Higher Ground

Episode 14: The Kids Stay In The Picture

Original Airdate: 21-APR-2000
Written by Matthew Hastings, Directed by Michael Rohl
© Transcribed by: Elisabeth for Safe On Higher Ground.
Posted on http://twiztv.com.

Summary: Horizon's new investors want to make a promotional film that uses actors instead of the actual students; Scott lodges a formal complaint with Child Protective Services about his stepmother's abuse of him.


Camera shows the outside of HORIZON. People are talking and laughing. Close up of a picnic table, where six people are pretending to do work. A man walks up to them.
MAN: Hey gang. How are the personal journals coming?
Girl #1: Nowhere!
Girl #2: Bad!
Boy #1: I can’t even get started.
Boy #2: I’m stuck in here (motions toward his head.) and I need to be out there. (Motions toward the mountain.)
MAN: Well, maybe you’re right, Eric. Maybe we need to find ourselves out there. How do you guys feel about... snowboard therapy? (There are murmurs of agreement.) Alright! (They all jump from the table and race to the mountain, where they have a great time.) Cut to a CLASSROOM. The whole event is a tape. CHLOE is holding the remote, and her assistant, CLAY, is sitting on a chair. PETER and SOPHIE are watching, obviously not happy with this.
CHLOE: (Turns TV off.) That’s all we’ve assembled so far, what do you think?
PETER: (Shrugs.) Snowboard therapy?
CHLOE: It’s just capturing the spirit.
SOPHIE: It is?
CLAY: (Points to the screen) He is an actor.
PETER: Oh?
CHLOE: We need a PR video to effectivly promote Horizon from coast to coast. You agreed to this, remember?
PETER: I agreed in my head, I didn’t agree in my gut.
CHLOE: I’m sensitive to your concerns, really I am. I attempted to adress these concerns to Clay beforehand.
CLAY: Job one is to sell the supports here. Why? Because all kids crave the extreme dream. That’s the appeal, whether you like it or not.
PETER: (Getting annoyed.) What about the appeal of healing?
CLAY: (Fibbing.) We’re going to work some of that in. CHLOE: Listen, we can adjust the dialouge if that’s what’s bothering you.
(PETER motions with his hand, no, and leaves the room.)
SOPHIE: It’s your dialouge that’s bothering him. (She leaves.)

HALLWAY OF PETER'S OFFICE. SCOTT is sitting there on a chair. He looks nervous.
FLASHBACK: ELAINE enters SCOTT'S room.
PRESENT DAY: SCOTT gets annoyed and starts to walk around the hallway, pacing back and forth.
FLASHBACK: ELAINE calls out: Scotty?
PRESENT DAY: SOPHIE (Entering.) Hey Scott. You holding up okay? They’ll be here soon.
SCOTT: I just want to get this over with.
SOPHIE: (With sympathy.) Listen. These child protective services are on your side, and they will protect you.
SCOTT: (Sarcastically.) Yea, it’s amazing how many people want to protect me.
(SOPHIE sighs, pats SCOTT'S arm, and leaves. A close up of SCOTT'S face shows that he is terrified.)

OPENING CREDITS. COMMERCIAL BREAK.

PETER'S OFFICE. The door opens and the CPS man comes in.
PHIL: I’m Phil with the Child Protective Services. You’re Scott, right?
SCOTT: (Nods.) Yeah.

OUTSIDE. SHELBY walking down the stairs from her dorm, and PETER and CHLOE walk across the grass.
CHLOE: Peter, Clay is good. He’s what we can afford. He’s delivering what we need.
PETER: He’s delivering what the corporation needs, not what the school needs.
CHLOE: Peter, listen to me. I’m not the enemy. I’m trying to save the school. Please don’t trip me on this.
PETER: Chloe, I’m just trying to get back on our normal routine. Is that too much to ask?
CHLOE: And without funding, you can kiss your routine goodbye. (Realising she’s made him angry.) I’m sorry.
PETER: No, I’m sorry. I’m just a bit preoccupied today. CPS is coming to interview a child on some past abuse.
CHLOE: Really? We should tell Clay and have him film it. (PETER shakes his head no.) On the other hand, it might be a bit too personal, right?
PETER: Right.
SHELBY is standing by the bear statue. PETER walks up to her.
PETER: I’m sure you can talk to him for a few minutes.
SHELBY smiles and follows PETER inside.

PETERS OFFICE. SCOTT is sitting on the couch, tense. The CPS man, PHIL, is setting up his camcorder.
PHIL: Sorry for keeping you waiting. I'll be with you in a minute.
(SCOTT nods slightly. The door opens and PETER walks in, SHELBY right beside him.)
PETER: Scott. Shelby wanted to talk to you.
(They go outside of the office.)
SHELBY: How’re you feeling?
SCOTT: I just want it to be over with.
(SHELBY takes SCOTT'S hand.)
SHELBY: I heard somwhere that the truth will set you free. Probably in church.
SCOTT: You went to church?
SHELBY: (Looks surprised.) Yeah. No one ever really knows what it makes you feel like. It took a lot of guts to tell me, now go tell them. (She leaves. SCOTT takes a deep breath and enters the room.)
PETER: You sure you want me to stay?
SCOTT: If you have the time.
PETER: All the time you need, man.
PHIL: (Fiddles with the camcorder.) This is child protective services, case no. 3647. State your name, please.
SCOTT: Scott Barringer.
PHIL: Your mother and father are divorced?
SCOTT: Yeah.
PHIL: And what is your relashionship with your father and stepmother?
SCOTT: Um... (Looks at PETER, who gives him an encouraging look.)

OUTSIDE. There is television equiptment everywhere. CLAY is trying to direct the group of actors how to move the canoe. The CLIFFHANGERS, excluding SCOTT, are sitting nearby watching. SOPHIE is with them.
AUGGIE: They’ve been staring at us all week like we’re some kind of delinquits.
KAT: Really.
CLAY motions to the ACTORS, who are supposed to be "portraying" the Cliffhangers.
SHELBY: They don’t even look like us...do they?
AUGGIE: Nah, I bet that guy (motions to the HISPANIC GUY) don’t even speak Spanish.
JULIETTE: And that skinny one has got to be worse than me.
DAISY: Ahh, but film is fantasy, and that’s why it fascinates us.
EZRA: I made a film in junior high social studies. It was called "The smoke gets in my eyes." Celebrated my youth, lost to the drug culture. (SOPHIE rolls her eyes.)
DAISY: Mine was called "The upside of death." I thought it was a comedy.
SHELBY: Yeah, you would.
EZRA: The films are so subjective. I believe it was Alfred Hitchcock that once stated, "movies are like real life, except for the boring parts in it, of course." (CLAY walks up to the CLIFFHANGERS.)
CLAY: You guys are the flag football experts, right?
AUGGIE: Nah, we play tackle...when no one’s watching. (SOPHIE playfully punches AUGGIE in the shoulder.)
CLAY: Okay, we’re going to play tackle today. For the color accent. So what we need from you extra’s is to see you having.. FUN! Be HIGH SPIRITED!
SHELBY: High spirited, that’s us.
CLAY: Follow Chiva. (A black girl waves her arm. Everyone but DAISY and EZRA go, who lag behind. DAISY clears her throat,and CLAY turns.)
EZRA: May I be so bold as to offer a comment?
CLAY: One has notes, what would yours be?
EZRA: Now that you mention it, I believe your film needs another layer. The real Horizon. The real us.
DAISY: Right. The veritae. The truth...the grit. Not just the gloss.
EZRA: Exactly. And we can get you inside.
CLAY: What do you have in mind?
EZRA: A candid guerilla point.
DAISY: A Blair Witch counterpoint from your blue sky, home away from home message.
EZRA: All we need is a camera.
DAISY: And some film.
CLAY: Super 8 be okay? Good.

IN A FIELD. The CLIFFHANGERS are challanging the ACTORS in football. CLAY is filming.
CLAY: Action!
(AUGGIE gets tackled, and SHELBY makes an ACTOR fall in mud. SHELBY laughs, and the ACTOR walks up to her.)
ACTOR: You trying to ruin my scene or do you just want to touch me?
SHELBY: You don’t get out of my face and I really will touch you.
ACTOR: You’re real trailor trash, aren’t you?
SHELBY: Only pigs like trash. (DAISY and EZRA walk up near them.)
ACTOR: Well, you know, each of us is making like 2 k a week for portraying you pervs in this bogus movie.
(SHELBY turns around and walks back to the CLIFFHANGERS.)
SHELBY: 2 k a week for playing troubled teens?
AUGGIE: And to think, we do it everyday for free.
JULIETTE: (sadly.) They don’t look troubled to me.
EZRA: 'Course not. Who would want to send their screwed up kids to a school full of screw ups?
DAISY: This, my beloved, is why we’re not in the movie. They’re afraid we’d play ourselves.
(Close up on KAT, AUGGIE, and JULIETTE's faces. They look miserable.)

OUTSIDE. SOPHIE is standing there by herself. CLAY walks up to her.
CLAY: We’ll be needing you in the lodge.
SOPHIE: You know, I do have other priorities.
CLAY: Well, I heard you were out on disposal.
SOPHIE: Your disposal?
CLAY: Well, call it what you will, but I’d like you in the shot.
SOPHIE: No thank you.
CLAY: Camera shot? Head shot? We do have a hair makeup person that could fix you up.
LODGE. JULIETTE is watching the actors having their picture taken. She looks wistful. AUGGIE comes down the stairs.
AUGGIE: Just for the record, you’re much prettier than any of them.
JULIETTE: (smiles.) Thanks, Augusto. (AUGGIE looks at her and then leaves the room)

LODGE. KAT is sitting on the couch, writing a letter to somebody. DAISY and EZRA enter with none other than the camera.
KAT: What are you doing?
EZRA: Capturing the real you.
KAT: The real me does not appreciate having her picture taken without her permission.
EZRA: Then show us that rage...
DAISY: That boiling anger, heaving and churning.
KAT: You mean like this? (shows them her biggest smile.)

PETER'S OFFICE
PHIL: Elaine. You’re reffering to your stepmother?
SCOTT: Yeah.
PHIL: What was she like when you first met her?
SCOTT: She was nice, trying to get on my good side. She knew how much I meant to my dad back then.
PHIL: So she was friendly at first? How’d she show it? (PETER looks worried)
SCOTT: She was all smiles and stuff, and touching me.
PHIL: Touching you where?
SCOTT: Like on my hand. She would just find a way to touch me.
PHIL: Did you tell her to stop?
SCOTT: No, not really.
PETER: (Encouraging him.) It’s okay, Scott, just take your time.
SCOTT: She was my stepmother, but she didn’t like it.
PHIL: Like what?
SCOTT: Being a mother. See, she was like only 10 years older than me, now she’s got to play being a mom. She wasn’t into it. Fine, whatever. She wasn’t going to replace my mom, anyway.
PHIL: And you made this known to her? How’d she respond?
SCOTT: She started hitting on me.
PHIL: Hitting?
SCOTT: Yeah, hitting. You know, for sex. (PETER bites his lip.)
PHIL: When was the first time?
SCOTT: I don’t know. Six, maybe eight months ago. She looked at me from the pool as I walked by, but different, you know. Like looking me over.
PHIL: So she was trying to seduce you?
SCOTT: Yeah, I guess you could say that.
PHIL: Did she ever write to you?
SCOTT: Write to me? We lived in the same house.
PHIL: Did you record any of your sexual encounters?
SCOTT: (looking aggrivated) what do you mean, record?
PHIL: Photos, videotapes...
SCOTT: Why, why would... (buries his face in his hands)
PHIL: Did you tell anyone else what was happening?
SCOTT: (getting really upset) Why are you asking me these types of questions?
PHIL: It would help your case.
SCOTT: NO. The answer is NO. I wanted to tell my dad. I really did. I couldn’t though. I, uh, what’s the word? Betrayed him. That’s the worst part. What I did to him in my heart, and she just kept after me..
PETER: (gently) You’re a teenager, Scott. A minor. She had no right to seduce you.
SCOTT: But I’m a guy. I could have stopped her.
PHIL: Scott, women aren’t the only victims of sexual abuse. It can happen to men, too.
SCOTT: (sighs.) What happens next?
PHIL: Well, the camera’s are already in motion.
(PETER pats SCOTT'S hand encouragingly. SCOTT wipes his eyes.)

SCOTT'S HOUSE. The CPS guy knocks on the door. ELAINE answers.)
CPS: Social Services.
ELAINE: Come on in.

LODGE. SCOTT is sitting in a chair, looking really upset. SHELBY is sitting by him, trying to work, but she’s really disrtracted.)
SHELBY: So, uh... was it really awful? (SCOTT raises his eyebrows as if in confusion) You know, you don’t have to tell me.
SCOTT: This guy asked me about everything. He wanted to know why, when, how. Can you believe it? He wanted to know how.
SHELBY: (sympethetically) It’s over, Scott.
SCOTT: He made me feel like...
SHELBY: It’s over...
SCOTT: (Angry.) It’s not over till I get back at her. It’s not over till she pays! (curls up on the couch. SHELBY looks over around the room. DAISY and EZRA are on the couch. They both look a bit confused.) She’s going to be sorry.
(JULIETTE is sitting in a chair. She looks mildly upset at SCOTT. AUGGIE comes up to her and sits in the empty chair.)
AUGGIE: So what’s with him?
JULIETTE: I don’t know and I don’t care.
AUGGIE: You okay?
JULIETTE: Totally, why?
AUGGIE: I just thought, with Scott being your ex and all..
JULIETTE: The operative word being ex. (she get’s up and leaves.)
A MOUNTAIN. PETER and SOPHIE are climbing it for the movie. PETER is in the lead with SOPHIE close behind.
SOPHIE: Are we having fun yet?
CLAY: (on microphone.) Hey guys, can you hurry it up a bit? We’re losing light.
SOPHIE: If I fall, I’m going to kill that jerk.
PETER: If you fall, he’s going to kill us for ruining his movie.
TOP OF MOUNTAIN. CLAY and CHOLE are there.
CLAY: Look at those two. Visually they are the perfect pair. The skin, the hair, the eyes. These two should be on the cover of...
CHLOE: (quickly) Got it, Clay.
CLAY: Faster, guys, faster. Let’s go.
SOHPIE: Okay, when we get up there, I’m going to kick his...
PETER: Stay focused, Soph. (SOPHIE falls.) Stay calm Soph. You ok?
SOPHIE: Yeah, I’m okay. I’m okay. (they start climbing and finally get to the top. CLAY rushes over to them.)
CLAY: Nice work, ma’am. That stunt was amazing. I actually thought you were falling. (makes an oh-no face.)
SOPHIE: Aahh! (she slaps CLAY on the face. He falls to the ground. PETER walks up to her.)
PETER: Feel better?
SOPHIE: Yeah, actually. I do.

CAFETERIA. DAISY and EZRA are filming.
DAISY: Come on. Let me see some faces, people. You’re eating gruel at a lock down facility for rejects. (SHELBY walks over to them, and throws something at the camera.) Wow. Beautiful. A spontanios demenstration of teen rage. (SHELBY rolls her eyes and walks away. DAISY and EZRA follow her to the table. SHELBY walks by the table where the ACTORS are. She stops, as well as DAISY and EZRA.) This could be one of the greatest moments captured on film.
ACTOR: (Sipping his coffee.) This coffee is so good! (SHELBY walks away, and goes to the CLIFFHANGER'S table.)
SHELBY: What really twists me is that they have coffee. Nice, hot, liquid caffine.
JULIETTE: You know, that trashy blonde one kind of reminds me of someone...
SHELBY: Why don’t you take my...
JULIETTE: Would anyone like my bacon?
SCOTT: Me.
AUGGIE: I’ll have it. (JULIETTE gives her bacon to AUGGIE.) Thanks.
SCOTT: Well, there's plenty more where that comes from. (SHELBY gives him her bacon.) Thank you.
AUGGIE: So what did the guy want with you?
(EZRA flashes the camcorder in SCOTT'S direction.)
SCOTT: Man, put that camera away or your going to have a movie of your lower intestines.
SHELBY: (Gently moves the camera away from Scott.) His butts on the burner. He stole some computers from his old school.
SCOTT: Shut up, okay?
SHELBY: Fine.
JULIETTE: (astonished) You stole?
SCOTT: (closes his eyes.) Just leave it.

SCOTT'S HOUSE. The CPS guy and ELAINE are sitting at the table.
ELAINE: You don’t believe me, do you?
PHIL: I didn’t say that. This is only a prelimenary investigation of the alligations.
ELAINE: (Reaches out of the drawer and pulls out a stack of letters.) I’m sorry. I had to do this.

PETER'S OFFICE. PETER and SOPHIE are there.
SOPHIE: I thought we had the support from CPS.
PETER: I know, but apparently the letters he wrote to his stepmother weren’t love letters. Plus the report of making it past you..
SOPHIE: But that was just a harmless little crush.
PETER: (shrugs) They still documented it.
SOPHIE: So we’re just going to let his stepmother get away with this?
PETER: CPS called. They’re going to drop the case, and I still haven’t told Scott.
SOPHIE: (with sympathy) Poor kid.
(Someone knocks on the door and CHLOE enters.)
CHLOE: Peter, I need- Oh, what are you two so serious about?
PETER: School buisness.
CHLOE: Oh. Well, we’re running behind. Clay’s going to shoot your interview first.
SOPHIE: (nods) Fine.
CHLOE: And you promise to act civil, remember?
SOPHIE: Clay’s still squeamish, is he?
CHLOE: Please.(leaves)
SOPHIE: Good luck (leaves also)

CAFETERIA. DAISY and EZRA are making a happy face out of eggs, bacon, and hash browns.
EZRA: Okay, now invert the bacon. (The happy face becomes a sad face.)
DAISY: (grins) Ah, the comic tragdic masks. Cool.

THE ACTOR'S TABLE. AUGGIE walks up to the table and speaks Spanish to the one that is protraying him.
AUGGIE: Buenos dias, Kirby. To to, le bien?
ACTRESS: What’s he saying?
KIRBY: Nothing.
ACTOR: I thought you were supposed to be Spanish or something.
AUGGIE: (distainfully) Wedo.
KIRBY: (gets mad and stands up.) Toro
AUGGIE: Yea, he’s Spanish all right. (walks away.)

CLIFFHANGERS TABLE.
JULIETTE: So where’s Scott? Still in bed?
AUGGIE: He had to go talk to Peter about something.
(EZRA flashes the camcorder on SHELBY'S face, who looks upset.)
JULIETTE: What for?

PETER'S OFFICE. PETER is pacing on the floor. SCOTT is sitting in a chair, crying.)
SCOTT: She figured out a way. I have to give the skank some credit. She figured out a way.
PETER: (half yelling) You sent her those letters, Scott.
SCOTT: (stands up.) So what if I did, huh? Like I said, she was coming after me.
PETER: She said there was absouloutly no sexual contact.
SCOTT: (sarcastically) No, no, nothing. Not a thing. Than what was it?
PETER: Scott, I know cases like this are difficult to prove...
SCOTT: Then why didn’t you tell me that to begin with?!
PETER: Because I was legally bound to report it. It’s my job, Scott!
SCOTT: Job? She won. Do you hear me? She won!
PETER: No, she didn’t.
SCOTT: Yes, she did! (flings the door open and storms out).

LOUNGE: SCOTT walks up to SHELBY, who looks worried.)
SHELBY: What’s wrong?
SCOTT: I got my day in court, and I’m the one that’s guilty.
SHELBY: I.. I don’t understand.
SCOTT: She had letters I sent her.
SHELBY: Letters, what letters?
SCOTT: Doesn’t matter.
SHELBY: (looks surprised.) What did you say in them? (SCOTT just stands there) Why didn’t you ever tell me? You wrote her letters after everything that she did to you? What’s wrong with you? (looks concerned.)
SCOTT: (shrugs as a tear rolls down his cheek.) I don’t care about your opinion anymore. I don’t care about nothing, cause I’ve got nothing. Nothing at home, nothing here. Empty.
(SCOTT walks off while SHELBY has a look of confusion on her face.)
EQUIPMENT ROOM. SCOTT is really upset. He’s sitting in a chair. JULIETTE walks up to him followed by SHELBY and AUGGIE.
JULIETTE: (cheerfully) Hi!
SCOTT: (trying to hide his crying.) Uh.. is there something that you want?
SHELBY: One word. Football.
SCOTT: What about it?
SHELBY: We challanged those actor jerks to a football game.
SCOTT: I’m not up for it.
SHELBY: Let me put it to you this way. Are you up for kicking some actor butt while enduring fans scream out your name?
SCOTT: (thinks for a long time about it.) Okay.

THE FOOTBALL GAME. Everyone except JULIETTE are playing, who’s a cheerleader. DAISY and EZRA are videotaping it all. A guy tackles SHELBY, who falls down. After awhile, they are obviosly losing. Towards the end of the game, they huddle and devise a plan. AUGGIE throws the ball to SCOTT and SCOTT will make a touchdown. They try it and lose the game because SCOTT misses the ball. AUGGIE and the actor get into a fight. PETER rushes and seperates them.
SCOTT: You’re right. We’re the losers. We’re the losers.
PETER: Okay Cliffhangers. I want you showered and in the lodge in fifteen minutes. Got that? Go, go.

LODGE. All the CLIFFHANGERS are there.
PETER: All right, this has got to end. These people are actors. They’re thespians. They’re not real. They’re no reason to compare yourselfs to them.
AUGGIE: Man, they kicked our butts. It felt pretty real to me. Yo, by the way Scott, thanks for watching my back out there.
SCOTT: It ain’t my job to watch your back.
AUGGIE: No, your job was to catch the ball and you didn’t do that either.
PETER: Hey, can you can it? Can somebody give me some insight as to what we learned today?
JULIETTE: We blow.
PETER: Great. Anyone else? (Nobody else answers. They look really bored.) The answer is nothing. When you compare yourselfes to others, you lose. Always guys. When you go outside of yourselves, you are demolished.
SCOTT: It’s better than being inside of yourself.
PETER: Then you don’t exist. Think back to the basics, guys. It’s within you. (He leaves, as well as everyone else. Except SHELBY and SCOTT.)
SHELBY: Hey look. I’m sorry, ok? I just don’t understand why.
SCOTT: You don’t understand, fine. Do you want me to explain it to you? You’re not going to get it.
SHELBY: I’ve gotten a lot so far.
(SCOTT sighs and walks off. JULIETTE walks up to him.)
JULIETTE: Scott... I can help. I really can. If you just tell me what’s wrong...
SCOTT: (trying not to act annoyed with her.) Just leave it. (He leaves as AUGGIE enters.)
AUGGIE: Jules. He’s right Jules. You don’t want to help. You just can’t stand to have someone else help.
JULIETTE: What do you know?
AUGGIE: I know you have to make a choice.
JULIETE: Between you and him?
AUGGIE: (shrugs.) Whatever.
JULIETTE: No, not whatever. Why don’t you just say it? Instead of acting hurt all the time? Why don’t you make a choice? (She walks off.)
RIVER. People are kyacking. The music playing in the background... it’s action. Fits the movie.
VOICE OVER: Horizon. Not just for school, but for life. (Movie clip ends. Close up on KAT'S face. She looks displeased.)
CLAY: So, comments? (Everyone in the room laughs.)
PETER: Thanks for brighting up our day, Clay.
CHLOE: Understand that this is a sales tool. Something to get the buyer in the door. Like a department store. If you don’t sell the door, you don’t get your profit.
KAT: (Raises her hand, and Clay motions for her to speak.) What’s our product?
CLAY: Helping deeply troubled teens, like each of you.
KAT: Excuse me. Do you know what my trouble is?
CLAY: (stutters.) No, not your problem.
JULIETTE: (stands up) Or what my problem is?
SHELBY: (stands up too.) Or mine? (A bunch of kids stand up.)
KAT: You don’t know anything about us.
(CLAY and CHLOE have looks of realization on their faces.)

EQUIPMENT ROOM. DAISY and EZRA are there.)
EZRA: (looks at film.) Well, this was a creative mess. And thematically, we’ll never tell the tale of Horizon.
DAISY: I don’t think it’s so complicated. Mind if I have a go?
EZRA: Be my guest. (The first thing DAISY does is throw some of the film away.)

OUTSIDE. CHLOE and PETER are walking down the steps.
PETER: You ok?
CHLOE: Fine. But you know, this movie wasn’t about them at all.
PETER: Kids have a funny way about telling you things, huh?
CHLOE: Yes they do.

LODGE. SHELBY walks by and SCOTT pulls her by the arm.)
SCOTT: When my parents divorced, I went to live with my dad. I was in a new town, my mom was messed up, and my dad was working. All I had was my stepmother. For awhile I actually thought I was in love with her.
SHELBY: Even though she was abusing you.
SCOTT: Yeah.
SHELBY: When did you notice you didn’t love her?
SCOTT: First time I said no and she wouldn’t listen.
SHELBY: (shocked.) Oh.
SCOTT: Now you know everything about my life. No one in the world knows what you do.
SHELBY: I understand.
SCOTT: You do?
SHELBY: Yeah. (they walk into the lounge where DAISY and EZRA are setting up their video.)
EZRA: (to DAISY) It’s now or never. (they walk up to the front of the room.)
DAISY: Ladies and germs. Tonight we present to you a filmic tale of life on the edge. Of trapped soul yearning. (The CLIFFHANGERS start booing.)
EZRA: It is entitled simply, "Un film de la vie de Horizon."
DAISY: So does anyone play the piano? Scott? (SCOTT reluctantly goes to the piano and starts playing a soft meoldy. (Always There For You) The video starts.)
(The credits show. The sad bacon and egg face is shown. It shows JULIETTE, then SCOTT, looking hurt or upset. Maybe both. It then shows DAISY, SHELBY, and EZRA when they’re sad. In one clip, SCOTT puts his arms around SHELBY. In another clip, it’s AUGGIE begging SHELBY to let him see JULIETTE. SHELBY, DAISY, and SCOTT, talking and laughing at a table, when they’re obvioiusly supposed to be working.)
(Cut to all the CLIFFHANGER'S faces. They all look thoughtful.)
(Back to the clips. It shows SCOTT getting angry at AUGGIE, and PETER sitting on the steps, talking to EZRA. Then PETER with his arm around KAT, and than when all of the CLIFFHANGERS plus PETER and SOPHIE inside the lounge screaming. Then SHELBY on the ground after being tackled when playing football, and than DAISY making a funny face at the camera. Close up on the bacon and egg face, which now looks happy. It shows all of the CLIFFHANGERS smiling at one point. It show’s them having fun playing football, and KAT flashing them her famous smile.)
(DAISY looks at EZRA and smiles.)
EZRA: Well, it’s thematic, I suppose.
DAISY: Yes, it is. (goes back to watch the slideshow.)
(PETER and SOPHIE, watching this, look happy.)
(It show’s a clip of PETER helping a kid with his work while SOPHIE watches on.)
(The clip ends, and DAISY and EZRA get a big round of applause. Everybody has enjoyed this. PETER grabs SCOTT'S arm.)
PETER: Scott, I believe what you say happened, happened. And we won’t let her win. She thinks that she can hide behind her lies but she can’t. Because we won’t let her.Right?
(SCOTT nods, and accepts PETER'S hug.)
END EPISODE.