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I had a number of scripts optioned in Hollywood before I launched my own production company with YOU ARE HERE. Some of those copyrighted scripts are still available. Their loglines below are connected to samples from each, for your perusal.
Only the first one, RISE IN PEACE, is in development at present, this time through our own production unit, though we will entertain co-producers who can bring some casting, distribution or other options to the table. When we have sewn all that up we will close the window here with the news of current status on production.
Do please contact us here if you would like to discuss or see one of the scripts and we will make contractual arrangements with you to get that done.
At the bottom, I have provided a list of the script pitches for screenplays being polished and finalized this year, along with a couple that will be re-done soon.
RISE IN PEACE
Social comedy.
A smart-ass son of a black sharecropper, pursued by whites, runs like he always has and escapes through the underground railroad - out of l876 into his transformed, 21st century hometown. Though he wants to go home, it’s time to make a stand and rise in peace to straighten out history, by honoring his mother’s word and rescuing his family’s – and the country’s -heritage.
OBSESSIVE DIVINE
Romantic comedy
An odd romantic triangle results when William, a big-hearted social misfit prone to criticizing his morally-bankrupt fellow citizens, construes a chance encounter with a suicidal woman as ordained, when she mistakes him for her angel. Now he gets to run somebody’s life, if he finally faces his own: coaching dysfunctional mortals doesn’t necessarily erase your own personal shortcomings.
THE MATTER WITH THEM
A realistic contemporary drama.
A new staff set up for abusing an incarcerated kid at an institution chooses to risk everything to expose and conquer the juvenile accuser, who is either lying, delusional, or sociopathic. To find out, the young staff - who has his own demons - will have to drop his ego and learn saving souls requires that you don’t lose yours in the process.
THE SWITCHING HOUR
An action/adventure.
A media-darling cop who has never been tested may have to compromise his strict principles, violate regulations, and use a gun for the first time. If he agrees to conspiracy and murder, his family lives; if he remains a good cop, they die.
HONORING THE BREACH
Courtroom drama based on actual events.
An inexperienced criminal defense attorney, his life shattered by a ruling, will twenty years later appeal his former client’s unjust sentence before the same corrupt court...which he can only do by incriminating himself.
AFTERIMAGE
Thriller.
He saves people for a living, and collects rare momentos of the idealized past - so when he is the first to arrive at the grisly airliner crash scene, he loots the dead. From then on, his life unravels: the authorities want to know why and the strangers may want what he found...or his life? And it’s Halloween - for Freemasons, goblins and terrorists.
Pitches for films finished and being polished now
Only the first one, RISE IN PEACE, is in development at present, this time through our own production unit, though we will entertain co-producers who can bring some casting, distribution or other options to the table. When we have sewn all that up we will close the window here with the news of current status on production.
Do please contact us here if you would like to discuss or see one of the scripts and we will make contractual arrangements with you to get that done.
At the bottom, I have provided a list of the script pitches for screenplays being polished and finalized this year, along with a couple that will be re-done soon.
RISE IN PEACE
Social comedy.
A smart-ass son of a black sharecropper, pursued by whites, runs like he always has and escapes through the underground railroad - out of l876 into his transformed, 21st century hometown. Though he wants to go home, it’s time to make a stand and rise in peace to straighten out history, by honoring his mother’s word and rescuing his family’s – and the country’s -heritage.
OBSESSIVE DIVINE
Romantic comedy
An odd romantic triangle results when William, a big-hearted social misfit prone to criticizing his morally-bankrupt fellow citizens, construes a chance encounter with a suicidal woman as ordained, when she mistakes him for her angel. Now he gets to run somebody’s life, if he finally faces his own: coaching dysfunctional mortals doesn’t necessarily erase your own personal shortcomings.
THE MATTER WITH THEM
A realistic contemporary drama.
A new staff set up for abusing an incarcerated kid at an institution chooses to risk everything to expose and conquer the juvenile accuser, who is either lying, delusional, or sociopathic. To find out, the young staff - who has his own demons - will have to drop his ego and learn saving souls requires that you don’t lose yours in the process.
THE SWITCHING HOUR
An action/adventure.
A media-darling cop who has never been tested may have to compromise his strict principles, violate regulations, and use a gun for the first time. If he agrees to conspiracy and murder, his family lives; if he remains a good cop, they die.
HONORING THE BREACH
Courtroom drama based on actual events.
An inexperienced criminal defense attorney, his life shattered by a ruling, will twenty years later appeal his former client’s unjust sentence before the same corrupt court...which he can only do by incriminating himself.
AFTERIMAGE
Thriller.
He saves people for a living, and collects rare momentos of the idealized past - so when he is the first to arrive at the grisly airliner crash scene, he loots the dead. From then on, his life unravels: the authorities want to know why and the strangers may want what he found...or his life? And it’s Halloween - for Freemasons, goblins and terrorists.
Pitches for films finished and being polished now
HOTEL COLTER PORCH
A black man is shoved out the door by the hotel manager.
BLACK MAN
I's free to eat where I wants! I’m a land-owning citizen, by God!
Sees men on the porch, reconsiders; he steps into the street.
Spin watches this, angry. Notices the general store nearby.
INT. GENERAL STORE
Spin and Bay Boy pick through a litter of white towels on shelves. The white female owner approaches, disapproving.
Bay Boy cowls, then takes his hands off. Spin politely hands it to her, all confidence, and reaches out with some coins.
EXT. ALLEY
Both emerge from the alley at the street. People, carts pass.
SPIN
Give me your coat to wear.
BAY BOY
Might’s well make you a hangman's noose.
SPIN
Give it over.
BAY BOY
Out your mind. Take a chance on y'all's future just to be provin' some point.
SPIN
You said your uncle, the African back to Carolina, how was the way did he talk?
EXT. HOTEL PORCH
Several white men are seated there in conversation.
In a wound-towel turban with a broach, Spin stands in the street before them - a traveling, good-natured foreigner.
SPIN
(sharp accent)
Citizens?
All talk on the porch stops.
MAN #1
What's your purpose, boy?
SPIN
Would much like to arrange fitting accommodations for the evening, and to fill with the, it is you call, food?
MAN #2
Talks funny.
MAN #1
Which one don't?
MAN #3
Where y'all from?
SPIN
Vaginal Recesses.
Watching around a corner, Bay Boy winces, panicked.
MAN #2
That's over to Africa, ain't it?
SPIN
The Fertile Delta. Most certainly.
MAN #1
What all kinda nonsense...?
MAN #4
Well he ain't no regular nigger, is he? Plain as your eyes.
MAN #2
You a prince, some manner?
SPIN
His Extreme Veracity, sir. “Beleaguered, the Last.”
MAN #3
Glad to Meet You, Last.
MAN #1
Say...what do y’all call your subjects?
SPIN
Similar to yourselves, "Cretins."
The whites all nod, judiciously accepting this. But not Gabe, who again smolders as he watches the con.
INT. HOTEL - NIGHT
Spin and Bay Boy get a key at the front desk. In the room behind, a meeting with farmers continues. They overhear:
MAN #1
Can’t push them off or you get the federal government coming in.
MAN #2
Whites don’t buy their crops, they going to sell their property off, sure as hell.
One sees Spin and Bay Boy. Other whites gawk suspiciously.
COUNTERMAN
Stayin’ long, Mr. Last?
SPIN
(shaky resolve)
Only the one evening, good sire.
The man starts to shut the door as another man complains:
MAN #3
What good that do if my cows ain’t milkin’ cause of this negro goin’ around scaring them? This is war, by gum!
A wall with the racist tree symbol. Bay Boy is shook.
SPIN
(whispering)
Don’t look at it.
Spin takes him by the arm and leads him rigidly upstairs.
EXT. HOTEL - NIGHT - INTERCUT
In the rain, an angry crowd in front points to Spin's window.
INT. HOTEL ROOM
Spin gazes down apprehensively; Bay Boy, in the turban...
BAY BOY
That's how a bed 'posed to feel.
He is bouncing on it but stops when: a light knock.
FEMALE EMPLOYEE (O.S.)
Mr. Last? Your Honor? Some a us just wanted to know kin they touch you? They never seen no Vaginalian.
Spin and Bay Boy freeze in terror.
INT. HOTEL HALLWAY
The female employee waits in the hall with some men from the meeting, including Gabe, who holds the jaws of a large dog.
(back to top)
OBSESSIVE DIVINE
She pets Jules, smooching at him.
DARLA
He's smiling at you this minute.
BLAKE
Yeah, I’m sure he is. Cats are renowned for their wide array of emotions.
DARLA
You can't imagine how loving they are.
BLAKE
What do they give? If somebody was mugging you while your hair was on fire, Jules would rub against the guy's leg.
DARLA
If we're going to be married, you have to accept him. It’s preparation for how you’ll be with children.
BLAKE
You’re comparing kids to cats?
DARLA
Pick him up tomorrow and take him to your house for a couple days.
Jules leaps from her grasp at mention of this.
BLAKE
Fine. I've got a microwave.
She SLAMS down the phone.
And Blake looks up to see William standing there.
BLAKE (cont’d)
And I’m in the right mood to kick some ass about now.
Gets up and stalks William around the room.
WILLIAM
Listen to me. You have to make things right with her.
BLAKE
I’m cat-sitting. Will that do? Get out!
WILLIAM
I’m just going to tell you this: she’s in a very delicate condition.
BLAKE
Oh great, so if I want to get out of the hole you’ve put me in and not get married, I’m the asshole again. Do you do this shit for a fee or do you just go around sprinkling your magic dust?
WILLIAM
Have you ever cared enough about someone to forget about your needs for a moment?
BLAKE
Get out before you get hurt, William.
William balks at telling him about her condition.
WILLIAM
She’s distraught. And you’re the reason.
BLAKE
She’s my problem. Get your own woman.
William starts to protest. Then sets his bag down.
WILLIAM
I have a favor to ask.
BLAKE
The answer is no.
WILLIAM
For tonight. How’s that? Just one night.
BLAKE
Stay here? Did I mislead you and me?
WILLIAM
As a fellow human. I don’t have any friends to whom I can turn.
BLAKE
There’s a headline. Want to discuss that?
(resignedly)
One night, you hear me? One! I got a morning full of auditions, so be quiet.
WILLIAM
I’m sort of auditioning...for jobs.
BLAKE
If it’s for illegal invasion, I can be your reference.
WILLIAM
You’re really quite a humorous guy.
BLAKE
Shut the hell up.
William hops on the couch. Nestles in.
BLAKE (cont’d)
My life is shit.
WILLIAM
Not at all. Tell me all about who you’re going to be tomorrow. What a fascinating life you lead. Mine is so bland. I’ve been shut away for ages of course, and...
(off Blake’s look)
Let’s save that for another discussion.
INT. AGENCY AUDITION ROOM - DAY
Blake introduces himself before a director at a table.
BLAKE
Blake Callendine...I’ll be playing the part of “Gassy Pipe Fitter.”
(beat; then, stressed features)
When it’s all backing up and my pressure valve sings like a steam whistle...
INT. WAITING ROOM
He emerges; overflowing with actors. The director pats him.
DIRECTOR
Thanks for coming.
BLAKE
So when is this going to shoot?
The director sees an actor he knows.
DIRECTOR
We were afraid you couldn’t make it.
(to Blake, absently)
Thanks for coming down.
They shake familiarly. Blake salvages his pride and leaves.
INT. AUDITION ROOMS - INTERCUT
Another day, he stands silently as the table of folk confab.
AGENT
We need you a little softer as you do a sort of insidious, I don’t know, sneery reflux thing?
BLAKE
(stumped; stiffly polite)
I’m still the giggly Sani-Wipe though?
AGENT
See, that tone, only inquisitive...
(to the others)
Don’t you think he needs to be less tall?
Still another day. A poorly written script that has Blake forming his mouth like he’s tonguing out cotton balls.
BLAKE
...all about affordability at the Alma Car Mall all fall. Call...
INT. BLAKE'S APARTMENT
Blake tries to read later. No use. The cat hops on his lap.
BLAKE
Who invited your ass? Do you even know what pain is, you pampered lazy feline?
(cat yawns)
Exactly my point. Any music you'd like me to play? "Hole?" "Cat Scratch Fever?" Get your nasty ass up --
The cat settles. Blake swipes him off.
EXT. DARLA’S HOME - DAY
A cab arrives. “Daddy” gets out, with his bag. He looks athletically young for 60. Darla comes down the steps.
DARLA
(no energy)
Hey.
DADDY
That’s the best you can muster? How many years has it been?
DARLA
Hi Daddy.
When he tries to kiss her, she instead rubs him on his back.
INT. DARLA’S LIVING ROOM - NIGHT
Later, both sit having tea, her hemispheric MUSIC playing.
DADDY
This stuff, this “music” makes me dizzy.
DARLA
It centers me.
DADDY
That’s a chiropractic term, right?
DARLA
Why did you come, daddy?
DADDY
Looking for a change in circumstances. Something smaller like you have here.
DARLA
How’s whats-her-name?
DADDY
Carol. She’s not.
DARLA
That was short.
DADDY
Have you got something to say to me?
Too much. Darla squirms and finally declines the opportunity.
DARLA
I’m out a lot and I’m real busy, so we won’t see much of each other.
DADDY
We never did. I respect that you’ve got a life of your own.
DARLA
(as if arguing)
I do.
DADDY
I know.
DARLA
Fine. More tea?
DADDY
Is that what this is?
That rings Darla’s bell, but she controls herself.
INT. BUSINESS OFFICE
William, in a casual shirt, sits before a sharp EXECUTIVE.
EXECUTIVE
You could “motivate” us...?
WILLIAM
Absolutely.
EXECUTIVE
You realize we don’t have a position for...whatever that is.
WILLIAM
My point exactly. You need someone to help your employees find purpose.
EXECUTIVE
Do you know what we make here?
WILLIAM
Not a clue.
EXECUTIVE
And you have no resume.
WILLIAM
Well, why? I’ve never been paid to do anything like this.
EXT.BUILDING - DAY
William emerges discouraged, then takes a deep breath and rallies. Joins a small CROWD waiting to cross a street.
WILLIAM
(to the assembled)
You ever see one of these lights burn out and everything moves just fine anyway? Everyone takes it upon themselves to cooperate. How crucial are laws, I wonder? Do we cause more trouble by challenging people to break them? Except, of course, the universal laws.
To elude him, all cross before the light has changed. HORNS. A HOMELESS MAN has witnessed the rejection and comes to him.
HOMELESS MAN
It's a jungle. E. Plurbus fuck'm.
WILLIAM
Keep the faith; they'll come around.
HOMELESS MAN
Normally I don't worry too much about the condition of their souls, father.
William likes this. Makes a sign of the cross at the man.
(back to top)
DARLA
He's smiling at you this minute.
BLAKE
Yeah, I’m sure he is. Cats are renowned for their wide array of emotions.
DARLA
You can't imagine how loving they are.
BLAKE
What do they give? If somebody was mugging you while your hair was on fire, Jules would rub against the guy's leg.
DARLA
If we're going to be married, you have to accept him. It’s preparation for how you’ll be with children.
BLAKE
You’re comparing kids to cats?
DARLA
Pick him up tomorrow and take him to your house for a couple days.
Jules leaps from her grasp at mention of this.
BLAKE
Fine. I've got a microwave.
She SLAMS down the phone.
And Blake looks up to see William standing there.
BLAKE (cont’d)
And I’m in the right mood to kick some ass about now.
Gets up and stalks William around the room.
WILLIAM
Listen to me. You have to make things right with her.
BLAKE
I’m cat-sitting. Will that do? Get out!
WILLIAM
I’m just going to tell you this: she’s in a very delicate condition.
BLAKE
Oh great, so if I want to get out of the hole you’ve put me in and not get married, I’m the asshole again. Do you do this shit for a fee or do you just go around sprinkling your magic dust?
WILLIAM
Have you ever cared enough about someone to forget about your needs for a moment?
BLAKE
Get out before you get hurt, William.
William balks at telling him about her condition.
WILLIAM
She’s distraught. And you’re the reason.
BLAKE
She’s my problem. Get your own woman.
William starts to protest. Then sets his bag down.
WILLIAM
I have a favor to ask.
BLAKE
The answer is no.
WILLIAM
For tonight. How’s that? Just one night.
BLAKE
Stay here? Did I mislead you and me?
WILLIAM
As a fellow human. I don’t have any friends to whom I can turn.
BLAKE
There’s a headline. Want to discuss that?
(resignedly)
One night, you hear me? One! I got a morning full of auditions, so be quiet.
WILLIAM
I’m sort of auditioning...for jobs.
BLAKE
If it’s for illegal invasion, I can be your reference.
WILLIAM
You’re really quite a humorous guy.
BLAKE
Shut the hell up.
William hops on the couch. Nestles in.
BLAKE (cont’d)
My life is shit.
WILLIAM
Not at all. Tell me all about who you’re going to be tomorrow. What a fascinating life you lead. Mine is so bland. I’ve been shut away for ages of course, and...
(off Blake’s look)
Let’s save that for another discussion.
INT. AGENCY AUDITION ROOM - DAY
Blake introduces himself before a director at a table.
BLAKE
Blake Callendine...I’ll be playing the part of “Gassy Pipe Fitter.”
(beat; then, stressed features)
When it’s all backing up and my pressure valve sings like a steam whistle...
INT. WAITING ROOM
He emerges; overflowing with actors. The director pats him.
DIRECTOR
Thanks for coming.
BLAKE
So when is this going to shoot?
The director sees an actor he knows.
DIRECTOR
We were afraid you couldn’t make it.
(to Blake, absently)
Thanks for coming down.
They shake familiarly. Blake salvages his pride and leaves.
INT. AUDITION ROOMS - INTERCUT
Another day, he stands silently as the table of folk confab.
AGENT
We need you a little softer as you do a sort of insidious, I don’t know, sneery reflux thing?
BLAKE
(stumped; stiffly polite)
I’m still the giggly Sani-Wipe though?
AGENT
See, that tone, only inquisitive...
(to the others)
Don’t you think he needs to be less tall?
Still another day. A poorly written script that has Blake forming his mouth like he’s tonguing out cotton balls.
BLAKE
...all about affordability at the Alma Car Mall all fall. Call...
INT. BLAKE'S APARTMENT
Blake tries to read later. No use. The cat hops on his lap.
BLAKE
Who invited your ass? Do you even know what pain is, you pampered lazy feline?
(cat yawns)
Exactly my point. Any music you'd like me to play? "Hole?" "Cat Scratch Fever?" Get your nasty ass up --
The cat settles. Blake swipes him off.
EXT. DARLA’S HOME - DAY
A cab arrives. “Daddy” gets out, with his bag. He looks athletically young for 60. Darla comes down the steps.
DARLA
(no energy)
Hey.
DADDY
That’s the best you can muster? How many years has it been?
DARLA
Hi Daddy.
When he tries to kiss her, she instead rubs him on his back.
INT. DARLA’S LIVING ROOM - NIGHT
Later, both sit having tea, her hemispheric MUSIC playing.
DADDY
This stuff, this “music” makes me dizzy.
DARLA
It centers me.
DADDY
That’s a chiropractic term, right?
DARLA
Why did you come, daddy?
DADDY
Looking for a change in circumstances. Something smaller like you have here.
DARLA
How’s whats-her-name?
DADDY
Carol. She’s not.
DARLA
That was short.
DADDY
Have you got something to say to me?
Too much. Darla squirms and finally declines the opportunity.
DARLA
I’m out a lot and I’m real busy, so we won’t see much of each other.
DADDY
We never did. I respect that you’ve got a life of your own.
DARLA
(as if arguing)
I do.
DADDY
I know.
DARLA
Fine. More tea?
DADDY
Is that what this is?
That rings Darla’s bell, but she controls herself.
INT. BUSINESS OFFICE
William, in a casual shirt, sits before a sharp EXECUTIVE.
EXECUTIVE
You could “motivate” us...?
WILLIAM
Absolutely.
EXECUTIVE
You realize we don’t have a position for...whatever that is.
WILLIAM
My point exactly. You need someone to help your employees find purpose.
EXECUTIVE
Do you know what we make here?
WILLIAM
Not a clue.
EXECUTIVE
And you have no resume.
WILLIAM
Well, why? I’ve never been paid to do anything like this.
EXT.BUILDING - DAY
William emerges discouraged, then takes a deep breath and rallies. Joins a small CROWD waiting to cross a street.
WILLIAM
(to the assembled)
You ever see one of these lights burn out and everything moves just fine anyway? Everyone takes it upon themselves to cooperate. How crucial are laws, I wonder? Do we cause more trouble by challenging people to break them? Except, of course, the universal laws.
To elude him, all cross before the light has changed. HORNS. A HOMELESS MAN has witnessed the rejection and comes to him.
HOMELESS MAN
It's a jungle. E. Plurbus fuck'm.
WILLIAM
Keep the faith; they'll come around.
HOMELESS MAN
Normally I don't worry too much about the condition of their souls, father.
William likes this. Makes a sign of the cross at the man.
(back to top)
THE MATTER WITH THEM
EXT. CLASSROOM - DAY
The slumping, tired Peace Group in Kitty's class.
TAYLOR
Gimme that pencil, man.
CRICKET
For sooth, man, I'm in need of my bed.
TAYLOR
Thine staff be ho’ ass bitches.
KITTY
Did somebody check Taylor on his mouth?
FLY
Thou art cruel, shylock.
KITTY
(to Fly)
Would that thy breath were better spent, cuckold.
(to the rest)
Open your books, gentle people. What happened last night that you’re so tired, anyway? Come on, get in your seats!
Peter walks into the room, still in his blood-drenched shirt. The group slowly comes to a respectful, edgy silence. Except Jimmy, who looks up, curiously distant and complacent again.
PETER
You were told to be seated. Do it, now.
They all do; Bradley taking his time. Kitty lets Peter rule.
PETER
(fierce)
I don't care how tired you are, you'll clean the dorm today. I've moved your beds into the mud room, since you can’t handle your own house. Earn your way back inside. Want a war? You got it.
TAYLOR
Against the law. But what do he care?
PETER
You admire the law all of a sudden?
TAYLOR
Don't tell me nothin'!
PETER
You better have your thing together when your boy Frank gets out of his cell. Your parents won't be allowed to visit now for a month or more. And I have work projects for you. Have a good day in school, kiddies. It's as close to pleasure as you're going to get.
He turns, gone. Subdued grumbles as the rest sit to work.
EXT. FARM FIELDS
HOLLIS KITTLE’s tractor travels a row of corn stalks with Josiah in his lap. Sun-baked, icy eyes, gunslinger mustache.
Enwreathed in dust (Vietnam slides), he works his harrow.
Peter stops walking. STARES. Hanratty walks out his building.
HANRATTY
Program director wants to see you.
INT. CATTRELL’S OFFICE
Still ragged, Peter sits across from a dismissive BROTHER DAMON CATTRELL, a cleric. He is heavy-set, florid, balding.
CATTRELL
So far, it’s his word against yours.
PETER
He’s saying I sexually molested him? And you would believe something like that?
CATTRELL
(writing a note)
I never said what I believe. I examined your file this morning, incidentally. You left your teaching job?
PETER
I was already questioned about that.
CATTRELL
Your former employer is bound by law not to discuss it. So would you clarify for me why you quit in the middle of a term?
PETER
Personal reasons.
Poker faced, Cattrell waits, intimidatingly patient.
CATTRELL
Then, your decision is not to explain.
PETER
It has no bearing on this, Brother.
CATTRELL
Falsifying an application has considerable bearing, to me.
PETER
I made no secret about those dates.
CATTRELL
You know we don’t allow kids to be hurt.
PETER
I see staff sit around doing nothing or verbally abusing the kids. You sure?
CATTRELL
You’re suspended for a day, Mr. Baldwin.
PETER
I’ll spend it right here, just the same.
CATTRELL
Not around the boys you won’t.
Peter gets up. Cool, calm, he exits without another word.
EXT. PARKING LOT
The slumping, tired Peace Group in Kitty's class.
TAYLOR
Gimme that pencil, man.
CRICKET
For sooth, man, I'm in need of my bed.
TAYLOR
Thine staff be ho’ ass bitches.
KITTY
Did somebody check Taylor on his mouth?
FLY
Thou art cruel, shylock.
KITTY
(to Fly)
Would that thy breath were better spent, cuckold.
(to the rest)
Open your books, gentle people. What happened last night that you’re so tired, anyway? Come on, get in your seats!
Peter walks into the room, still in his blood-drenched shirt. The group slowly comes to a respectful, edgy silence. Except Jimmy, who looks up, curiously distant and complacent again.
PETER
You were told to be seated. Do it, now.
They all do; Bradley taking his time. Kitty lets Peter rule.
PETER
(fierce)
I don't care how tired you are, you'll clean the dorm today. I've moved your beds into the mud room, since you can’t handle your own house. Earn your way back inside. Want a war? You got it.
TAYLOR
Against the law. But what do he care?
PETER
You admire the law all of a sudden?
TAYLOR
Don't tell me nothin'!
PETER
You better have your thing together when your boy Frank gets out of his cell. Your parents won't be allowed to visit now for a month or more. And I have work projects for you. Have a good day in school, kiddies. It's as close to pleasure as you're going to get.
He turns, gone. Subdued grumbles as the rest sit to work.
EXT. FARM FIELDS
HOLLIS KITTLE’s tractor travels a row of corn stalks with Josiah in his lap. Sun-baked, icy eyes, gunslinger mustache.
Enwreathed in dust (Vietnam slides), he works his harrow.
Peter stops walking. STARES. Hanratty walks out his building.
HANRATTY
Program director wants to see you.
INT. CATTRELL’S OFFICE
Still ragged, Peter sits across from a dismissive BROTHER DAMON CATTRELL, a cleric. He is heavy-set, florid, balding.
CATTRELL
So far, it’s his word against yours.
PETER
He’s saying I sexually molested him? And you would believe something like that?
CATTRELL
(writing a note)
I never said what I believe. I examined your file this morning, incidentally. You left your teaching job?
PETER
I was already questioned about that.
CATTRELL
Your former employer is bound by law not to discuss it. So would you clarify for me why you quit in the middle of a term?
PETER
Personal reasons.
Poker faced, Cattrell waits, intimidatingly patient.
CATTRELL
Then, your decision is not to explain.
PETER
It has no bearing on this, Brother.
CATTRELL
Falsifying an application has considerable bearing, to me.
PETER
I made no secret about those dates.
CATTRELL
You know we don’t allow kids to be hurt.
PETER
I see staff sit around doing nothing or verbally abusing the kids. You sure?
CATTRELL
You’re suspended for a day, Mr. Baldwin.
PETER
I’ll spend it right here, just the same.
CATTRELL
Not around the boys you won’t.
Peter gets up. Cool, calm, he exits without another word.
EXT. PARKING LOT