Dylan/Hallie Fight
From Rom Com
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<center>HALLIE<br>Goodbye, Toby.</center><br> | <center>HALLIE<br>Goodbye, Toby.</center><br> | ||
<center>DYLAN<br>Wait, Olivia--(He looks down at the phone. With surprise, and slight melancholy.) She hung up.</center><br> | <center>DYLAN<br>Wait, Olivia--(He looks down at the phone. With surprise, and slight melancholy.) She hung up.</center><br> | ||
| - | <center>AIMEE<br>And who was that?</center><br> | + | Camera follows him to Nick and Aimee. Aimee is sitting with her legs dangling off the dock, whereas Nick is standing, slightly out of the frame. |
| + | <center>AIMEE<br> (looking over her shoulder) And who was that?</center><br> | ||
<center>DYLAN<br>Olivia. She wants me to attend a party. (Pause.) Needless to say, I declined. We have a lot of important work to do--</center><br> | <center>DYLAN<br>Olivia. She wants me to attend a party. (Pause.) Needless to say, I declined. We have a lot of important work to do--</center><br> | ||
| + | Medium shot of Dylan. | ||
<center>NICK<br>Is she all right?</center><br> | <center>NICK<br>Is she all right?</center><br> | ||
| + | Nick enters the frame.<br> | ||
<center>DYLAN<br>Who?</center><br> | <center>DYLAN<br>Who?</center><br> | ||
<center>NICK<br>Olivia.</center><br> | <center>NICK<br>Olivia.</center><br> | ||
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<center>NICK<br>But she hung up on you.</center><br> | <center>NICK<br>But she hung up on you.</center><br> | ||
<center>DYLAN<br>Yes, as a matter of fact, she did...I'm still not sure why she did that...</center><br> | <center>DYLAN<br>Yes, as a matter of fact, she did...I'm still not sure why she did that...</center><br> | ||
| - | <center>NICK<br>So you're just going to | + | <center>NICK<br>So you're just going to stay here?</center><br> |
| - | <center>DYLAN<br>Look, I have work to do. I don't understand why nobody notices this...If you're so agitated, go keep her company.</center><br> | + | <center>DYLAN<br>Look, I have work to do. I don't understand why nobody notices this...If you're so agitated, go keep her company. (Turning his back to Nick slightly.)</center><br> |
<center>NICK<br>Are you sure?</center><br> | <center>NICK<br>Are you sure?</center><br> | ||
| - | <center>DYLAN<br>Carmen and I can handle it without you. (Pause.) Well? Go, go! I'm sure she'd love to have you.</center><br> | + | <center>DYLAN<br>Carmen and I can handle it without you. (Pause. He turns around to deliver this line and gestures) Well? Go, go! I'm sure she'd love to have you.</center><br> |
<center>NICK<br>(calling over his shoulder as he heads to his car) Where is it?</center><br> | <center>NICK<br>(calling over his shoulder as he heads to his car) Where is it?</center><br> | ||
<center>DYLAN<br>Jack's house. By Rackham.</center><br> | <center>DYLAN<br>Jack's house. By Rackham.</center><br> | ||
| - | Far-to-medium shot. Nick gets into his car and drives off. | + | Far-to-medium shot. Nick gets into his car and drives off.<br> |
| + | <center>DYLAN<br>Thank god that's over.</center><br> | ||
Current revision as of 12:31, 30 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.
Long pause. They are still. CUT TO
EXT. House. Day.
Far shot. Dylan and Aimee are sitting (potentially on the steps of a house. Potentially Aimee's house [in real life, not the film. Because it's just sort of the "look" I want". Or Kati's, or Hallie's, or anybody with a porch, really]). They look sort of bored. Dylan has a whole lot of bug-catching gear, and like a tackle box and a net and jars. Aimee has a camera. It is about 5 o'clock.
Far shot, even farther, from the same angle. A car pulling up in the driveway. The car is viewed from behind.
Far shot. Nick gets out of the driver's seat.
Okay?
Far shot. They are getting into the car. All doors slam.
Medium shot. They're driving. The shot focuses into the backseat, where we see Dylan and Aimee. Occasionally there may be an interspersed shot of Nick "in the driver's seat" (I'm thinking we can accomplish this by having a tight shot of his face in the passenger's seat when driving, so we can't tell that there's no wheel, and then flipping the shot. It won't be too difficult.)
So what are we doing?
Stakeout.
Aimee is rummaging through her bag.
Okay, pens, paper, flashlight, did we get night-vision goggles?
No goggles.
All right...bug spray...
As she says this, she takes it out of the bag. Dylan casually takes it out of her hand, rolls down the window, and throws it out.
Hey!
We can't risk disturbing them.
God!
(I'd like to have some really up-and-coming teenage slang to throw in here, but I don't know any as of yet...)
Lengthy deadpan shot of them sitting in the backseat, Aimee obviously annoyed at the lack of bug spray. Dylan crosses his arms across his chest. Music may start up if there is music in this scene. CUT TO
EXT. Dock. Day.
Establishing shot. They are obviously in the middle of something when Dylan's phone starts ringing. He picks it up.
Medium shot of Dylan on the phone, his back to the lake.
Hello?
CUT TO
INT. Hallie's room. Day.
Hallie on the phone, maybe sitting on her bed (as she often does) or sitting in her chair.
Hi, it's Hallie.
What do you want? (This is not meant to be hostile.)
Did you remember about the party?
Oh yes, the party. When is that?
Medium shot. Dylan on the dock.
It starts at eight, but I'm probably going to get there at eight-thirty--
Wait wait wait. Eight tonight?
Medium shot. Hallie's profile.
Yes. When did you think it was?
Far shot. Dylan, pacing.
But I can't make it.
Close shot. Hallie, obviously beginning to become distraught.
I'm busy.
Not again...(This has obviously happened many times before.)
(He is jaunty.) Olivia, photinus pyralis waits for no man.
Tell me something.(Pause. Bitterly) Were you ever planning to go? I mean, did you circle it on your calendar or anything?
(Patiently, as if he is talking to a child.) I told you I'd go, and now I'm telling you that I can't. Something's come up.
(Quietly, but with even more venom than earlier.) I would tell you that you promised, but you never promise anything.
Pardon?
(Desperate.) Toby, when was the last time we went anywhere?
(perfectly calmly.) Last week. We played Sincerity.
I mean together.
We were together. (Pause.) Weren't we?
(At this point she has given up.) The party's all night. Can you come later?
I'm not sure. (Pause.) I'm going to be awfully preoccupied. (Muttering to himself) I don't remember you telling me about this...
It's at Jack's house. Do you know where that is?
Let's see...Right by Rackham. Correct?
(Lugubriously.)Very good. I'll be there with or without you.
Of course, I don't know if I'll be able to--After all, as I said previously
Goodbye, Toby.
Wait, Olivia--(He looks down at the phone. With surprise, and slight melancholy.) She hung up.
Camera follows him to Nick and Aimee. Aimee is sitting with her legs dangling off the dock, whereas Nick is standing, slightly out of the frame.
(looking over her shoulder) And who was that?
Olivia. She wants me to attend a party. (Pause.) Needless to say, I declined. We have a lot of important work to do--
Medium shot of Dylan.
Is she all right?
Nick enters the frame.
Who?
Olivia.
I assume she is. She can take care of herself.
But she hung up on you.
Yes, as a matter of fact, she did...I'm still not sure why she did that...
So you're just going to stay here?
Look, I have work to do. I don't understand why nobody notices this...If you're so agitated, go keep her company. (Turning his back to Nick slightly.)
Are you sure?
Carmen and I can handle it without you. (Pause. He turns around to deliver this line and gestures) Well? Go, go! I'm sure she'd love to have you.
(calling over his shoulder as he heads to his car) Where is it?
Jack's house. By Rackham.
Far-to-medium shot. Nick gets into his car and drives off.
Thank god that's over.
