Dylan/Hallie Fight
From Rom Com
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<center>DYLAN<br>(He takes the pen out of his mouth.) T. S. Eliot. "And when I am formulated, sprawling on a pin, when I am pinned and wriggling on the wall, then how shall I begin to spit out all the butt-ends of my days and ways..."</center><br> | <center>DYLAN<br>(He takes the pen out of his mouth.) T. S. Eliot. "And when I am formulated, sprawling on a pin, when I am pinned and wriggling on the wall, then how shall I begin to spit out all the butt-ends of my days and ways..."</center><br> | ||
Close up of Dylan. His profile.<br> | Close up of Dylan. His profile.<br> | ||
- | Far shot. The room. Long pause.<br> | + | Far shot. The room. Long pause. The dialogue to follow is all one shot, which, along with its almost uncomfortable banality, adds to the almost documentarian "Half-Nelson" or "Reno 911" esque feel. <br> |
<center>AIMEE<br> (staring) Do you want me to film?</center><br> | <center>AIMEE<br> (staring) Do you want me to film?</center><br> | ||
<center>DYLAN<br>Hm?</center><br> | <center>DYLAN<br>Hm?</center><br> |
Revision as of 18:04, 29 May 2007
Dylan and Hallie have an unsatisfying phone conversation, in which he seems completely non-perturbed and in which she is obviously upset, but he doesn't really notice.
Hallie wants to attend the party, which is hosted in the area near Rackham. But Dylan is busy (at this point with Aimee, I think, and maybe Nick, because this would be a good time to introduce Nick's car). Dylan doesn't seem to care that much about Hallie, or rather he is pre-occupied.
Dylan tells Nick to go to the party so that Hallie won't be lonely. He's got his own things to do. Perhaps he is watching "The Twilight Zone" or fishing. I like fishing...and then Hallie says, "What about afterwards? The party won't be over until two or three" and he'll respond vaguely.
INT. Study. Day
Close up. Mounting a pinned firefly on corkboard with a pair of tweezers. Very careful. It is a lengthy affair.
Medium shot. Dylan, sitting at the desk, involved in his endeavor.
Close up. From above. He touches the wings with the tweezers.
(very quietly) See this marking here.
Medium shot in which we can see Aimee in the room. Dylan begins to do some more (I suppose with the fireflies, or unscrewing jars or somesuch). He has a pen in his mouth.
It's like T.S. Eliot, you know.
Close up of Dylan.
Yes?
Medium shot of Aimee.
(He takes the pen out of his mouth.) T. S. Eliot. "And when I am formulated, sprawling on a pin, when I am pinned and wriggling on the wall, then how shall I begin to spit out all the butt-ends of my days and ways..."
Close up of Dylan. His profile.
Far shot. The room. Long pause. The dialogue to follow is all one shot, which, along with its almost uncomfortable banality, adds to the almost documentarian "Half-Nelson" or "Reno 911" esque feel.
(staring) Do you want me to film?
Hm?
Do you want me to film? That was good.
Yeah?
Yeah. Sort of pensive.
(As almost a statement, not a question.) Was it?
Mmm. Sensitive. Quoting poetry, you know...
I don't know.
You could do it again.
Long pause.
Like, fake it?
I don't think I could get into the mind-set again, really.
I could just turn it on. (Picking up the camera, which is next to her.) Just in case.
No, no. I don't think I'll be that interesting.