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Screenplay for A VIEW FROM THE OUTSIDE
A VIEW FROM THE OUTSIDE
A screenplay by
Damian T. Lloyd
- = O = -
A VIEW FROM THE OUTSIDE is copyright © 1987 by Damian
T. Lloyd. You may print as many copies as you like for
your own use. However, under no circumstances may
copies of this material or any portion thereof be
reproduced in any medium or by any means and made
available for sale.
For a list of all Banana Enterprises publications, send
a self-addressed, stamped envelope to:
Banana Enterprises International
Vic. Cen. P.O. Box 8239
Victoria, BC
V8W 3R8
- = O = -
INT. A CLASSROOM - AFTERNOON
We see a couple of students in the class, dozing in various
stages of catatonia. SHERRY is in class. She is an
unobtrusive-looking girl, but passably good-looking, dressed in
jeans and a shirt. She dozes too. The TEACHER drones on about
some obviously interesting period of Canadian history.
The end of the class arrives. The TEACHER packs up her books,
wishes them all a good weekend, and departs the room; so do the
students. SHERRY is dozing rather more heavily than the others;
she doesn't move until a departing student bumps against her. She
wakes, and gathers her stuff together and leaves the room.
CUT TO:
EXT. A COURTYARD OUTSIDE A UNIVERSITY BUILDING - AFTERNOON
Tall, soulless stone buildings surround a large cobbled
quadrangle. A few people walk across it, SHERRY among them. She
carries the binder and textbook she had in the last scene. She
stares at the ground about two meters ahead of her.
- 1 -
MICHAEL (O.S.)
Sherry! When are you going to come to
your senses and move in with me?
Enter MICHAEL; he is a clean-cut type, okay-looking, nothing too
special. He approaches and walks beside SHERRY.
SHERRY
Hi, Michael. How goes?
MICHAEL
Oh, you know. The usual.
SHERRY
(Making a face)
How depressing!
MICHAEL
Walk you to class?
SHERRY
No, I don't have any more classes today.
MICHAEL
Okay then, walk you home?
SHERRY
Oh ... no. I have to go to the library
and get some books for my history essay.
It's due next week; I should probably get
started on it.
(A beat. She looks away from him.)
You could come over tonight ... if you
want ...
MICHAEL
Well, sure, okay. After supper?
SHERRY
Yeah. The guys are going out tonight.
MICHAEL
(Grinning)
O-KAY!
He hurries off, waving to SHERRY. She slowly walks off on her
original course.
CUT TO:
- 2 -
INT. THE KITCHEN OF THE CARLETON HOME - LATE AFTERNOON
The usual facilities are present: stove, fridge, dishwasher,
microwave. A counter and the cupboards above it separate the
kitchen from the dining room.
DONNA CARLETON is preparing supper. She is in her thirties,
pretty, workmanlike. She tastes some gravy she is cooking on the
range, and replaces the lid on the pot.
SHERRY enters; she moves into the dining room, dumps her books on
the table, and slumps into a chair. DONNA looks over at her.
DONNA
(Sympathetically)
Tough day?
SHERRY
Hi Donna.
(Expressively:)
Bleahhh!
DONNA
(Bustling about the kitchen)
Yeah, that's a fairly clear statement and
answer to my question ...
SHERRY
I don't even know what I'm doing at
college. I have a history essay due next
week and I haven't even started yet.
DONNA
Help me lay the table.
They lay the table together, DONNA getting out the utensils and
leaving them on the counter for SHERRY to distribute about the
table; they lay for three.
SHERRY
Oh, hey?
DONNA
Hm?
SHERRY
I, uh ... that cheque from my mother
didn't go through the bank machine yet,
so ... I might be late with this month's
rent ... Is that okay?
- 3 -
DONNA
I'll talk to Richard. It'll be okay, but
only for a few days.
SHERRY
Thanks. Thank you. It'll only take a
couple of days. Tuesday at the latest.
Thanks.
DONNA
(Smiling)
What would you have done if I'd said "No,
it's not okay"?
SHERRY
(Embarrassed; mumbling)
Oh ... I-I'd have thought of something
... I --
DONNA
Hey!
She laughs. SHERRY smiles slightly, and looks down, blushing.
CUT TO:
INT. THE DINING ROOM OF THE CARLETON HOME - EVENING
DONNA sits at one end of the table. Her husband RICHARD sits at
the other. SHERRY sits on one side, roughly in the middle, but
slightly closer to DONNA's end. All have plates of food in front
of them. On hot-mats in the centre of the table, a couple of
covered dishes hold the rest of the food. DONNA and RICHARD have
glasses of white wine--Schloss Lauderheim in a box; SHERRY has a
glass of raspberry juice. The salt and pepper sit on the table
in front of DONNA.
RICHARD is talking, gesturing with his fork between mouthfuls of
food. DONNA is eating and looking at him. SHERRY is quietly
eating and looking down at her plate.
RICHARD
... and the whole skeleton collapsed!
It was like a Far Side cartoon. Nothing
was broken, so we can laugh about it now
...
DONNA
What about Montreal?
- 4 -
RICHARD
Mm. Yeah.
(He swallows.)
It's confirmed. They want me to fly to
Montreal tomorrow and take possession
personally.
DONNA
When are you leaving?
RICHARD
Tomorrow morning. Back Sunday, about
noon. I guess you two can have a Girls'
Night Out this weekend. You will come
and see the exhibit when it's set up,
won't you?
DONNA
Don't I always?
RICHARD
You too, Sherry.
SHERRY
Thanks, Mr. Carleton.
She looks down at her plate. The other two eat.
CUT TO:
INT. THE LIVING ROOM OF THE CARLETON RESIDENCE - LATE EVENING
A couch stands in front of a picture window. Facing it is a 21"
TV and VCR on a fake-walnut stand; a movie is on some channel.
Also dotting the area are a couple of chairs, small coffee
tables, a long sideboard with a stereo and records on it. Plants
are on every available surface, and hung in front of the picture
window on macrame plant hangers. Outside the picture window, the
night is dark; it is late.
On the couch sit MICHAEL and SHERRY. They are turned toward each
other, and are making out. Commercials come on the TV, but
neither of them notices. MICHAEL is clearly the more aggressive
in their snogging; he kisses SHERRY energetically for a few long
moments. SHERRY responds as best she can.
MICHAEL turns on the couch more and puts a hand on SHERRY's
breast. He cups and squeezes it amateurishly, as he continues to
kiss her, hard.
- 5 -
SHERRY
(MICHAEL's lips locked on hers)
Mmm -- mmhummm -- mmumhummm ...
She pushes MICHAEL away and sits back on the couch. He exhales
deeply. She wipes her mouth surreptitiously on the back of her
hand.
SHERRY
Gently.
MICHAEL
Sorry.
MICHAEL looks at her. He puts a hand on her knee, and leans
toward her again. They resume kissing. MICHAEL runs his free
hand up and down SHERRY's leg a couple of times, then lets it
linger on her hip. A few beats. He caresses her stomach, then,
conforming to his pre-planned schedule, allows his hand to sneak
down between her thighs. SHERRY, without complaint, removes his
hand and lets go of it in mid-air; MICHAEL replaces it on her
thigh. He breaks the current kiss slightly.
MICHAEL
(Murmuring)
I've got something ... if you want to ...
fuck.
SHERRY
(Sitting back)
No.
MICHAEL
(Pleading)
Oh, come on ...
SHERRY
No.
MICHAEL
What's wrong?
SHERRY
Nothing. I just don't feel like it.
MICHAEL
(Sitting back on the couch and
sighing)
Okay.
(He looks at her.)
Back in a sec.
- 6 -
He stands up, surreptitiously straightening his erection within
his pants as he does, and heads off to the bathroom. SHERRY
watches him go, then turns her attention to the TV.
CUT TO:
INT. SHERRY'S BEDROOM - CARLETON HOME - NIGHT
It is dark, but from what we can see, SHERRY's room has been
converted from a spare room, DONNA's sewing room and storage. It
has been adequately furnished with bed, dresser, chair and desk.
SHERRY lies in bed; a plush elephant sits on the bed, leaning
against the wall. She is awake, her eyes open and looking
through the wall into the master bedroom. Through the wall we
can hear the muffled sounds of RICHARD and DONNA making love. We
HOLD ON that for a long moment.
Tentatively at first, then getting bolder, SHERRY begins to
masturbate to the accompanying soundtrack of RICHARD and DONNA's
lovemaking. She continues for a few minutes, receiving some
enjoyment from it but not letting herself go to any great extent.
Eventually she simply stops. She bites her lower lip, then
reaches over to her night table and pulls a tissue from the box
sitting there. She wipes her fingers off distastefully, and
throws the balled-up tissue out into the room. She lies still on
the bed again, listening to the noises from the other room.
CUT TO:
INT. SHERRY'S BEDROOM - CARLETON HOME - MORNING
SHERRY is getting dressed for the day; she wears a dressing gown
and socks. She slips on her undies and, leaving them at
half-mast, reaches into her closet. She pulls a box of mini-pads
out of its hiding place behind a pile of clothes, and reaches
inside. The box is empty. She replaces it in the closet.
CUT TO:
INT. BATHROOM - CARLETON HOME - MORNING
There are the usual bathroom fixtures, with extras: the toilet
has all the fuzzy covers one would never want to have, extra
rolls of toilet paper are covered with knitted cozies, etc. A
magazine rack hangs on the wall beside the toilet, with a few old
copies of Time, etc. in it. A shelving unit stands beside the
sink counter. There are two doors: one leads to RICHARD and
DONNA's room, the other to the hallway.
SHERRY enters, and closes and locks both doors. She crosses to
the toilet and lifts the cover; the fuzzy doily prevents it from
- 7 -
staying up, and it falls, but she catches it before it hits the
seat. She leaves it down and moves to the shelving unit. She
pokes through the stuff on the shoulder-level shelf, and shortly
finds DONNA's box of tampons. She holds it in her hand, weighing
it, then extracts on; she peers into the box, then reaches in and
removes the instruction leaflet. She puts both items into the
pocket of her dressing gown, and flushes the toilet. She then
washes her hands, and unlocks the doors, then exits the room.
CUT TO:
INT. KITCHEN - CARLETON HOME - MORNING
SHERRY sits at the table, eating a bowl of cornflakes; she is
dressed. On the table in front of her is the box of cereal, a
bag of milk in one of those plastic jugs, and a stainless steel
sugar bowl. DONNA stands in the kitchen, wearing a
dressing-gown, pouring herself a cup of coffee from a drip-type
coffee maker. Sitting beside the coffee maker is RICHARD's used
coffee cup.
DONNA
So what are your plans for today?
SHERRY
(Looking over from her cornflakes)
Well ... I don't have any classes until
1:00, so I'll probably work on my History
essay this morning.
DONNA
I'm going shopping this morning; I
probably won't be back before you leave.
Do you need anything?
SHERRY visualizes a box of panty-liners, then shakes her head.
SHERRY
No, nothing, thanks.
DONNA
Okay.
She heads off back to her bedroom, sipping her coffee.
CUT TO:
INT. FRONT HALL - CARLETON HOME - MORNING
To the left of the front door is a coat closet, now closed. Half
a dozen stairs lead up to the living room and hallway to the
bedrooms.
- 8 -
DONNA is just putting on her coat. She calls up the stairs:
DONNA
Sherry!
After a moment, SHERRY appears from the hallway. She stands at
the top of the stairs.
SHERRY
What?
DONNA
You be home for supper tonight?
SHERRY
Uh, yeah.
DONNA
(Smiling)
What? Friday night, and no parties?
SHERRY
(Blushing)
Uh, no. Not tonight.
DONNA
Okay. See you tonight.
SHERRY
Yeah. 'Bye; have fun.
DONNA grins at her, then leaves. A beat. The door opens, and
DONNA reappears. She grabs the keyring and pack of Craven M
cigarettes lying on the ledge formed by the floor of the living
room, blows SHERRY a kiss, and departs again.
CUT TO:
INT. MASTER BEDROOM - CARLETON HOME - MORNING
The bedroom is as we would expect: a bed, with bedside tables on
either side of it, lamps on them, a closet, an ironing board
propped up against the wall, a window looking out into the back
yard, a chest of drawers with a mirrored headboard, a
his-and-hers clock radio, and doors to the hallway and the
bathroom. SHERRY is looking at herself in the mirror above the
chest of drawers. She stares at herself a long moment, then
yanks open a drawer. It is untidy, full of men's undies and
socks, just stuffed in there. SHERRY closes it and opens the
drawer on the other side; this one is DONNA's, full of panties,
bras and pantyhose.
- 9 -
SHERRY rummages in the drawer, and pulls out a bra. She holds it
up, looking at it, then peeks at the size label: 36-B. She
hastily puts it back and resumes flipping through the drawer.
Under the regular undies, she finds a couple of items of
lingerie: filmy basques and the like -- not a great selection.
She selects one, and holds it up on herself. She gazes at
herself in the mirror, at first without moving, then she strikes
a couple of Hollywood-sexy poses. Hurriedly she puts the item
back in the drawer, and rests her hands on its edge, examining
herself in the mirror.
She lifts everything, and right on the bottom of the drawer she
comes across DONNA's vibrator. She lifts it up, cradling it in
both hands, and just studies it for a few moments. She turns it
over in her hands, then finds the switch. Biting her lower lip,
she turns it on; the shock of the thing humming to life causes
her to drop it. It hits the floor and stops. SHERRY picks it up
and desperately tries to get it going again; after a few tense
moments, it buzzes to life. She holds it in one hand and tries a
tentative pass on her forearm, then switches it off and looks at
her arm. She switches it on again, opens her dressing gown, and
touches it to her breast. She jerks it away, switches it off,
and hastily puts everything away and exits the room.
CUT TO:
INT. A DRUG STORE - AFTERNOON
Aisles of merchandise fill the place, with patrons walking
aimlessly up and down, trying vainly to decipher the signs over
the aisles.
SHERRY is in the store. She wanders up and down the aisles,
pretending to look at the merchandise, and works her way over to
the aisle where the feminine hygiene products are displayed. A
mother and twelve-year-old daughter are in the aisle, so SHERRY
moves past them as if on her way to some other part of the store.
She turns down the next aisle, and walks slowly down it. She
selects a can of baby powder, and holds it as she casually walks
back into the feminine products aisle. This time nobody is
there. SHERRY looks about, then quickly selects a box of
panty-liners and semi-hides it under her baby powder.
She heads casually over to the checkout counter, and stands
behind the customer currently being served. She picks up a copy
of People magazine and ads that to her purchases.
The other customer leaves. The CHECKOUT GIRL rings through
SHERRY's purchases; SHERRY does not look at her.
CHECKOUT GIRL
That'll be $9.23 please.
- 10 -
SHERRY has her money ready; she passes it over, accepts her
change and her purchase, and hastily leaves the store.
CUT TO:
INT. LIVING ROOM - CARLETON HOME - NIGHT
SHERRY and DONNA sit on the couch, watching a videotape:
Mischief. Both have glasses of white wine; DONNA's is
three-quarters gone, SHERRY's barely touched. They watch in
silence for a few moments.
SHERRY
Every guy who's seen this movie thinks
it's great, but I think it's kind of
stupid.
DONNA
It does have one of the greatest sex
scenes I have ever seen in a PG movie.
A beat. DONNA picks up her purse from the floor at her feet, and
rummages through it, eventually pulling out a pack of cigarettes.
She places it on the couch beside her and rummages through the
purse some more.
SHERRY
You shouldn't smoke; it's bad for your
health.
DONNA
Yes, I know; but I don't need a lecture
on it, thanks.
SHERRY looks away, embarrassed, then allows her gaze to wander
back to the TV. DONNA holds up a toke-stone and Bic lighter.
DONNA
A-HA!
SHERRY
What's that?
DONNA smiles at SHERRY, and opens her cigarette pack. In one
side are cigarettes, in the other three neatly-rolled joints.
DONNA selects a joint and runs it under her nose like a man with
a fine cigar, sniffing deeply.
DONNA
Ahhhhh!
(She puts the joint in the
toke-stone.)
- 11 -
SHERRY
Donna!
DONNA
(Sparking up)
Hunh?
SHERRY
Does Richard know?
DONNA
Know what?
SHERRY
That you ... smoke ...
(She gestures to the joint.)
DONNA
No, Richard's straight.
SHERRY sits back, staring at the TV screen. She shifts her
glance to DONNA, who is taking a good long puff. Holding in the
smoke, DONNA offers the joint to SHERRY.
DONNA
Hmm?
SHERRY
Uh-uh!
DONNA
Come on; it won't hurt you.
SHERRY
It's illegal.
DONNA
Yeah, but only mildly. Come on. C'mon,
that's it.
SHERRY takes the joint and stares at it stupidly.
SHERRY
(Nervously)
What do I do?
DONNA
Sort of inhale through it.
SHERRY touches the toke-stone to her lips. She sucks tentatively
on it, then coughs violently as she finds herself inhaling smoke.
- 12 -
SHERRY
(Through her coughs)
I didn't do it right ...
DONNA
Yeah ... well ... you sort of -- Have
you ever tried a cigarette?
SHERRY
(Clearing her throat)
No.
DONNA
Jeez, you had a deprived childhood.
Look, watch me.
She demonstrates the correct technique, then passes the thing
back to SHERRY. SHERRY looks at it for a long moment, then puts
it to her lips. This time she does better; she chokes a bit, but
holds it in, and passes the joint back to DONNA.
DONNA
Good! See, it's not that hard.
SHERRY exhales.
DONNA
Here ... I'm going to do something
special for you
(She smiles at SHERRY.)
Super-toker.
She removes the joint from the toke-stone and inhales heavily.
Then she puts the lit end in her mouth, and exhales the smoke
through the joint. SHERRY leans over and clamps her lips over
the end.
DONNA
(Jerking away)
Ow! Shit!
She picks up the joint and holds it, rubbing her lip with the
other hand. SHERRY is blushing.
DONNA
Shit! Jesus!
SHERRY
What?
- 13 -
DONNA
You burned my lip! You were sucking on
that end, and you burned the inside of my
lip.
SHERRY
(Embarrassed; looking away)
Sorry.
DONNA
(Rubbing her lip)
It's okay. Shit.
SHERRY stands and pauses the VCR. She heads off up the hallway.
DONNA
Sherry?
SHERRY returns a moment later carrying a can of Lysol. She
begins to spray it about the room. DONNA holds her nose.
DONNA
Oh! I hate that stuff! What are you
doing?
SHERRY
(Paranoid)
Trying to mask the small a bit. Anybody
who came in could tell ... what we were
doing.
DONNA
Who is going to come? Sherry?
SHERRY does not reply, but continues moving about the room,
spraying Lysol.
DONNA
Sherry! Come on, enough already!
SHERRY
You can still smell it.
DONNA stands and crosses to SHERRY, who still sprays Lysol.
DONNA
You've got smoke in your sinuses. You're
smelling the inside of your own nose.
(She stands facing SHERRY.)
Sherry ... Come on ... Sherry ...
SHERRY moves to dodge past into the kitchen, and DONNA grabs her
- 14 -
around the waist, restraining her. SHERRY turns her head,
looking over her shoulder at DONNA. DONNA looks back intensely.
HOLD ON that image for a moment.
CUT TO:
INT. MASTER BEDROOM - CARLETON HOME - MORNING
DONNA is sitting up in bed beside SHERRY, leaning over her and
stroking her hair. DONNA has a tender look on her face. SHERRY
awakens and tenses up.
DONNA
(Bright and cheerful)
'Morning!
SHERRY
Uh, hi.
DONNA
And how are we feeling this morning?
SHERRY
(With the beginnings of real panic)
Uhh ...
Suddenly RICHARD enters the bedroom. He looks surprised to find
both of them there. SHERRY pulls the sheet up over her body, and
DONNA holds it there.
DONNA
Richard! You're home early! Uh ... we
were --
RICHARD
(Holding up a hand)
Please --
SHERRY
It's ... I ... ohhh ...
She lies back and pulls the sheet up over her face. RICHARD
turns and begins to exit the room. He pauses in the doorway.
RICHARD
(Only slightly patronizing)
Leave two females alone in a house, and
they'll find a way to crawl into the same
bad and spend half the night giggling.
(He puts a hand on the doorknob.)
When you're dressed and ready, I'm taking
you both out to Smitty's.
- 15 -
He closes the door as he leaves.
CUT TO:
INT. FRONT HALL OF THE CARLETON HOME - MORNING
RICHARD stands by the door, car keys in his hand. SHERRY
appears, DONNA a moment later.
RICHARD
All right!
He opens the door dramatically and strides through it. SHERRY
follows. When RICHARD is out of view, DONNA brushes her hand
against SHERRY's buttocks. SHERRY tenses.
SHERRY
Donna --
DONNA
(Kid caught in the cookie jar)
Sah-rie!
They both go out, shutting the door behind them.
CUT TO:
INT. MICHAEL'S APARTMENT - NIGHT
It's sparsely furnished, but it's home: a typical one room
bachelor apartment inhabited by a single bachelor. The couch
pulls out into a bed, and sandwich makings are on the ledge in
the kitchen area.
MICHAEL and SHERRY are sprawled on the couch, making out. MICHAEL
is clearly the aggressor, but SHERRY is a more active participant
than she was the last time. We watch them kiss for a few
minutes. MICHAEL worms his hand to the buttons on SHERRY's
blouse, and tries to hide his astonishment when she allows him to
undo them. He exposes her Wonderbra, and cups one of her
breasts.
SHERRY breaks the current kiss.
SHERRY
Michael ...
MICHAEL
(Nibbling SHERRY's neck)
What?
- 16 -
SHERRY
Have you got something?
MICHAEL
What?
SHERRY
Have you got ... something.
MICHAEL
(Understanding dawns)
You want to --
SHERRY
(Blushing to hear herself admitting
it)
I-I ... want you ... to make love to me.
If you want.
MICHAEL stands, holding onto SHERRY's hand. He pulls her up, and
ushers her off to the side. Then he quickly pulls the bed out of
the couch, without removing the cushions first. MICHAEL looks at
SHERRY from the foot of the bed; she stands beside it, and smiles
nervously at him.
CUT TO:
INT. MICHAEL'S APARTMENT - NIGHT
Later. SHERRY and MICHAEL lie under the sheets side by side;
SHERRY is looking away, biting each lip in turn. MICHAEL is on
his side, running his hand up and down SHERRY's body, through her
hair, etc., just generally touching her.
MICHAEL
Sorry it was so fast. This usually
doesn't happen to me. I mean, usually I
... well, you know.
(He looks about nervously.)
Did, uh, did you enjoy it?
SHERRY
(Troubled)
Yeah. It was real nice.
CUT TO:
INT. DONNA AND RICHARD'S BEDROOM - NIGHT
DONNA and RICHARD are in bed, having obviously just finished
making love. DONNA lies on her back, RICHARD on his side beside
her.
- 17 -
DONNA
It was real nice.
RICHARD
What's wrong?
DONNA
Nothing. Nothing's wrong.
(Almost to herself:)
Nothing at all.
CUT TO:
INT. MICHAEL'S BEDROOM - MORNING
SHERRY is dressed; MICHAEL still lies in the bed. She is
munching on a bologna sandwich, sitting at his desk.
SHERRY
(Not looking at MICHAEL)
Hey.
MICHAEL
(Lazily)
What?
SHERRY
Maybe ... for the rest of the term ... we
... uh ...
(She takes a bite of sandwich, chews
it slowly, and swallows.)
If you still want me as a roommate ...
(She trails off.)
MICHAEL
(To himself, an almost deleriously
happy smile on his face)
Shit.
CUT TO:
INT. DONNA AND RICHARD'S BEDROOM - AFTERNOON
DONNA stands before the chest of drawers; she is neatly dressed
and wears makeup. She is brushing her hair with a brush. We
watch her do this for a few moments. She stops, checks herself,
and brushes a few more strokes. She puts the brush down on the
dresser, but keeps her hand coiled about it. She turns her head
slightly toward the door to the hallway.
- 18 -
DONNA
(Calling)
Richard!
RICHARD (O.S.)
What is it?
DONNA
(Calling)
Come in here. I have something I want to
discuss.
RICHARD (O.S.)
You come out here.
DONNA looks at herself in the mirror, inhaling.
DONNA
(Calling)
No. You come in here.
She looks at herself in the mirror and makes a final swipe at her
hair with the brush, then sets it down and turns to face the
door. There is a brief pause. We see the door to the hallway; a
beat; just as it starts to open --
FREEZE FRAME.
- 19 -
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