Some more work on this, over the weekend. Spliced in the seduction scene at the end of this iteration...but eliminated the character "Cindy" and assigned the seduction to Cortney. Cortney's ambivalence--she does not want to hear Terry's declaration of love--but wants to get him high and make love to him--reminds me in a torqued out way of Jude the Obscure...Cortney is sort of a conflation of Arabella and Sue.
More generally--as the script progresses--it is loosing some of its comedic character. To a large extent, the characters have taken control of the play.
-AA
LIMITS OF DISTURBANCE
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY pulls a stack of 2x4's off a truck and balances them on his shoulder. He walks to some saw horses and flips them off his shoulder onto the horses, landing in a neat stack with a THWACK.
TERRY goes back and loads his shoulder again with more 2x's.
THE OLD MAN and the ARCHITECT arrive and approach TERRY.
THE OLD MAN
Terry.
TERRY does not notice because he has buds in his ears.
THE OLD MAN
Wolfe!
TERRY is startled and swings around--the 2x's arcing toward THE ARCHITECT's head--who awkwardly DUCKS--dropping the plans he was carrying.
THE OLD MAN
Jeezusfuckingchrist!
TERRY
Sorry! I didn't hear...
THE OLD MAN
Take those frikkin' snotwads outta your ears!
TERRY
Yessir, sorry about...
THE OLD MAN
Never mind... Ms Woods here yet?
TERRY
No, sir, I haven't seen her around today. Are you expecting...
THE OLD MAN
(to THE ARCHITECT)
Good, we beat her. I don't like that woman snooping around here... she's nothing but trouble...
(to TERRY)
You watch it with her. You don't talk to her unless she asks you a question, and if she does, make sure you don't tell her anything. You got that?
TERRY
Gee, boss, we get along pretty good, she comes by almost every afternoon...
THE OLD MAN
I'm tellin' you, Terry, you watch it with that woman.
(to THE ARCHITECT)
Come on, Martin, let's take a look inside.
INT. A new home construction site - day
The house is still in rough-in stage. Workers bustle and clatter. THE OLD MAN and THE ARCHITECT walk around inside, and walk upstairs.
THE ARCHITECT pauses at the top of the stairs and unrolls the plans.
THE ARCHITECT
Something's not right. The master bathroom should be right here.
THE OLD MAN
Lemme see those plans.
They study the plan and look around. A huge PLUMBER tromps by, carrying a toilet bowl by the rim in one hand, and a toilet tank in the other.
THE OLD MAN
Hey hoss... what is going on here...where's the bathroom?
PLUMBER
(gestures with his head)
We moved it ovah' yonder.
THE OLD MAN
What the fuck...
PLUMBER
I jus' done what I's told, man. Talk to Terry.
THE OLD MAN
Terry? He told you to move the bathroom?
Other workers gather around.
PLUMBER
Tha's what I said, man. Talk to Terry...I gotta load up and get outta here.
THE OLD MAN
Someone get Terry, NOW!
The workers scatter. Shouts go up...
PLUMBER
YO! Wolfman!
CARPENTER
Ese! Lobo! El jefe te quiere!
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY is using a skilsaw and cannot hear. The CARPENTER walks up to him; TERRY looks up.
TERRY
Orale, Orsi.
CARPENTER
(jerks his thumb toward the house)
Ese, Lobo, el jefe quiere verte, y hola, ¿está cabreado?
TERRY
Ajora?
CARPENTER
Si, cholo, ajora.
TERRY puts down his saw and goes in the house.
INT. A NEW HOME CONSTRUCTION SITE - DAY
Workers look on and follow as TERRY walks up the stairs.
THE OLD MAN
Wolfe, what the hell is going on here? Did you change the layout?
TERRY
Boss, we had to move the bathroom--if we framed it like the plan, there wouldn't be enough headroom for the stairs.
THE ARCHITECT
That's impossible! We don't make bush league mistakes like that.
CARPENTER
Ees true, man! You woulda bonk you head right here.
(gestures at his forehead)
THE ARCHITECT
Ridiculous. I checked these plans myself. Jack, do you have a tape?
TERRY whips his tape measure from his pouch and hands it to THE ARCHITECT, who glares back at him. THE ARCHITECT then wanders off, measuring various conditions.
TERRY
Boss, there was no way this was going to work.
THE OLD MAN
(Seething)
Then why in the fuck didn't you tell me?
TERRY
It was two weeks ago when I figured it out--you were at that golf tournament in Myrtle Beach.
THE ARCHITECT returns and looks down the stairs. Then he slaps his forehead.
THE ARCHITECT
Jack, I'm afraid your man is right--when Robin had us widen the opening to the living room, we moved the stairs back two feet. It didn't occur to me to adjust the second floor plan.
THE OLD MAN
Christonnafuckingcrutch! I told you she was bad news...
ROBIN
(from down below)
Hel-lo! Anybody home?
THE OLD MAN
(Aside)
Shit!
THE OLD MAN
We're upstairs, Ms Woods.
ROBIN ascends the stairs. Wearing high heels and tight designer jeans, she gracefully steps across extension cords and debris.
ROBIN
Hi everyone. Sorry I'm late. Hi Martin, hi Jack.
ROBIN shakes hands with THE OLD MAN and THE ARCHITECT. Then she notices TERRY, and goes over to him.
ROBIN
(cheerily)
Oh, Terry--I didn't know you were going to be here, too.
ROBIN air kisses TERRY, who blushes.
TERRY
Hi, Robin.
THE OLD MAN
Ms Woods, we just noticed a little problem with the layout. But don't worry, we'll make it right.
ROBIN
Oh! You mean the bathroom.
(she giggles)
THE OLD MAN
Really, it's no problem, we'll move it back where it's supposed to go...
ROBIN
No, I looove it, just the way it is! Terry came up with the idea...it was...just...brilliant! It's where I wanted it in the first place, with that window looking out at the garden. Please don't change a thing!
THE OLD MAN
Jeezusfu...Martin, what will it take to get a revision? We can't get a close-in inspection until we get the plans revised.
THE ARCHITECT
I'll get right on it, but it will still take a couple of days to draft up the changes, and there's no telling how long before the county signs off...
THE OLD MAN
At least another week shot to hell...
TERRY
Boss, it's not a problem. I went over it with the inspector, and he signed off this morning. We're good to go.
TERRY pulls the green sticker from his back pocket and hands it to THE OLD MAN. THE OLD MAN snatches it from TERRY, looks at it, scowls, and gives it back.
THE OLD MAN
(still royally pissed)
Post this and order the drywall.
TERRY
It's already on the road. Should be delivered this afternoon. Carlos and his guys will be here tomorrow to start hanging.
THE OLD MAN glares at TERRY.
THE OLD MAN
(to the PLUMBER)
What's this going to cost me, moving all this piping?
PLUMBER
Mr Jack, I jus' tied on to the stack from the hall bath...movin' that bathroom saved you six hundred bucks...uh...sorry, Ma'am...guess it saved you the money, right, Ms Woods...
THE OLD MAN
Uh, yes, that's right. We'll make sure you get a credit, Ms Woods.
(to TERRY)
Terry, I don't like how this was handled, not one bit, but I reckon you made the right call. But we still need to talk...Wednesday afternoon, when you bring in the time cards...
TERRY
No problem.
TERRY heads back down, and the other workers return to their activity.
THE OLD MAN
Ms Woods, how about we take a look at your new bathroom...
FADE
INT. A CO-OP GROCERY STORE
Terry, dressed in work clothes, is looking for some ready-to-eat lunch. Nearby, a woman is stocking shelves.
LISA
Can I help you find something?
TERRY
Oh, no thanks, just looking for something quick, you know, for lunch. Sometimes I get that beef and cheese burrito, but I don't see it here...
LISA
Omigosh--those are horrible! They have like, 800 milligrams of sodium, and beef...well, you know, is like the worst!
TERRY
Uh, well, um...
LISA
Did you know it takes seven times more protein to bring a beef to market than that poor cow yields?
TERRY
Gee, I guess...
LISA
And the conditions those cows have to endure! If you knew what it's like in a stockyard...Oh...here's something your should try.
TERRY
(reading the label)
Tempeh Burgerette...
LISA
It's much better than the processed tofu. People see tofu on the label, and assume it's healthy, but they're putting so many additives into it these days...Omigosh...I'm sorry, I'm yakking your ear off.
TERRY
Oh, no, thanks a ton. I'll give it a try...
TERRY looks at the package quizzically. LISA resumes stocking. TERRY looks back up.
...You must like working here, I mean, being into food and all that.
LISA
I don't really work here-not for pay, anyway. It's like this-if you put in 4 hours a month, you get a 20% discount on groceries. It works out pretty good.
TERRY
Soooo, what do you do the rest of the time?
LISA
Well, sometimes I teach a yoga class at the Y. Mostly, I do massage therapy-I have my own practice. But it's been awfully slow lately...
TERRY
Yeah, I can imagine. Times are tough.
LISA stands and faces TERRY.
LISA
You know, what I love most of all is drumming.
TERRY
Wow, do you, like, play in a band?
LISA
Gosh no...well, sort of...there's a group of us that gets together at the little park on Jefferson Street...it's pretty informal, but some of us are regulars. In fact, we're meeting tonight. You should stop by.
TERRY
Gee, I don't know...
LISA
Oh, come on! I'll bring an extra drum...you'll enjoy it. Here's my card...give me a call...or just stop by.
TERRY
(reading from the card)
OK..."Lisa"...maybe I'll check it out. Thanks a lot. Oh, and thanks for the advice on lunch.
LISA
No problem...
TERRY
Terry. Terry Wolfe.
TERRY holds out his hand and SMILES. LISA takes his hand with both of hers and bows slightly.
LISA
Terry. Nice to meet you, Terry.
(DRUMS)
FADE
EXT. A Community coop store - day
(DRUMS continue)
TERRY opens a paper bag and takes out the temper sandwich. He examines the wrapper again...
(DRUMS rise to climax)
...and lobs it into a trash can.
CUT
INT. TERRY'S APARTMENT - EVENING
TERRY is slumped on his couch, stocking feet on a wooden cable spool that serves as a coffee table. From the TV, we hear, "Don't die, Blondie, I'll get you water. Stay there. Don't move, I'll get you water. Don't die until later..." He examines LISA's card, and flips it onto the table. Then, he leans forward and starts to put on his shoes.
FADE
EXT. THE PARK ON JEFFERSON STREET - NIGHT
DRUMMING is heard in the distance. TERRY is walking down the street. He approaches a group of drummers under and around a festive gazebo in the park.
He sees LISA near the center of the group. She is playing frenetically, trading savage riffs with the TALL DRUMMER--a striking looking older man. They smile and say inaudible things to each other; the other drummers look on and follow them.
TERRY pauses at the fringe and watches. The rhythm grows even more intense. He begins to move closer. LISA, transfixed on the TALL DRUMMER, does not notice him.
Then, TERRY turns and walks away. LISA finally notices him and gestures and calls out, but TERRY does not hear. LISA continues to drum.
TERRY walks back slowly, with his head down.
FADE
EXT. SAVANNAH CONTRACTING - DAY
(Adagio movement, Concerto for Harpsichord, Strings, and Continuo #3, JS Bach)
TERRY looks at his watch, then at the sign over the door. He looks troubled. Enters.
INT. SAVANNAH CONTRACTING - DAY
TERRY approaches THE OLD MAN's office. The door is open, and we see THE OLD MAN sitting at his desk, phone in hand.
TERRY taps on the door jamb, and THE OLD MAN gestures for him to sit. TERRY nods and sits down quietly.
THE OLD MAN
(into phone)
Lou, I'm tellin' ya, we gotta have those cabinets on Thursday...Waddya mean, next week?...Lou...Lou... listen to me, Lou, you're fucking me with a limber prick and you ain't even kissing me...OK...OK...NO!...OK, Thursday, right...OK, then...I appreciate it.
Slams down receiver.
THE OLD MAN
Phew...
TERRY
You wanted to see me?
THE OLD MAN
Hello, Terry, how's it going?
TERRY
OK, I guess. Is everything alright?
THE OLD MAN
Terry, looking back on last Friday, you done good. Real good. As a matter of fact, I was proud of you. And then yesterday, you're an hour and a half late. My fucking phone is ringing like church bells at a Moonie wedding. Where's Terry, where's Terry. We're outta this, I can't find that. You think I got time to run out to your job and play nursemaid?
TERRY
I'm sorry Boss, my battery died...
THE OLD MAN
(getting upset)
Shit happens, Terry. And it ain't like this is the first time...
TERRY
I know, Boss...but when I'm late, I always stay late and make up the time...sometimes I don't even put down the hours on my time sheet...
THE OLD MAN
(getting hotter)
God dammit, son, the rest of the entire world of construction commences at seven AM. Except for you. Dammit, boy, you get where I'm coming from?
TERRY
Yes, sir.
THE OLD MAN
(calming down)
Terry, we've got good, hardworking people out there, but they need guidance. Without guidance, they're like children on a playground. They need you, Terry...I need you.
TERRY, silent and still, looks intently into THE OLD MAN'S face.
THE OLD MAN
(very calmly)
Terry, tell me you hear what I'm saying.
TERRY
I hear you.
THE OLD MAN
OK then.
TERRY starts to RISE.
THE OLD MAN
Wait a minute.
TERRY sits back down
THE OLD MAN
Carlos called a little while ago. He says he's short 26 boards.
TERRY
26 boards? I couldn't be that far off...
THE OLD MAN
That's what he said, 26 boards. 26 twelve footers. I need you to run down to the yard and pick up 26 twelve footers and get it out to him, pronto.
TERRY
Boss, I can call the yard and have it delivered tomorrow...
THE OLD MAN
We need it now. Carlos said he'd wait out there to help you unload.
TERRY
But Boss, that's almost a ton of material...my shocks are shot, and my tires...
THE OLD MAN
God DAMMIT!
BANGS his fist on the desk so hard pencils jump on the floor.
I don't give a skinny rat's ass about your goddam truck. You screwed up the estimate, and you gotta make it right. You got that?
TERRY
(Rising)
Yes, sir.
THE OLD MAN
(calm again)
Son, you're wearing me out, you know that? You gotta decision to make, whether you want to keep this job or not. You with me? I hope you make the right decision.
(CONCERTO rises again--the saddest strains)
FADE
EXT. LUMBER YARD - DAY
(AVEN AVEN - Gypsy Kings)
A forklift loaded with drywall is approaching TERRY's truck.
FORKLIFT GUY
Is no good, man. Gonna break you fokking axel.
TERRY
Don't worry, just set'er down easy, nice and...EASY does it.
The FORKLIFT GUY sets the load in the truck, and gently pushes it forward. The rear of the truck sags ominously, and two feet of board still hangs past the open tailgate.
TERRY hunches down and peers under the bed of the truck
Suave! I've got daylight under the springs.
TERRY rocks the bed of the truck to prove it.
FORKLIFT GUY
Chiwow, Lobo. Usted es un hijo de puta loca.
TERRY
Aieee! Mi burro viejo puede manejar! See you later, Tito!
TERRY gets in the truck and drives off. The truck wallows in the ruts of the unpaved yard. He proceeds onto the main drag. A car swerves in front of him and he SLAMS on the brakes. Two rental DVD’s slide from the visor.
TERRY
TERRY
Dag! More late fees!
TERRY hangs a wicked U-turn, truck YAWING precipitously, and drives to the VIDEO STORE.
SCENE 7 Ext. THE VIDEO STORE - Day
He whips in front of the store and gets out, leaving the engine running. He starts to put the CD's in a slot in the door when he notices a woman inside waving to him. He peeks inside.
INT. THE VIDEO STORE - day
DONNA
Hey, dork, that slot is for after-hours.
TERRY
Sorry, Don, I'm on the run
DONNA
It's Donna to you, buster. And by the way, I've been holding that disc you asked me about for a week now.
TERRY
The Unforgiven?
DONNA
Un forgiven. No The. If you want it, you better take it now, or I need to put it back on the shelf.
TERRY
Don, I really have to scramble...
DONNA
Yaknow, this is a popular disc, and every time I tell someone it's not available, I lose another customer to Netflix. I'm fighting a losing battle here, dude...
TERRY
(glancing back to his truck)
Sorry, I don't mean to mess you up. I'll take it now.
DONNA bends at the waist to retrieve the disc from under the counter. As she leans, her top DROOPS, and TERRY cannot help glancing at her boobs. DONNA notices.
DONNA
Hey, creep, no drooling on my counter.
TERRY shoves his right fist under his shirt and bump-bumps over his heart.
TERRY
(smiling)
Ka-thump, ka-thump, ka-thump.
DONNA rolls her eyes and hands him the disc and a receipt. TERRY starts to sign the receipt and looks up at DONNA.
You wanna come over and watch it with me?
DONNA
No thanks, bub, seen it twice. And anyway, I thought you were getting back together with Cortney.
TERRY
I tried. I really tried. I think she did, too. But it hardly took anytime at all before we were fighting again, same old stupid shit. Stuff I don't even care about, until she presses the right button. Then, bam, I'm seeing red, and here we go again. It's like someone wrote a script for us...
DONNA
...and you don't have any choice but to play the roles. Yadyada.
TERRY
Dammit, Don, it's true, it's like we don't even have a choice. I had to get out of there.
DONNA
I never understood why you got hitched in the first place. You were the brainy one, the big SAT score. Didn't you have a scholarship for, what, archeology...some hot shot school down south?
TERRY
Architecture. Auburn. Anyway, that's water under the bridge.
DONNA
Jeez, Terry, it's not too late...
TERRY
Well, it's not in the cards for now, with my shitty salary, and child support on top of that.
DONNA
Oh, that's right, you have a kid. My god, Terry, he must what, two or three years old...
TERRY
(beaming)
Almost six, and she's a girl. Her name is Juniper. She's going into first grade next week...it flips me out. She's a real, complete little person, totally cool...and smart...smarter than me, I think.
TERRY pulls out his wallet and shows DONNA a photo.
DONNA
Oh, she's adorable! Juniper. Six years old...Terry, you were so young.
TERRY
I know, I know. Everyone wanted us to make it go away. But I was a knucklehead about it. My father wouldn't even speak to me for months. And I leaned way too hard on Cortney...maybe that's why she's still so angry with me.
DONNA admires the photo again and hands it back to TERRY
DONNA
Juniper. Sometimes I wish I had my own...shit!...is that your truck out there?
They look out the window. A meter maid approaches the truck.
TERRY
Damn! Gotta go! But, hey, why don't you come over...I'll get a pizza and some...beer...
DONNA
I'd like to sometime, Terry, but not right now. I'm sorta seeing someone...
TERRY
Well, lucky guy, I guess...
DONNA
You better beat it, ragmop, look's like she's about to write you up.
TERRY dashes out the door.
EXT. THE VIDEO STORE - DAY
TERRY rushes up to the METER MAID.
TERRY
I'm sorry, I just meant to drop off a movie...I'm leaving right now...
METER MAID
I'm sorry, too, I already entered your tag.
METER MAID holds up an electronic device.
Once I enter the number, I have to issue a ticket. And you're taking up two spaces, too.
TERRY
You mean you're giving me two tickets? That's seventy bucks!
METER MAID
Two spaces are two spaces.
TERRY
I know, but you haven't entered the other ticket yet, have you? I can put a quarter in the meter.
METER MAID
Look, I'm just doing my job, sir.
TERRY
I'll put in fifty cents...
TERRY fumbles in his pockets.
I mean, if I have it...
METER MAID glares at Terry and hands him a ticket, and starts to enter another.
TERRY
Oh please, please, please give me a break...it will never happen again...I promise!
TERRY gives METER MAID a goofy smile, she starts to crack up.
METER MAID
Alright, son, just this once. But if I see this truck again, parked like this, I'll...
TERRY
Thankyouthankyouthankyou, I won't forget this...
TERRY jumps in the truck and starts to pull away. He yells out the window at the METER MAID
Thankyouthankyou...I love you!
FADE
INT. YOUNG TERRY'S CAR - NIGHT
TERRY
Sorry you didn't like it.
CORTNEY
Well, it was pretty creepy. I mean, like, the ladies' room...ungghh...I didn't want to touch anything. But the burgers were pretty good.
TERRY
Yeah, and they didn't card us...
CORTNEY
That's right, I forgot...your birthday isn't til August.
They drive on in silence for a moment. TERRY turns on the radio.
CORTNEY
Terry, I had fun tonight. Now that school is over, I feel like I'm getting to know you better.
TERRY switches off the radio.
TERRY
Cortney...I...I love you, Cortney.
CORTNEY
Oh, Terry--please don't mean it--not that way...not the way I think you mean it...
TERRY
I mean it, Cortney...I mean...I mean, what do you mean?
ROBIN
I mean, like, we've only been going together for a few weeks...
TERRY
It'll be three months, tomorrow...
Cortney
See what I mean! We hardly know each other. And you're leaving for school soon, like, in Alabama, of all places! What's that going to be like, surrounded by those southern belles, and me up here, living with my 'rents...
TERRY clams up, drives on, clenching the wheel with both hands. He turns on the radio again.
CORTNEY
Terry? Terry, I'm sorry. I like you a lot. I really do, I think about you all the time...remember, in English class, when you recited that poem...
TERRY turns off the radio.
TERRY
"Shall I, wasting in despair, die because a woman's fair..."
CORTNEY
Yeah, that's the one...it made me cream, Terry. I knew you were speaking to me.
TERRY
And I could see you start to cry. I think that's when I fell...
Cortney
Please don't say it, Terry. You're the nicest guy I know, but I'm not ready to get tied down yet.
TERRY clams up again. CORTNEY turns toward him and places her left hand on TERRY's right arm.
CORTNEY
Terry.
TERRY switches on the radio with his right arm. CORTNEY pulls her hand away.
Terry, I'm sorry. I didn't mean to hurt your feelings. Can't we be friends? I mean, like really good friends?
TERRY
"Be she fairer than the day, or the flowery mead in May, If she be not so to me..."
TERRY AND CORTNEY, in unison
"...What care I, how fair she be?"
TERRY and CORTNEY both break out laughing.
FADE
INT. TERRY'S TRUCK - DAY
TERRY chuckles to himself. He approaches the...
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY drives up along side a new crew cab pickup truck. Carlos is in its drivers seat, with three other guys.
TERRY
Ese, Carlos.
Carlos
Eh, Lobo, where you been, man? We just be leaving.
TERRY
Sorry, man, I got hung up. Come on, let's get this board into the house.
CARLOS
No way, 'migo. Is already way past four. We get it in the morning.
CARLOS starts his engine and shifts into gear.
TERRY
But I have to be in the office first thing, to pick up the payroll. If I'm late, the Old Man will ream me a new asshole...
CARLOS
Sorry bout that, ese, we be waiting for you for two hours. I gotta pay these guys for sit around doin' nothing, count a you be late. I see you later...
CARLOS pulls away. TERRY also starts to pull away, traveling down the street, but then backs up, pauses in front of the house, and then backs up the driveway.
TERRY gets out and walks to the back of the truck. He tears the paper strip that binds the ends of a pair of boards into a book; then jerks the top board sideways to tear the front strip. He starts to pull the board out of the truck and pauses.
Then he shoves the board back in, gets back in the truck, and backs up across the muddy, rutted front yard, up to the front door. His old truck lurches and wallows.
TERRY proceeds to unload the boards one at a time. It begins to rain, big splats of water on the board and on his shirt. So he starts to carry the boards in pairs, struggling mightly.
The rain intensifies. TERRY struggles, slipping and sliding in the mud.
Finally he finishes unloading. He completely muddy up to his knees, and his soaked shirt clings to his back. He pauses, panting, under the small front porch roof. The rain slacks off.
TERRY hunches his shoulders and turns his head from side to side, trying to loosen his muscles--when he hears from a distance...
ROBIN
Terry! Is that you?
ROBIN has driven up to the curb. TERRY sees her and waves. ROBIN starts to get out of her car.
TERRY
Hi, Robin. Hey, don't get out, it's pretty muddy...
ROBIN pops up a huge fancy umbrella and tiptoes in her high heels up some planks laid in the mud. She is carrying a tote bag.
ROBIN reaches the little stoop and furls the umbrella. She and TERRY must stand close together to stay out of the rain.
ROBIN
Hi Terry, I was hoping to find you here. I brought you a little something, to say thanks for all you've done.
ROBIN slips a bottle of champaigne halfway out of her bag.
TERRY
Gee, Robin, thanks, but I'm just doing my job...
ROBIN
No, Terry, everything is coming out great. Really great. And I hate to say it, but I'm so glad I'm working with you and not with your boss...I shouldn't say any more. Let's go inside. I have some glaaa-sses!
ROBIN smiles provocatively. TERRY backs up against the door.
TERRY
I dunno, Robin. I mean, thanks, thanks a lot, but I'm soaked to the bone. I need to get cleaned up...
TERRY starts to move around and winces sharply.
ROBIN
ROBIN sets down her tote bag.
Terry! Are you all right?
TERRY
(recovering somewhat)
I'm ok, my back is a little sore, that's all.
ROBIN
ROBIN places her hand on his chest.
Where does it hurt, Terry, maybe I can do some...
TERRY
It's really nothing, Robin, but I better get going. Maybe some other time...
TERRY winces again, and his knee partially buckles.
ROBIN
Terry!
TERRY
I'm sorry, I should go...
ROBIN backs off and TERRY sidles around her and gets back in his truck. ROBIN remains standing on the porch, her expression saddening as TERRY pulls away.
FADE
INT. TERRY'S APARTMENT - EVENING
Again we see the TV in the foreground, with TERRY on the couch. He is wearing nothing but boxer shorts, and has a towel around his shoulders. His hair is damp.
VOICE OF LITTLE BILL
I says, "You'll want to give over your pistol."
TERRY drains a can of Old Milwaukee; as he sets down the empty, the camera pans down and we see numerous empties on the cable-spool coffee table.
VOICE OF MUNNY
Uh, no. No, I ain't drunk.
TERRY gets up and rubs his back, and walks out of sight. The sequence on the screen continues. In a moment TERRY returns with another six on a plastic yoke. He sits down and winces.
VOICE OF LITTLE BILL
Mister Beauchamp, this here is the sort of trash I was speakin' of.
He adjusts a pillow behind his back, and grimacing, picks up another can and pulls the tab. The view reverses; we now see the TV screen, where Little Bill is kicking the bejeezus out of Munny, who crawls on his hands and knees out of the bar, into the rainy, muddy street...
Again the view reverses; we see TERRY's eyes closing. The open beercan is still in his hand, supported by the arm of the couch. His head falls forward...
FADE
INT. TERRY'S APARTMENT - MORNING
Grey light filters in the room. Rain is lightly spattering on the window. Blue text flickers on the TV screen. TERRY is motionless, in the same position, beercan still in his hand. Is he dead?
Then, without budging, TERRY's eyes open.
TERRY
Uhhhhnnggghh.
He finally moves his head to look at the beercan.
TERRY
Ahhhhh... fuck!
TERRY turns sets down the can on the spool and slowly sits up at the edge of the couch. He becomes aware of the sound of the rain.
Then TERRY leans forward to retrieve a pair of jeans lying on the floor. As he bends, we hear a little POP...
TERRY
AUUCCK!
TERRY crumples in agony onto the floor. He tries to rise but fails. Slowly he creeps and slithers to the bathroom, pulling himself along with his arms and elbow.
He reaches the edge of the bathtub and manages to turn on the shower. Steam rises and water spatters on the floor.
TERRY struggles and manages to throw a knee over the egde of the tub, and rolls in. Finally, he rises to his knees and pulls down his shorts. The hot water pounds on his lower back. He remains there, taking long, deep breaths...
INT. TERRY'S APARTMENT - MORNING (MOMENTS LATER)
TERRY is wearing only jeans. His hair and beard are glistening wet, beads of water remain on his shoulders.
TERRY
(into cell phone)
Boss, I can't make it this morning... It's my back, I can hardly stand up... No, I delivered it yesterday; I think that's when I hurt my back... Workers' Comp? No, I hadn't thought about it... Ok... OK... I won't claim it... Just give me the day, I'll try to make it in tomorrow... Thanks, Boss.
TERRY hobbles into the bathroom and opens the medicine cabinet. He pulls out a bottle.
(closeup of bottle)
"TAKE ONE TABLET ORALLY EVERY SIX HOURS/ACETAMINOPHEN/CODEINE 30MG TAB"
TERRY empties the bottle. Three tablets roll into his hand. He tosses them in his mouth; then walks over to the couch and washes down the tablets with the open can of beer.
Then he sits down on the couch and adjusts the pillow. He looks down and sees LISA's card. He picks it up and reads it.
(closeup of card)
"LISA LOCKE/THERAPEUTIC MASSAGE/A Nurturing Blend of Swedish Massage, Caring Touch,/Deep Tissue Massage, and Intuitive Energy Work/240-568-4224"
TERRY puts the card down and turns back on the TV. He scrolls back to where he left off last night.
VOICE OF LITTLE BILL
If they was just here for the fuckin', how come they lit out the back window?
VOICE OF ALICE
On account of they seen you was beatin' on their friend.
TERRY switches off the sound and retrieves the card. He dials the number on his cell phone.
TERRY
(into cell phone)
Lisa... Hi, Lisa, this is Terry... Terry, Terry Wolfe... You know, the guy in the co-op... yeah, with the red beard, that's me... Pretty good, how about you?... Actually, I'm not doing so hot; I really racked my back... Unloading some sheetrock... Yeah, you ain't kidding it's heavy... I dunno, I guess so... Sure, five o'clock... 8104 Roanoke Drive... yeah, I think so... OK, thanks, I really appreciate it... Yeah, it'll be nice to see you again, too... No, I'll be there at five sharp, I understand... So long.
TERRY switches back on the sound, and downs the rest of the beer.
VOICE OF NED
Hold him, dammit.
VOICE OF THE KID
Jesus. (pause) You done this before?
TERRY nods out with the remote in his hand.
INT. TERRY'S APARTMENT - AFTERNOON
Raking sun comes through the blinds, shining on sleeping TERRY. He wakes with a start and looks at his watch.
TERRY
Holy shit!
TERRY, still in pain, struggles to pull a T-shirt over his head. He slips on some flip flops and leaves the apartment.
EXT. TERRY'S APARTMENT - AFTERNOON
TERRY walks up to his truck and gets in.
INT. TERRY'S TRUCK - AFTERNOON (TRAVELING)
TERRY struggles with the clutch. He gives up; kills the engine and shifts into low. Then he turns the key--the ancient truck has no lockout--the truck moves forward on the starter motor and then the engine engages. As the truck advances, TERRY slams it into high gear without clutching--gears grind horrendously.
EXT. SUBURBAN STREET - AFTERNOON
TERRY's truck lurches through a stop sign, horrible grinding sounds are heard as the truck passes by.
EXT. LISA's HOME - AFTERNOON
TERRY pulls up to a bungalow on a tree lined street. He gets out and approaches the house--the lead walk is blocked by recycling containers and other detritus, so
he walks along the driveway.
From the neighbor's yard a huge dog lunges at him, placing its front paws on the top of a fence and barking ferociously. TERRY turns toward the dog.
TERRY
Hey baby, be cool now.
The dog pauses, then continues to bark. Terry extends a hand.
TERRY
Hey now, it's ok, just be cool.
The dog pauses, then snaps at his hand. TERRY withdraws it just in time.
TERRY
Comeon, now, babe, let's be cool. Reaalll cooool.
TERRY extends his hand again. This time the dog lets TERRY pet its head.
TERRY
Thaaat's a good dog, nice dog, soooo cool now, yeah.
The dog makes a squealing sound. TERRY continues up the driveway, and hobbles up the porch steps.
The porch is strewn with children's toys and tricycles. The front door is open;
TERRY peers in and knocks. The YOUNG MAN walks out and meets TERRY on the porch; he is wearing a loosened tie and an ID tag on a chain. Inside is a YOUNG WOMAN holding an infant.
TERRY
Hi, uh, sorry to interrupt, I, uh, have an appointment with Lisa... but maybe I have the wrong...
YOUNG MAN
No, you're at the right house; Lisa's around back. There's a path along the left--but watch out for the neighbor's dog--it's viscious.
TERRY
Thanks, sorry to bother you.
TERRY descends the steps.
YOUNG WOMAN (o.s.)
Charles, you have to speak to Lisa about her clients coming to the front.
YOUNG MAN
(going back inside)
Darling, I've told her a hundred...
TERRY walks around the side of the house. The dog trots along the fence, whimpering. TERRY then turns the corner and finds a set of concrete steps leading a half flight down to a basement door. There is a sundeck above the steps. A cat is sunning on the wall beside the steps.
TERRY walks down the steps and raises his knuckles to knock, but LISA opens the door first. LISA walks out and confronts him in the small space.
TERRY
Hi, Lisa...
LISA
Do you realize what time it is?
TERRY
Uh, I know I'm late, I'm so sorry...
LISA
It's nearly six! I told you we're drumming tonight at the peace vigil; I've got to be downtown at seven.
TERRY
I know, you did tell me... I took some pain pills and fell asleep...
LISA
I'm sorry, too, Terry, but I have obligations. There's just not enought time to do anything for you now. I really should charge you for a no-show...
TERRY winces again and his knee flexes. He clutches his lower back.
TERRY
Unnnhhh.
LISA
Oh dear. Turn around.
TERRY turns away from her. LISA pulls up his shirt and runs her hand up and down each side of his spine. When her hand touches the small of his back, TERRY tenses slightly.
TERRY
Ooooo.
LISA
It's right here, I feel the heat.
TERRY
Yes, sometimes it's like an electric shock... I see a flash of light...
LISA rubs the spot slowly.
LISA
It's your sacro. It's in total spasm. Come in, let's get you up on the table.
LISA opens the door for TERRY who squeezes past her. At the last second, the cat jumps off the wall and skitters in between their feet.
INT. LISA'S HOME - AFTERNOON
LISA leads TERRY through a small kitchen, then through a bedroom decorated with printed fabrics and lots of candles. TERRY has to dodge a painted paper umbrella, hung upside down from the ceiling as a light shade.
Finally they reach a small room with a massage table. There is a high silled window at one end, and on the adjacent wall, a small stand with a boom box, some CD's, and some bottles of oil.
On the wall opposite the window is a poster of a blue skinned man and woman in a fanciful costume, with a bare midriff. The figures are flying on the back of a half-man, half-bird creature.
LISA
OK, you need to get undressed. Everything. I'm going to start on your ventral, so you need to lie on your back. Are you going to need help?
TERRY
Uh, no thanks, I think I can manage.
LISA
Good. Just pull this sheet over you when you lay down. I'll give you a couple of minutes.
LISA leaves and draws a curtain across the door. Examining the poster, TERRY undresses and lays down. He looks up at the bare joists.
LISA (O.S.)
Are you ready?
TERRY
OK.
Suddenly, he remembers the sheet and pulls it over himself. LISA enters with a glass of water.
LISA
OK, comfy?
TERRY
Yes, very... Thanks so much for doing this...
LISA
Never mind; I couldn't send you off like that... Now drink this water; it will help to flush the toxins away.
TERRY silent drains the glass.
TERRY
Wow, I didn't even know I was thirsty.
LISA
You're running around at the edge of dehydration, you know that? No wonder you've injured yourself! Now then, do you mind if I put on some music?
TERRY
Oh, sure. Please do.
LISA puts a CD in the boombox. TERRY can just make out LISA's legs through her gauzy pants, silhouetted by light from the window. The music is a raga, and starts with slow, shimmering arpegios on the sitar.
LISA
I hope you like ragas. They help me to listen to your body.
TERRY
I guess so, if that's what it takes.
LISA
For these sacros, I like to start at the top and work down... get everything around the crisis region as relaxed as possible, before dealing with it.
LISA begins to massage TERRY's scalp and temples. TERRY looks up and notices thick black hair in LISA's armpits, and the outline of her breasts and nipples against her tight, thin sleeveless shell.
TERRY
It's good to have a plan, I guess.
LISA
I do start with a strategy, generally, you know, but then I let my hands tell me exactly what to do. Now you just concentrate on your breathing, and try to relax. Imagine the toxins, draining out of your muscles, into your bloodstream.
LISA continues the massage, first working oil into his shoulders and arms, then kneading and pulling in slow, strong motions. TERRY is mezmerized by her breasts, changing shape as she works over him. Then LISA notices a bump on his collar bone.
LISA
That must have hurt.
TERRY
I guess. I was high at the time. Riding my bike and hit a patch of wet leaves. Going way too fast, as usual.
LISA
I like bicycling.
TERRY
I had to bicycle because my license was suspended. I haven’t ridden much since they reinstated it, though. Maybe I should take it up again and break the other collar bone. The shoulder on the broken side doesn’t stick out near as far as my good shoulder. It makes me look deformed.
LISA closes her eyes and continues.
LISA
You... have a beautiful body.
The raga builds in intensity.
TERRY
I like... I like your body, too.
LISA
OK, I need you to turn over. Let’s get to work on this knot.
TERRY turns over, keeping the sheet above his waist. As he turns, he fixes again on the figures on the poster. LISA continues with the massage.
Now watching LISA's bare feet, he sees the cat come in and rub against her legs.
FADE
(FLASHBACK) INT. YOUNG TERRY'S CAR - NIGHT
TERRY and CORTNEY laugh together. Then they pause.
TERRY
"If she slight me, when I woo,/ I can scorn and let her go"...
Cortney frowns and pulls away.
TERRY
I'm sorry... I didn't mean it.
CORTNEY
(scowling)
Good grief, Terry, you're such a mope.
Suddenly Cortney's face lights up.
CORTNEY
Why don't you find somewhere to park?
TERRY
You mean here?
CORTNEY
Yeah, here, why not?
TERRY
I dunno, CORTNEY, I guess cause...
CORTNEY
(with a devilish look)
'Cause I got something you might like.
Terry turns toward her, frowning. CORTNEY pulls an Altoids tin from her purse and opens it, and shows him the contents. The tin holds several generous joints and some strike anywhere matches. Terry's eyes light up.
TERRY
Wow, Where'd you get those? I haven't done any of that stuff since middle school.
CORTNEY
Omigod, Terry, where have you been keeping yourself, under some rock?
TERRY shrugs.
I'm sorry, Terry, you know what I mean. Come on, let's pull over. Look, up ahead.
(points ahead to a parking area)
Terry pulls off at the parking area. A sign reads "NO PARKING AFTER SUNSET."
TERRY
Uh-oh. We better go.
CORTNEY
Don't worry, nothing's gonna happen.
TERRY
I dunno about this. My dad’ll kill me if we get in trouble...
CORTNEY
Terry! You're such a stick in the mud. You really need to try some of this weed, it’ll loosen you up a little.
TERRY
Well, we can't smoke it here. We're sitting ducks for a cop.
CORTNEY
Doofuss! I didn't mean right here.
CORTNEY reaches over and puts the Altoids tin in his shirt pocket and kisses his cheek. Then she slides away and opens her door.
CORTNEY
Come with me. I think I know a place we can go.
CORTNEY gets out of the truck.
TERRY
What the...hey! Where are you going...
Terry grabs the keys and gets out.
EXT. A PARKING AREA - NIGHT
TERRY
Hey, wait up!
CORTNEY dances off toward a gap in the trees and turns toward Terry.
CORTNEY
Yo, slowpoke! Follow me, comeon!
Terry jogs after her. CORTNEY pauses and takes his hand, and leads him into the woods.
EXT. A WOODED PATH LEADING DOWN TO A CREEK - NIGHT
CORTNEY skips and bounds down the path, laughing, while holding Terry's hand. She reaches the bank and stops shortly, grabs his hand with both of hers and swings Terry toward the creek. He stuttersteps toward the creek and regains his balance by pulling her toward him, until they are almost embracing, tottering at the bank.
EXT. A CREEK - NIGHT
Breaking away, CORTNEY shrieks with laughter and tiptoes out onto some rocks in the creek. Once again she takes Terry's hand and leads him along.
They go maybe halfway across and find there are no more rocks within reach.
CORTNEY
Oh dear. Well, I think there's a bridge somewhere. Let's go back.
TERRY
(blocking her path)
No way, not now!
Terry scoops CORTNEY up in his arms, effortlessly, like he would lift a child. Then, carrying her, he plunges into the water, almost up to his crotch. CORTNEY kicks her legs up and squeals with delight, hugging him tightly around his neck.
EXT. THE FAR SIDE OF THE CREEK - NIGHT
They reach the other side, a sandy spot, sort of a nook defined by boulders and vegetation. The moon illuminates the two figures.
Terry sets her down gently. CORTNEY, viewed from behind, keeps her arms around his neck, and Terry, somewhat gingerly, holds her, just touching lightly her on the shoulders. She leans into him and kisses him, and backs away.
CORTNEY
Terry, I take back what I said about being a stick in the mud. Do you forgive me?
TERRY
I guess so--I mean no--I mean I was sorta agreeing with you.
CORTNEY
Oh Terry! You're too much. Hey, fire up a number. It'll help get your head out of your butt.
TERRY
Wow. I really mean it, I haven't done any pot since I was 15.
CORTNEY
Oh come on. I'm tellin' ya, this is some nice stuff.
TERRY
OK, no problem.
Terry takes the tin from his pocket and removes a joint and a match. He puts the joint in his mouth and strikes the match against the boulder, and lights up. When he gets it going, he passes it to CORTNEY.
CORTNEY takes a dainty hit, with the sound of air hissing between her lips. She smiles and passes it back.
Terry takes a long deep hit and holds it in. His eyes are scrunched shut and his cheeks bulge. Then he leans his head back and lets it out slowly, issuing a long stream of smoke.
TERRY
Wooo-oooohhh! Oh man! What a rush.
They pass the joint back and forth a few times, giggling.
TERRY
Hoh yeah, that went straight to my head... and beyond!
CORTNEY
Me too. Feelin' a little better?
Terry does not reply. He sets the roach on the boulder and faces her. This time he initiates an embrace, and they kiss again.
CORTNEY pulls back a little and smartly pulls her t-shirt over her head, and drops it. She shakes out her hair, and reaching back, unsnaps her bra, and lets it fall away. She is still facing away, towards Terry, but her back is shapely and alluring.
TERRY
(shuddering ever so slightly)
You are so beautiful.
CORTNEY smiles and unbuttons his shirt. Terry slips it off and sets it on the boulder. He is lean, but sculpted. His eyes are fixed on her as he picks up the roach and takes another hit. They kiss again, languidly, completely absorbed in one another. CORTNEY still faces away. Terry's hands caress her back, and slowly move down the sides of her thighs.
CORTNEY
(breathlessly)
Oh Terry.
Pulling back, but still in his arms, CORTNEY fumbles with the snap of her jeans for a moment, and they fall away. She is clad only in panties now.
TERRY
(whispers)
Oh my.
They hug quietly for a moment, gazing into each others eyes.
CORTNEY
(moans)
Take me.
Monday, August 30, 2010
Monday, August 23, 2010
further disturbance (screenplay, updated)
As the development of this screenplay progresses, I am becoming painfully aware of how trite and unsatisfactory the original story is. In retrospect, it is loaded with cheap shots, and, well, fundamentally misogynistic.
Writing this screenplay, I am becoming better acquainted with the characters--a necessary outcome of putting words in their mouths, and forcing them to interact--in this process, they become more human, more individualized--and far more sympathetic. It's no longer a simple comedy.
The original story line seems to be holding up, but each major character has its own issues, its own struggle. Cortney and Donna, and Lisa and Robin are becoming sets of foils. The Old Man and Terry's father will be foils as well.
Those of you from my neck of the woods will recognize the Gazebo Park on Carroll Avenue, Video American, the Takoma Park Co-op, and Galliher and Huguely's lumber yard on Blair Road. Terry's apartment will be on funky Edinburg Lane. Other "landmarks" will appear.
My ultimate objective is to shoot this movie here, in Takoma Park and Silver Spring, with local production and talent.
Writing this screenplay, I am becoming better acquainted with the characters--a necessary outcome of putting words in their mouths, and forcing them to interact--in this process, they become more human, more individualized--and far more sympathetic. It's no longer a simple comedy.
The original story line seems to be holding up, but each major character has its own issues, its own struggle. Cortney and Donna, and Lisa and Robin are becoming sets of foils. The Old Man and Terry's father will be foils as well.
Those of you from my neck of the woods will recognize the Gazebo Park on Carroll Avenue, Video American, the Takoma Park Co-op, and Galliher and Huguely's lumber yard on Blair Road. Terry's apartment will be on funky Edinburg Lane. Other "landmarks" will appear.
My ultimate objective is to shoot this movie here, in Takoma Park and Silver Spring, with local production and talent.
LIMITS OF DISTURBANCE (c)
By Alan Abrams
ALL RIGHTS RESERVED
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY pulls a stack of 2x4's off a truck and balances them on his shoulder. He walks to some saw horses and flips them off his shoulder onto the horses, landing in a neat stack with a THWACK.
TERRY goes back and loads his shoulder again with more 2x's.
THE OLD MAN and the ARCHITECT arrive and approach TERRY.
THE OLD MAN
Terry.
TERRY does not notice because he has buds in his ears.
THE OLD MAN
Wolfe!
TERRY is startled and swings around--the 2x's arcing toward THE ARCHITECT's head--who awkwardly DUCKS--dropping the plans he was carrying.
THE OLD MAN
Jeezusfuckingchrist!
TERRY
Sorry! I didn't hear...
THE OLD MAN
Take those frikkin' earphones outta your ears!
TERRY
Yessir, sorry about...
THE OLD MAN
Never mind...Ms Woods here yet?
TERRY
No, sir, I haven't seen her around today. Are you expecting...
THE OLD MAN
(to THE ARCHITECT)
Good, we beat her. I don't like that woman snooping around here...she's nothing but trouble...
(to TERRY)
You watch it with her. You don't talk to her unless she asks you a question--and if she does, make sure you don't tell her anything. You got that?
TERRY
Gee, boss, we get along pretty good, she comes by almost every afternoon...
THE OLD MAN
I'm tellin' you, Terry, you watch it with that woman.
(to THE ARCHITECT)
Come on, Martin, let's take a look inside.
INT. A new home construction site - day
The house is still in rough-in stage. Workers bustle and clatter. THE OLD MAN and THE ARCHITECT walk around inside, and walk upstairs.
THE ARCHITECT pauses at the top of the stairs and unrolls the plans.
THE ARCHITECT
Something's not right. The master bathroom should be right here.
THE OLD MAN
Lemme see those plans.
They study the plan and look around. A huge PLUMBER tromps by, carrying a toilet bowl by the rim in one hand, and a toilet tank in the other.
THE OLD MAN
Hey! What is going on here...where's the bathroom?
PLUMBER
(gestures with his head)
We moved it ovah' yonder.
THE OLD MAN
What the fuck...
PLUMBER
I jus' done what I's told, man. Talk to Terry.
THE OLD MAN
Terry? He told you to move the bathroom?
Other workers gather around.
PLUMBER
Tha's what I said, man. Talk to Terry...I gotta load up and get outta here.
THE OLD MAN
Someone get Terry, NOW!
The workers scatter. Shouts go up...
PLUMBER
YO! Wolfman!
CARPENTER
Ese! Lobo! El jefe te quiere!
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY is using a skilsaw and cannot hear. The CARPENTER walks up to him; TERRY looks up.
TERRY
Orale, Orsi.
CARPENTER
(jerks his thumb toward the house)
Ese, Lobo, el jefe quiere verte, y hola, ¿está cabreado?
TERRY
Ajora?
CARPENTER
Si, cholo, ajora.
TERRY puts down his saw and goes in the house.
INT. A NEW HOME CONSTRUCTION SITE - DAY
Workers look on and follow as TERRY walks up the stairs.
THE OLD MAN
Wolfe, what the hell is going on here? Did you change the layout?
TERRY
Boss, we had to move the bathroom--if we framed it like the plan, there wouldn't be enough headroom for the stairs.
THE ARCHITECT
That's impossible! We don't make bush league mistakes like that.
CARPENTER
Ees true, man! You woulda bonk you head right here.
(gestures at his forehead)
THE ARCHITECT
Ridiculous. I checked these plans myself. Jack, do you have a tape?
TERRY whips his tape measure from his pouch and hands it to THE ARCHITECT, who glares back at him. THE ARCHITECT then wanders off, measuring various conditions.
TERRY
Boss, there was no way this was going to work.
THE OLD MAN
(Seething)
Then why in the fuck didn't you tell me?
TERRY
It was two weeks ago when I figured it out--you were at that golf tournament in Myrtle Beach.
THE ARCHITECT returns and looks down the stairs. Then he slaps his forehead.
THE ARCHITECT
Jack, I'm afraid your man is right--when Robin had us widen the opening to the living room, we moved the stairs back two feet. It didn't occur to me to adjust the second floor plan.
THE OLD MAN
Christonnafuckingcrutch! I told you she was bad news...
ROBIN
(from down below)
Hel-lo! Anybody home?
THE OLD MAN
(Aside)
Shit!
THE OLD MAN
We're upstairs, Ms Woods.
ROBIN ascends the stairs. Wearing high heels and tight designer jeans, she gracefully steps across extension cords and debris.
ROBIN
Hi everyone. Sorry I'm late. Hi Martin, hi Jack.
ROBIN shakes hands with THE OLD MAN and THE ARCHITECT. Then she notices TERRY, and goes over to him.
ROBIN
(cheerily)
Oh, Terry--I didn't know you were going to be here, too.
ROBIN air kisses TERRY, who blushes.
TERRY
Hi, Robin.
THE OLD MAN
Ms Woods, we just noticed a little problem with the layout. But don't worry, we'll make it right.
ROBIN
Oh! You mean the bathroom.
(she giggles)
THE OLD MAN
Really, it's no problem, we'll move it back where it's supposed to go...
ROBIN
No, I looove it, just the way it is! Terry came up with the idea...it was...just...brilliant! It's where I wanted it in the first place, with that window looking out at the garden. Please don't change a thing!
THE OLD MAN
Jeezusfu...Martin, what will it take to get a revision? We can't get a close-in inspection until we get the plans revised.
THE ARCHITECT
I'll get right on it, but it will still take a couple of days to draft up the changes, and there's no telling how long before the county signs off...
THE OLD MAN
At least another week shot to hell...
TERRY
Boss, it's not a problem. I went over it with the inspector, and he signed off this morning. We're good to go.
TERRY pulls the green sticker from his back pocket and hands it to THE OLD MAN. THE OLD MAN snatches it from TERRY, looks at it, scowls, and gives it back.
THE OLD MAN
(still royally pissed)
Post this and order the drywall.
TERRY
It's already on the road. Should be delivered this afternoon. Carlos and his guys will be here tomorrow to start hanging.
THE OLD MAN glares at TERRY.
THE OLD MAN
(to the PLUMBER)
What's this going to cost me, moving all this piping?
PLUMBER
Mr Jack, I jus' tied on to the stack from the hall bath...movin' that bathroom saved you six hundred bucks...uh...sorry, Ma'am...guess it saved you the money, right, Ms Woods...
THE OLD MAN
Uh, yes, that's right. We'll make sure you get a credit, Ms Woods.
(to TERRY)
Terry, I don't like how this was handled, not one bit, but I reckon you made the right call. But we still need to talk...Wednesday afternoon, when you bring in the time cards...
TERRY
No problem.
TERRY heads back down, and the other workers return to their activity.
THE OLD MAN
Ms Woods, how about we take a look at your new bathroom...
FADE
INT. A CO-OP GROCERY STORE
Terry, dressed in work clothes, is looking for some ready-to-eat lunch. Nearby, a woman is stocking shelves.
LISA
Can I help you find something?
TERRY
Oh, no thanks, just looking for something quick, you know, for lunch. Sometimes I get that beef and cheese burrito, but I don't see it here...
LISA
Omigosh--those are horrible! They have like, 800 milligrams of sodium, and beef...well, you know, is like the worst!
TERRY
Uh, well, um...
LISA
Did you know it takes seven times more protein to bring a beef to market than that poor cow yields?
TERRY
Gee, I guess...
LISA
And the conditions those cows have to endure! If you knew what it's like in a stockyard...Oh...here's something your should try.
TERRY
(reading the label)
Tempeh Burgerette...
LISA
It's much better than the processed tofu. People see tofu on the label, and assume it's healthy, but they're putting so many additives into it these days...Omigosh...I'm sorry, I'm yakking your ear off.
TERRY
Oh, no, thanks a ton. I'll give it a try...
TERRY looks at the package quizzically. LISA resumes stocking. TERRY looks back up.
...You must like working here, I mean, being into food and all that.
LISA
I don't really work here-not for pay, anyway. It's like this-if you put in 4 hours a month, you get a 20% discount on groceries. It works out pretty good.
TERRY
Soooo, what do you do the rest of the time?
LISA
Well, sometimes I teach a yoga class at the Y. Mostly, I do massage therapy-I have my own practice. But it's been awfully slow lately...
TERRY
Yeah, I can imagine. Times are tough.
LISA stands and faces TERRY.
LISA
You know, what I love most of all is drumming.
TERRY
Wow, do you, like, play in a band?
LISA
Gosh no...well, sort of...there's a group of us that gets together at the little park on Jefferson Street...it's pretty informal, but some of us are regulars. In fact, we're meeting tonight. You should stop by.
TERRY
Gee, I don't know...
LISA
Oh, come on! I'll bring an extra drum...you'll enjoy it. Here's my card...give me a call...or just stop by.
TERRY
(reading from the card)
OK..."Lisa"...maybe I'll check it out. Thanks a lot. Oh, and thanks for the advice on lunch.
LISA
No problem...
TERRY
Terry. Terry Wolfe.
TERRY holds out his hand and SMILES. LISA takes his hand with both of hers and bows slightly.
LISA
Terry. Nice to meet you, Terry.
(DRUMS)
FADE
EXT. A Community coop store - day
(DRUMS continue)
TERRY opens a paper bag and takes out the temper sandwich. He examines the wrapper again...
(DRUMS rise to climax)
...and lobs it into a trash can.
CUT
INT. TERRY'S APARTMENT - EVENING
TERRY is slumped on his couch, stocking feet on a wooden cable spool that serves as a coffee table. From the TV, we hear, "Don't die, Blondie, I'll get you water. Stay there. Don't move, I'll get you water. Don't die until later..." He examines LISA's card, and flips it onto the table. Then, he leans forward and starts to put on his shoes.
FADE
EXT. THE PARK ON JEFFERSON STREET - NIGHT
DRUMMING is heard in the distance. TERRY is walking down the street. He approaches a group of drummers under and around a festive gazebo in the park.
He sees LISA near the center of the group. She is playing frenetically, trading savage riffs with the TALL DRUMMER--a striking looking older man. They smile and say inaudible things to each other; the other drummers look on and follow them.
TERRY pauses at the fringe and watches. The rhythm grows even more intense. He begins to move closer. LISA, transfixed on the TALL DRUMMER, does not notice him.
Then, TERRY turns and walks away. LISA finally notices him and gestures and calls out, but TERRY does not hear. LISA continues to drum.
TERRY walks back slowly, with his head down.
FADE
EXT. SAVANNAH CONTRACTING - DAY
(Adagio movement, Concerto for Harpsichord, Strings, and Continuo #3, JS Bach)
TERRY looks at his watch, then at the sign over the door. He looks troubled. Enters.
INT. SAVANNAH CONTRACTING - DAY
TERRY approaches THE OLD MAN's office. The door is open, and we see THE OLD MAN sitting at his desk, phone in hand.
TERRY taps on the door jamb, and THE OLD MAN gestures for him to sit. TERRY nods and sits down quietly.
THE OLD MAN
(into phone)
Lou, I'm tellin' ya, we gotta have those cabinets on Thursday...Waddya mean, next week?...Lou...Lou... listen to me, Lou, you're fucking me with a limber prick and you ain't even kissing me...OK...OK...NO!...OK, Thursday, right...OK, then...I appreciate it.
Slams down receiver.
THE OLD MAN
Phew...
TERRY
You wanted to see me?
THE OLD MAN
Hello, Terry, how's it going?
TERRY
OK, I guess. Is everything alright?
THE OLD MAN
Terry, looking back on last Friday, you done good. Real good. As a matter of fact, I was proud of you. And then yesterday, you're an hour and a half late. My fucking phone is ringing like church bells at a Moonie wedding. Where's Terry, where's Terry. We're outta this, I can't find that. You think I got time to run out to your job and play nursemaid?
TERRY
I'm sorry Boss, my battery died...
THE OLD MAN
(getting upset)
Shit happens, Terry. And it ain't like this is the first time...
TERRY
I know, Boss...but when I'm late, I always stay late and make up the time...sometimes I don't even put down the hours on my time sheet...
THE OLD MAN
(getting hotter)
God dammit, son, the rest of the entire world of construction commences at seven AM. Except for you. Dammit, boy, you get where I'm coming from?
TERRY
Yes, sir.
THE OLD MAN
(calming down)
Terry, we've got good, hardworking people out there, but they need guidance. Without guidance, they're like children on a playground. They need you, Terry...I need you.
TERRY, silent and still, looks intently into THE OLD MAN'S face.
THE OLD MAN
(very calmly)
Terry, tell me you hear what I'm saying.
TERRY
I hear you.
THE OLD MAN
OK then.
TERRY starts to RISE.
THE OLD MAN
Wait a minute.
TERRY sits back down
THE OLD MAN
Carlos called a little while ago. He says he's short 26 boards.
TERRY
26 boards? I couldn't be that far off...
THE OLD MAN
That's what he said, 26 boards. 26 twelve footers. I need you to run down to the yard and pick up 26 twelve footers and get it out to him, pronto.
TERRY
Boss, I can call the yard and have it delivered tomorrow...
THE OLD MAN
We need it now. Carlos said he'd wait out there to help you unload.
TERRY
But Boss, that's almost a ton of material...my shocks are shot, and my tires...
THE OLD MAN
God DAMMIT!
BANGS his fist on the desk so hard pencils jump on the floor.
I don't give a skinny rat's ass about your goddam truck. You screwed up the estimate, and you gotta make it right. You got that?
TERRY
(Rising)
Yes, sir.
THE OLD MAN
(calm again)
Son, you're wearing me out, you know that? You gotta decision to make, whether you want to keep this job or not. You with me? I hope you make the right decision.
(CONCERTO rises again--the saddest strains)
FADE
EXT. LUMBER YARD - DAY
(AVEN AVEN - Gypsy Kings)
A forklift loaded with drywall is approaching TERRY's truck.
FORKLIFT GUY
Is no good, man. Gonna break you fokking axel.
TERRY
Don't worry, just set'er down easy, nice and...EASY does it.
The FORKLIFT GUY sets the load in the truck, and gently pushes it forward. The rear of the truck sags ominously, and two feet of board still hangs past the open tailgate.
TERRY hunches down and peers under the bed of the truck
Suave! I've got daylight under the springs.
TERRY rocks the bed of the truck to prove it.
FORKLIFT GUY
Chiwow, Lobo. Usted es un hijo de puta loca.
TERRY
Aieee! Mi burro viejo puede manejar! See you later, Tito!
TERRY gets in the truck and drives off. The truck wallows in the ruts of the unpaved yard. He proceeds onto the main drag. A car swerves in front of him and he SLAMS on the brakes. Two rental DVD’s slide from the visor.
TERRY
TERRY
Dag! More late fees!
TERRY hangs a wicked U-turn, truck YAWING precipitously, and drives to the VIDEO STORE.
SCENE 7 Ext. THE VIDEO STORE - Day
He whips in front of the store and gets out, leaving the engine running. He starts to put the CD's in a slot in the door when he notices a woman inside waving to him. He peeks inside.
INT. THE VIDEO STORE - day
DONNA
Hey, dork, that slot is for after-hours.
TERRY
Sorry, Don, I'm on the run
DONNA
It's Donna to you, buster. And by the way, I've been holding that disc you asked me about for a week now.
TERRY
The Unforgiven?
DONNA
Unforgiven. No the. If you want it, you better take it now, or I need to put it back on the shelf.
TERRY
Don, I really have to scramble...
DONNA
Yaknow, this is a popular disc, and every time I tell someone it's not available, I lose another customer to Netflix. I'm fighting a losing battle here, dude...
TERRY
(glancing back to his truck)
Sorry, I don't mean to mess you up. I'll take it now.
DONNA bends at the waist to retrieve the disc from under the counter. As she leans, her top DROOPS, and TERRY cannot help glancing at her boobs. DONNA notices.
DONNA
Hey, creep, no drooling on my counter.
TERRY shoves his right fist under his shirt and bump-bumps over his heart.
TERRY
(smiling)
Ka-thump, ka-thump, ka-thump.
DONNA rolls her eyes and hands him the disc and a receipt. TERRY starts to sign the receipt and looks up at DONNA.
You wanna come over and watch it with me?
DONNA
No thanks, bub, seen it twice. And anyway, I thought you were getting back together with Cortney.
TERRY
I tried. I really tried. I think she did, too. But it hardly took anytime at all before we were fighting again, same old stupid shit. Stuff I don't even care about, until she presses the right button. Then, bam, I'm seeing red, and here we go again. It's like someone wrote a script for us...
DONNA
...and you don't have any choice but to play the roles. Yadyada.
TERRY
Dammit, Don, it's true, it's like we don't even have a choice. I had to get out of there.
DONNA
I never understood why you got hitched in the first place. You were the brainy one, the big SAT score. Didn't you have a scholarship for, what, archeology...some hot shot school down south?
TERRY
Architecture. Auburn. Anyway, that's water under the bridge.
DONNA
Jeez, Terry, it's not too late...
TERRY
Well, it's not in the cards for now, with my shitty salary, and child support on top of that.
DONNA
Oh, that's right, you have a kid. My god, Terry, he must what, two or three years old...
TERRY
(beaming)
Almost six, and she's a girl. Her name is Juniper. She's going into first grade next week...it flips me out. She's a real, complete little person, totally cool...and smart...smarter than me, I think.
TERRY pulls out his wallet and shows DONNA a photo.
DONNA
Oh, she's adorable! Juniper. Six years old...Terry, you were so young.
TERRY
I know, I know. Everyone wanted us to make it go away. But I was a knucklehead about it. My father wouldn't even speak to me for months. And I leaned way too hard on Cortney...maybe that's why she's still so angry with me.
DONNA admires the photo again and hands it back to TERRY
DONNA
Juniper. Sometimes I wish I had my own...shit!...is that your truck out there?
They look out the window. A meter maid approaches the truck.
TERRY
Damn! Gotta go! But, hey, why don't you come over...I'll get a pizza and some...beer...
DONNA
I'd like to sometime, Terry, but not right now. I'm sorta seeing someone...
TERRY
Well, lucky guy, I guess...
DONNA
You better beat it, ragmop, look's like she's about to write you up.
TERRY dashes out the door.
EXT. THE VIDEO STORE - DAY
TERRY rushes up to the METER MAID.
TERRY
I'm sorry, I just meant to drop off a movie...I'm leaving right now...
METER MAID
I'm sorry, too, I already entered your tag.
METER MAID holds up an electronic device.
Once I enter the number, I have to issue a ticket. And you're taking up two spaces, too.
TERRY
You mean you're giving me two tickets? That's seventy bucks!
METER MAID
Two spaces are two spaces.
TERRY
I know, but you haven't entered the other ticket yet, have you? I can put a quarter in the meter.
METER MAID
Look, I'm just doing my job, sir.
TERRY
I'll put in fifty cents...
TERRY fumbles in his pockets.
I mean, if I have it...
METER MAID glares at Terry and hands him a ticket, and starts to enter another.
TERRY
Oh please, please, please give me a break...it will never happen again...I promise!
TERRY gives METER MAID a goofy smile, she starts to crack up.
METER MAID
Alright, son, just this once. But if I see this truck again, parked like this, I'll...
TERRY
Thankyouthankyouthankyou, I won't forget this...
TERRY jumps in the truck and starts to pull away. He yells out the window at the METER MAID
Thankyouthankyou...I love you!
FADE
INT. YOUNG TERRY'S CAR - NIGHT
TERRY
Sorry you didn't like it.
CORTNEY
Well, it was pretty creepy. I mean, like, the ladies' room...ungghh...I didn't want to touch anything. But the burgers were pretty good.
TERRY
Yeah, and they didn't card us...
CORTNEY
That's right, I forgot...your birthday isn't til August.
They drive on in silence for a moment. TERRY turns on the radio.
CORTNEY
Terry, I had fun tonight. Now that school is over, I feel like I'm getting to know you better.
TERRY switches off the radio.
TERRY
Cortney...I...I love you, Cortney.
CORTNEY
Oh, Terry--please don't mean it--not that way...not the way I think you mean it...
TERRY
I mean it, Cortney...I mean...I mean, what do you mean?
ROBIN
I mean, like, we've only been going together for a few weeks...
TERRY
It'll be three months, tomorrow...
Cortney
See what I mean! We hardly know each other. And you're leaving for school soon, like, in Alabama, of all places! What's that going to be like, surrounded by those southern belles, and me up here, living with my 'rents...
TERRY clams up, drives on, clenching the wheel with both hands. He turns on the radio again.
CORTNEY
Terry? Terry, I'm sorry. I like you a lot. I really do, I think about you all the time...remember, in English class, when you recited that poem...
TERRY turns off the radio.
TERRY
"Shall I, wasting in despair, die because a woman's fair..."
CORTNEY
Yeah, that's the one...it made me melt, Terry. I knew you were speaking to me.
TERRY
And I could see you start to cry. I think that's when I fell...
Cortney
Please don't say it, Terry. You're the nicest guy I know, but I'm not ready to get tied down yet.
TERRY clams up again. CORTNEY turns toward him and places her left hand on TERRY's right arm.
CORTNEY
Terry.
TERRY switches on the radio with his right arm. CORTNEY pulls her hand away.
Terry, I'm sorry. I didn't mean to hurt your feelings. Can't we be friends? I mean, like really good friends?
TERRY
"Be she fairer than the day, or the flowery mead in May, If she be not so to me..."
Terry and cortney, in unison
"...What care I, how fair she be?"
TERRY and CORTNEY both break out laughing.
FADE
INT. TERRY'S TRUCK - DAY
TERRY chuckles to himself. He approaches the...
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY drives up along side a new crew cab pickup truck. Carlos is in its drivers seat, with three other guys.
TERRY
Ese, Carlos.
Carlos
Eh, Lobo, where you been, man? We just be leaving.
TERRY
Sorry, man, I got hung up. Come on, let's get this board into the house.
CARLOS
No way, 'migo. Is already way past four. We get it in the morning.
CARLOS starts his engine and shifts into gear.
TERRY
But I have to be in the office first thing, to pick up the payroll. If I'm late, the Old Man will ream me a new asshole...
CARLOS
Sorry bout that, ese, we be waiting for you for two hours. I gotta pay these guys for sit around doin' nothing, count a you be late. I see you later...
CARLOS pulls away. TERRY also starts to pull away, traveling down the street, but then backs up, pauses in front of the house, and then backs up the driveway.
TERRY gets out and walks to the back of the truck. He tears the paper strip that binds the ends of a pair of boards into a book; then jerks the top board sideways to tear the front strip. He starts to pull the board out of the truck and pauses.
Then he shoves the board back in, gets back in the truck, and backs up across the muddy, rutted front yard, up to the front door. His old truck lurches and wallows.
TERRY proceeds to unload the boards one at a time. It begins to rain, big splats of water on the board and on his shirt. So he starts to carry the boards in pairs, struggling mightly.
The rain intensifies. TERRY struggles, slipping and sliding in the mud.
Finally he finishes unloading. He completely muddy up to his knees, and his soaked shirt clings to his back. He pauses, panting, under the small front porch roof. The rain slacks off.
TERRY hunches his shoulders and turns his head from side to side, trying to loosen his muscles--when he hears from a distance...
ROBIN
Terry! Is that you?
ROBIN has driven up to the curb. TERRY sees her and waves. ROBIN starts to get out of her car.
TERRY
Hi, Robin. Hey, don't get out, it's pretty muddy...
ROBIN pops up a huge fancy umbrella and tiptoes in her high heels up some planks laid in the mud. She is carrying a tote bag.
ROBIN reaches the little stoop and furls the umbrella. She and TERRY must stand close together to stay out of the rain.
ROBIN
Hi Terry, I was hoping to find you here. I brought you a little something, to say thanks for all you've done.
ROBIN slips a bottle of champaigne halfway out of her bag.
TERRY
Gee, Robin, thanks, but I'm just doing my job...
ROBIN
No, Terry, everything is coming out great. Really great. And I hate to say it, but I'm so glad I'm working with you and not with your boss...I shouldn't say any more. Let's go inside. I have some glaaa-sses!
ROBIN smiles provocatively. TERRY backs up against the door.
TERRY
I dunno, Robin. I mean, thanks, thanks a lot, but I'm soaked to the bone. I need to get cleaned up...
TERRY starts to move around and winces sharply.
ROBIN
ROBIN sets down her tote bag.
Terry! Are you all right?
TERRY
(recovering somewhat)
I'm ok, my back is a little sore, that's all.
ROBIN
ROBIN places her hand on his chest.
Where does it hurt, Terry, maybe I can do some...
TERRY
It's really nothing, Robin, but I better get going. Maybe some other time...
TERRY winces again, and his knee partially buckles.
ROBIN
Terry!
TERRY
I'm sorry, I should go...
ROBIN backs off and TERRY sidles around her and gets back in his truck. ROBIN remains standing on the porch, her expression saddening as TERRY pulls away.
FADE
By Alan Abrams
ALL RIGHTS RESERVED
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY pulls a stack of 2x4's off a truck and balances them on his shoulder. He walks to some saw horses and flips them off his shoulder onto the horses, landing in a neat stack with a THWACK.
TERRY goes back and loads his shoulder again with more 2x's.
THE OLD MAN and the ARCHITECT arrive and approach TERRY.
THE OLD MAN
Terry.
TERRY does not notice because he has buds in his ears.
THE OLD MAN
Wolfe!
TERRY is startled and swings around--the 2x's arcing toward THE ARCHITECT's head--who awkwardly DUCKS--dropping the plans he was carrying.
THE OLD MAN
Jeezusfuckingchrist!
TERRY
Sorry! I didn't hear...
THE OLD MAN
Take those frikkin' earphones outta your ears!
TERRY
Yessir, sorry about...
THE OLD MAN
Never mind...Ms Woods here yet?
TERRY
No, sir, I haven't seen her around today. Are you expecting...
THE OLD MAN
(to THE ARCHITECT)
Good, we beat her. I don't like that woman snooping around here...she's nothing but trouble...
(to TERRY)
You watch it with her. You don't talk to her unless she asks you a question--and if she does, make sure you don't tell her anything. You got that?
TERRY
Gee, boss, we get along pretty good, she comes by almost every afternoon...
THE OLD MAN
I'm tellin' you, Terry, you watch it with that woman.
(to THE ARCHITECT)
Come on, Martin, let's take a look inside.
INT. A new home construction site - day
The house is still in rough-in stage. Workers bustle and clatter. THE OLD MAN and THE ARCHITECT walk around inside, and walk upstairs.
THE ARCHITECT pauses at the top of the stairs and unrolls the plans.
THE ARCHITECT
Something's not right. The master bathroom should be right here.
THE OLD MAN
Lemme see those plans.
They study the plan and look around. A huge PLUMBER tromps by, carrying a toilet bowl by the rim in one hand, and a toilet tank in the other.
THE OLD MAN
Hey! What is going on here...where's the bathroom?
PLUMBER
(gestures with his head)
We moved it ovah' yonder.
THE OLD MAN
What the fuck...
PLUMBER
I jus' done what I's told, man. Talk to Terry.
THE OLD MAN
Terry? He told you to move the bathroom?
Other workers gather around.
PLUMBER
Tha's what I said, man. Talk to Terry...I gotta load up and get outta here.
THE OLD MAN
Someone get Terry, NOW!
The workers scatter. Shouts go up...
PLUMBER
YO! Wolfman!
CARPENTER
Ese! Lobo! El jefe te quiere!
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY is using a skilsaw and cannot hear. The CARPENTER walks up to him; TERRY looks up.
TERRY
Orale, Orsi.
CARPENTER
(jerks his thumb toward the house)
Ese, Lobo, el jefe quiere verte, y hola, ¿está cabreado?
TERRY
Ajora?
CARPENTER
Si, cholo, ajora.
TERRY puts down his saw and goes in the house.
INT. A NEW HOME CONSTRUCTION SITE - DAY
Workers look on and follow as TERRY walks up the stairs.
THE OLD MAN
Wolfe, what the hell is going on here? Did you change the layout?
TERRY
Boss, we had to move the bathroom--if we framed it like the plan, there wouldn't be enough headroom for the stairs.
THE ARCHITECT
That's impossible! We don't make bush league mistakes like that.
CARPENTER
Ees true, man! You woulda bonk you head right here.
(gestures at his forehead)
THE ARCHITECT
Ridiculous. I checked these plans myself. Jack, do you have a tape?
TERRY whips his tape measure from his pouch and hands it to THE ARCHITECT, who glares back at him. THE ARCHITECT then wanders off, measuring various conditions.
TERRY
Boss, there was no way this was going to work.
THE OLD MAN
(Seething)
Then why in the fuck didn't you tell me?
TERRY
It was two weeks ago when I figured it out--you were at that golf tournament in Myrtle Beach.
THE ARCHITECT returns and looks down the stairs. Then he slaps his forehead.
THE ARCHITECT
Jack, I'm afraid your man is right--when Robin had us widen the opening to the living room, we moved the stairs back two feet. It didn't occur to me to adjust the second floor plan.
THE OLD MAN
Christonnafuckingcrutch! I told you she was bad news...
ROBIN
(from down below)
Hel-lo! Anybody home?
THE OLD MAN
(Aside)
Shit!
THE OLD MAN
We're upstairs, Ms Woods.
ROBIN ascends the stairs. Wearing high heels and tight designer jeans, she gracefully steps across extension cords and debris.
ROBIN
Hi everyone. Sorry I'm late. Hi Martin, hi Jack.
ROBIN shakes hands with THE OLD MAN and THE ARCHITECT. Then she notices TERRY, and goes over to him.
ROBIN
(cheerily)
Oh, Terry--I didn't know you were going to be here, too.
ROBIN air kisses TERRY, who blushes.
TERRY
Hi, Robin.
THE OLD MAN
Ms Woods, we just noticed a little problem with the layout. But don't worry, we'll make it right.
ROBIN
Oh! You mean the bathroom.
(she giggles)
THE OLD MAN
Really, it's no problem, we'll move it back where it's supposed to go...
ROBIN
No, I looove it, just the way it is! Terry came up with the idea...it was...just...brilliant! It's where I wanted it in the first place, with that window looking out at the garden. Please don't change a thing!
THE OLD MAN
Jeezusfu...Martin, what will it take to get a revision? We can't get a close-in inspection until we get the plans revised.
THE ARCHITECT
I'll get right on it, but it will still take a couple of days to draft up the changes, and there's no telling how long before the county signs off...
THE OLD MAN
At least another week shot to hell...
TERRY
Boss, it's not a problem. I went over it with the inspector, and he signed off this morning. We're good to go.
TERRY pulls the green sticker from his back pocket and hands it to THE OLD MAN. THE OLD MAN snatches it from TERRY, looks at it, scowls, and gives it back.
THE OLD MAN
(still royally pissed)
Post this and order the drywall.
TERRY
It's already on the road. Should be delivered this afternoon. Carlos and his guys will be here tomorrow to start hanging.
THE OLD MAN glares at TERRY.
THE OLD MAN
(to the PLUMBER)
What's this going to cost me, moving all this piping?
PLUMBER
Mr Jack, I jus' tied on to the stack from the hall bath...movin' that bathroom saved you six hundred bucks...uh...sorry, Ma'am...guess it saved you the money, right, Ms Woods...
THE OLD MAN
Uh, yes, that's right. We'll make sure you get a credit, Ms Woods.
(to TERRY)
Terry, I don't like how this was handled, not one bit, but I reckon you made the right call. But we still need to talk...Wednesday afternoon, when you bring in the time cards...
TERRY
No problem.
TERRY heads back down, and the other workers return to their activity.
THE OLD MAN
Ms Woods, how about we take a look at your new bathroom...
FADE
INT. A CO-OP GROCERY STORE
Terry, dressed in work clothes, is looking for some ready-to-eat lunch. Nearby, a woman is stocking shelves.
LISA
Can I help you find something?
TERRY
Oh, no thanks, just looking for something quick, you know, for lunch. Sometimes I get that beef and cheese burrito, but I don't see it here...
LISA
Omigosh--those are horrible! They have like, 800 milligrams of sodium, and beef...well, you know, is like the worst!
TERRY
Uh, well, um...
LISA
Did you know it takes seven times more protein to bring a beef to market than that poor cow yields?
TERRY
Gee, I guess...
LISA
And the conditions those cows have to endure! If you knew what it's like in a stockyard...Oh...here's something your should try.
TERRY
(reading the label)
Tempeh Burgerette...
LISA
It's much better than the processed tofu. People see tofu on the label, and assume it's healthy, but they're putting so many additives into it these days...Omigosh...I'm sorry, I'm yakking your ear off.
TERRY
Oh, no, thanks a ton. I'll give it a try...
TERRY looks at the package quizzically. LISA resumes stocking. TERRY looks back up.
...You must like working here, I mean, being into food and all that.
LISA
I don't really work here-not for pay, anyway. It's like this-if you put in 4 hours a month, you get a 20% discount on groceries. It works out pretty good.
TERRY
Soooo, what do you do the rest of the time?
LISA
Well, sometimes I teach a yoga class at the Y. Mostly, I do massage therapy-I have my own practice. But it's been awfully slow lately...
TERRY
Yeah, I can imagine. Times are tough.
LISA stands and faces TERRY.
LISA
You know, what I love most of all is drumming.
TERRY
Wow, do you, like, play in a band?
LISA
Gosh no...well, sort of...there's a group of us that gets together at the little park on Jefferson Street...it's pretty informal, but some of us are regulars. In fact, we're meeting tonight. You should stop by.
TERRY
Gee, I don't know...
LISA
Oh, come on! I'll bring an extra drum...you'll enjoy it. Here's my card...give me a call...or just stop by.
TERRY
(reading from the card)
OK..."Lisa"...maybe I'll check it out. Thanks a lot. Oh, and thanks for the advice on lunch.
LISA
No problem...
TERRY
Terry. Terry Wolfe.
TERRY holds out his hand and SMILES. LISA takes his hand with both of hers and bows slightly.
LISA
Terry. Nice to meet you, Terry.
(DRUMS)
FADE
EXT. A Community coop store - day
(DRUMS continue)
TERRY opens a paper bag and takes out the temper sandwich. He examines the wrapper again...
(DRUMS rise to climax)
...and lobs it into a trash can.
CUT
INT. TERRY'S APARTMENT - EVENING
TERRY is slumped on his couch, stocking feet on a wooden cable spool that serves as a coffee table. From the TV, we hear, "Don't die, Blondie, I'll get you water. Stay there. Don't move, I'll get you water. Don't die until later..." He examines LISA's card, and flips it onto the table. Then, he leans forward and starts to put on his shoes.
FADE
EXT. THE PARK ON JEFFERSON STREET - NIGHT
DRUMMING is heard in the distance. TERRY is walking down the street. He approaches a group of drummers under and around a festive gazebo in the park.
He sees LISA near the center of the group. She is playing frenetically, trading savage riffs with the TALL DRUMMER--a striking looking older man. They smile and say inaudible things to each other; the other drummers look on and follow them.
TERRY pauses at the fringe and watches. The rhythm grows even more intense. He begins to move closer. LISA, transfixed on the TALL DRUMMER, does not notice him.
Then, TERRY turns and walks away. LISA finally notices him and gestures and calls out, but TERRY does not hear. LISA continues to drum.
TERRY walks back slowly, with his head down.
FADE
EXT. SAVANNAH CONTRACTING - DAY
(Adagio movement, Concerto for Harpsichord, Strings, and Continuo #3, JS Bach)
TERRY looks at his watch, then at the sign over the door. He looks troubled. Enters.
INT. SAVANNAH CONTRACTING - DAY
TERRY approaches THE OLD MAN's office. The door is open, and we see THE OLD MAN sitting at his desk, phone in hand.
TERRY taps on the door jamb, and THE OLD MAN gestures for him to sit. TERRY nods and sits down quietly.
THE OLD MAN
(into phone)
Lou, I'm tellin' ya, we gotta have those cabinets on Thursday...Waddya mean, next week?...Lou...Lou... listen to me, Lou, you're fucking me with a limber prick and you ain't even kissing me...OK...OK...NO!...OK, Thursday, right...OK, then...I appreciate it.
Slams down receiver.
THE OLD MAN
Phew...
TERRY
You wanted to see me?
THE OLD MAN
Hello, Terry, how's it going?
TERRY
OK, I guess. Is everything alright?
THE OLD MAN
Terry, looking back on last Friday, you done good. Real good. As a matter of fact, I was proud of you. And then yesterday, you're an hour and a half late. My fucking phone is ringing like church bells at a Moonie wedding. Where's Terry, where's Terry. We're outta this, I can't find that. You think I got time to run out to your job and play nursemaid?
TERRY
I'm sorry Boss, my battery died...
THE OLD MAN
(getting upset)
Shit happens, Terry. And it ain't like this is the first time...
TERRY
I know, Boss...but when I'm late, I always stay late and make up the time...sometimes I don't even put down the hours on my time sheet...
THE OLD MAN
(getting hotter)
God dammit, son, the rest of the entire world of construction commences at seven AM. Except for you. Dammit, boy, you get where I'm coming from?
TERRY
Yes, sir.
THE OLD MAN
(calming down)
Terry, we've got good, hardworking people out there, but they need guidance. Without guidance, they're like children on a playground. They need you, Terry...I need you.
TERRY, silent and still, looks intently into THE OLD MAN'S face.
THE OLD MAN
(very calmly)
Terry, tell me you hear what I'm saying.
TERRY
I hear you.
THE OLD MAN
OK then.
TERRY starts to RISE.
THE OLD MAN
Wait a minute.
TERRY sits back down
THE OLD MAN
Carlos called a little while ago. He says he's short 26 boards.
TERRY
26 boards? I couldn't be that far off...
THE OLD MAN
That's what he said, 26 boards. 26 twelve footers. I need you to run down to the yard and pick up 26 twelve footers and get it out to him, pronto.
TERRY
Boss, I can call the yard and have it delivered tomorrow...
THE OLD MAN
We need it now. Carlos said he'd wait out there to help you unload.
TERRY
But Boss, that's almost a ton of material...my shocks are shot, and my tires...
THE OLD MAN
God DAMMIT!
BANGS his fist on the desk so hard pencils jump on the floor.
I don't give a skinny rat's ass about your goddam truck. You screwed up the estimate, and you gotta make it right. You got that?
TERRY
(Rising)
Yes, sir.
THE OLD MAN
(calm again)
Son, you're wearing me out, you know that? You gotta decision to make, whether you want to keep this job or not. You with me? I hope you make the right decision.
(CONCERTO rises again--the saddest strains)
FADE
EXT. LUMBER YARD - DAY
(AVEN AVEN - Gypsy Kings)
A forklift loaded with drywall is approaching TERRY's truck.
FORKLIFT GUY
Is no good, man. Gonna break you fokking axel.
TERRY
Don't worry, just set'er down easy, nice and...EASY does it.
The FORKLIFT GUY sets the load in the truck, and gently pushes it forward. The rear of the truck sags ominously, and two feet of board still hangs past the open tailgate.
TERRY hunches down and peers under the bed of the truck
Suave! I've got daylight under the springs.
TERRY rocks the bed of the truck to prove it.
FORKLIFT GUY
Chiwow, Lobo. Usted es un hijo de puta loca.
TERRY
Aieee! Mi burro viejo puede manejar! See you later, Tito!
TERRY gets in the truck and drives off. The truck wallows in the ruts of the unpaved yard. He proceeds onto the main drag. A car swerves in front of him and he SLAMS on the brakes. Two rental DVD’s slide from the visor.
TERRY
TERRY
Dag! More late fees!
TERRY hangs a wicked U-turn, truck YAWING precipitously, and drives to the VIDEO STORE.
SCENE 7 Ext. THE VIDEO STORE - Day
He whips in front of the store and gets out, leaving the engine running. He starts to put the CD's in a slot in the door when he notices a woman inside waving to him. He peeks inside.
INT. THE VIDEO STORE - day
DONNA
Hey, dork, that slot is for after-hours.
TERRY
Sorry, Don, I'm on the run
DONNA
It's Donna to you, buster. And by the way, I've been holding that disc you asked me about for a week now.
TERRY
The Unforgiven?
DONNA
Unforgiven. No the. If you want it, you better take it now, or I need to put it back on the shelf.
TERRY
Don, I really have to scramble...
DONNA
Yaknow, this is a popular disc, and every time I tell someone it's not available, I lose another customer to Netflix. I'm fighting a losing battle here, dude...
TERRY
(glancing back to his truck)
Sorry, I don't mean to mess you up. I'll take it now.
DONNA bends at the waist to retrieve the disc from under the counter. As she leans, her top DROOPS, and TERRY cannot help glancing at her boobs. DONNA notices.
DONNA
Hey, creep, no drooling on my counter.
TERRY shoves his right fist under his shirt and bump-bumps over his heart.
TERRY
(smiling)
Ka-thump, ka-thump, ka-thump.
DONNA rolls her eyes and hands him the disc and a receipt. TERRY starts to sign the receipt and looks up at DONNA.
You wanna come over and watch it with me?
DONNA
No thanks, bub, seen it twice. And anyway, I thought you were getting back together with Cortney.
TERRY
I tried. I really tried. I think she did, too. But it hardly took anytime at all before we were fighting again, same old stupid shit. Stuff I don't even care about, until she presses the right button. Then, bam, I'm seeing red, and here we go again. It's like someone wrote a script for us...
DONNA
...and you don't have any choice but to play the roles. Yadyada.
TERRY
Dammit, Don, it's true, it's like we don't even have a choice. I had to get out of there.
DONNA
I never understood why you got hitched in the first place. You were the brainy one, the big SAT score. Didn't you have a scholarship for, what, archeology...some hot shot school down south?
TERRY
Architecture. Auburn. Anyway, that's water under the bridge.
DONNA
Jeez, Terry, it's not too late...
TERRY
Well, it's not in the cards for now, with my shitty salary, and child support on top of that.
DONNA
Oh, that's right, you have a kid. My god, Terry, he must what, two or three years old...
TERRY
(beaming)
Almost six, and she's a girl. Her name is Juniper. She's going into first grade next week...it flips me out. She's a real, complete little person, totally cool...and smart...smarter than me, I think.
TERRY pulls out his wallet and shows DONNA a photo.
DONNA
Oh, she's adorable! Juniper. Six years old...Terry, you were so young.
TERRY
I know, I know. Everyone wanted us to make it go away. But I was a knucklehead about it. My father wouldn't even speak to me for months. And I leaned way too hard on Cortney...maybe that's why she's still so angry with me.
DONNA admires the photo again and hands it back to TERRY
DONNA
Juniper. Sometimes I wish I had my own...shit!...is that your truck out there?
They look out the window. A meter maid approaches the truck.
TERRY
Damn! Gotta go! But, hey, why don't you come over...I'll get a pizza and some...beer...
DONNA
I'd like to sometime, Terry, but not right now. I'm sorta seeing someone...
TERRY
Well, lucky guy, I guess...
DONNA
You better beat it, ragmop, look's like she's about to write you up.
TERRY dashes out the door.
EXT. THE VIDEO STORE - DAY
TERRY rushes up to the METER MAID.
TERRY
I'm sorry, I just meant to drop off a movie...I'm leaving right now...
METER MAID
I'm sorry, too, I already entered your tag.
METER MAID holds up an electronic device.
Once I enter the number, I have to issue a ticket. And you're taking up two spaces, too.
TERRY
You mean you're giving me two tickets? That's seventy bucks!
METER MAID
Two spaces are two spaces.
TERRY
I know, but you haven't entered the other ticket yet, have you? I can put a quarter in the meter.
METER MAID
Look, I'm just doing my job, sir.
TERRY
I'll put in fifty cents...
TERRY fumbles in his pockets.
I mean, if I have it...
METER MAID glares at Terry and hands him a ticket, and starts to enter another.
TERRY
Oh please, please, please give me a break...it will never happen again...I promise!
TERRY gives METER MAID a goofy smile, she starts to crack up.
METER MAID
Alright, son, just this once. But if I see this truck again, parked like this, I'll...
TERRY
Thankyouthankyouthankyou, I won't forget this...
TERRY jumps in the truck and starts to pull away. He yells out the window at the METER MAID
Thankyouthankyou...I love you!
FADE
INT. YOUNG TERRY'S CAR - NIGHT
TERRY
Sorry you didn't like it.
CORTNEY
Well, it was pretty creepy. I mean, like, the ladies' room...ungghh...I didn't want to touch anything. But the burgers were pretty good.
TERRY
Yeah, and they didn't card us...
CORTNEY
That's right, I forgot...your birthday isn't til August.
They drive on in silence for a moment. TERRY turns on the radio.
CORTNEY
Terry, I had fun tonight. Now that school is over, I feel like I'm getting to know you better.
TERRY switches off the radio.
TERRY
Cortney...I...I love you, Cortney.
CORTNEY
Oh, Terry--please don't mean it--not that way...not the way I think you mean it...
TERRY
I mean it, Cortney...I mean...I mean, what do you mean?
ROBIN
I mean, like, we've only been going together for a few weeks...
TERRY
It'll be three months, tomorrow...
Cortney
See what I mean! We hardly know each other. And you're leaving for school soon, like, in Alabama, of all places! What's that going to be like, surrounded by those southern belles, and me up here, living with my 'rents...
TERRY clams up, drives on, clenching the wheel with both hands. He turns on the radio again.
CORTNEY
Terry? Terry, I'm sorry. I like you a lot. I really do, I think about you all the time...remember, in English class, when you recited that poem...
TERRY turns off the radio.
TERRY
"Shall I, wasting in despair, die because a woman's fair..."
CORTNEY
Yeah, that's the one...it made me melt, Terry. I knew you were speaking to me.
TERRY
And I could see you start to cry. I think that's when I fell...
Cortney
Please don't say it, Terry. You're the nicest guy I know, but I'm not ready to get tied down yet.
TERRY clams up again. CORTNEY turns toward him and places her left hand on TERRY's right arm.
CORTNEY
Terry.
TERRY switches on the radio with his right arm. CORTNEY pulls her hand away.
Terry, I'm sorry. I didn't mean to hurt your feelings. Can't we be friends? I mean, like really good friends?
TERRY
"Be she fairer than the day, or the flowery mead in May, If she be not so to me..."
Terry and cortney, in unison
"...What care I, how fair she be?"
TERRY and CORTNEY both break out laughing.
FADE
INT. TERRY'S TRUCK - DAY
TERRY chuckles to himself. He approaches the...
EXT. A NEW HOME CONSTRUCTION SITE - DAY
TERRY drives up along side a new crew cab pickup truck. Carlos is in its drivers seat, with three other guys.
TERRY
Ese, Carlos.
Carlos
Eh, Lobo, where you been, man? We just be leaving.
TERRY
Sorry, man, I got hung up. Come on, let's get this board into the house.
CARLOS
No way, 'migo. Is already way past four. We get it in the morning.
CARLOS starts his engine and shifts into gear.
TERRY
But I have to be in the office first thing, to pick up the payroll. If I'm late, the Old Man will ream me a new asshole...
CARLOS
Sorry bout that, ese, we be waiting for you for two hours. I gotta pay these guys for sit around doin' nothing, count a you be late. I see you later...
CARLOS pulls away. TERRY also starts to pull away, traveling down the street, but then backs up, pauses in front of the house, and then backs up the driveway.
TERRY gets out and walks to the back of the truck. He tears the paper strip that binds the ends of a pair of boards into a book; then jerks the top board sideways to tear the front strip. He starts to pull the board out of the truck and pauses.
Then he shoves the board back in, gets back in the truck, and backs up across the muddy, rutted front yard, up to the front door. His old truck lurches and wallows.
TERRY proceeds to unload the boards one at a time. It begins to rain, big splats of water on the board and on his shirt. So he starts to carry the boards in pairs, struggling mightly.
The rain intensifies. TERRY struggles, slipping and sliding in the mud.
Finally he finishes unloading. He completely muddy up to his knees, and his soaked shirt clings to his back. He pauses, panting, under the small front porch roof. The rain slacks off.
TERRY hunches his shoulders and turns his head from side to side, trying to loosen his muscles--when he hears from a distance...
ROBIN
Terry! Is that you?
ROBIN has driven up to the curb. TERRY sees her and waves. ROBIN starts to get out of her car.
TERRY
Hi, Robin. Hey, don't get out, it's pretty muddy...
ROBIN pops up a huge fancy umbrella and tiptoes in her high heels up some planks laid in the mud. She is carrying a tote bag.
ROBIN reaches the little stoop and furls the umbrella. She and TERRY must stand close together to stay out of the rain.
ROBIN
Hi Terry, I was hoping to find you here. I brought you a little something, to say thanks for all you've done.
ROBIN slips a bottle of champaigne halfway out of her bag.
TERRY
Gee, Robin, thanks, but I'm just doing my job...
ROBIN
No, Terry, everything is coming out great. Really great. And I hate to say it, but I'm so glad I'm working with you and not with your boss...I shouldn't say any more. Let's go inside. I have some glaaa-sses!
ROBIN smiles provocatively. TERRY backs up against the door.
TERRY
I dunno, Robin. I mean, thanks, thanks a lot, but I'm soaked to the bone. I need to get cleaned up...
TERRY starts to move around and winces sharply.
ROBIN
ROBIN sets down her tote bag.
Terry! Are you all right?
TERRY
(recovering somewhat)
I'm ok, my back is a little sore, that's all.
ROBIN
ROBIN places her hand on his chest.
Where does it hurt, Terry, maybe I can do some...
TERRY
It's really nothing, Robin, but I better get going. Maybe some other time...
TERRY winces again, and his knee partially buckles.
ROBIN
Terry!
TERRY
I'm sorry, I should go...
ROBIN backs off and TERRY sidles around her and gets back in his truck. ROBIN remains standing on the porch, her expression saddening as TERRY pulls away.
FADE
Wednesday, August 11, 2010
Treatment for Screenplay
LIMITS OF DISTURBANCE©
By Alan Abrams
All Rights Reserved
August 12, 2010
***ACT ONE***
1. A NEW HOME CONSTRUCTION SITE
(WILL THE WOLF SURVIVE-LOS LOBOS)
TERRY Wolfe pulls a stack of about 6 very long 2x4's off a truck and gracefully balances them on his shoulder. He walks to some saw horses and deftly flips them off his shoulder onto the horses, landing in a neat stack with a THWACK.
Terry goes back and loads his shoulder again with more 2x's.
THE OLD MAN and the ARCHITECT arrive, greet Terry. T--wearing ear buds--is surprised and swings around--the 2x's arcing toward the Architect's head. The A has to hastily duck, looking hopelessly awkward--dropping the plans he was carrying. T loses his grip and the studs CLATTER to the ground.
Terry gathers the studs, the Architect gathers his plans; The Old Man is disgusted; he asks T if ROBIN, the owner, has showed up yet. No she hasn't, sir. TOM and the A go inside to inspect the house.
Upstairs, they discover a change in the floor plan and angrily call for Terry, who is acting as a superintendent. The workers pickup the call: Yo, Wolfman! Esse, Lupe! Then they gather around to witness Terry get chewed out, or maybe fired.
Terry goes in, distraught, and explains the plans had a bust, and if the master bath was framed per plan, there would not be sufficient headroom for the stairs. So he relocated the bathroom. The architect protests: this is impossible, this has been checked and double checked. We don't make bushleague mistakes like that...
Just as it appears Terry will get the axe, ROBIN, the owner walks in. She greets the Architect and TOM formally, but when she sees Terry she beams, goes over and air kisses him.
TOM explains that they were talking about the location of the bathroom. He says they will make it right. Meanwhile the A is studying the plans--then takes a tape measure and measures various conditions.
Robin intervenes and explains that Terry discovered the bust, and proposed the solution to her. "I loooove what Terry did. It's where I wanted the bathroom in the first place." TOM's face shows conflicted emotions.
The PLUMBER chimes in that the change actually saved money. The frazzled Architect admits he blew it.
TOM protests that the plans will need to be revised before inspection. The A says it will take a week to redraft and refile. TOM is now livid. Terry explains that the inspector came earlier this morning. "He had no problem with the change." T pulls the green sticker out of his pocket. Grudgingly, TOM thanks T for working it out.
2. THE COOP
(WRONG TO LOVE YOU-CHRIS ISAAK)
TERRY is perusing the aisles looking for something for lunch. He encounters LISA, who is stocking the shelves. She criticizes his choices for lunch (she is vegan and a nutrition freak).
They discuss their jobs--Terry's office is nearby; Lisa volunteers at the Coop to get a discount, and has a massage therapy practice. She gives Terry her card.
Finally, she persuades T to try a tofu burger. He leaves the store and takes a bite of the sandwich, makes a face, and tosses in a trash can.
3. THE OFFICE
The Old Man is frustrated with Terry. Terry shows great promise--he's great with owners, smart, and reasonably skillful. But the quality of his work is erratic, and he shows up late way too often.
Terry argues that he stays late, even putting in extra time he doesn't report, but The Old Man goes on how "the rest of the fucking world of construction starts at 7am, and you will too, if you want this fucking job."
Then he orders Terry to pick up some sheetrock (Terry had undersetimated how much was needed) and deliver it to the NEW HOME SITE. Terry bitches about having to use his own truck, which needs new shocks and tires, and The Old Man almost loses it, telling Terry to take responsibility for his bone headed mistake, or to "pack your fucking tools in your precious fucking truck and and don't come back."
4. THE PICKUP
(AVEN AVEN-GYPSY KINGS)
At the lumber yard, Terry, speaking conversational Spanish, orders the fork lift operator to load his battered pickup truck with 12' long sheetrock, until the bed is setting on the axles. The lift operator protests, but Terry insists. Loaded to the max, Terry drives away, truck wallowing in the ruts.
Now he's rolling up a wide urban avenue, and has to stop short. His drink spills in his lap, and a rental DVD falls from the sun visor. He realizes it's overdue, and makes an abrupt U-turn, the overloaded truck pitching dangerously.
He then hastily parks in front of the:
5. THE VIDEO SHOP
(SAVE ME-kd lang)
Terry greets DONNA--a gorgeous brown-skinned woman of interdeterminate race, calling her Don. Donna acts offended; we are not sure how serious she is.
They discuss an Eastwood flick; Donna has reserved a disc for Terry. She bends to reach it and Terry cannot help leering down her top. Donna notices, saying "Quit drooling on the counter, creep."
Terry, undeterred, hits on her in a mild way. Donna begs off; she is "sorta seeing someone."
She then asks about CORTNEY, T's estranged wife. T explains that they are completely incompatible, driving one another to excessive drinking and fighting.
Terry then proudly mentions his daughter, JUNIPER. Donna refers back to their high school days, when T was a promising student.
Terry recalls how he persuaded Cortney, who wanted an abortion, to have the baby--and now how happy he is to be Juniper's father.
Donna makes polite inquiry on Juniper's progress, then talks about her own niece--and Terry spaces out to a...
6. FLASHBACK: TERRY AND CORTNEY
Terry (younger, in neater hair, and shaved face) walks down a high school hallway. A young woman--Cortney--catches up with him.
They discuss their plans for college; T has a scholarship at the local state school; C's going to a small school in New England. All the while she is flirtacious.
INSERT A REWRITE OF THE SCENE IN THE PARK...with Cortney instead of Cindy...and instead of being interrupted, they make love at the edge of the creek.
CUT BACK TO:
7. THE VIDEO SHOP
Donna notices that Terry is not listening. She warns him that the METER MAID is approaching his truck and he dashes out the door.
Terry confronts the MM--a weary, portly, elderly woman--but she has already started to write a ticket--which therefore must be issued. His truck, with the load hanging out the back, takes up nearly two spaces. He negotiates a single fine, instead of fines for both meters. She is reluctant until Terry gives her that same goofy smile--and she melts. Terry expresses his gratitude, and heads off to:
8. A NEW HOME CONSTRUCTION SITE
Terry pulls up at the site. CARLOS, the chiroquero (sheetrock sub) is in his ragged out Corolla, ready to leave the site. Terry asks if C can help unload--C replies he's waited too long already, and has to pay his guys for fokking nothing.
C suggests T come back in the morning when his own guys can help--T considers it, but says he'll catch hell if he's not in the office first thing.
There are two HELPERS in the car. As C continues to dump on T, the HELPER in the back seat pulls a sixpack of Dos Equis from cooler and Carlos roars away.
He backs his truck up to the door, and begins unloading one board at a time. But it begins to rain, and he unloads the rest two sheets at a time.
When he's finished--and thoroughly soaked--he gets back in the truck and tries to leave--but the tires slip in the wet mud. He floors it, and the truck starts to move, slinging mud across the front of the house. He curses and drives away.
On his way home, he picks up some beer, some doritos, and some bean dip.
9. TERRY’S APARTMENT
Terry lives in the basement of a five-unit apartment house--it's a dingy studio apartment with low ceilings--you can practically smell the mildew. Still, it is neat.
His back is hurting and he takes some aspirin, and takes a steaming hot shower.
Then he sets up the beer and chips on wooden cable spool that serves as the coffee table, and puts on the Eastwood flick--UNFORGIVEN.
BEAT
We see Terry, eyelids heavy, with 5 empty beer cans on the table, and one in his hand. Hackman is kicking the bejeezus out of Eastwood...and Terry passes out.
BEAT
It's morning. Terry stirs, and sets down the half empty can. As he reaches, his back pops out and he cringes.
He struggles to get his footing, but cannot stand. So he slithers on the floor to the bathroom, and struggles into the tub to relieve himself. Then, laying in the tub, he showers again.
Finally he can stand. He calls The Old Man to excuse him from work. TOM is pissed, and concerned that T will file a workers comp claim. T assures him he won't, that he just needs a day to recover.
T, in agony, remember's Lisa's card. He calls her and makes an appointment for a massage. She schedules him for 5pm
T then finds some Tylenol 3 and gobbles the last two tabs, and drinks the last beer. He turns back on Unforgiven and settles down to watch again.
BEAT
Terry has passed out. When he awakes, it is already late for his massage appointment.
***ACT TWO***
10. THE JOURNEY
Terry--still in pain, not to mention, mildly blitzed--is shocked and embarrassed at the time. He gimps to the truck, and winces with pain as he works the clutch.
He arrives at the address Lisa gave him--a modest bungalow on a tree lined street. The walk runs along the neighbor's chain link fence...as he passes along the fence, the neighbor's huge, vicious dog runs up, barking furiously. It rears up on the fence and snaps at Terry, who lurches away.
Terry pauses and speaks calmly and affectionately to the dog. He offers his hand for the dog to sniff. The dog snaps at it. Terry speaks even more soothingly, and offers his hand again. This time the dog makes a high pitched noise and licks his hand.
Terry hobbles up the front porch steps, and works his way around children's paraphenalia, and knocks. A man in business dress and loosened tie answers. A woman with an infant in arms can be seen beyond.
Terry assumes he's at the wrong house and apologizes...the man explains that Lisa lives in his basement apartment and directs Terry around the side. "Watch out for the dog; he's dangerous," he warns.
Lisa's entrance is in the back, under a small sundeck. He walks down some steps to a well surrounded by a brick wall. A cat, poised in a sunny spot on the wall, observes Terry walking down the steps.
Just as he raises his knuckles to knock, Lisa opens the door and steps out. She is pissed that he is late. "I should charge you for a no-show." Terry apologizes profusely, almost debasing himself. She is unmoved.
Finally, he give her the smile. She can't help not smiling back. Noticing his awkward posture, she orders him to turn around.
She untucks his shirt and placing one hand on his shoulder, slides her other hand under the shirt, up and down his back. He winces. "Your sacro's really in spasm, I can feel the heat," she reports. "You better come in."
As they go in the door, the cat, which had nonchalantly taken all that in, scootches in between their legs.
11. THE MASSAGE
Lisa walks Terry through her apartment. They pass through a funky but tidy and bright kitchen, with a small table with two chairs--then through her bedroom--decorated with pillows, candles, and draped fabrics.
Beyond is the massage room--just large enough to walk around the massage table. On the wall at the head of the table is a print of Lakshmi and Vishnu, carried on the back of Garuda.
Lisa tells Terry to undress and lie on his back. "You can keep your shorts on if you wish. (he does) Call me when you're ready."
When she returns, she plays a recording of ragas by Akbar Ali Khan. Terry admires Lisa's legs, visible through her gauzy pants when the light is behind her. She begins the massage. Terry looks up and notes the silhouette of her breasts, and the hair under her arms.
Lisa comments on Terry's collar bone--broken some time ago, while bicycling (while his driver's license was suspended)--the bone had not set properly. T considers it a deformity. "You have a beautiful body," says L. T returns the compliment.
Lisa lectures Terry on all manner of health issues--diet, staying hydrated, stretching, etc, while Terry stares at the picture, imagining himself with...Lakshmi?..Lisa? The music--amzingly sensual--intensifies...T spaces out and has a...
12. FLASHBACK:
INSERT A REWRITE OF THE SCENE IN THE PARK...with Cortney instead of Cindy...and instead of being interrupted, they make love at the edge of the creek. No cops in this version.
(see previous post: "Disturbance, Updated)
CUT BACK TO:
13. THE MASSAGE
The massage is completed; Lisa leaves the room. Terry dresses--clearly the pain is relieved--and finds L in the kitchen. She offers him water and invites him to sit at the little table.
14. THE KISS
They sit down together. Lisa continues talking about diet. Terry should cut back on sodium. He needs to strengthen his core muscles, and stretch before exertion.
As she lectures, the cat jumps into Terry's lap. T strokes its fur, and it nestles comfortably into his crotch. Lisa notices; Terry gives her the goofy smile.
Lisa stops talking, and out of the blue, asks if she can kiss him. T is speechless, and L leans across the table and kisses him. T is still surprised, and somewhat impassive.
Lisa kisses him again, and this time, T responds. Things get warmer. But as T shifts to get closer, the cat leaps away with a thump.
At that sound, Lisa freezes up. "You have to go now," she tells him, without explanation. Terry sputters, stunned, apologetic. Becoming tense, she insists he leave immediately.
Terry is embarassed and offers to pay her. Lisa cuts him off: "JUST...GO!" Terry stands and accidently knocks his chair over. Lisa sobs loudly. Terry goes out the door.
As Terry passes from under the deck, he sees the homeowner and his wife leaning over the edge...he calls up to them, "Nothing happened..NOTHING!." As he passes along the fence, the dog lunges at him, barking ferociously...it continues to bark, even as he gets into his truck.
***ACT THREE***
15. THE VIDEO SHOP
Terry stops in to rent another DVD. He hits on Donna again, who repeats that she's "sorta seeing someone." While in the aisle, he overhears Donna on the phone arranging a date--he is reassured that she is not just blowing him off.
Then, a reprise of the meter maid.
16. THE OFFICE
The Old Man hands Terry a letter that came to him C/O the office. To Terry's surprise, it's from Lisa, apologizing for her abrupt behavior, and proposing they go out for dinner--to an Indian restaurant that features vegetarian fare. It closes with the salutation, "Namaste."
17. TERRY’S MOM’S HOUSE
Terry is on the couch watching an Orioles game. His mom is doing his laundry.
Mom asks Terry if he can reconcile with Cortney--no way. She misses Juniper, and gazes at her photo on a wall hung with family portraits. Terry glances up at a photo of his dad, and goes into a:
18. FLASHBACK: Terry and his father
Terry and Dad are a grungy pub. The waitress brings two beers [refers back to first flashback]. Dad is wearing a battered tweed jacket with leather elbow patches.
They discuss Terry's situation with Cortney--Dad bluntly urges Terry to let Cortney go ahead with an abortion. The conversation gets nasty.
19. TERRY'S MOM'S HOUSE
Mom picks up Terry's beer can and wiggles it. "Can I bring you another, darling?" "Yeah, ma," he replies distractedly.
Mom pleads with Terry to bring Juniper to visit. Then she reminds him that he promised to repair the toilet in her basement. With his annoyance, Terry shows an immature side of his personality.
20. TERRY'S APARTMENT
Terry calls Lisa--a tube of construction adhesive burst on the seat of his truck--he cannot pick her up for their date. Lisa offers to pick him up, and reminds him to be on time.
20.A. FLASHBACK: CORTNEY IS PREGNANT
Terry and Cortney are in the back seat of a car parked in the woods. They are making out like crazy, steaming up the windows.
Cortney abruptly pulls away, red faced, panting. Terry protests, "It's OK, I brought a rubber this time."
Cortney starts to weep. "It's too late."
They discuss her pregnancy. Cortney wants to end it. She does not want to be a mother; it will wreck their educations. Terry says he'll stand by her. "You'll make a great mom," he tells her.
They debate the issue on many levels, individual, political, and moral. Terry makes no headway, until he gives Cortney the goofiest smile. Cortney starts to melt and asks, "But Terry, do you really love me?" He assures her that he does, but we are not convinced.
21. LATER IN TERRY'S APARTMENT
Terry gets out of the shower and dresses. He pulls his father's tweed jacket from the closet. Putting it on, he has another...
22. FLASHBACK: Terry, Dad, and baby juniper
Dad is in a hospice bed, pale and weak. He gestures and Terry places Juniper on his chest. The child is contented and snuggles comfortably.
Dad seems revived. He is reconciled with Terry; in his crude way, he gives Terry a final blessing.
23. TERRY'S APARTMENT
Terry notices the time, and hurriedly stuffs his sunglasses, wallet and cell phone into the jacket pocket, and dashes out.
He observes an ancient Mercedes station wagon pull up in front, and struggle to parallel park. Terry approaches the car--glare on the window prevents him from seeing the driver.
Finally the car stops, two feet from the curb. The window rolls down--it's Lisa.
24. STEELY
Terry gets in. Lisa greets him with a long deep kiss. Her skirt hikes way up and Terry is embarrassed. Lisa suddenly breaks off the kiss: "We're going to miss the early bird."
T comments on the car. L has named it Steely. She explains that it was a gift from an elderly client...part of her practice is geriatric--hauling a portable table to the patient's home. Mr Steel willed the car to her, so it would be easier for L to haul her table around.
It's warm, and Lisa does not like the AC. Terry takes off his jacket and carefully places it in the back seat. They park near the restaurant. [Lisa backs over the curb, etc]
They walk into the sun. Lisa puts on a huge pair of sunglasses, woefully out of fashion. Terry gropes for his shades, but they are in the jacket.
25. THE RESTAURANT
It's dark inside--before T's eyes recover from the sun, he almost collides with a waiter carrying a full tray. The waiter pirouettes, narrowly avoiding catastrophe. He sees Lisa across the room, chucklng at his clumsiness.
They dine. Lisa describes the esoteric dishes. Terry notices a poster on the wall, similar to the one in L's massage room. Lisa discusses the Hindu pantheon, and T starts conflating the names of foods and gods.
Lisa excuses herself. When she returns from the restroom, we see her for the first time with her hair down--although she still seems severe and somewhat frumpy, the change is vivid, and the intent is clear.
[Khan's raga plays again]
They sit together, and hold hands. L runs her hand up and down Terry's arm. T looks up at the poster of Vishnu and Lakshmi. They gaze into one another's eyes. Then the same waiter T almost bowled over arrives with the check.
Lisa reaches for the check, but T stops her hand and takes the check. Then he gropes for his wallet--and realizes he left it in the car.
Embarrassed, he askes L for the carkey, and dashes out of the restaurant.
26. STEELY
Terry reaches the car. As he opens the door he hears his cell phone ring. The call is from Cortney. Both sides of the conversation can be heard.
C wants to know where the support payment is. She is angry and her language is full of invective. The payment is way overdue, and he had promised todrop it off days ago. She demands he deliver it immediately, and makes serious threats--including having his wages garnished--if he does not bring her the check before 6:00 pm this evening.
Terry protests, the bank is already closed, he's got the check and will drop it off in the morning, etc; she is adamant, clearly serious about her threats. It's twenty til 6; she lives just a few blocks away.
Terry climbs behind the wheel and takes off. He tries to call the restaurant to get word to Lisa that he'll be back in a few minutes--but still confusing foods and gods--gets the name boggled up, and the information clerk cannot find the number.
27. CORTNEY’S HOUSE
Cortney is on the front stoop; Juniper, about 5 YO, is is leaning sideways, clinging to C's belt. When J sees Terry, she squeals and races down the walk toward him. T hoists her up on his shoulders.
T hands over the check. C reminds T he had promised earlier to take J for ice cream, to celebrate starting kindergarten. J is giidy at the prospect-she wants "Rocky road, wocky woad, wockity toad..."
T lamely tries to beg off, but caves in. T & J get into...
28. STEELY
They discuss ice cream; more permutations of wocky woad. T tells J he must first drop her off at his mom's and return the car. Then he can return and take her for ice cream.
J wants an explanation. T confesses that he made some mistakes in judgement--some bad decisions.
J asks if she herself was a bad decision. "Where did you get that idea," he asks her. "Mom said so..."
Terry reassures Juniper--he's made many bad decisions, but she is the happiest thing in his life. They reach...
29. TERRY'S MOM'S HOUSE
Mom is ecstatic to see Juniper. But she hounds Terry about the toilet--now, the shutoff handle broke off, and the valve is leaking into a bucket which has to be emptied every hour.
Terry can't find the tool box--Mom reminds him he made off with it afer Dad died. He rummages through Steely's trunk and finds a rusty pair of pliers, and after injuring his hand and ruining his shirt and pants, T stops the leak. He returns to...
30. THE RESTAURANT
Terry pulls up and parks in front of the restaurant. He dashes and finds the waiter. He tells T that Lisa paid the check and left in a cab.
Terry goes outside and the police have arrived. Terry is arrested for car theft. The waiter appears, adding that T stiffed L for the check. As T is cuffed and escorted to the squad car, the cop notes that he parked in a handicap space, which is going to cost him $250, on top of whatever else he faces.
***EPILOGUE***
31. THE VIDEO SHOP
Terry walks in and Donna gives him the hairy eyeball. She produces a clipping of an article in the paper, titled "A Bad First Impression."
Terry reads the article, which concludes with a quote from the defense attorney: "Mr Wolfe is a very nice man who made some bad decisions."
Donna asks if it's true. T recaps the highlights of the story and the aftermath. The charge was reduced to unauthorized use of a motor vehicle. Cortney was persuaded to drop a motion to restrict visitation.
Also, T decided to go back to school. The Old Man will pay for drafting classes, if he passes. And if he does well, maybe he'll go on to study architecture.
Then he hits on Donna one more time. D flashes a diamond ring. T congratulates her, and asks who is the lucky guy.
D reveals that she is marrying another woman. T is initially surprised--"I knew my chances were slim, but I never realized how slim..." Donna replies, she could go for T, if she weren't the way she is.
They hug. T tells D, with her in his arms, he wishes he were a woman. D shoves him away in mock anger. Then she says, "Now get your sorry ass out of my shop before I slug you!"
T tells her he loves her. D replies she loves him too. Then D warns T that the meter maid is walking toward his truck.
T rushes out, and D watches through the store window, as a new meter maid approaches T. The new MM is comely and shapely. We cannot hear them, but we see Terry gesticulate, and MM hand him a ticket. Then they laugh. They chatter away, both gesticulating, and we see them exchange numbers into their cell phones. MM walks away, smiling and waving to T, who stands there waving back.
The camera recedes and picks up D, who turns from the window and walks back to her counter, with a smile on her face.
FADE OUT.
ALT ENDING: Terry visits the video store with very happy Juniper, who has a big sloppy ice cream...
By Alan Abrams
All Rights Reserved
August 12, 2010
***ACT ONE***
1. A NEW HOME CONSTRUCTION SITE
(WILL THE WOLF SURVIVE-LOS LOBOS)
TERRY Wolfe pulls a stack of about 6 very long 2x4's off a truck and gracefully balances them on his shoulder. He walks to some saw horses and deftly flips them off his shoulder onto the horses, landing in a neat stack with a THWACK.
Terry goes back and loads his shoulder again with more 2x's.
THE OLD MAN and the ARCHITECT arrive, greet Terry. T--wearing ear buds--is surprised and swings around--the 2x's arcing toward the Architect's head. The A has to hastily duck, looking hopelessly awkward--dropping the plans he was carrying. T loses his grip and the studs CLATTER to the ground.
Terry gathers the studs, the Architect gathers his plans; The Old Man is disgusted; he asks T if ROBIN, the owner, has showed up yet. No she hasn't, sir. TOM and the A go inside to inspect the house.
Upstairs, they discover a change in the floor plan and angrily call for Terry, who is acting as a superintendent. The workers pickup the call: Yo, Wolfman! Esse, Lupe! Then they gather around to witness Terry get chewed out, or maybe fired.
Terry goes in, distraught, and explains the plans had a bust, and if the master bath was framed per plan, there would not be sufficient headroom for the stairs. So he relocated the bathroom. The architect protests: this is impossible, this has been checked and double checked. We don't make bushleague mistakes like that...
Just as it appears Terry will get the axe, ROBIN, the owner walks in. She greets the Architect and TOM formally, but when she sees Terry she beams, goes over and air kisses him.
TOM explains that they were talking about the location of the bathroom. He says they will make it right. Meanwhile the A is studying the plans--then takes a tape measure and measures various conditions.
Robin intervenes and explains that Terry discovered the bust, and proposed the solution to her. "I loooove what Terry did. It's where I wanted the bathroom in the first place." TOM's face shows conflicted emotions.
The PLUMBER chimes in that the change actually saved money. The frazzled Architect admits he blew it.
TOM protests that the plans will need to be revised before inspection. The A says it will take a week to redraft and refile. TOM is now livid. Terry explains that the inspector came earlier this morning. "He had no problem with the change." T pulls the green sticker out of his pocket. Grudgingly, TOM thanks T for working it out.
2. THE COOP
(WRONG TO LOVE YOU-CHRIS ISAAK)
TERRY is perusing the aisles looking for something for lunch. He encounters LISA, who is stocking the shelves. She criticizes his choices for lunch (she is vegan and a nutrition freak).
They discuss their jobs--Terry's office is nearby; Lisa volunteers at the Coop to get a discount, and has a massage therapy practice. She gives Terry her card.
Finally, she persuades T to try a tofu burger. He leaves the store and takes a bite of the sandwich, makes a face, and tosses in a trash can.
3. THE OFFICE
The Old Man is frustrated with Terry. Terry shows great promise--he's great with owners, smart, and reasonably skillful. But the quality of his work is erratic, and he shows up late way too often.
Terry argues that he stays late, even putting in extra time he doesn't report, but The Old Man goes on how "the rest of the fucking world of construction starts at 7am, and you will too, if you want this fucking job."
Then he orders Terry to pick up some sheetrock (Terry had undersetimated how much was needed) and deliver it to the NEW HOME SITE. Terry bitches about having to use his own truck, which needs new shocks and tires, and The Old Man almost loses it, telling Terry to take responsibility for his bone headed mistake, or to "pack your fucking tools in your precious fucking truck and and don't come back."
4. THE PICKUP
(AVEN AVEN-GYPSY KINGS)
At the lumber yard, Terry, speaking conversational Spanish, orders the fork lift operator to load his battered pickup truck with 12' long sheetrock, until the bed is setting on the axles. The lift operator protests, but Terry insists. Loaded to the max, Terry drives away, truck wallowing in the ruts.
Now he's rolling up a wide urban avenue, and has to stop short. His drink spills in his lap, and a rental DVD falls from the sun visor. He realizes it's overdue, and makes an abrupt U-turn, the overloaded truck pitching dangerously.
He then hastily parks in front of the:
5. THE VIDEO SHOP
(SAVE ME-kd lang)
Terry greets DONNA--a gorgeous brown-skinned woman of interdeterminate race, calling her Don. Donna acts offended; we are not sure how serious she is.
They discuss an Eastwood flick; Donna has reserved a disc for Terry. She bends to reach it and Terry cannot help leering down her top. Donna notices, saying "Quit drooling on the counter, creep."
Terry, undeterred, hits on her in a mild way. Donna begs off; she is "sorta seeing someone."
She then asks about CORTNEY, T's estranged wife. T explains that they are completely incompatible, driving one another to excessive drinking and fighting.
Terry then proudly mentions his daughter, JUNIPER. Donna refers back to their high school days, when T was a promising student.
Terry recalls how he persuaded Cortney, who wanted an abortion, to have the baby--and now how happy he is to be Juniper's father.
Donna makes polite inquiry on Juniper's progress, then talks about her own niece--and Terry spaces out to a...
6. FLASHBACK: TERRY AND CORTNEY
Terry (younger, in neater hair, and shaved face) walks down a high school hallway. A young woman--Cortney--catches up with him.
They discuss their plans for college; T has a scholarship at the local state school; C's going to a small school in New England. All the while she is flirtacious.
INSERT A REWRITE OF THE SCENE IN THE PARK...with Cortney instead of Cindy...and instead of being interrupted, they make love at the edge of the creek.
CUT BACK TO:
7. THE VIDEO SHOP
Donna notices that Terry is not listening. She warns him that the METER MAID is approaching his truck and he dashes out the door.
Terry confronts the MM--a weary, portly, elderly woman--but she has already started to write a ticket--which therefore must be issued. His truck, with the load hanging out the back, takes up nearly two spaces. He negotiates a single fine, instead of fines for both meters. She is reluctant until Terry gives her that same goofy smile--and she melts. Terry expresses his gratitude, and heads off to:
8. A NEW HOME CONSTRUCTION SITE
Terry pulls up at the site. CARLOS, the chiroquero (sheetrock sub) is in his ragged out Corolla, ready to leave the site. Terry asks if C can help unload--C replies he's waited too long already, and has to pay his guys for fokking nothing.
C suggests T come back in the morning when his own guys can help--T considers it, but says he'll catch hell if he's not in the office first thing.
There are two HELPERS in the car. As C continues to dump on T, the HELPER in the back seat pulls a sixpack of Dos Equis from cooler and Carlos roars away.
He backs his truck up to the door, and begins unloading one board at a time. But it begins to rain, and he unloads the rest two sheets at a time.
When he's finished--and thoroughly soaked--he gets back in the truck and tries to leave--but the tires slip in the wet mud. He floors it, and the truck starts to move, slinging mud across the front of the house. He curses and drives away.
On his way home, he picks up some beer, some doritos, and some bean dip.
9. TERRY’S APARTMENT
Terry lives in the basement of a five-unit apartment house--it's a dingy studio apartment with low ceilings--you can practically smell the mildew. Still, it is neat.
His back is hurting and he takes some aspirin, and takes a steaming hot shower.
Then he sets up the beer and chips on wooden cable spool that serves as the coffee table, and puts on the Eastwood flick--UNFORGIVEN.
BEAT
We see Terry, eyelids heavy, with 5 empty beer cans on the table, and one in his hand. Hackman is kicking the bejeezus out of Eastwood...and Terry passes out.
BEAT
It's morning. Terry stirs, and sets down the half empty can. As he reaches, his back pops out and he cringes.
He struggles to get his footing, but cannot stand. So he slithers on the floor to the bathroom, and struggles into the tub to relieve himself. Then, laying in the tub, he showers again.
Finally he can stand. He calls The Old Man to excuse him from work. TOM is pissed, and concerned that T will file a workers comp claim. T assures him he won't, that he just needs a day to recover.
T, in agony, remember's Lisa's card. He calls her and makes an appointment for a massage. She schedules him for 5pm
T then finds some Tylenol 3 and gobbles the last two tabs, and drinks the last beer. He turns back on Unforgiven and settles down to watch again.
BEAT
Terry has passed out. When he awakes, it is already late for his massage appointment.
***ACT TWO***
10. THE JOURNEY
Terry--still in pain, not to mention, mildly blitzed--is shocked and embarrassed at the time. He gimps to the truck, and winces with pain as he works the clutch.
He arrives at the address Lisa gave him--a modest bungalow on a tree lined street. The walk runs along the neighbor's chain link fence...as he passes along the fence, the neighbor's huge, vicious dog runs up, barking furiously. It rears up on the fence and snaps at Terry, who lurches away.
Terry pauses and speaks calmly and affectionately to the dog. He offers his hand for the dog to sniff. The dog snaps at it. Terry speaks even more soothingly, and offers his hand again. This time the dog makes a high pitched noise and licks his hand.
Terry hobbles up the front porch steps, and works his way around children's paraphenalia, and knocks. A man in business dress and loosened tie answers. A woman with an infant in arms can be seen beyond.
Terry assumes he's at the wrong house and apologizes...the man explains that Lisa lives in his basement apartment and directs Terry around the side. "Watch out for the dog; he's dangerous," he warns.
Lisa's entrance is in the back, under a small sundeck. He walks down some steps to a well surrounded by a brick wall. A cat, poised in a sunny spot on the wall, observes Terry walking down the steps.
Just as he raises his knuckles to knock, Lisa opens the door and steps out. She is pissed that he is late. "I should charge you for a no-show." Terry apologizes profusely, almost debasing himself. She is unmoved.
Finally, he give her the smile. She can't help not smiling back. Noticing his awkward posture, she orders him to turn around.
She untucks his shirt and placing one hand on his shoulder, slides her other hand under the shirt, up and down his back. He winces. "Your sacro's really in spasm, I can feel the heat," she reports. "You better come in."
As they go in the door, the cat, which had nonchalantly taken all that in, scootches in between their legs.
11. THE MASSAGE
Lisa walks Terry through her apartment. They pass through a funky but tidy and bright kitchen, with a small table with two chairs--then through her bedroom--decorated with pillows, candles, and draped fabrics.
Beyond is the massage room--just large enough to walk around the massage table. On the wall at the head of the table is a print of Lakshmi and Vishnu, carried on the back of Garuda.
Lisa tells Terry to undress and lie on his back. "You can keep your shorts on if you wish. (he does) Call me when you're ready."
When she returns, she plays a recording of ragas by Akbar Ali Khan. Terry admires Lisa's legs, visible through her gauzy pants when the light is behind her. She begins the massage. Terry looks up and notes the silhouette of her breasts, and the hair under her arms.
Lisa comments on Terry's collar bone--broken some time ago, while bicycling (while his driver's license was suspended)--the bone had not set properly. T considers it a deformity. "You have a beautiful body," says L. T returns the compliment.
Lisa lectures Terry on all manner of health issues--diet, staying hydrated, stretching, etc, while Terry stares at the picture, imagining himself with...Lakshmi?..Lisa? The music--amzingly sensual--intensifies...T spaces out and has a...
12. FLASHBACK:
INSERT A REWRITE OF THE SCENE IN THE PARK...with Cortney instead of Cindy...and instead of being interrupted, they make love at the edge of the creek. No cops in this version.
(see previous post: "Disturbance, Updated)
CUT BACK TO:
13. THE MASSAGE
The massage is completed; Lisa leaves the room. Terry dresses--clearly the pain is relieved--and finds L in the kitchen. She offers him water and invites him to sit at the little table.
14. THE KISS
They sit down together. Lisa continues talking about diet. Terry should cut back on sodium. He needs to strengthen his core muscles, and stretch before exertion.
As she lectures, the cat jumps into Terry's lap. T strokes its fur, and it nestles comfortably into his crotch. Lisa notices; Terry gives her the goofy smile.
Lisa stops talking, and out of the blue, asks if she can kiss him. T is speechless, and L leans across the table and kisses him. T is still surprised, and somewhat impassive.
Lisa kisses him again, and this time, T responds. Things get warmer. But as T shifts to get closer, the cat leaps away with a thump.
At that sound, Lisa freezes up. "You have to go now," she tells him, without explanation. Terry sputters, stunned, apologetic. Becoming tense, she insists he leave immediately.
Terry is embarassed and offers to pay her. Lisa cuts him off: "JUST...GO!" Terry stands and accidently knocks his chair over. Lisa sobs loudly. Terry goes out the door.
As Terry passes from under the deck, he sees the homeowner and his wife leaning over the edge...he calls up to them, "Nothing happened..NOTHING!." As he passes along the fence, the dog lunges at him, barking ferociously...it continues to bark, even as he gets into his truck.
***ACT THREE***
15. THE VIDEO SHOP
Terry stops in to rent another DVD. He hits on Donna again, who repeats that she's "sorta seeing someone." While in the aisle, he overhears Donna on the phone arranging a date--he is reassured that she is not just blowing him off.
Then, a reprise of the meter maid.
16. THE OFFICE
The Old Man hands Terry a letter that came to him C/O the office. To Terry's surprise, it's from Lisa, apologizing for her abrupt behavior, and proposing they go out for dinner--to an Indian restaurant that features vegetarian fare. It closes with the salutation, "Namaste."
17. TERRY’S MOM’S HOUSE
Terry is on the couch watching an Orioles game. His mom is doing his laundry.
Mom asks Terry if he can reconcile with Cortney--no way. She misses Juniper, and gazes at her photo on a wall hung with family portraits. Terry glances up at a photo of his dad, and goes into a:
18. FLASHBACK: Terry and his father
Terry and Dad are a grungy pub. The waitress brings two beers [refers back to first flashback]. Dad is wearing a battered tweed jacket with leather elbow patches.
They discuss Terry's situation with Cortney--Dad bluntly urges Terry to let Cortney go ahead with an abortion. The conversation gets nasty.
19. TERRY'S MOM'S HOUSE
Mom picks up Terry's beer can and wiggles it. "Can I bring you another, darling?" "Yeah, ma," he replies distractedly.
Mom pleads with Terry to bring Juniper to visit. Then she reminds him that he promised to repair the toilet in her basement. With his annoyance, Terry shows an immature side of his personality.
20. TERRY'S APARTMENT
Terry calls Lisa--a tube of construction adhesive burst on the seat of his truck--he cannot pick her up for their date. Lisa offers to pick him up, and reminds him to be on time.
20.A. FLASHBACK: CORTNEY IS PREGNANT
Terry and Cortney are in the back seat of a car parked in the woods. They are making out like crazy, steaming up the windows.
Cortney abruptly pulls away, red faced, panting. Terry protests, "It's OK, I brought a rubber this time."
Cortney starts to weep. "It's too late."
They discuss her pregnancy. Cortney wants to end it. She does not want to be a mother; it will wreck their educations. Terry says he'll stand by her. "You'll make a great mom," he tells her.
They debate the issue on many levels, individual, political, and moral. Terry makes no headway, until he gives Cortney the goofiest smile. Cortney starts to melt and asks, "But Terry, do you really love me?" He assures her that he does, but we are not convinced.
21. LATER IN TERRY'S APARTMENT
Terry gets out of the shower and dresses. He pulls his father's tweed jacket from the closet. Putting it on, he has another...
22. FLASHBACK: Terry, Dad, and baby juniper
Dad is in a hospice bed, pale and weak. He gestures and Terry places Juniper on his chest. The child is contented and snuggles comfortably.
Dad seems revived. He is reconciled with Terry; in his crude way, he gives Terry a final blessing.
23. TERRY'S APARTMENT
Terry notices the time, and hurriedly stuffs his sunglasses, wallet and cell phone into the jacket pocket, and dashes out.
He observes an ancient Mercedes station wagon pull up in front, and struggle to parallel park. Terry approaches the car--glare on the window prevents him from seeing the driver.
Finally the car stops, two feet from the curb. The window rolls down--it's Lisa.
24. STEELY
Terry gets in. Lisa greets him with a long deep kiss. Her skirt hikes way up and Terry is embarrassed. Lisa suddenly breaks off the kiss: "We're going to miss the early bird."
T comments on the car. L has named it Steely. She explains that it was a gift from an elderly client...part of her practice is geriatric--hauling a portable table to the patient's home. Mr Steel willed the car to her, so it would be easier for L to haul her table around.
It's warm, and Lisa does not like the AC. Terry takes off his jacket and carefully places it in the back seat. They park near the restaurant. [Lisa backs over the curb, etc]
They walk into the sun. Lisa puts on a huge pair of sunglasses, woefully out of fashion. Terry gropes for his shades, but they are in the jacket.
25. THE RESTAURANT
It's dark inside--before T's eyes recover from the sun, he almost collides with a waiter carrying a full tray. The waiter pirouettes, narrowly avoiding catastrophe. He sees Lisa across the room, chucklng at his clumsiness.
They dine. Lisa describes the esoteric dishes. Terry notices a poster on the wall, similar to the one in L's massage room. Lisa discusses the Hindu pantheon, and T starts conflating the names of foods and gods.
Lisa excuses herself. When she returns from the restroom, we see her for the first time with her hair down--although she still seems severe and somewhat frumpy, the change is vivid, and the intent is clear.
[Khan's raga plays again]
They sit together, and hold hands. L runs her hand up and down Terry's arm. T looks up at the poster of Vishnu and Lakshmi. They gaze into one another's eyes. Then the same waiter T almost bowled over arrives with the check.
Lisa reaches for the check, but T stops her hand and takes the check. Then he gropes for his wallet--and realizes he left it in the car.
Embarrassed, he askes L for the carkey, and dashes out of the restaurant.
26. STEELY
Terry reaches the car. As he opens the door he hears his cell phone ring. The call is from Cortney. Both sides of the conversation can be heard.
C wants to know where the support payment is. She is angry and her language is full of invective. The payment is way overdue, and he had promised todrop it off days ago. She demands he deliver it immediately, and makes serious threats--including having his wages garnished--if he does not bring her the check before 6:00 pm this evening.
Terry protests, the bank is already closed, he's got the check and will drop it off in the morning, etc; she is adamant, clearly serious about her threats. It's twenty til 6; she lives just a few blocks away.
Terry climbs behind the wheel and takes off. He tries to call the restaurant to get word to Lisa that he'll be back in a few minutes--but still confusing foods and gods--gets the name boggled up, and the information clerk cannot find the number.
27. CORTNEY’S HOUSE
Cortney is on the front stoop; Juniper, about 5 YO, is is leaning sideways, clinging to C's belt. When J sees Terry, she squeals and races down the walk toward him. T hoists her up on his shoulders.
T hands over the check. C reminds T he had promised earlier to take J for ice cream, to celebrate starting kindergarten. J is giidy at the prospect-she wants "Rocky road, wocky woad, wockity toad..."
T lamely tries to beg off, but caves in. T & J get into...
28. STEELY
They discuss ice cream; more permutations of wocky woad. T tells J he must first drop her off at his mom's and return the car. Then he can return and take her for ice cream.
J wants an explanation. T confesses that he made some mistakes in judgement--some bad decisions.
J asks if she herself was a bad decision. "Where did you get that idea," he asks her. "Mom said so..."
Terry reassures Juniper--he's made many bad decisions, but she is the happiest thing in his life. They reach...
29. TERRY'S MOM'S HOUSE
Mom is ecstatic to see Juniper. But she hounds Terry about the toilet--now, the shutoff handle broke off, and the valve is leaking into a bucket which has to be emptied every hour.
Terry can't find the tool box--Mom reminds him he made off with it afer Dad died. He rummages through Steely's trunk and finds a rusty pair of pliers, and after injuring his hand and ruining his shirt and pants, T stops the leak. He returns to...
30. THE RESTAURANT
Terry pulls up and parks in front of the restaurant. He dashes and finds the waiter. He tells T that Lisa paid the check and left in a cab.
Terry goes outside and the police have arrived. Terry is arrested for car theft. The waiter appears, adding that T stiffed L for the check. As T is cuffed and escorted to the squad car, the cop notes that he parked in a handicap space, which is going to cost him $250, on top of whatever else he faces.
***EPILOGUE***
31. THE VIDEO SHOP
Terry walks in and Donna gives him the hairy eyeball. She produces a clipping of an article in the paper, titled "A Bad First Impression."
Terry reads the article, which concludes with a quote from the defense attorney: "Mr Wolfe is a very nice man who made some bad decisions."
Donna asks if it's true. T recaps the highlights of the story and the aftermath. The charge was reduced to unauthorized use of a motor vehicle. Cortney was persuaded to drop a motion to restrict visitation.
Also, T decided to go back to school. The Old Man will pay for drafting classes, if he passes. And if he does well, maybe he'll go on to study architecture.
Then he hits on Donna one more time. D flashes a diamond ring. T congratulates her, and asks who is the lucky guy.
D reveals that she is marrying another woman. T is initially surprised--"I knew my chances were slim, but I never realized how slim..." Donna replies, she could go for T, if she weren't the way she is.
They hug. T tells D, with her in his arms, he wishes he were a woman. D shoves him away in mock anger. Then she says, "Now get your sorry ass out of my shop before I slug you!"
T tells her he loves her. D replies she loves him too. Then D warns T that the meter maid is walking toward his truck.
T rushes out, and D watches through the store window, as a new meter maid approaches T. The new MM is comely and shapely. We cannot hear them, but we see Terry gesticulate, and MM hand him a ticket. Then they laugh. They chatter away, both gesticulating, and we see them exchange numbers into their cell phones. MM walks away, smiling and waving to T, who stands there waving back.
The camera recedes and picks up D, who turns from the window and walks back to her counter, with a smile on her face.
FADE OUT.
ALT ENDING: Terry visits the video store with very happy Juniper, who has a big sloppy ice cream...
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