elements profoundly shape the characters. Ani's choices are directly influenced by the transactional nature of her profession, the power dynamics within the club, and her interactions with wealthy clients like Ivan. Ivan’s actions are driven by his privileged background, family expectations, and his desire to escape the control of his father. Other characters navigate the world based on their level of wealth, power, or involvement in the criminal underworld. The cultural differences between the Armenian and Russian characters contribute to misunderstandings, conflicts, and ultimately, the central plot.
- Narrative contribution: The world-building drives the narrative. The setting transitions between luxurious spaces and the gritty reality of Ani’s job create compelling contrasts. The power dynamics within the Russian and Armenian communities propel the plot forward, leading to conflicts, betrayals, and ultimately, the chaotic events surrounding Ivan and Ani's marriage. The different locations (mansions, clubs, streets) are not merely backdrops, they shape the interactions and actions of the characters.
- Thematic depth contribution: The contrasting environments and cultural elements enhance the thematic depth. The juxtaposition of opulence and poverty highlights themes of class, power, and exploitation. The transactional nature of relationships reflects themes of love, money, and the blurring of boundaries. The cultural clashes underscore issues of family honor, tradition, and societal expectations. The characters' struggles against the constraints of their environments and societal pressures add a layer of complexity, creating a multi-layered narrative with rich thematic resonance.
central conflict
The central conflict revolves around Ani's struggle to navigate her tumultuous relationship with Ivan, who is caught between his family's expectations and his feelings for her, while also dealing with the repercussions of their impulsive marriage.
primary motivations
- Ani seeks love and stability in her life, hoping to find a genuine connection with Ivan.
- Ivan desires freedom from his family's control and the ability to make his own choices, including his relationship with Ani.
- Toros is motivated by loyalty to Ivan and the need to protect him from potential fallout with his family.
catalysts
- Ani and Ivan's impulsive marriage in Las Vegas serves as a catalyst for the unfolding drama.
- The arrival of Ivan's family and their disapproval of Ani intensifies the conflict.
- The escalating tensions between Ani and Ivan's associates push the narrative forward.
barriers
- Ivan's family's influence and their attempts to annul the marriage create significant obstacles for Ani.
- Ani's past experiences and trauma complicate her relationship with Ivan and her interactions with others.
- The chaotic environment of the club scene and the expectations of their lifestyle hinder Ani's pursuit of a stable relationship.
themes
- The complexities of love and loyalty in the face of external pressures.
- The struggle for identity and self-worth within a materialistic society.
- The consequences of impulsive decisions and the search for redemption.
stakes
The stakes include Ani's emotional well-being, her financial security, and her relationship with Ivan, as well as the potential fallout from Ivan's family's reaction to their marriage.
uniqueness factor
The story uniquely blends elements of romance, drama, and dark comedy within the backdrop of the nightlife and underground culture, highlighting the contrast between glamour and the harsh realities of the characters' lives.
audience hook
The main audience hook lies in the intense emotional dynamics between Ani and Ivan, coupled with the high-stakes drama of their relationship amidst the pressures of family and societal expectations.
paradoxical engine or bisociation
The paradoxical engine is the juxtaposition of Ani's desire for a genuine connection against the superficiality of her environment, creating tension between her aspirations and her reality.
paradoxical engine or bisociation 2
Another bisociation could be the contrast between the glamorous lifestyle portrayed in the club scene and the underlying struggles of the characters, highlighting the duality of their existence.
Engine: Gemini
Consider
Executive Summary
Anora is a compelling story with a unique premise and strong female lead, but requires significant structural and thematic refinement. The screenplay's strengths lie in its vibrant characters and setting, but pacing issues, underdeveloped subplots, and inconsistent tone hinder its overall impact. Revisions focusing on narrative streamlining, thematic consistency, and a more nuanced exploration of Ani's character arc are crucial before considering production.
- The screenplay effectively establishes the vibrant and immersive world of the Manhattan gentlemen's club and later, the lavish Mill Basin mansion. The detailed descriptions of these settings create a vivid atmosphere and contribute to the overall intrigue of the story. high ( Scene 1 (1) Scene 1 (8) Scene 1 (29) )
- The supporting characters, particularly Lulu and Diamond, are well-defined and add depth and complexity to Ani's world. Their interactions with Ani create compelling dynamics and provide moments of humor and conflict. medium ( Scene 1 (4) Scene 1 (8) Scene 1 (22) Scene 1 (60) )
- The chemistry between Ani and Ivan is palpable and believable. Their interactions are engaging and generate significant emotional investment from the audience. high ( Scene 2 (9) Scene 2 (10) Scene 2 (11) Scene 2 (19) Scene 2 (21) )
- Ani's dialogue is sharp, witty, and often laced with dark humor. It reflects her personality and adds to the screenplay's overall tone. medium ( Scene 1 (36) Scene 1 (61) )
- The screenplay's climax, the confrontation at the gentlemen's club at the end, is well-executed and satisfying. It provides a cathartic release for Ani and resolves the central conflict. high
- The screenplay's pacing is uneven. Some sections, particularly the montage sequences, feel rushed, while others drag. A more careful structuring of the narrative is needed to maintain a consistent pace. high
- The screenplay's thematic elements are inconsistent. The initial focus on Ani's survival in the sex industry and her desire for independence shifts towards a romantic subplot with Ivan. A clearer thematic focus is needed. high
- Ani's relationship with her sister, Vera, is underdeveloped. The scenes featuring Vera feel tacked on and do not significantly contribute to the overall narrative. medium ( Scene 1 (14) Scene 1 (37) Scene 1 (62) )
- The subplot involving Toros and his associates feels somewhat extraneous and disrupts the flow of the main narrative. Streamlining this subplot or integrating it more effectively into the main plot would improve the overall coherence. medium
- The ending feels abrupt and somewhat unsatisfying. While Ani achieves a degree of independence, the resolution of her relationships with Ivan and her family is not fully explored. high
- The screenplay lacks a clear exposition of Ani's backstory and motivations. Greater insight into her past experiences and what led her to work in the sex industry would add depth and emotional resonance to her character. high
- There is limited exploration of the ethical and moral implications of Ani's profession. A more nuanced portrayal of these complexities would add layers to the narrative and enhance its thematic depth. medium
- The resolution of the conflict with Toros and his associates feels rushed and unsatisfying. A more detailed exploration of the consequences of their actions and the aftermath of the confrontation would provide greater closure. medium
- The screenplay's use of language, particularly the blend of English and Russian, is effective in conveying the cultural context and adding authenticity to the characters. medium
- The character of Ani is complex and compelling. She is both vulnerable and resilient, and her journey from victim to victor is engaging and inspiring. high
- The use of montages and flashbacks could be more effectively employed to provide deeper insight into Ani's past and her relationships with other characters. The current ones feel rushed. medium
- Underdeveloped Supporting Characters While some supporting characters like Lulu and Diamond are well-developed, others, particularly Vera and Ani’s mother, are underdeveloped and lack depth and motivation. Their roles feel largely functional rather than integral to Ani’s journey. medium
- Inconsistent Tone The screenplay oscillates between dark comedy, dramatic tension, and thriller elements without always maintaining a consistent tone. This can make the overall impact jarring and less cohesive. The shifting between humor and serious moments sometimes feels jarring and tonally inconsistent. high
- Uneven Pacing The pacing is uneven, with some scenes feeling rushed and others dragging. The use of montages and time-jumps feels somewhat arbitrary, without providing adequate transitions or clarity. high
- Overreliance on Dialogue The screenplay heavily relies on dialogue to convey information and advance the plot, particularly in scenes involving the confrontation with Toros and his associates. This can feel clunky and less visually engaging. medium
Engine: GPT4
Recommend
Executive Summary
The screenplay for 'Anora' presents a compelling narrative that explores themes of love, identity, and the complexities of relationships within the backdrop of the adult entertainment industry. The character arcs, particularly Ani's journey from a dancer to a wife entangled in a web of family expectations and personal desires, are well-developed. However, the pacing occasionally falters, and certain character motivations could be more clearly defined. Overall, the screenplay is engaging and offers a unique perspective on the intersection of personal ambition and familial obligation.
- The screenplay effectively establishes a vibrant and immersive setting within the adult entertainment industry, drawing the audience into Ani's world. high ( Scene Sequence number 1 (1) Scene Sequence number 2 (2.4) )
- Character development is strong, particularly for Ani, whose journey from dancer to wife is both relatable and complex. high ( Scene Sequence number 3 (8) Scene Sequence number 4 (9) )
- The dialogue is sharp and authentic, capturing the nuances of the characters' interactions and enhancing their personalities. medium ( Scene Sequence number 5 (10) Scene Sequence number 6 (22) )
- The screenplay balances humor and drama effectively, providing moments of levity amidst the heavier themes. medium ( Scene Sequence number 7 (18) Scene Sequence number 8 (20) )
- The pacing is generally well-maintained, with a good balance of action and character moments that keep the audience engaged. medium ( Scene Sequence number 9 (22) Scene Sequence number 10 (42) )
- Some scenes feel rushed, particularly during transitions between major plot points, which can disrupt the flow of the narrative. high ( Scene Sequence number 11 (28) Scene Sequence number 12 (30) )
- Certain character motivations, especially for supporting characters, could be more clearly defined to enhance their roles in the story. medium ( Scene Sequence number 13 (32) Scene Sequence number 14 (34) )
- The screenplay occasionally relies on clichés that could be avoided to create a more original narrative. medium ( Scene Sequence number 15 (37) Scene Sequence number 16 (39) )
- The resolution of certain plot threads feels abrupt, leaving some character arcs feeling unresolved. medium ( Scene Sequence number 17 (47) Scene Sequence number 18 (49) )
- The emotional stakes could be heightened in key scenes to create a more impactful narrative experience. medium ( Scene Sequence number 19 (58) Scene Sequence number 20 (62) )
- There is a lack of exploration into the backstories of supporting characters, which could enrich the overall narrative. high ( Scene Sequence number 21 (64) Scene Sequence number 22 (68) )
- The screenplay could benefit from deeper thematic exploration of the consequences of the adult entertainment industry. medium ( Scene Sequence number 23 (70) Scene Sequence number 24 (73) )
- More scenes depicting Ani's internal conflict could enhance the emotional depth of her character. medium ( Scene Sequence number 25 (80) Scene Sequence number 26 (84) )
- The screenplay lacks a clear resolution for Ani's character arc, leaving her future ambiguous. medium ( Scene Sequence number 27 (90) Scene Sequence number 28 (92) )
- There is a missed opportunity to explore the dynamics of Ani's relationship with her sister, which could add depth to her character. medium ( Scene Sequence number 29 (100) Scene Sequence number 30 (104) )
- The use of humor in tense situations adds a unique flavor to the screenplay, making it more relatable. high ( Scene Sequence number 31 (110) Scene Sequence number 32 (112) )
- The screenplay's ability to blend various genres, including drama and dark comedy, creates a unique viewing experience. high ( Scene Sequence number 33 (114) Scene Sequence number 34 (116) )
- The screenplay's pacing is generally effective, maintaining audience engagement throughout the narrative. medium ( Scene Sequence number 35 (118) Scene Sequence number 36 (120) )
- The character interactions are often layered and complex, adding depth to the narrative. medium ( Scene Sequence number 37 (122) Scene Sequence number 38 (124) )
- The screenplay effectively uses visual storytelling to convey emotions and character dynamics. medium ( Scene Sequence number 39 (126) Scene Sequence number 40 (128) )
- Character Development The screenplay occasionally neglects to fully develop supporting characters, leaving their motivations and backgrounds underexplored, which can detract from the overall narrative depth. medium
- Clichéd Dialogue Some dialogue relies on clichés that could be avoided to create a more original narrative, such as predictable lines during confrontations or romantic moments. medium
Engine: Claude
Consider
Executive Summary
The screenplay 'Anora' is a complex and layered story that explores the interplay between class, power, and personal relationships. It follows the journey of Ani, a young exotic dancer who finds herself unexpectedly married to Ivan, the wealthy son of a powerful Russian family. As Ani navigates this new life, she is faced with the challenges of navigating Ivan's dysfunctional family dynamics and the lengths they will go to to control their son's life. The screenplay is well-structured, with a strong narrative drive and compelling character arcs, though it could benefit from some refinement in terms of pacing and character development. Overall, 'Anora' is a promising work that offers a unique perspective on the complexities of modern relationships and the clash of cultures.
- The scene where Ani and Ivan first meet and engage in a playful, flirtatious exchange while she attempts to speak Russian is a strong introduction to the central characters and their dynamic. The dialogue is witty and naturalistic, and it effectively sets up the central conflict and power struggle that will drive the story forward. high ( Scene 4 (9) )
- The scene in Ivan's mansion where Ani seduces Ivan and they engage in a sexual encounter is a well-crafted and nuanced depiction of the power dynamics at play in their relationship. The scene is both erotic and emotionally charged, with Ani exerting control over Ivan in a way that foreshadows the larger power struggle to come. medium ( Scene 7 (19) )
- The New Year's Eve party sequence at Ivan's mansion is a cinematic and visually engaging set piece that effectively showcases the opulence and excess of the Zakharov family's lifestyle. The sequence also advances the plot in meaningful ways, as Ani and Ivan's relationship deepens and the tensions between Ivan and his family begin to boil over. high ( Scene 10 (29) )
- The confrontation between Ani, Ivan, and the Zakharov family representatives (Toros, Garnik, and Igor) is a powerfully written and emotionally charged sequence that really drives home the central conflict of the story. The dialogue is sharp and the stakes are high, and the scene builds to a crescendo of drama and tension. high ( Scene 28 (86-87) )
- The scenes where Ani violently lashes out at Igor and the ensuing chaos that erupts in the Zakharov mansion are both visceral and psychologically compelling. The sequence effectively showcases Ani's desperation and the lengths she will go to in order to protect her relationship with Ivan, and it sets the stage for the final act of the story. high ( Scene 36 (98-102) )
- The opening sequence, while visually striking, could benefit from more character development and a clearer sense of Ani's motivations and goals. The sequence feels a bit like it's trying to establish an atmosphere rather than introduce the protagonist in a compelling way. medium ( Scene 1 (1) )
- The montage sequence depicting Ani and Ivan's week-long "honeymoon" in Las Vegas feels a bit rushed and surface-level. While it effectively conveys the excess and hedonism of their relationship, it could benefit from more emotional depth and character development to truly sell the idea that their connection is anything more than a transactional arrangement. medium ( Scene 13 (37-38) )
- The final confrontation between Ani and Ivan on the private jet could be further developed. The dialogue feels a bit on-the-nose at times, and the resolution of their relationship feels a bit abrupt and unsatisfying. More nuanced character work and exploration of their emotional journeys would strengthen this pivotal sequence. high ( Scene 19 (57) )
- The pacing of the screenplay could be tightened in certain sections, particularly in the middle act. There are a few sequences that feel a bit meandering or repetitive, and a more focused approach to the narrative would help maintain the story's momentum and keep the audience engaged. medium ( Scene General )
- While the central characters of Ani and Ivan are well-developed, some of the supporting characters, such as Toros, Garnik, and Igor, could use further exploration and dimensionality. Strengthening these characters and their motivations would help to create a more well-rounded and compelling ensemble. medium ( Scene General )
- The screenplay could benefit from a deeper exploration of the cultural and socioeconomic divide between Ani and Ivan's worlds. While this tension is present, the script could delve more deeply into the implications and consequences of their vastly different backgrounds and the ways in which this shapes their relationship and the larger conflict. medium ( Scene General )
- The screenplay could use more moments of genuine emotional connection and vulnerability between Ani and Ivan. While their relationship is primarily depicted as a power struggle, adding more nuanced, tender scenes would help to create a more well-rounded and compelling love story at the heart of the narrative. medium ( Scene General )
- The script could benefit from a more defined thematic throughline or central question that ties the various narrative strands together in a more cohesive way. While the themes of class, power, and the complexities of relationships are present, a more focused exploration of these ideas would elevate the screenplay. high ( Scene General )
- The sequence where Ani moves into Ivan's mansion and begins to make the space her own is a well-crafted series of scenes that effectively conveys Ani's shifting mindset and the ways in which she is adapting to her new life. The details in these scenes, such as Ani admiring Ivan's mother's closet and the couple's intimate moments, add depth and nuance to the central relationship. medium ( Scene 11 (31-33) )
- The violent confrontation between Ani and the Zakharov family representatives is a notable sequence for the way it showcases Ani's desperation and the lengths she is willing to go to in order to protect her relationship with Ivan. The brutality of the scene is juxtaposed with the characters' emotional vulnerability, creating a powerful and visceral dynamic. high ( Scene 36 (98-102) )
- The diner scene where Toros unleashes a tirade against the younger generation is a standout moment for its sharp, satirical commentary on societal divides. The scene effectively highlights the generational and class-based tensions that underpin the larger narrative, and the confrontation between Toros and the young clubbers is both entertaining and thematically resonant. medium ( Scene 45 (141-145) )
- The sequence where Ani, Ivan, and the Zakharov family representatives race to find Ivan and ultimately end up at the courthouse is a well-executed and suspenseful set piece that builds to a dramatic climax. The cross-cutting between the various locations and the high stakes of the situation create a sense of urgency and momentum that propels the story forward. high ( Scene 48 (151-156) )
- The scene on the private jet where Ani and Igor engage in a tense, antagonistic exchange is a standout moment for the way it reveals the complexities of their relationship and the lingering trauma Ani is grappling with. The dialogue is sharp and the underlying tension between the characters is palpable, making for a compelling character study. medium ( Scene 57 (169) )
- Cultural Awareness While the screenplay effectively explores the cultural and class divides between Ani and Ivan's worlds, there are moments where the depiction of certain cultural elements, such as the portrayal of the Russian characters and their traditions, could be more nuanced and well-researched. For example, the use of certain Russian terms and phrases, as well as the representation of the family dynamics, could be further developed to provide a more authentic and well-rounded understanding of the cultural context. medium
- Gender Representation The screenplay could benefit from a more balanced and nuanced representation of gender. While the central character of Ani is well-developed and complex, the female characters in the supporting cast, such as Galina and Diamond, tend to be depicted in more stereotypical or one-dimensional ways. Providing more depth and complexity to these characters would help to create a more well-rounded and realistic portrayal of the female experience within the narrative. medium
- Overwritten Dialogue There are instances throughout the screenplay where the dialogue feels overly expository or on-the-nose, particularly in scenes where characters are delivering lengthy monologues or explanations. While the dialogue is generally well-written, there are moments where a more subtle and natural approach would be more effective in conveying the characters' thoughts and emotions. medium
- Pacing Issues As mentioned in the 'Areas of Improvement' section, the pacing of the screenplay could be tightened in certain sections, particularly in the middle act. There are a few sequences that feel a bit meandering or repetitive, which could potentially disengage the audience and disrupt the overall narrative momentum. A more focused and streamlined approach to the story's progression would help to maintain the viewer's engagement. medium