TEASER
FADE IN:
A half-dozen kids are on kitchen duty. Plates and silverware clatter and bang as SCOTT frantically washes a giant mound of breakfast dishes and hands them off to SHELBY who quickly dries and stacks. Both wear scowls on their faces, and tension is high. Before Shelby finishes, Scott’s already shoving another plate over. Her anger and frustration finally erupt and she smashes a plate on the floor at Scott’s feet.
SHELBY
If you’ve got something to say, say it and stop being such a ... a jerk.
Scott’s jaw tightens. He looks around at the other kids now staring at them
SHELBY (continued)
Don’t look at them, look at me. I’m talking
to you.
(Beat)
It was the only way I could make money. It was the only way I could survive.
SCOTT
There’s other ways to make money than selling yourself on the street.
SHELBY
Yea, there’s really a lot of job opportunities out there for runaways.
Almost under his breath, Scott observes:
SCOTT
You coulda begged for money.
Shelby spits fire, her jaw clenched with rage:
SHELBY
I did. It wasn’t enough.
(a beat)
For two whole weeks I slept under the Santa Monika pier. I had to wash my hair
in a sink at the gas station. Try that sometime and see what you do.
SCOTT
They have shelters ...
SHELBY
(cutting him off)
I did what I had to do to survive. I’m not proud of it, but I don’t have to
apologize to your anyone else for it, either.
SCOTT
I’m not asking you to apologize.
SHELBY
Really? Then what are you asking for?
SCOTT
(totally confused frustrated)
I ... I don’t know, okay? I don’t know.
Shelby rips off her apron and throws it down.
SHELBY
Yeah, well when you do figure it out, why
don’t you just . . . slither back and let me know.
And with that, Shelby is out of there. Scott holds on her for a long beat,
then, realizing the other kids in the kitchen have been staring and listening
the whole time, looks around at them.
SCOTT
Why don’t you all just dump it, okay?
And he bends to pick up the pieces of the broken plate.
EXT. CAMPUS - MORNING
SOPHIE, PETER, DAISY, JULIETTE, and AUGGIE stand in a group, bundled in warm winter coats, their heavy backpacks waiting on the ground at their feet. Shelby comes out of the lodge, zipping up her jacket, and moves toward the group. Several beats later, Scott follows her out of the lodge.
PETER
(to Scott and Shelby)
Come on guys - - you’re late. It’s a long hike.
Shelby and Scott, both sullen, strap on their packs while - -
AUGGIE
So - - you serious? We gonna just sit out there in the trees all alone all that time? What are we supposed to do?
PETER
Think. Reflect. Take stock of yourselves and your lives since you’ve been here.
JULIETTE
But why now? It’s so cold out. Why not in the Spring when it’s at least a little warmer?
PETER
We do it when we think you’re ready to get the most out of it.
JULIETTE
Then why don’t Katherine and Ezra have to go?
SOPHIE
Because they already did their solos.
DAISY
Never said anything to us.
PETER
Because it’s private - - it’s only for you. That’s why it’s called a solo.
SHELBY
(seething to Peter)
Perfect. Just what I need, time alone to think. Thank you, Peter, how sensitive
of you.
PETER
Shel, give it a chance. Maybe it’s exactly what you need right now.
DAISY
On the bright side, you will be away from him ...for three days.
SCOTT
Hey, butt out, Morticia, this is none of your business.
ANOTHER ANGLE:
As DON SCARBROW, dressed in a suit, tie and trench coat and carrying a suitcase, walks down the path from the Administration Building toward them
SOPHIE
Who is that?
PETER
(turning)
I don’t believe it.
Peter moves in to help with the suitcase.
PETER (continued)
Dad?
DON
Peter. Hello, son. How’s my boy?
With this, PETER and SOPHIE exchange a look - - “what exactly is happening here?” And it is OFF this that we . . .
END TEASER
ACT ONE
BLACK SCREEN
In white letters, fade in the super - - -
"The childhood shows the man, as morning shows the day.” - John Milton
Fade out:
INT. PETER’S OFFICE - DAY
PETER and DON enter. They’re both still wearing their coats.
DON
I have some business in Seattle so I thought I’d come up early and see what you’ve gotten yourself into on this mountain of yours.
PETER
Dad, not that I’m not glad to see you, but I wish you would have called first.
DON
I’m sorry for the imposition.
PETER
You’re never an imposition, it’s just we have solo hikes planned, and I have to supervise.
DON
I see.
ROGER CLAYPOOL moves past the glass and enters Peter’s office.
ROGER
Excuse me, Peter, kids are saddled up and ready to move out.
PETER
Thanks, Roger
(quickly)
Oh, Roger Claypool . . . my dad, Don Scarbrow.
ROGER
(shaking his hand)
Pleasure to meet you, Mr. Scarbrow.
DON
Pleasure’s mine.
PETER
Tell ‘em I'll be right out okay?
(beat to Don)
Dad, I’ve got an idea . Why don’t you come along? It’s a great hike - -
DON
No, no, thanks. I’m not as fit as I once was.
PETER
I won’t be back ‘til Sunday morning.
DON
S’okay. I don’t have to be back ‘til Monday.
Not everyday I come to see my son.
(beat)
Don fixes Peter with a look. Peter, feeling a bit manipulated and perplexed,
decides to leave his father-son situation as is for now.
PETER
You can stay at my place. I’ll have a couple of kids show you around.
DON
(tenderly)
Sounds good. Thanks.
The tenderness perplexes Peter even more, he can’t resist asking:
PETER
Dad ... is there some particular reason for this visit?
Peter studies Don with a look - - waiting him out.
DON
Nah. Just some family business. It’ll keep.
PETER
(tentatively)
How is business?
DON
Actually had quite a rebound the last few months. I’m happy to say Scarbrow capital is once again very financially secure.
PETER
Glad to hear it. Congratulations.
Pleased over Peter’s response - - Don opens his briefcase, takes out a large file, and holds it out to Peter.
DON
Why don’t you take this along on your hike. To read.
PETER
What is it?
DON
Our latest quarterly report, a prospectus, my personal portfolio. Your usual light reading.
Peter hesitates, but takes the file.
DON (continued)
The office next to mine will be available next month.
PETER
(expecting something like this)
Dad. I thought we covered all this. My life is here at Horizon.
DON
Peter, this place was a perfectly acceptable step in your recovery. I see that now. You were right - I was wrong. And ... as you’ll see in the paperwork, I’ve set up a Scarbrow endowment for Horizon. You needn’t feel you’re abandoning your commitment here.
PETER
You’re not understanding what I’m - -
DON
(strong, but not harsh)
I built that business for you and your brother.
(beat, impassioned)
For you Peter.
Peter contemplates a response, but can’t find one. It’s a rocky moment for both of them and for now they’re both resigned to ease that rocking.
DON (continuing)
Please, just read it.
EXT. HORIZON CAMPUS - DAY
PETER rejoins the awaiting SOPHIE, SCOTT, JULIETTE, AUGGIE, SHELBY and DAISY.
PETER
Alright guys, let’s move out.
As the Cliffhangers beginning to move off up the trail, Peter and Sophie walk/talk in the rear. Shelby and Scott are on opposite ends o the line, Scott in the rear.
SOPHIE
He’s staying?
PETER
I asked Katherine and Ezra to show him around, entertain him the best they can.
Sophie just stares at him for a long beat.
PETER (continued)
(pulling a look her way)
What?
SOPHIE
I’m just trying to get a read on this father-son reunion.
Peter begins some private venting:
PETER
It’s simple. I stopped being the boy he could bully long ago. I admit I - - got off track for awhile but I paid for those sins.
SOPHIE
Ask any kid here . . . parents are sometimes the least forgiving.
Peter looks at her, his anger dissipating. A little smile creases his lips.
PETER
Nice to know I trained you so well.
SOPHIE
Hate to burst your bubble, Sparky, I do have parents too. Got my training from real pros.
PETER
Soph . . . remind me to kiss you later.
SOPHIE
Maybe.
Ahead of Peter and Sophie, Scott skirts up the line of Cliffhangers until he’s in lockstep with Shelby. She barely glances at him and just quickens her pace.
SCOTT
Look, I just . . . I really think we ought to talk . . .
(she moves faster)
Wait , okay . . . I want to talk to you.
SHELBY
Talk?
(long beat)
There’s only two words I ever want to hear from you:
(beat)
“I’m sorry”.
But Scott’s not ready to say those words. He hedges:
SCOTT
Shelby, would you just slow down and listen to me?
SHELBY
Wrong words.
And she spins, walking quickly back down the line to get away from him.
EXT. THE WILDERNESS - A RIVER - DAY
PETER and SOPHIE, back in the lead, guide the five Cliffhangers from the tree line to the water’s edge.
PETER
(conducting a lesson)
Okay . . . where do we cross?
DAISY
Preferably over a bridge.
PETER
We are bridge-less and the solo cabin is on the other side.
DAISY
I’m getting this wet premonition.
SOPHIE
C’mon, read the river.
AUGGIE
(teasing)
Can’t. Dyslexic, remember.
PETER
(to Auggie)
Lame excuse ...
(quickly)
Juliette . . .?
Juliette gives it a look, the points down river a bit.
JULIETTE
It’s wider there.
PETER
And wider means?
JULIETTE
Slower?
PETER
Which means?
JULIETTE
(pleased with her deduction)
Safer.
PETER
Next best thing to a bridge.
Peter gives her a warm pat on the back. Juliette beams.
PETER (continued)
O.K. guys. Take a load off. We’ll cross right down there in ten minutes . . .
Peter and Sophie move off. Juliette glances around for recognition, but the others are already removing their packs. She spies Auggie, tying his shoe, and heads over.
JULIETTE
That’s a first, huh?
AUGGIE looks up.
AUGGIE
What?
JULIETTE
We’re crossing where I said to cross.
AUGGIE stands, his response a mixture of sadness and anger. His tone is sarcastic and dismissive, spoken as he moves away.
AUGGIE
Good for you, twig.
Her face falls . . . watching Auggie move away . . .
EXT. WIDE PART OF THE RIVER - DAY
Moving to the fording point, SCOTT is the first to cross, stepping from rock to rock to keep from getting wet. DAISY falls into pace beside Shelby.
DAISY
Spending time alone for a trip down memory lane strikes me as a useless exercise.
SHELBY
I’m looking at it as a vacation.
She watches as Scott starts across the river. Daisy follows her gaze.
DAISY
He still might come around.
SHELBY
I think you have me confused for somebody who actually cares.
EXT. THE WILDERNESS - THE FAR SIDE OF THE RIVER - DAY
PETER and SOPHIE watch as the last of the CLIFFHANGERS, linked together on a rope, cross to the farside. SOPHIE unfastens them and packs up the rope and gear while - -
PETER
Okay . . . the solo cabin’s a few hours from
here. Start a fire, dry off. And flag a stake to mark this access spot on the
river.
(assigning a team)
Scott, Shelby.
SHELBY
Auggie’s right there.
SCOTT
I can do it alone.
Daisy picks up the flag and sweeps past Shelby with a look of sympathetic understanding.
DAISY
I’ll do it. Driving in stakes is something I enjoy.
Daisy plants the orange-flagged stake near where they’ve just crossed.
Sophie moves over to Peter as they watch Daisy plant the flag.
SOPHIE
You really think this is a good time for Shelby to go on solo?
PETER
I didn’t want to separate her from the group. She feels alienated enough.
SOPHIE
Maybe I should talk to her.
PETER
I already tried, but be my guest.
Sophie moves over to Shelby, who just rolls her eyes as Sophie approaches.
SOPHIE
How you doin’?
SHELBY
Having more fun that I know what to do with.
SOPHIE
You know, I’ve been watching you and Scott.
SHELBY
. . . if that’s how you get your kicks.
SOPHIE
Can I give you some advice?
SHELBY
(the big fake smile)
No.
SOPHIE
Well I will anyhow it’s my job.
SHELBY
Excuse me, but I thought this was a solo. You know, me, myself and I all alone in the great outdoors.
SOPHIE
You’re right. So when you are all alone, by
yourself, thinking, I want you to think about this:
(quick beat)
you, me . . . every one of us is entitled to respect and dignity. Never forget
that.
SHELBY
Gee. Did you just make that up or did you read it in a book somewhere?
SOPHIE
You’re not going to give me an inch, are you?
SHELBY
And I’ll bet you figured that out all by yourself, too.
SOPHIE
(Smiles gets up)
We’ll talk later.
SHELBY
I can hardly wait. These deep conversations mean so much to me.
INT. HORIZON - THE CAFETERIA - DAY
The cafeteria is packed with KIDS and COUNSELORS. DON, EZRA and KATHERINE sit having dinner. Don’s energy has ebbed. The food on his tray is largely untouched. ROGER passes their table with his tray.
ROGER
Anything else you need, Mr. Scarbrow?
DON
No, no thanks. These kids are taking god care of me.
EZRA
You know, the food’s actually better than it looks.
DON
I’m not very hungry.
KATHERINE
Do you want to continue the tour? We haven’t shown you the lake yet.
DON
I think I’d rather wait until tomorrow. I’m still on New York time.
KATHERINE
You do look tired.
DON
Maybe you should just call me a cab to take me over to Peter’s.
EZRA
Sure.
Ezra leaves. Katherine studies Don’s face. He glances at her, offers up a wane smile.
KATHERINE
Peter has your smile.
DON
Does he? Guess that’s something I never noticed.
Katherine resumes eating. And as Don falls contemplative . . .
EXT. THE WILDERNESS CABIN - DAY
PETER and SOPHIE lead the group to a cabin in a clearing. As Peter talks, Sophie hands out maps to everyone.
PETER
This cabin is home base. All of your solo sites are within two miles of this cabin. Before we take you to your individual solo sites, take a good look around. If there’s an emergency of any kind, you get here fast.
SOPHIE
And remember, even though it’s called a “solo”, we’ll be still be checking up on you periodically.
PETER
But we won’t intrude.
SOPHIE
Also ... we’ve put something in each of your backpacks. Something from home that we had your parents send.
DAISY
(putting an ear to her backpack)
I don’t hear anything ticking?
SOPHIE
It’s a memento of your childhood. A point of reference.
SHELBY
Wonderful.
The Cliffhangers stir with new interest.
SOPHIE
The theme of your solo is rediscovering the child within you. There’s also a journal in there and a list of questions.
AUGGIE
Can’t wait for that one.
PETER
Alright. Let’s move out. We’ll take each of you to your site, but look around and remember where we are.
Peter, Sophie and the Cliffhangers start off.
EXT. WILDERNESS - LATER
The group enters the first solo site. It’s a small clearing in the woods with the remnants of a hand-made stone fire pit.
PETER
Juliette . . . your new home.
JULIETTE
(aghast)
This? This is it?
SHELBY
Oh, were you expecting a Holiday Inn?
JULIETTE
What am I supposed to do alone here for three days?
SOPHIE
Use your imagination. Take time to think. To ... assess yourself.
SHELBY
That should take all of about two minutes.
SCOTT
Quit ragging on her already.
PETER
That’s enough. Let’s move on.
SOPHIE
Make sure you stay right here. We’ll be back for you in three days.
Peter and Sophie lead the group out to the next solo site. Juliette looks around wearily at her new temporary home. She throws her backpack down, not really knowing what to do first. (Producer’s Note: Shoot to jump out - Juliette up, down, sitting, pacing, standing, frustrated and upset). Finally, Juliette plops down next to her backpack and just sits with her head on her knees.
EXT. LAST SOLO SITE - LATER
Auggie is the last one. (His site doesn’t look that much different than Juliette’s. Shelby, Scott and Daisy are already at their own sites.
PETER
Last one’s yours, Aug . . .
AUGGIE
(looking around)
Okay . . . doesn’t suck.
PETER
You know how to find the cabin from here?
AUGGIE
(tapping his head)
S’in here, man. I don’t need no map.
PETER
Okay . . . we’ll see you in three.
EXT. THE WILDERNESS - JULIETTE’S SOLO SITE - DAY
JULIETTE sits on the ground - - - reading from a list of questions. She reads aloud.
JULIETTE
What was the first thing you were proud of?
She pauses to think . . . starts to shake her head. Nothing. Then a little smile forms. Irony. Truth.
JULIETTE (continued)
Knowing where to cross a river.
She puts the paper aside, digs into the bottom of her backpack, locates and pulls out a plastic DOLL with long yellow hair. A wave of emotion comes over her. She props the doll against her backpack - -
CLOSE ON - - THE DOLL’S FACE
In SLO-MO - - A child’s hand enters the FRAME and strokes the hair away from the face. The child’s other hand reaches in and clasps the doll. We FOLLOW the doll up to the child’s face. It’s YOUNG JULIETTE, a darling child with chocolate brown ringlets, seven years old, tending with utmost care to her favorite doll . . . she sweetly kisses the doll’s face. Young Juliette puts the doll down.
ANGLE - JULIETTE
Staring at the doll as a flood of memories roar through her head.
EXT. THE WILDERNESS - AUGGIE’S SOLO SITE - DAY
(PRODUCER’S NOTE: Shoot for style, jumps, flashes, pops - also, shoot both sides of the “child” scene - I.E. always come back to the older Cliffhangers. ALSO - shoot for swish pans between all the Cliffhanger’s solo sites).
AUGGIE is rummaging in the bottom of his backpack, the paper with questions to consider near-by. He pulls out a plastic bag, accidentally drops it, looks down at it, begins to shake his head in pleased recognition.
CLOSE ON - THE PLASTIC BAG
The bag has opened on impact. Several small toy cars, including an ambulance and police car, are spread on the ground. In SLO-MO - - A child’s hand enters the FRAME and takes one of the cars and begins to push the car through the dirt. A BOY’S FACE, clearly making a car engine noise with his mouth, enters the FRAME - it’s YOUNG AUGGIE, SIX years old, his face preoccupied with toy car fixation . . .
EXT. THE WILDERNESS - SCOTT’S SOLO SITE - DAY
SCOTT pulls out the paper with the questions, briefly regards it, and sets it aside. Instead, he empties his backpack, and a small plastic football drops onto the ground. He picks it up - - flips it from hand to hand - - then suddenly THROWS it deep into the woods.
He sits and shakes his head - - unable to stop the wheels of misgiving, unable to disengage from the mess he’s in with Shelby. He rubs his hands over his face and sighs:
SCOTT
Man - - what’s wrong with me?
EXT. THE WILDERNESS - DAISY’S SOLO SITE - DAY
DAISY, as she simultaneously drops her backpack, pulls out her childhood memento - - it’s several pieces of SHEET MUSIC, stapled together. Daisy’s face remains expressionless.
CLOSE ON - THE SHEET OF CHORAL MUSIC
She flips through (Note: We do not see the title or linger long enough to make out the lyrics). A moment later, a lit MATCH comes into FRAME and touches off the corner of the paper.
BACK ON SCENE
Daisy drops the paper - - the corner alight - - on top of a cluster of kindling and logs . . . what will be her campfire.
EXT. THE WILDERNESS - SHELBY’S SOLO SITE - DAY
SHELBY, lost in dark thought, sits on the ground outside her pitched tent, clutching her legs against her chest. Her unopened backpack sits behind her. She doesn’t move . . . her face an anguished mask of hurt, a pain beyond tears.
INT. THE SOLO CABIN - NIGHT
Lanterns burn. SOPHIE is taking off her coat. PETER sits reading the file his father gave him.
SOPHIE
Everyone’s asleep except for Shelby.
PETER
(without looking up)
I’m not surprised.
Sophie notes his engrossed face . . . starts to rub his shoulders. Peter continues reading. Preoccupied.
SOPHIE
Okay . . .
She moves in close behind his ear. RE: The promised kiss . . .
SOPHIE (continued)
I’m reminding you . . .
(beat)
Peter . . . ?
Peter finally glances up - - - returning from his netherworld.
PETER
What?
SOPHIE
Something has captured your attention. And it’s not me.
PETER
. . . my father’s will.
SOPHIE
Well that really sets the mood for the
night.
(beat)
What does it say?
PETER
That my brother and I are his sole beneficiaries.
SOPHIE
Am I missing something here? Why do you seem so upset - -
PETER
Because he never mentioned it before. And - - because he had this will drawn up just last week.
SOPHIE
So? He’s doing some housekeeping. Probably doesn’t mean anything.
PETER
You don’t know my father. Everything he does means something.
MOVING CLOSE ON - PETER’S CONCERNED FACE
MATCH CUT TO:
THE PHOTO FACE OF A YOUNG BOY SLIGHTLY SMILING
PULL BACK TO REVEAL: A snapshot of Peter and Don from 25 years ago. They stand in a park setting. Don’s face in the photo is stern and unsmiling.
INT. PETER’S HOUSE - THE BATHROOM - CONTINUOUS
DON holds the framed photo. Lined up before him are several prescription drug bottles. As he reaches for the drugs, he looks up and regards himself in the bathroom mirror. He tries to smile . . . to see what Katherine may have seen . . . but he can’t. This is a man looking into his own death. An embittered man, weighed down by the heavy baggage of regret . . .
SLOW FADE OUT
END OF ACT ONE
ACT TWO
FADE IN
EXT. WILDERNESS - MORNING
DAISY awakens, yawns, and sits up. Although she has her tent pitched, she has obviously slept outside next to the fire all night. She pokes at the ashes with a stick - - trying to revive any flame - - then STOPS. The edge of the SHEET MUSIC peeks out from under some half-burned kindling. She fishes the paper out. It is torched in places, but for the most part, it’s intact. This is an interesting twist of events, especially for mystical Daisy. She considers - - then takes the sheet music and heads into the woods.
EXT. CLIFF - MORNING
DAISY emerges from the forest and climbs up onto a rock at the edge of a cliff. She checks around a moment to make sure the coast is clear, then begins to sing a scale.
DAISY
La la la la la . . .
Her voice cracks and she coughs.
DAISY (continued)
Whoa. Pipes are rusty . . .
She stops - - checks around her again - - then raises the sheet music in front of her. Her body position immediately changes. She stands taller, takes a deep breath, then softly sings.
(PRODUCER’S NOTE: Amazing Grace is only in here for purposes of dialog. The actual song is TBD. Now, if Jewell will just call me and tell me the song she wants to sing . . . )
DAISY (continued)
Amazing Grace how sweet the sound ...
She stops, checks around one more time,
clears her throat, and then in full, strong, sweet voice, she begins again.
DAISY (continued)
That saved a wretch like me And as CAMERA moves away - - the voice does
not change - - but Daisy has been replaced by a LITTLE GIRL - - no more than
eight years old - - dressed in a Catholic schoolgirl UNIFORM.
SWISH PAN TO:
EXT - WILDERNESS - MORNING
Through the trees again ...
DAISY’S VOICE
Twas grace that taught my heart to fear, To find SHELBY, at her solo spot, seated by
her fire. Her knees are pulled tight in against her chest, and as Daisy’s song
echoes in the distance, tears run down her cheeks.
DAISY’S VOICE (continued)
How precious did that grace appear, And then it is quiet. After a beat, Shelby
wipes her cheeks, removes a wrapper of camping food from her pack, and
considers how to heat it over the fire.
SCOTT’S VOICE
Hey.
Shelby swings around. SCOTT stands at the
edge of her campsite. Shelby springs to her feet.
SHELBY
What do you want?
SCOTT
You cryin’?
Shelby wipes her cheeks again.
SHELBY
No. SCOTT
Shel, c’mon, I just want to talk.
SHELBY
I’m giving you two words. They better be the
right ones.
SCOTT
Stop it. Come on. This whole thing is
driving me crazy. I can’t think about anything else.
She just regards him, not knowing how to
reply.
SCOTT (continued)
How bad was it? I mean - -
SHELBY
You want more - - details? Oh, that’s great.
That’s really . . . sensitive.
SCOTT
I’m just - - trying to figure out what you
were thinking.
SHELBY
I tried not to give it much thought.
SCOTT
So . . . how many guys are you talkin’
about?
Shelby’s eyes narrow. He can’t possibly be
asking her this.
SHELBY
Did you just say that?
SCOTT
Yeah. I mean, I’m just trying to - - to get
my head around it.
SHELBY SCOTT
Shel . . . for the . . . what? What do you
want me to do? What do you want from me?
SHELBY
Two words. Two lousy words and you can’t say
them. SCOTT
Okay, okay, I understand all that. All of
it. What I don’t get is why did you sell yourself on the street? You didn’t
have to do that.
Shelby’s frustration and anger finally erupt
into rage.
SHELBY
Get out of here! Go! Get out of here. Leave
me alone, you . . . Get . . . I hate you, I hate you so much, you . . . get out
of here!
Scott is unsure what to do, but afraid to
leave Shelby in this emotional state.
SCOTT
Shel . . . stop . . . stop it . . . listen
to me . . .
SHELBY
Go! Go! Just . . . get out of here.
And Scott takes off. Shelby finds a stick at
her feet and throws it after him, missing him, but not by much. Panting hard,
she holds herself, trying desperately not to explode.
EXT. WOODSHED – DAY
KATHERINE and EZRA load wheelbarrows with
firewood. DON sits on a stack of wood nearby-by. A few STUDENTS scurry past
bundled in coats, scarves, and mittens - - each one hunched against the cold.
DON
I can’t get over the fact that Peter and
those kids are out camping in such cold weather.
EZRA
The cold is the least of their problems.
DON
Why’s that?
KATHERINE
They make you do these exercises on solo
where you’re supposed to become like a kid again.
DON
Doesn’t sound so bad.
KATHERINE
It’s good and bad. The exercises are
designed to bring you back to a more innocent time.
EZRA
Which kinda sucks because our less than
idyllic childhoods are why most of us ended up here in the first place.
Don lets this wash over him a bit. Ezra and
Katherine continue loading wood, unaware of Don’s shift to a more somber mood.
EZRA (continued)
I bet you have some good stories about Peter
when he was a kid.
KATHERINE
Yeah - - what was he like?
DON
I, uh . . . I’m sorry to say I didn’t know
him that well when he was a child.
EZRA
What do you mean - - he’s your son?
DON
Things happen. Work was my first priority.
That’s all I made time for, and my family suffered. KATHERINE
Like what? What would you do?
DON
Usually, we’d walk over to Central Park . .
. That’s all he ever wanted to do.
FLASHCUT TO - - A PARK
DON, looking years younger, dressed in a
SUIT and TIE, walks through a large, open area. A LITTLE BOY runs ahead of him
across the vast grass - -
DON’S VOICE
The park is so big, it was like we weren’t
in the city at all . . . it was like he and I were in the middle of nowhere - -
just the two of us - - way out in the wilderness. I remember how much he loved
it.
RESUME SCENE: ON DON. Regaining composure.
Katherine and Ezra have stopped working and just listen.
DON
That’s all he ever wanted to do.
Katherine breaks into a smile.
KATHERINE
Must be why he likes it here.
DON
Could be.
EXT. CABIN – DAY
SOPHIE finishes brushing her teeth at an
outside water-pump. PETER blasts out of the cabin - - concern etched on his
face.
PETER
We’ve got a problem.
He’s already putting on his backpack and
hands Sophie hers.
PETER (continued)
Ranger station just radioed with an
emergency weather warning. We’ve got to get the kids in right away.
He’s already on the move.
SOPHIE
How bad?
PETER
Bad enough. Front is moving in off the
ocean. Freezing rain, maybe a blizzard. They’ve already been hit in the valley.
I’ll start with Auggie. You get Juliette.
He’s already started to jog - - Sophie
breaks away in the opposite direction - - calling after him.
SOPHIE
How much time?
PETER
Two hours - - maybe less.
INT. MAIN LODGE – DAY
The main lodge is swarmed with STUDENTS and
COUNSELORS. DON, KATHERINE, and EZRA enter. Katherine and Ezra’s arms are
loaded with firewood. Don is carrying a few chunks too. A few logs start to
tumble off Ezra’s pile - -
DON
I can help you with that.
EZRA
Thanks.
Don stoops over to pick up the logs - - and
suddenly stands tall. His face is ashen, his expression pure fear.
KATHERINE
Mr. Scarbrow? What’s wrong?
But Don can’t reply. He grips his chest and
his legs start to buckle. Some of the other KIDS gather and gawk.
KATHERINE (continued)
Ezra quick.
Katherine and Ezra drop the logs and both
grab Don under the arms for support. Roger comes running over.
ROGER
Don?
(quickly) He turns and regards Katherine, his face
stricken.
DON
Get a doctor - - now . . . please.
EXT. CABIN – DAY
PETER and AUGGIE move at a quick clip up to
the cabin. Auggie is pumped up by the news of the incoming winter storm.
AUGGIE
I never been in a blizzard.
PETER
Not as much fun as it sounds.
SOPHIE exits THE CABIN - - JULIETTE
wide-eyed right behind her.
SOPHIE
Peter . . . Katherine just radioed.
The tone in her voice almost paralyzes him .
. . a tone that can only be delivering bad news.
SOPHIE (continued)
Your father’s had a heart attack.
INT. CABIN – DAY
Peter is bundling up against the impending
storm. AUGGIE and JULIETTE stand off in the distance - - concerned . . .
SOPHIE
I’ll have the rest of the kids back here in
no time. Don’t worry about us.
PETER
Juliette and Auggie shouldn’t be left alone.
SOPHIE
This is an emergency situation. They’ll
respect that.
PETER
Auggie - - come here a minute. AUGGIE PETER
I trust you.
He casts an eye to Juliette who, hurt by
Auggie's words, just shrugs and turns.
AUGGIE
Hey, I hope your Pops gonna be okay.
PETER
Me, too.
SOPHIE
Take the radio.
PETER
No. It stays here with you and the kids.
I’ll be back at Horizon in three hours.
SOPHIE
Three hours? Peter, what are you talking about?
The hike up took a full day.
PETER
I’m taking the old pipe bridge over Wilson’s
gorge.
SOPHIE
Peter, no. What about the storm?
PETER
I’ll beat the storm.
INT. MAIN LODGE – DAY
RAIN beats on the window pane now - - the
storm has arrived. KATHERINE and EZRA peer out. Roger is with Don.
EZRA
She’s here.
Roger immediately goes to the door.
KATHERINE
Thank God.
Katherine quickly crosses over to the couch
where Don is lying down. All of the many students in the lodge are moved to the
back, watching from a distance.
KATHERINE (continued)
The doctor’s here, Mr. Scarbrow . . . You’re
gonna be okay.
A moment later, DR. STEPHANIE BURKE enters.
She removes her rain hood and shakes off her rain gear. She is an attractive
woman in her mid-thirties.
DR. BURKE
Hi, I’m Dr. Burke. Stephanie . . .
ROGER
Roger Claypool, doctor. Mr. Scarbrow’s right
over here.
Roger and Dr. Burke move quickly over to
Don. Katherine moves back over by Ezra, and as they watch anxiously . . .
EXT. WILDERNESS – DAY
The icy rainstorm has finally hit the
mountains. Peter forges ahead, fighting the wind, the rain and nature at its
angriest. (PRODUCER’S NOTE: The following montage is Peter’s fight against
nature. The montage shots are indicative and not specific’ director’s shots
should be location dependent with the same intent).
A. As he’s jogging, a tree falls in Peter’s
path, narrowly missing him.
B. Peter running hard through a clearing. He
is pushing himself too hard and has to fight his growing exhaustion.
C. Low branches whip and assault him as he
pushes through the thick forest.
D. A narrow foot path has suddenly become a
rapidly flowing river.
E. Peter rests against a tree, trying to
catch his breath.
INT. CABIN - DAY
SCOTT drops his backpack on the wooden floor
and flops down into a chair. DAISY and SOPHIE enter a moment later.
SOPHIE
I’m going back to get Shelby - - SOPHIE EXITS.
DAISY
This is so Little House on the Prairie. SCOTT
You’re so lame.
JULIETTE
Come on guys. Don’t start this.
SCOTT
( Daisy)
Nobody asked you to butt in. It was our
business.
DAISY
You would a liked it if she had never told
you - - wouldn’t you? Then you could just go along living in your little
fantasy world. Well maybe you should just sop blaming everyone else for your .
. . your own twisted ego.
INT. PETER’S OFFICE - LATER
Don has been transferred to the privacy of
Peter’s office and is now comfortably ensconced on his sofa. An oxygen mask is
strapped to his face and Dr. Burke is attaching leads from the portable heart
monitor. Katherine watches. Roger comes in with blankets.
ROGER
Is there anything else I can get for you?
DR. BURKE
Thanks. I’ve got most of what we need right
here.
As Katherine anxiously watches, Ezra bursts
in, very agitated.
EZRA
No ambulance! They can’t make it.
DR. BURKE
What?
EZRA
Trees are down all over. The road up is
blocked and the back fire road is washed out.
KATHERINE
What about a helicopter?
ROGER
I doubt they’re flying in this weather. And Roger is out the door.
EXT. WILDERNESS - SHELBY'S SOLO SITE - DAY
The remnants of a camp fire smolder in a
pit. Shelby’s empty tent is torn and flapping in the wind. Sophie toes the
ashes and looks around with growing concern and anxiety - - Shelby is gone.
SOPHIE FADE OUT
END OF ACT TWO
ACT THREE
FADE IN
EXT. WILDERNESS - NIGHT (FORMERLY SCENE 43)
The storm has become even more intense as
Peter jogs along a ridge, pushing himself to his absolute limit. Below him, the
river rages in white water fury. In the forest beside him, trees and branches
snap in the wind and Peter has to leap over a branch. In the distance, through
the storm, Peter finally spots his destination: an old, narrow pipe bridge
suspended precariously over the river. Access to the pipe bridge is blocked by
a high, cyclone fence crowned with razor wire. (PRODUCER’S NOTE: This sequence
is written for a very specific location. PRODUCER’S NOTE # 2: This sequence
should be shot for jump cut editing using multiple angles and sizes).
A. Peter leans against the fence to catch
his breath. He glances up the barricade, looking for a way over it to get to
the pipe bridge.
B. Peter takes off his jacket and tosses it
over the barricade and starts to climb around it.
C. The barricade section Peter is climbing
around suddenly breaks its tie and falls. Peter clings to it
tenaciously, holding on by his fingertips to the cyclone wire as the torn fencing
sways dangerously above the rushing river.
D. Using all of his waning strength, Peter
begins to climb up the swinging fence wire. As he reaches the top, the solid
fencing of the pipe bridge just eludes his freezing fingers. He struggles to
reach it. He can’t make it. Gathering all his strength, he lunges for the fence
in one last desperate leap.
E. Grabbing the fence, Peter pulls himself
up to the narrow, slippery pipe bridge and forces himself across to the other
side.
F. At the far end of the bridge is another
high cyclone barrier. This barrier has a door. Peter rattles it, but it doesn’t
give. Then, almost as a ridiculous afterthought, Peter tires the door handle.
It’s unlocked and the door opens.
G. Peter laughs at the irony and at his near
exhaustion - and once again begins running into the woods.
EXT. WOODS - DAY / NIGHT
SHELBY is leaning against a tree, next to a
small, glowing lantern. Her sleeping bag is bundled around her like a cocoon.
She is shivering, and her breath comes out in frosty clouds. She removes her
gloves and cups her hands over her mouth to warm them - -
The WIND HOWLS, and suddenly, as if
anticipating it, Shelby looks up. Just then, we HEAR a sickening snap and pop.
She covers her head with both arms to take cover just as a large BRANCH crashes
down very close to her. She looks up - - wide-eyed.
SHELBY
Son of a mother - -
Angrily, she unwraps the sleeping bag,
fishes her solo map from her backpack, and regards it.
SHELBY (continued) She pulls on her gloves and hat tightly over
her head - - takes the lantern, and crawls out into the raging storm.
INT. PETER’S OFFICE - NIGHT
It’s late, and the main lodge is quiet. DON
still lays on the couch, his eyes closed, the heart monitor still aglow and
beeping.
DR. BURKE sits on a chair next to him, and
KATHERINE and EZRA sit on the floor, leaning together, sharing a blanket. DON’S
EYES flicker open. He blinks - - and the cobwebs clear.
DR. BURKE
Mr. Scarbrow . . . Mr. Scarbrow, can you
hear me?
DON
Yes. Am I . . . at . . . my son’s school?
DR. BURKE
Yes. You’re at Horizon. You’re in your son’s
office.
DON
Is he back?
DR. BURKE
No, not yet.
A shadow crosses his face. Dr. Burke moves
aside, and DON SEES Katherine and Ezra sitting vigil.
DON
The kids are still here?
DR. BURKE
They don’t want to leave you.
Don, warmed by this, reaches his hand out to
them. Katherine and Ezra come over, and Katherine kneels next to him. Don tries
to make light of it.
DON
You kids don’t have to hang around and watch
an old man die.
KATHERINE
You’re not gonna die. Don’t say that.
DON
I am dying. The doctor knows it, too. And
it’s gonna be fine.
EZRA
Peter’s on his way. He’ll be here any
minute.
DON EZRA
I woulda been dead without him - - that’s
pretty different.
But Katherine understands that Don needs
this . . . maybe more than anything else.
KATHERINE
I’ve been here for three years Mr. Scarbrow,
and I can tell you this . . . Don’s face reflects a deep recognition, a
gentle peace. And then softly - -
DON
That’s success then, isn’t it?
INT. CABIN - NIGHT
SOPHIE enters the cabin without Shelby. Her
outer clothes are soaked through. The kids swarm around her as she moves to the
Franklin Stove, handing her blankets, as she strips off her jacket.
DAISY
How can you not know where she is?
AUGGIE
Maybe we should all go look for her.
SOPHIE
No. No one is going out there. It’s too
dangerous. SCOTT I went there . . . I interrupted her solo .
. .
DAISY
You did what?
Sophie rapidly starts re-dressing.
SOPHIE
What happened? Tell me. Everything.
SCOTT
We had a fight.
DAISY
My God, how could you possibly be so . . .
so . . .
SOPHIE
Daisy. Enough. Scott did she say something? Anything?
Did she . . . she say where she might have gone?
SCOTT
No.
SOPHIE
Think Scott. This is important.
No! She didn’t say anything. She probably
didn’t want to be there if I came back.
Almost before he can finish, Sophie grabs
her coat and is out the door. Auggie, Juliette, and Daisy just stare at Scott.
DAISY
If anything happens to her out there - - -
He cuts her off harshly:
SCOTT
Hey, just dump it, freak.
Suddenly Daisy explodes with a rage we’ve
never seen before. She beelines over to Scott, grabs his shirt with two hands,
and shoves him hard.
DAISY
What were you thinking?
Immediately Juliette and Auggie jump in and
pull her off him.
JULIETTE
Daisy don’t! Stop it!
But Daisy is no longer sedate and
philosophical. If she could hurt him, she would. (Undoubtedly, this is the
Daisy that assaulted her father with the seven iron).
DAISY
If anything happens to her out there, it’s
your fault. You understand? Your fault . . . and I’ll make you pay.
As Scott absorbs this new recrimination . .
.
INT. PETER’S OFFICE - NIGHT
KATHERINE and EZRA doze off. DR. BURKE jots
some notes in a notebook. The heart monitor BEEPS rhythmically . . .
DON suddenly opens his eyes . . . and
beeeeeep . . . the monitor begins to flatline. DR. BURKE hops to her feet and
immediately begins CPR. Katherine and Ezra quickly get up, fearful expressions
on their faces.
DR. BURKE
Come on, Don . . . stay with me . . .
MOVE IN CLOSE: on Don’s face. His eyes are
open, but glazed over.
FLASHCUT TO:
EXT. CENTRAL PARK - DAY
DON and YOUNG PETER walk through the park.
The little boy slips his hand into his father’s.
RESUME SCENE
ANGLE KATHERINE and EZRA: watch as Dr. Burke
quickly places defibrillator pads on Don’s chest. A moment later, a JOLT of electricity
goes through Don’s body. As he arches up, Katherine turns her head and presses
her face into Ezra’s chest - - unable to watch.
EXT. WILDERNESS - NIGHT
Peter stops to catch his breath. He hunches
down against a tree and closes his eyes a moment.
EXT. CENTRAL PARK - DAY - FLASHCUT
Don and Young Peter walk through the park.
After young Peter slips his hand into his father’s, he looks up at him, his
eyes filled with love and adoration.
RESUME SCENE
Peter shakes loose of the shared reverie.
His eyes open wide. He knows now, knows that he has to make it back soon,
before it’s too late. He takes off at an even faster pace.
INT. CABIN – NIGHT
(PRODUCER’S NOTE: Shoot the Cliffhangers in
opening singles for timing, i.e. if there was a ticking clock and on each
ticked second we cut from one to another). Daisy, Auggie, Juliette and Scott
are each, in their own silent, anxious way, waiting for Sophie to arrive with
Shelby. The wait seems endless.
1. DAISY is at the window she wipes the
frost off the glass with the warm palm of her hand and peers out into the
darkness.
2. SCOTT is slouched in a chair far away
from the others. He is somber. Pensive. His eyes on Daisy.
3. AUGGIE is very slowly pacing at the
opposite end of the room. He stops. His eyes scan the others.
4. JULIETTE is on the floor near the
Franklin Stove. She reaches into her backpack and pulls out the doll that her
mother had sent up for the solo. It’s obvious she finds some comfort in the
doll. Finally . . .
AUGGIE DAISY
Yeah . . . a black cosmic joke.
JULIETTE
What’s that supposed to mean?
DAISY
It means we’re in here and she’s still out
there.
Auggie, watching Juliette and her doll,
moves over to her at the stove and sits down next to her.
JULIETTE AUGGIE
Look, Jules, uh . . . before . . . I was
jus’ playing my own deck, you know? Didn’t mean to mess with your head or
nothin’.
Scott glances at them, listening, learning, still
wrestling with his own confusion.
JULIETTE
You really hurt me.
AUGGIE
Yea, I know. I . . . what can I say, Jules,
I’m sorry. JULIETTE
Christie Kay. She was my favorite. I don’t
even know where my mom found her. AUGGIE
My cars. Thought they were so cool. Used to
play with ‘em all day when I was a kid. You wanna see ‘em?
JULIETTE
Sure.
And as Auggie and Juliette move across the
cabin to his backpack and his cars hidden inside, Scott moves to Daisy at the
window. She turns her back to him.
SCOTT
You gotta help me.
DAISY
I don’t have to do anything for you. And
besides, you’re beyond help.
SCOTT
Okay, you don’t like me, fine, I get it. DAISY
It’s what you didn’t do, jocko. Scott lets this all sink in. He doesn’t
completely understand, but he understands enough. He moves back to this chair
for his jacket and starts bundling up as he moves to the door.
JULIETTE
Scott . . . what are you doing? Sophie said
to stay here.
AUGGIE
Don’t do it, dawg. You get lost out there.
SCOTT
I can find my way back, she can’t.
and Scott is out the door.
FADE OUT
END OF ACT THREE
ACT FOUR
FADE IN
EXT. WILDERNESS – NIGHT
PETER is moving slowly - - hunched against
the wind. Rain swirls around him, and the sound of the wind is almost
deafening. Several branches crack under the barrage of weather.
He pins himself against a tree, taking a
momentary break from the assault. It is dark – but we can SEE white ice
collecting on his eyebrows and lashes.
He gets his MAP and COMPASS and checks his
bearings. Once satisfied that he is on the right path, he continues into the
night.
EXT. WILDERNESS – NIGHT
In the distance, the cabin windows can
barely be seen in the distance. SCOTT moves through the storm, shielding his
face and eyes as he moves.
SCOTT Ice covered branches snap and crash at his
feet in a momentary blast of winter wind, he’s forced to crouch down with his
back to it - - his arms covering his head. But a moment later, the wind shifts,
forcing the angry, whirling blast in another direction. Undeterred, he
continues . . .
SCOTT (continued)
Shhheelllby! Shellbby! INT. PETER’S OFFICE – NIGHT
DON lays on the couch, his eyes closed. The
heart monitor beeps - - but much closer now - - weaker. DR. BURKE, KATHERINE,
and EZRA quietly confer on the periphery.
KATHERINE
He . . . he is going to be alright, now,
isn’t he?
DR. BURKE
His heart sustained significant trauma - -
but . . . he’s fighting.
EZRA
Do you think he’ll wake up?
DR. BURKE
I don’t know. Maybe. I hope so.
KATHERINE Dr.. Burke regards her, then somberly shakes
her head “no”.
DR. BURKE
No.
ANGLE – CORRIDOR WINDOW
As Peter passes it, moving to his office
door. Katherine is the first to spot him.
KATHERINE
Peter!
PETER opens the door and stands there,
half-frozen, exhausted, breathing hard.
PETER
How’s my dad?
EXT. WILDERNESS – NIGHT
SCOTT continues to move through the storm -
- but his energy is clearly waning.
SCOTT
Shelby! . . .
Still nothing. He begins to move forward
again, then stops. He knows he must turn back - - then suddenly - - in the
distance - - so softly he’s not sure he heard it.
SHELBY (O.S.)
Scott!
Scott stops. Turns back into the wind.
Listens . . .
SHELBY (O.S.) (continued)
Scott!
With a new energy he turns and moves toward
the sound of her voice - - calling out - -
SCOTT
Shelby! Over here! Shelby!
He squints into the storm - - a dark figure
plods slowly towards him. Shelby. He runs to her - - She is barely recognizable
- - drenched and covered with ice. They come together, and she collapses into
him, the wind and ice whipping around them.
SHELBY
I’m - - so - - cold - -
SCOTT
I got you. I got you.
He wraps his arms more tightly around her
and holds her close. She closes her eyes, letting him hold her . . .
INT. CABIN – NIGHT
Sophie, in her soaked outdoor wear, is
beside herself with apprehension. Auggie is holding the radio.
SOPHIE
How long ago did he leave?
AUGGIE
Maybe half an hour.
SOPHIE
All of you. Stay here. Do you understand? Do
you not leave. Am I clear?
JULIETTE
Take my hat . . . here . . . and my gloves.
They’re dry . . .
SOPHIE
Thanks. AUGGIE
Got it down. As soon as Sheriff Swann gets
Mountain Search and Rescue up here . . .
The cabin door opens and Scott helps Shelby
into the warmth of the shelter. She is shivering uncontrollably.
JULIETTE
Shelby!
DAISY
Yeah. You made it.
But Sophie is the first one over to them - -
closely followed by Daisy.
SCOTT SHELBY And once again - - the group moves over to
the stove and sits. Sophie holds Shelby’s face and looks into her eyes.
SOPHIE
Are you okay? And as Daisy passes Scott . . .
DAISY
Maybe you’re not totally useless after all.
SCOTT
Maybe you’re not either.
INT. ADMINISTRATION BUILDING – PETER’S
OFFICE CORRIDOR – NIGHT
Through the window, Don can be seen on the
sofa as Peter consults with Dr. Burke. Both Ezra and Katherine are sitting on
the floor near him. Ezra has a comforting arm around Katherine’s shoulder.
DR. BURKE
. . . congestive heart failure. He’s known
for months that he needed a transplant, but the odds of getting one were so
slim, he decided he didn’t want to die in a hospital just waiting for a donor.
PETER
But if we can get him to a hospital now . .
.
DR. BURKE
. . . there still wouldn’t be a heart
waiting for him. And the truth is, he’s much too weak for surgery.
PETER DR. BURKE
I’ll wait here. It could be a very long
night.
Peter moves past her to his office door and
opens it. Katherine and Ezra get up. As Peter moves into his office toward his
father, Katherine and Ezra move to leave.
KATHERINE
If there’s anything we can do, Peter . . .
PETER
You’ve done so much, I don’t even know how
to begin thanking you. And both Katherine and Ezra accept this as
Peter’s most heartfelt thanks.
INT. CABIN – NIGHT
Everyone is asleep. SHELBY rolls over and
looks at Scott. He appears to be asleep, too.
Shelby sits up and checks that everyone is
asleep. When she is sure . . . she gets out of her bag and crawls over to her
backpack and digs inside.
ANOTHER ANGLE: CLOSE UP ON SCOTT - - his
head on the pillow - - his eyes open, watching her, as she removes a package
from her backpack.
CLOSE ON: A pair of ballet shoes - - and as
Shelby’s hand reaches down and picks them up we . . .
FROM SCOTT’S POV: SHELBY has been replaced
by A LITTLE GIRL WITH LONG BLOND HAIR - - holding the ballet slippers . . .
BACK ON STOCK - - smiling, registering this
. . . seeing the innocence in Shelby.
Shelby suddenly realizes that Scott is
watching her. She quickly buries the ballet slippers back into her pack. Scott
continues to stare at her, making Shelby increasingly more uncomfortable.
Finally . . .
SHELBY SCOTT Shelby takes a beat, digesting all the implications
of those two words and then nods her acceptance, choking back her emotions.
SHELBY
Thank you.
Shelby lies down again, looking at Scott and
he does likewise, looking at Shelby, wondering where all this is going.
INT. PETER’S OFFICE - NIGHT
PETER is seated near his father, his elbows
resting on his knees, his face in his hands. He doesn’t notice that DON’S eyes
flutter open, and turns to him. Smiles weakly.
DON
. . . kids said you would make it.
Peter looks up - - smiles. He comes over and
kneels down.
PETER
How do you feel, Dad?
DON
I feel . . . I think it’s going to look a
little bit like Central Park.
PETER
You remember.
Peter takes his father’s hand as Don’s eyes
slowly close . . .
EXT. CENTRAL PARK – DAY
DON and young PETER walk through the park,
holding hands.
YOUNG PETER’S VOICE
Come on, can’t you stay a little longer,
Dad?
DON
Sorry, Peter, I have to go.
The boy stops, and Don leaves him to cross
the park, his trench coat billowing behind him - -
YOUNG PETER’S VOICE
I love you, Dad.
But Don just turns back and waves . . .
Doesn’t say it back . .
INT. PETER’S OFFICE – NIGHT
Peter still kneels next to his father. DON
is deathly still - - his eyes closed - - and then, for the first and last time,
Peter hears it.
DON
I love you too, son.
And he is gone. Peter doesn’t move - -
closes his eyes tight - - and as CAMERA PULLS BACK - - he is replaced by the
little boy, YOUNG PETER - - kneeling by his father - - holding his hand in his
two hands. A tear rolling down young Peter’s cheek.
FADE OUT
THE END
I once was lost, but now am found.
Was blind but now I see.
and grace my fears relieved.
the hour I first believed.
(beat)
What are you doing here? This is my solo.
(rising heat)
No you’re not. You’re sweatin’ the details because it’s all about you and how
you can deal with it.
(quick anger).
I’ve got things to deal with, to, okay? It’s not just about you and how you
feel and how you can . . . get your screwed up head around it.
(quickly anger rising)
No, I’m sorry, no, I want more. I want a lot more. I want some respect. I want
some dignity. I want a real apology, I want you to . . .
(beat realizing)
How can you not know? Are you that dense, that self-centered? You went through
it just like I did. Do you think it was any different, any easier for me? You
know what it feels like to have somebody you despise touch you, grab you,
breathe the same air you’re breathing . . .
(very quick beat)
How disgusted were you? How much did you hate yourself? How dirty did you feel?
(beat recalling)
Though every so often Peter and I would do something during my lunch hour.
Get him to the couch.
(waiting)
You and Juliette are on your honor now.
(over it)
Old news, man . . . Ain’t nothin’ gonna happen here.
(to the group)
Start sealing the windows and use whatever you can to plug the leaks in the
walls. The temperature’s dropping fast.
(ominous)
OOO . . . The big storm is a comin’ in . . .
(leaving)
I’ll call the sheriff’s station and see what they can do about a four-wheeler .
. .
(yelling)
Shelby! Shelby . . . !
(long, nervous beat)
Oh my God . . . where is she?
(mumbling)
Where is that stupid cabin?
(smiling)
You’re good kids - - both of you.
(beat thinking)
He’s made a difference for you, hasn’t he?
(beat)
Peter’s made a difference in the life of every kid who’s known him.
(beat)
Why did she leave her site? She knew better.
(finally)
(to Daisy)
. . . you see anything out there?
hurt skeptical) What do you want?
(off her nod)
Hey . . . the doll. S’at what your mom sent up?
(quick beat)
What did your folks send?
(beat)
Just . . . tell me what she wants from me? She wants me to apologize . . . for
what? What did I do?
(off his look)
Accept her for who she is . . . let her know her scars are okay with you.
(beat)
We’re all damaged goods here. But you’re so wrapped up in yourself you can’t
see anyone’s damage but your own.
(calling out)
Shelby! . . . Shelby! . . .
Scott - - a dark figure moving farther into the angry woods . . .
(wanting a straight answer)
“Fighting” . . . “maybe” . . . "hope so" . . . please,
just tell me, is he going to make it?
(to Auggie)
You know what to do . . .
She’s okay . . .
(shivering)
Just a little cold.
(off Shelby’s nod)
Let’s get you warm.
(beat)
Take off her boots - - Scott you too.
Daisy . . . get her some tea . . .
(accepting the inevitable)
Yeah.
(beat)
Thank you for everything, doctor.
(as they leave, he turns)
Kat . . . Ezra. I’m so proud of both of you.
(hissing whisper)
What!?
(long beat’ it’s difficult)
Shel . . . I’m sorry.