Monday, August 30, 2010

Yet another update of Limits of Disturbance

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.

No comments: