KRAMER VERSUS KRAMER

Kramer Kramer'e Karşı

CUT TO:

13 INT. FOYER - NIGHT

 

WIDE SHOT--Joanna carries in the suitcase, sets it by the front door, then she crosses to the living room and sits down at the dining table.

 

CLOSER IN ON HER--She takes out a list made on the back of an old envelope. As she begins to review it, checking off some items. Sound effect: A key turning in the lock.

 

As Joanna looks up,

CUT TO:

 

HER P.O.V.: as the door swings open to reveal Ted Kramer, an enormous grin on his face, a bottle of champagne in his hand. He is so full of himself that he doesn't notice there is anything wrong.

 

wide shot = geniş plan... P.O.V. = "point of view", bakış açısı... swing open = "rahatça, duraklamaksızın, vs. sonuna kadar açılmak" gibi bir nüans taşıyor... to reveal = "açığa vurmak" kavramından, burada "ve Ted Kramer görülür" şeklinde çevirebiliriz... enormous grin = "kocaman sırıtış" (yalnız, sırıtma sözcüğü bizdeki kadar olumsuz değil: "ağzı kulaklarında" da diyebilirdik)... so full of himself = yani, tam bir "ego trip" te...

 

 

Note: Throughout the entire scene he carries the bottle of champagne, never putting it down.

 

TED

I thought you might just like to

know that at five-fifteen this

afternoon the proposed contract

with Revlon was finally signed.

 

I thought you might just like to know... Belki de bilmek istersin diye düşündüm... Havalı, kendinden memnun ve hafif alaycı ses tonuyla söylendiğini düşünebiliriz... DİKKAT: Bu diyalogları okurken, konuşanın ruh haline göre nasıl bir entonasyon kullandığını gözünüzde canlandırmanız ve bu entonasyonu kendiniz de oluşturmağa çalışmanız, konuşma gücünüze çok şey katacaktır.

 

CROSS-CUTTING BETWEEN THEM:

[Kamera ikisi arasında gidip gelmek üzere]

 

JOANNA

(she takes a deep

breath, then:)

Ted, I'm leaving you.

 

TED

That represents a gross billing

in excess of two million--

(hearing her)

What?!

 

to represent = temsil etmek; burada "anlamına gelmek" ile çevirebilirsiniz... gross billing = Açıklama: toplam fatura kastediliyor...

 

Joanna opens her purse, takes out her keys and wallet.

 

JOANNA

Here are my keys. I won't be

needing them any more.

 

Note: Ted does not for a moment believe that his wife will really leave him. All he can think of right now is that he will have to spend the rest of the evening coping with one of her moods.

 

cope with = başa çıkmak, uğraşmak... AÇIKLAMA = Joanna'nın sık sık depresyon "mud"larına girdiğini anlıyoruz...

 

TED

(sardonic)

I'm sorry I'm late, all right?

I'm sorry I didn't call--I was

busy making a living.

 

sardonic = alaycı, küçümseyerek veya horlayarak alaycı...

 

CROSS-CUTTING BETWEEN THEM: Joanna doesn't even bother to look up at him. She opens her purse, takes out her wallet and begins removing credit cards.

 

doesn't even bother to = zahmetine bile katlanmaz...

 

JOANNA

My American Express...My

Bloomingdale's Credit Card...

My check book--

 

TED

(the martyr)

Okay, okay...What is it this

time? What did I do now?...

 

martyr = "dava uğruna ölmüş", "şehit" kavramından, burada "kendisine haksızlık yapılmış olmasına rağmen, kendini feda ederek büyüklük gösteren" nüansında...

 

JOANNA

(ignoring this)

I took two thousand out of the

savings account. That was what

I had in the bank when we got

married.

 

to ignore = görmezden gelmek, işitmezden gelmek... (Tasarruf) hesabımızdan ikibin çektim; Evlendiğimizde bankadaki hesabımda olan miktar bu...

 

TED

Joanna, whatever it is, believe

me, I'm sorry.

 

Joanne, her ne ise, inan ki üzgünüm, özür dilerim...

 

JOANNA

Here are the slips for the laundry

and the cleaning. They'll be

ready on Saturday.

 

slip = fiş, alındı makbuzu... laundry = çamaşırhane... cleaning = "dry cleaning" = kuru temizlemeci kastediliyor...

 

TED

Now listen, before you do something

you'll really regret you'd better

stop and think--

 

Dinle şimdi beni; gerçekten pişman olacağın birşey yapmadan önce durup düşünmelisin ki --

 

JOANNA

(not bothering to

look up)

I've paid the rent, and the phone bill,

so you don't have to worry about them.

 

She checks off the last item on her list as her husband watches, dumbfounded.

 

checks off the last item on her list = listesindeki son maddeye de tik koydu... dumbfounded = şaşkınlıktan donakalmış, dili tutulmuş (DİKKAT /b/ okunmaz)...

 

JOANNA

There, that's everything.

 

Joanna gets to her feet and starts toward the front door. In an instant Ted is after her.

 

in an instant = bir an içinde; bir an sonra...

 

TED

(panic starting)

For God's sake, Joanna, would

you at least tell me what I did

that's so terrible! Would you

do me that little favor?

 

ON JOANNA--at the door. [Kamera Joanna'in üzerinde; kendisi şu anda kapıda]

 

JOANNA

Look, it's not your fault, okay?

It's me. It's my fault--you

just married the wrong person.

 

TED

(placating her)

So we've got problems. Everybody's

got problems--that's normal--

 

to placate = yatıştırmak, sakinleştirmek...

 

Joanna opens the door and they step out into the hallway.

 

step out = (adım atıp) dışarı çıkmak...

 

 

14 INT. HALLWAY OUTSIDE KRAMER APT. - EVENING

 

JOANNA

Ted, you're not listening to me.

It's over, finished.

 

to be over = bitmek... It's over. = It's finished... (Yani aynı şeyi farklı biçimde iki kere söyleyerek vurgulamış oluyoruz.)

 

TED

I'm listening, Joanna--believe me,

I'm listening. My wife is walking

out on me after eight years of--

 

to walk out on smb = (bir kimseyi) terketmek...

 

JOANNA

(bitter)

You just don't get it, do you?

(as though to a child)

I - am - really - and - truly -

leaving - you.

 

bitter = acılı bir öfkeyle, küçümseyici, horlayıcı bir kızgınlıkla... You just don't get it, do you? = Anlamıyorsun, kafana girmiyor, di mi?

 

TED

I heard you, Joanna. I promise

I heard you.

 

I promise = (Burada) Walla billa...

 

JOANNA

No you didn't.

(quietly)

You didn't even ask about Billy.

 

TED

(stiffening)

What about Billy?

 

to stiffen = "katılaşmak" kavramından, burada "sertleşerek, diklenerek, ciddileşerek" gibi bir kavramla karşılamamız gerekir...

 

JOANNA

I'm not taking him with me.

 

Yanımda götürmüyorum.

 

TED

What?

 

JOANNA

(tears start)

Ted, I can't...I tried...I really

tried but...I just can't take it

anymore...

 

I just can't take it any more... Artık dayanamıyorum... Dayanamayacağım artık...

 

TED

C'mon, Joanna, you don't mean

that. You're a terrific mother--

 

C'mon = "Come on": bırak, boşver şimdi, hadi Joanna...

 

JOANNA

I am not! I'm a terrible mother!

I'm an awful mother. I yell at

him all the time. I have no

patience. No...No. He's better

off without me.

(unable to look

at Ted)

Ted, I've got to go...I've got

to go.

 

yell = shout... I yell at him all the time. Durmadan ona bağırıp çağırıyorum... better off without me = ben olmadan daha iyi durumda; bensiz olması onun için çok daha iyi...

 

TED

(desperate)

Okay, I understand and I promise

I won't try and stop you, but you

can't just go...Look, come inside

and talk...Just for a few minutes.

 

desperate /des-pırit/ = çaresiz durumda, çaresizlikten kıvranarak... Bak, içeri gel biraz konuşalım; bir iki dakikacık...

 

JOANNA

(pleading)

NO!...Please...Please don't make

me stay...I swear...If you do,

sooner or later...maybe tomorrow,

maybe next week...maybe a year

from now...

(looking directly

at him)

I'll go right out the window.

 

pleading = yalvararak...

 

Sound-effect: The elevator approaching.

 

CROSS-CUTTING BETWEEN THEM--There is nothing more that can be done, this is the last moment of intimacy.

 

intimacy = yakınlık, birbirine yakın olma...

 

TED

(quiet)

Where are you going?

 

JOANNA

I don't know...

 

The elevator door opens, Joanna steps inside.

 

TED

Do you want me to help you get a

cab?

 

Joanna shakes her head. The elevator door closes behind her and it starts to descend.

 

to descend = inmek... (Tersi: to ascend)

 

ON TED KRAMER--He stands for a moment, stunned, unable to move. Then he turns and races back into the apartment.

 

stunned = şaşkınlıktan donakalmış...

 

15 THE CAMERA TRACKS WITH HIM as he rushes across to one of the living room windows, throws it open and leans out.

 

to track = "izini sürmek" kavramından, burada "kamera onunla birlikte gider"... throw the window open = pencereyi hızla açmak... lean out = dışarı sarkmak

 

16 HIS P.O.V.: looking down to the street from the eighth floor. We SEE Joanna step off the curb and hail a passing taxi.

 

P.O.V. = "point of view", bakış açısı... to hail = bağırmak, işaret ederek çağırmak (ayrıca bir de "yüksek sesle ve coşkuyla selamlamak" amlamı da vardır -- Heil Hitler!! 'deki gibi)...

 

TED

(calling out) (seslenerek)

Joanna!?.. .Joanna?!

 

Either she doesn't hear him or else she pays no attention. She gets into the cab, closes the door behind her and it drives away.

 

CUT TO:

17 INT. APT. - NIGHT

 

ON TED--as he stands for a moment watching the taxi as it disappears. Then, slowly, he closes the window, turns, and AS THE CAMERA TRACKS WITH HIM, walks into the bedroom.

 

The bedroom is a mess: the closet door stands open, inside Joanna's section is empty except for some shoe-boxes and a few dresses that are scattered across the floor. Several dresser drawers have been pulled out and their contents emptied.

 

is in a mess = karmakarışık halde... scattered /skæ-tırd= oraya buraya darmadağın dağılmış vaziyette...

 

HOLD IN A WIDE SHOT-as Ted wearily picks up one of the dresses and hangs it back on its hanger in its proper place, ready for Joanna's return. As he continues straightening up the room, THE CAMERA SLOWLY FADES TO BLACK.

 

Hold in a wide shot = Geniş planda çekime devam ediniz... wearily = bıkkın (ve bitkin) bir ifadeyle... fades to black = yavaş yavaş kararır... (to fade = solmak)...

Hatırlayacaksınız: "Kramer Kramer'e Karşı" (Dustin Hoffman - Meryl Streep, 1979, Yönetmen: Robert Benton) gerçekten çok dokunaklı bir filimdi... Yukardaki sahneyi okurken gözyaşlarını tutamayan okuyucularımıza ne diyeyim: Ağlatırsa Mevlam, yine güldürür...