ACT TWO

FADE IN:

INT. SOCIAL STUDIES CLASS

The bell has rung, the students have filed out, and—as is
becoming habit—Brooke has lingered behind, waiting until she
and Osbourne are alone before approaching his desk.

OSBOURNE
Yes, Miss McQueen?

BROOKE
I asked around. Phil the
Pharmacist has definitely lost
Sam's business. Looks like she's
taken her buying off-campus.

OSBOURNE
I'd hoped we were making progress.
But the fact that she's taking
proactive steps to conceal her
activities is certainly
disheartening.

BROOKE
Guess she doesn't want to be
caught.
(pause)
Oh, hey, did I thank you for the
book?

OSBOURNE
You've found it helpful, I trust?

BROOKE
(gleeful)
Very. There's this whole section
on things kids do that annoy their
parents—I found stuff I'm using to
drive Dad and Jane absolutely
bonkers. They don't know what to
do with me—
(giggling)
I swear they're ready to sell the
house and move to Tibet.

Osbourne makes a dramatic show of rolling his eyes, then
fixing a reproachful gaze upon her.

OSBOURNE
Miss McQueen, the point of the book
is to help restore normal
communications with your family,
NOT to allow you to further
exacerbate the situation.

BROOKE
(contrite)
Sorry.
(pause)
But if they weren't the most
unreasonable people in the world,
there wouldn't be a problem!

OSBOURNE
I assure you, the vast majority of
teenagers feel this way towards
their parents at some point.

BROOKE
Maybe, but mine ARE.
(glum)
If I were successful, like SAM, I
could just ove out, instead of
sitting around waiting for letters
from colleges.
(sigh)
I suppose it's too late to apply to
Oxford.

OSBOURNE
You are quite wrong, Miss McQueen.
To measure success solely by
employment—

BROOKE
She's not serving up chicken
dinners at Mr. Cluck's! She's a
journalist, and she's writing for
a big newspaper, and she hasn't
even graduated yet! She's got her
own place, her own car—however
THAT happened—

OSBOURNE
Courtesy of Principal Krupps, I
understand. Completely legal.

BROOKE
See? She's already doing all the
things she wants to with her life—
AND she's got the goodies to show
for it! And what am I doing?
Nothing!

OSBOURNE
Nonsense. You are continuing to
prepare yourself. As I said, to
measure success solely by
employment or material goods at
this stage is foolhardy. You
should view life much as a
thoroughbred race.

Brooke narrows her eyes at him.

BROOKE
You're comparing me to a horse?

OSBOURNE
(unperturbed)
The horse which breaks fastest out
of the gate, who leads at the
quarter pole, or the midway mark,
almost never wins the race. The
one who wins is the one who
steadily paces himself, overtaking
in the final turn and pulling away
down the stretch.

BROOKE
Yeah, that's nice. What about all
the horses that start last and
FINISH last?

OSBOURNE
You are NOT going to finish last,
Miss McQueen. I reiterate that you
should not count Miss McPherson's
blessings too early. Meteoric
rises are often followed by
meteoric falls, and I suspect your
career will long outlast hers.

BROOKE
Great. Career in WHAT?

Osbourne opens his mouth to answer, but finds himself stymied.

BROOKE (CONT'D)
Ha! Gotcha. You don't know what
I'm going to do with my life. I
don't even know what I'm going to
do with my life.

OSBOURNE
That IS one of the functions of
college, Miss McQueen. It's not
necessary for you to have made up
your mind at this point.

BROOKE
Do you have any idea how envious
I've always been of Sam, that she
always knew what she wanted to be?

OSBOURNE
Envy does not become you. You will
find something which fulfills you,
and you will excel at it. It WILL
happen.
(pause)
Incidentally, you are also wrong
about Oxford.

BROOKE
Huh?

OSBOURNE
It is most certainly not too late
to apply to Oxford. I know a man
in the Admissions office, and for
the right student, anything is
possible.

BROOKE
Ohh...

OSBOURNE
Of course, it's not something to
be undertaken on a whim.

BROOKE
(distant)
Right... I guess I'll have to
think about it, then.

CUT TO:

INT. KRUPPS OFFICE

Picking up immediately where we left off before.

KRUPPS
Well. This isn't starting off too
well, is it?

SAM
I'm sorry. It's my fault. I
shouldn't have kept pushing.

KRUPPS
No, Sam. You did exactly the right
thing by pushing. The only thing
that upsets me is that I didn't see
it before.
(reflective)
Erick came out and accused me
point-blank, and I STILL refused to
see it.
(chuckling)
That's quite a feat of denial.
You were probably the only person
who could have come along and made
me see what I was doing.

SAM
(sad)
I'm sorry I did.

KRUPPS
I know. But you have to get past
that. It's going to be better this
way, I promis. And I always keep
my promises, don't I, Sam?

After a moment of consideration, Sam nods, and a lot of the
remaining tension flows away.

KRUPPS (CONT'D)
Damn right I do. Especially to
you, no matter what.
(pause)
So, what are you doing for lunch?

SAM
(hesitant)
Oh, ah...actually I WAS going to go
by the hospital and see Jaycee.

KRUPPS
How is your friend?

SAM
I haven't seen her since last
night.

He leans over his desk and picks up the phone, pushing the
intercom button.

KRUPPS
(into the phone)
Shirley, Miss McPherson and I are
taking an off-campus meeting.
Transfer emergencies to my cell;
otherwise, I'm unavailable. Thank
you.

He hangs up the phone, while Sam looks at him curiously.

SAM
We are?

KRUPPS
You betcha we are. Besides, nobody
ever checks these things.

He motions towards the back office.

KRUPPS (CONT'D)
Go, grab those projections.

Sam starts towards the door, pulls up after one step.

SAM
Wait, hang on, the student parking
lot is locked up till lunch.

KRUPPS
It's okay—we'll take my car.

CUT TO:

INT. KRUPPS' CAR - LATER

As Krupps and Sam settle in their seats, shut their doors and
fasten their seatbelts.

SAM
(light)
I was just getting used to driving
myself, too. I guess I'm at your
mercy.

KRUPPS
Careful who you say that to. There
are some boys around here...

Sam laughs loudly.

SAM
As if!

Chuckling, Krupps starts the engine and they drive off.

CUT TO:

INT. SCHOOL HALLWAY - LATER

Natalie is standing in a relatively quiet spot when Harrison
comes up and taps her on the shoulder. Without looking, she
stiff-arms him, sending him crashing into a row of lockers.
For a moment—a moment Harrison doesn't see—she looks shocked
and concerned. But by the time he recovers enough to pull
himself partially upright and glare at her, she has put an
aloof expression on her face.

HARRISON
(aggrivated)
Would you—PLEASE—stop doing
that?

NATALIE
Well, stop sneaking up on me, then.

Grimacing, he pushes himself away from the lockers, rubbing
his shoulder.

HARRISON
I wasn't sneaking! What is WRONG
with you?

She glares right back at him, arms crossed.

NATALIE
I'll make this real simple,
Harrison. You want me to stop
hitting you? Leave me alone.

And she pushes him, no-so-gently, out of the way, walking off.
He glares after her.

HARRISON
Fine, then!

After a few moments, though, his angry facade crumbles, and he
throws up his hands in surrender.

HARRISON (CONT'D)
No, wait, Natalie!

And he runs after her.

CUT TO:

INT. ANOTHER HALLWAY - MOMENTS LATER

Harrison catches up to Natalie, holding up his hands in the
universal "don't hurt me" gesture when she spins around
angrily.

NATALIE
What do you want?

HARRISON
Just, help me understand, okay?

NATALIE
(furious)
What's to understand? You said
for me to stop bugging you! You
told me to go away! I did! Isn't
that what you WANTED?

HARRISON
(flustered)
No! I mean, yes, but— No! Not
like—

NATALIE
Like what? Aw, to hell with this!

She starts walking away again. He chases after, getting in
front of her, unmindful of the danger he might be in.

HARRISON
Natalie, come on. What are you
doing?

NATALIE
(heated)
What am I doing? I'm forgetting
you. I am not looking at you, I am
not talking to you. I swear to
God, I am going to forget
everything I ever felt for you if I
have to move back to Minnesota to
do it!

HARRISON
I just wanted us to be friends!

NATALIE
You don't get that choice,
Harrison. It's not on the menu.

After a moment he nods, calm settling over his features.

HARRISON
Okay. I understand.

An equal but opposite reaction: Harrison's sudden calm makes
Natalie even more agitated.

NATALIE
Okay? OKAY? You understand?
I don't understand! How can YOU
understand?

The only response he can come up with is to shrug lamely.
Doggedly she advances on him.

NATALIE
I swear, Harrison John, you are the
most aggrivating...annoying...
INFURIATING—!

Her forward momentum has put them almost nose-to-nose, and
without any warning at all she leans up and kisses him, full-
on. He is so startled that she kisses him for several seconds
and breaks away on her own, without him lifting a finger to
stop her. He stares at her, stunned—and then the sound of a
throat being noisily cleared makes both their heads turn.

Brooke is standing there, of course, a murderous glint in her
eye. Natalie sizes her up, then, very deliberately, she puts
her hands on each side of Harrison's face, turns it back to
her, and kisses him again, long and hard. Then she smirks at
Brooke, turns, and heads back up the hallway. Harrison just
stares at Brooke, his mouth hanging open.

HARRISON
I don't suppose you'd believe that
I had nothing to do with...

Brooke harumphs and storms off.

HARRISON (CONT'D)
(to himself)
...no, I didn't think so.

CUT TO:

EST. HOSPITAL ENTRANCE - LATER

As Krupps' car pulls up.

CUT TO:

INT. KRUPPS' CAR - CONTINUOUS

Sam looks over at Krupps as he stops the car.

SAM
I thought we were having a meeting?

KRUPPS
You visit your friend, then we'll
have our meeting.

SAM
Oh, I can't ask you to just wait
around...

KRUPPS
(patiently)
You're not asking. Sam, are you
ever going to start accepting
things gracefully?

SAM
Uh, no.

KRUPPS
That's what I thought. Well, I'm
still waiting.

SAM
(venturing)
Or, you could...come up.
(hastily)
I mean, you don't have to or—

Krupps lays a hand over hers.

KRUPPS
Are you being polite, or is there
a reason you want me with you?

SAM
It's...I don't know, it's stupid.
It's just a feeling.

KRUPPS
Never ignore that. It's your gut
trying to tell you something's
wrong.

He flips off his seatbelt and cracks his door open.

KRUPPS (CONT'D)
Well? Coming?

CUT TO:

INT. JAYCEE'S HOSPITAL ROOM - MOMENTS LATER

A nurse is dending to Jaycee when Sam and Krupps come in.

NURSE
Oh, she's about to be taken down
for a CAT scan. You can have a
few minutes, though.

The nurse leaves as Sam approaches Jaycee's bedside, with
Krupps a couple of steps behind.

SAM
Hey. You look better.

Jaycee makes a minimal effort to raise her head.

JAYCEE
You know me. Up and partying in no time.

She peers past Sam, to Krupps.

JAYCEE (CONT'D)
(suspiciously)
You a cop?

SAM
Jaycee!

She reaches back and brings Krupps forward.

SAM (CONT'D)
This is Principal Krupps.

KRUPPS
Calvin.

Jaycee nods, something she can do without too much difficulty.

JAYCEE
I know about you. You're Sam's
guardian angel.

KRUPPS
(bemused)
Well... I guess that's one way of
looking at it.

JAYCEE
She needs looking after. I'm a
bad influence.

KRUPPS
Really...

JAYCEE
Better believe it.

He puts his hands on Sam's shoulders.

KRUPPS
I do my best to take care of her.

SAM
What, the two of you are ganging up
on me now? I don't need taking
care of.
(to Jaycee)
Did the police come by?

JAYCEE
(grimacing)
No, this afternoon. I won't be
able to tell 'em much, though.

SAM
You don't remember anything about
what they looked like?

JAYCEE
Man, I came home and I got jumped.
All I remember is things hitting
me.

The nurse comes back in.

NURSE
I'm sorry, but it's time.

JAYCEE
They're going to see if my brain
got any more scrambled than it
already was.

SAM
Okay, well, I'll be back later.

JAYCEE
Hey, Sam... You don't have to be
here twenty-four-seven, you know.

SAM
It's okay, really.

JAYCEE
No, I'm serious, Sam. You
shouldn't come around so much.

SAM
(uncomfortable)
Um...we'll talk about it later, okay?

Sam casts worried glances back at Jaycee as she and Krupps
leave the room.

CUT TO:

EXT. HOSPITAL ENTRANCE - MOMENTS LATER

The double doors swing open, and Sam and Krupps walk out of the
building.

SAM
See what I mean?

KRUPPS
If this were a cop show, one of us
would be saying "she knows more
than she's telling" right about
now.

SAM
Knows WHAT?

KRUPPS
Obviously, who attacked her. Maybe
even why.

SAM
(puzzled)
But...that doesn't make any sense.
Why wouldn't she say something?

Krupps offers her a slight shrug as they reach his car.

KRUPPS
Come on. I've got something to
show you.

Sam eyes him warily as he goes around to the driver's side of
the car.

SAM
Something else?

CUT TO:

EXT. KRUPPS' HOUSE - LATER

A very large, two-story white Spanish-style place, with a
spacious tree-filled front lawn and a circular driveway,
which Krupps' car pulls into. The passenger door opens and
Sam steps out, surveying the property.

SAM
(whistling)
Nice. I didn't know principals
made THAT much.

Krupps has gotten out of his side of the car.

KRUPPS
I had some investments do well.
(gesturing)
Let's go inside, shall we?

CUT TO:

INT. KRUPPS' VESTIBULE - MOMENTS LATER

Two stories high, with a sweeping staircase running up one
wall, and opening into a huge living room. One of the front
double doors opens, and Krupps guides Sam inside

KRUPPS
Would you like a tour?

Sam grins wickedly at him.

SAM
If this were one of those cheesy
older-man-seduces-young-girl
movies, you'd offer to show me your
etchings.

He snaps his fingers in mock disappointment.

KRUPPS
Damn, and I forgot to stop at the
etching store.

She giggles convulsively.

SAM
You're awful!

KRUPPS
(considering)
I thought it was fairly clever,
myself.
(pause)
There is something serious I'd
like to talk to you about.

The carefree expression vanishes from Sam's face.

SAM
(tiredly)
Something else? Haven't we been
through the wringer enough for one
morning?

KRUPPS
It's not like that...exactly. But
it is important.

SAM
(grimacing)
What?

KRUPPS
You remember I said we had to stop
playing around? Be completely
straight?

SAM
I remember it. You only said it an
hour ago.

He nods, obviously preparing himself for something big.

KRUPPS
Well... In light of that, this may
sound a bit...odd.

SAM
(echoing)
Odd?

KRUPPS
In fact, I'm about to fulfill your
stepfather's worst nightmare.

SAM
(totally lost)
What?

He spreads his hands in the most casual, non-threatening
gesture possible.

KRUPPS
Sam...I want you to move in with
me.

BLACK OUT.

END OF ACT TWO