Showing posts with label knives. Show all posts
Showing posts with label knives. Show all posts

Wednesday, May 6, 2009

The Knife Salesman





From the I-pod we hear Bono’s voice mourning, “The more I see, the less I know.” While I’m filling out my personal info on a job application for Vector Marketing, it strikes me that the Red Hot Chili Peppers expressed that very same sentiment in their song “Snow.” For a moment my thoughts are amiss, trying to figure out which song was released first, who ripped-off who. Then it occurs to me that the “originator” probably just paraphrased a well-known adage I’ve never heard of. I return my focus to the application in front of me.

There are almost twenty of us crammed into this small, white room at Vector Marketing headquarters in a suburb just north of Chicago. Chicago is where I want to live again, the fear and paranoia have ebbed and the regret has set in. Writing is what I want to do, but even the best aren’t likely to make a living doing it until middle-age. Selling knives to potential buyers in their homes is not something I yearn to do, but the ad on Career Builder vowed that this place pays $18 per hour. I am skeptic about selling knives door-to-door, but this business is only ten minutes outside of Chicago, accessible by public transportation, and it pays well, so I am willing to listen to what the recruiter has to say about CUTCO brand knives and the (wink-wink) opportunities Vector has to offer.

The applicants are not allowed to talk to one another, possibly because the recruiters sense that scams are more quickly unearthed in a sociable group. Conversation leads to speculation. As I glance around the room, I realize that at age 25, I’m one of the oldest people in attendance. I wonder how many people in this room, the recruiter who included U2 on his shuffle mix and myself excluded, can name five songs by the savior –rock quartet from Dublin. I guess two, then remember the application I have been neglecting.

As it turns out, the application hardly matters. When I first entered the headquarters of Vector Marketing, a minute or two late because of the lack of leeway I allow for delays in the Chicago Transit Authority, I was handed an application by a strikingly gorgeous secretary and ushered into the presentation room. I hadn’t even reached the past employment portion when I was called into the manager’s office for an interview. When I explained that I wasn’t quite finished with my application, he assures me it’s no big deal, as if applications for this job are as unneeded as name-tags for the cows at a slaughterhouse.

He reads what I have completed on the application, which might as well have read, “Name: Nicholas John Oli.” He seems distracted while I tell him about my Communications degree and—although it bares no relevance here—my work at the college newspaper and public access television. It’s as if my words are being drowned out by the chunky riff from “Even Better Than the Real Thing” at a U2 concert and all he can think about is stealing the secretary away to the men’s bathroom before the start of the first encore. After a minute or two of jabbering about my moot accomplishments, he decides the interview has run its course and he tells me to return to the room with all the other applicants.



When the presentation starts, we are finally allowed to speak, but only in response to the questions the hiring manager is asking us. The questions seldom require a thoughtful response; we are expected to supply answers merely to prove we are not timid wallflowers incapable of naming two words that rhyme with “knife.”

The hiring manager looks like a model for Axe body wash. He asks if anyone has a penny and when the group is slow to produce one, he remarks, “No one has a penny? I guess you really are poor college students.”

But we’re not all poor college students. Some of us are poor college graduates.

His comment induces a laugh from the group, and even though I know most of the kids who say yes to a job offer will be slighted and exploited, I laugh, too. To prove that I can handle a playful ribbing from one of the Corporate Bros. Later that night, sleeplessly lying supine on the couch at my friends Chris and Mike’s apartment, I will scold myself for snorting at the Axe model’s wisecrack.

When someone finally gives him a penny, he proceeds to peel its perforated edge as testament to the sharpness of CUTCO-brand knives. He has done this many times before and the demonstration is fairly impressive. We react like the audience in an infomercial, some of us rubbing our eyes in gaudy disbelief, others mouthing the words, “Holy Mary Mother of God.” We’re quietly awed, because we all need jobs.

I am jotting notes and raising my hand to answer an occasional question even though I know I’d be a stooge to work for Vector Marketing. Here is a sample of the notes I wrote down.

“CUTCO knives stay sharp for 7-10 yrs. Cutting edges are between the points, not on the points. Knives can be sold individually or in a set. Extendable flaying knife for the fisherman.”

“Representatives are given $540 worth of CUTCO supplies, used as long as rep. wants the set. Deposit of $135.”

The second sample of notes refers to the $135 deposit required to become a sales representative for Vector Marketing. In addition to paying for these shiny murder weapons, the four-day training seminar pays nothing. That means if you’re a lousy salesperson, or the customers just aren’t feeling profligate ever since their 401-K plan went broke faster than Bernie Madoff, an employee could work seven appointments and still fall short of breaking even with Vector Marketing.

As my gnarled hand moves back and forth across a piece of scratch paper, I am simultaneously eager raise my hand to offer proof that I’m not an imbecile and cursing myself for being dumb enough to ride down to Chicago on a Greyhound to explore a mediocre prospect such as this. Even if I was somehow provided with enough appointments per week for a few months, I’m no salesman. An exchange between a potential buyer and I would be comparable to this…

“Hello, there, Mrs. Epstein. Um, I have here, in my possession, some amazing knives courtesy of the good people at CUTCO. If you’re ever struck by the fancy to peel the ridges off one of your hard-earned pennies, I’m told these knives will do the trick. So, would you—uh—like to purchase a set?”

“No,” Mrs. Epstein says. “We’ve got no need for these kinds of luxury items right now. The economy is in the shitter, as I’m sure you know.”

“Right. I’ve heard the news reports about that. The economy is the main reason I’m trying to sell people like you knives in the first place. Because the economy is, you know…”

“In the shitter. Yes, I figured that’s what brought you into my kitchen for this uncomfortable demonstration.”

“Uh-huh. Well, I guess it’s a no-sale, then. Hmmm. We’ve still got 58 minutes to kill before the end of this appointment. In the meantime, if I shredded my belt into pieces with one of these CUTCO-brand knives, would that maybe persuade you to reconsider?”

“No. It would not.”

“Okay. Jeez, I feel like a turd for even asking you that. Plus I really need this belt; it’s the only one I own. I guess I’m just trying to be more—uh—persistent with making sales. Anyway, at least I still get paid eighteen bucks for this appointment.”

“Sure. And along with the other appointments you’ve arranged today, you’ve made…”

“Eighteen dollars.”

“Jesus Christ.”

“Yeah. Suddenly my throat is feeling parched. Can I have a glass of water?”

“Get out of my house.”

“Right then. Okay. I’ll see you later—er…goodbye. Forever. Sorry.”

I would sell knives with as much deftness as Bob Newhart propositioning a stripper for a blow-job.

But the crux of the entire process was that I still wanted to be accepted for the job, even though I knew damn well I had no business selling knives part-time. This was a corporation that accessed its customers through desperate college students; the poor kids were one step up from bottom-feeders. If I wasn’t qualified enough for the approval of the CUTCO shills, I was seriously going to have to rethink my career options. I would have no choice but to take the plunge into the carnie racket, guessing people’s weight with 10% accuracy or modeling for the gawking carnival-goers the world’s longest leg hairs.

****

When he offers his hand to shake and tells me the job is mine if I want it, I am elated. I thank him effusively and revel in the moment of artificial triumph. I’m grinning broadly as I light up a cigarette and walk across the street to the bus stop.

The bus drops me off at the train station. On the el ride back to my cousin Eliot’s condo, where I slept last night, I don’t invest much thought into what I will say tomorrow morning when I dial Vector headquarters to announce my abrupt resignation, or rather, my unwillingness to attend the four day training session worth a net gross of -$135. Instead I write notes on a scratch piece of paper concerning vampire fights. Specifically, when the blood-suckers are engaged in battle with each other, is victory attained by chomping the opponent’s neck or thrusting a stake through the opponent’s heart? The el-train provides a wondrous setting for expounding on inane ideas.

At Chris and Mike’s apartment later that night, I’m eager to guzzle a six-pack of Budweiser and play a few competitive games of Madden Football. When I tell Chris about the Vector Marketing prospect, he responds with indignant empathy and, with righteous bluster, explains all the reasons I shouldn’t become a part-time knife-salesman in terms much more trenchant and elaborate than I have previously described. His input assures me that I’m making a prudent decision in continuing to be unemployed.

****

Because Christmas is in a few days, the Greyhound station is packed with impatient travelers. I walk in alongside Annie, a cute and bookish blond I met on the el-train not ten minutes ago. Brought together by a common destination, we’re making conversation suitable for a first date. Annie is the secretary for a professor at DePaul University, and she’s traveling home to Iowa for the holidays. We discover a number of remarkable coincidences about the other. Both our mothers are named Ruth. Both our fathers are retired police officers. We’re the youngest in our families, with two brothers and a sister apiece. We both love baseball and especially the Cubs. When I call attention to all these surprising happenstances, she merely shrugs and says, “That’s just the way life is.” She is used to the stars aligning in a familiar and comforting way, a feeling that only strikes me in rare moments of hopefulness.

Annie’s parents live just outside of the town where the movie “Field of Dreams” was filmed. For awhile we discuss the baseball museum located there. Even though I’m not even sure which door the bus to Milwaukee will be parked outside of, I stand alongside Annie as she waits in line for her bus to arrive. Without any wrangling, she gives me her phone number. Her bus arrives and the appropriate door opens. A gust of cold air rushes through the terminal. Through a shield of glass doors, I watch her lug her cumbersome bags onto the bus and wish I could offer to carry them. But I’m not traveling to Iowa, with good reason, perhaps. The sigh I let out is overpowered by the chilly gust from outside. I realize that my phone number triumph won’t amount to much while I’m living in Fond du Lac.

With Annie gone, I turn my focus to learning exactly how the hell I’m going to make it home. The line to the information desk is comparable to that for a new roller-coaster ride at Six Flags, and I figure I can determine which gate to go to by listening to the announcements on the public address system.

The voice that comes through the P.A. system is muffled and submerged in static. We are not listening to an announcement of vital information on schedules and delays; we are listening to a comedian’s impression of the speaker box at a fast-food drive-thru. The omniscient voice that is supposed to edify and subdue our uncertainties is unintelligible. And persistent, too. The ordeal is like listening to a thorough oration from God Himself, who is stinking wasted drunk off the blood of his only son.

Shortly before my bus arrives, I start to ask around the long lines of impassive soon-to-be passengers and finally a frowzy woman of middle-age named Flora informs me that the bus to Milwaukee will be arriving outside of gave 13. Mere feet away from the arcade room, where the moaning of arcade zombies and booming explosions mingles with the indecipherable voice of our Greyhound God, I rest my back against the storage lockers with my luggage resting by my feet.

****
I’ve taken a window seat on the bus when a bubbly Asian girl with flakes of dandruff dotting the strands of her hair asks in broken English if she can sit beside me. I have no qualms with that, and once she has stored her luggage in the overhead compartment, the Asian girl introduces herself as Nee-ying. I say hi. She then summons her dogged determination to hold a conversation with me.

Now, at the risk of making a severe understatement, Asia is a pretty big continent. I’d like to be more specific in regard to Nee-ying’s origins, but when I ask here where she’s from, her response is coy laughter. After “Would you like to super-size your order?” and “Are you familiar with 2 Live Crew?” the question “Where are you from?” ranks at the top of the list of phrases Nee-ying should have learned to answer right away. All this is not to seem xenophobic, but to reiterate that she was just learning the rudiments of the English language the day I spoke to her on the Greyhound bus.

Although I don’t know which country Nee-ying calls her homeland, I CAN provide an exhaustive list of Asian countries I’m fairly certain she does not hail from: Russia. No something-Stans, either.

Aiming her cell phone past the window to my right, she snaps pristinely vivid pictures of downtown Chicago, and later in the drive, she captures the majestic skyline as we escape its wonder. When I steal a glance at her phone as she cycles through her list of contacts, I notice that all the entries are comprised of squiggly and ornate characters. The symbols bring to mind the reverse side of a fortune cookie strip, featuring the ambitious command: “Learn Japanese! Dog = a phonetic translation, cryptic mutations of the pi symbol, the New York Mets logo, and an ink blot rendering that, according to your analyst, represents the suppressed rage you feel toward your seventh grade football coach.

But enough about that smug, pig-faced motherfucker who chomped into self-esteem like it was a Slim-Jim.

With her ticket stub in hand, Nee-ying nudges me and indicates that she’d like to examine mine. I reach into my pocket and produce the stub for her. Her brow strained intently, she examines the cities I’ve traveled to the last few days, along with departure and arrival times and the total cost of my ticket. Having rode from Fond du Lac to Milwaukee to Chicago, now en route back to Milwaukee and on to my final stop in Fond du Lac, she reasons that I’ll be making four stops total.

“Twenty-two dollars, each stop,” she says, leaning over and pointing to the total price of my voyage: $88.00. It takes me a second to realize that she has just used my ticket stub to display the simple arithmetic of a second-grader’s story problem.

English minors despise the adage: “Math is the universal language.” This is partly because numbers can’t be used to evoke wisdom, beauty, or humor. But it’s mainly because the D’s we received in Algebra class made us feel stupid, and well-read people hate being misled into believing we could avoid this meager feeling by means of explicating the shit out of Hawthorne and Ibsen.

But when Nee-ying’s savvy math skills proved valid and I actually understand what she meant, we become overjoyed and bond momentarily.

“Yes! Eighty-eight divided by four is twenty-two,” I proclaim, cheerfully.

“Twenty-two times four is eighty-eight!” Nee-ying returns, glowingly.

That part of the conversation was glorious, but once all the points concerning my ticket stub were exhausted, we are left with nothing else to discuss. In no time I am once more asking where she is from and again she is laughing at my question. In fairness, it was pretty funny—the two of us trying to have a conversation.

Months later, while listening to a John Lennon album, a lyric from the song “Borrowed Time” reminds me of the rift in communication I experienced with Nee-ying. It goes, “The more that I see, the less that I know for sure.”

Riding the Greyhound is humbling and a bit seedy, but the bus has to offer a destination, a place where the outcasts congregate, far from the home that stifles you. I’m riding back from my destination, having gained nothing but more confusion. As the Asian girl feigns a nap beside me, I tell myself that my destination hasn’t changed; I’m just traveling to it in reverse.

Thursday, January 1, 2009

CRAINE & BLOOM'S EXOTIC BUTCHER SHOP




FADE IN:

INT. CRAINE'S BUTCHER SHOP – BREAK ROOM

A thin haze of smoke hovers in the small and dimly lit break room. JONAS CRAINE slowly brings a cigarette to his lips with his unsteady left hand. His right hand is stashed deep inside his pocket, burrowing as usual. He gazes at the floor with eye muscles that scrunch tirelessly. Craine is in his mid-40s and he wears the expression of an elderly matador.

A metallic CLANG can be heard off-screen, sounding in five-second intervals. Craine is neither comforted nor bothered by the noise; he merely expects it.

Five seconds pass without a clang. After ten seconds he becomes perturbed and checks the watch on his left hand. Before fifteen seconds he groans, snuffs his cigarette, and hurries through the swinging door. His rushed movements are unnatural; his body moves as if it is confined in a cast of paper mache.

INT. FRONT COUNTER

Slump-shouldered and weary, SCOTT BELDEN stands parallel to the counter, gazing at a butcher knife with a hint of resentment. He shakes his head side-to-side as Craine approaches from behind.

CRAINE: I don't hear any knife-dropping, Scott.
SCOTT: Look, Mr. Craine, can we please just talk this over? I mean--
CRAINE: No, we can't. You know my policy. Every new employee must start his shift with ten
solid minutes of knife-dropping reps.

Scott turns around to face his employer.

SCOTT: It's just...I'm not sure if this is really necessary. I've worked here for over a month and...
CRAINE: It's necessary. Young men such as yourself do reckless things. You need to be cautious. Now drop that knife and don't try to grab it 'til it's lying on the counter.

For a quick beat Scott is torn between compliance and rationale. His cry for rationale prevails, and with exasperation he says...

SCOTT: I've never had the urge to catch a falling knife. Even before I started working here I knew it was a bad idea. I could be doing something more productive like...
CRAINE: Scott.
SCOTT: And when a customer spots me doing this routine I feel like such a—
CRAINE: Scott.
SCOTT: One of my ex-girlfriends came in here once and she snickered at me. I mean, it's just common sense, you know. Who tries to catch a falling knife? Only a total...idiot would—

Like a fiery drill sergeant, Craine lunges to confront Scott. He unleashes his right hand from his pocket and points his finger in Scott's face.

CRAINE: You watch your god-damn mouth, smart-ass!

The butcher's hand trembles. His pinkie is severed at the joint, wrapped in gauze. Scott sees it for the first time. His eyes bulge in bewilderment and he backpedals a few inches. Craine is almost as perplexed by the sight. He considers his severed right pinkie a monstrosity not to be shared with others. With a rare surge of emotion, he tucks his hand back into his pocket and turns away.

CRAINE: Scott, I didn't mean to...

Scott's mind races with possibilities. Still reeling, he gulps and shakes his head.

SCOTT: No, look, Mr. Craine...I'm the one who should be sorry—
CRAINE: I didn't apologize. I just didn't want you to see that.
A pause. A refrigerator buzzes loudly. For a long time the men remain silent.
SCOTT: It's not a big deal. I just didn't know about it.

He inches toward Craine and drops a knife on the counter by the register. Remember that.

SCOTT: (cont'd) You know what, I can do the knife-dropping routine for as long as you want. Everyday. Until you think I'm...ready. I mean, I'm grateful for this job and you're the boss, so if you want me to--
CRAINE: Scott, have you ever seen the movie Cocktail?
SCOTT: What?
CRAINE: The movie Cocktail, starring Tom Cruise. Have you seen it?
SCOTT: Yeah, I think so. He plays a bartender in that one, right?
CRAINE: Yes. Cocktail came out 20 years ago. That was back when I co-owned this shop with a man named Dexter Bloom. We were best friends.
(Beat.)
Business was slow before Cocktail hit theaters—even slower than it is now. Dexter saw the movie. He gave it thumbs-up, and it gave him an idea. Crazy idea. He kept talking my ear off about it. Business couldn't get much worse, so I figured, what the hell? Jesus, listen to me reminisce. I hate reminiscing. Scott, you should never heed the advice of a man who hopes like hell that he's wrong, but if you want to know the cold truths bitter old men keep to themselves...it's no use reminiscing about the best days of your life. Because once that train of thought fades away, you remember what happened that brought on the shit.

The camera follows his wistful, solemn gaze up toward the ceiling.

DISSOLVE TO:

INT. CRAINE & BLOOM'S EXOTIC BUTCHER SHOP – FRONT COUNTER

The caption reads “1989.” In the foreground, a youthful and vibrant Craine carves up a thick slice of ham. A nearby stereo blares AC/DC. Craine bobs his head to the upbeat rhythm, not quite in-time but without a hint of self-consciousness. His fluid movements contrast the body language of the middle-aged man he will become. Like most young people, Craine lacks the foresight to picture himself 20 years from now.

DEXTER BLOOM operates the cash register. His smirk reveals a gleam of jack-o-lantern mischief. His movements coincide with the rhythm of the music. He has a habit of cocking his head to the side and delicately scraping his teeth with his tongue. Bloom is a womanizer who plays it with indifference until the moment to pounce arises. And he always knows exactly when to pounce.

A female patron by the name of JOLENE approaches the counter. Judging by her sleek evening gown—which accentuates her taut and desirable figure—you'd think she was attending a stylish nightclub without a date. She comes to Craine & Bloom's not so much to order meat but instead to participate in a game bursting with nervous anticipation that nobody quite knows exactly how to play.

BLOOM: Welcome to Craine & Bloom's Exotic Butcher Shop, miss Jolene. Tell us how to serve you.
JOLENE: Dexter, I'm simply dying for a half-pound bag of Virginia ham. Would you do the honor?

Bloom smirks.

BLOOM: Let's sharpen that blade, Craine.

In one deft motion, he unfastens his belt, yanks it by the buckle and twirls it like a lasso above his head.

Their lovely customer laughs giddily.

Knife in hand, Craine jaunts over, trying to conceal his anxious longing for Jolene. Bloom stretches the belt tightly as his friend drags the blade against it. When the blade has been sufficiently sharpened, Craine drifts toward Jolene and Bloom strides over to the back counter.

CRAINE: Hello, Jolene. I hope you don't mind me saying this, but of all the pretty faces we see at this place, yours is probably--
BLOOM: The lady doesn't have all day, Craine.

On cue, Craine tosses the knife over his shoulder with the frivolity of a Harlem Globetrotter lobbing an alley-oop. Jolene shrieks, but her terror doesn't last long.
Bloom snatches the handle of the blade with nonchalant showmanship, grins, and tends to the ham.
Jolene is a striking display of feminine ambivalence—all at once angered, relieved, and enamored.

JOLENE: You two have some...nerve. Do you know that?
CRAINE: No need to worry. We've practiced that trick and awful-lot.

Within seconds Bloom has carved the ham and zipped it up in a plastic bag. He tosses the order to his friend.

BLOOM: Look alive, Craine. And, this time, don't forget to charge the pretty-faced miss Jolene.
Craine half-glares backward, then begins to total Jolene's order on the register.
JOLENE: Oh, not so fast. Additionally, I am also just dying for some...

She tilts her head sideways and locks into Craine's gaze, dabbling in an offbeat manner of eye-contact. She searches her mind, without success, for another type of meat.

JOLENE: Some more Virginia ham, please.
She smiles and twists the bottom strands of her shoulder-length hair.
BLOOM: Fair enough. Craine, what do you say we do this order in “Spectacular Fashion”?
CRAINE: “Spectacular Fashion” is too risky.
BLOOM: Now is the perfect time for “Spectacular Fashion.”

His cool gaze darts at Jolene and then returns to Craine.

CRAINE: We've only done “Spectacular Fashion” a few times, and that was with plastic knives.
BLOOM: Well, you can't carve up a ham with plastic knives, now can you?
Bloom steps toward the register and places the knife on the counter. Most of the sharp end hangs above the floor.

Craine looks at Jolene. Her lips pucker inward and she offers a lemony smile. She is intrigued but offers no hint of persuasion. Craine sighs deeply.

CRAINE: Another half-pound bag of Virginia ham. This one in... “Spectacular Fashion.”

Jolene's puckered smile reveals pearly teeth. Bloom sidles up parallel to the counter, three feet away from the knife. He bends his knees in sort of a karate pose and waits stolidly for the signal from Craine.

Craine stretches and strains his lips in all directions to conceal the fact that they are quavering. He clears his throat, sniffs his nose like a cocaine addict, and at last, nods his head.
With that, Bloom jack-knifes his leg as high as he can without pulling a hamstring, shifts his foot a few inches closer to the counter, and drops it down swiftly on the blade.

CLOSE-UP on Craine, whose eyes bulge in trepidation. His arm reaches above him where the camera can't see. A ghastly slashing noise is heard and his bulging eyes expand to maximum capacity. He bellows a scream in bold, capital letters, followed by a dozen exclamation marks.
Shouts of panic and concerned tremors are heard from Bloom and Jolene. The camera drifts upward slowly, catatonic and unwilling to absorb the gruesome sight.

JOLENE (off-screen): Oh, God no! Jonas, are you all right?
CRAINE (O.S.): My PINKY!
BLOOM (O.S.): Jesus, I don't believe this. Put some pressure on it, man. Wrap it tight and we'll call an ambulance. Here, let me help.
CRAINE (O.S.): Get the hell away from me!
JOLENE (O.S.): He's right, Jonas. Please, just let us...
CRAINE (O.S.): Shut up! The both of you, just...go away and let me bleed in peace. Let me bleed in “Spectacular Fashion!”

INT. CRAINE BUTCHER SHOP – FRONT COUNTER

The camera descends on Craine's middle-aged face. He is emotionally weary, but in his eyes there is a dim flash of catharsis.

CRAINE: Bloom and I haven't worked together since. I fired him and told him to take his “Exotic” shenanigans with him. We haven't spoken for almost two decades now.
SCOTT: Wow. Two decades. And what about Jol--
CRAINE: No.

A customer walks through the entrance. The man used to smirk because he thought only fools took life seriously. Now he smirks with humility at the realization that he was mistaken. He has not lost hope, however. The man's name is of course Dexter Bloom. He stands just past the threshold and gazes down. Not knowing what to do next, he thumbs the gray stubble of his chin.
It's all too much for Craine.

CRAINE: Get out.
BLOOM: Almost twenty years apart. I don't blame you for mistaking me for a hobo.
CRAINE: Don't bullshit me, Bloom. Just get out.
BLOOM: I can't do that, Craine, and I'll tell you why. I don't have too many friends out there. I don't have much of a life, either. Things have been rotten for me, and I think you can relate. I just figured...it could only do me some good to shoot the shit with my friend.
CRAINE: We're not friends. Please leave.

Bloom again lowers his gaze and bobs his head in a somber rhythm. His sorrow does not have a short memory, but he wants to convince his friend otherwise.

BLOOM: That one hurt, Craine. Even so, I'm gonna back there and shake your hand. If there's a conflict of interest, so be it.

With youthful pep, he hops over the counter. His right foot almost comes down on the blade of a knife that points like the needle of a compass toward Scott.

CRAINE: Bloom, if you take one step closer, I swear to God, I'm going to--
SCOTT: Now, just settle down, Mr. Craine.
Bloom takes a step forward.
BLOOM: Listen to the kid.

Craine yanks his right hand from his pocket and thrusts it savagely into Bloom's chest. The wayward friend reels backward, flailing his arms. As he falls to his butt, his hand comes down on the blade. The knife is launched end-over-end in a perilous arc.

CLOSE-UP on Scott, paralyzed by gaping consternation and a flash of terror. The camera zoom targets his face, which glimmers from the revolving glint cast by the blade. Another bloody catastrophe seems imminent in Craine's Butcher Shop, until a hand snatches the twirling projectile by the handle.

The hand belongs to belongs to Craine, naturally. He has not been emboldened by his act of heroism. His trembling lips, quavering hands, and dreadful expression convey the plight of a man who has accidentally locked himself in a freezer.

BLOOM: Jesus, kid, are you—you're okay, right? I'm sorry about that. It was just...

Craine's demeanor thaws enough to permit him a few words.

CRAINE: It was an accident. No harm done.

He inspects his right hand, strains with some success in steadying his nerves, and marvels at how tightly he can clutch the knife's handle with just three fingers and a thumb.

CRAINE: No real harm done.

For a few silent seconds, Bloom grins with unspoken bliss.

BLOOM: That was a helluva snag, Craine.
CRAINE: Thank you, Bloom. Thank you.

The door swings open once more to reveal Jolene. She removes her Jackie-O sunglasses to reveal a few wrinkles at the height of both cheekbones, skinny trenches that middle-age has dug into her soft flesh. But these wrinkles make eye contact all the more imperative and profound; a mere inches above these tiny imperfections she has to offer the same dazzling green eyes that always brought to Craine's mind the image of a sour-apple sucker held up to the sun. She approaches the counter.

Craine manages a timorous laugh and fidgets at the sight of her. He glares at Bloom, who shrugs pleasantly.

BLOOM: I told you I don't have too many friends out there, so you can't blame a guy for revisiting his past when he gets lonely. Miss Jolene is really more of an old acquaintance, though. It's a shame: she never dug me the way she dug you.

Jolene smiles and summons a display of youthful adoration.

JOLENE: Digs might be a more appropriate verb than dug. It seems we're all in the habit of referring to things in the past tense.

Timid but not ashamed, Craine returns her smile.

JOLENE: Say, by any chance, are you two open for business?
SCOTT: Actually, we stopped serving customers a few minutes ago, ma'am.
BLOOM: She was talking to me and Craine, kid. You really know how to ruin a moment, don't you?
CRAINE: Ease up, Bloom.
(To Scott) It's only 5:02. There are exceptions to virtually every rule, my boy. You can hit the road early today.

Scott nods and departs quickly. As he darts past Jolene on his way out the door, she covers her mouth to conceal her snickering.

Craine smiles at the blade and sets it on the counter before turning to his friend.

CRAINE: As for the two of us, it seems our work is not yet finished.

He offers his right hand with steady assurance. Bloom blinks away tears as the two men shake hands.

FADE OUT: