Dylan/Hallie Fight
From Rom Com
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.
