NOWHERE MAN

by
Jacob R Parker

Jacob R Parker
107 E 600 N LOCKED DRAFT
Provo, UT 84606 05/12/08
858.373.7060
 FADE IN:

1 INT. MEN'S BATHROOM - DAY 1

A faucet turns on. Two hands wash themselves, and then fill
up with water. The water is splashed onto a face belonging to
MARTY, 31. He is attractive and well dressed.

The door opens. JO, 24, enters. In one hand is a notebook

which she uses to shield her eyes.

Marty spots her. He goes to grab a paper towel.

JO
Rob's out front. He wanted me to
let you know. And also, he has to
leave at two.

Marty stops drying his hands. He tosses the towel in the

trash. Marty looks at his watch. It reads 12:45.

MARTY
So, in like an hour? What for?

JO
I can't tell you.

MARTY
Oh, come on... *

JO
No. Rob told me not to say
anything.

Marty rolls his eyes.

MARTY
He does realize that we have an
album that is seriously behind
schedule. I've got loads of people
breathing down my neck...

Jo puts her notebook down. She interrupts.

JO
Don't you dare try to convince him
to stay.

Marty glares towards Jo.

MARTY
Can you just please, let me do my
job?

(CONTINUED)
 "NOWHERE MAN" 5/28/08 2.
1 CONTINUED: 1

Jo stares back at him. Marty goes to open the door. Marty and
Jo just look at each other for a moment.

MARTY (CONT'D)
I'm sure Rob needs you for
something

A cold silence fills the room. Jo brushes past Marty in a

hurry. Marty watches as she leaves, smirks a bit and walks
out.

2 INT. HALLWAY - DAY 2

ROB (31) walks down the hallway, in a hurry. He carries a

messenger bag over his shoulder. His clothing is hip and
slim. Over that is a large wool coat. He is on the phone.

ROB
(into phone) *
I swear, it's fine... Julia, *
seriously... Marty should have no *
problem with me leaving. *

Jo walks towards him. She holds out her hands. Rob begins to *
peel off his coat. *

ROB (CONT'D) *
(into phone) *
No, he'll be here tomorrow... *
Okay... See you soon... Bye. *
(to Jo) *
Here you are my love. *

Jo takes his coat. *

JO *
Marty's going to push you on the *
sonogram issue. You need to tell *
him. Soon. *

ROB *
I'm on it, don't worry. Is there *
anything else I need, or that you *
need for me to do, or what? How can *
I be of assistance to you, Jo? *

JO *
You're fine. Go on in. *

Rob goes to walk away. He turns back towards Jo. *

(CONTINUED)
 "NOWHERE MAN" 5/28/08 3.
2 CONTINUED: 2

ROB *
He's not in a bad mood, is he? *

JO *
No, he's running on tame mode *
today, so yay for us. But that *
doesn't mean he won't pull his *
usual and convince you to back out *
on Julia. *

ROB
I'm not backing out on her. I made *
her a promise, and I don't intend *
on breaking it. Two o'clock. No *
matter what. *

JO
Well, good. Here. *

Jo hands Rob a stack of papers from her folder. Rob looks

down at his papers. On top of the papers is a small post-it
note, with a small doodle of an embryo and "2 pm, Westhaven
Clinic, Chelsea" written on it. Rob takes the papers, and
looks at the note cockeyed, and smiles.

ROB
Nice lima bean.

Jo grabs for the note.

JO
Sorry. I was just...

ROB
No, it's cute. Leave it. Is it a
boy or a girl?

JO
I don't know. What do you think?

ROB
A boy. I think. I hear they're *
easier. Julia wants a girl. We find *
out today, actually. Which, is *
exactly why I'll be there. *

JO
Good.

Rob smiles. They walk down the hallway.

 "NOWHERE MAN" 5/28/08 4.

3 INT. CONTROL ROOM - DAY 3

Marty sits down at a chair. He's on the phone. A technician,

PETE (30s) sits down at the sound board.

MARTY
(into phone)
Yeah. I'll let him know.

The door to the control room opens. Everyone's head turns.

Rob walks in, and heads straight into the recording booth. Jo *
follows him.

Marty jumps up, closing the phone. He follows him.

MARTY (CONT'D)
Pete, flip off his mic.

PETE
Done.

Marty follows Rob into the recording booth. Jo waits till

Marty exits.

JO
Flip it back on.

Pete smiles, and pushes a button on the board.

4 INT. RECORDING BOOTH - DAY 4

Rob sits down at a large grand piano. He puts the papers Jo

gave him on the music holder. Marty comes up beside him. Rob
rolls a few scales and arpeggios. Marty stands by the piano, *
arms crossed.

MARTY
When can you be ready?

ROB
I'm ready as soon as you are. *

MARTY
Well, we've been anxiously awaiting *
your arrival for a good hour now, *
so... *

Marty goes to leave the booth. *

(CONTINUED)
 "NOWHERE MAN" 5/28/08 5.
4 CONTINUED: 4

MARTY (CONT'D) *
Oh, and I thought you should know *
that Paul is coming in today at *
around two, so whatever it is you *
had planned will have to be *
postponed. *

5 INT. CONTROL ROOM - DAY 5

Jo and Pete look at each other in shock.

6 INT. RECORDING BOOTH - DAY 6

Rob is still silent.

ROB
I can't postpone this. Get him back *
on the phone. See if he can come *
later. *

MARTY
Are you serious?

ROB
Yes, I'm serious. Can't he come at
like three or something?

Marty laughs.

MARTY
You're kidding, right? Come on!
It's Paul McCartney! This is, it,
Rob. Talk about living the dream.
What can be more important than
that?

Rob says nothing. Marty just looks at him. Marty sees the
post-it on the music. Marty rolls his eyes.

MARTY (CONT'D)
Oh, come on, Rob!

ROB
I'm not going to do this with you
again. I'm done disappointing her. *
Besides, it's like an hour out of
the day, max.

MARTY
An hour of my time, and Paul's
time.

(CONTINUED)
 "NOWHERE MAN" 5/28/08 6.
6 CONTINUED: 6

ROB
She hasn't once complained about
all the time I spend here, and on
the road, and what not, getting *
this album ready. She has asked for
one hour of my time. I'm going to
give it to her.

Marty stares off into nowhere.

MARTY
So, what? You're just going to skip
out on the chance of a lifetime?
You can't seriously want this
forever.

Marty motions around him. Rob is silent. He just looks at

Marty.

ROB
Can we just forget it? I want to
get this song in the can before I
have to leave, and we're wasting
time...

Marty lifts up his hands and storms out.

7 INT. CONTROL ROOM - DAY 7 *

Marty enters the control room. Jo is sitting in the main

chair behind the board, with Pete. She quickly hits a switch.
She shoots Marty a stare.

MARTY
What?

Jo gets up, and sits down on a chair behind Marty.

ROB (V.O.) *
Pete. You ready?

PETE
(pushes the button)
Yes sir.

ROB (V.O.) *
Do you want to check levels first?

PETE
Yes, actually... Play me something
sweet and sassy.
 "NOWHERE MAN" 5/28/08 7.

7A INT. RECORDING BOOTH - DAY 7A *

Rob puts his headphones on. He looks at the small post-it,

and smiles. He takes a few deep breaths and then begins
PLAYING.

7B INT. CONTROL ROOM - DAY 7B *

Marty sits listening. He gets up quickly and paces the small

room.

JO
Sit down. You're making me nervous.

Marty looks at Jo.

MARTY
Paul's coming at two. *

JO
I know.

Jo stops quickly before finishing. She tightens her mouth,

aware of her mistake.

MARTY
You were listening?

Jo says nothing. Marty pushes the button on the sound board.

MARTY (CONT'D)
Rob.

7C INT. RECORDING BOOTH - DAY 7C *

Rob stops playing.

ROB
Yeah.

MARTY (V.O.) *
Can I have a word? Privately?

7D INT. CONTROL ROOM - DAY 7D *

Marty shoots a glance towards Jo.

8 INT. DIGITAL RECORDING ROOM - DAY 8

Rob and Marty stand in a small room, full of more computers

and such. Marty shuts the door.

(CONTINUED)
 "NOWHERE MAN" 5/28/08 8.
8 CONTINUED: 8

MARTY
I didn't want to tell you this yet,
but Paul's looking to record a
duet. "Let it Be" or something from
Wings, I don't know, but it was
supposed to be a surprise. And, to
top it off, he wants to play it
live at the benefit concert.

Rob cracks a smile.

ROB
Are you serious?

MARTY
That's why he's coming in today, to
record something.

Rob face beams.

ROB
Well, that's great.

MARTY
But...

ROB
But what?

Marty just looks at Rob. Rob's smile fades. He begins to pace

around the tiny room, looking for space, but can't go
anywhere.

Marty just looks at Rob. A sense of understanding falls over

Rob's face. He nods his head.

Rob lets out a frustrated GRUNT.

ROB (CONT'D)
This has got to be the worst
timing.

Rob goes to the door, and opens it. He enters into... *

8A INT. BACK HALLWAY - DAY 8A *

Jo is right outside the door. Marty spots her.

MARTY
Still spying.

(CONTINUED)
 "NOWHERE MAN" 5/28/08 9.
8A CONTINUED: 8A

JO
(to Rob)
What's going on?

ROB
I have to stay. I can't afford to
miss this.

JO
What? Why?

ROB
Paul's coming and...

MARTY
She knows.

JO
But you were going to go even
though he was coming.

Rob pauses. He smiles.

ROB
He wants to record a song with me.

Jo is awestruck.

MARTY
She'll understand, Jo. She always
does.

JO
So are you going to at least call
her? Or should I do it?

ROB
Could you, actually?

Jo's face fumes. She looks at Marty, who shrugs. She grabs
her phone, and storms out. Marty glances at his watch.

MARTY
Ready to get back? Two o'clock
approaches.

Rob nods his head.

9 INT. RECORDING BOOTH - DAY 9

Rob sits down at the piano bench.

(CONTINUED)
 "NOWHERE MAN" 5/28/08 10.
9 CONTINUED: 9

He spies the post-it note again. He looks at it, almost

entranced.

10 INT. CONTROL ROOM - DAY 10

Jo sits, looking at Rob setting up his music through the

glass. She turns and sees Marty, still on the phone in the
back hallway.

Marty finishes his call. He closes his phone, and enters into
the control room.

MARTY
Is he ready to roll?
(pushes button)
Just let us know when you're ready.
(releases button)
Where's Pete?

JO
Is Paul really coming?

Marty is dumbfounded.

MARTY
Of course he's coming...

JO
No, I mean, is he coming today...

Marty stands, becoming increasingly uncomfortable.

MARTY
Yeah, of course.

Jo turns away. She gets up.

MARTY (CONT'D)
Don't you dare...

JO
I need to see if he wants anything.

She exits into...

11 INT. RECORDING BOOTH - DAY 11

Jo walks up to Rob. Rob turns towards her. *

ROB
How'd she take it?

(CONTINUED)
 "NOWHERE MAN" 5/28/08 11.
11 CONTINUED: 11

JO
Fine, Rob, she took it fine.
Disturbingly fine... I'm amazed
that this doesn't bother you.

ROB
What?

JO
This. This whole Paul thing. I
mean...
(whispering)
are you seriously putting a song
before your family?

ROB
It's a huge opportunity... *

JO *
(interrupting) *
You made a promise to her, and I *
know you, Rob. You don't break *
promises. *

Rob stops talking. He looks at Jo, who stares back. *

Out of nowhere, Jo grabs the post-it note from off of the *

music, crumples it up, and tosses it on the floor as she
leaves.

Rob watches in silence as she exits. He looks down towards

the post-it on the floor.

12 INT. CONTROL ROOM - DAY 12

Jo walks up to Marty who sits at the board.

MARTY
Can you go find Pete?

JO
You are such a terrible liar.

MARTY
About what?

JO
About Paul. He's not really coming,
is he.

Marty looks at Jo. He waits a beat as she stares him down. *

(CONTINUED)
 "NOWHERE MAN" 5/28/08 12.
12 CONTINUED: 12

MARTY
I may have tweaked the truth a bit.

JO
Tweaked?

MARTY
He's coming, just not right now.
He'll be here around 7 for dinner.

JO
Wow.

MARTY
Wow, what?

JO
Look at him. You have him believing
that Paul's coming.

MARTY
I had to know he was committed.
Ever since he got married to her *
he's been impossible to keep *
focused and with this baby, it's *
been an absolute joke. *

13 INT. RECORDING BOOTH - DAY 13

Rob looks into the control room to see Jo and Marty talking.

He looks at his music, and then at Marty.

He plays a few notes on the piano. He spots the post-it on

the floor. He begins to PLAY.

14 INT. CONTROL ROOM - DAY 14

Marty stands at the sound board. Jo looks at him.

JO
So, what, you're just going to let
him wait for no one to show up?

MARTY
Let me handle it, please?

Pete enters, soda in hand. He looks at Marty, and then at Jo. *

MARTY (CONT'D) *
(to Pete) *
What? *
 "NOWHERE MAN" 5/28/08 13.

15 INT. RECORDING BOOTH - DAY 15

Rob stops playing. He looks over at Marty in the control

room. Rob looks back down at the post-it. He rubs his temples
and then his eyes.

He grabs the post-it from off of the floor, and unfolds it.
He looks at it for a moment, and smiles. *

He stands up abruptly, and grabs his bag sitting next to the

piano.

16 INT. CONTROL ROOM - DAY 16

Marty's eyes spot Rob leaving through the glass.

MARTY
Where's he going?

Jo smiles. Marty quickly exits.

JO
Is the microphone on?

PETE
Yep.

17 INT. RECORDING BOOTH - DAY 17

Marty comes running in. Rob is packing up his stuff.

MARTY
Where are you going?

ROB
I'm leaving.

MARTY
You can't go.

ROB
Tell Paul that I'm flattered that
he wants to record today, but I
made a promise to her. *

Rob heads toward the door. Marty blocks the way.

18 INT. CONTROL ROOM - DAY 18

Pete and Jo listen. Pete's face is shocked.

(CONTINUED)
 "NOWHERE MAN" 5/28/08 14.
18 CONTINUED: 18

PETE
Wait, Paul's recording something?
That's news to me.

Realization falls over Jo's face.

19 INT. RECORDING BOOTH - DAY 19

Marty still blocks Rob from the door.

ROB
It'll seriously be like a half an
hour. Paul can wait.

MARTY
Paul can wait? Are you seriously
saying that Paul McCartney can
wait? For you?

JO (O.S.)
(over the speaker)
Paul's not coming.

Silence. Rob and Marty look over at Jo in the control room.

JO (O.S.) (CONT'D)
(over the speaker)
And he doesn't want to record...

MARTY
(interrupting)
Turn that off!

Rob looks at Marty coldly. Marty lets out a loud SIGH. He

just looks at Rob. He goes to speak, but Rob interrupts him.

ROB
Move.

Rob goes to exit, but Marty continues to block the way.

ROB (CONT'D)
Please.

Rob motions to exit. Marty stares him down for a moment, and
then moves out of the way. Rob exits.

Marty rubs his eyes, and face.

20 INT. CONTROL ROOM - DAY 20

Rob enters the control room.

(CONTINUED)
 "NOWHERE MAN" 5/28/08 15.
20 CONTINUED: 20

ROB
Jo, get me a cab. And my coat.
Please.

Jo quickly whips out her cell phone.

Rob goes to exit.

JO
Oh, Rob. Paul is coming today. For
dinner, anyway.

Rob sits on Jo's words.

ROB
Thank you.

Jo salutes dutifully as she types into her phone. Rob exits.

21 INT. HALLWAY - DAY 21

Rob stands in the hallway. He leans against the wall as he

holds his cell phone to his ear. In his hand is the post-it
note. He looks at it as he waits.

Marty walks up to Rob. Marty begins to talk. Rob interrupts.

ROB
(into phone)
Hey babe. No, no, I'm on my way.
Yeah, it's fine. Marty said it'd be
fine.

Marty looks down, waiting for Rob to finish. Rob looks at him
as he talks.

ROB (CONT'D)
I don't know, 10 minutes? How's
traffic? Oh...Okay. Sweet... Okay.
Love you too. Bye.

Rob closes the phone. He continues to look at Marty.

ROB (CONT'D)
What do you want?

MARTY
I don't know. It's just... I
thought we had a similar, you know,
vision of how this whole thing
would go.
(MORE)

(CONTINUED)
 "NOWHERE MAN" 5/28/08 16.
21 CONTINUED: 21
MARTY (CONT'D)
This whole Paul thing is supposed
to get us somewhere...Get us out of
dumps like this.

ROB
I get it.

MARTY
Well, then, what's wrong? Why even
make this an issue? We all have to
make sacrifices to get what we
want.

Rob laughs.

ROB
Yeah, well, everyone but you,
right?

Marty's face drops.

ROB (CONT'D)
When it comes to my family, it's *
safe to assume nothing comes before *
it. You're going to have to learn *
to deal with that. He's just a guy, *
Marty. The dream lives on, Paul or *
not. *

A moment of silence passes. Jo walks in. She hands Rob his

coat.

JO
Your cab is waiting.

ROB
Thanks Jo.

Rob goes to leave.

MARTY
Good luck.

Rob half turns as he walks away, and waves. Rob walks down
the hallway.

22 EXT. STUDIO - DAY 22

Rob exits the building, coat in hand. He puts on his

sunglasses, and walks towards a yellow cab. He's smiling.

FADE OUT.