A Battle of
Leland put the pedal to the metal. The shooting schedule would be
accelerated. The equipment trucks had back-up everything so everything
would be called up for active duty. Camera assistants became cameramen.
Junior directors were now senior directors and Leland transformed his own
position of senior director into something akin to a traffic cop.
On a visit to Paula's record & curio shop, he found and purchased a
riding crop with a rattlesnake grip. The crop went great with the aviator
shades and his pants legs tucked into his boot tops, most impressive.
No longer senior director, he became director general, maybe general
director. As the vans left the parking area of the Willard motel, he would
smack 'em on the tail lights with his executive riding crop and say something
like “heeyah.” This, he thought, was what D.W. Griffith would have said,
or maybe, Black Jack Pershing.
When Penny told Celia, who found out from Jackson, her
confederate union, that the home of Irma Willard, now Celia's home, would
be a subject-skirmish-next on the docket, she immediately told Miles she
would not be on her morning's appointed rounds. Miles needed only to snort
his approval and consent.
From a two-seater porch swing that did not squeak, Irma and Celia
smiled and waved as the van pulled up. Celia was up first, down the porch
steps and by the van as the doors opened. By way of introductions, Celia
expressed that there must be no swearing on this set or in this home.
As if scrutinizing the punctuation of a script, Celia correctly
surmised that emphasizing the Christian sanctity of Irma's home would
serve to reinforce her own cover as the dullish local mail lady. For the
occasion, she donned her postal blues, with the shorts no less, no knee socks
On this occasion the invaders numbered as follows; 3 cast folks
(2 women, 1 guy) and 1 ambitious but clearly over-tasked camera woman
who was not getting paid enough either but didn't seem to care. The driver,
who never got out of the truck, went right to sleep.
This was a “home redesign” show, where this really condescending
trio would storm your domicile and tell you the walls were the wrong color
or the rocker is an eyesore or the feng shui was interrupted. Heavens!
The two newcomer women and Celia, now breathless and
immovable, took in the sight of the home from a short distance.
Irma sat, still rocking the porch swing, beaming serenity while butterflies
and honey bees danced with swaying sentry flowers. Had these women been
gazing up at the Taj Majal or a restored Parthenon, those sights would not
have shined and glowed with the wonder of wonders that was washing over
the congregation now. That masculine member of the cast was not so
“ I say we just toss a match and call it a day.” Max got shoved from
behind when the encumbered camera woman passed on the way with her
cohort to the foot of the porch steps.
Irma rose, straightened her apron and descended the steps that
“Good morning, I'm Irma Willard. This is my home and you are
welcome to it.” The women reached out immediately and Irma took their
hands with both of hers. Max, the arsonist, suppressed a groan while visions
of wrecking crews danced in his head.
The interior of Irma's abode was quiet stillness and visual comfort.
It possessed the good sense of Shaker design and an antique truth without
sentimentality. Though always charmed by this environment, Celia had
become acclimated to it, so seeing these women tearing up at the sight of it
was a new wonderment for her.
As they discussed what might be altered in Irma's home, the
women rebuffed Max at every turn, not merely for disrespect or bad taste
but for sacrilege.
Celia had explained earlier to the group that Irma was near deaf.
With the dismissal of all of his design revelations, Max's tone hardened,
his voice rose in volume and his vocabulary exceeded network guidelines.
Irma and Celia were now back on the porch swing, as Irma could not be at
peace with all those bodies and their gear in her home.
Quietly, slowly, Irma turned to Celia, “Celia child, you know that
pantry off the kitchen?”
“Good, well when you walk in, down on the right, bottom shelf,
behind the canning jars of okra and turnips, there is a florist's box.”
“Do you need me to get it out for you, Irma?” Celia jumped at any
opportunity to be of service to her landlady.
“No no no. But there is a sawed off in the box and shells in a red
Christmas cookie can. Be a dear and check and see it's loaded. Load it if it
ain't.” Irma patted Celia's hand and watched the activity around her bird
“Wonder of wonders.”
Keeping Max restrained by both arms, the designers left Irma's
perfect home. Irma and Celia rose from the swing and Irma wished them well
on leaving, as she had on their arrival.
“No show here, folks, come on now, everybody move along.”
The van pulled away slowly raising little dust. Irma and Celia
swung a little more and sipped ice tea.