Little Men
Episode 8 : Bluffing
SCENE 1: EXT. PLUMFIELD - YARD (Morning)
Children are walking when NAN runs down off the porch towards NAT.
|
NAN |
Nat! You left this on the table. |
|
NAT |
Thanks. |
School bell rings.
|
NAN |
Race ya! |
|
NAT |
Hey. |
SCENE 2: INT. SCHOOLHOUSE
Franz is handing the children back their papers.
|
FRANZ |
Emil, your story was very vivid this time. "The cannon ball smashed the side of the ship, splintering the hull." |
|
DAN |
Another sea battle. What a surprise! |
|
FRANZ |
Perhaps this will be your last tale of the rough journey west. Tommy, I enjoyed these four sentences immensely but your story was over before it started. |
|
TOMMY |
I like to leave you wanting more. |
|
FRANZ |
I do. A full page by tomorrow. |
FRANZ hands back NAN's report.
|
NAN |
A "C"? Franz I checked my spelling twice. |
|
FRANZ |
Your spelling was all correct Nan. That wasn't the problem. I've tried to teach you proper grammar is important but these are creative writing assignments. If you wish to write a story about dissecting worms |
|
BESS |
You wrote a story on worms? |
|
NAN |
Dissecting worms. |
|
FRANZ |
You've given me a very scientific step by step account, but I want your story to show me how you feel about dissecting worms. |
NAN looks at him strangely.
|
FRANZ |
Listen, this story has a few spelling errors, there are some punctuation problems, but the author manages to create a mood. He uses words to paint a picture in your head "The jungle air was sweltering hot. Yet the boy stood frozen, chilled by the beast's raspy growl…" |
|
ISAAC |
That's you're story, Nat?! |
|
FRANZ |
"Slowly the boy turned. Two yellow eyes peered at him from the bush." Do you see how we're right there with the tiger? |
|
NAN |
So when you're reading my story you want to be right there dissecting worms? |
|
FRANZ |
Exactly! |
|
NAN |
Oh. |
SCENE 3: INT. PLUMFIELD - PARLOUR (Afternoon)
JO, LAURIE, AMY and BESS are talking in the parlor.
|
JO |
Cufflinks?! They're just beautiful. |
|
LAURIE |
Aren't they? |
|
AMY |
Bess chose them herself. She insisted on paying for them. Saved up weeks and weeks of her allowance. |
|
JO |
Then it really is a special birthday gift. |
|
LAURIE |
Yes, it is! |
|
BESS |
Oh Aunt Jo, Father is taking me to see a recital in Boston. Just the two of us. |
|
LAURIE |
Well I needed someplace to show off my cufflinks. |
|
BESS |
The Cheshire Quartet is giving a series of recitals, and they're playing Mozart, who happens to be our favorite. |
|
LAURIE |
We'll go one day this week. As long as you complete your assignments. |
|
BESS |
All right I'll get to it just before dinner. |
BESS leaves.
|
JO |
Well it seems you had a really nice birthday. |
|
LAURIE |
It was just marvelous, Jo. The ballet we attended. |
|
AMY |
Gisele, third row center. |
|
LAURIE |
The lead dancer, she performed with such… |
NICK enters.
|
NICK |
Good news. I took a look at that back fireplace you couldn't use. |
|
JO |
You didn't lower yourself down the chimney did you? |
|
NICK |
Didn't have to. All it needed was a new latch to hold the flute. |
|
JO |
Oh. Wonderful! |
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AMY |
You're so lucky, Jo. Always having someone so handy around. |
|
JO |
Amy, I do pay Nick to do the repairs around the school. That reminds me… |
JO walks over to the desk and gets money out of a drawer.
|
JO |
I believe it's that time. |
|
NICK |
Thanks. Excuse me folks for interrupting. |
|
LAURIE |
Oh, that's quite all right. |
|
JO |
So I'm sorry Laurie, you were saying about the ballet. |
|
LAURIE |
That's not important. |
|
JO |
Oh, well maybe after dinner. |
|
LAURIE |
Really Jo, it's not that important. Nick, why don't you join us. If that's all right? |
|
JO |
Of course. |
|
LAURIE |
Give me someone to talk to. Once you get these two sisters started I can barely get a word in. |
|
AMY |
Laurie! |
|
NICK |
I'd like to, but I'm afraid I got plans. |
|
JO |
Oh. Well maybe next time then. |
|
NICK |
Sure. |
NICK leaves.
|
AMY |
Plans? I guess we can't expect a man like that to sit around talking in the parlor with us all night. |
|
JO |
I suppose. |
SCENE 4: INT. PLUMFIELD - GIRL'S ROOM (Nighttime)
NAN is trying to write a story but is coming up with nothing. NAT is standing in the doorway trying to help.
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NAN |
I can do math just fine. You can give me any science experiment. Writing, I just go blank. |
|
NAT |
That's because you're letting your imagination get all blocked up. |
|
NAN |
Well how do I unblock it? |
|
NAT |
Well you know what I do? As soon as I think of an idea I write it down. Try not to worry if it's any good. |
|
NAN |
Your stories are always good. |
|
NAT |
Not true. I have a whole box of terrible stories under my bed. |
|
NAN |
What are you keeping them for? |
|
NAT |
One day I hope to rewrite them. You know make them better. |
NAN scribbles furiously on her paper.
|
NAT |
Well I better let you get back to your work. |
NAT leaves.
SCENE 5: INT. PLUMFIELD - BOY'S ROOM (Nighttime)
NAN goes into the Boy's room when no one is around.
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NAN |
Nat? Dan? |
She walks over to NAT's bed and pulls out his box of "terrible stories". She opens the lid and sifts through them looking for the perfect story.
SCENE 6: EXT. PLUMFIELD - FRONT YARD (Morning)
DAN is doing chores when JO comes out the door.
|
JO |
Well you're up early. |
|
DAN |
Yeah I had to start my chores. |
NICK enters on his horse.
|
NICK |
Morning. |
|
JO |
Morning. |
|
DAN |
You're just getting home now? |
|
NICK |
I must have just lost track of time. |
|
DAN |
Where you been? |
|
JO |
Dan! What Nick does when he's not working is his own business. |
|
DAN |
Sorry. |
|
NICK |
That's all right Dan. I better get to work. |
NICK exits.
SCENE 6: INT. PLUMFIELD - SCHOOLROOM (Morning)
|
FRANZ |
All right, settle down. I started reading you stories at recess and I must say there's one that made quite an impression. |
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DAN |
What'd you write about this time Nat? |
|
FRANZ |
Nat's written a fine story, but the author I'm speaking of is Nan. You've made quite a breakthrough. Your writing is now suddenly filled with colour and vitality. |
|
NAN |
It wasn't much. |
|
FRANZ |
Nonsense. It's a wonderful tale of… |
|
NAN |
Don't. I mean please don't read it out to the class Franz. It's private. |
|
FRANZ |
It really is very good. |
|
STUFFY |
You finally wrote something decent. |
|
NAN |
Please Franz. |
|
FRANZ |
I'll respect your wishes, of course. |
NAT turns around to NAN.
|
NAT |
I knew you could do it Nan. |
SCENE 7: EXT. CONCORD
LAURIE and JO are walking through town.
|
LAURIE |
Thanks again for dinner, Jo. Delicious as usual. |
|
JO |
Well I can't take credit for it, but I'll tell Asia you said so. |
|
LAURIE |
Thanks for your company. |
|
JO |
I wish Nick could have been there. I don't know how he's working today, after being up all night. |
|
LAURIE |
All night? |
|
JO |
Um hum! Came home this morning and went straight to work. |
|
LAURIE |
What do you think he was doing? |
|
JO |
I don't know. It's none of my business Laurie. |
|
LAURIE |
Nick's a sensible fellow. I'm sure he's not into any trouble. |
|
JO |
I don't imagine. |
|
LAURIE |
Perhaps I could keep an eye on him. He could be in some situation here in town. |
|
JO |
Laurie, he's a grown man. |
|
LAURIE |
I know but certain behavior can reflect bad on the school. |
|
JO |
I suppose. |
|
LAURIE |
I'll look out for him then. |
|
JO |
It's really not necessary. |
|
LAURIE |
Please, Jo I insist. |
|
JO |
All right. |
SCENE 8: INT. PLUMFIELD - DINING ROOM
NAN, NAT and ISAAC are setting the table for dinner. JO enters.
|
JO |
Hello everyone. |
|
NAT |
Hello Mrs. Jo. |
|
JO |
I have wonderful news. I just came from town where I saw Mr. Abbott. He's the editor of the Concord Chronicle. He's planning to do a special edition to commemorate the history of Concord. |
|
NAT |
Sounds great Mrs. Jo. |
|
JO |
You haven't heard the important part. He's accepting stories from all the students at all of the local schools. The best one from each school will be printed in the special edition. |
|
NAT |
Printed? |
|
JO |
Uh hum. |
|
NAT |
In the paper? |
|
ISAAC |
I bet he picks the one you write, Nat. |
|
NAT |
Maybe, but everyone's got a chance. |
|
JO |
That's right. In fact today Franz introduced me to a brand new writing talent. |
ASIA enters.
|
JO |
A young lady. |
|
NAN |
Me? |
|
JO |
That's right. I read your story Nan. |
|
ASIA |
I read it too. It was so exciting. That part when the white stallion broke through the gate. |
|
JO |
Oh and then he charged through the thunderstorm. |
|
ASIA |
And when he jumped the ravine. |
NAT turns to look a NAN.
|
ASIA |
You just knew he was going to find his owner on the other side. |
|
JO |
And sure enough, there he was, broken leg, soaked to the skin. You had me on the edge of my seat Nan. |
|
ISAAC |
Sounds like a good story Nan. |
JO and ASIA leave.
|
NAT |
You stole my story! |
|
NAN |
Please don't tell. |
|
NAT |
And you went through my things. |
|
NAN |
I was desperate. It was getting really late and I couldn't think of anything to write. And you have that whole box full of stories. |
|
NAT |
So you took one and you cheated? |
|
NAN |
I feel terrible about it Nat. Please! Look I'll go tell Franz and Mrs. Jo right now. It'll be really hard and embarrassing. I'll probably be in big trouble, but if that's what you want me to do, all right. |
|
NAT |
Just don't do it again, okay? |
|
NAN |
I promise. |
SCENE 9: EXT. CONCORD (Evening)
NICK is riding his horse towards the Tavern.
|
NICK |
C'mon, C'mon. |
LAURIE is at his wagon, preparing to go home when he notices NICK.
|
LAURIE |
Whoa there. |
|
NICK |
Laurie. |
|
LAURIE |
What brings you here? Running errands for Plumfield? |
|
NICK |
Nah. Works done for the day. I'm here on my own time. |
|
LAURIE |
I see. Well Nick tell me, what does a town like Concord have to offer a single young gentleman these days? You know it's not the most lively place. Not much to offer in the way of entertainment. |
|
NICK |
Well that depends on where you go. |
|
LAURIE |
Where do you go? Forgive me. I've been here for quite some time. |
|
NICK |
It ain't all that exciting. I play poker at the Tavern. You must be pitching something a little more… |
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LAURIE |
Oh, not at all. Poker sounds real interesting. Do you win much? |
|
NICK |
I do all right. |
|
LAURIE |
I see. |
|
NICK |
I like to win, but I go more for the company. A few fellas sitting around, having a few laughs, some beers. Laurie I gotta go. I'll see you around. |
NICK leaves for the Tavern.
SCENE 10: INT. TAVERN (Same day)
NICK and the guys are playing poker.
|
BURKE |
You know it pains me to do this to you guys. |
|
NICK |
Yeah. You're hating every minute of it. |
|
BURKE |
You know me, Riley. You know I like a poker challenge. |
LAURIE enters.
|
SIMON |
Mr. Lawrence. |
|
NICK |
Laurie. Is everything all right? |
|
LAURIE |
Everything's just fine. I just stopped by to uh… |
|
BURKE |
Pull up a chair?! |
|
LAURIE |
I'm not here to play. I'm not very experienced. I was wondering, perhaps I could watch. |
|
BURKE |
Watch? |
|
LAURIE |
If you gentlemen don't mind. |
|
BURKE |
Hell no! You can watch all you like Mr. Lawrence. |
|
LAURIE |
Thank you, but please everyone call me Laurie, Theodore, Teddy, Ted. |
|
BURKE |
Whatever suits you. As long as you sit down soon. This deck's getting cold. |
|
NICK |
You can sit by me. |
LAURIE sits beside NICK.
|
BURKE |
The game fellas is five card stud. |
|
NICK |
Let's see some better cards this time! |
SCENE 11: INT. PLUMFIELD - GIRL'S ROOM
NAN is examining a bug under a magnifying glass. JO knocks on the door.
|
JO |
Working on your story about Concord? |
NAN looks at her strangely.
|
JO |
For the contest in the Chronicle. |
|
NAN |
Oh, no. I'm studying a bug. |
|
JO |
A bug? |
|
NAN |
Don’t' worry, it's dead. |
|
JO |
Nan I want to let you know how delighted I am about the progress in your writing. It's really exciting. Now all you have to do is apply yourself, and the possibilities will be endless. |
|
NAN |
I don’t know, Mrs. Jo. That might be the only good story in me. |
|
JO |
Don’t' be silly. I think the next one will be even better and I can't wait to read it. |
JO exits.
SCENE 12: INT. TAVERN - (Same evening)
Guys are still playing poker.
|
BURKE |
C'mon Riley. What'd you got? |
|
NICK |
Pair of ladies. |
|
LAURIE |
You won. |
|
NICK |
Yep. |
|
BURKE |
Todl you Riley wasn't bluffing. |
|
GUY#1 |
I'll see you guys tomorrow. |
GUY#1 leaves the table.
|
SIMON |
Poor fella, hasn't won a game all week. |
|
BURKE |
Got an empty space at the table. |
|
LAURIE |
I, uh. |
LAURIE shakes his head no.
|
NICK |
You don't have to play if you don't want to. |
|
BURKE |
You've been watching us professionals, Laurie. You can see it don't take much to play. |
|
SIMON |
C'mon Laurie. |
|
BURKE |
Buy a few chips and we can get started. |
|
GUY#2 |
There's lots of room to play. |
LAURIE moves closer to the table and takes out his wallet.
|
LAURIE |
I suppose there's time for a hand or two…Got lots of money. |
|
BURKE |
Let's play cards. |
SCENE 13: INT. PLUMFIELD - GIRL'S ROOM
NAN tries to write a story. Lots of things are written on her paper and scribbled out. NAT walks by the door.
|
NAN |
Nat! |
|
NAT |
Yeah. |
|
NAN |
Are you finished your story yet? |
|
NAT |
No I was just getting started. |
|
NAN |
I've been working on mine for hours. I can't think of anything to write. Well can you help me out a little bit? You know get me started? |
|
NAT |
I don't know I should be starting my own. |
NAN looks disappointedly down at her paper.
|
NAT |
All right. So what have you got? |
|
NAN |
Well there's this one idea. |
|
NAT |
Well it's gotta be about Concord right? What do you like about it? Something special about the folks here, some place you like to go to, or something special in Concord's history. |
|
NAN |
History? |
|
NAT |
Something famous. Like the Minute Men fighting the British in the Revolutionary war. |
|
NAN |
War. I can write about the battle. "Bang! Blood gushing from the corroded artery." |
|
NAT |
That's a start but try to imagine like you were there. Try to explain it in a way folks won't expect. |
|
NAN |
What do you mean? |
|
NAT |
Uh, I don’t know. Let's say you were a squirrel or something. You were minding your own business eating nuts when in storm these British soldiers and the Minute Men come to meet them. And there you are a squirrel caught in the middle of it. |
|
NAN |
A squirrel? I don't want to be a squirrel Nat. |
|
NAT |
Okay then what do you want to be? |
|
NAN |
I don't know, something better. Like a fox or a bird. |
|
NAT |
Yeah a bird. That's even better because you can start off on the ground and then fly up in the sky and see the battle from all over. |
|
NAN |
I like this. |
|
NAT |
So you could be nibbling seeds in the town square. |
|
NAN |
Wait. All right go on. |
|
NAT |
Okay. |
|
NAN |
This is good. |
SCENE 14: EXT. PLUMFIELD
NICK is riding on his horse and JO is beating a rug on the porch.
|
NICK |
I finished mending that fence today. |
|
JO |
Oh yeah. Thank you. |
|
NICK |
All right. I'll see you then. |
|
JO |
Yeah we'll see you. |
SCENE 15: INT. PLUMFIELD - GIRL'S ROOM (Same evening)
NAT is still helping NAN with her story.
|
NAT |
Oh wait a minute. Read that one back to me. |
|
NAN |
"As the men of Concord" |
|
NAT |
The valiant men of Concord. |
|
NAN |
"As the valiant men of Concord stood, smoke still blowing" |
|
NAT |
Swirling. |
|
NAN |
"swirling from their muskets, the bird flew skyward, proud, triumphant, free." How can a bird be proud and triumphant, it didn't do anything? It just watched. |
|
NAT |
The bird is a symbol Nan. |
|
NAN |
A symbol? |
|
NAT |
Look Nan it's getting late and I haven't started my own story. Sorry. |
NAT leaves.
|
NAN |
A symbol. |
SCENE 16: INT. TAVERN - (Same evening)
LAURIE is still playing poker and telling a story to the guys.
|
LAURIE |
I said "Turn this boat around. My wife's pearls have been stolen. We must alert the authorities in Miorta." He just stared, coldly, while I threatened him. Finally he spoke "No comprendo anglais." |
LAURIE began hysterically. The other men join in after a while. NICK enters.
|
BURKE |
Hey Riley. Where you been? |
|
LAURIE |
Nick. |
|
NICK |
Laurie. I thought you had your fill of this last night. |
|
LAURIE |
I just stopped by for a few hands. |
|
BURKE |
He just won a big pot. |
|
LAURIE |
After I lost the first two. I just got lucky. |
|
BURKE |
No sir. Luck had nothing to do with it. I was watching you. You knew Simon was bluffing. You held in to the end, and watched the rest of us fold. |
|
LAURIE |
Well I did get a sense. |
|
BURKE |
The look on Simon's face when you put down your straight. You just going to stand there Riley? |
|
LAURIE |
Nick, excuse me. I'm in your seat. |
LAURIE moves to a different chair.
|
NICK |
That's all right. |
NICK sits down.
|
LAURIE |
Whose deal? |
|
GUY#3 |
Mine. |
|
BURKE |
Make 'em good, son. |
|
GUY#3 |
Always. |
SCENE 17: EXT. CONCORD - NEWSPAPER OFFICE
JO and the children are waiting outside the newspaper office for Mr. Abbott. FRANZ comes out of the newspaper office.
|
JO |
Well? What did he say? |
|
FRANZ |
He hasn't finished reading them, but he promised he'd come right out and tell us once he's made his decision. |
|
EMIL |
There's no contest anyway. We all know Nat's story's going to win. |
|
NAT |
I don't know about this one. |
|
FRANZ |
Your work did seem less polished, Nat. |
|
NAT |
Well I needed more time to go through it. |
NAN looks down shamefully.
|
JO |
Well I think all of your stories were marvelous. |
LAURIE enters.
|
LAURIE |
Hello everyone. |
|
BESS |
Father. |
|
JO |
Oh, hello. |
|
LAURIE |
JO how are you? Sweetheart? |
|
BESS |
When are we going to Boston? |
LAURIE looks at her like he doesn't know what she's talking about.
|
BESS |
For the recital. |
|
LAURIE |
Oh yes. |
|
BESS |
Can we go tonight? |
|
LAURIE |
Tonight? I can't. I've suddenly gotten so busy. |
|
JO |
Amy told me you've been working late a few nights. |
|
LAURIE |
Yes. You know how things can pile up. We can go tomorrow Bess. Perhaps you're Aunt Jo will bring you into town again. |
|
JO |
I'd be delighted. |
|
LAURIE |
And you and I can ride to Boston together. |
|
BESS |
Do you promise? |
|
LAURIE |
I promise. |
|
JO |
Laurie can I speak with you? |
JO and LAURIE step off to the side.
|
JO |
I'm just wondering, did you happen to see Nick in town? |
|
LAURIE |
Oh yes. I should have told you. He's simply enjoyig some time with his friends at the Tavern. |
|
JO |
At the Tavern? |
|
LAURIE |
Oh I wouldn't worry. |
|
JO |
But Nick can be impulsive. He's not responsible like you are. |
Mr. Abbott comes out of his office.
|
ABBOTT |
May I have your attention everyone? Let me commend your students Mrs. Baere. I enjoyed every story, but one was so inventive, so stirring. It's called "Freedon Takes Flight In Concord" written by Miss Anthea Harding. |
|
NAN |
I won? |
|
JO |
Nan I'm so proud of you. |
|
ABBOTT |
Such an accomplished young writer. Perhaps you could come in to town again. I'd like to arrange some time for an interview. |
|
NAN |
You want to interview me? |
SCENE 18: INT. TAVERN
NICK and the guys are playing poker.
|
BURKE |
Raise. |
|
NICK |
I'm out. |
|
SIMON |
Me, too. |
|
BURKE |
Laurie? |
|
LAURIE |
I'll see your raise. |
|
BURKE |
Two pair. |
BURKE lays down his cards.
|
LAURIE |
Three queens. |
LAURIE lays down his cards.
|
BURKE |
Riley you're to blame for introducing this fellow. |
|
NICK |
Yeah well we should call it a night. |
|
BURKE |
What are you talking about. It's early. I want a chance to win my money back. |
|
NICK |
Another time Burke. |
|
SIMON |
Maybe we ought to get going. |
|
LAURIE |
Well if he wants to continue losing gentlemen. Who are we to stop him? |
|
NICK |
Can I talk to you for a second? |
NICK and LAURIE leave the table.
|
NICK |
Laurie you should go home. |
|
LAURIE |
I don't want to go home, I'm having a good time. |
|
NICK |
Of course you are, you're winning. Burke and that other fella, they've been holding back, but once they start playing for real… |
|
LAURIE |
That's real money on the table. |
|
NICK |
I know how this works. They start off all friendly like and then when you get comfortable, maybe tonight, maybe tomorrow they pull out all the stops and you end up losing your shirt. |
|
LAURIE |
Yeah I didn't realize you had such a problem with me playing here. |
|
NICK |
I don't have a problem, I j7ust don't want to see you get taken. |
|
LAURIE |
Yeah well I appreciate that but I can handle myself. Maybe you should concentrate on your game. I couldn't help but notice you haven't won a round all night. |
|
BURKE |
Fellas, are you in? |
|
LAURIE |
I'm in. |
|
NICK |
I'm in, too. |
SCENE 19: EXT. PLUMFIELD - PORCH
|
FRANZ |
Aunt Jo, may I have a moment? Something's been on my mind but I haven't mentioned it because I'm not sure. Here. This is a story Nan wrote a month ago titled "Intestines". "Food goes into your stomach where it gets all churned up. Then it's pushed into a long tube called intestines." Now this is "Freedom Takes Flight In Concord', "As the valiant men of Concord stood, smoke still swirling from their muskets, the bird spread it's wings and soared skyward, proud, triumphant, free." |
|
JO |
It's a big improvement. |
|
FRANZ |
I'm always pleased when students make big strides. Nan's made "big" strides, too big. |
|
JO |
You don't think she's done her own work. |
|
FRANZ |
No. |
|
JO |
I'll speak to her. Thank you, Franz. |
SCENE 20: INT. PLUMFIELD - GIRL'S ROOM
BESS is brushing her hair, getting ready for the recital, while NAN is working on her bed.
|
BESS |
The Cheshire Quartet. They're playing Mozart. I just love Mozart, Nan. Don't you? |
|
NAN |
He's all right. |
|
BESS |
All right? He's only the most brilliant composer in the world, and he's our favorite. Father's and mine. |
JO enters.
|
JO |
My goodness Bess. Don't you look lovely. |
|
BESS |
Thank you Aunt Jo. Father's always liked this colour on me. |
|
JO |
Bess, would you mind waiting for me downstairs for me? I'd like to speak to Nan before we go into town. |
|
BESS |
Sure. Bye Nan. |
|
NAN |
Have fun. |
BESS leaves.
|
NAN |
You want to speak to me Mrs. Jo? |
|
JO |
Yes. You know I just finished reading your story again. Very carefully this time. I couldn't help but notice your choice of words, your vocabulary, the imagery. It was really quite sophisticated. |
|
NAN |
Oh well you know. |
|
JO |
You know like the bird for instance. What a beautiful metaphor. |
|
NAN |
Metaphor? |
|
JO |
You know a symbol. |
|
NAN |
Oh right. I used the bird as a symbol. |
|
JO |
I just don't know how you thought fo such things. |
|
NAN |
Well the stuff just kind of came to me. |
SCENE 21: INT. PLUMFIELD - PARLOUR
FRANZ is helping JO with her shawl.
|
JO |
She cheated all right. |
|
FRANZ |
She confessed? |
|
JO |
No. I can just tell. |
|
FRANZ |
Did you accuse her? |
|
JO |
No. I want her conscience to do the trick. |
|
FRANZ |
Well I don't know, Aunt Jo. This story's going to be published in the newspaper. Mr. Abbott is going to interview her and with all the attention Nan's getting I don't think her conscience is going to rise to the occasion. |
|
JO |
You're right. Maybe she needs a little push. |
NAN enters.
|
JO |
Nan. |
|
NAN |
I'm just going to start my chores. |
|
JO |
Oh good. Listen, Franz and I were just thinking maybe we should invite Mr. Abbott here to Plumfield. He could conduct the interview in front of the class instead of in his office. |
|
NAN |
Why would he want to do that? |
|
JO |
Well so we could see journalism in progress. And Nan this is a very big deal. Not everyday one of our students gets published. Right Franz? |
|
FRANZ |
Yeah. It'll be quite an event. There you'll be in front of everyone answering questions about you and how you wrote your story. |
|
JO |
Everyone will be watching and listening. It will be very exciting. |
|
NAN |
That's a great idea Mrs. Jo. Let's invite him. |
|
JO |
I'll speak to him while I'm in town. |
|
NAN |
Great. |
NAN leaves. JO and FRANZ exchange looks of disbelief.
SCENE 22: INT. TAVERN
|
SIMON |
Raise. |
|
BURKE |
I'll see your raise and raise you two more. |
Two guys fold as well as NICK.
|
NICK |
Too rich for my blood. |
LAURIE is pondering whether or not to fold.
|
NICK |
You've had a pretty good run today, Laurie. Why don't you quit while you're ahead? |
LAURIE throws in the money along with SIMON.
|
BURKE |
All right, gentlemen. Pair of aces. |
|
SIMON |
Not my day. |
LAURIE lays down his cards.
|
BURKE |
Didn't think I was holding those two aces did you? |
|
LAURIE |
No I didn't. |
|
SIMON |
Well that's it for me. |
|
BURKE |
Leaving already? |
|
SIMON |
I know when to quit. |
|
NICK |
See you around Si. |
|
SIMON |
See you boys. |
SIMON leaves.
|
LAURIE |
Well, I should be leaving as well. |
|
BURKE |
Not you, too? |
|
LAURIE |
Well, I'm afraid I've made other plans. |
|
BURKE |
Ah, don't leave me with all these amateurs. |
|
NICK |
Laurie, if you got to leave. |
|
BURKE |
You're not like Simon, Laurie. You play smart like me. You know how to pace yourself. |
|
LAURIE |
Well, I suppose I could squeeze in a few more rounds. |
|
BURKE |
All right, gentlemen, ante up. |
SCENE 23: EXT. PLUMFIELD
NAT is stacking wood when NAN comes to talk to him.
|
NAN |
Nat. I know you helped me out. Will you please just listen to me? I know you made a few suggestions. |
|
NAT |
Suggestions? That was my story. |
|
NAN |
I was already writing about Concord. |
|
NAT |
C'mon Nan. Everyone was writing about Concord. That was mine, my ideas. |
|
NAN |
No. Your idea was for me to be a squirrel. I came up with the bird. |
|
NAT |
Big deal. |
|
NAN |
It is a big deal and that's why you're so mad. |
|
NAT |
What? |
|
NAN |
You're just jealous. It's always "Oh, what a wonderful story Nat wrote. Isn't he talented." And finally I wrote something good for a change and you can't stand it. |
|
NAT |
Is that what you think? Cause then you're fooling yourself about that one too. |
SCENE 24: EXT. CONCORD
JO and BESS pull up in the carriage.
|
JO |
Whoa. |
|
BESS |
Mother, what are you doing here? |
|
AMY |
Don't worry. I'm not coming along. I only came to see you off. |
|
JO |
Bess is so excited Amy. |
|
BESS |
Is Father ready? |
|
AMY |
He must have just stepped out. |
|
BESS |
He's not here? |
|
AMY |
I'm sure he'll be back any minute. |
|
BESS |
I wonder where he is. |
SIMON walks by.
|
SIMON |
Are you looking for Laurie Mrs. Lawrence? Well he's at the Tavern. |
|
JO |
The Tavern? |
|
AMY |
My husband? |
|
SIMON |
Well I just left him there. Good day ladies. |
SIMON continues walking.
SCENE 25: INT. TAVERN
LAURIE is still playing poker.
|
GUY#1 |
I'm out. |
|
BURKE |
It's just you and me now Laurie. What's it going to be? |
LAURIE has a full house.
|
LAURIE |
That's your raise. I raise you four more. |
|
BURKE |
That just cleaned you out. |
BURKE also has a full house. AMY, JO, and BESS look through the window at the poker game but are not noticed.
|
BURKE |
Raise, raise you two more. |
|
LAURIE |
You can't do that. |
|
BURKE |
We didn't say. There aren't limits. |
|
LAURIE |
I don't have it. |
BURKE goes to collect the chips.
|
LAURIE |
Wait, wait. I'll write you an IOU. |
|
BURKE |
Don’t' believe in them. |
|
LAURIE |
Well there must be something. |
|
BURKE |
Suppose they'll do. |
|
LAURIE |
My cufflinks. |
|
NICK |
Laurie, don't. |
|
LAURIE |
I'll win them right back. |
LAURIE lays down his cards.
|
BURKE |
Full house. What'd you know? |
LAURIE goes to collect the chips.
|
BURKE |
Not so fast, I've got one too. My lucky ladies beat your jacks. |
|
NICK |
All right Burke. Laurie, let's go. |
|
LAURIE |
I'll win them back. Here I've got my watch. Just one more game. |
|
NICK |
Laurie it's over. |
|
LAURIE |
Don't. |
NICK sees JO, AMY, and BESS in the window. LAURIE turns to see them too. LAURIE gets up to explain but BESS runs away.
OUTSIDE
|
LAURIE |
Bess, Bess, sweetheart please I want to talk to you. |
|
BESS |
(crying) Let go of me. I never want to see you again. |
BESS runs from him crying.
SCENE 26: EXT. PLUMFIELD
NICK and LAURIE are walking on the road away from Plumfield.
|
NICK |
Laurie you got to go talk to them. |
|
LAURIE |
I can't. |
|
NICK |
You have to explain. |
|
LAURIE |
How can I explain gambling away my daughter's gift? |
|
NICK |
It's pretty clear to me. You wanted to sit around, play cards, have a few laughs with the fellas. You let things get away from you. |
|
LAURIE |
I wanted to be one of the guys. |
|
NICK |
Laurie playing cards at the Tavern. That might not be the thing for you. But you know going to the ballet might not be the thing for me. But neither way makes you or me any less of a man. |
|
LAURIE |
You make it sound so simple Nick but they won't understand. |
|
NICK |
Yes they will. They love you Laurie. I never meant that much to anybody but if I did I know there'd be nothing we couldn't get over. I spoke to Burke, he's willing to sell you back his cufflinks. |
|
LAURIE |
He is? |
|
NICK |
Well you know Burke. He'll probably charge four times what Bess paid for them. |
|
LAURIE |
I don’t care. I want them back. Thanks Nick. |
SCENE 27: INT. PLUMFIELD - PARLOUR
JO and AMY are in the parlor. AMY is pacing in front of the fireplace.
|
AMY |
How could he do this? How could he lie to me Jo? Telling me he was working when he's been out gambling. |
|
JO |
Amy. |
|
AMY |
It's just so unlike him. |
|
JO |
I know. Maybe Laurie was drawn into it. Listen when Nick started spending so many nights in town I encouraged Laurie to look after him. Maybe Nick… |
NICK and LAURIE enter the parlor.
|
LAURIE |
No Jo. Neither you nor Nick are to responsible. It was my choice to join the game. In fact Nick made every effort to keep me out of trouble. If it weren't for him I would have made an even bigger fool of myself and lost a great deal more money. |
|
NICK |
Don't be so hard on yourself. |
|
LAURIE |
I can't be hard enough. Amy I'm sorry. I've behaved very poorly and shown a remarkable lack of judgement. I'll do whatever I can to make things right. I hope you can forgive me. |
|
AMY |
I'm not the one you should be asking for forgiveness. |
SCENE 28: INT. PLUMFIELD - GIRL'S ROOM
BESS is angrily staring at the fire. LAURIE walks in.
|
LAURIE |
Bess, sweetheart. I know I've hurt you terribly. I'll do anything to take back what I've done, betting on cards, losing your gift. |
|
BESS |
It's not just the cufflinks. It's you. I never thought you could do something like that. |
|
LAURIE |
I made a foolish and thoughtless mistake but I promise to try to never disappoint you like that again. You don't have to answer me now but there's another recital tomorrow and I hope you'll do me the honor or letting me escort you. |
BESS does not even acknowledge the question.
|
LAURIE |
All right, then. Bess, I love you more than anything else in the world. |
LAURIE leaves and shuts the doors. BESS begins to cry again.
SCENE 29: EXT. PLUMFEILD - SCHOOLHOUSE
The children are walking to school.
|
STUFFY |
Imagine a whole story in the newspaper just about you. |
|
BOY |
I never knew anyone famous before. |
STUFFY and BOY go ahead in the schoolhouse.
|
NAN |
Nat. You know your going to write a lot of great stories. Probably have folks writing about you all the time. This might be my only chance. |
SCENE 30: INT. SCHOOLHOUSE
NAN and MR. ABBOTT are sitting at Franz's desk.
|
ABBOTT |
I thought you'd like to see this. It's a test sheet I've printed of your story. This is how it will appear in the Chronicle tomorrow. Do you see your name there? |
|
NAN |
Yes, thank you. |
|
ABBOTT |
Nan I think I was most taken by your use of the bird in the story. First the way it allowed you to describe the battle from different perspectives. From different points of view. |
|
NAN |
You mean how it looked from all over? |
|
ABBOTT |
Yes and by the end of course you used the bird as a symbol. Could you talk a little about that? Tell me what did you want the bird to represent? |
|
NAN |
Oh the way it flies, with it's wings and everything. Up and down in the sky. It was kinda, it was sorta… |
|
NAT |
You remember Nan. You told me when the bird spread it's wings and flew up in the sky it felt so free and powerful like nothing could stop it. The future was wide open to him, just like the Minute Men felt fighting for an independent country. |
|
NAN |
That's what I meant, exactly. |
|
ABBOT |
I see. |
SCENE 31: EXT. SCHOOLHOUSE
|
NAN |
Nat. Why did you help me like that? |
|
NAT |
Because you're my friend. |
NAT walks towards the house.
SCENE 32: EXT. PLUMFIELD
LAURIE's carriage pulls up.
|
JO |
Oh, Laurie. It's nice to see you. |
|
LAURIE |
I've come to take Bess to the recital. |
|
JO |
I know, but I'm afraid she hasn't left her room all day. |
BESS comes out of the house.
|
BESS |
I'm ready. |
|
LAURIE |
Are you sure? |
|
BESS |
Yes and after all they're playing Mozart and he is our favorite, Father. |
|
LAURIE |
Yes, yes he is. Shall we? |
|
BESS |
Your cufflinks? |
|
LAURIE |
I couldn't bare losing such a precious gift. |
|
JO |
Have a wonderful time. |
NICK walks up to JO.
|
JO |
Bye bye. I'm sorry Nick. |
|
NICK |
For what/ |
|
JO |
For asking Laurie to look after you. |
|
NICK |
I can look after myself. |
|
JO |
I know but we care about you. You're very important to this school. |
JO goes into the house. NICK walks away smiling.
SCENE 33: INT. PLUMFIELD - GIRL'S ROOM
NAN is looking at the article in the newspaper.
SCENE 34: INT. PLUMFIELD - PARLOUR
JO is putting away her writing stuff and turns to go to bed. NAN is standing in the doorway.
|
NAN |
It's not my story Mrs. Jo. Nat helped me and he wrote it when I couldn't. |
|
JO |
Well I'm glad you're finally telling me. |
|
NAN |
I know I should have told you sooner but I got caught up in all the fuss and you being so proud of me. |
|
JO |
Nan as long as you're trying your best I'm always proud of you. And you should be proud of yourself. Do you understand? |
|
NAN |
But the newspaper, the story's already being printed. |
|
JO |
Maybe we can still make it. |
JO and NAN leave to go and try to stop the presses.
SCENE 35: EXT. PLUMFIELD
The children are walking to school.
|
NAT |
Good morning Mrs. Jo. |
|
JO |
Good morning Nat. I just picked up a few copies of the special edition. I thought you might like to look at it. It's on page 3. |
|
NAT |
Oh sure I guess. |
NAT turns to page 3 to see his name printed as the author. NAN comes up behind him.
|
NAN |
Great story. Did you write it yourself? |
|
NAT |
Well actually a friend gave a few suggestions. |
|
NAN |
Really? |
|
NAT |
Yeah the bird. |
|
NAN |
That's my favorite part. |
|
NAT |
Race ya! |
NAT and NAN race to school, friends again.
THE END