Living in Oblivion Page #9

---

PALOMINO:

(another laugh)

That sounds like the champagne

talking.

NICOLE:

It's not. I really do think you are

a piece of sh*t.

PALOMINO:

No, you don't. You love me.

NICOLE:

The f*** I do. I can't stand looking

at you!

PALOMINO:

Then I guess I have nothing else to

say.

NICOLE:

No, I think you have a lot more to

say, Damian.

PALOMINO:

Well, I am surprised you feel this

way, Ellen. I always thought you

admired --

NICOLE:

That's not what I meant. You should

tell everyone what you just told

Nick behind the set.

PALOMINO:

Hey, this isn't part of the scene.

NICOLE:

Say it anyway:
The reason this scene

isn't working is because you and I

slept together last night. Did

everyone hear that?! I f***ed Chad

last night!

Nick and the rest of the crew stand in stunned amazement.

PALOMINO:

See, Nick! I told you this was about

rejection!

NICOLE:

You f***ing scumbag! You think I

give a rat's ass about you?! I was

there to get laid and even that was

a joke!

PALOMINO:

You know, you are really starting to

piss me off!

NICOLE:

Oh, does that mean you're not going

to come wiggle on the bed anymore,

or stroke my hair real soft and

concerned, or kiss me like a soap

opera acting piece of sh*t!

Palomino snaps, and lunges for Nicole. She leaps to the other

side of the bed.

NICOLE:

Come on! I'll kick your ass! Come

on!

Nick steps between Nicole and Palomino.

NICK:

OK, guys, I think we can stop there.

PALOMINO:

You bet your ass we can stop! Wanda,

call me a cab!

NICK:

Hold on, Chad. Let's just try to

calm down.

PALOMINO:

F*** you. I'm out of here, man. This

movie is bullshit.

NICK:

Now wait a second, Chad. There's no

reason for hostility.

PALOMINO:

Shut up, you f***ing loser. The only

reason I took this part was because

someone said you knew Quentin

Tarantino! You're nowhere, man.

NICK:

Hey, you want to go? Go! I'm sick of

your sh*t, you hostess twinkie

motherf***er!

PALOMINO:

What'd you call me?

NICK:

You heard me.

PALOMINO:

Say it again.

NICK:

You hostess twinkie motherf***er!

Palomino suddenly punches Nick in the stomach, leaving him

bent over and gasping for breath. Nicole instantly leaps on

Palomino's back and begins pounding her fist on the top of

his head. Palomino spins wildly trying to dislodge her as

Wanda rushes forward.

WANDA:

Alright, everyone just stop. Stop!

Stop this right now!

As she tries to separate Nicole and Palomino, Palomino shoves

her hard, knocking her down. Instantly Wolf leaps off the

camera and runs up to Palomino.

WOLF:

Alright, you've asked for it, Chad!

Palomino suddenly punches Wolf in the teeth, dropping him

like a stone.

WANDA:

(shrieks)

Wolf!

Suddenly Nick staggers to his feet and rushes at Palomino.

His momentum knocks all three backwards onto the bed,

Palomino's head cracking Nicole in the teeth.

NICOLE:

Oh, God!

Nicole rolls free as Nick and Palomino wrestle on the bed.

Nick gets Palomino in a vicious headlock and starts pounding

his head against the mattress.

NICK:

You want to pick my brain?! This is

the way I direct hostess twinkie

scumbags like you!

As Nick continues to pound Palomino's head the Gaffer notices

Palomino's eyes are starting to bug out from the pressure of

Nick's forearm around his neck. He and the Boom man rush

forward and finally manage to pry Palomino free.

NICK:

Get him out of here! Someone take

him back to his hotel!

As the Gaffer and Boom man drag off the almost unconscious

Palomino, the Scriptgirl takes one faltering step after him.

SCRIPT:

(sniffling)

Chad...

Suddenly, everything becomes quiet except for Nick's labored

breathing and the Scriptgirl's sniffles. Nick leans over and

touches Nicole's shoulder.

NICK:

Are you alright?

NICOLE:

Don't touch me.

EXT. DAY. THE STREET OUTSIDE THE SET

The Gaffer and AC help the still-groggy Palomino into the

back of the production van. JEFF, the driver, watches them

in sleepy curiosity.

With Palomino safely propped in a seat, the AC goes back to

the set. The Gaffer waits a moment then slips his script out

of his back pocket and slaps it into Palomino's motionless

hand.

GAFFER:

It's called "Tsunami." A Japanese

tidal wave hits New York. You've an

ex-Navy S.E.A L. frogman, working

undercover. You save the city. You'd

be perfect for the lead. That's my

number; call me, or I'll call you.

Either way it's been great working

with you, man.

As Palomino stares at him blankly, the Gaffer slams the door.

The car pulls out.

INT. THE SET. DAY

Nick and Nicole are sitting up on the bed, alone on the now

empty set.

NICK:

Nicole, I'm sorry. I didn't mean it.

You were great in that Richard Gere

movie.

NICOLE:

Shut up. You're no different than he

is. You lie, you're deceitful...

NICK:

I'm not lying. Christ, I tell everyone

how great you are. I've got nothing

but respect and admiration for you.

NICOLE:

Oh God, now you're doing your own

f***ing script.

NICK:

Well, why do you think I wrote it?!

NICOLE:

I have no idea!

NICK:

It's about you. It's about how I

feel about you.

NICOLE:

Christ, did you get a bump on your

head, Nicky. 'Cause you're talking

like an idiot.

NICK:

Nicole. I've loved you since the day

we met.

Nicole sits for a long moment in stunned silence.

NICOLE:

Why didn't you tell me?

NICK:

I didn't want anything to get in the

way of us working together.

NICOLE:

God, and all this time I thought...

Nick and Nicole move into a shy, trembling, heartfelt kiss.

INT. HOTEL ROOM. DAWN

Nicole snaps awake with a jolt. She glances quickly at the

clock which reads 4:35. The sound of the shower still running

in the bathroom.

NICOLE:

Oh, God.

Nicole leaps out of bed and races into the bathroom. As the

camera follows her, she closes the bathroom door, right

against the lens, turning the image to total BLACKNESS.

The frame is BLACK. The recognizable clatter and clunk of

the FILM CREW is heard. Wanda's voice is prominent.

WANDA:

Don't go out that door!

Suddenly a DOOR opens away from camera and the AC stops, a

foot away from the lens. Behind him, Wanda and the rest of

the crew can be seen through the door, preparing for filming.

We see now the door and the plywood walls around it are FAKE.

INT. THE SET. DAY

AC:

Why not?

WANDA:

It's part of the set, goddamnit. Now

go around.

AC:

Next time. This is an emergency.

The AC rushes past and a moment later the camera DOLLIES

slowly through the fake door toward Wanda pacing near the

set camera.

WANDA:

(into her walkie)

Has Ellen showed up yet?

WALKIE:

ssss... kkkkkrrk.

WANDA:

Get her into wardrobe right away.

WALKIE:

ssskk... ssssrrrk?

WANDA:

No! Scene six; Scene five has been

postponed. I'm not going to say it

again; Mr. Palomino is not working

today. Now where is that smoke

machine!

INT. SET BUILDING, HALLWAY. DAY

The AC bursts through a door at the end of the hallway and

walks quickly toward the camera. Without knocking he pushes

open the bathroom door and suddenly stops short.

Rate this script:5.0 / 1 vote