HOME a story about growing up) Screenplay by John Monteleone Story by John Monteleone Michael Edelson James D'Ambrosio CONTACT: e-mail: writing@johnmonteleone.com PO Box 2723 Sag Harbor, NY 11963 __________________________________ Copyright 1997 by John Monteleone All Rights Reserved Registered with WGAE FADE IN: Fall. A sunrise over the Mountains of Vermont. Then we see vistas of Vermont, one spectacular image blending into another. BEGIN CREDITS. Midway during these images we see a 1997 red Mercedes as it travels along a winding road through valleys and hills. EXT. THE GROUNDS AT MOUNT SINAI--DAY The car pulls into the road leading up to Mount Sinai, a home and school for boys. END CREDITS. CALVIN WINDLE, a gentle, older man of 72, is with his 8 year old grandson, JUSTIN WINDLE. They exit the car and Justin, depressed and somewhat detached, looks around at the facility wide-eyed. Calvin takes Justin by the hand and walks towards the main building. As they stroll, Calvin takes in the countryside surrounding the facility and there is a sense of deep nostalgia and excitement in each glance. Almost everywhere, there are kids ages 8 to 18 in modern grunge- dress. JUSTIN Why do I have to stay here? I wanna be with you, grandpa. CALVIN Because I'm too old now, Justin. You have to be taken care of properly. You'll like this place after a while. (stops and turns to Justin) I know you will. I grew up here and I didn't turn out too badly, did I? Justin shakes his head "no". CALVIN Now, did grandpa ever steer you wrong? Justin shakes his head "no" again. Mount Sinai consists of various farm buildings including a stable, pig pens, barns, silos, etc., an administration building, a dormitory, a large modern school building and some other assorted structures demonstrating construction that spans seventy-five years. Suddenly two young boys about 10 years old run right past Calvin and Justin, one chasing the other. The larger of the two boys falls face flat in a mud puddle. He stands andlooks like an M & M. The other boy laughs and walks off. As Calvin looks around and in and about the activities bubbling about him, he begins to see ghosts from his past at Mount Sinai as a youngster. The figures are distinct and are dressed from a long time past. The Mount Sinai of old is nothing like the present. When Calvin was a boy, it was a run down farm, with loose beams in the barn, fence posts that were falling apart and rusty farm equipment, etc. MONTAGE: Calvin as a boy at various ages: 1. Struggling to put a saddle on a reluctant horse with the saddle tumbling to the ground. 2. The image of a tall, man (Peter Corning) staring down at him. 3. A stout woman (Grouchy) cleaning the entrance of one of the buildings with a large brush and not happy. 4. A black woman (Mrs. Walker) teaching a History class. 5. The janitor (Ernie) is smiling boldly as he almost always did while sweeping the halls. 6. A tired, old woman feeding a small baby lamb with a baby bottle. We're back in the present: MR. BAILEY, the director at Mount Sinai, is a tall man who exudes compassion, great intelligence and courage. He greets them. MR. BAILEY Mr. Windle, I'm so happy to see you. This must be Justin. Let's go into my office. You'll be more comfortable there. Calvin and Justin walk towards the office and Calvin notices a small memorial plaque on the lawn that reads: "In Memory Of Peter and Margaret Corning "who changed our lives forever. Class of '41" Calvin sadly notes it and continues to move with Mr. Bailey towards his office. INT. MR. BAILEY'S OFFICE--DAY Calvin and Justin are sitting and Mr. Bailey is kneeling by Justin. Although Justin is apprehensive, he senses love emanating from this large and kind man. MR. BAILEY Justin, I know it's been real hard for you losing your mom and dad. We have a lot of kids here just like you. I want you to know that we're your friends and really care about you. We want you to feel that this is your new home. Justin puts his head against Calvin's arm almost trying to hide. MR. BAILEY I'm sorry about your son, and daughter-in-law, Mr. Windle. CALVIN Thank you. He was a fine man and I'm proud of him. (sighs deeply, then changing the subject) I need to introduce Justin to Mount Sinai. I think the two of us will take a stroll. MR. BAILEY Be my guest. The place is yours. CALVIN The old dorm? Vacant? MR. BAILEY Been closed for years now. Calvin smiles. INT. OLD BUILDING--DAY Calvin and Justin are walking up an old staircase from the turn of the century. The banisters are broad in their Victorian design. Dust and cobwebs are everywhere. They reach the landing and arrive at a door. Calvin's hand turns an old dark brass door knob. CALVIN (V.O.) I haven't seen this place since I was eighteen. The door opens. Calvin smiles as he enters the old room with dusty cots and some dressers and even a few pictures still on the wall. The bright sunlight drenches the room and comes from an old, tall window without curtains. Outside the window, in the distance, we see a farm. CALVIN (to Justin) When I came here I was about your age. He sits on a dusty cot. Justin climbs up next to him and they both peer out the tall, wide, sun-filled window. CALVIN (to Justin) This place was my family. Now, it'll be yours. JUSTIN Granpa... I'm scared. CALVIN I know. I was, too. But there's nothing here to be afraid of. I'll visit you often. JUSTIN You promise? CALVIN I promise. Justin walks over to an old photo on the wall. JUSTIN You really went to school here, grandpa? What was it like? CALVIN Well, I came here during the Depression. Almost everyone was out of work. Calvin takes a deep breath, looks out the window and begins to remember. Outside the window we see a woman about 35-years old and a tall man about 40 with an 8-year old boy between them holding both their hands, all dressed from another time. DISSOLVE TO: It is the Fall of 1931 with glorious foliage and fallen leaves everywhere. CALVIN (V.O.) Times were rough. My parents were poor, my father laid off from his job, couldn't find another. My mother used to work as a maid, but even the rich people were having a tough time of it then. The man and woman are dressed in their Sunday clothes and continue walking down the pathway towards us with the boy between them: The boy is CAL, Calvin when he was 8 years old. They are sad, and JOE WINDLE, Cal's father, a large man with a rugged face, grips his young son's hand too tightly. The boy looks up at his parents and has a tear rolling down his cheek. KATE WINDLE, Cal's mother, a small, pretty Irish woman, is crying but trying to be strong. It is 1931, at the peak of the Depression. An ADMINISTRATOR greets them at the door. ADMINISTRATOR Hello Mr., Mrs. Windle. Please come in. They enter slowly. INT. OFFICE AT MOUNT SINAI 1931--DAY Kate and Joe are sitting with Cal between them in front of a large desk. A woman is sitting behind the desk--she looks a bit weary. Joe an Kate struggle to speak--the tension could be cut with a knife. KATE We... we can't... there tain't a thing we can do that's right for him durin' these rough times we're in, mam. (pause) ADMINISTRATOR We do understand, Mrs. Windle. Don't be ashamed, so many are in trouble. It's not their fault and it's not yours either. JOE My son, he's got ta have food. I... well ya see I had a job. A good job. Made a decent buck... not these days... Now I'm... there's no work, see... there's just no work... (he can't go on) The administrator looks at them as they grow uncomfortable being unable to speak. Kate looks at Cal, and Cal looks back up. ADMINISTRATOR Cal? Do you want to come and stay with us for a while? CAL No! No! Cal, terrified, lunges into his mother's lap and hugs her tightly. JOE Come on now, Cal. Ya gotta be a man about this. It's no time to start that... Cal, I'm talkin' to ya boy? Cal remains buried in his mother's lap. Joe pulls him away and hands him over to the administrator who tries to ease the boy's pain. ADMINISTRATOR Let's go and meet the other children. CAL No! I don't wanna stay here! He looks at his parents who seem ashamed. The woman takes Cal gently by the hand and walks him out of her office. CAL (to his parents) Why are ya makin' me? INT. A LONG HALLWAY--SAME TIME Joe and Kate are standing at the end of a long hallway. Cal is being escorted by the woman down the long hallway. JOE (calling after him) It's the best thing for now, son. We'll be back. KATE (breaking down) Be a... a good boy. We'll be visitin' soon. I promise ya, Cal, I promise ya, love. POV. Joe and Kate watching Cal and the woman walking down the hall from behind. At the far end of the hall there is a large window and very bright light spills in through it. As Cal walks towards it, we see him looking over his shoulder, his face scared and confused. As he and the woman walk away and into the bright light, they become more and more of a blackened silhouette to us, until they seem to disappear into the light. We hear a door shut gently but finally. POV. Joe and Kate looking at the closed door from where they stand. The hallway is lit by the sunlight, but is long and dark. We can still hear Cal as he is being escorted away crying, "no, no" until there is nothing but silence... Joe looks at his wife. He is deeply hurt by this. JOE This ain't right, Kate. This jus' ain't the way it's supposed to be. KATE (pulling herself together) Maybe tomorrow will be bringin' us some good fortune for a change, Joe. Sweet Jesus knows we've earned it. JOE My son... They both look down the long empty hall again. We hold on this image for a very long moment. INT. JOE AND KATE'S DILAPIDATED APARTMENT--NIGHT Thunder outside. A vicious fight. Joe is a bit drunk, there is a finished bottle of whiskey on the table. JOE Why can't you work? Who am I, the only one with a good pair of hands? KATE It t'ain't that me hands aren't any good, Joe, they're jest not needin' the likes of maids t'any more. (angrily) D'ya want me to go out diggin' ditches now? JOE Damn it, Kate, don't you blame me for ya laziness! He smacks her across the face, her face turning sharply, her arm swinging from the blow hitting their wedding photograph on a shelf which falls shattering on the floor. She runs into the bedroom and locks the door. Joe follows and tries to open the door but it is locked. JOE I'm sorry, Kate. I didn't mean to hit ya, Kate. My God, I'm sorry. It's the booze... There is no response. JOE ...Kate? He runs to the door and shakes it trying to open it. JOE I worked my fingers to the bone to keep this family under a solid roof... KATE (O.S.) (in the locked room) ...I can't take ya attackin' me day an' night. Ya never in ya life hit me before. What's happened to ya reason Joseph Windle? Ya best be spendin' yer time seekin' a good job an' maybe we'll get our lovely son back! JOE (feeling terribly guilty for hitting her) It wasn't my idea to put him up. He belongs here. (pause) Are ya okay? There is no response. Just the low sound of crying. JOE (to the door) Come out of there. Please, Kate? No answer again. Joe walks away beaten and confused. Pours some whiskey into his glass. INT. MAIN SLEEPING QUARTERS AT MOUNT SINAI--NIGHT There is a thunderstorm outside. Cal is laying on his old cot amidst all the other boys. The room is filled with children sleeping. The walls are cracked and worn, the curtains stained and the floor in need of repair. Cal lays with his hands behind his head looking up, angry. DISSOLVE TO: INT. MAIN SLEEPING QUARTERS AT MOUNT SINAI--MORNING Morning light fills the room, a bell is rung and the boys, sleepy-eyed, rise. Cal is laying in the same position and hasn't slept or moved all night. The room empties. One boy, HOWIE, a nine year black boy with big sparkling eyes, walks over to Cal. HOWIE Ya better come on along there. They gets mad when we hide out on 'em. Cal doesn't respond. HOWIE Ya comin' or not? CAL No. Leave me alone willya! HOWIE You mad at me 'cause I'm colored? CAL No. Leave me alone willya. Howie pauses, then turns and leaves. Cal is alone in the room looking at the ceiling. Not a muscle moves. He doesn't even blink his eyes. INT. CAFETERIA--MORNING A large, brick room with long tables. This building could be torn down and rebuilt--it's in bad shape. There is a line of kids with trays waiting to be served. They're all talking at the same time. Others are already eating. The sun shines in through the large windows. No one is dressed very well, not even the matrons, Vermont locals, who methodically serve the kids their food. The staff carries a sense of weariness because they work too long, and for too little in these desperate times. Ernie is replacing a light bulb. One woman, MRS. SULLIVAN, is counting heads and checking attendance. Her eyes pop open and she begins recounting. The food line is being held up by BILLY, a chubby youngster with a round, cherub face. BILLY I want more. MATRON There are others behind ya. BILLY But I'm hungry. EDDY Move it willya, Billy. SAM My stomach's as big as yours, get goin'. Billy just stands there looking at the matron with his plate held out and with a sad face. JAKE Mrs. Sullivan, ya gotta move Billy or he'll stand there all day. MATRON I'm givin' ya a bit more, but that's all now. The line cheers. Billy looks at his plate disgusted and moves on. The kids all resume their ruckus. Some food flies across the room and Mrs. Sullivan sees the boy who did it. He ducks under the table. MRS. SULLIVAN Randy! I'll dare ya! ERNY Now that's selfish of ya, wastin' good food in these tough times we're in. Ernie finishes replacing the bulb and climbs down the ladder. MRS. SULLIVAN You're so right, Ernie. Did you hear that, Randy? Daniel? Take him to Mr. Bailey's office for demerits. DANIEL'S VOICE (pleased and loud) Yes Mam! A large 16-year old boy stands up and moves into action. The boy under the table doesn't have a chance and simply climbs out and stands still as Daniel walks up to him. DANIEL Come on or I gotta chase ya. The boy, almost habitually, walks to him in defeat. Daniel lifts the small boy effortlessly over his shoulder and carries him out of the room. MRS. SULLIVAN Be gentle, he's a child. DANIEL I will, Mrs. S. 'less he gets fresh with me. BOY ON DANIEL'S SHOULDER I'll never do it again, I promise. Cross my heart, hope to die! MRS. SULLIVAN (while counting heads) You say that everyday! And he's out of the room. Mrs. Sullivan has recounted for the third time, and now hurries out. DISSOLVE TO: Howie has just finished his breakfast and exits. WE FOLLOW him as he walks us through the almost empty pantry where GROUCHY, a middle-aged spinster, is cleaning the floor with a scrub brush. GROUCHY Howard? I want you here at two pm sharp this afternoon. These floors weren't done properly yesterday. I'm not ya boy's maid! HOWIE (sincerely) Yes you are, mam. GROUCHY My life won't be spent doin' a nine-year olds chores! HOWIE (to himself) I wonder why they nicknamed her Grouchy. GROUCHY I heard that--kitchen duty for a week for that remark! HOWIE I'm sorry. GROUCHY Too late! Howie's face drops as he exits. INT. BARN--MORNING The barn has planks with large holes between them letting the light spill in. There is a sense of decay; the wood is badly rotten, the hinges rusty, etc. In the barn where Howie's putting feed into bins we see Trudy the cow, Ben the horse, Lindbergh the collie dog with a large, red nose and many other animals. HOWIE (to the cow) Hiya Trudy. (to the horse) Nice to see ya, Ben. (to a cute young pig) Scarlet, ya all muddy again. A collie runs through the barn almost knocking over Howie with a large bone in his mouth. HOWIE Hey, Lindbergh, ya ate half of Scarlet's feed. You're a dog, not a pig, get it straight, willya. Scarlet the pig is running in circles by her feed. HOWIE Okay okay not so fast. Jeez, ya'd think ya never ate in ya life. Scarlet oinks happily as Howie pours feed. Trudy the cow farts- -Howie almost dies. Trudy looks at him. HOWIE The next time I have to fart I'm givin' ya a visit, Trudy. Trudy moo's in satisfaction and continues feeding. INT. THE MAIN SLEEPING QUARTERS--MORNING In the entry way stands Mrs. Sullivan. She is looking at Cal who hasn't budged an inch. MRS. SULLIVAN Are you not feeling well, son? CAL I feel fine. MRS. SULLIVAN Let's go then. You have to put something in ya stomach an' you have chores to do before school. Come on. (there is no response) Got potatoes in your ears? CAL Leave me alone. Mrs. Sullivan moves to get Cal and he jumps up and exits. MRS. SULLIVAN Come back here young man! And the chase begins. EXT. NEAR THE SCHOOL BUILDING--AFTERNOON Through a school building window and in the distance we see MRS. WALKER, a black woman about 40, teaching children History. We can hear the band rehearsing in the distance--it's more of a series of missed notes and rhythms. Mrs. Sullivan is speaking to Mr. Philips, the Director. MRS. SULLIVAN He just ran off. I can't find him nowhere. MR. PHILIPS Okay I'll.... We hear a scuffle and many bodies in a large huddle routing and screaming. MR. PHILIPS (to Mrs. Sullivan) You think..? MRS. SULLIVAN ...I'd bet my last girdle on it! He rushes over and breaks up the fight. Another man helps. When they pull the boys off of one another Cal is there angry as hell, trying to escape the man's hold. TODD, a bigger kid than Cal, is bleeding and trembling from the fight. CAL He said my parents were dead. They ain't dead! TODD No I didn't. I was just tryin' to make friends and he socked me right in the face. Mrs. Sullivan walks Todd off. MRS. SULLIVAN (to Todd) Are you okay? Todd shakes his head "no". MR. PHILIPS (to Cal) I want to see you in my office at two sharp. CAL Okay... Jus' let me go. Let me go! MR. PHILIPS Two pm, sharp! Mr. Philips releases him and Cal storms off angry and covered with dirt. EXT. MOUNT SINAI GROUNDS--SAME TIME A group of adults with search lights are standing by Mr. Philips. MR. PHILIPS Okay, we'll take the west part of the facility, you take the east. The Sheriff's working the town. (a dark joke) Whoever finds him, remember, I want him... alive! The group laughs and moves off looking for Cal. INT. BARN--NIGHT Mr. Philips is standing under the loft where Cal is hiding. The "Baaa" of sheep can be heard as well as the clucks of chickens, and an occasional "Moo". MR. PHILIPS Cal? Cal I see you. Come on down. CAL No. MR. PHILIPS Then I'm coming up. CAL All right, all right. I'm comin'. MR. PHILIPS Cal, you have the entire school and town in a frenzy? Cal climbs down. The Director moves to walk him back and Cal runs off. MR. PHILIPS Cal?! Cal?! (to himself) God, I'm glad I'm retiring. Cal reaches the entrance to the barn, running full speed, right into Grouchy's arms. She lifts him up and they're face to face, Cal's legs dangling in the air. GROUCHY You ever scrubbed a floor, Child? CAL No. GROUCHY We'll, get yaself real used to the thought. A few chickens almost run into Grouchy's legs--she kicks one who makes a ruckus as it is thrown by her leg. INT. JOE'S APARTMENT--NIGHT Kate is alone, the apartment is a mess. Her face has an ugly bruise and she is placing a framed photo of Cal in her suitcase already packed. She wipes her tearing eyes as she closes the suitcase, looks at the apartment, picks up the suitcase, and leaves. CU. A CLOSED DOOR. Kate has closed the door to their apartment. She slowly walks down the dark stairs to the entry door. From the empty room we hear her slow footsteps moving down the stairs. INT. A CAR--DAY PETER CORNING a man of 45-years old and his wife MARGARET a plain, kind-looking woman about the same age are driving down a long country road towards Mount Sinai. MARGARET (speaking nervously fast) There's no bringing him back. But there are so many who need our help. Am I right? You haven't cried yet, Peter. That's your problem. You haven't cried. (pause) You have a gift. No one can reach children like you can. Mount Sinai needs you and we need it. It's good for us to move on with a fresh start. Am I right? Pause. Margaret stares at him. He feels it. MARGARET (with tears in her eyes) I know we're here for the right reason. Please give it a chance. Give us a chance. Peter nods; there is a deep sadness present in him but he tries to smile and looks ahead. She reaches over to touch his arm as he drives and they watch the glorious landscape move by. The car pulls into Mount Sinai and drives up to the main building. We see the children playing, men and boys repairing a building and women carrying laundry and cooking goods. A few students are sitting in a circle on the grounds sketching the landscape. Grouchy exits the house and all the kids begin to sneak out of her sight. She is cursing under her breath. INT. ADMINISTRATIVE OFFICES--DAY Peter and Margaret Corning are sitting across from Mr. Philips. MR. PHILIPS We are thrilled to have you here, Mr. Corning... Mr. Philips rises and walks over to the window and gazes out. MR. PHILIPS ...Mount Sinai is under heavy financial burdens. The kids are in jeopardy--I really don't know how to turn it around. I guess I'm getting on in years--but who likes to admit it? The Depression is threatening our very survival and after seventy two years of dedicated service we might have to go out of business forever. All these children will have to be turned back to families that for one reason or another, can't handle them. Some are hostile, others just desperate. Nevertheless, today, we need a man with your administrative skills and teaching talent. PETER Yes. Well... I'll... do my best, of course. MARGARET Peter and I need to do this work and I'm truly looking forward to working with the children in art. MR. PHILIPS Anything you need, please ask me. I'll show you to your apartment. Supper's always at five. They rise, and exit. Peter has a look of severe insecurity on his face, which he tries to cover with a half smile. EXT. PLAYGROUND OUTSIDE THE ADMINISTRATIVE BUILDING--SAME TIME Peter and Margaret Corning and Mr. Philips have just exited the building and walk across the grounds. They watch the kids playing, laughing and having fun. Peter almost smiles. There is a great amount of activity on the grounds. A tractor is moving on a field in the distance, a maintenance worker repairs a swing, and some of the kids are sitting under trees studying. There is a flute playing in the distance--it's one of the kids practicing and this time it sounds pretty good with only a few harsh notes that make you cringe. The evidence of Mount Sinai's poverty is everywhere and although the countryside of Vermont is bucolic, this poverty is an ugly contrast. Suddenly there is a fight, and the boys huddle around. Peter runs to the scuffle and helps to break it up. Cal is on top of another boy and is hitting him repeatedly. PETER Stop it! Stop that young man! He pulls Cal off and Cal hits Peter who grabs him by both arms. They look at one another, Cal huffing. Howie's nose is bleeding. HOWIE He started it! CAL Did not! HOWIE Did so! PETER (to Cal) Come on son, you don't hit on others like that. Cal slaps him. PETER Stop it, I said! Cal stops. PETER (to Margaret and Mr. Philips) Is he all right? MARGARET Not really. We'll take him to the nurse. They walk off with Howie. PETER Why did you do that? Cal just looks at Peter. PETER I expect an answer? CAL Leave me alone. PETER No, I won't. CAL Let go. PETER No. Cal puts his head down and won't speak. Peter looks at the boy and sees his own personal pain. Then after a long moment, Cal looks up and stares at Peter. CAL I wanna go home. He said I didn't have one. Peter stands up and looks down at the boy. POV. Cal looking up at the large Peter Corning looking down at Cal--the same image Calvin saw in his ghost sequence earlier when he arrived. WE HOLD on this funny image. CALVIN (V.O.) I had a really hard time adjusting. You won't, Justin. You come from a fine family. Suddenly WE SEE Calvin and Justin from 1997 watching this. We're in the present on the same playground in 1997. JUSTIN I want my mommy. I want my daddy. Calvin kneels, in the same position Peter did with Cal. CALVIN I know you do. I miss them too, son. Justin hugs Calvin who hugs him back. Over Calvin's shoulder Peter Corning is standing over Cal who is looking up at him. We're back in 1931. PETER (to Cal) If you promise not to fight, I'll look into getting you home if that's what you really want. Is it a deal? CAL Yes. PETER Okay. It's a deal? CAL (pause) Can I go now? Peter nods and Cal runs off. PETER (O.S.) (calling after Cal) And wash that face--you look like you had lunch with the pigs. Cal just keeps running. INT. JOE'S APARTMENT--NIGHT NO SOUND: Joe is just returning from a bar. There is a note on the table. He picks it up and reads it. CU OF A SECTION OF THE LONG NOTE: THE NOTE "I can't take your painful attacks no longer. I'm leavin' you, Joe. God knows where to..." Joe is devastated. We see his rugged face fill with deep sadness and disbelief. The amber light from the oil lamp illuminates him. EXT. PETER CORNING'S OFFICE AT MOUNT SINAI--AFTERNOON Joe is sitting in front of the large mahogany desk. Outside, we see and hear the bustling activity of kids playing. In the office, Peter's life of achievement is on the wall: Diplomas, photos of friends, school activities, awards and medals. PETER Where's Mrs. Windle? JOE (pause) Her mother took ill and she had to go an see her through it. She'll be back as soon as the sickness lifts. PETER I see. Are you able to take better care of Cal now? JOE Oh yeah. I have a job. PETER Where? JOE I'm helpin' out a bunch of people... odds and ends mostly, but enough to get us through. PETER Can I have the name of your employer? JOE It's... under the table, ya know... It's hard enough to... Pause. PETER All right then. Cal wants to come home, and we won't stop that. (loudly) Margaret?! The door opens and Margaret enters with Cal. He runs to Joe and hugs him. Joe is unaccustomed to this kind of affection but plays along. JOE Glad to see ya dad, hmmm? (to Corning) Well, we better be on our way. Thanks. PETER Call me if there's anything you need for the boy. JOE Will do. Come on, Cal, let's go home. DISSOLVE TO: Winter. A month later. INT. JOE'S APARTMENT--NIGHT Outside the first snow has covered everything and the windows in the apartment have frost on them. Joe and Cal are both living in this dismal apartment with little resemblance to a home. There are dishes unwashed, and clothes thrown on the floor. Joe serves beans and salt pork. CAL When's mommy coming home? Joe puts his head down. JOE She left us Cal. Don't tell anyone. She's gone nuts an' it ain't my fault. (sudden change) Jesus, when I was your age, I was workin' steady. (abrupt change) If ya pulled your own weight Cal, mom wouldn't have left. Think of that! CAL She left 'cause of me? JOE That's right. You and this damned Depression. She couldn't be your mother and you had to be given away. CAL No. JOE Yea. An' she ain't comin' back. She's abandoned us. Cal stares at Joe. JOE Eat. INT. PHARMACY SHOP--DAY MR. DIPPLE an older, fat man, is talking to Cal. MR. DIPPLE Okay Cal, thanks for the deliveries. Here ya go. He hands him a quarter. Cal's eyes light up. CAL Thanks Mr. Dipple. My dad'll be happy when I show him this. MR. DIPPLE See ya tomorrow after school. Cal runs out of the shop and Mr. Dipple smiles. INT. JOE'S APARTMENT--NIGHT Cal is waiting for his father. He is sitting on a chair, sad. Joe enters seriously depressed, tired and drunk. CAL I'm hungry, Dad. Where ya been? JOE Lookin'. There ain't no work, there just ain't nothin' for me, Cal. I'm sorry, son. (sudden smile) Who's the King? CAL (hesitantly) You are. JOE (smiling) No... you are! (tries to laugh) We got somethin' in the ice box, don't we? CAL No. JOE Let me rest a minute and I'll get us somethin'. Joe staggers to the ice box and takes out a beer. He drinks. Cal watches him. CAL (with enthusiasm) I earned this for ya. He plops the quarter on the table. Joe stares at it for a long moment, his face filled with embarrassment. JOE Where'd ya get that? CAL Deliverin' for Mr. Dipple's store. JOE Don't lie to me! Who'd ya steal this from? Cal looks down. JOE Cal? CAL I didn't steal it. JOE I been lookin' for work for a year. You hear me, boy. A whole year! Today I walked my feet to the bone an' you hand me two bits? Damn it boy, I didn't teach ya to steal. CAL I didn't steal it I said! JOE Who ya think ya lyin' to, boy? Maybe I don't get respect in that whorehouse out there but... (pause) Look me in the eye..! CAL ...I want mommy back. You're mean. You made her go. JOE No I didn't. You did. We never had no problems before ya come along. CAL I earned it I said. JOE She loved me. She gave me you an' then... then this Godforsaken time hit us like a tornado, wiped everything out. I'm tryin' to make it work, Cal, can't ya see that? We're gonna return it--I don't need no more trouble. An' stealin' ain't our way. I'm askin' ya one last time. Joe grabs onto the boy. CAL Let go. Let go, you smell! He pulls away and runs to the door. Joe lunges and grabs him hard. Cal, instinctively turns and kicks and wildly slaps his father. In a sudden rage Joe grabs the boy and shakes him. JOE Don't you go hittin' on me! He throws him and Cal flies across the room landing hard on his right arm. He screams, and begins to wail in pain. Joe runs to him. JOE Stop that cryin'. Stop it I said! CAL My arm. Owwwwwwwwwwwwwwwwwwwww. JOE I didn't mean to throw ya so hard. But ya can't hit ya father. It's a sin. Ya hear me? Cal just cries on the floor holding his arm. Joe rises and looks down on him. POV. Cal lookin up at Joe from the floor. JOE Your only bruised for God's sake. Wha'd I got here, a sissy? Be a man about it-- learn to take a little pain. Life's hell. The sooner ya get used to it, the better off ya gonna be. I should know! The boy cries in pain and Joe disgusted picks up his beer and sits. Cal sits up, lip hanging to the floor, tears streaming from his eyes. CAL Daddy? My arm really hurts. Daddy? Joe in a drunken stupor grunts. CAL Please help me? Cal thinks, then rises holding his arm and runs to the door. He quickly opens it and runs out without a coat. Joe seeing this, tries to rise but falls back. Then he looks at the window, rises and staggers to it. He leans out and sees Cal running down the street holding his arm. JOE (drunk) Cal?! Cal you come back here! You run away, ya stay away! I'm not kiddin' boy! Cal?! You'll freeze! (to himself) Godamnit. He'll be back. Don't you worry none. He sighs deeply. Then he sits exhausted, and deeply fatigued. EXT. THE MOUNT SINAI GROUNDS--TWILIGHT There is no one around and it is dead quiet and very dark. Snow is everywhere and Cal runs into frame and stops, steam pouring out of his mouth as he tries to catch his breath. He looks up the long dirt road to the home and school. He is freezing, and in pain, doesn't know where to go for help. He sees Pete Corning's apartment and a light in the window and runs toward it. INT. THE CORNING'S APARTMENT--SAME TIME Margaret is holding Cal who is crying in her arms. MARGARET Peter? Come here quick! What happened, Cal? Peter enters, obviously still depressed and unenthused. CAL My daddy hurt me. Peter's eyes light up. He takes Cal's arm gently into his hands. As he moves it Cal screams in pain and Peter gently places it down again. PETER Get him to the car, I'll be right there. Margaret grabs a blanket, wraps Cal in it and takes him outside, Peter dials his phone. PETER Hello Sheriff, Pete Corning. Listen... INT. CORNING'S CAR--MOMENTS LATER Peter, Margaret and Cal are driving fast into town. Margaret has her arm around Cal who is in great pain. PETER When we get to the doctors, you take Cal inside. I have to see someone. MARGARET Okay. CAL Can I come back home? I'll be good, I promise. Please? Peter and Margaret look at one another. MARGARET Don't you worry now. Just rest. Everything will be all right. Cal rests his head on her and it helps to ease his moaning. INT. JOE'S APARTMENT--LATER The SHERIFF, a large man, Pete Corning and Joe are standing in Joe's apartment. Joe is obviously flustered and drunk. JOE He was sassin' me an then he hit his father. I threw him and he fell. I didn't mean to hurt him. No way! Pete's eyebrows raise. PETER He's just a boy. You hurt his arm badly--maybe broke it. A bit much, don't you think? JOE I don't need me a sermon, I tol' ya... I thought he was lyin' to me. Ya know how kids are? SHERIFF Joe, Mr. Corning here is taking the boy back to Mount Sinai for a spell. JOE No he ain't! He has to come home to me. Where is he? No answer. JOE Where is he I said? SHERIFF Now look, Joe... I'm givin' short-term custody to them. The boy's afraid of you. JOE No! I won't hear of it. No! (pause) Com' on now, it was an accident, that's all. PETER Let's go, Sheriff. JOE I want to see Cal. Where is he? Corning exits, and the Sheriff turns to Joe whose eyes are on fire. SHERIFF You can visit him at the home. You better get yourself a lawyer, Joe. I think they're gonna try 'nd get custody. JOE Custody?! Of my son? No way in Hell. SHERIFF They jus' might have themselves a case. JOE A case for what? Stealin' my family from me? This is Godamned ignorant. SHERIFF Get yerself a lawyer, Joe. JOE I can't afford no lawyer. SHERIFF The court'll appoint one then. See me in the mornin'. The sheriff leaves. Joe stands looking at the door. He runs to the window thrusting it open. The Sheriff and Corning are walking to the car. JOE Cal? You don't worry, boy. I'll have ya home in no time. No time at all! Cal looks up as he is gently urged into the police car. It drives off. A long moment of Joe looking at the car move down the street. INT. MAIN ROOM AT MOUNT SINAI--NIGHT It's a few days later. Cal is sitting in the main room alone and depressed. His arm is in a sling. In the adjoining room, several boys study quietly. Corning, on his way home, sees him and stops. Cal looks up at him, the amber light from the fireplace on his young face. Corning moves to him and kneels down, reaches out and touches the boy's shoulder. PETER I know it's hard for you, Cal. It takes time to adjust. I just want you to know that we all care a lot about you. CAL Thank you, sir. A sense of peace sweeps over Peter. We can see it in his face. PETER You come knock on my door if you need to anytime. Okay? Cal nods. Peter nods back and exits. Cal watches the fire burn in the fireplace. INT. CORNING'S APARTMENT--NIGHT Peter and Margaret are in bed. Peter is staring into space. MARGARET It wasn't your fault. You must stop blaming yourself. PETER Margaret, here... (points to his heart) ...emptiness. Nothingness. I want to feel something beautiful again. Not just go through the motions. That's all I'm doing. MARGARET You just need more time. He looks at her. PETER I'm very tired. I have to sleep now. He closes his eyes. Margaret keeps looking at him. MARGARET Peter, we both lost a son. Peter opens his eyes and takes her into his arms. She lays her head on his chest; her eyes wide open. DISSOLVE TO: Spring. INT. A COURTROOM--DAY Present are many of the Mount Sinai staff we've met: Joe, his appointed attorney, Cal with Pete and Margaret Corning on either side and their attorney who is speaking to the Judge. ATTORNEY Your honor, The Windle's originally brought their son Cal to Mount Sinai because they were unable to feed and care for him. Mr. Windle has testified that he's been out of work for over a year. Also, witnesses have established that he's got a drinking problem and that his wife left him in fear for her life. In addition, and most importantly, Mr. Windle badly dislocated his son's arm saying he was "disciplining" the boy. Keep in mind, the boy, without any other clothing, ran two miles out of obvious terror in the freezing snow to the Corning's and Mount Sinai for help. Well, they mean to give him that help. We request that the court grant legal guardianship to Mount Sinai and that supervised visiting rights be given to Mr. Windle. JUDGE I don't like to separate a family. God knows staying together is what family is supposed to be all about. But in all cases the child's well being is paramount. (slams gavel) Therefore, I hereby grant legal guardianship of Calvin Windle to Mount Sinai until the boy reaches maturity. Court dismissed. Joe jumps out of his seat, the guards move to him quickly. JOE Cal, I love ya, I'm sorry, I'll get ya back, I swear it! The court guards subdue him and Joe sits. Once quieted down, Joe just stares at Peter who briefly and uncomfortably returns his gaze. Cal momentarily looks at his father and exits with Corning, Margaret and the attorney. The rest of the courtroom empties and Joe is left there alone and bewildered. He sits with his head in his hands. SHERIFF Can I take ya home, Joe? Joe looks up, his face looking like a funeral and tries to speak. No words come from him as he slowly rises and walks to the door. He stops. JOE Sweet Jesus, all I ever wanted was a family. SHERIFF I'm sorry, Joe. Joe turns, eyes full of tears, mouth gripped tightly, and exits. Sam, the Sheriff, watches. His eyes are watery, too. The courthouse stands tall behind him, in his uniform. He puts on his hat and exits. INT. BAR IN TOWN--THAT NIGHT Joe is drinking at the bar. A few men, awnry and obnoxious are looking at him and laughing. MAN 1 Well those nice folk went an' beat yaw ass, now didn't they? MAN 2 Kicked it silly. (cracks up) JOE I'd stop there, Mel. MAN 1 Oh... gettin' angry? Jus' cause he can't keep a woman in the house and his own son from... Joe leaps across the bar and grabs MAN 1. They tumble to the floor. The other men gather round cheering and laughing in their drunken stupor. Joe ends up grabbing the man by his neck, his face filled with rage. JOE I LOVE M' BOY AN' IT AIN'T MY FAULT. NOW YOU SHUT UP! MAN 3 (IN THE CROWD) LET HIM GO NOW YA'LL KILL 'IM! JOE Apologize to me! To them! MAN 1 (choking) I'm sorry, Joe... I was jus' sassin' ya... That's all... I'm sorry... The men have pulled Joe off who pulls away from them. His mouth is almost foaming and although drunk, his anger makes him appear sober. JOE You Sons of Bitches. Don't you ever talk about m' boy an' his maw like that again or I'll kill ya one by one. You hear me? I'll kill ya. There is dead silence. The men just look at him and Joe turns and walks out. INT. CORNING'S OFFICE--DAY Margaret and Peter are there with Cal. It is unusually quiet. CAL He was hurtin'. I never saw my dad hurtin' like that. MARGARET All people can hurt. What they need is to cry because that helps the hurt get smaller and sometimes even go away. But some just won't let themselves. They don't know how. Peter looks at her, she glances up at him. MARGARET You know what I think, Cal? CAL What? MARGARET (looking at Peter) I think it's easy not to cry. I think men like to pretend they're tough. So they hold it all inside. And you know what happens when they do that? They explode. Inside. And they become hard and cold on the outside to protect all the tears on the inside. Peter puts his head down. MARGARET Anyone can hold their feelings in. It's expressing them that is really hard. It takes courage for a real man to let himself cry. Peter is on the verge of tears. He moves to exit. MARGARET And do it in front of other people. Cal is almost going to cry, Peter stops abruptly. PETER What do you want me to do, Margaret? Wail in front of the boy? MARGARET Yes. Cal looks at Peter who has a tear moving down his face. They both try to be tough and then Cal begins to cry. Then it grows and Peter's eyes well up with tears. MARGARET That's it. That's what I like to see. Men! Brave, courageous men! Peter sobs from his gut. Cal follows. MARGARET Braving the battlefront. Forging new ground, defeating the enemy-- that's the ticket! Cry men! Cry! They continue to cry. CAL (to Margaret) Why ain't you cryin'? MARGARET (laughing false) Me? Oh, me. Well... I don't have anything to really... She breaks down completely sobbing. All three are crying which quickly turns into laughter. Corning can't stop laughing and Cal runs to him and hugs him. Peter hugs him back and Margaret smiling, joins them. The three of them stand in the middle of the room in a huddle/hug. INT. JOE'S APARTMENT--NIGHT It's a mess, everything is astray. Joe is laying on his bed, grumbling to himself, drunk out of his mind. There is about a quarter of a bottle of scotch on the night stand next to the bed. He sits up, but can't hold himself up. He falls back down onto his back unconscious. DISSOLVE TO: Summer. A beautiful day. EXT. HAYFIELD--DAY Pete Corning and a group of boys, including Cal and Howie are there with a truck and tractor. PETER Haying requires great teamwork and precision. We have two days to flip it over twice, lettin' her dry solid, put it in windrows, then pass it through the bailer. If it rains, we lose the crop--forty acres of it, and the animals go hungry. We lose money from our sales that we need to feed your bellies, too. So, we can't waste time. Let's go. When we're done, Cal, be sure to get a crew an' tarp what we don't get up. CAL Got it, sir. MONTAGE: Over three days time: Day one: The boys help as the tractor cuts the hay. Other kids and matrons watch from the distance. It is grueling work filled with tension. Day two: The Teter picks it up and flips it over. Boys are on the truck following and watching. The boys are exhausted. Day three: A tractor separates it into windrows. The bailer sucks it up and spits it out in large squares. The boys haul them onto the truck and stack them neatly. They wipe their brows. Women bring water and the men and boys, sweating profusely, drink hard. EXT. THE BARN--TWILIGHT The boys are stacking the last of the bails. PETER (tired) A job well done. (to Cal) Did a great job, son. CAL (tired) Thanks. PETER Thank you. Boys? There's a big dinner waiting for you back at the house. Let's go. The boys yell happily and dodge for the house. HOWIE Last one there's a rotten egg. The race is on. Peter wobbles towards the house holding his back. Cal stops and sees him. CAL Come on, Mr. Corning. PETER My back. Cal runs to him. CAL Are you okay? PETER I need some help. Lend me a hand? Peter takes Cal by the hand and they walk back to the house together. There is a smile on Peter's face. The other boys are already inside. Smoke escapes a chimney from the house. DISSOLVE TO: The Summer leaves turn into a bright palette of colors and the leaves fall. Slowly, the landscape turns into Winter, snow covering everything making it look immaculately clean. Two horses pull a sled-drawn cart full of supplies up the Mount Sinai road, many people wait for it; some even cheer. The driver of the sled, a large, fat man, is smiling boldly and waving to the awaiting Mount Sinai family of men, women and children. EXT. MAIN STREET IN TOWN--LATE AFTERNOON It is Christmas time and there are people hurrying about the busy streets. We hear Christmas Carols sung in the background. The snow covers everything and makes the roads, treetops, and houses seem heavenly. Cal and Howie, now best friends, are walking through town. HOWIE I'm gonna buy Mr. Corning a present over there. CAL I'm goin' to that shop there. Let's meet back here. HOWIE 'K. Cal begins walking and sees a beautiful Christmas tree in the window of a home. He peeks inside to see the tree and standing by it is a small blond girl about 10-years old with a pretty face. She turns and catches him looking in. They both stare at one another and smile. CALVIN (V.O.) At that moment, I realized I never had a family with my parents. And I felt that inside me when I saw the beautiful girl--she looked just like the angel on top of the Christmas tree. Suddenly, we see Calvin, with Justin, there in 1931, standing in the street looking at the window from the present and watching his past unfold before him. CALVIN Looking in that window I saw there was such a thing as a real family and a home. I knew that's want I wanted. JUSTIN Who's the little girl? CALVIN (pause) Your grandmother. It was at that very moment I realized I loved her. Justin looks up surprised. He is looking at his grandmother in the window who is the same age as he is. CALVIN (small laugh) They called it puppy love, but it grew into a Great Dane and stayed with me all my life. (sadly, to himself) She's gone now. The little girl is looking at Cal through the window and they smile again at each other. She waves and he waves back. Cal's face is lit by the warm light of the Christmas scene, his hands on the pane of window with snow cresting the edges of the sill. Calvin and Justin are standing behind him watching the scene. Suddenly into this pristine and beautiful moment a large dirty hand THRUSTS INTO FRAME and grabs the boy! It's Joe, drunk-- frustration and alcohol making him look mean and ugly. Cal is terrified as Joe drags him along the snow-laden street and Cal desperately tries to pull away. As this is happening, Howie exits the shop with a package under his arm and sees the struggle. Joe and Cal move out of sight and Howie runs back to Mount Sinai as fast as he can. INT. JOE'S APARTMENT--NIGHT The apartment is a filthy mess. Cal is sitting in an armless old chair afraid to run away. Joe is walking around him, almost in a circle, while talking. JOE (still drunk) I'm lonely without ya. Ya shouldn't have left me. I feel like a wild animal without my family. Like I'm nothin' but some hog tryin' to survive in a slaughterhouse. No man should feel that way--ya hear me? I'm like this 'cause o' you. CAL I wanna go home. Joe stops dead. CAL I don't wanna stay here. My friends are... JOE ...Why are ya tryin' to hurt me like that? Huh? This is your home, Cal. Don't let them fool you. Don't ya remember ya maw and me? Sittin' 'round the table, eatin' together? This is ya home, right here. I know it ain't much, no farm, no brothers an' the like... but see... CAL Where's mommy? Pause. JOE I... I don't know. I tried to find her, no one'll talk to me. CAL 'Cause she ran away from ya. JOE That ain't true! Take that back! CAL I'm sorry, don't get mad. Pause. Joe's angry face grows into a loving smile. JOE I ain't mad at ya. Jeez, I'm so glad to have ya here with me. I'm sorry I threw ya like that, Cal. I lost my temper. We all do that from time to time. Right? CAL I guess... I hit Mr. Corning once! JOE Ya did? CAL Smacked him right across his face. CAL No kiddin'. Corning, huh? Well... well Cal, see... that ain't right neither... Even if it is Cornin'. But... (smiles) Ya hungry? Cal becomes increasingly confused and just watches his father. Joe begins to rummage through empty cupboards almost violently. JOE Ya gotta eat, you're a growin' boy. Stay there, I'll be right back. Ya hear what I said? CAL Yeah. He exits. The 8-year old Cal sits on the chair, looks at the door and doesn't know what to do. He starts to cry. Time passes. Then, Peter and the Sheriff burst into the apartment. Cal is still frozen in the chair, terrified. Joe is still out. PETER My God, this place... Cal, Come with us. Cal? Cal just sits on the bed. CAL I have to stay and wait for my father--he said so. PETER No you don't. Your father can't take you away from us like this. Cal, do you understand what I'm saying? Cal continually stares at nothingness before him not knowing what to do. Peter and the Sheriff look at each other. CAL (whispers, hesitantly) Please don't leave me. I'm afraid of my daddy. Joe is heard pounding up the staircase. He enters with a bag under his arm and stops. They look at one another. JOE Now you two listen to me! Sons belong with their fathers, 'specially at Christmas. SHERIFF (blocks Joe from going to Cal) He's your blood sure enough, no one's arguin' about that, Joe. But the courts give 'im to Mount Sinai for now, and that's just the way it is. Ya can visit but ya can't take the boy away. Next time, I'll have to lock ya up. PETER I'm sorry, Mr. Windle. JOE The hell ya are! What's a man gotta do ta keep his family together? PETER You have to think of Cal, not yourself. Right now it's for the best. JOE The hell it is! All you perfect people think ya always know better than anyone else-- 'specially poor folk like me. If I was rich this wouldn't be happenin'--you can bet ya life on that... I won't let ya steal 'im right out from under me--I don't care what anyone says about that, even the courts an' judges and sheriffs and the rest of ya! The Sheriff and Corning purposely ignore Joe and gently escort the boy, with his eyes cast down, out of the apartment. Joe is alone in the dirty, unkempt room. Nothing but dead silence. We see Kate's photo on a table in the shadows. Quietly furious, Joe sits down, pulls out a bottle from his pocket and drinks staring at the empty chair Cal was sitting in. Abruptly he throws his booze across the room and the bottle smashes. Outside his window, we see the blinking Christmas lights on the top of a scraggly tree. INT. MAIN SCHOOL BUILDING, MOUNT SINAI--TWILIGHT, ALMOST NIGHT CU ON A HAND PULLING AT A DOOR KNOB. Then the door is kicked open with a thunderous boom. We see Joe bursting into Peter Corning's office, huffing and snaps on the lights. He is wearing the same dirty clothes. The room is empty. Alone in the office, Joe scrutinizes Corning's walls of books, diplomas in frames and photographs of family, friends and children. Standing in the middle of all this, Joe starts sweating as rage and confusion overtake him. He hates Corning more because of his success. In the stillness, he hears singing in the distance and follows the sound of the young voices. Coming to the double doors of the gymnasium, he bursts into the bright Christmas celebration. The room is filled with children, staff members including Mrs. Walker, Ernie, Mrs. Sullivan and others. There is a large Christmastree and hand- made decorations hanging throughout the room. Not expecting this, Joe is stunned and everything stops. There's a dead silence as all eyes are on him, especially Cal who is deeply embarrassed by his father's untimely entrance. JOE (to Cal, firmly) Come with me. CAL I don't wanna. (turns away) Joe glares at Corning, then turns back to Cal again. JOE I said come home with me. CAL I am home! Cal runs to Peter Corning and grabs onto his leg. Corning and Cal look at Joe who doesn't know what to do next--he just stands there sweating and confused. Everyone is frightened. Joe, deeply embarrassed, now totally intimidated by the situation, abruptly turns and walks off through the door defeated, the door closing slowly as he leaves. The atmosphere is chilling. One small face after another is seen in silent, revealing, gentle close-ups--remembering their own family problems. INT. HALLWAY--SAME TIME Joe walks down the hall away from the stillness. Suddenly, singing is heard again. Joe abruptly stops at the front door with his face in great agony. The singing continues in the distance. He opens the doors and walks into the dark night. DISSOLVE TO: Spring. INT. CORNING'S OFFICE--EARLY MORNING Peter is sitting with his head on the desk asleep. Margaret enters with coffee and a sweet roll. MARGARET Sweetheart? PETER Oh. Morning. Fell asleep here again, did I? MARGARET Yes you did. Here you are. She hands him his breakfast. PETER Thank you. She sits and is deeply concerned about something. MARGARET The faculty has asked me to inquire... PETER ...Funds are almost dried up. Mount Sinai is in deep trouble. We have enough to get us through to the end of the year with our bare needs, but I might have to lay off several teachers. (stops eating) MARGARET Can we cut back their salaries, for a time? Increase Fundraising efforts? PETER I spent all day and night trying to figure out a plan and you know what I've discovered? There isn't one. Not in this Depression. Margaret, it boils my gut to think that we're living in America, and I might have to set lose a group of children back to homes that beat them, ignore them, send them off to someone else. MARGARET What are we to do? I can't tell them they're going to lose their jobs. They love their work. The children need them. They look at one anther. Pause. PETER (hesitantly) I have some money, Margaret. We could use it to save Mount Sinai. MARGARET It's our life's savings. PETER Right. Savings... for life! Nice little motto there. (chuckles) MARGARET I don't know... PETER ...It would carry the teachers salaries for maybe six months, and in the meantime we are going to make this place move into overtime on every front. I'm not going to let Mount Sinai die, and I'm not going to stand by and listen to myself feel sorry for me anymore. MARGARET Lovely speech, Mr. Corning. PETER Thank you, Mrs. Corning. A toast. They hold up their coffee cups. PETER To a new future in spite of all this stupidity. Even my own. Now, let's get this place moving! MONTAGE: 1) In each scene, criss-crossing activity occurs; people walking past one another in a frenetic pattern. One image blends into another: 2) Women in the main offices on the phone trying to raise money. 3) Women walking in town going to homes talking to people. Some give a donation. 4) The boys are up early doing chores on the farm. They clean, feed and wash the animals. 5) Peter working on the books. 6) Peter meeting with officials. He seems nervous and a bit pushy. 7) Margaret works with the kids making posters. 8) Kids in class raising their hands eagerly to answer a question. Peter, picks one child to answer. 9) Peter, in his office alone, rubbing his brow. His eyes reveal intense anxiety. INT. LUMBER YARD OFFICE--DAY Joe, a bit weaker, sits across from MR. JACOBS, the owner of the lumber yard who is as tough and weathered as an old piece of pine. MR. JACOBS Joe, we all know ya got yaself a drinkin' problem. An' this here... incident with ya family... JOE ...No see there, Sir... that's a mistake... MR. JACOBS It is? JOE Yes sir. I'll work hard for ya. See... I need this here job so that I can bring my family back together. I need this job. I'll work hard. Gimme a chance, Sir. Please? MR. JACOBS Ya got a good back? JOE (lying) Yes, sir. Pause. MR. JACOBS Don't pay much. Joe doesn't care. He stares at Mr. Jacobs. MR. JACOBS OK, Joe. I'll give ya a chance. But be clear about this... if I catch ya drinkin' on the job... that's it. Understood? JOE No problem, sir. No problem whatsoever. Abruptly, Joe jumps out of his seat ecstatically and grabs Mr. Jacob's hand who laughs with Joe. JOE Thank ya, Mr. Jacobs. Ya don't know how much this means to me. Thank ya, sir, ya won't be sorry. Thank ya. Thank ya... Joe bursts out of the room saying "thank ya, thank ya". Mr. Jacobs continues laughing from Joe's excitement. INT. JOE'S APARTMENT--NIGHT Joe is writing a letter to Kate. WE SEE the letter... and hear Joe speak as he slowly writes with difficulty due to his lack of education. He spells out each word. JOE "I have a job. I need you to come back. We can get Cal back now. Please... come back, Katie.... DISSOLVE TO: Summer. EXT. THE APPLE ORCHARD, MOUNT SINAI--DAY Cal, now ten, is helping Howie and other kids put apples from a truck into boxes. In the distance, a truck driven by Ernie and full of apples passes by. Some kids roll a wheelbarrow full of apples up to Cal and Howie and dump them in the already large pile. Suddenly "Cal's girl" is there. She stops surprised, as does Cal and they wave. And she's gone. HOWIE You like her? CAL Who me? Nah. She's a girl. HOWIE I know. Pee-u. CAL You said it. He looks off in the direction where the little girl was just standing. HOWIE Whatya lookin' for? She's gone. CAL I thought I heard her cryin', that's all. Leave me alone. HOWIE Cal and Bessie sittin' in a tree, K. I. S. S. I... With that Cal jumps on Howie, and they "play wrestle" on top of the large pile of apples that go flying and then rolling in every direction--some filled boxes tumbling to the floor. When they're done, some of the apples are squashed. HOWIE (seeing the squashed apples) Oh no! Mr. Corning's gonna kill us! They move to clean the apples and Cal slips on one and falls on his butt. Howie laughs. Cal rises, slips again as he tries to run and the chase begins. We follow them through the barn to the other side and they run smack in front of Bessie who just stares at them both. They stand there in a triangle looking at each other awkwardly. BESSIE I came to help with the "appleing". My mother told me to. CAL (desperate to talk to her) We don't talk to girls, right, How? HOWIE (desperate to talk to her) That's right. Scram woman. BESSIE Meanies. She walks off. CAL You like her, I saw it! HOWIE No sirrie Bob! You like her! You're always looking for her. CAL Do not. HOWIE Do so. CAL Ya gettin' me mad, Howie. HOWIE So? Wanna make somethin' of it? CAL Yeah. HOWIE Come on! Cal moves to tackle Howie who runs and Cal chases him. We follow them running at full speed through the weeds to the pond, and around the farm into a high grassy area. CAL (as he chases Howie) I'll kill ya. I don't like her ya hear me, I said I don't like her! HOWIE Cal's in love Cal's in love! Mushy Cal, mush mush mush! CAL When I get ya I'm gonna give ya the beatin' of ya life! HOWIE Sissy's can't catch men! Cal dives and knocks Howie down and starts slapping him. Howie cries for help, and then they stop. After they catch their breath they look at each other and horror crosses their faces. CAL We both like her, don't we? HOWIE She's beautiful. CAL I liked her first. HOWIE No ya didn't. I was here first. CAL I told you about her. HOWIE Did not. CAL Did so! CAL AND HOWIE She's mine! CAL She likes me, she never looks at you. HOWIE She's always lookin' at me. CAL Yeah, 'cause she can't believe how ugly you are! HOWIE That's it, that's it! They start wrestling for real in the high grasses. Peter is walking by with a bunch of papers in his hands and sees the high grass moving violently. He hears grunts and groans, and walks quickly to the spot. There he sees the two boys trying to beat each other with wrestling moves. Cal sees him, so does Howie, they freeze. PETER I thought there was to be no more fighting? CAL AND HOWIE He started it! PETER What are you fighting about this time? The two boys look at the other. CAL A girl. Pete's eyebrows raise up. After a long thoughtful pause. PETER Just wrestling? No punching? CAL Promise. HOWIE No punching. PETER Now you won't really hurt one another? HOWIE Not a scratch. We jus' wanna kill each other. CAL Winner gets the girl. HOWIE Right. Winner gets Bessie, an' then we won't fight no more. PETER (to himself) It's begun. (to them) Resume the struggle and if you say anything to Mrs. Corning, I'll deny it. When you're done, both get back to work. CAL AND HOWIE Thanks, Mr. C. PETER Don't mention it. Peter walks off smiling and the two boys begin "killing" each other. As Peter walks off, the grass behind him continues to move violently from the boys, and he looks up. In the distance, grass almost up to his chest, stands Joe. Peter stops and the two men look at one another. JOE (yelling from a distance) I need to talk to ya, Mr. Corning. Joe moves to him, excited, wading through the tall grasses. JOE I got me a note here... He hands it to Peter who reads it. JOE Proof I have me a good job. For several months now. I'm clean. Haven't had a drop in seven months--not a drop. My wife's comin' home. She's in Ireland with her folks but she wrote me that she's got a bit of a cold right now but soon as that clears up, she'll be on her way back home. Ain't that great?! I want Cal back. That's the bottom line here. We both do. PETER Well... this is... just great. Really, Joe. That's terrific. I'm... JOE ...How do we get him back--I know there's legalities involved. I want to start today. Right now! Long pause as Peter just stares at Joe. JOE Somethin' wrong? PETER No... No... Joe notices the grasses moving and hears the boys. Peter turns and they both look. PETER That's Cal and his friend Howie. They're playfighting. JOE Oh... over what? PETER A girl. Bessie. JOE Yea? Cal's got himself a woman? PETER Fightin' for one. JOE Bessie, huh? Ain't that somethin'. Suddenly Howie pops up, sees the two men and tells Cal who pops up, too. JOE With that... boy there? PETER Howie. His best friend. JOE Yea? Howie, huh? Nice fella even though he's a black boy? PETER Lovely child. JOE Then that's a good thing. Never much took to this here hatred of other people just because of their color. Stupid really when ya think about it. HI THERE HOWIE? CAL? The two boys run off. Joe stands hurt, but smiles. JOE It'll take a little time. Readjustin' an all... Boy's been split apart from his real folk. PETER Joe... these things aren't easily reversible. JOE Whaddya talkin' about. He's my son. I'm okay now. PETER Why don't you come and have dinner here tonight. With the boys. See what we're doin' for Cal. See how he takes to ya. be a first step. Pause. Joe is angry but subdues it. JOE All right. What time? PETER Five. Joe turns to leave. Stops. JOE You have a boy, Mr. Corning? PETER (pause) No. JOE That why ya want my boy? PETER I wouldn't return a boy to his home if that home were able to take care of him. Because, Mr. Windle, I love them all. JOE I'm doin' all I can to make things right... all that I can. What more do you want? PETER Cal's really doing well, Joe. One of our best students. He's come a long way. Come see for yourself. Let's take this one step at a time. JOE Five, then. PETER And be proud you've done so well, too! He shakes his hand, turns and leaves. Peter watches him. INT. MESS HALL--NIGHT Joe, Peter, Margaret, Grouchy, Ernie and several boys including Cal, Howie and others sit around a large table. There is food on the table and everyone is serving themselves. It is anything but a feast, as food is hard to come by. The boys heads are down, avoiding Joe, and Cal is embarrassed. Joe is dressed in a worn suit. His hair is a bit disheveled. Joe takes two carrots and holds them round end up as if they were two puppets. He makes voices as they talk. JOE (funny voice) So... do you like to have to dress up 'n' eat dinner 'n a basement? (another voice) No. But the Corning's make us. A few younger children begin to giggle but try to stop themselves. JOE (another funny voice) Make us sit up straight, wear bibs, Yuk. (another voice) Let's jus' dig in with our fingers... We're kids!!! MARGARET (almost giggling) Now, Mr. Windle, please... JOE (first funny voice) ...Ok, now that's enough you two. Be polite. Be Nice. Be "perfect little people". Joe smacks himself in the head with one carrot. JOE (second funny voice) Aw shush up you! Be nice! The boys are laughing, except Cal. Margaret clears her throat and the boys put their heads down. They like Joe now, but feel obligated to dislike him. JOE (first funny voice) Oh Yeah! I'll show you who'll shush up! Joe bits the carrot that hit him in the head in two. The boys laugh again. Joe rises and goes to the first boy. JOE (himself) And what's your name? BILLY Billy. JOE Fine boy. Fine. Look at that scruff of hair on his head, never seen anything so thick in my life--like a golden crop! An' this here's... Howie, right? HOWIE Yeah. JOE Aw, now come on. I'm not all that bad! Ticklish? HOWIE No. Joe tickles him and Howie goes bizerk with laughter. Peter and Margaret sit stiffly, but want to laugh. Grouchy acts the spinster, but can't control the sides of her mouth that want to smile. Ernie is laughing loudly, Margaret gives him a look and his face goes dead. Cal laughs too, but he's determined to hate his father "no matter what". JOE (to Cal) And who's this handsome young man? Cal won't answer. JOE Looks a bit like a fine fellow I once knew. Had a bit of a problem once, but that's all over now. He's got a home. And his wife's comin' back... MARGARET ...Please, Mr. Windle. This isn't the time or... JOE ...When is, mam? This is a celebration... The reuniting of a family--isn't that what you want? PETER Why don't we all say grace and eat this fine, God-given dinner. Cal, you can say grace. Cal hasn't taken his eyes off his father. CAL Mom's comin' home? JOE Sure is. In a few months or so. They look at one another. PETER Well then, Howie, you say grace. Mr. Windle, please take your seat. The boys have a strict schedule. JOE I see that! And strict parents, too. Long pause as Joe looks at him. Cal doesn't know what to say. Joe sits. INT. CORNING'S APARTMENT--DAY Peter and Margaret are having a heated debate. MARGARET I never see you, Peter. You're in that office with the door locked every day and every night. It was a good idea to get things moving but you don't manage our time well. PETER What am I supposed to do, let the place fall into the hands of this Depression? I have to work. MARGARET You're doing it again and I'm worried. PETER This is different. Look at the Windle situation. He wants his son back. He might have made some headway but that doesn't convince me he's fit... MARGARET ...I'm not talking about him, or Cal, Peter. PETER This time, I'm doing it for them, not myself. I've seen these alcoholics clean up for a while and then end up right back on the bottle! That's one case, Margaret... MARGARET ...I'm not talking about the Windles, Peter. Peter looks at her still upset about Cal. MARGARET You're working too much and I'm scared you'll get sick. You're all I have left. Peter stops. His face drops. He opens his arms to her and she falls into them for a deep hug. MARGARET I wanted Mount Sinai to help us heal, not get us back into the mad pace that... She stops herself. Peter's face winces with pain. PETER I can't let them down. And I can't let you down, either. They hold each other. EXT. A FIELD NEAR MOUNT SINAI--DAY It is a gorgeous day and there are flowers in bloom washed across open fields. Cal, Howie and a few other boys are out in a cart drawn by Ben the horse. Suddenly Ben begins to get restless and jerks the carriage forward into a bees' nest. The bees swarm out and Cal and his friends run, the bees following Cal who dives into a lake. INT. NURSES OFFICE--DAY MISS LARSON, a pretty woman and also the nurse, is removing bee stings from Cal's face. He screams as each one is pulled, and his friends outside laugh as he does. EXT. HALL OUTSIDE NURSES OFFICE--MOMENTS LATER Cal exits with ten Band-Aids on his face. Howie looks at him and almost laughs but Cal gives him a look and Howie picks up the message. They walk down the hall. CAL (as in a movie seen last week) "It makes no difference, sir, that I am mortally wounded, I'm here at my Post." HOWIE Com' on--where'd ya get that from, Erol Flynn? CAL (pause) Yeah. HOWIE Bad impersonation. CAL How'd ya know? HOWIE Jus' remembered the lines. CAL My dad used to do impersonations all the time... (pause) I'm goin' home, Howie. My mom's coming back. HOWIE When's that? CAL We don't know. She's sick in Ireland. But soon. Hey, maybe you could come with me! (smiles boldly) Owww... My face is killin' me, Howie. HOWIE It's about time. It's been killin' me since I met ya. CAL You gonna be in vaudeville when you grow up? HOWIE Nope. A pilot, or a fireman, somethin' with adventure. Forget about me comin' home with you, Cal. No white family'll take in a colored boy. CAL Mine would. My mom's Irish. It's the same thing! Cal stops and sits on a staircase. CAL (serious) Why are you here? Howie sits next to Cal on a staircase. HOWIE My father's in prison. CAL For what? Pause. HOWIE Promise on your life an' cross your heart you won't tell anyone? CAL Promise. Pause. HOWIE He killed my mother. Howie puts his head down. Suddenly Grouchy is walking past them. She sees them. GROUCHY Don't forget floor scrubbing duties at two. Kitchen duty at four. CAL AND HOWIE Yes, mam. She passes. HOWIE (regarding his parents) An' you thought you had troubles with your folks. Cal looks at Howie who won't look up. Then he puts his arm around Howie. CAL It's gonna be okay. We got each other, right? HOWIE An' I got Bessie. CAL (rising) Rematch? HOWIE (rising) No way. We watch them walking down the hall from behind. HOWIE We gotta start plannin' for our future, Cal. We're ten! CAL I know. HOWIE Or else we'll end up like Grouchy. They both stop walking and look at the other in stupefied horror. CAL Well I'll have to find myself a wife somewhere else, is all. An' quick. I don't wanna be a widow before I'm even married. HOWIE I know. I feel bad now--you could end up with a puss like Grouchy. But better you than me. CAL Thanks. HOWIE I'll help ya look around. I can spot 'em a mile a way. CAL Really? HOWIE I got an' eye for girls. CAL Thanks, How. HOWIE Welcome, Cal. They walk down the long hallway, arms around each other's shoulders and exit outside. DISSOLVE TO: Fall. Leaves die and fall to the ground, one by one. INT. CORNING'S OFFICE--LATE AFTERNOON Mr. Corning, Margaret, Joe, disheveled and Cal are there. A hue of low light spills gracefully in through the window. JOE Cal... Like I tol' ya... Ma an' me... we was gettin' back together. Cal looks up at him. JOE She was comin' back. She wrote me. Here... you wanna read the note? Cal looks away. JOE (reading with difficulty) Says here... "I love Cal with all m' heart and soul. I think about him, everyday, every minute, every second. I need to see him." CAL ...Why's everyone look so sad if mom's comin' home? JOE We was gonna get you back... We was gonna try, anyways. There's legalities an' the like but... There is dead silence. Cal just looks at Peter who looks at Joe. Peter has to take over as Joe seems about to burst into tears. He can't bring himself to say it. PETER She passed away Cal. Of pneumonia. It was sudden. Cal looks at him blankly. Long Pause. CAL I forgot about her, anyway. Margaret stands by Cal. CAL I don't even remember her. (he tries to subdue his tears, emotions grow) She ran away. So what? MARGARET Cal, it's all right. Remember? Cal bursts into tears and hides his face. Peter and Margaret move to his side and comfort him. Joe stands to hug his son. JOE She loved ya, boy... CAL Nobody loves me! Nobody! MARGARET That's not true. JOE I love ya... He runs out of the room. JOE Cal? Cal? He moves to follow but Margaret stops him gently. MARGARET Let us handle this! JOE No. Peter runs after him. MARGARET Mr. Windle... he's... accustomed to Peter and I helping him when he's upset. Please? JOE Lawyer tol' me gettin' Cal back depended on his ma comin' home. I wanna say good-bye, proper. He walks out very sadly. Margaret sits and reads the note, she is devastated. ----------------------------------------------------- TO READ THE REST OF THIS PLAY CONTACT THE PLAYWRIGHT CONTACT INFORMATION IS AT THE TOP OF THIS PAGE. I used to have the full text on the site but too many people used them without paying fair royalties etc. MS Word Fully Formatted version of this play is available for production after payment for scripts and royalties are made. Student Productions can purchase the script.