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!

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.

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.

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.

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…

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

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