Living in Oblivion Page #6

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NICOLE:

Well, then:
loved. How does that

sound?

PALOMINO:

It sounds like the champagne talking.

NICOLE:

I've loved you from the moment we

met.

PALOMINO:

Why didn't you tell me?

NICOLE:

We were working together. I didn't

want anything to interfere.

PALOMINO:

God. And all this time I thought...

NICK:

Then the kiss. How's that feel?

PALOMINO:

Great.

NICK:

Nicole?

NICOLE:

Good.

NICK:

Wolf, any thoughts?

WOLF:

Nope.

PALOMINO:

I've got a thought. What about Damian

having an eyepatch like Wolf's?

NICK:

Let me think about that one, Chad.

PALOMINO:

OK, you're the genius. Nick Reve,

Living in Oblivion, Scene Six, Take

One. Let's shoot it!

NICK:

One second, Chad. You ready for one,

Wolf?

WOLF:

Hell, I been ready.

PALOMINO:

Alright, Wolfman.

NICK:

Good. Call it, Wanda.

WANDA:

Going for picture. Lock it up. And

roll sound.

SOUND:

Speed!

WANDA:

Roll camera!

AC:

Rolling!

CLAPPER:

Scene six, take one!

NICK:

And, action.

INT. THE SET. TAKE ONE

Instantly the film cuts from color to B/W. Chad and Nicole

begin their Love Scene.

NICOLE:

I've always admired you from afar.

PALOMINO:

Admired? That sounds rather

professional.

The camera starts to dolly, however Chad does not move. He

goes out of frame forcing Wolf to pan abruptly to Nicole.

NICOLE:

Well, then:
loved. How does that

sound?

PALOMINO:

It sounds like the champagne talking.

NICOLE:

I've loved you from the moment we

met.

PALOMINO:

(finally moves to his

mark)

Why didn't you tell me?

NICOLE:

We were working together. I didn't

want anything to interfere.

PALOMINO:

God. And all this time I thought...

Palomino and Nicole embrace. Their kiss, like the entire

scene, is flat, lifeless, and awful.

INT. THE SET

NICK:

Cut. Very good.

WOLF:

Not for camera. Chad was completely

out of frame.

NICK:

Yeah, Chad; what happened, buddy?

Forget your cue?

PALOMINO:

Oh no, man. I held back. It really

felt like something Damian would do;

holding back to the last moment.

NICK:

Oh, I see. How's that for you, Wolf?

WOLF:

I don't care when he moves. Just

give me a f***ing cue.

PALOMINO:

The Lone Wolf!

NICK:

What line did he move on?

SCRIPT:

"Why didn't you tell me?"

NICK:

Alright, "me" is the new cue. Nicole,

how does that feel to you?

NICOLE:

Fine, if that's what Chad wants to

do.

PALOMINO:

"Me, me, me," that's the cue. Let's

shoot; I'm stoked!

NICK:

One second, Chad.

Nick approaches the bed and speaks quietly to Chad and Nicole.

NICK:

Chad, how would you describe this

scene, in one word?

PALOMINO:

Great. It's a great scene, man.

NICK:

No, I mean it's a love scene. Right?

PALOMINO:

Definitely.

NICK:

These two people really love each

other. And we want to see that,

especially in the kiss.

PALOMINO:

Hey, say no more, Chief.

NICK:

Nicole?

NICOLE:

I understand, Chief.

NICK:

Good. Here we go. Call it, Wanda.

WANDA:

Going for picture. Lock it up. And

roll sound.

SOUND:

Speed!

WANDA:

Roll camera!

AC:

Rolling!

CLAPPER:

Scene six, take two!

NICK:

And, action.

INT. THE SCENE. TAKE TWO. DAY

NICOLE:

I've always admired you from afar.

Palomino moves immediately to the bed, changing his blocking

and causing the camera crew and Nicole considerable confusion.

PALOMINO:

Admired? That sounds rather

professional.

NICOLE:

Well, then:
loved. How does that

sound?

PALOMINO:

It sounds like the champagne talking.

NICOLE:

I've loved you from the moment we

met.

PALOMINO:

Why didn't you tell me?

NICOLE:

We were working together. I didn't

want anything to interfere.

PALOMINO:

God. And all this time I thought...

The scene once again is awful. Nick gives their listless

kiss a few moments then calls CUT.

INT. THE SET. DAY

NICK:

And, cut. Very good. Wolf?

WOLF:

Chad missed his cue again; the whole

dolly is unusable.

NICK:

Yeah, Chad. What happened; I thought

you were going to hold back till

"me"?

PALOMINO:

The more I thought about it the more

it didn't seem right. And I'm

thinking, watch me here, instead of

coming around the bed, what if I

just slip here like this and do the

whole scene lying down?

NICK:

I don't know, that seems a little...

PALOMINO:

Hey, I'm just throwing out ideas

here. Trying to get the juices

flowing.

NICK:

Nicole, how does that feel to you?

NICOLE:

Well, I can turn to look at him. But

won't you be shooting the back of my

head?

WOLF:

Plus Chad is completely out of the

light down there.

PALOMINO:

Hey, Wolf; I'm not worried about my

face, man. It's about the acting;

that's all I care about.

WOLF:

It's your call, Nick. His acting or

his face.

NICK:

For some reason I was hoping we could

get both.

(laughs)

I thought that's what we were trying

to do here.

WOLF:

I'll have to set another light.

WANDA:

We're ahead of schedule, Nick. I

think we can afford a few minutes to

set a light for Mr. Palomino.

NICK:

Good, let's do it. Ellen, Damian;

let's talk for a second.

As Nick, Nicole, and Palomino step off the set Wanda speaks

to the crew in general.

WANDA:

We'll pause to set this light and go

again right away. How long, Wolf?

Wolf doesn't answer, though he stands a mere foot away,

watching the Gaffer set up a light.

WANDA:

Wolf?

Wolf walks away from Wanda without a word. The entire crew

watches this.

INT. A CORNER. DAY

Nick, Palomino, and Nicole confer, all three smoking.

NICK:

OK, let's make sure we know what's

going on here. These two people have

loved each other for years, each of

them not knowing the other was in

love with them. And tonight, in this

little room it all comes out. It's

like a dam bursting. Does that make

sense? Nicole?

NICOLE:

It makes perfect sense. I just haven't

found it yet. I'll get it though.

NICK:

What about you, Chad?

PALOMINO:

I'm there, man. I got the dam going,

the river, everything. You watch,

that little change in the blocking

is going to open the whole scene up

for me.

WANDA (V.O.)

We're ready, Nick!

NICK:

Good. Let's go.

INT. THE SET. DAY

WANDA:

Going for picture. Lock it up. And

roll sound.

SOUND:

Speed!

WANDA:

Roll camera!

AC:

Rolling!

CLAPPER:

Scene six, take three!

NICK:

And, action.

INT. THE SCENE. TAKE THREE. DAY

NICOLE:

I've always admired you from afar.

Palomino saunters over and sprawls on the bed, forcing Nicole

to turn her head completely away from the camera.

PALOMINO:

Admired? That sounds rather

professional.

NICOLE:

Well, then:
loved. How does that

sound?

PALOMINO:

It sounds like the champagne talking.

NICOLE:

I've loved you from the moment we

met.

PALOMINO:

Why didn't you tell me?

NICOLE:

We were working together -- I'm sorry,

can we cut, Nick?

INT. THE SET. DAY

NICK:

Cut!

WANDA:

That's a cut!

PALOMINO:

Dammit! That was a good one!

NICOLE:

I know, I'm sorry. But this feels

really awkward; turning all the way

around like this.

NICK:

Yeah, I think the lying on the bed

is not quite working, Chad. Let's

try one with the original blocking.

PALOMINO:

Which one was that? There's been so

many damn changes. Could somebody

help me out please?

SCRIPT:

The cue for the original blocking is

"professional."

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