Living in Oblivion Page #3

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NICOLE:

You do remember.

CORA:

He was smaller than you.

Nicole turns to Cora with the heartbreaking gaze of an

abandoned child. Nick and the rest of the crew watch in awe.

NICOLE:

You were so worried about Danny --

Suddenly the BOOM dips all the way into the shot.

INT. SET APT. DAY. B/W

WOLF:

Cut! Boom in. Sorry, I had to cut.

Les, your boom was all the way in

the shot.

BOOM:

Well, where's the frame line?

All the crew move around, all talking at once.

WANDA:

OK, can we get a frame line? Hold it

down. We're going again right away.

Nobody moves. Les, you got the frame

line?

BOOM:

I guess so.

WANDA:

OK, here we go. Right away. Picture's

up.

Nick approaches Nicole and Cora.

NICK:

Beautiful; both of you. Stay focused.

Stay with it. No big deal. Let's go,

Wanda. Right away.

WANDA:

Roll sound!

SOUND:

Speed!

WANDA:

Roll camera!

AC:

Rolling!

CLAPPER:

Scene six, take two.

(hits the sticks)

NICK:

And, action.

INT. APT. THE SCENE: TAKE 2. COLOR

NICOLE:

Dad hit me first and knocked me down.

It didn't hurt that much but I started

crying anyway, hoping he would leave

me alone. He went over and started

hitting Danny.

CORA:

Ellen, I --

The image suddenly goes out of focus.

INT. SET APT. DAY. B/W

AC:

I'm sorry, I have to cut. I was

completely off on the focus. It's my

fault, I'm sorry.

WANDA:

Thanks for the apology but you'll

never work in this town again.

(laughter)

AC:

I've got it now.

WANDA:

Here we go, right away. Lock it up.

And roll sound...

SOUND:

Speed!

WANDA:

Roll Camera!

AC:

Rolling!

CLAPPER:

Scene six, take three.

(hits the sticks)

NICK:

And, action.

INT. APT. THE SCENE: TAKE 3. COLOR

The scene begins once again. Remarkably, Nicole's enormous

commitment is just as full and sharp. Nick is in ecstasy.

NICOLE:

Dad hit me first and knocked me down.

It didn't hurt that much but I started

crying anyway, hoping he would leave

me alone. He went over and started

hitting Danny.

CORA:

Ellen, I have no memory of this

whatsoever.

Suddenly a car stops right outside, a heavy, bass-driven rap

song blasting out of its trunk-mounted speakers.

INT. SET APT. DAY. B/W

SOUND:

Street noise!

WANDA:

That's a cut!

(into her walkie)

What the f***'s going on down there!?

You call that a lock-up!? Get that

car out of there!

NICK:

Jesus Christ. Why doesn't the guy

just get a flatbed trailer with about

600 speakers on it and tow it behind

his car.

Everyone nods in annoyed agreement; everyone except the Boom

man who appears to be following the music with the mike,

bopping to it through the headphones. Slowly, interminably,

the music fades off into the distance.

SOUND:

And... it's clear.

WANDA:

(into her walkie)

Do I have a lock-up?

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