Limits of Disturbance, Continued

[when we left Terry, he had finished unloading a truckload of sheetrock in the rain. Action picks up later in the day... This segment takes things to the edge of the climax - AA ]


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. He is almost bent over double as he speaks.

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 babe, it's cool, just be cool.

The dog pauses, then snaps at his hand. TERRY withdraws it just in time.

TERRY

Comeon, 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, oooo yeah, so cool now, yeaahhhh.

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 feett.

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 takes a drink from the glass and looks for a place to set it aside.

LISA

No, you need to finish it.

TERRY silently obeys. Lisa takes the glass and sets it on the table.

LISA

That's better. You let me know if you need some more. 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 starts with slow, shimmering runs on the sitar.

LISA

I hope you like ragas. They help me to listen to your body.

TERRY

Sure, no problem.

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 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. I wish I didn't need my car.

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 seen any of that stuff since tenth grade.

CORTNEY

Omigod, Terry, where have you been keeping yourself, under some rock?

TERRY

Obviously!

CORTNEY

I'm sorry, Terry, you know what I mean. Come on, let's pull over. Look, up ahead.

She points ahead to a turnoff. Terry pulls into the parking area. A sign reads "NO PARKING AFTER SUNSET."

TERRY

Uh-oh. We better go.

CORTNEY

Don't worry, nothing's going to happen.

TERRY

I dunno about this. My old man would kill me if his car gets towed.

CORTNEY

Terry! You're such a stick in the mud. Come with me--I think I know a place we can go.

Cortney leans over and kisses Terry on the cheek, and slips the Altoid tin in his shirt pocket. Then she gets out of the car and, illuminated by the headlights, gestures to Terry.

TERRY

Hey! Wait up!

Cortney dashes off toward a gap in the trees, and turns toward Terry.

CORTNEY

Yo, slowpoke! Follow me!

Terry jogs after her. Cortney pauses and takes his hand, and leads him into the woods.

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.

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, slinging arcs of water, and squeals with delight, hugging him tightly around his neck.

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. I can handle it.

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!

They pass the joint back and forth a few times, giggling.

TERRY

Oh man, that went straight to my head.

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. 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.

Terry and Cortney are kissing tenderly. 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.

TERRY

(whispers)

Oh my.

CORTNEY

Take me!

FADE

INT. LISA'S HOME - AFTERNOON

The music has stopped. Lisa is rubbing Terry's back in long, slow strokes. At the last stroke she pauses with her hands on his shoulders.

LISA

OK now. How do you feel?

TERRY

(stirring)

Oh my. I feel great. Am I still in the same body?

LISA

(chuckling)

Oh yes, I'm quite sure of that. But it seemed to me, you may have left it for a while.

Lisa steps away and wipes her hands on a towel. Terry begins to rise.

LISA

No, don't get up yet. Take a moment to relax.

Terry settles back down.

LISA

I'd love to know where you went.

TERRY

I'd love to show you... sometime. Hey, I better get going. You have a gig tonight, right?

LISA

It's too late now. I've been working on you for...

(glances at her watch)

nearly two hours.

TERRY

No way!

LISA

It took over an hour just to get you to loosen up. I can't really do much good until your muscles release, you know. Now you rest for a few more minutes before you get dressed.

Lisa leaves the room. Terry stares at the poster again.

CUT

INT. LISA'S KITCHEN - NIGHT

Lisa sets a pitcher of water and two glasses on the little table. The cat is on the floor observing as Terry walks in.

LISA

Why don't you sit down?

TERRY

Sure, OK.

Terry sits in one of the two chairs. Lisa pours water in the glasses. Their eyes meet; Lisa smiles warmly at Terry.

LISA

It's really important to take fluids after a massage. It takes a lot to flush the toxins, and you were so full of stress.

Lisa hands Terry a glass and sits down at

his right side.

TERRY

Thanks!

Terry bolts down the better part of the glass. Lisa refills it.

LISA

Here, have some more.

TERRY

Wow, I had no idea how thirsty I was.

LISA

I'm not surprised, Terry. You're functioning at the edge of dehydration...

Terry, sitting sideways to the table, with his feet stretched out to his left, glances at the cat. Lisa notices and pauses, and then resumes.

LISA

... It leaves you vulnerable to injuries like this, Terry... don't you see...

The cat leaps into Terry's lap. Lisa pauses again. Without looking at the cat, Terry strokes its head and back. The cat arches, and then snuggles contentedly in his lap.

LISA

... Terry...

Terry looks at her expectantly. He continues to stroke the cat.

Lisa

...Terry... would you... would you like to... kiss me?

Terry's eyes lock on Lisa's; his lips part. He stops stroking and kneads the neck of the cat with his thumb and forefinger.

TERRY

Yes... yes I would.

Lisa leans toward Terry, and then Terry leans towards her. She places her hands on the sides of his face, and they kiss for a moment. Then she pulls back.

LISA

(returning to initial character)

Why don't you have some more water?

Terry takes another sip and puts the glass down. Then he reaches to Lisa, and strokes her neck, lifting her hair, and letting it fall away. He leans toward her again, but she does not lean.

LISA

I... I don't know...

He leans even farther and kisses her again. Finally Lisa begins to respond. Terry slides his right hand down her shoulder and arm, and places it on her thigh. Her legs part slightly. Their kissing becomes passionate.

Terry shifts in his chair to reach farther up her thigh, and the cat leaps to the floor. Thu-thump!

Lisa pulls away abruptly. She is flushed.

LISA

You have to go now.

Terry pulls back, breathing fast.

TERRY

I... I... I'm sorry, I thought...

LISA

No, you have to go.

TERRY

(rising)

I... OK... How much do I owe...

LISA

(stands up)

Please... go!

TERRY

(reaching for his wallet)

OK, I'm leaving, but just let me pay you...

Terry backs away and knocks his chair over with a crash.

LISA

(loudly, at the edge of hysteria)

Just... go!

Terry turns and goes out the door.

EXT. LISA's HOME - NIGHT

The door slams behind Terry. A spotlight goes on from the deck above. The Young Man leans over the deck as Terry passes by. The Young Woman quickly appears behind him. Lisa's kitchen light goes out; sobbing is heard through her window.

TERRY

(to the Young Man)

Nothing happened! Nothing!

As Terry passes along the fence, the large dog moves along side, barking furiously, as Terry passes out of sight.

FADE

EXT. THE VIDEO STORE - DAY

Terry parks his truck in a metered space. He puts a quarter in the meter, but the meter doesn't work. He hits it repeatedly, harder and harder. He gives up and enters.

INT. THE VIDEO STORE - DAY

Terry walks to the counter with some returns. Donna is focused on some paper work.

TERRY

Hey, Donnawanna, what's up?

Terry hands her the discs--without looking up, she takes them and puts them in a bin. Finally she looks up at him.

DONNA

What's up? Not much, buckaroo... damn sure not my revenue. I am grateful to you... if it weren't for the late fees you ring up, I couldn't pay the rent this month.

TERRY

That's tough. Everyone's hurting... my boss had to lay off two carpenters... good guys, too.

DONNA

And he kept you?

TERRY

(laughs)

Yeah, weird, isn't it. Last weekend the old man took me golfing. Why me?

DONNA

Maybe he's after your body.

TERRY

I hardly think so! He's got like a wife and three daughters.

DONNA

That doesn't mean anything. You better watch it around that man... don't let him sneak up behind you.

TERRY

Aw, Donna, gimme a break. Besides, I'm saving myself for you.

Donna makes a disgusted face and returns to her paperwork. Terry wanders back between the shelves. Donna's cell phone rings, and Terry, out of sight, listens in.

DONNA

(into phone)

Hiiiii... you bet... I lock up at nine... OK, out front... you know I do... byebye.

Terry pulls a box off a shelf and brings it to the counter.

DONNA

"Million Dollar Baby." Your taste is improving. I like women who can kick ass.

Donna writes up the rental.

TERRY

So, you are sorta seeing someone.

DONNA

What?

TERRY

That phone call.

DONNA

What's it to you?

TERRY

Nothing. But I am glad you're not just blowing me off...

(beat)

are you?

DONNA

Terry, let's not go there...

TERRY

Just give me hope...

DONNA

I hope you put a dime in the meter.

Terry looks over his shoulder out the window and sees the meter maid walking across the street. He reaches for the discs. Donna places a hand over his hand.

DONNA

Terry, I think you're a really nice person... and kinda handsome, behind that weed patch. But...

TERRY

It's OK, Donna, I understand...

DONNA

I don't think you do... Hey! You better beat it, she's headed for your truck.

Terry spins around and dashes out the door.

CUT

INT. SAVANNAH CONTRACTING - DAY

Terry pauses outside the Old Man's office.

THE OLD MAN

(into phone)

So, me and Ben took the wives out to Lakewood Sunday... no kidding... no, just nine holes... yee-ass, just as bad as you could imagine... they way they tore up the teeing grounds, I thought the groundsman was gonna kick us the hell off the course... look, I gotta call you back.

(to Terry)

Good afternoon, sir.

Terry puts some papers on the desk with a flourish.

TERRY

Time cards... aaand...

(with another flourish)

...a final invoice from Carlos.

THE OLD MAN

Carlos? He's finished already?

TERRY

Skimmed, sanded, and pointed up. Came out nice and crisp.

THE OLD MAN

That's what I like to hear. That job is rolling right along. By the way, you seen Robin lately?

TERRY

Funny you mention it... I haven't seen her all week.

THE OLD MAN

Good, good. The less you see of her... Oh! That reminds me...

The Old Man fishes around on his desk and retrieves a small envelope.

THE OLD MAN

(reading)

"To Terry, Namaste. Lisa." I found it slipped under the door. What the hell is namaste?

TERRY

I dunno, boss. Guess I'll have to look it up.

THE OLD MAN

You do that. I hope it means, I wanna get laid.

TERRY

(embarrassed)

Thanks for the sentiment. I better get back and start hanging some cabinets.

THE OLD MAN

Alright, hoss. Keep up the good work.

FADE

INT. TERRY'S APARTMENT - EVENING

Terry is on the couch. A laptop is open on the spool table. He dials his cell phone.

TERRY

(into phone)

From the spirit in me, to the spirit in you... Yeah, it's me... No, I had to google it... Me? No, I'm not angry. A little confused, maybe... No, please don't apologize... The back feels great! Whatever you did worked like a champ... Uh huh... Uh huh... I understand, it would be good to talk about it... Friday evening, ha ha, no plans... Sure, that sounds great... OK then... Namaste to you too.

FADE

(FLASHBACK) INT. YOUNG TERRY'S CAR - NIGHT

Terry and Cortney are in the back seat steaming up the windows. Terry starts to unbutton Cortney's blouse.

CORTNEY

No, please, not tonight.

TERRY

It's OK. This time I'm prepared.

Terry pulls a condom out of his pocket. Then he tries to start up again.

CORTNEY

No, Terry, it's too late.

TERRY

But it's only eleven. I don't have to get you back until midnight.

CORTNEY

No, I mean it really is too late.

Terry pulls back.

TERRY

You mean...

CORTNEY

I'm pregnant.

Tears begin to trickle.

TERRY

You're sure.

CORTNEY

I'm three weeks late, and I'm never late.

Terry pulls her close and tries to kiss her. She jerks away her face.

TERRY

I love you...

CORTNEY

Please don't say that!

TERRY

I can't help it, when I'm around you I...

CORTNEY

Terry, stop! You're only making this worse.

TERRY

It's OK, everything's going to work out. You'll be a great mother!

CORTNEY

No, no! Don't you understand, I don't want to be a mother.

TERRY

What are you saying? You mean you'd have an...

CORTNEY

Terry, I said it's too late. I've talked this over with my parents, and they're going to help me... get rid...

TERRY

Please don't say it. I'll do whatever it takes. I'll stand by you. We could get married...

CORTNEY

That's ridiculous. You've got that scholarship... what about your dream of being an architect? Are you going to throw that away?

TERRY

Well, maybe I could study around here. At night. I could get a job.

CORTNEY

But what about me, I'd like to go to college, too.

Terry sets his jaw. A tear spills out of his eye.

TERRY

We could live with my parents, and save some money...

CORTNEY

Auuughhh! Terry, I'm too young for this. You're too young. And I couldn't stand living in your parents stupid rec room... ugghhh! Anyway, it's already decided.

TERRY

I just can't believe you'd do it. I mean, end it... just like that.

CORTNEY

(starting to cry)

Terry, please don't make it harder than it already is. Don't you think I hate myself enough already, for letting this happen, for what I have to do... If you want to stand by me, than stand by me through this.

TERRY

I'm sorry. That was unfair. It's just that... there's a little tiny bit... of you... and me... inside you. Maybe she'll have your eyes...

CORTNEY

And how do you know it's a girl... sheesh!

TERRY

Well, what if it was? And what if... what if it did have your big blue eyes? They're so pretty.

Cortney breaks into tears and hugs Terry. Terry is getting weepy, too.

CORTNEY

And your curly red hair... Oh, Terry, I can't go though with this... having a baby. What should I do? I haven't even lived yet. What should I do, Terry?

Cortney slumps into Terry's arms; Terry rocks her gently as she quietly sobs.

CORTNEY

Please tell me, what should I do?

FADE

INT. TERRY'S MOTHER'S HOUSE - NIGHT

Terry is sitting on the couch watching an Orioles game. On the coffee table is a tray with his dirty dinner dish, and a can of Natty Bo. Terry's Mother enters carrying a basket of neatly folded laundry, and sets it down by the door.

TERRY'S MOTHER

All clean, sweetie. Except for your khaki shirt... there was some kind of goo on it...

Crowd noise rises from the TV.

TV ANNOUNCER (from tv set)

It's a hard hit liner down the right base line, if it's fair she's outta here... foullll... ball!

Terry leans forward to follow the action, ignoring his mother. She pauses for a moment, until the play is over.

TERRY'S MOTHER

...I hit it with Shout Out, but it still wouldn't come...

Terry picks up the beer can, shakes it, and tips it way back, then sets it down--it is empty.

TERRY'S MOTHER

Sweetie, can I get you another one?

TERRY

Sure, Ma.

TERRY'S MOTHER

Terry, you said you’d take care of that toilet down there. I got tired of jiggling the handle, so I finally just shut the valve. But sometimes I need it...

TERRY

I will, Ma. I just keep forgetting to bring over the part.

TERRY'S MOTHER

I'm sorry to bother you with things like that. Your father used to take care of everything, and now...

TERRY

For chrissake, Ma, I said I'd take care of it.

(beat)


TERRY'S MOTHER

Terry, did you get enough to eat? There's more pork chops...

TERRY

No more, Ma, I'm stuffed.

TERRY'S MOTHER

I'll wrap some up for you...

TERRY

Aw, Ma, it'll just sit in the fridge until it gets moldy, and then I'll throw it out.

TERRY'S MOTHER

I'll get your beer. Oh, and I found this in your pocket.

She pulls out the letter from Lisa.

TERRY'S MOTHER

Who's Lisa?

TERRY

Just some girl.

TERRY'S MOTHER

Is she nice?

TERRY

Sorta. Are there any more nachos?

TERRY'S MOTHER

What about Cortney? I thought you two were working things out.

TERRY

Aw, Ma...

The game goes to a break. Terry surfs some more games.


TERRY'S MOTHER

Terry, you were crazy about that girl... but you were so young. Maybe your father was right about her... Well I hope it works out with this Lisa person.

TERRY

Yeah.

TERRY'S MOTHER

Terry, bring over Juniper sometime. I never get to see her. You have her on weekends, right?

TERRY

Every other, Ma, every other.

TERRY'S MOTHER

Please, Terry.

Terry surfs some more stations.

TERRY

OK, Ma, I will, I promise. Real soon.

TERRY'S MOTHER

And don't forget that part, OK?

TERRY

OK, Ma, I won't forget...

FADE

INT. TERRY'S APARTMENT - AFERNOON

TERRY

(into phone)

Lisa, hi, it’s Terry.

LISA-on phone

Oh, hi Terry. How are you? Are we still on for tonight?

TERRY

Oh yeah—but I can’t pick you up this evening. I left some construction adhesive on the seat of my truck, you know, in those big tubes, and I parked in the sun this afternoon. The cab got so hot that some of the tubes burst, and there’s this smelly crud all over the seat.

LISA-ON PHONE

Oooohh, sorry about your truck. I’m working at the coop this afternoon--why don’t I pick you up after I get off, and I can drive us to the restaurant.

TERRY

Hey, that's a great idea. I'm looking forward to this.

LISA-ON PHONE

Me, too. I'm done with appointments at four. So I'll pick you up at four thirty--we can get the early bird special--it's half price.

TERRY

OK then, see you at four thirty. I promise I won’t be late this time. But just in case, give me your cell number.

LISA-ON PHONE

Terry, I don't have a cell phone. Please just be on time.

TERRY

No problem, I'll be ready. See ya soon.

LISA-ON PHONE

See ya, byebye.

CUT

INT. TERRY'S APARTMENT - AFTERNOON

Terry, with wet hair, is getting dressed, checking himself in a mirror. He pulls a battered tweed jacket with leather elbow patches out of his closet and tries it on.

The jacket is a little too large for him, and he fidgets trying to make it hang better. He starts to take it off, and then puts it back on again.

Staring into the mirror, he spaces out...

FADE

FLASHBACK INT. A DINGY PUB - NIGHT

Young Terry and TERRY'S FATHER are seated at a booth. Terry's Father, a heavy set guy, wears the tweed jacket.

A waitress arrives with their order.

WAITRESS

Taco salad, cheeseburger plate, well. Two Bo's.

TERRY'S FATHER

Thanks, babe.

Terry's father starts wolfing the cheeseburger.

TERRY'S FATHER

(while chewing)

What's with them Birds? They can't get out of their own way.

TERRY

I dunno, I haven't been paying attention lately.

Terry's father slugs down about half his mug.

TERRY'S FATHER

Never shoulda left Memorial Stadium. They had a team back then... Palmer, Murray, Ripkin...

He stuffs a big wad of fries in next.

TERRY'S FATHER

Oughta bring back Earl Weaver, that's what they oughta do.

Terry is just picking at his salad. Terry's father drains his mug. The waitress comes by.

WAITRESS

How is everything?

TERRY'S FATHER

Nuther beer, sweetheart. You, Terry?

TERRY

We're going through with it.

TERRY'S FATHER

What?

TERRY

Cortney's going to have the baby.

TERRY'S FATHER

Terry, I thought that was settled.

TERRY

I know, Dad, but we're going to go through with it.

TERRY'S FATHER

What do you mean, we? You're not going to do something stupid, are you?

TERRY

Dad, I promised her I would stand by her...

TERRY'S FATHER

God dammit, Terry, you're making a bad decision...

TERRY

Well, it's my decision... our decision.

TERRY'S FATHER

But you still have time, Terry. Think it over.

TERRY

No!

TERRY'S FATHER

Then let her have the goddam baby. Stay the fuck out of it. We'll settle this up, and you can go on with to Auburn.

TERRY

No, I can't...

TERRY'S FATHER

Yes you can! Don't make the same dumb ass mistake I made.

The waitress brings another mug. Terry's father takes a long drink.

TERRY'S FATHER

Jesus, Terry, when I got back from Nam and met your mother, and let all that GI money go to waste... just for a regular piece of ass...

TERRY

Dad, stop!

TERRY'S FATHER

Son, think it over.

TERRY

(quietly)

Dad, it's too late. We got married this morning.

TERRY'S FATHER

You stupid fool. You stupid goddam fool!

Terry stands abruptly, knocking over his father's beer.

TERRY

Fuck you, old man! I never want to see you again!

TERRY'S FATHER

Terry, wait, I didn't mean...

TERRY

Just fuck you! Just fucking drop dead!

Terry turns and stomps away.

TERRY'S FATHER

Terry, wait...

FADE

INT. TERRY'S APARTMENT - AFTERNOON

Terry, in the sport jacket, is holding a picture of his father as a skinny young soldier--helmet, flak jacket, no shirt.

EXT. TERRY'S APARTMENT - AFTERNOON

A faded Mercedes diesel station wagon pulls up in front and struggles to parallel park--first cutting too hard and almost running over the curb; then pulling out and in again, and stopping two feet away from the curb.

INT. TERRY'S APARTMENT - AFTERNOON

Terry looks at his watch and starts.

TERRY

Dag!

Terry hastily grabs his wallet, keys, and cell phone and dumps them in the side pocket of the jacket. Then he dashes out the door.

EXT. TERRY'S APARTMENT - AFTERNOON

Terry emerges from the building just as Lisa starts to get out of the car. She turns and waves over the top of the car. Terry jogs up, Lisa gets in, and unlatches the door. Terry leans in.

TERRY

Hi, Lisa, nice to see you again.

LISA

Nice to see you, too. Hop in.

Terry gets in.

INT. LISA'S CAR - AFTERNOON

TERRY

Thanks for picking me up.

LISA

No problem. I’m glad to do it. I hope your truck will be ok.

TERRY

(laughing)

It’s not a big deal. The seat was shot anyway. I’ll just get a cover for it.

Lisa swings sideways, drawing her right knee up toward Terry. It pulls up the hem of her dress, revealing the entirety of her thigh. Terry notices, but tries not to stare.

LISA

Terry...

Terry begins to speak, but Lisa continues.

LISA

Terry, I’m so sorry for losing my cool that night. I just got scared.

TERRY

Of me?

LISA

I don’t know. Maybe... maybe I was afraid of myself. But I’m not, now.

She draws closer to him; the dress riding even higher, hiding nothing now. Then, with her eyes closed, she places her hands on his temples, fingers spread wide, and lets them flow down over the contours of his face, slowly, gently, in a continuous gesture that ends with two fingers stroking his lips. Then she swings back behind the wheel.

LISA

We better get going, or we’ll miss the early bird. Are you getting hungry?

TERRY

You bet! I sure am.

Lisa pulls the car out into traffic. The diesel engine clatters.

TERRY

Hey, great car.

LISA

Oh, this is Steely.

Lisa pats the dashboard affectionately.

TERRY

Steely? Hi Steely, pleased to meetcha.

LISA

I love this car. It belonged to an old man I knew... a client. I do some geriatric work, you know. He’d call me once a week for a massage, and when I’d visit, he’d come out and help me wrestle my table out of the back seat of the car... I had one of those eensie little Civics, you know. He was such a nice man, tall and trim—you could even say handsome, in that old man sort of way.

Lisa pauses. Terry is quiet, watching her intently.

LISA

Then he got cancer. It spread so fast—soon he was just wasting away. Still he kept calling me. I’d do what I could do... which really wasn’t really much... it seemed like his elbows would tear right through his skin. At the end, he just wanted me to sit and hold his hand.

Lisa wipes a tear.

LISA

After he died, I got a call from his daughter. He’d left me his car. She told me he thought it make it easier for me to carry my table around in it.

TERRY

Some guy, huh.

LISA

Frederick Steele. That was his name. That’s why I call him Steely.

TERRY

Steely.

Terry rolls down his window.

TERRY

Sure is hot. I'm ready for fall.

Terry wriggles out of the sport jacket and places it on the back seat. Then he gazes out the window.

FADE

FLASHBACK INT. A NURSING HOME - DAY

Terry's father is in a hospital bed. Terry enters carrying an infant.

TERRY

Hi, Dad, how's it going?

TERRY'S FATHER

Ho! What's that you got there?

TERRY

This is Juniper. She's one month old.

Terry holds the infant so his father can see her.

TERRY

Junipie, say hello to your grandad.

TERRY'S FATHER

Juniper. What in the fuck kind of name is that?

TERRY

(to the infant)

Don't pay any mind, Junie. The old fart still doesn't know how to act around women.

TERRY'S FATHER

Let me hold her, Terry.

TERRY

OK, Dad, be careful now.

TERRY'S FATHER

Don't tell me how to handle a baby. I changed your shitty diapers.

TERRY

That's not what Ma says.

TERRY'S FATHER

Well, maybe I did it once.

(sings)

Jennifer, Juniper, la de da de dum... Where's Cortney?

TERRY

She had to start back already. They let her switch to the evening shift, so we don't need a sitter during the day.

TERRY'S FATHER

So that's it for night school for you.

TERRY

Yeah, for the time being... (beat) Ma says it doesn't look good.

TERRY'S FATHER

You got that right. Coupla weeks at best.

TERRY

I'm sorry, Dad...

TERRY'S FATHER

Don't be. In the long run, I'm lucky. Lotta guys I knew never made it much past your age. I just want it to be over quick... and painless.

TERRY

It all happened so fast...

TERRY'S FATHER

Everything in life happens fast, Terry. Look at you, already a father. Here, take her. I'm getting tired. They're giving me percoset now, lots of it.

Terry lifts the infant and fusses with it maternally.

TERRY'S FATHER

You made one tough choice, kid. I still don't think it was the right one, but it's done now. I hope you can live up to your decision.

TERRY

I'll try, Dad. I will.

TERRY'S FATHER

(slurring)

I know you will. Better go... I'm nodding out...

TERRY

Goodbye, Dad.

FADE

EXT. THE INDIAN RESTAURANT - EVENING

(the following, from the original story, is still to be adapted)


Finally, they approached the restaurant. There were no parking spaces out front, so they turned onto Bonifant and prowled down the street until they found a spot, all the way down the block. Then they walked back, toward the west, into the evening sun. She put on a pair of huge sunglasses, way too big for her narrow face. He groped for his in his breast pocket, but he’d left them in the jacket. Damn, he muttered to himself. Otherwise, he stayed silent as they walked on, hoping she would find something to say.

INT. THE INDIAN RESTARAUNT


They reached the corner and entered the restaurant. The mix of aromas put him on guard. He paused inside the door, as his sundazzled eyes adjusted to the dim interior. Not noticing that he’d stopped, she continued to an empty table. Loopy chick, all alone in her own world. Then, missing him, she turned. He lurched onward, cutting off a waiter carrying a big tray balanced on his upturned hand. The waiter pirouetted and swung the tray around, tilting it into its arc, to keep from spilling the contents. “I’m sorry,” he said, but the waiter had already scurried around behind him. Across the room, she covered her eyes and shook her head, but he could make out her lips pulling back into a smile.


He made his way over and sat down. She smiled at him and shook her head again, like his mother did sometimes. He smiled back, trying to work up a dimple, but he was worried she’d think he was grimacing, so he quit. Please say something. It was a small table, with a candle between them. Even in the dimness he could see some fine wrinkles at the corners of her mouth. But those thighs, oh my. Jesus, just don’t blow it this time. Please say something. Think of something to say, dammit. He gazed around the room. On the wall was a poster, similar to the one in her basement massage room,


“What’s with those guys?” he blurted, pointing toward the poster. “You know, the girl and the guy with blue skin, on the back of the big bird. You’ve got those same characters on the wall in your apartment.”


“Oh, them. That’s Lakshmi and Vishnu. They’re riding on Garuda. They’re Hindu gods and goddesses.”



The same waiter came by and asked for their order. She ordered for him, explaining what everything was, and what it was made from. He said OK to everything, but if you were to have asked him what he was about to get, he would not have been able to repeat a single item. Then she started to tell him about the Hindu pantheon. But it was too much, was Ganesha the man with the elephant’s trunk or the curry with split peas. The food came, and she chattered away, about a yoga retreat in Himalaya she was planning to go to some day. The names of the foods, the gods, the towns and the rivers were tumbling around in his head. The dishes were tastier than he expected, and soon they were finished eating.


After the dishes were cleared, she got up and went to the rest room. When she returned, he noticed she had taken the clip from her hair, which now fell free around her shoulders. She sat down again and took his hand, and with her eyes closed, ran the fingers of her other hand up and down the inside of his forearm. A smile formed on her lips. She opened her eyes and asked, “Are you ready to go?”


Before he could say yes, the waiter came with the check. She reached for it, but before she could take it, he slammed his hand over it and said, “This one’s mine.”


“It’s my treat, really. I invited you.”


“But after that massage and all, I’ll get the check…” He smiled his smile again, and this time it worked. She smiled back at him, softly. He reached to his back pocket, but his wallet was not there.


“Damn, I’m sorry. I left my wallet in my jacket pocket. It’s in Steely. Hang on, I’ll be back in a flash.”

“Hey, wait, you’re going to need these.” She fished out her keys from her purse. He took them and dashed out the door.

BENEDICTION

Here's a fragment of a piece I began composing in my head this morning, stuck in a traffic jam...

(Sep 4--it's no longer a fragment; it's a short--but complete--piece of monologue--AA)

BENEDICTION

The first thing I want to say, is how wonderful it is to talk to you again.  It’s been a long time, hasn't it?

Of course you must be wondering--and marveling--how can I share this with you. It’s really no marvel, it just goes back to that spring morning--after I had abandoned any hope of recovery--the magic bullet, the miracle cure--those miserable, worn out hopes that had sustained me through the long, tedious years of decline--and after I finally let myself say, I want to die--that morning, when David, my oldest son came in to my room to say goodbye.

Not goodbye, father, may you find peace and liberation from your years of suffering. No, it was goodbye, I’m going to California with a woman who is running out on her husband, a woman I slept with once, but who is seeking out her lover, a stoner living in a run down bungalow on the beach in Summerland. Or some such cockamamie bullshit.

He didn’t explain it so clearly then; it was later that he shared the whole story with me--but what he said was enough for me to get the gist. I replied, but my voice was so weak he could not hear me. So he leaned his ear down, so close to my lips that I could have kissed him; I felt his long curly hair and that horrible beard brush my face. Then, in the faintest whisper, I spoke my last words to him, you're crazy--just like me.

                               +        +        +        +

In fact, they were the last words I spoke to anyone, because not long after, a fever took hold, and I began slipping into a coma.  Dr. Britt finished examining me, and called my wife into my room.

Lisabetta, he said, your husband's condition is grave.  He will be gone very soon, perhaps tonight. I could admit him to the hospital and they could drain his lungs and possibly revive him (Oh god, please not again! For god’s sake let me go...), but this will only happen again.

Thank god she let me go. If I had suffered, she had suffered twice as much--this young, voluptuous woman who gave me enemas, this woman with the wideset brown eyes, who irrigated my bladder drain twice a day--thank god she let me go. This woman who turned away my neighbors, my old high school buddies--who thought they could get away with it--this woman who buried her wishes for my death deep inside herself--thank god she let me go.

Enough already.  Let’s talk about happy things.  My son, he seems to have settled down.  He even calls his mother once in a while.  He’s making a little money--although he didn’t do so well last year.  But he could have made so much more of himself.  The opportunities he pissed away.  What I could have done with them!  So many times I wanted to get up out of my bed and beat him.  I mean beat him.  Hurt him, like he hurt me.

If only he’d have found a nice girl, a Jewish girl.  Those tramps he used to go with, one after the other.  Living together--uuuhhh!  What kind of a way to live is that?  And that one he married, what did he see in her?  She was just as sick as he was.  She was built, I’ll hand you that--every bit as nice as Lizzie, from what I could see. 

            There were some good ones; that country girl, from Virginia or somewhere.  Now she was nice--even if she was flat as an ironing board.  But the nice ones--those were the ones he treated like shit; he’d cheat on them (I guess it’s cheating--they were only shacked up) and then leave them, like a dirty little shit.

And that friend of his, that sissie boy.  I told him he was a sissie--I could tell the first day he brought him home.  They were friends all through junior high, all through high school.  But my god, how angry he got, when I’d warn him about what could happen.

So much anger he had!  I’ll never understand.  But that’s all past.  Maybe it’s his new woman.  Finally someone that’s good for him--even if she is a shiksa.

                                  +        +        +        +

I tell you, I was right--he was crazy.  Even now, a little.  No wonder we get along.  It’s so nice when he tells me about his life.  And the things he remembers, from way back, before I got sick.  Teaching him to swim, the books I bought him.  How he loved books!  What he could have done with them.

No wonder I felt so comfortable, right away, when he leaned over me to listen, when I opened my lips to speak and my soul flew up out of my mouth and into his ear, I felt at home, like being with an old friend.

Oy, enough already.

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.