TEASER
FADE IN
INT. LODGE – DAY
All the lights are out and blinds drawn. Save for sporadic flames from a dying fire, the lodge is in darkness.
SCOTT is revealed in the shadows downstairs, desperately silent, his back against the column underneath the balcony. He HEARS footsteps from above, and his eyes turn upward. A FLASHLIGHT BEAM shoots through the darkness. “What light from yonder window breaks . . . ?” Or - -
SCOTT
(to himself, hopefully)
S’gotta be her . . .
We crane up to the balcony, where SHELBY and DAISY enter and move to the railing. Shelby, with flashlight, scans the dark lodge . . .
DAISY
(quietly)
Looks like he’s a no-show.
SHELBY
He’ll be here.
DAISY
I don’t know. Coming from the wrong
side of the tracks to meet his pretty little rich girl…? It’s getting a bit
dicey.
SHELBY
(defiantly)
We’re way past that.
From below, Scott is slowly and covertly climbing the dark spiral staircase, unseen by the girls. This all looks like a very real tryst.
DAISY
And I’m getting tired of playing
watchdog. Security’s everywhere.
SHELBY
He’s here. I can tell.
DAISY
We get caught past curfew, we’ll both be on
shuns for a week.
Shelby oddly doesn’t reply . . .
DAISY
(cont’d)
I said, we’ll both be on shuns . . .
SHELBY
Ahm . . .
Shelby, frustrated, reveals a SHEAF OF PAPER in her other hand. She reads from her “script” using the flashlight. Her dialogue comes out stiffly.
SHELBY
(cont’d)
Back off, Tamara, you’re probably scaring
him away.
DAISY
(looking at her script)
Story of my life. I always scare away
the good ones.
Daisy retreats into the shadows. Shelby comes to the railing of the balcony, not seeing Scott coming up the very last stairs behind her.
SHELBY
(loud whisper)
Bobby Joe? Where are you, Bobby?
(more to herself)
If you weren’t named ‘Bobby Joe’, maybe
they’d love you like I do.
Scott, from behind, takes Shelby by the shoulders, turns her. Shelby, startled, drops her script.
SCOTT
(with bravado)
You don’t like my name, I’ll change it.
A lingering pause. Shelby’s a little short of breath, caught in Scott’s passion . . . Scott whispers her cue.
SCOTT
(cont’d) (whispering)
Bobby Joe, Gill - -
SHELBY
Bobby Joe, Gillian, they’re only
names. That’s all . . .
(swallows)
We go a lot deeper.
SCOTT
(as Bobby Joe)
Like this . . .
He’s about to kiss her.
SOPHIE
(O.S.) Lights in the lodge flick on.
REVEAL all the other CLIFFHANGERS laughing and hooting, watching what is now
revealed as a REHEARSAL.
Scott breaks from character and, embarrassed,
waves a disgusted hand at the crowd below.
SCOTT Shelby, also embarrassed, gathers herself
and heads for the spiral steps with an amused Daisy.
DAISY SHELBY Meanwhile, down below:
EZRA KATHERINE Shelby and Daisy make their way down the
stairs, Scott ambling down behind.
SOPHIE Sophie gets a pinched look on her
face. A stabbing pain in her abdomen, but it passes. Daisy notices.
DAISY SOPHIE EZRA (to all) SCOTT EZRA SCOTT AUGGIE JULIETTE EZRA KATHERINE
No comp - - That was the balcony scene!
EZRA KATHERINE PETER enters from the dining room.
PETER SHELBY INT. PETER’S OFFICE – DAY
Shelby sits opposite Peter. She’s
in shock,
PETER SHELBY PETER SHELBY PETER SHELBY PETER This really comes as a shock.
SHELBY Peter shakes his head sadly.
SHELBY (cont’d) PETER SHELBY Shelby gets up, beings to leave.
PETER SHELBY PETER SHELBY PETER SHELBY Peter takes a breath, at a loss.
SHELBY (cont’d) PETER SHELBY Shelby exits, leaving Peter hanging.
END OF TEASER
Act one
In white on black letter, FADE IN SUPER.
“You don’t live in a world all
alone. Your brother is here too.”
Albert Schweitzer
FADE OUT SUPER:
FADE IN:
INT. ADMIN. WAITING AREA – DAY
Peter emerges from his office and heads
determinedly down the hall to the waiting area. He stops at the sight of
a man rising from his seat. He’s taller, heavier and a few years older
than Peter, but there’s an unmistakable resemblance. This is MARC
SCARBROW, Peter’s brother. He approaches.
MARC PETER The two men embrace. It’s a little
awkward.
PETER (cont’d) MARC PETER MARC Peter studies him curiously for a
beat. Marc smiles with forced casualness.
PETER MARC PETER MARC Peter looks suddenly distant and
disturbed . . .
MARC (cont’d) PETER MARC Peter doesn’t see the humor, staring at
Marc, whose smile fades . . .
INT. LODGE – DAY
Ezra is handing out scripts to Scott,
Auggie, Juliette, Katherine and Daisy. Sophie watches over.
EZRA SOPHIE EZRA SOPHIE Auggie rifles through the pages of his
script.
AUGGIE EZRA AUGGIE EZRA KATHERINE EZRA KATHERINE Ezra JULIETTE EZRA KATHERINE EZRA Sophie winces in pain again, but covers.
SOPHIE She exits.
INT. KITCHEN – DAY
Sophie opens a cupboard, gets a glass,
then runs cold water in the sink. She’s breathing hard, trying to brave
the pain, but another intense wave of it hits.
She clutches her abdomen and drops to her
knees in agony.
INT. LODGE – DAY
Shelby enters the lodge, puts on her best
smile. The rest are on a break from rehearsal.
KATHERINE DAISY EZRA DAISY Ezra beams at Daisy to the point where
she has to look self-consciously away. Scott approaches Shelby.
SCOTT Shelby pauses, her mind racing . . .
SCOTT (cont’d) SHELBY SCOTT SHELBY Shelby gazes at Scott, her forced smile
turning warm.
SCOTT EZRA She smiles and shrugs, and goes toward
the group.
INT. DINING HALL – CONTINUOUS
Daisy enters the dining hall as rehearsal
continues in the background. She draws herself a cup of water at the side
table and is about to return when a sound in the kitchen draws her
attention. She scans the dark kitchen through the food pass-through.
She gasps.
INT. KITCHEN – DAY
Daisy rushes to Sophie, sitting on the
floor, clutching her abdomen.
DAISY SOPHIE DAISY SOPHIE DAISY Sophie looks up at Daisy, searching her
eyes.
SOPHIE DAISY SOPHIE DAISY SOPHIE DAISY INT. LODGE – NIGHT
The rehearsal continues in a circle
around the fire. Auggie struggles bravely with the written word, but is
doing quite well. Scott paces as he reads.
AUGGIE SCOTT AUGGIE MATCH CUT TO:
INT. PETER’S OFFICE – NIGHT
Peter sits. Marc paces. He
has trouble making eye contact, more often than not inspecting knick knacks as
he talks . . .
MARC PETER MARC PETER MARC PETER MARC It stings, but Peter takes it.
There’s a tense pause.
PETER MARC PETER MARC PETER Marc rises again and paces, fighting the
anger welling up inside.
MARC PETER MARC PETER
I’ll take care of them.
MARC Peter stands, facing Marc, and grins
sardonically . . .
PETER MARC PETER EXT. GAZEBO – NIGHT
It’s raining outside. Shelby and
Daisy sit under the protective roof of the gazebo.
DAISY SHELBY DAISY SHELBY DAISY SHELBY DAISY SHELBY DAISY INT. LODGE – NIGHT
Rehearsal continues.
EZRA KATHERINE EZRA DAISY KATHERINE Shelby sits beside Scott. He’s busy
finding the right page in his script, not even looking at her.
EZRA Daisy and Shelby take their places.
Daisy takes a breath, then begins –
DAISY SHELBY DAISY Daisy’s voice breaks. She pauses.
EZRA DAISY Daisy stares sadly at Shelby. But
Shelby is staring off at Scott, reading his script, unaware.
END OF ACT ONE
ACT TWO
INT CLINIC – EMERGENCY ROOM – EARLY
MORNING
DR. STEPHANIE BURKE is performing an
ULTRASOUND on Sophie’s abdomen.
The tell-tale black and white conical
image of Sophie’s insides are on a monitor.
STEPHANIE SOPHIE STEPHANIE SOPHIE STEPHANIE SOPHIE STEPHANIE Stephanie towels off the lubricant from
Sophie’s abdomen. Sophie rises painfully.
SOPHIE STEPHANIE SOPHIE STEPHANIE SOPHIE STEPHANIE SOPHIE STEPHANIE SOPHIE STEPHANIE SOPHIE INT. GIRLS’ DORM – DAY
Shelby is just sealing an envelope.
She writes “Daisy” upon it, then carefully plants it under Daisy’s pillow.
Shelby pulls a duffel bag from under her
bed, then starts carefully taking clothes from her nook. But after a
beat, she pulls her things out randomly, throwing them on her bed
violently. She crumples on the floor in anger and tears.
INT. LODGE – DAY
Auggie and Scott fighting, trading
punches and kicks and getting lines in where they can.
AUGGIE SCOTT AUGGIE Auggie throws Scott to the floor, gets on
top and pins him.
SCOTT Throughout this, Scott gets a hand free
and pulls a SHORT KNIFE from his HIKING BOOT.
SCOTT (cont’d) Scott is about to strike with the knife,
but Auggie sees it in time and gets a hand on Scott’s wrist.
AUGGIE They grapple some more to the point where
the knife disappears between them. It looks as if Auggie has the upper
hand, but then he groans, grimaces, and goes slack in Scott’s arms.
SCOTT Scott gets out from under Auggie, turns
him. The knife is planted in his chest (one of Auggie’s hands keeps it in
place). Scott’s entirely convincing, looks to be in real pain.
SCOTT (cont’d) He rises, backs away from Auggie, a look
of despair on his face. He runs to the door of the lodge.
SCOTT (cont’d) Scott almost smashes into Shelby who is
entering. He has to grab hold of her to avoid knocking her down.
SCOTT (cont’d) It’s an awkward moment for her, but Scott
is grinning and invigorated.
Auggie’s delighted, getting to his feet
and wagging the rubber knife.
AUGGIE EZRA KATHERINE EZRA KATHERINE And Ezra looks genuinely embarrassed –
EZRA KATHERINE AUGGIE JULIETTE Everyone looks aghast at the
thought. Ezra grins.
EZRA KATHERINE EZRA INT. PETER’S OFFICE – DAY
Peter and Marc’s argument has abated
somewhat, but is still full of bitterness.
MARC PETER MARC PETR MARC PETER MARC PETER MARC PETER MARC PETER MARC PETER MARC PETER MARC PETER MARC PETER MARC Marc turns his back. Peter stays
silent, his eyes fixed on Marc’s back. Finally, Marc turns to Peter.
MARC (cont’d) INT. DINING HALL – DAY
SHELBY intercepts SCOTT on his way into
the dining hall.
SHELBY SCOTT SHELBY SCOTT SHELBY SCOTT SHELBY SCOTT SHELBY SCOTT SHELBY SCOTT SHELBY And he’s off. Daisy sidles up to
Shelby
DAISY SHELBY SHELBY’S POV: watching SCOTT from
the doorway as he gets his food tray and moves to a table near the
window. He looks beautiful in the light . . .
INT. ADMINISTRATION BUIILDING HALLWAY –
DAY
Sophie walks down the hallway toward
Peter’s office, pausing suddenly outside his office window. She backs up
a quiet step . . .
SOPHIE’S POV: Peter is at his desk,
talking on the phone. The sunlight through the exterior window lights his
face beautifully. He hangs up and rests his head on his hand in
contemplation . . .
RESUME SOPHIE. She smiles softly
and sadly. She knocks on Peter’s door, then opens it.
INT. PETER’S OFFICE – CONTINUOUS
As Sophie walks in.
SOPHIE Peter SOPHIE PETER SOPHIE PETER SOPHIE PETER SOPHIE PETER SOPHIE PETER SOPHIE Peter just looks at her.
PETER There’s a knock on the glass
window. Both Peter and Sophie look up to SEE –
ALICE, Shelby’s mother, looking back at
them. She’s 37, and despite the ravages of her life, still quite
attractive. She presents herself as a wide-eyed innocent, although she
knows the score and much more.
Sophie and Peter smile at her. As
Peter moves to the door unseen by Alice –
PETER (cont’d) SOPHIE END OF ACT TWO
ACT THREE
INT. LODGE – DAY
Scott and Shelby are sleeping in each
other’s arms on a sheet laid out on the floor. They are angelic.
Then - - Ezra’s voice, wailing way,
making distant SIREN NOISES.
EZRA (O.S.) Scott wakes up and carefully disentangles
himself so as not to wake Shelby. As he’s about to get up –
SHELBY SCOTT SHELBY SCOTT SHELBY Shelby pulls him close, her words and
eyes filled with too much real desperation. Scott’s thrown for a moment .
. .
SCOTT SHELBY Ezra’s siren comes in louder.
EZRA (O.S.) SCOTT A pregnant pause. Shelby is
enthralled, captivated by Scott’s presence. The line between acting and
reality gets fuzzy.
SHELBY Daisy is “on book”.
DAISY SHELBY Sophie enters, spots Shelby and catches
her eye. Shelby sees, and fear crosses her features.
SHELBY (cont’d) SCOTT SHELBY SCOTT They move closer together.
SHELBY About to kiss.
EZRA Juliette is enthralled and heated up from
the scene. She clears her throat and brushes aside a stand of hair as if
to cool her brow. Auggie gives her a sidelong glance.
Shelby rises stoically, covering her
embarrassment. Scott tries to come down from the moment, but it’s been
too real.
Daisy is standing still, her eyes filled
with emotion and threatening tears.
KATHERINE Shelby panics. She casts a quick
look to Daisy who turns her eyes to Scott.
Suddenly, Shelby goes to Scott and hugs
him with everything that’s in her heart. Her lifeline. Sophie looks
away, letting them have their moment.
Shelby lets Scott go quickly. It
was a fleeting moment, unseen by the others. She turns her eyes away from
him in her own embarrassment. Scott is surprised, but warm.
SCOTT SHELBY Scott is left confused as Shelby follows
Sophie toward the exit.
SCOTT SHELBY As Shelby passes Daisy, she touches her
hand briefly. Daisy looks genuinely saddened.
EXT. ADMINISTRAITON BUILDING – DAY
There’s an old DODGE STATION WAGON parked
out front. Alice speaks to Peter beside the car.
PETER ALICE PETER ALICE PETER ALICE Shelby arrives sullenly with Sophie and
tosses her duffel bag in the trunk. Shelby is stoic. Sophie and Peter
stand at a loss for words. Alice tries to smile for her daughter.
SHELBY ALICE Shelby closes the trunk.
SHELBY After a beat, Alice gets the message.
ALICE Shelby steps to Sophie and Peter as Alice
gets in the driver’s seat.
SHELBY PETER SHELBY Sophie begins the embrace and Peter joins
in, the both of them holding Shelby.
SHELBY (cont’d) Shelby lets them go and without looking
back, and opens the car door. Sophie does her best to keep it together.
PETER Now, Shelby turns.
PETER (cont’d) Shelby looks at Peter for a beat, gaining
strength from him. Then she gets in the car and Alice drives off.
INT. LODGE – DAY
The Cliffhangers are hanging around
waiting.
EZRA SCOTT He rises and heads for the door.
Daisy looks alarmed, and also rises behind him . . .
EXT. HORIZON GROUNDS – DAY
Scott is in the middle of the playing
field, scanning the area. But there’s no Shelby.
He goes toward the dorm.
INT. GIRLS’ DORM – DAY
SCOTT Scott enters the empty, painfully quiet
room.
Shelby’s nook is bare. Sheets and
blankets are rolled up on her bed.
Scott is dumbfounded. Standing
there, staring, trying to understand what he’s seeing . . .
DAISY (O.S.) Scott turns, revealing tears in his eyes.
DAISY (cont’d) Scott remains frozen as his emotions rise
up to the surface and explode out. He kicks a shelf, overturning
it. Daisy stars, but struggles to hold her ground.
SCOTT DAISY SCOTT Scott sits on the edge of the mattress
for a beat, then rises. A churning mess. He looks at Daisy
desperately:
SCOTT (cont’d) DAISY SCOTT DAISY SCOTT Scott sits back down on the bed, antsily
smoothes the fabric, then grabs the bare pillow and holds it to him, breathing
in deep. He slowly rolls to a laying position with the pillow, clutching
it and breathing it in . . .
Daisy sits on the edge of the bed, and
very carefully, very slowly reaches out and ever so gently puts her hand on
Scott’s arm . . .
INT. RUSTY O’BRIEN’S - NIGHT
Peter enters (wearing a LEATHER JACKET),
sees Marc nursing a beer by himself at a table. Peter sits down with him.
MARC PETER MARC PETER MARC PETER MARK PETER INT. WORKSHOP – NIGHT
Daisy is waiting, playing her flashlight
beam on the wall and ceiling. Ezra enters. He’s holding a book.
DAISY EZRA DAISY EZRA Ezra hands her the book. Daisy
looks at the cover.
DAISY’S POV: THE TITLE.
ROMEO AND JULIETTE
RESUME DAISY AND EZRA
EZRA (cont’d) She opens the book, shines her flashlight
on the words, pauses a beat to look back at Ezra. Then -
DAISY EZRA DAISY EZRA DAISY EZRA DAISY EZRA DAISY Ezra stays silent, looking at Daisy . . .
DAISY (cont’d) EZRA DAISY EZRA DAISY EZRA A beat of silence. Daisy is
uncharacteristically at a loss for words.
EZRA (cont’d) DAISY He moves to kiss her, but she holds up
both hands to stop him.
DAISY (cont’d) EZRA DAISY Ezra backs off, deeply hurt.
DAISY (cont’d) He can’t look at her. A beat, then
she gets up.
DAISY (cont’d) He still won’t look at her.
EXT. GAZEBO – NIGHT
Sophie is sitting alone I the gazebo as
Daisy ambles toward her from the warmly lit art shed . . .
DAISY SOPHIE DAISY SOPHIE Daisy sits After a moment of
silence:
DAISY
What’d the doctor say?
SOPHIE
Outpatient surgery at sunrise.
DAISY SOPHIE DAISY SOPHIE DAISY SOPHIE DAISY Sophie smiles.
SOPHIE DAISY Sophie looks at Daisy directly and smiles
softly.
SOPHIE Daisy is struck by the weight of the
moment. She swallows and glances away.
DAISY SOPHIE DAISY SOPHIE DAISY SOPHIE DAISY SOPHIE END OF ACT THREE
ACT FOUR
INT. RUSY O’BRIEN’S – NIGHT
PETER and MARC shoot pool in the deserted
place. ANNIE ambles over.
ANNIE PETER ANNIE MARC Annie goes.
MARC (cont’d) PETER Marc fetches his beer from the bar and
sets it nearby.
MARC PETER A beat, then –
MARC PETER MARC Peter makes a great shot, sinking two
balls - - much to his surprise. Marc snorts with a laugh.
MARC (cont’d) PETER As Peter sets up his next shot, he pauses
and looks at Marc.
PETER (cont’d) MARC PETER MARC PETER MARC PETER MARC PETER MARC PETER A beat of silence as Marc takes this all
in.
MARC PETER MARC PETER MARC PETER Marc’s body crumbles a bit. The
tension beginning to leave him.
MARC PETER MARC PETER Marc nods thoughtfully to himself and
ambles to a bar stool. Peter watches him.
PETER (cont’d) MARC PETER Marc loses it an instant, eyes tearing
and choking back his emotion. Peter goes to him and hugs him. Peter
gets affected as well.
MARC PETER Peter stands back and the two brothers
force smiles.
PETER (cont’d) Marc is taken aback. It all sounds
too reasonable.
MARC PETER Marc looks for a moment like the other
shoe’s about to drop.
PETER (cont’d) MARC Peter laughs and takes a dope-slap swipe
at Marc.
MARC (cont’d) PETER MARC PETER FADE TO BLACK:
FADE BACK IN.
EXT. PETER’S HOUSE – DAWN
To Establish. The sun is just
coming up.
INT. PETER’S LIVING ROOM – SAME TIME
Peter is still up and dressed, sitting
silently in the darkened room.
He HEARS a car horn. He gets up,
looks through the window.
PETER’S POV
A CAB is idling outside. Sophie
emerges from her trailer carrying an overnight bag.
RESUME PETER
Running out the front door.
EXT. PETER’S HOUSE – DAWN
Peter moving fast, just as Sophie is
about to get in the cab.
PETER She’s startled, caught.
PETER (cont’d) SOPHIE It’s all very awkward.
PETER SOPHIE PETER SOPHIE PETER SOPHIE Peter smiles, turns to go.
SOPHIE (cont’d) Peter turns back.
SOPHIE (cont’d) PETER SOPHIE PETER SOPHIE PETER SOPHIE PETER SOPHIE PETER Sophie gets it, nodding and trying her
best to smile.
SOPHIE PETER Sophie looks at him a beat, then takes
him in her arms.
SOPHIE She breaks the embrace. Peter looks
dumbfounded and at a loss for words. Sophie smiles.
SOPHIE (cont’d) She touches his face, smiles to cover the
tears of relief that threaten, then gets in the cab, leaving Peter standing there,
watching her go.
INT. LODGE – DAY
Life goes on, albeit permeated with a
sadness. Scott, Daisy, Auggie, Juliette, Ezra and Katherine sit about the
lodge going about their studies, or chatting quietly. Peter sits alone near
the fire, lost in thought.
Daisy opens the envelope that Shelby had
left under he pillow, and reads it to herself. (Producer’s Note:
shoot to provide Daisy’s POV shots of all assembled if needed):
SHELBY (V.O.) DISSOLVE TO:
EXT. SHELBY’S HOUSE – DAY
It’s a 50’s suburban rancher in sad need
of paint. The yard is overgrown with weeds.
SHELBY (V.O.) Alice’s station wagon pulls into the
driveway. Mother and daughter emerge.
ALICE CLOSE ON SHELBY: Braving the storm.
INT. CLINIC – DAY
Sophie is on an operating table.
The ANESTHESIOLOGIST puts a mask over her
mouth and nose. Stephanie is there, holding Sophie’s hand.
SHELBY (V.O.) STEPHANIE SOPHIE EXT. SHELBY’S HOUSE – DAY
With SHELBY’S V.O., Alice and Shelby pull
coats, a cooler and assorted stuff from the back seat of the car.
SHELBY (V.O.) Alice pops the trunk, and Shelby unloads
her duffel bag.
SHELBY (.V.O.) (cont’d) Shelby walks up the stairs and, finally,
into the house.
SHELBY (V.O.) (cont’d) INT. LODGE – DAY
Daisy folds the letter and gazes about at
the assorted Cliffhangers . . .
Peter, looking hurt, rises suddenly and
exits without a word, Daisy following him with her eyes, then turning her eyes
back to the fire.
EXT. ADMINISTRATION BUILDING – DAY
As Peter walks toward the building,
(wearing the same leather jacket he had on at Rusty’s), he feels something in
his pocket and pulls it out.
CLOSE ON PETER’S PALM
TWO SAPPHIRE CUFFLINKS glint in the
sunlight.
PETER’S FACE
Clenching back a wave of emotion.
He grips the cufflinks tightly in his
hand and lets his arm fall to his side . . .
MATCH CUT TO:
EXT. PART – DAY
ALL EXTREME CLOSE-UPS:
. . A FATHER’S HAND falls to his
side, the wrist dressed in a FRENCH CUFF and the SAPPHIRE CUFFLINKS.
A YOUNG BOY’S HAND reaches into frame and
is clasped in the Father’s, as the two walk away hand in hand . . .
FADE OUT THE END
Okay, cut! Somebody get the
lights!
Alright, shut up . . .
Isn’t acting wonderful?
Really.
This is the theatre, Sophie. “Cut” is
what you say in movies. And anyway, as director, I’m the one who stops
rehearsals. It’s my play . . .
Your play? Right.
Let’s save the kiss for opening night.
Pending further discussion.
You okay?
Yeah, fine.
So what’d you think of the scene?
Great, except it’s a complete rip-off.
Everybody reads this play in ninth grade
What’re you talking about?
“Romeo and Juliette.”
I thought it was like West Side Story.
Same thing.
It’s “Bobby Joe and Gillian” and there’s no
comparison.
It’s a lodge with a balcony.
(adamantly)
I write what I know.
(laughs derisively)
With a little help from Shakespeare
Shelby? Can we talk a minute?
. . . Sure.
I’ve spent all day talking with your mother,
trying to find an alternative to keep you here, but I haven’t got one.
Not yet.
(quietly enraged)
Fine. Whatever.
If it were just about tuition, Shel, I might
have a solution. What it comes down to is your stepfather’s bedridden,
your mother’s waiting tables and your kid sister’s in school.
(stony beat)
Your mother wants you home to help take care
of things.
Take care of things. Like emptying
bedpans for the man that abused me.
(sickened; fighting tears)
Cooking for the man that abused me.
Cleaning for - -
Shelby. You’ve done so well
here. You know that. You’ve learned. You’ve faced a lot of
demons, and you’ve been brave. You won. You can face this.
Just tell me when I’m going.
(defeated)
Your mother’s picking you up tomorrow.
Tomorrow? I don’t even get a week’s
notice.
Well, gotta go. My family needs me.
Shelby? Look, my ultimate
responsibility is to you. Not your mother or your father or your
sister. I’ll even petition the courts to get you adjudicated here if
that’s what it takes –
No court’s gonna send me here. “Far as
they’re concerned . . . I’m cured.
Then what about Child Protective Services?
Forget it.
You had your chance to tell them the entire
truth. You had your chance, and you denied it ever happened. Why
Shelby? Why are you protecting him?
I’m not protecting him!
Then I don’t get it. They could have
you removed from home.
You don’t get it?? After you sat here
and watched them take Scott apart? Humiliate him? And after all of
it tell him … “tough luck?” You don’t get it. I’d rather empty
bedpans.
Do me one favor. At least let me say
my goodbyes how I want. And to who I want.
(nods)
Nobody gets your bed, Shelby. We’ll
figure something out - -
(flaring)
Stop trying to give me hope!
(defeated; weak)
I don’t have any more room for it.
Hey, Peter . . .
(shocked)
Marc . . .
You and Dad have this thing about
unannounced visits.
(laughs uncomfortably)
Must be in the genes.
You alright?
Yeah, yeah. Just . . . can’t a brother
drop by without . . . being alright?
Sure. You can crash at my house, I’ll
make up the sofa.
It’s okay. I got a room at the Best
Western.
What is this, Marc? I haven’t seen you
for almost seven years, except at Dad’s funeral. And we barely spoke.
I had some . . . business on the West
Coast. You were near, I came by.
What?
No, it’s just . . . that’s what Dad said
last time he came.
(a strained laugh)
Well . . . ‘Least I’ not gonna die on you.
The rest of the play has everything.
Action, adventure, romance, sex. And everybody gets a part.
What sex?
It’s implied sex. Very tasteful.
Let’s read through it. I want to see
how implied is implied.
Who do I play?
Gillian’s brother, Trank.
Trank? That’s a name?
You have Bobby Joe. You get in a fight
with him to save Gillian’s honor and get killed in Act One.
So he’s . . . Tybalt.
Who’s that?
(frustrated)
Juliette’s brother.
(To Juliette)
You have a brother named Tybalt?
Not me, Juliette. Romeo’s Juliette.
(beat)
Whatever.
(to Katherine)
Katherine, you play Gillian’s mother.
You have an estranged relationship with your daughter.
(flatly)
I know.
You want Gillian to be with this cute guy
from the country club.
“Paris,” I know.
(nonchalantly)
You guys go ahead and start reading.
I’ll be back.
(to Shelby)
Where’ve you been? Ezra had to read
your part.
(smiling at him)
He was oddly detached but effective playing
your role. Reminiscent of Jeremy Irons in M. Butterfly.
You think so?
(sensually)
Mmm hmm.
What’d Peter want?
What - -
Nothing important. Just some
encouraging words, telling me how much progress I’ve made.
Oh, yeah . . . the speech.
(forcing a smile)
Yeah.
What?
Okay, people, we’re back. Let’s read
Act Two, Scene Five, where Trank tells Bobby Joe to back off his sister . . .
Sophie! What’s wrong??
Nothing. I’m fine.
(yelling toward lodge)
Hey - - !
Shhh! No. I’m fine - -
You’re not. What’s wrong??
I have endometriosis. You know what
that is - - ?
I’m a woman. I know everything that
can go wrong with us. How bad is it?
Well . . . worse than I thought apparently.
I’m seeing the doctor in the morning.
So that’s it. That’s why you can’t
have children? Right?
Yes. Daisy? Can we keep this
between us. For now?
(beat; sincere)
Forever. If you wish.
(as Trank)
You want to live a long life, you stay clear
of my family.
(as Bobby Joe)
I got no war with you, man.
Well, I got one with you. You touch my
sister again, you’ll pay. You’re way outta your league.
So . . . fill me in. You got some
operation here, a lot’s happened since we last hung out.
Yeah, a lot. I don’t know where to
start, I mean - -
(humorous . . . or snide?)
Last time you visited me, it was to ask for
money. Boy, never forget it. ‘Looked like death warmed over.
I was addicted to drugs. I’d lost
everything, including my pride.
(attempting a chuckle)
You can say that again.
You were right to turn me away.
(with an edge)
I know.
Anyway . . . I wound up in a gutter in
Seattle. With a little luck and a couple of good friends, everything was
up from there.
And here you are.
Here I am.
(darkening)
By the way. Congratulations on your
inheritance.
(wary . . . )
Thanks.
(anger rising)
I mean, talk about funny. Dad left me
a pair of sapphire cufflinks, a set of golf clubs and a bank draft for a
hundred fifty grand.
(beat)
You . . . got the company worth twelve
million, seven hundred and fifty thousand.
(placating)
I intend to sell the company and begin a
scholarship fund here at Horizon.
Nice. Sell the company and put
thirty-two employees on the street. Think that’s what Dad had in mind?
(blowing)
Severance payments aren’t good enough,
Peter! I happen to be one of those “employees!” Remember?
(beat)
I’m contesting the will, Peter. It’s
bogus, you know it, and I want what’s rightfully mine.
I see. Why’d you come three thousand
miles when a call from your lawyer could’ve done the job?
Because I didn’t think a phone call would
quite convey just how ticked off I am.
(seething)
I’m ticked off too, Marc. I have a
very damaged girl her with all the potential in the world, and I just had to
tell her she has to leave. And there’s hundreds of damaged kids in the
world that could be here if they had the money. But they don’t and
neither do I. I’m ticked off, too, Marc.
Why?
Because I need to be there to . . . “care”
for him.
What ill-favored karma a good soul must
weather.
After the heart attack, he’s out of
work. There’s no more money.
So . . . You’re not coming back. Ever.
No. And I’ve got one day to say
goodbye to Scott forever.
(showing her own hurt)
Saying goodbye hurts. Especially if
someone really cares.
I keep rehearsing it in my head. But
there’s too much to say.
Not so much. Don’t rehearse. Ask
for the words and they’ll be there.
Alright, picking up with Act Two, Scene
Five, where Tamara tells Gillian that Bobby Joe stabbed Trank.
You mean where the Nurse tells Juliette that
Romeo stabbed Tybalt.
Listen Kat, I worked very hard writing this
play, and let me tell you something. Calling upon the Muse . . . it isn’t
easy, believe me.
The torment of an artist.
How about the guilt of a plagiarist.
Okay, Daisy, Shelby.
(as Tamara, to Shelby)
He’s nothing to you, Gillian!
Nothing! He murdered your brother, betrayed you.
(as Gillian)
I won’t stop loving him. I can’t.
If they find him, they’ll kill him.
He’s probably gone already. And he won’t come back.
(prompting)
Daize . . .
Won’t come back . . .
I can’t pick up the fine details with this,
but the endometriosis has caused a lot of scarring on both Fallopian tubes.
Not news to me.
My concern is that the lining cells of the
uterus may have backed up on to the abdomen wall, causing bleeding there.
That would explain the severe pain.
That’s news to me. It’s never been
this bad.
We’ll need to do a laparoscopy to confirm.
What’s that?
Non-invasive surgery. We put a
fiber-optic camera through the navel …
(demonstrating with thumb and finger)
It’s this small.
(continuing)
. . . to see what’s happening. If
necessary, we follow with instruments to remove the deposits. It’s an
out-patient thing, but you would be under general anesthetic.
(tough)
When can we do it?
Tomorrow morning, first thing.
Good. I can’t go through this every
month.
I’ll prescribe medication for the pain and
schedule you in at seven.
Okay.
Sophie?
Uh huh?
This procedure isn’t going to undo the
damage that’s already been done.
(stolid)
No babies. I’ve known that a long
time.
(half to herself)
I guess it’s time I tell him.
Somebody you have to tell?
(Snapping out of it)
Oh, ah, yeah. No problem.
(as Trank)
I told you not to go near her!
(as Bobby Joe)
I don’t want to hurt you, man!
That’s okay, ‘cause I wanna hurt you . . .
Whadd’a you got against me, Trank?
It’s you father, it’s my father . . .
It’s got nothin’ to do with you and me
anymore.
I warned you . . .
Drop it! Drop it!
No!
It’s not supposed to go down like this, man
. . . not like this!
(touches Auggie’s chest)
This is Gillian’s blood . . . my blood!
(near tears)
You’re my brother, Trank.
(screaming)
Gillian!
Gillian . . .
(swaggering)
Am I the cream, or what?
Alright, alright . . . we still have a lot
of work to do on that, but you’re beginning to bring my words to life.
Your words, yes. Your plot, no.
(turns on her fast)
Look, Katherine, if you really want to know
the truth . . .
Yes. I do.
I never read it, okay?
(a beat)
I mean, “Romeo and Juliette”.
Never read it in school. I was, sorta,
absent that month. Little rehab problem.
You’re serious?
Hey. You know, if Ez never read the
play, then . . . think about it. He’s like . . .
A genius. I mean, he wrote the world’s
greatest love story.
Thank you. So can we just drop the
plagiarism thing?
(disgusted)
You know what they say about a thousand
monkeys with typewriters. Sooner or later, they’ll write Hamlet.
It only took this monkey a week.
(to all)
We’re back in ten.
I built that company as much as he did and
it rightfully belongs to me. I got the MBA, worked twelve-hour
days. He took the big meetings while I made “sales calls.” He made
me vice president, and treated me like a lackey.
And you took it.
You didn’t have to!
I chose not to!
That’s right. Sat on your butt
and got drunk and watched the world come right to you. Women, money . . .
You really want to go there, Marc?
You really want to know what I did the last
two years?
(dreading this)
. . . What?
First, there were the fibrillations, then
two minor heart attacks.
(a beat)
We tried angioplasty, but that didn’t
prevent the major coronary followed by congestive heart failure. We
managed to drain the fluid, but by then, he was way too far down the list for a
transplant.
(buried rage)
So he came here instead.
(catching Peter’s eye)
After all I did . . . he wanted to die in
your arms.
I’m sorry, Marc. I didn’t know.
And now he leaves the whole company to
you. Well I deserve better. I want what’s mine.
And what is that?
The company!
Is it, Marc? Is that what you really
want?
Look, save the head games for your
delinquents.
Why do you suppose he left it all to me?
I wouldn’t know.
Why, Marc?
Go to hell, Peter.
Why - -
(snapping)
I don’t know! Why do you think?
(wryly)
Daddy loved you best?
(shrugs with bitter embarrassment)
As I care anyway.
Hi.
Hey. Auggie and I really went at each
other. You missed it.
Psychodrama with testosterone?
What’s that supposed to mean?
I don’t know. Stupid joke. Sorry.
(a bit miffed)
We were actually pretty good.
(yearning)
I bet your were.
(short beat)
Scott . . . ?
I’ll be right back. I’m gonna grab
some food before they stop serving. Acting makes me hungry. Come
on.
Naw, I’m not hungry.
Hey. What’s going on?
Nothing.
(examines her closely)
I might of screwed up in the best friend
department, Shelby. But it wasn’t because I can’t see. Tell me.
(beat; not mean or angry)
No.
Not the right moment?
There’s not going to be a right moment.
Who was that just left here . . . he didn’t
look too happy.
My big brother, Marc.
That was him, huh?
Bringing the ghost f our father in tow.
Been one of those days?
You have no idea.
(quietly)
Oh, yes I do.
(noting her trouble)
You too? What is it?
It’s nothing. It can wait.
If it’s nothing, tell me.
(suddenly upset)
Don’t push me, okay?
Sorry . . .
You do that a lot, you know?
I’m sorry. I’m just scattered I
can’t help Shelby. And I can’t help my brother.
(covertly, to Sophie)
Better go find Shelby.
Some days I hate this job.
Whrrrrreee, whrrrrrreeee ….
(as Gillian)
Where’re you going?
(as Bobby Joe)
Sirens. They’re close.
You’re hearing things. It’s just the
wind.
I gotta go.
Don’t. Not yet.
I’ll come back soon, I promise.
Then why do I have this awful feeling I’ll
never see you again?
Whrrrrrreeee!
It’s not the wind, Gillian. I get
caught here, you won’t see me again.
. . . Line?
Our love
Our love . . . it’ll protect us.
They can’t see us. We’re safe.
We are?
Do you know how much I think about you all
the time?
Yeah. Me too. Every minute of
every day.
I love you, Bobby Joe . . .
(just in time)
And let’s stop there, pending further
discussion.
(to Ezra; flatly sincere)
Nice.
Shelby’s eyes again meet Sophie’s. The
message is clear: “She’s here.”
I wasn’t that good.
Wasn’t for the play.
Where are you going?
(not looking at him)
I’ll be back.
I’m certain I can find scholarship money for
her, Mrs. Blaine.
(sincere)
I need her. Earl’s sick and little
Jess is in school. I’m waiting tables - -
Week, two weeks, I can make it happen.
No, you just don’t - -
I think it’s important for her to be here -
-
No . . . it’s important for her to be with
us.
(beat; tearful)
It’s important to me. . . .she’s my
daughter. And I miss her.
(without emotion)
Hi, mom.
Don’t look so sour, honey. You’re
coming home.
I’m just going to say goodbye to Peter and
Sophie.
I’ll wait in the car.
I’m not angry. That’s something, isn’t
it?
You know it is.
Daisy did my Tarot cards and told me there
was a big change coming. And that maybe it wouldn’t be a bad thing.
You guys are so . . . incredibly warm.
Shelby . . .
You’ve got plenty of room for hope.
Don’t give up on us.
She’s always late.
I’ll go find her.
(knocking)
Shelby? Come on. Shel?
(gently)
Scott . . .
She’s gone.
She can go to hell! Didn’t even say
goodbye!
Yes, she did. In her way.
That’s not good enough! Not good
enough!
Why?
Why what - -
Why didn’t she give me a chance??
She gave you a lot of chances - -
Shut up!
You found me.
Not a lot of places to look.
I’m leaving tomorrow morning. I was
going to call.
And tell me that your lawyer would be in
touch?
(smiles slightly)
Something like that.
How about we shoot a little stick, huh?
(snorts)
You never beat me at pool in your life.
I’m feeling lucky. Come on.
Hi.
Sorry I’m late. Scott was tossing and
turning.
You wanted to talk?
Yes.
Open it anywhere. Throw me a Romeo
cue. Any cue.
“But Juliette, why are thou yet so fair?”
“Shall I believe that unsubstantial Death is
amorous? It keeps thee here in dark to be his paramour?”
(a beat)
The mausoleum scene. Want to try me
again?
(cool)
I get the point.
I’ve read it thirty times.
Why the ruse?
I don’t know. Maybe I wanted to create
an aura of mystery . . . that it was this incredible accident.
(not giving an inch)
And that you were so brilliant? Why
not just admit you were paying homage?
Maybe I wanted it to be more special than
that.
To impress who?
(after a beat)
Oh.
I thought maybe the play would . . .
“. . . be the thing, to catch the conscience
of the king?”
(smiles)
But in this case . . . just you. I
didn’t know how else to say what I wanted to say.
I’m flattered.
(deflated)
That’s it . . . ?
Our relationship, it’s very . . .
(taps his head)
Platonic.
You want more?
I don’t have boyfriends, Ezra. I never
have. Maybe one day . . .
Here’s a flash: I’ll be your first.
No. You won’t. It’s not what I
feel.
You have no idea how much I truly like
you. How much you mean to me.
I’m sorry.
(pausing at the door)
I think your play is beautiful.
Room for one more?
Depends. How’re you feeling?
Like a girl without a best friend and no
hope of true love.
Just what I’m looking for. Slide on
in, sister.
Scared?
Petrified.
Doctors. They pretty much know what
they’re doing, I mean - -
It’s not that. It’s Peter.
Why?
Because I think he wants me in his future.
Finally figured that out, huh? Over a
hundred students here could’ve tipped you to that.
He won’t admit it, but he’s the one with
dreams of picket fences and porch swings and kids he can bring up right - -
Just a quick reality check, here. You
realize you’re baring your soul to a troubled teen.
Yes.
Just checking . . .
Soon as he hears about scarring on my
Fallopian tubes, he’s going to run the other way.
Hey, nobody knows like Peter what a pain
kids can be. He’ll probably be happy. Anyway, when there’s only one
person in the world for you, you take them as is.
Thanks.
Easy.
This is weird, huh?
Yeah. Let’s go back to counselor and
profoundly dysfunctional adolescent.
Deal.
You guys all set?
Sure you don’t mind staying open?
(tosses Peter keys)
Lock up when you’re done and slip the keys
through the slot.
(smiles warmly)
Good to finally meet you, Marc.
You too.
This town’s one big, happy family for you,
huh?
It’s getting there.
(re: beer)
Sure you don’t mind me drinking?
It’s fine.
When I found out Dad left you the company, I
wasn’t all that surprised.
My turn for the albatross?
That’s not it.
(a beat)
When he was young, he must’ve had the
vision, the energy to start the thing. He probably looked at you and saw
himself as he once was. Thought maybe you’d take the company and breathe
new life into it.
(a beat)
He knew that I’d just keep it afloat and
that’d be the end of it.
Oh right. Like you meant to do that.
It’s possible.
Maybe . . . he knew you’d contest the will,
Marc.
What??
He must’ve known I wouldn’t want to run his
company.
What are you saying?
Don Scarbrow wasn’t mean-spirited.
Stubborn, yes. Even tyrannical at times. But he was a reasonable
man.
(a beat)
Maybe he forced the issue . . .
What issue?
Us!
(despairing)
Why?
Because you and I are the only family we’ve
got left, Marc, and we’ve always fought like cats and dogs.
(shrugs)
I just always thought that’s what brothers
did.
I have a sneaking suspicion it’s not.
(a beat)
We’re orphans now. As old as we are
and as much as we might’ve been prepared for him to die, that’s what we are.
(a beat)
Maybe, just maybe he wanted to force us to
work it out our way.
You think he was that . . . conniving?
Dad? Oh, yeah. To the end.
So he didn’t give you the company . . . just
to rub my nose in it?
And leave you with nothing? No.
If he’d done all the work for us, you probably wouldn’t ever even invited me
for Christmas.
(laughs)
Yeah . . .
Maybe he puts us in this crisis.
You think so?
Fits like a glove.
(nodding)
It makes a kind of sense.
(an emotional deal)
I’ll buy it if you will.
(smiles lovingly)
Why not.
Marc?
Yeah?
Dad loved you very much.
It’s all I wanted to know - -
He loved us both, Marc. He just had two
different ways of not showing it.
Tell you what, Marc. Company’s
yours. Buy me out for, say, three mil.
(short beat)
That’s enough for me to buy Horizon back
from Chloe and set up that scholarship fund.
Serious? That’s - -
Oh, and one more thing.
I get the cufflinks.
(smiles; not so quick)
I’ll think about it.
You know, s’not like we always fought.
I mean, not when were kids.
(gentle)
No. Not when we were kids.
Remember the cement? When we lied down
in the cement?
(nostalgic)
Yeah . . .
Sophie!
G’morning.
Hi.
It’s early. Why the cab?
I met this woman at Bob’s party last
week. She invited me to spend the day at her club. Lunch, hot tub,
massage.
I can provide all of the above . . .
(points to his house)
Right in there.
(charmed)
Yeah, I know.
(short beat)
Roger said he’d cover for me.
(sensing something)
Well . . . you deserve the break.
I’ll see you later?
Sure.
Peter?
We’re really doing good work here with these
kids. And we’re doing it together, right?
Uh huh.
It’s a real commitment. Every day . .
. they need us.
Where are we going with this, Soph?
I sometimes wonder, if we had kids of our
own, we wouldn’t have time for Horizon. You know?
(chuckles; eyes distant)
I remember once, Marc and I were about
twelve and seven, we laid down on fresh cement to leave our imprints. It
was a summer day, we watched the clouds and dozed off.
Smart.
Yup. Hour or two later, we woke up
stuck. When our mother finally found us, she said “I should leave you two
there forever. Serve you right.”
And . . . what’s the point?
(smiles warmly: beat)
My mother laughed about that moment for the
rest of her life.
“Kids.”
(agreeing)
Kids. ‘Can’t wait.
I love you, Peter.
Don’t worry. You don’t have to answer.
Dear Daisy.
Well, your cards are right, a big change is
coming my way. But I can’t see how this could be good for me. Doing
Romeo and Juliette – excuse me “Bobby Joe and Gillian” – somehow seems
appropriate. Two lovers who die because of other people’s problems.
My opinion is that from the day you’re born
people start taking pieces of you, and you’re lucky just to survive. And
people have taken a lot of pieces away from me. I don’t think I ever had
a chance.
Welcome home, baby.
Well, maybe that’s not all true. There
was Peter and Sophie. They tried to put me back together. I suppose
I owe ‘em for trying.
Alright, Sophie. Let’s count down from
one hundred.
A hundred, ninety-nine, ninety-eight . . .
And Scott, well . . . he just doesn’t get it
is all. No crime. Except that I loved him and it hurt way too
much. He’ll understand one day. I just wish I’d met him then . . .
As for the other dolts at Horizon, they’re
all a bunch of pains, and I’m glad to be rid of them. And you were the
biggest pain of ‘em all, Daisy. Thanks for that.
It’s weird, though, because I wish I was
taking every one of them with me. Because I feel like I’m leaving my
family behind, and I’m scared.