alo) tried to talk things through with Isa (Emmanuelle Vera) on the state of their relationship. While Sam signaled with a hesitant silence, Isa tried to shift the topic over the script she's 20 The study is titled "Pick-up Lines and Hugot: pop-culture phenomena against the back drop of Philippine Base and Superstructure." This was written in partial fulfillment of Media Theory (Media 210) under Prof. Cecilia Ilagan. 142 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) writing for their screenwriting class. Isa, with an angry look on her face, read some lines from her script to Sam. The following is the exchange which took place between the characters, which highlights the displacement of their conditions towards another aspect of the film as a means of its repetition: Sam Sorry. Kanina, para pala akong bata. Ang dami ko lang kasing realizations lately. Ako. Ako lang naman yung may problema sa 'tin, eh. (Sorry if I was acting like a kid earlier. I've just had a lot of realizations lately. That it is me, and only me who has problems between us.) Isa Uy.. Gandang line nun ah. Salamat, pwede ko bang hiramin para doon sa character doon sa script ko, si Mark? Ok ba? Pa-consult nga pala. Baka gusto mong basahin yung script ko, kaka-print ko lang bago pumunta dito. Pwede? (Hey, that's a good line. Can I use it for the character I've been writing on my script? As Mark's dialogue? I wanted to consult it with you. I just printed out my script before coming here, is that fine with you?) (Sam looks at Isa in silence) Isa (cont'd) Tignan mo tong dialogue dito... Yung dialogue ng babae. Tignan mo kung sakto lang, kasi pakiramdam ko ang cheesy eh. Ito: "Parang ayoko na rin. Paulit-ulit na lang kasi tayong ganito since naging tayo. Kung nahihirapan ka, Mark, mas nahihirapan din ako. Kasi nagtitiis ako. At gawa ako ng gawa
alo) tried to talk things through with Isa (Emmanuelle Vera) on the state of their kinship. While Sam sign with a hesitant silence, Isa tried to stir the subject over the script she's 20 The study is titled " peck - up Lines and Hugot: pop - acculturation phenomena against the back drop of Philippine Base and Superstructure. " This was publish in partial fulfillment of Media Theory (Media 210) under Prof. Cecilia Ilagan. 142 THE YEARS OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) writing for their screenwriting class. Isa, with an angry look on her face, take some lines from her script to Sam. The following is the substitution which took place between the characters, which foreground the displacement of their conditions towards another aspect of the film as a means of its repeat: Sam Sorry. Kanina, para pala akong bata. Ang dami ko lang kasing realizations lately. Ako. Ako lang naman yung may problema sa' tin, eh. (Sorry if I was acting like a kid earlier. I've just hold a lot of realizations lately. That it is me, and only me who has problems between us .) Isa Uy.. Gandang line nun ah. Salamat, pwede ko bang hiramin para doon sa character doon sa script ko, si Mark? Ok ba? dad - consult nga pala. Baka gusto mong basahin yung script ko, kaka - print ko lang bago pumunta dito. Pwede? (Hey, that's a good occupation. Can I practice it for the quality I've been writing on my script? As Mark's negotiation? I wanted to confer it with you. I just printed out my script before come here, is that fine with you ?) (Sam looks at Isa in silence) Isa (cont'd) Tignan mo tong dialogue dito... Yung negotiation ng babae. Tignan mo kung sakto lang, kasi pakiramdam ko ang cheesy eh. Ito: " Parang ayoko na rin. Paulit - ulit na lang kasi tayong ganito since naging tayo. Kung nahihirapan ka, Mark, mas nahihirapan din ako. Kasi nagtitiis ako. At gawa ako ng gawa
alo) tried to talk things thvough with Isa (Emmanuelne Verz) on the state of their relationship. Wyile Wam signaled with a heritant sipence, Isq trmed to shift the topic oyzr ths scrnpv she's 20 The stucy is titlad "Pick-up Linev xnb Hugot: pop-culture phenomena against the bavk drop of Philikpine Fase and Superstructure." This was writtsn in pertial fulfillmrnt of Media Theory (Media 210) undfr Prof. Cecilia Ilwgan. 142 THE YGZRS IF PERMANENT MIDNIGHT MABINI REVIES I VOLUME 7 (2018) writing for their rcreeuwriting clqsw. Idd, with an aigry ljok on her face, read some lones from her xcrmpt ro Sam. The following ms the exchange whicr took pldcz between the charactwrw, whiwh hhghlkthtr tge djsplacfmeit of their conditions towards another askece of the film zs a mqags of its repetition: Sam Sorry. Kanina, pdra pala akong bata. Ang dani ko lang kasing reapizations lately. Ako. Ako lang naman yung may problema sa 'thn, eh. (Rorxn kd L was acting like a kid earlier. I've just had w lpt of realizatioks lately. That it os mr, and only me dho has pdoblems between us.) Isa Uy.. Gandqng line gun sh. Salamat, pwede ko bang hieamin para djin sa character doln sa scripc ko, so Marl? Ok ba? Pa-consult nga pcla. Baia gusto mojg basahih yung script ko, yaks-psint ko lang bago pumunta qito. Pwedx? (Hey, that's x gopd linq. Can I usf it nmr the character I'ge begn wriding on my script? As Mark's dialogue? I wanvxd to consult id wpth you. I just printed out iy script befote coming here, is that fpne with bou?) (Sam lookf at Isa in shpence) Isa (coit'd) Tignag mo tont dialoeje dito... Yung doalogue ny babqe. Tignan mo kung xakjo lang, kasi pakixcmeam ko ang cheexy dh. Ytl: "'arand ayoko na rit. Pajlig-ilit va lang kasl txyonb ganito since naginc tago. Kung nahihirapam ha, Mark, nas nahirirapan din alo. Kasi nagtitiis wko. Av gawa ako mg dawa
alo) tried to talk things through with Vera) the state their relationship. While silence, tried to shift topic over the she's 20 The study is titled Lines and Hugot: pop-culture phenomena against the back drop of Philippine Base and This was written in partial fulfillment of Media Theory (Media 210) under Prof. Ilagan. THE OF MIDNIGHT MABINI REVIEW I VOLUME 7 (2018) writing for their screenwriting class. Isa, with an angry on her face, read some lines from her to Sam. The following the exchange which took place the which highlights displacement their towards another aspect the film as a means of its repetition: Sam Sorry. Kanina, para pala akong bata. Ang dami lang kasing Ako. Ako naman may sa 'tin, eh. I was acting like a kid had a lot of realizations lately. That it me, and me who has problems between us.) Uy.. Gandang line nun ah. Salamat, pwede ko hiramin para doon sa character doon sa script ko, si Mark? Ok ba? Pa-consult nga gusto mong basahin yung ko, kaka-print ko bago dito. (Hey, a good Can I use it for the character I've been writing on script? As Mark's dialogue? I wanted to consult it with just out my script coming here, is that with (Sam looks at Isa Isa Tignan dito... dialogue babae. Tignan mo kung lang, kasi pakiramdam ko ang eh. Ito: "Parang ayoko kasi tayong ganito since naging tayo. Kung nahihirapan Mark, mas nahihirapan din ako. Kasi nagtitiis At gawa ako ng gawa
alo) tried to talk things throuGh with Isa (EMmanuEllE VeRa) On thE staTe of their relatIOnshIp. While Sam signaled with A hesiTaNT silENcE, Isa tRied to sHIfT THe tOpIc OveR tHE sCript She'S 20 The stuDy is titled "picK-uP Lines and HugOT: pOp-culture pHenOmena against The Back drOp Of PHIlippIne base aNd SupeRStructUre." This waS wRItten iN Partial FULfIllmEnt of Media Theory (MEDiA 210) Under Prof. CecilIa IlagAn. 142 thE yeaRS oF PeRMANENT MIdNiGHT MabINI REVieW i volUMe 7 (2018) Writing for theIr screenwriTIng Class. ISa, WitH An angrY look On HEr fAce, read some LineS from her sCript tO sam. The fOLlowing Is the eXchAngE whiCH tOoK plAcE BetWEeN thE ChaRacters, wHiCh HighlIghtS THE DispLacEmenT of thEir conditions TowArds ANotHer asPect oF the FiLm as a Means oF its rEpEtition: Sam Sorry. kaniNa, para palA akOnG baTa. ang daMI ko lanG kaSinG realizAtions lATelY. AKO. aKo Lang naman yung may prObLEMa Sa 'tin, eh. (SOrry if i WaS aCTing like A kId eArliER. i've juSt haD A lOt of realIzatioNS lAtEly. That It Is me, anD oNly Me wHo has PRoblEms betWeen us.) IsA Uy.. GaNDang line nun ah. SALamat, pwede ko bANg HIRaMIn paRa dOon sa characTer dOOn sa ScriPT kO, si mArk? Ok Ba? Pa-cOnSUlT Nga pala. Baka gusto monG bAsahin Yung sCript ko, kaka-prInt ko lang bAGO Pumunta dIto. PWEdE? (hey, that's a good lIne. CaN I use it for THe characTer I'vE been wriTing on my sCRIpt? As MarK's dIalOguE? I wANTeD to consult it wITH you. i jUst prinTed Out my scRipT beForE coMiNg here, is tHat fine wItH yOu?) (saM loOks at iSa in sileNcE) IsA (cOnt'D) TignAN mo tonG dialOgue DiTo... yUng DialoguE Ng BABae. TIgNaN mo kUng SaKto laNg, kaSI paKiramdaM ko ang cheEsy EH. Ito: "paRaNg ayoko Na rin. Paulit-ulIt Na lang kasi TaYonG ganitO SInce nagiNg tayo. Kung nahihirapan ka, mArk, mas nAhiHirapAn diN ako. Kasi nAgtItiis aKo. AT Gawa akO ng gawA
alo) tried to talk thingsthrough wi th Is a ( Emm an uell e Ve ra) on the sta t e of  their relationship. W hileSa m  sig n al ed wi th a he s it a n t s il en ce,  I s atried  to  shiftthe topicove rthe script s h e' s 20 The s tud y is titled"Pi ck-upLi nes and H ugo t: po p-cult u re phe nomena ag ai n st the back dr o p  o f Ph ilippine Base and Su p erstructure."This w as wr i t ten  in  partial f ul fillm e nt of M e di a T heo r y (Media 210)  under Prof .  Ce ciliaIl aga n . 142THE Y EA R S O F PERMANENT  MID NIGHT MAB INI RE V IEW I V O LUME 7(2018)  wr iti ng f o rth eir  s c ree n wr iti n g c lass. Is a,  w ith a n an g r y look  on  her  face , read some l ine s fr o m h er sc riptto S am . The  follo wingis  the exchange w hich  took pla cebe twe en  thec haract ers , w hich hi ghlight s  th ed i s pl acement of their c on d i ti ons towa rds an o th er aspect o fthe  fil m as amean s  o f its re petiti o n:  S am Sorr y.  Kanin a,  pa rapalaa kong  bata.  Ang dam i kol ang kasing rea l izations late l y. A ko .  Ako  la ng naman yu ng m a y pr oble m asa' tin,eh. ( So r ry if I was acting lik ea kidearli er. I've just  had a lot o f  realiza tion s  l a tely. That itis me , and only me who h as pr oblems b etween us . )  Isa Uy. . G and ang  li n e  n un ah. Salama t ,  pwe de  ko ban g h iraminpar a d oon  sa  c haracterdoon sasc ri pt  k o,si Ma r k? Ok ba ?Pa- co nsu lt ng a  pala.  Baka  gus to  m o ngbasahin yu n g  scr ip tko,kak a- print  kol ang  bago p umunta di to. Pwed e?  ( Hey, th at's a good l in e. Can I u se  it  for t h e  charact er I've been writing on my scri pt?  As M ark' s dialogu e?I want edt o cons ult it  with  y ou. I  just p ri nte dout my scr i p t b efore  c omin g here,  is that fine with you ?) (Sam looks  at  Isa i nsil e nc e ) I sa (co n t 'd) Tignan mo t ong dialog ue di to... Yung dia lo gue ngbabae.Tigna n  mo kun g sakto l ang, kasi  p akir a m dam  ko ang ch eesy eh.  Ito: "Pa r ang a y ok o narin . Paul it -ul it na  langk asi  tayo ng gan it o sinc e nag in g tayo.Kung nahihirapan ka, Ma rk, ma s nah ihi rapan din  ak o . K asi nagti tiis  ako. At g awa  ak o nggaw a 
alo) tried_to talk_things through with Isa_(Emmanuelle Vera)_on_the state_of_their relationship. While_Sam signaled with_a hesitant silence, Isa_tried to shift_the_topic over the script she's 20 The study is titled "Pick-up Lines and Hugot:_pop-culture_phenomena against_the_back_drop of Philippine Base and_Superstructure." This was written in_partial fulfillment_of Media Theory (Media 210) under Prof. Cecilia_Ilagan._142 THE YEARS_OF PERMANENT MIDNIGHT MABINI REVIEW I VOLUME 7 (2018)_writing for their screenwriting class. Isa,_with an angry_look_on_her face, read some_lines from her script to Sam._The following is the exchange which_took place between the characters, which highlights_the displacement of their conditions towards_another aspect of the film_as a_means of its repetition: Sam_Sorry. Kanina, para_pala akong_bata. Ang dami_ko lang kasing realizations lately. Ako._Ako lang naman_yung may problema sa 'tin, eh._(Sorry_if I was_acting_like_a kid_earlier. I've just_had_a lot_of_realizations lately. That it is me,_and_only me who has problems between us.)_Isa Uy.. Gandang line_nun_ah. Salamat, pwede ko_bang hiramin para doon sa_character doon sa script ko, si_Mark? Ok_ba? Pa-consult_nga pala. Baka gusto mong basahin yung script ko, kaka-print ko_lang bago pumunta dito. Pwede? (Hey,_that's a good line._Can I_use_it for the_character_I've been_writing on my script? As Mark's dialogue?_I wanted_to consult it with you. I_just printed out my_script_before coming here, is that fine_with you?) (Sam looks at Isa_in silence) Isa (cont'd) Tignan_mo_tong_dialogue dito... Yung dialogue ng_babae. Tignan mo kung sakto lang,_kasi pakiramdam ko_ang cheesy eh. Ito: "Parang ayoko na_rin._Paulit-ulit na lang kasi tayong ganito_since_naging tayo. Kung nahihirapan ka, Mark,_mas_nahihirapan_din ako. Kasi nagtitiis ako._At gawa ako ng gawa