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ALL SCRIPTS







                                  THE CIDER HOUSE RULES



                                       Written by

                                       John Irving



                                                         Production Draft

                

               FADE IN. BEGIN TITLE SEQUENCE.

               EXT. ST CLOUD'S - TRAIN STATION - DAWN

               An establishing shot of the rundown train station on an 
               overcast morning. There's snow on the station platform. A 
               train arrives and departs.

                                     LARCH (V.O.)
                         In other parts of the world, young 
                         men of promise leave home to make 
                         their fortunes, battle evil, or solve 
                         the problems of the world.

               Behind the station, at the top of the hill, lies the St. 
               Cloud's orphanage.

                                     LARCH (V.O.)
                         I was myself such a young man, when 
                         I came to save the orphanage in St. 
                         Cloud's... many years ago.

               EXT. ST. CLOUD'S - ORPHANAGE - EARLY MORNING

               A man and woman (COUPLE #1) make their way toward the main 
               entrance of the large brick building.

                                     LARCH (V.O.)
                         Here in St. Cloud's, I have come to 
                         understand that promises are rarely 
                         kept, that the battle isn't so much 
                         against evil as ignorance, and that 
                         being successful can't hold a candle 
                         to being of *use*.

               The couple enters the orphanage, where we hear the sound of 
               babies.

                                     LARCH (V.O.)
                         Nor have I solved the problem I came 
                         here to solve.

               INT. ORPHANAGE - MORNING

               Two nurses, EDNA and ANGELA, chase CHILDREN--a morning 
               routine.

                                     LARCH (V.O.)
                         Even in the most enlightened times, 
                         unwanted babies will manage to be 
                         born. That there will always be 
                         orphans is simple not a problem to 
                         be solved. Here is St. Cloud's, we 
                         don't regard the sordid facts of 
                         life as problems.

               The camera goes up the stairs with some of the kids.

               INT. LARCH'S OFFICE - DAY

               We enter an office where DR. LARCH shows couple #1 their 
               newly adopted son, HOMER, an infant who lies smiling in Dr. 
               Larch's arms.

                                     LARCH (V.O.)
                         In truth, we've only had one real 
                         problem.

               We close in on the infant until his face fills the screen.

                                     LARCH (V.O.)
                         His name was Homer Wells.

               Dr. Larch hands over the infant to the adopting parents.

                                     LARCH
                         I named him after the Greek writer. 
                         You know Homer, of course?

               Hesitant nods. (They don't look as if they read.)

                                     LARCH
                         I made his name "Wells" because I 
                         could tell he was very deep.

               The parents look with pride at their adopted son.

                                     LARCH (V.O.)
                         In truth, Nurse Angela named him--
                         her father *drilled* wells, and 
                         "Homer" was one of her family's 
                         umpteen cats.

               INT./EXT. ORPHANAGE - DAY

               At the front door, Larch and the nurses wave and call good-
               bye to Homer, they close the door.

               INT./EXT. ORPHANAGE - NIGHT

               The same door swings open; it's another night. The same couple 
               is bringing Homer back. There is concern in their faces as 
               Nurse Edna lets them in.

               INT. BOY'S DIVISION, DOORWAY - NIGHT

               Larch is delivering his benediction to the boys.

                                     LARCH
                         "Good night, you Princes of Maine, 
                         you Kings of New England!"

               As he turns, he is startled by Nurse Edna, waiting with couple 
               #1 and baby Homer.

                                     ADOPTING MOTHER
                         There's something wrong with him! He 
                         never makes a sound.

               Larch looks quickly at Homer.

                                     LARCH (V.O.)
                         He didn't cry enough for them, if 
                         you can believe it.

                                     ADOPTING FATHER
                         Do you think we could have a look at 
                         someone a little different?

               The mother hands over the baby to Larch. Baby Homer lets out 
               a happy squeal as soon as he's in Larch's arms. The parents 
               stare in disbelief.

                                     LARCH (V.O.)
                         Thus was Homer Wells returned. He 
                         was too happy a baby.

               EXT. ORPHANAGE - DAY

               Angela and Edna call and wave good-bye to a two-year-old 
               Homer, leaving with COUPLE #2. Larch stands on the porch and 
               watches the family head down the hill.

                                     LARCH (V.O.)
                         The second family has an unfortunate 
                         gift for getting sounds out of Homer.

               INT. COUPLE #2'S HOME - DAY

               Larch bursts into the home of the second couple and lifts a 
               crying and bruised Homer out of his bed. There is rage in 
               Larch's eyes as he looks at the couple.

                                     LARCH (V.O.)
                         The rumor was true. They beat him. 
                         He couldn't stop crying.

               EXT. HILL, ST. CLOUD'S - DAY

               Larch carries Homer up the orphanage hill.

                                     LARCH (V.O.)
                         Here is St. Cloud's, I try to 
                         consider, with each rule I make or 
                         break, that my first priority is an 
                         orphan's future.

               INT. DELIVERY ROOM - DAY

               The naked belly of a VERY PREGNANT WOMAN.

                                     LARCH (V.O.)
                         Easier said than done.

               A tiny hand comes in with a stethoscope and puts it on the 
               big belly. Young Homer's head, with the stethoscope around 
               his neck, pops up behind the belly; he closes his eyes as he 
               concentrates on listening to the sounds of the unborn child. 
               Larch stops in the doorway, catching sight of Homer. He smiles 
               faintly.

               EXT. COUPLE #3'S HOME - DAY

               The door opens to a THIRD COUPLE smiling at us, welcoming 
               and embracing a sixteen-year-old Homer. Behind them waits 
               the would-be STEPSISTER--an attractive girl, a little older 
               then Homer.

                                     LARCH (V.O.)
                         I told the third family to take good 
                         care--this was a special boy.

               INT. STEPSISTER'S BEDROOM - NIGHT

               Homer and the stepsister are in bed together. The parents 
               burst in on them--the father chasing Homer around and around 
               the bed, the mother beating her daughter, who covers herself 
               with a pillow.

                                     LARCH (V.O.)
                         It was Homer who took too much good 
                         care of himself.

               EXT. COUPLE #3'S HOME - NIGHT

               From her window, the stepsister watches Homer leave the house 
               carrying his suitcase. Homer looks up at her as he walks to 
               the street.

               EXT. ORPHANAGE - EARLY MORNING

               It's after dawn, but still a little dark, as Homer walks to 
               the orphanage door, suitcase in hand. A HUGELY PREGNANT WOMAN 
               arrives at the same time. They stand awkwardly next to each 
               other, waiting for someone to answer the door. The woman is 
               crying. Homer reaches out and takes her hand.

                                     HOMER
                         Don't be frightened. Everyone is 
                         nice here.

                                     PREGNANT WOMAN
                         Do you live here?

                                     HOMER
                         I just belong here.

               The woman sniffles; she nods vaguely. The door opens. Nurse 
               Edna lets the woman in and embraces Homer.

                                     LARCH (V.O.)
                         What could I do with him? He kept 
                         coming back!

               INT. LARCH'S OFFICE - DAY

               Larch instructs an older Homer from "Gray's Anatomy." Homer 
               is bored and looks out the window.

                                     LARCH
                         Homer, if you're going to stay at 
                         St. Cloud's, I expect you to be of 
                         use.

               INT. DELIVERY ROOM - DAY

               Homer looks adoringly at Dr. Larch as Larch examines ANOTHER 
               PREGNANT WOMAN. Larch waves Homer over; he places the boy's 
               hand on the woman's abdomen, to feel the fetus kicking.

                                     LARCH (V.O.)
                         But, in failing to withhold love, 
                         had I created a true and everlasting 
                         orphan? I had been too successful 
                         with Homer Wells. I had managed to 
                         make the orphanage his *home*.

               INT. OPERATING ROOM - DAY

               Larch closes a door quickly behind him (so that Homer doesn't 
               see the ABORTION PATIENT in the O.R.)

               INT. DELIVERY ROOM - DAY

               Homer assists Larch in delivering a BABY.

               EXT. INCINERATOR - DAY

               Homer carries a white enamel pail to the incinerator. He 
               looks inside the pail; he stops.

                                     LARCH (V.O.)
                         God forgive me. I have *made* an 
                         orphan by loving him too much. Homer 
                         Wells will belong to St. Cloud's, 
                         forever.

               Hold on Homer's disgusted expression as he stares at the 
               contents of the pail.

               END TITLE SEQUENCE. FADE OUT. We hear a song playing on an 
               old phonograph.

               INT. DISPENSARY - DAY

               We see the song playing on the old phonograph. Dr. Larch is 
               taking ether. He holds the bottle in one hand, the cone over 
               his mouth and nose with the other.

               SUPER: ST. CLOUD'S, MAINE, MARCH 1943.

               When Larch dozes off, his hand loosens its grip on the cone; 
               the cone falls off his face, and he wakes up. Then he puts 
               the cone back in place, dripping more ether from the bottle 
               to the gauze covering the cone.

               Pan the dispensary, which also serves as Larch's photo gallery 
               and bedroom apartment. The ether-bed is separated from the 
               room by a hospital curtain (the kind on casters). We see the 
               recording revolving, the glass-encased cabinets of medical 
               supplies, the old photographs of St. Cloud's.

               Homer enters, he stands uncomfortably, watching Larch for a 
               moment. Then he turns around and walks back into the corridor.

               INT. CORRIDOR - DAY

               Homer calls out as though he's just coming down the corridor.

                                     HOMER
                         Dr. Larch! Dr. Larch!

               INT. DISPENSARY - DAY

               Larch wakes up; he shakes off the ether haze. Homer reenters.

                                     HOMER
                         We've got two new patients, one to 
                         deliver.

               Dr. Larch and Homer leave together.

               INT. CORRIDOR - DAY

               The *two* doctors walk briskly down the hall, a couple of 
               professionals.

                                     LARCH
                         First pregnancy?

                                     HOMER
                         Yes, for both.

                                     LARCH
                              (sarcastically)
                         I presume you'd prefer handling the 
                         delivery.

                                     HOMER
                              (tiredly; an old topic)
                         All I said was, I don't want to 
                         perform abortions. I have no argument 
                         with *you* performing them.

                                     LARCH
                         You know *how* to help these women--
                         how can you not feel *obligated* to 
                         help them when they can't get help 
                         anywhere else?

                                     HOMER
                         One: it's illegal. Two: I didn't ask 
                         how to do it--you just showed me.

                                     LARCH
                         What *else* could I have showed you, 
                         Homer? The only thing I can teach 
                         you is what I know! In every life, 
                         you've got to be of use.

               Homer and Larch split off and disappear into two different 
               operating rooms. As he goes, Homer mumbles to himself, "Of 
               use, of use, of use."

               INT. OPERATING ROOM - DAY

               Larch and Angela are preparing the ether for DOROTHY, a not 
               visibly pregnant woman. The sounds of labor across the hall 
               can be heard Over.

                                     LARCH
                              (holds the cone)
                         Have you ever had ether, Dorothy?

                                     DOROTHY
                         Once, when they took out my appendix.

                                     ANGELA
                              (looks for scar)
                         No one's touched your appendix.

                                     DOROTHY
                         Whatever it was... the ether made me 
                         sick.

                                     LARCH
                         It won't make you sick this time, 
                         Dorothy--not the way I do it, just a 
                         drop at a time.

                                     DOROTHY
                         I can't pay for this, you know--I 
                         got no money.

                                     LARCH
                         One day, Dorothy, if you have any 
                         money, a donation to the orphanage 
                         would be very much appreciated.

                                     ANGELA
                         Only if you can afford it.

                                     LARCH
                              (holds the ether bottle)
                         Try to think of nothing, Dorothy.

               Angela puts the cone over Dorothy's mouth and nose; Larch 
               drips the ether on the cone. A newborn wails in the other 
               O.R. Over.

               INT. DELIVERY ROOM - DAY

               Homer has delivered CARLA. A newborn baby is screaming in 
               Edna's arms. Homer is attending to Carla, who is panting.

                                     HOMER
                         That was good, Carla--that was 
                         *perfect*. Everything's fine.

                                     CARLA
                         I don't wanna see it!

                                     EDNA
                         You don't have to see it, dear. Don't 
                         worry.

                                     CARLA
                         I don't even wanna know what sex it 
                         is--don't tell me!

                                     HOMER
                         We won't tell you, Carla. You're 
                         going to be okay.

                                     EDNA
                         Your *baby's* going to be okay, too.

                                     CARLA
                         I don't wanna know!

               Larch pops into the delivery room; he peers at the baby.

                                     LARCH
                         He's a big boy!

                                     CARLA
                         Let me see him, for Christ's sake--I 
                         wanna see him.

               Edna shows the baby to Carla, who stares, then turns away. 
               Larch whispers to Homer.

                                     LARCH
                         Would you mind having a look at 
                         Dorothy?

               INT. OPERATING ROOM - DAY

               Angela sits with the still-etherized Dorothy while Larch and 
               Homer confer over a basin containing Dorothy's uterus.

                                     HOMER
                         There was no visible wound?

                                     LARCH
                         No. The fetus was dead. Her uterus 
                         was virtually *disintegrating*--my 
                         stitches pulled right through the 
                         tissue!

                                     HOMER
                              (mystified)
                         It looks like scurvy.

                                     LARCH
                              (derisively sarcastic)
                         Scurvy! Ah yes, the curse of the old-
                         time sailor, suffering long periods 
                         at sea with no fresh fruits or 
                         vegetables. Homer, Dorothy isn't a 
                         *sailor*!

                                     ANGELA
                         She's a prostitute, isn't she?

                                     HOMER
                              (to Angela)
                         Did you look in her purse?

                                     LARCH
                              (frustrated)
                         I looked everywhere else!

               Angela hands Larch a bottle of brown liquid.

                                     ANGELA
                         It's called French Lunar Solution.

               Larch wrinkles his nose at the odor.

                                     LARCH
                         It's not ergot, it's not pituitary 
                         extract, it's not oil of rue...

                                     ANGELA
                         It claims to restore monthly 
                         regularity.

                                     HOMER
                         It's obviously an aborticide.

                                     LARCH
                         Obviously.

               Larch wets his finger with the stuff, then touches it to his 
               tongue.

                                     LARCH
                              (spits)
                         Christ, it's oil of tansy!

                                     HOMER
                         I don't know it.

                                     LARCH
                         If you take enough of it, your 
                         intestines lose their ability to 
                         absorb Vitamin C.

                                     HOMER
                         In other words, scurvy.

                                     LARCH
                         Good boy. Good job. And you call 
                         yourself "not a doctor"!
                              (to Angela)
                         Keep an eye on her--she's in trouble.

               As Homer turns to leave, Larch stops him; he points to the 
               basin.

                                     LARCH
                         Take care of that, will you?

               Homer stops, annoyed; he picks up the basin and empties the 
               contents into a white enamel pail.

               INT. DINING HALL - AFTERNOON

               MISS TITCOMB is teaching math to some distracted boys and 
               girls in a corner of the dining room. A blackboard on wheels 
               is a mass of numbers. Homer, passing through the dining room 
               with the white enamel pail, attracts the attention of BUSTER, 
               a sixteen-year-old who is picking over a plate of pastries 
               on a table. Buster immediately goes with Homer.

                                     BUSTER
                         I'll help you.

               Homer shakes his head, keeps walking. Buster follows. Dr. 
               Larch passes close to Buster. Buster makes a face, disgusted.

               EXT. INCINERATOR - AFTERNOON

               Buster and Homer tramp through the snow toward the 
               incinerator. Homer still carries the pail.

                                     BUSTER
                         He *sniffs* that ether! I've seen 
                         him do it!

                                     HOMER
                         It's because he's too tired to sleep. 
                         He has to.

                                     BUSTER
                         He *smells* like he could put you to 
                         sleep!

                                     HOMER
                         He's a doctor, Buster--doctors smell 
                         like ether.

                                     BUSTER
                         *You're* a doctor, Homer--you don't 
                         smell like ether.

                                     HOMER
                         I'm *not* a doctor. I haven't been 
                         to medical school--I haven't even 
                         been to high school!

                                     BUSTER
                         But you've studied with the old man 
                         for *years*!

                                     HOMER
                         I'm *not* a doctor!

                                     BUSTER
                         I'm sorry, Homer.

               Buster stands watching as Homer empties the pail into the 
               incinerator.

               INT. DISPENSARY - NIGHT

               With his head inclined to the giant ear of Larch's phonograph, 
               FUZZY--six, thin, and pale and looking remarkably like an 
               embryo--is listening to a recording. He can't hear what Larch 
               and Homer are saying about him as they construct a humidified 
               tent over a small hospital bed on wheels. The humidifier is 
               operated by a car battery.

                                     LARCH
                         Fuzzy is not uncommon. I tell you, 
                         there's something about the premature 
                         babies of alcoholic mothers. They 
                         seem susceptible to every damn thing 
                         that comes along.

                                     HOMER
                         I haven't read that.

                                     LARCH
                         I haven't, either. But you *will*. 
                         The morons who write the books should 
                         do a little research *here*.

                                     HOMER
                         But isn't Fuzzy just... well, 
                         underdeveloped?

                                     LARCH
                         When *doesn't* he have bronchitis? I 
                         wouldn't call his bronchial infections 
                         "underdeveloped." Would you?

               Larch plucks Fuzzy from in front of the phonograph and zips 
               him into the breathing tent. Fuzzy smiles. As larch leaves, 
               MARY AGNES, a pretty but tough-looking teenager, comes into 
               the dispensary.

                                     HOMER
                         What is it, Mary Agnes?

               Mary Agnes smiles at Homer; then she sticks her tongue out 
               at him. Homer looks at her impassively, but as the moment 
               continues his expression suggests his annoyance. Fuzzy starts 
               to cough; he wheezes as he breathes. Homer leans down; he 
               peers at Fuzzy through a hole by the zipper of the tent.

                                     MARY AGNES
                              (garbled because of 
                              her tongue)
                         Look!

               Homer examines Mary Agnes' tongue.

                                     HOMER
                         Did you bite it?

                                     MARY AGNES
                         I don't remember.

                                     HOMER
                              (dismissively)
                         It looks like you bit it--it'll be 
                         all right.

                                     MARY AGNES
                         Maybe I was kissing someone and he 
                         bit me.

                                     HOMER
                              (looks at her tongue 
                              again)
                         No, you did it yourself. Maybe in 
                         your sleep.

                                     MARY AGNES
                         I must have been *dreaming* of kissing 
                         someone.

               Homer is not responding to her come-on. He wheels Fuzzy into 
               the hall.

                                     HOMER
                         Story time, Fuzzy!

               INT. GIRLS' DIVISION - NIGHT

               In the girls' bunk room, Nurse Edna is saying prayers. The 
               girls lie with their palms pressed together on their chests.

                                     EDNA
                         "Oh Lord, support us all the day 
                         long..."

               EXT. ST. CLOUD'S - THE HILL - NIGHT

               The building of St. Cloud's is silhouetted against the sky. 
               Carla, the woman we saw deliver the baby, is heading down 
               the hill alone, she sobs, not looking back.

                                     EDNA (O.S.)
                         "...until the shadows lengthen and 
                         the evening comes, and the busy world 
                         is hushed, and the fever of life is 
                         over, and our work is done."

               INT. GIRLS' DIVISION - NIGHT

               In the bunk room again, with Edna and the girls.

                                     EDNA
                         "Then in Thy mercy grant us save 
                         lodging, and holy rest, and peace at 
                         the last."

                                     ALL THE GIRLS
                         Amen! Amen! Amen!

               INT. BOYS' DIVISION - NIGHT

               Dr. Larch is reading from Oliver Twist--the death scene of 
               Bill Sike's dog. The boys listen in horror in their beds.

                                     LARCH
                         "A dog, which had lain concealed 
                         till now, ran backwards and forwards 
                         on the parapet with a dismal howl, 
                         and collecting himself for a spring, 
                         jumped for the dead man's shoulders."

               Homer enters; he walks quietly to his bed in the far corner 
               of the room, where he starts to undress.

                                     LARCH
                         "Missing his aim, he fell into a 
                         ditch, turning completely over as he 
                         went; and striking his head against 
                         a stone, dashed his brains out.

               Larch turns out the lights. From the open doorway to the 
               hall, Larch delivers his nightly benediction.

                                     LARCH
                         Good night, you Princes of Maine! 
                         You Kings of New England!

               Larch closes the door, leaving them in the semi-darkness. 
               One young boy runs into Homer's bed, nervously giggling.

                                     FUZZY
                              (in his breathing 
                              tent)
                         Why does Dr. Larch *do* tht every 
                         night?

                                     CURLY
                              (about seven)
                         Maybe to scare us...

                                     COPPERFIELD
                              (about eleven)
                         No, you jerk.

                                     STEERFORTH
                              (about nine)
                         Dr. Larch *loves* us!

                                     FUZZY
                         But why does he do *that*?

                                     BUSTER
                         He does it because we like it.

               The boys silently agree, Homer among them.

               EXT. ST. CLOUD'S - EARLY MORNING

               The girls, led by Mary Agnes, round a corner of the orphanage, 
               towing a sled piled high with snowballs.

                                     MARY AGNES
                         Buster is mine. You two get 
                         Copperfield and Curly. Nobody touches 
                         Fuzzy.

               They shriek as the boys suddenly surprise them. Buster throws 
               two hard snowballs that hit Mary Agnes and CLARA (eight or 
               nine) before Mary Agnes overwhelms him and repeatedly sticks 
               his head in the snow. Copperfield, terrified of Mary Agnes, 
               escapes. Curly misses, then tips over the sled of snowballs 
               as Clara and the adorable HAZEL (five or six) throw him to 
               the ground. Fuzzy drops his one snowball; he runs aimlessly 
               in circles, coughing, as Nurse Edna explodes from a door of 
               the orphanage.

                                     EDNA
                         Stop it! No fighting! *Share* the 
                         snowballs!

                                     BUSTER
                              (mouth full of snow)
                         They're *our* snowballs! They *stole* 
                         them!

                                     MARY AGNES
                         They attacked us--just like the Japs!

               Fuzzy coughs and wheezes, trying to catch his breath.

                                     EDNA
                         Listen to you, Fuzzy! You've been 
                         running. You get to the shower!

               A NEW COUPLE comes up the hill. The orphans stop and stare, 
               brushing snow off themselves, struggling to make themselves 
               look presentable. Curly is desperate to look his best. Mary 
               Agnes doesn't bother to pretty herself. She whispers to Clara 
               and Hazel.

                                     MARY AGNES
                         I know the type--they'll take one of 
                         the babies.

               INT. DINING HALL - MORNING

               The children are eating breakfast as the would-be parents 
               walk around the tables, looking over the assembled orphans. 
               Curly works on his table manners; he forks and eats a piece 
               of pancake with elegance. Angela and Edna try to make the 
               couple slow down by the older children, but the couple stop 
               and stare at the adorable Hazel.

               INT. BABY ROOM - MORNING

               Larch and Homer are examining the babies. The doctors are 
               checking the babies' grips, their eyes, ears, and throats.

               Angela appears in the doorway.

                                     ANGELA
                         Wilbur, the adopting couple is waiting 
                         in your office.

                                     LARCH
                              (irritated)
                         Life is waiting.

               Angela disappears. Larch looks at the next baby's record 
               (attached to the bed).

                                     LARCH
                         Where's the name sheet?

                                     HOMER
                         Nobody's named this one yet.

                                     LARCH
                         It's my turn!

               Homer is tired of this game. Larch touches the child's 
               forehead with his index finger.

                                     LARCH
                         Henceforth you shall be... Little 
                         Dorrit!

               The baby starts to cry.

                                     HOMER
                         He doesn't like it.
                              (looks at the record)
                         He's a boy, That's why.

                                     LARCH
                         Can't a boy be a Dorrit?

                                     HOMER
                         I don't think so.

                                     LARCH
                         You do it then.

               Homer points his finger at the child's forehead like a gun.

                                     HOMER
                         Henceforth you shall be... Little 
                         Wilbur.

                                     LARCH
                         I'm not crazy about the "Little..."

               Homer is writing the name.

                                     HOMER
                         Okay, he's just a Wilbur then.

                                     LARCH
                         We haven't had a Wilbur here in a 
                         year or so, have we? We used to have 
                         *dozens*!

               They are interrupted by Copperfield, who comes running from 
               the corridor.

                                     COPPERFIELD
                         They picked Hazel! The idiots chose 
                         Hazel!

               INT. GIRLS' DIVISION - DAY

               Hazel is being fussed over by Edna. Hazel clutches a cardboard 
               suitcase and a tattered rag doll. Mary Agnes, by far the 
               oldest, sits on a bed.

                                     MARY AGNES
                         If people want to adopt one of us, 
                         they should have to take the oldest 
                         first.

                                     EDNA
                         Please, Mary Agnes! This is Hazel's 
                         special day--don't make her feel 
                         sad.

                                     MARY AGNES
                         Hazel's practically the youngest of 
                         us. She should be the *last* to leave!

                                     CLARA
                         At least Hazel can talk. Usually 
                         they take one of the stupid babies.

                                     MARY AGNES
                         They take the babies so they won't 
                         ever have to tell them that they 
                         were orphans!

                                     HAZEL
                              (begins to cry)
                         I'm not a baby!

                                     MARY AGNES
                         If you cry, Hazel, they'll just send 
                         you back.

                                     EDNA
                         Mary Agnes, that's not true!

               Hazel cries harder.

                                     MARY AGNES
                         That's what they did to me!

                                     EDNA
                         You *wanted* to come back--that's 
                         why you cried.
                              (to Hazel)
                         You can cry if you feel like it, 
                         Hazel. You cry as much as you want.

               INT. LARCH'S OFFICE - DAY

               Homer is in the corridor outside the office, overhearing 
               Larch's lecture to the couple adopting Hazel.

                                     LARCH
                         It is strictly for our orphans' sake 
                         that I destroy any record of their 
                         natural mothers. Of course they will, 
                         one day, want to know. But orphans, 
                         especially, should look forward to 
                         their *futures*. Not back to their 
                         pasts.

               INT. WINDOW, CORRIDOR - DAY

               Homer sees Curly standing all alone by a window in the 
               corridor; a suitcase is next to him.

                                     HOMER
                         Hi, Curly. You going somewhere?

               Curly shakes his head.

                                     CURLY
                         I thought they might take me.

                                     HOMER
                         They wanted a girl.

                                     CURLY
                         Nobody ever wants me!

               Homer embraces Curly and lifts him up, he grabs the suitcase 
               and continues down the corridor.

                                     HOMER
                         You're one of the best, Curly--we 
                         couldn't let just anyone take you.

                                     CURLY
                         Dr. Larch wouldn't let just anyone 
                         take *any* of us!

                                     HOMER
                         That's true.

                                     CURLY
                         Nobody's asked for me, have they?

                                     HOMER
                         Nobody special enough, Curly.

                                     CURLY
                         You mean somebody asked?

                                     HOMER
                         Only the right people can have you, 
                         Curly.

               Homer disappears into the boys' bunk room carrying Curly and 
               his suitcase, leaving the corridor empty.

               INT./EXT. ORPHANAGE - DAY

               Faces in the windows; the orphans watch Hazel walking across 
               the snowy lawn with her new parents.

               INT. GIRLS' DIVISION - NIGHT

               Edna (with the girls) gives her good-bye blessing to Hazel.

                                     EDNA
                         Let us be happy for Hazel. Hazel has 
                         found a family. Good night, Hazel.

                                     THE GIRLS
                         Good night, Hazel! Good night, Hazel! 
                         Good night, Hazel!

               INT./EXT. ORPHANAGE - FRONT DOOR - DAY

               The front door opens. The orphans excitedly run outside onto 
               the green lawn, into the warm weather of spring.

               INT. DISPENSARY - MORNING

               Angela is singing along with the song on the phonograph, a 
               more romantic song then before, which rouses Larch from his 
               ether. He is grumpy, but she sings the song in his ear and 
               won't give him back the ether cone; he rolls away from her, 
               but she tickles him and bites his ear, coaxing him into a 
               more playful mood.

                                     LARCH
                         I was dreaming about you. How 
                         beautiful you were!

                                     ANGELA
                         You weren't dreaming about me.

                                     LARCH
                         I was!

               Playfully, she slips out of his embrace.

                                     ANGELA
                         Then I wasn't beautiful.

                                     LARCH
                         You were! You *are*! It was fantastic.

                                     ANGELA
                         It was just the ether, Wilbur...

               INT. HOSPITAL ROOM - NIGHT

               Homer wheels a tray with glasses of water between the beds. 
               A DISTRAUGHT PREGNANT WOMAN stops him by her bed.

                                     HOMER
                         Are you okay? Can I get you anything?

                                     DISTRAUGHT WOMAN
                         No one but me ever put a hand on me, 
                         to feel that baby. Don't you want to 
                         touch it or put your ear down to it?

                                     HOMER
                         Okay.

               Homer touches the woman's belly.

                                     DISTRAUGHT WOMAN
                         Put your ear there. Go on.

               Homer cautiously lays his ear against her belly.

                                     DISTRAUGHT WOMAN
                         You shouldn't have a baby if there's 
                         no one who wants to put his face 
                         right there!

               She holds Homer's head against her belly; she presses his 
               face into her. She shuts her eyes. Homer's eyes stare widely. 
               Dr. Larch stops in the doorway; he watches with concern.

                                     DISTRAUGHT WOMAN
                         Stay right there. Right where you 
                         are. Stay right here. Right here.

               EXT. ST. CLOUD'S - TRAIN STATION - DAY

               Homer at the train station, staring down the empty tracks. 
               Buster is hanging around with him, kicking a rock.

                                     BUSTER
                         Do you ever think about leaving this 
                         place to go find them?

               Homer makes no response. As the train approaches, Homer and 
               Buster go sit on a loading cart. They see the distraught 
               woman (no longer pregnant) from Homer's experience of a few 
               nights ago; she is leaving St. Cloud's without her baby, 
               waiting for the approaching train. Her face is a mask. The 
               DISAPPROVING STATIONMASTER gives her a hard look.

                                     BUSTER
                         I mean your parents.

                                     HOMER
                         I know who you mean. I think about 
                         leaving here, but not to find *them*.

                                     BUSTER
                         Why not?

                                     HOMER
                         Whoever they were, they didn't *do* 
                         any of the things parents are supposed 
                         to do. Dr. Larch did those things, 
                         and Nurse Edna, and Nurse Angela.

                                     BUSTER
                         Yeah. But sometimes I wish I could 
                         meet mine, anyway.

                                     HOMER
                         What for, Buster? What would you do 
                         if you met them?

                                     BUSTER
                         Uh... I'd like to show them that I 
                         can cook, a little.

                                     HOMER
                         You cook very well!

                                     BUSTER
                         And that I can drive a truck!

                                     HOMER
                              (laughing)
                         Better than I can!

                                     BUSTER
                         Sometimes I want to meet them so I 
                         can kill them. Just sometimes.

               Buster is ashamed; he knows he's said the wrong thing.

                                     BUSTER
                         Homer, you know I would never kill 
                         anyone--you know I wouldn't.

                                     HOMER
                         I know.

               The slowly moving train has stopped. There are SOLDIERS 
               leaning out the windows. Buster turns to see Mary Agnes 
               walking past the train--she's doing her best to look grown-
               up, sophisticated. One of the soldiers reaches out and gently 
               tugs on  her hair. Mary Agnes is enraged; she spits at the 
               soldier.

                                     BUSTER
                         I think Mary Agnes could kill someone.

                                     HOMER
                         I doubt it. She's just an...

               Mary Agnes spits at *all* the soldiers.

                                     HOMER
                         ...emotional girl.

               The soldiers roll up the windows as Mary Agnes improvises 
               some verbal abuse.

                                     BUSTER
                         What's she so emotional about?

                                     HOMER
                              (shrugs)
                         I don't know. She got left here, 
                         like the rest of us, didn't she?

               Camera closes on Homer.

               INT. DINING HALL - NIGHT

               The orphans are watching King Kong, the part when the giant 
               ape first captures the screaming Fay Wray. Intercut Kong 
               with the orphans' rapt faces. Homer sits near the front, 
               mesmerized by the film. Dr. Larch and Angela sit by the 
               projector; Larch is reading a letter. Fuzzy points to the 
               screen.

                                     FUZZY
                              (coughing)
                         He thinks she's his *mother*!

               King Kong is undressing Fay Wray in the cave.

                                     COPPERFIELD
                         He doesn't think she's his mother, 
                         Fuzzy.

                                     FUZZY
                         He does so! He *loves* her!

                                     CARLA
                         How could she be his *mother*?

               Larch shakes the letter in front of Angela.

                                     LARCH
                              (a harsh whisper)
                         They want to replace me! The Board 
                         of Trustees wants to *replace* me!

                                     ANGELA
                              (whispering back)
                         They just want you to hire some new 
                         help.

                                     LARCH
                         Some new *things* would be useful. I 
                         don't need any "new help."

               The film breaks--to huge cries of disappointment from the 
               orphans. Fuzzy coughs and coughs while Larch fumbles with 
               the projector. Angela turns on the light while Larch squints 
               at the broken film. The orphans are chanting, "Kong! Kong!"

                                     LARCH
                         Homer! I need you!

               Homer gets up and walks to the projector.

                                     LARCH
                         I thought you took care of this. It 
                         always breaks in the same place. 
                         It's your splice, isn't it?

                                     HOMER
                              (angry)
                         It's *your* splice! You blame me for 
                         everything!

               Larch abruptly lets go of the film.

                                     LARCH
                         Angela, we need a new movie, a new 
                         projector, a new typewriter--*that's* 
                         what they should replace around here!

               Edna comes in; she speaks to Larch, then quickly leaves.

                                     EDNA
                         We have a delivery. Imminent, in my 
                         estimation...

               Larch turns to Homer.

                                     LARCH
                         Homer, would you get this one?

               Homer shifts his weight to the other foot; aggravated; he 
               stands there.

                                     HOMER
                         She's a patient, right? She should 
                         see a doctor.

               Homer and Larch stare at each other.

                                     LARCH
                              (trying to stay calm)
                         Homer, you are a skilled and gifted 
                         surgeon. You have near-prefect 
                         obstetrical and gynecological 
                         procedure.

               Homer is also trying to avoid a fight.

                                     HOMER
                         I just mean I'd rather fix the movie. 
                         Tonight.

               Larch can't hide his disappointment.

                                     LARCH
                         Sure. Okay. You splice. I'll deliver.

               It is an uneasy peace.

               INT. BOYS' DIVISION - NIGHT (LATER)

               Homer is adjusting Fuzzy's breathing tent as the other boys 
               climb into bed.

                                     FUZZY
                         Homer... doesn't King Kong think the 
                         woman is his *mother*?

                                     HOMER
                         Uh, sure--that's what Kong thinks, 
                         all right.

                                     FUZZY
                         That's why Kong loves her!

               Larch comes in and walks over to Homer and Fuzzy. Larch and 
               Homer exchange a look.

                                     HOMER
                         I thought it was my turn.

                                     LARCH
                         It is. I'll get this. You go ahead.

               Homer sits down with 'David Copperfield.' There is quiet 
               anticipation while Homer readies himself to read.

                                     HOMER
                              (reading)
                         "Whether I shall turn out to be the 
                         hero of my own life, or whether that 
                         station will be held by anybody else, 
                         these pages must show."

               Larch continues to adjust Fuzzy's breathing tent.

                                     HOMER
                         "I was a posthumous child. My father's 
                         eyes had closed upon the light of 
                         this world six months, when mine 
                         opened on it."

                                     FUZZY
                              (whispers to Larch)
                         His father's dead, right?

                                     LARCH
                              (whispering back)
                         That's right, Fuzz.

               Close on Fuzzy.

                                     HOMER (O.S.)
                              (continues reading)
                         "There is something strange to me, 
                         even now, in the reflection that he 
                         never saw me..."

               As Larch bends over Fuzzy to fix the breathing apparatus, 
               Fuzzy whispers.

                                     FUZZY
                         Is *your* father dead?

                                     LARCH
                              (nods, whispers)
                         Cirrhosis--it's a disease of the 
                         liver.

                                     FUZZY
                         *Liver* killed him?

                                     LARCH
                         *Alcohol* killed him--he drank himself 
                         to death.

                                     FUZZY
                         But did you know him?

                                     LARCH
                         Barely. It hardly mattered that I 
                         knew him.

                                     FUZZY
                         Did you know your mother better?

                                     LARCH
                              (nods, still whispers)
                         She's dead now, too. She was a nanny.

                                     FUZZY
                         What's a nanny do?

                                     LARCH
                         She looks after other people's 
                         children.

                                     FUZZY
                         Did you grow up around here?

                                     LARCH
                         No. She was an immigrant.

                                     FUZZY
                         What's an immigrant?

                                     LARCH
                         Someone not from Maine.

               EXT. ST. CLOUD'S - NIGHT

               The orphanage in moonlight. Not a sound.

               EXT. ST. CLOUD'S - MORNING

               The children are chasing a ball near the incinerator.

               A VERY FRIGHTENED GIRL---not one of the orphans--is lying 
               next to the incinerator.

               Edna kneels by the strange girl, who cringes with fear.

                                     EDNA
                         No one's going to hurt you, dear. 
                         Have you come to visit us? We have 
                         beds, you know. Have you had any 
                         breakfast? What's your name?

               The girl won't speak; when Edna touches the girl's forehead, 
               she pulls back her hand in alarm.

               INT. OPERATING ROOM - MORNING

               Edna is holding the head of the frightened young girl. The 
               girl is feverishly hot and whimpering; she keeps looking at 
               her feet in the stirrups as if she's an animal caught in a 
               trap. Larch and Homer stand on either side of her.

                                     EDNA
                         Her temperature is a hundred and 
                         four.

                                     LARCH
                              (very gently)
                         How old are you, dear? Thirteen?

               The girl shakes her head. The pain stabs her again.

                                     LARCH
                         Twelve? Are you twelve, dear?
                              (the girl nods)
                         You have to tell me how long you've 
                         been pregnant.
                              (the girl freezes)
                         Three months?

               Another stab of pain contorts the girl.

                                     LARCH
                         Are you *four* months pregnant?

               The girl holds her breath while he examines her abdomen; 
               Homer very delicately examines the girl's abdomen, too.

                                     HOMER
                              (whispers to Larch)
                         She's at least *five*.

               The girl goes rigid as Larch bends into position.

                                     LARCH
                         Dear child, it won't hurt when I 
                         look. I'm just going to *look*.

               Homer assists Larch with the speculum.

                                     LARCH
                         Tell me: you haven't done something 
                         to yourself, have you?

                                     TWELVE-YEAR-OLD GIRL
                         It wasn't me!

                                     LARCH
                         Did you go to someone else?

                                     TWELVE-YEAR-OLD GIRL
                         He said he was a doctor. I would 
                         never have stuck that inside me!

                                     HOMER
                         Stuck *what* inside you?

               Homer holds the girl still--she is babbling on and on while 
               Larch is examining her.

                                     TWELVE-YEAR-OLD GIRL
                         It wasn't me! I would never do no 
                         such thing! I wouldn't stick that 
                         inside me! It wasn't me!

               Larch, his wild eye peering into the speculum, makes an 
               audible gasp from the shock of what he sees inside the girl. 
               Larch tells Homer to have a look. Larch then whispers 
               something to Edna; she brings the ether bottle and cone 
               quickly. Larch starts putting the cone in place, over the 
               nose and mouth of the frightened girl. Homer bends to the 
               speculum.

                                     LARCH
                              (to the twelve-year-
                              old)
                         Listen, you've been very brave. I'm 
                         going to put you to sleep--you won't 
                         feel it anymore. You've been brave 
                         enough.

               Homer stares into the speculum; he closes his eyes. The girl 
               is resisting the ether, but her eyelids flutter closed.

                                     EDNA
                         That's a heavy sedation.

                                     LARCH
                         You *bet* it's a heavy sedation! The 
                         fetus is unexpelled, her uterus is 
                         punctured, she has acute peritonitis, 
                         and there's a foreign object. I think 
                         it's a crochet hook.

               Homer has pulled off his surgical mask. He leans over the 
               scrub sink, splashing cold water on his face.

                                     LARCH
                              (to Homer)
                         If she'd come to you four months ago 
                         and asked you for a simple D and C, 
                         what would you have decided to do? 
                         *Nothing*? *This* is what doing 
                         nothing gets you, Homer. It means 
                         that someone else is going to do the 
                         job--some moron who doesn't know 
                         *how*!

               Homer, furious, leaves the operating room. Edna lifts the 
               girl's eyelids for Larch so that he can see how well under 
               the ether she is.

                                     LARCH
                         I wish you'd come to *me*, dear child. 
                         You should have come to me, instead.

               INT. CORRIDOR - MORNING

               Homer storms down the hall, then stops, pulling off his white 
               coat. Angry, pacing, he kicks at nothing.

               EXT. ST. CLOUD'S - GRAVEYARD - EARLY MORNING

               Buster and Homer are digging the pit. Larch paces by the 
               coffin of the 12-year-old girl.

                                     BUSTER
                         What'd she die of?

                                     LARCH
                              (inhales deeply)
                         She died of *secrecy*, she died of 
                         *ignorance*...

               Buster nods, but he's totally bewildered.

                                     LARCH
                              (to Homer)
                         If you expect people to be responsible 
                         for their children, you have to give 
                         them the right to decide whether or 
                         not to *have* children. Wouldn't you 
                         agree?

               Buster doesn't get it. Homer has heard this too many times; 
               he rolls his eyes.

                                     HOMER
                         How about expecting people to be 
                         responsible enough to control 
                         themselves to begin with?

                                     LARCH
                         How about this child? You expect 
                         *her* to be responsible?

               Homer looks away.

                                     HOMER
                         I didn't mean her. I'm talking 
                         about... adults.
                              (annoyed)
                         You know who I mean!

               Larch studies him.

               EXT./INT. ST. CLOUD'S ROAD - TRUCK CAB - DAY

               Buster is driving the old pickup truck, with the shovels and 
               a wheelbarrow in the back. Larch and Homer are in the cab, 
               they are being bounced all over the cab by Buster's wild 
               driving. Larch looks at Homer; he stares at him with a curious 
               smile.

                                     HOMER
                         What?!

               Larch says nothing. Homer gives him a look.

                                     LARCH
                              (smiling)
                         It's just a marvel to me that you 
                         still have such high expectations of 
                         people.

                                     HOMER
                         I'm happy I amuse you.

                                     LARCH
                              (to Homer)
                         Try to look at it this way. What 
                         choice does Buster have? What are 
                         his options? Nobody will ever adopt 
                         him.
                              (Buster considers 
                              this)

                                     HOMER
                         Try to look at it *this* way. Buster 
                         and I are sitting right here beside 
                         you. We could have ended up in the 
                         incinerator!
                              (Buster grins)

                                     LARCH
                         Happy to be alive, under any 
                         circumstances--is that your point?

               Buster is distracted; he drives the truck into a ditch and 
               it bounces around, missing a tree by an inch. He is up on 
               the road again in a few seconds.

                                     HOMER
                         Happy to be alive... I guess so.

               They are all distracted by a luxurious convertible that 
               overtakes them on the hill to the orphanage. The fast car is 
               driven by a handsome man in the uniform of the Army Air Corps--
               a YOUNG OFFICER. From the passenger seat, a BEAUTIFUL YOUNG 
               WOMAN smiles at them, rendering them speechless.

               EXT. ORPHANAGE DRIVEWAY - DAY

               The luxurious convertible (now parked) has drawn all the 
               orphans to it. The handsome young officer (WALLY) and the 
               beautiful young woman (CANDY) stand confused by the car; 
               they are surrounded by the curious orphans, with whom they 
               are painfully self-conscious. They are overly friendly to 
               the children as they are anxious of Larch and Homer and Buster 
               (in their gravedigging attire), who are getting out of the 
               truck. Nervously, Wally gives the children chocolates.

                                     CANDY
                         So many children. Are they all 
                         orphans?

                                     WALLY
                         Well, this *is* an orphanage.

               The kids climb into Wally's car.

                                     CANDY
                         Oh, they're getting into the car... 
                         watch your fingers!

               Curly tugs on Candy's dress, staring up at her, his face 
               already smeared with chocolate.

                                     CURLY
                         I'm the best.

                                     CANDY
                              (sweetly)
                         You are?

                                     WALLY
                              (good with kids)
                         The best? Wow! The best at *what*?

                                     CURLY
                         I'm the best one.

               Curly's nose is streaming snot. Candy kneels beside him and 
               holds her handkerchief to his nose.

                                     CANDY
                         Here, blow...

               Curly tries to talk while she's holding his nose.

                                     CURLY
                         I really *am* the best, I just have 
                         a cold.

                                     CANDY
                         Blow! There, I bet that feels better.

                                     CURLY
                              (sniffs)
                         Yeah.

               The other orphans are dying with envy--Candy is so beautiful. 
               (Some, like Buster, are torn between Candy and the car.)

                                     LARCH
                         Curly, come here!

                                     CURLY
                              (to Larch)
                         *Tell* them! I'm the one.

               Virtually all the orphans have climbed into Wally's car.

                                     HOMER
                              (to Wally)
                         I'm sorry. They're not used to seeing 
                         a car like this.

                                     WALLY
                         It's okay--I don't mind.

               Larch, scowling, presents himself to the new couple.

                                     WALLY
                         We brought some chocolates for the 
                         kids.

                                     LARCH
                              (witheringly)
                         Chocolates. How *thoughtful*.

               Larch picks up Curly and carries him toward the boys' 
               division.

                                     CURLY
                         I'm the best! *Tell* them!

                                     LARCH
                         You're the best, Curly.

               INT. LARCH'S OFFICE - DAY

               Homer is seated in the desk chair. The impressive couple sit 
               in front of him.

                                     HOMER
                         So, Mrs...

                                     CANDY
                         Candy. Candy Kendall.

               Wally jumps up to his feet to shake Homer's hand.

                                     WALLY
                         Wally. Wally Worthington.

               Wally sits down. The three sit still for an awkward moment.

                                     HOMER
                              (to Candy)
                         How many months are you?

                                     CANDY
                              (whispers)
                         Two.

               Homer writes on a piece of paper. Candy and Wally exchange a 
               worried look.

                                     WALLY
                         So, now, uh... you're not... I mean, 
                         do *you* do the--

                                     HOMER
                         No. Dr. Larch will be performing the 
                         procedure.

                                     WALLY
                              (relieved)
                         Ah, well... okay. Good! I just 
                         wondered...

               Edna pokes her head in the door.

                                     EDNA
                         Excuse me, Homer. Dr. Larch said 
                         this one is your turn.

               Edna quickly sees that all three of them have misunderstood 
               her.

                                     EDNA
                         Oh, dear--I'm sorry. I meant the 
                         circumcision. That boy you delivered 
                         on Tuesday...

                                     HOMER
                         Sure. Fine. Have you prepped him?

                                     EDNA
                         I'll get started.

               Candy and Wally can't conceal how impressed they are with 
               the young Homer.

               INT. CORRIDOR - DAY

               Homer walks down the corridor, dressed in his operating gown, 
               as the door to the O.R. opens and Wally stumbles out, 
               hurriedly opening a window. Wally breathes deeply to regain 
               his composure.

                                     WALLY
                         I think it was the ether--the smell 
                         got to me.
                              (pause)
                         God. This is all my fault.

               Edna comes down the hall with a dirt-stained, crying Curly 
               who's covering one eye.

                                     EDNA
                              (over the din)
                         Steerforth got into the pantry--he's 
                         eaten all the pie dough.

                                     CURLY
                              (sobbing)
                         He wasn't sharing it, either.

                                     EDNA
                         He's down the hall, throwing up.

               Homer nods to Edna, who is marching off with Curly. Wally 
               smiles at Homer.

                                     HOMER
                         What kind of plane are you flying?

                                     WALLY
                         A B-24 Liberator.

                                     HOMER
                         Liberator...

                                     WALLY
                         Have you enlisted?

                                     HOMER
                         They wouldn't take me. I'm Class IV--
                         I've got a heart defect.

                                     WALLY
                         Really! Is it serious?

                                     HOMER
                         No, it's not serious. I'm just not 
                         supposed to get excited. You know--
                         no strain, no stress. I try to keep 
                         calm all the time.

               Wally hears Homer's facetiousness--how tired he is of his 
               heart condition.

                                     WALLY
                         Oh, well. I don't imagine there's 
                         any strain or stress around *here*!

               Homer appreciates the joke.

               The door to the operating room that Wally exited opens into 
               the corridor; Candy is being wheeled out on a gurney by Larch 
               and Angela. Wally rushes to Candy's side. Homer follows 
               slowly. Candy is groggy, coming out of the ether.

                                     WALLY
                         How is she doing?

                                     LARCH
                         Just fine.

                                     CANDY
                              (slurred speech)
                         Boy or girl?

                                     ANGELA
                         It was nothing--it's all over.

                                     WALLY
                         It's all over, honey.

               They walk Candy on her gurney. Homer looks after them.

                                     CANDY
                              (slurred speech)
                         I would like to have a baby, one 
                         day. I really would.

                                     ANGELA
                         Why, of course--you can have as many 
                         children as you want. I'm sure you'll 
                         have very beautiful children.

               Larch wheels Candy behind a curtain.

                                     LARCH
                         You'll have Princes of Maine! You'll 
                         have Kings of New England!

               Larch has a different tone of voice when he speaks to Wally.

                                     LARCH
                         I suggest you find yourself some 
                         fresh air, Lieutenant.

               Wally is left alone in the corridor.

               INT. BOYS' DIVISION - DAY

               Cranked at three-quarters, Fuzzy sits in bed, wheezing and 
               coughing. He's drawing with great intensity, using crayons 
               on a piece of paper held by a clipboard. Homer sits on the 
               end of Fuzzy's bed, cleaning up Steerforth. Homer pauses to 
               look out of the window; he sees Wally, dashing and spotless 
               in his uniform beside his flashy car. A life Homer might 
               have had crosses his face.

                                     FUZZY (O.S.)
                         Homer, when is Halloween?

               Homer turns to Fuzzy, who holds up his picture--a big pumpkin 
               with a jack-o-lantern face.

                                     HOMER
                              (distracted)
                         Uh... it's the end of October.

                                     FUZZY
                         Is that soon?

               Homer looks at Fuzzy; his little body is working hard just 
               to breathe.

                                     STEERFORTH
                         That's a few months away, Fuzz.
                              (to Homer)
                         I still don't feel so good.

                                     FUZZY
                              (disappointed)
                         Oh. It's the best time! How come we 
                         only get pumpkins once a year?

               Fuzzy coughs and coughs.

                                     HOMER
                         Don't get too excited, Fuzzy.

                                     FUZZY
                         Why can't we have pumpkins for 
                         Christmas, too? We don't get any 
                         good presents at Christmas, anyway.

               Homer looks out the window at Wally again. His decision forms.

               EXT. ORPHANAGE DRIVEWAY - DAY

               Homer approaches the flashy car, where Wally is still pacing.

                                     HOMER
                         Has anyone offered you anything to 
                         eat?

                                     WALLY
                         Actually, someone did. I just didn't 
                         think I could eat anything.

               An awkward silence, which Homer covers by examining the car.

                                     HOMER
                              (trying to sound casual)
                         I wonder if you might give me a ride.

                                     WALLY
                         Sure! Be glad to! Uh... a ride where?

                                     HOMER
                              (unprepared)
                         Where are you going?

                                     WALLY
                         We're heading back to Cape Kenneth.

               Homer nods, but he has no idea where Cape Kenneth is.

                                     HOMER
                         Cape Kenneth...

               Wally nods.

                                     HOMER
                         That sounds fine.

               INT. STAIRWAY/CORRIDOR - DAY

               Homer runs up the stairs, two steps at a time; he races into 
               a corridor at full speed, exhilarated. Suddenly Dr. Larch 
               appears in front of him. Homer stops abruptly, out of breath, 
               unable to speak.

               INT. LARCH'S OFFICE - DAY

               As Homer stands guiltily, Larch rifles through an X-ray file, 
               holding various X rays up to the lit screen. He quickly finds 
               the one he's looking for, attaching it briefly to the screen 
               for a confirming look--a heart X ray, which Larch waves at 
               Homer as he talks.

                                     LARCH
                              (sarcastic)
                         Doubtless you'll let me know what 
                         immensely worthwhile or at least 
                         *useful* thing it is that you find 
                         to do.

                                     HOMER
                              (restrained)
                         I wasn't intending to leave here in 
                         order to be entirely useless--I expect 
                         I'll find some ways to be of use.

                                     LARCH
                         In other parts of the world, I suppose 
                         there are other ways.

                                     HOMER
                              (still restrained)
                         Of course.

                                     LARCH
                              (blows up)
                         Are you really so *stupid* that you 
                         imagine you're going to find a more 
                         gratifying life? What you're going 
                         to find is people like the poor people 
                         who get left here--only nobody takes 
                         care of them as well! And you won't 
                         be able to take care of them, either. 
                         There's no taking care of *anybody*--
                         not out there!

                                     HOMER
                              (feeling trapped)
                         You know I'm grateful for everything 
                         you've done for me...

                                     LARCH
                              (calmly)
                         I don't need your gratitude.

               Larch hands Homer the heart X ray.

                                     HOMER
                              (exasperated)
                         I don't need this--I know all about 
                         my condition.

                                     LARCH
                         It's your heart--you ought to take 
                         it with you.

               Camera closes on Homer with the X ray.

               INT. KITCHEN - LATE AFTERNOON

               Buster and Mary Agnes are serving the evening meal while 
               Larch rails at Angela and Edna, who are helping Buster and 
               Mary Agnes. The sound of children in the dining hall is 
               intermittent and chaotic.

                                     EDNA
                         Going where? Does he have a plan of 
                         some kind?

                                     ANGELA
                         Will he be back soon?

                                     LARCH
                         I don't know! He's just leaving--
                              (to Angela)
                         you're the one who says he needs to 
                         see the world!
                              (to Edna)
                         *That's* what he'll do--he'll see 
                         the world!

                                     EDNA
                              (stunned)
                         He's leaving...

                                     ANGELA
                         He'll need clothes... some money...

                                     LARCH
                         Let him try to *make* some money! 
                         That's part of "seeing the world," 
                         isn't it?

                                     ANGELA
                              (angrily)
                         Oh, just stop it! You knew this was 
                         going to happen. He's a young man.

                                     LARCH
                              (almost breaking)
                         He's still a boy--out in the world, 
                         he's still a boy.

                                     ANGELA
                         Just find him some clothes, Wilbur. 
                         He could use some clothes.

               Camera closes on Larch, fighting tears.

               INT. BOYS' DIVISION - AFTERNOON

               Homer is packing his things--we see the heart X ray, and 
               some photos of Larch and Edna and Angela.

               Larch approaches Homer with a small bundle of clothes.

                                     LARCH
                              (gently, almost 
                              reverently)
                         I think these will fit you.

               Homer is grateful and ashamed. Before he can speak, Edna is 
               there--a wad of bills in her hand. She tries to put the money 
               in his pocket; when he refuses it, she simply puts the money 
               in his open suitcase, stuffing the bills under his clothes.

                                     EDNA
                         You'll need some money--just a little 
                         something, until you find a job.

               Larch and Edna retreat from him, humbly, as if they were his 
               servants.

               EXT. DRIVEWAY - AFTERNOON

               As Homer puts his stuff in the truck of Wally's car, Angela 
               can't resist touching his face. She is too upset to speak.

               From a window, Larch is watching the departure. He sees Homer 
               saying goodbye to the children, embracing them.

               From another window, Fuzzy just stares. (Of course he's 
               coughing.)

               We see Wally carrying Candy to the car.

                                     CANDY
                              (groggy)
                         I'm okay--I can walk.

                                     WALLY
                         I don't want you to walk--I want to 
                         carry you. Should I put the top up? 
                         It might get cold.

                                     CANDY
                         No--keep it down. I want to feel the 
                         air.

               She speaks to Homer, touching his sleeve, like a sleepy 
               person, as Wally puts her gently in the backseat.

                                     CANDY
                              (still groggy)
                         Coming with us? It's always a good 
                         idea to have a doctor along for the 
                         ride.

               Homer gets in the passenger seat beside Wally, who starts 
               the car; suddenly there is Curly. Homer can't look at Curly, 
               who looks betrayed. Edna picks up Curly and carries him to 
               the passenger-side window. Curly is sobbing.

                                     HOMER
                         I have to go, Curly. I'm sorry.
                              (to Edna)
                         I couldn't find Buster. Will you 
                         tell him...

               He can't finish what he has to say. Edna kisses him good-
               bye.

               From the window, Larch watches the car leave.

               Buster, whittling a stick, isn't watching.

               INT./EXT. WALLY'S CAR - ON THE ROAD - AFTERNOON

               There is quiet as the journey gets underway. Wally keeps 
               glancing at Candy in the rear-view mirror; she seems distant, 
               lost in thought. Homer is taking everything in--the speed, 
               the road, the wind in his face.

               INT. BOYS' DIVISION - NIGHT

               Angela speaks to the boys.

                                     ANGELA
                         Let us be happy for Homer Wells...

               INT. GIRLS' DIVISION - NIGHT

               In the girls' washroom, in front of the mirror by the row of 
               sinks, Mary Agnes is repeatedly slapping her face. Angela's 
               benediction to the boys plays Over this scene of violent 
               self-abuse. Except for the sound of the slaps. Mary Agnes 
               doesn't make a sound.

                                     ANGELA (O.S.)
                         Homer Wells has found a family. Good 
                         night, Homer!

                                     ALL THE BOYS (O.S.)
                         Good night, Homer!

               INT. DISPENSARY - NIGHT

               On his bed, Larch is taking ether. We hear the refrain from 
               the boys in the bunk room Over.

                                     ALL THE BOYS (O.S.)
                         Good night, Homer! Good night, Homer! 
                         Good night, Homer Wells!

               INT. WALLY'S CAR - NIGHT

               The radio is playing. Candy is lying down, her knees drawn 
               up, in the backseat; she appears to be asleep, oblivious to 
               Homer and Wally's conversation.

                                     WALLY
                         Actually, the Army has given me leave 
                         twice. First when my father died, 
                         and now I'm on leave to help my mother--
                         I'm just trying to get her ready for 
                         the harvest. She's no farmer. Apples 
                         were my dad's business. And with the 
                         war on, she's short on pickers.

               Candy's eyes are open but her voice is groggy.

                                     CANDY
                              (to Homer)
                         Wally thinks apples are boring.

                                     WALLY
                              (to Homer)
                         I never said they were boring.

                                     CANDY
                         You said, "Apples aren't exactly 
                         flying."

                                     WALLY
                         Well, they aren't.

               Homer looks back at Candy. Her eyes close.

                                     HOMER
                         I think I'd probably like the apple 
                         business.

                                     WALLY
                         You're a little overqualified, aren't 
                         you?

                                     HOMER
                         No, I'm not. I need a job.

                                     WALLY
                         The only jobs are picking jobs. 
                         Picking apples is truly boring.

               Candy's eyes snap open and she sits up a little.

                                     CANDY
                         There! You said it was boring.

                                     WALLY
                         Well, *picking* them is! It's about 
                         as exciting as... walking!

               Candy seems irritated with Wally. Homer tries to engage her.

                                     HOMER
                         Is your family in the apple business, 
                         too?

                                     CANDY
                         No, but I work there--I like it. My 
                         dad's a lobsterman.

                                     HOMER
                         I've never seen a lobster.

                                     CANDY
                         Really?

                                     HOMER
                         I've never seen the ocean, either.

                                     WALLY
                              (amazed)
                         You've never seen the *ocean*?

               Homer shakes his head, smiles.

                                     WALLY
                         That's not funny... that's *serious*.

               EXT./INT. ROADSIDE/CAR - NIGHT

               The car is parked at the side of the road. Wally is half-
               hidden behind a tree. Candy and Homer are left alone in the 
               car; there's an awkward silence as Homer pretends not to 
               hear Wally's excessive peeing. Suddenly Candy starts to sob.

                                     CANDY
                         I couldn't have a baby with someone 
                         who's leaving me--I didn't know what 
                         else to do!

               Homer is a doctor--he's used to postabortion reactions.

                                     HOMER
                         I know.

                                     CANDY
                         He's going to be dropping bombs on 
                         Mandalay! They're going to be shooting 
                         at him!

                                     HOMER
                         Where's Mandalay?

                                     CANDY
                         Burma!

                                     HOMER
                         Oh...

                                     CANDY
                         I can't have a baby alone. I don't 
                         even know if he's coming back!

                                     HOMER
                         I understand.

               He doesn't, really. Wally returns. Wally leans over Candy to 
               hug her.

                                     WALLY
                         Honey, honey... of course I'll come 
                         back.

               Candy pounds on his chest with her fists.

                                     CANDY
                         You don't *know*, Wally. You have no 
                         *idea*!

               Wally backs away. Candy sobs uncontrollably.

                                     CANDY
                         Stay away from me!

               Wally signals to Homer to get out of the car.

               Later, Wally and Homer stand outside the car, overhearing 
               Candy's weeping. Homer is smoking nervously.

                                     HOMER
                              (strictly medical)
                         This is all normal. Don't worry. The 
                         abortion procedure... it affects 
                         you. It's the ether, too. It'll take 
                         a little time.

                                     WALLY
                         I don't *have* any time. There's a 
                         *war*!

                                     HOMER
                         It's all very normal.

               Wally looks at Homer, who takes a nervous drag on his 
               cigarette.

                                     WALLY
                         You ought to cut that shit out--it's 
                         terrible for you.

               Homer looks at Wally; he sees the authority in his eyes. 
               Homer drops his cigarette and puts it out with his foot.

               They notice that Candy has stopped crying. Wally finds Candy 
               asleep in the backseat.

               EXT. WALLY'S CAR - ON THE ROAD - LATE AT NIGHT

               The lone car on the road. Snatches of war news from the radio 
               are the only sound as the headlights illuminate the dark 
               highway.

               EXT. COAST OF MAINE - MORNING

               The car is parked, with Homer sleeping in it alone. The sounds 
               of the ocean increase as Homer opens his eyes. Homer gets 
               out of the car and walks toward the beach, enchanted. There 
               it is: his first view ever of an ocean, the horizon, the sun 
               glimmering on the water. Candy is lying on a blanket in the 
               sand. Wally is throwing rocks in the water. Homer takes it 
               all in. When Candy calls for him, Homer walks up to her.

                                     CANDY
                         I'm a little worried about the...
                              (she gestures below 
                              her waist)
                         ...about how much bleeding is okay.

                                     HOMER
                         It should taper off tomorrow, but it 
                         can come back again. You have cramps?
                              (Candy nods)
                         They'll ease up, almost entirely. As 
                         long as the bleeding isn't heavy, 
                         it's normal.

                                     WALLY (O.S.)
                         Catch!

               A football comes flying through the air toward Homer; it 
               bounces off his chest. Wally laughs.

                                     WALLY
                              (meaning the football)
                         Give it here!

               Homer throws the football; it's clear he's never thrown one 
               before.

                                     WALLY
                         What was *that*?! Come over here!

               Homer runs over to Wally, who proceeds to show him how to 
               pass the ball. Snatches of his instruction drift to Candy, 
               who closes her eyes. "Put your fingers on the laces--no, it 
               rests in your palm, like this! You want the laces up--yes, 
               like that!"

               EXT. COAST OF MAINE - DAY (LATER)

               Homer and Wally sit on the beach a short distance from Candy's 
               blanket. She appears to be asleep. Wally looks in her 
               direction before he speaks to Homer.

                                     WALLY
                         It's called the Burma run. It's about 
                         a seven-hour round-trip flight between 
                         India and China.

               Wally draws a crude map in the sand.

                                     HOMER
                         "Burma run" because you fly over 
                         Burma...

                                     WALLY
                         *And* over the Himalayas. That's 
                         called flying over the hump.

               On Candy's face: she's not asleep; she's listening.

                                     HOMER (O.S.)
                         At what altitude?

                                     WALLY
                         I've got thirty-five minutes to climb 
                         to fifteen thousand feet--that's the 
                         first mountain pass.

               Homer looks at Wally, thoughtfully.

                                     HOMER
                         What lousy luck--I mean your orders... 
                         to draw an assignment like that!

                                     WALLY
                              (conspiratorially)
                         Actually, I volunteered.

               Homer is shocked; he looks back at Candy, lowers his voice.

                                     HOMER
                         It's the flying, right? You love to 
                         fly, don't you?

               Wally nods; he also gives a look in Candy's direction before 
               he responds.

                                     WALLY
                         I love the bombing, too. But there's 
                         also the Himalayas--they have the 
                         most wicked air currents in the world. 
                         I wouldn't miss flying there for 
                         anything.

               Homer's smile suggests that he's impressed, but that he 
               wouldn't have Wally's enthusiasm for the task. Wally laughs 
               and puts his hand on Homer's shoulder.

                                     WALLY
                         Uh, look... if you're serious about 
                         wanting a job, picking apples isn't 
                         that boring.

                                     HOMER
                         Oh, I would love that, Wally.

               EXT. CAPE KENNETH - LOBSTER POUND - AFTERNOON

               The car is parked at a lobster pound. Homer sits in the car 
               watching Wally carrying Candy's bag to the door. Candy stands 
               outside the car; she shakes Homer's hand.

                                     CANDY
                         I guess I'll see you around the 
                         orchards. Thanks for everything.

                                     HOMER
                         Sure... I'll see you around.

               Candy turns and heads toward the house to catch up with Wally. 
               A lobsterman in his boat is approaching the dock. It's RAY, 
               Candy's father. Candy waves. "Hi, Daddy!" Homer glances at 
               Candy and Wally on the dock, kissing good-bye.

                                     CANDY
                              (whispering)
                         I love you, Wally.

                                     WALLY
                         I love you, too. See you tomorrow.

               EXT. OCEAN VIEW - WORTHINGTON HOUSE - LATE AFTERNOON

               Wally drives up to the Worthington house; he gets out of the 
               car. Homer sits in the car, admiring the beautiful farmhouse.

                                     WALLY
                         Come on. You have to meet my mom.
                              (conspiratorially)
                         If it comes up, I've been at a 
                         wedding. That's where I met you, at 
                         the wedding.

               INT. WORTHINGTON HOUSE - WALLY'S BEDROOM - LATE AFTERNOON

               Homer as never seen such a room: the sports trophies, the 
               photos of athletic teams, and of Candy with Wally. Model 
               airplanes are everywhere. Mrs. Worthington's voice comes 
               from the hall.

                                     OLIVE (O.S.)
                         Wally? I expected you earlier...

               She appears in the doorway of Wally's room. Mrs. Worthington 
               (OLIVE) is an elegant, fiftyish New Englander, as handsome 
               as Wally, but more reserved. She is surprised to see Homer.

                                     WALLY
                         This is Homer Wells--he's the most 
                         overqualified apple picker you'll 
                         ever meet, but he's dying to learn 
                         the apple business.

               Wally is taking his uniform off as he speaks, just dropping 
               it on the floor as he quickly puts on some farm clothes.

                                     OLIVE
                         How do you do, Homer Wells...

               Homer has never met anyone like her.

                                     HOMER
                         How do you do...

               Mrs. Worthington starts picking up her son's uniform from 
               the floor. She is politely curious about Homer.

                                     OLIVE
                         Were you a friend of the bride or 
                         the groom?

               Homer looks confused; he seems to have forgotten about the 
               alleged wedding. Wally puts his arm around Homer, urging him 
               into the hall.

                                     WALLY
                         Homer is everybody's friend, Mom... 
                         the bride's, the groom's, mine, 
                         Candy's, *everybody's*.

               Homer is embarrassed, but Olive is obdurately well-mannered.

                                     OLIVE
                         Well, perhaps you'll come to dinner, 
                         Homer...

               Wally calls to her as he pushes Homer down the hall.

                                     WALLY
                         Not tonight, Mom--he's got to meet 
                         *Mr. Rose*!

               EXT. CIDER HOUSE - DUSK

               Homer and Wally get out of the jeep at the cider house, a 
               barnlike building with adjacent sheds and, behind it, line 
               after line of trees--the apple orchards.

               Homer sees an outdoor shower where THREE BLACK MEN are 
               showering. It is a wooden stall that leaves the shower's 
               occupants visible above and below their midsections. A FOURTH 
               BLACK MAN is caught naked, running behind the cider house 
               and out of sight as he wraps a towel around himself.

                                     JACK
                         You already used up the hot water!

                                     MUDDY
                         You're usin' my soap, ain't you?

                                     JACK
                         I ain't usin' no soap--it's too cold 
                         to bother with soap!

                                     MUDDY
                         There ain't never enough hot water, 
                         soap or no soap.

                                     WALLY
                         They're migrants.

                                     HOMER
                              (no clue)
                         Migrants?

                                     WALLY
                         Yes. They pick fruit, all kinds. 
                         They travel up and down the coast 
                         with the seasons.
                              (leaning close to 
                              Homer)
                         The trick to Mr. Rose is, you have 
                         to let him be the boss.

               Homer wonders what that means as Wally reaches for the door 
               of the cider house. Before Wally can knock, a pretty young 
               black girl, ROSE ROSE, bumps open the screen door with her 
               hip and throws a bucket of water in the grass--almost hitting 
               Homer and Wally.

                                     ROSE ROSE
                         That sink's backed up again, Wally. 
                         I thought you was gonna get me a 
                         plumber.

                                     WALLY
                         Rose, this is Homer--Homer, this is 
                         Mr. Rose's daughter, Rose.

                                     HOMER
                         Rose Rose?

                                     ROSE ROSE
                         Pretty, ain't it? You a plumber?

                                     WALLY
                         No, no--Homer is a new *picker*. 
                         He's going to stay here with you.

               This gets the attention of the men on their way from the 
               showers. They walk over, towels around their waists.

                                     ROSE ROSE
                              (suspiciously)
                         He's stayin' *here*?

               The screen door swings open and shut again, startling them 
               all, as MR. ROSE comes out of the cider house.

                                     MR. ROSE
                         That daughter of mine sure is Miss 
                         Hospitality, ain't she, Wally?

               Grinning, Mr. Rose shakes Wally's hand. Rose Rose goes back 
               inside the cider house as Mr. Rose shakes Homer's hand. Homer 
               introduces himself.

                                     MR. ROSE
                         You got lots of experience pickin', 
                         I suppose.

                                     WALLY
                         Homer's got no experience, Arthur, 
                         but he's smarter then I am. He's a 
                         fast learner.

               Mr. Rose looks briefly at the men, who wait for his reaction.

                                     MR. ROSE
                         This is history. Ain't that what 
                         you're sayin', Wally? I guess we 
                         makin' *history*... havin' this young 
                         man stay with us!

               Wally slaps Homer on the back; he goes inside the cider house 
               to help Rose Rose with the plumbing.

                                     WALLY
                              (over his shoulder)
                         See you later.

               Homer looks at Mr. Rose for instructions. Mr. Rose stares 
               back at him with his enigmatic smile.

                                     HOMER
                         So. What should I do now?

                                     MR. ROSE
                         Out back, there's a shed. It's just 
                         a mess. If that shed was better 
                         organized, I could put my truck in 
                         there.

               Homer looks at Mr. Rose with an uncomprehending expression.

                                     MR. ROSE
                         If you're as smart as Wally says, 
                         you know you sometimes gotta do one 
                         job before you do another.

               Homer thinks that over.

               Later, Homer is cleaning out the shed.

               EXT. CIDER HOUSE - EVENING

               The pickers all sit down to supper around a picnic table. 
               Homer with Mr. Rose, Rose Rose, and the other black pickers. 
               Mr. Rose takes an apple from a bowl on the table. Then he 
               pulls out a knife and opens it in one fluid motion; he's so 
               fast, the knife seems to come out of nowhere. He begins to 
               peel the apple. Homer eyes Mr. Rose, but Mr. Rose's focus is 
               riveted to his apple and the long, perfect strand of peel 
               dangling from it.

                                     MR. ROSE
                         You did a good job with that shed, 
                         Homer.

               Peaches breaks the awkward silence.

                                     PEACHES
                         What kind of a name is Homer?

                                     HOMER
                         It's the name of a cat. Originally. 
                         Well, not *originally*.

               Homer decides to stop. Another silence.

                                     MR. ROSE
                         Now, now--we all got names, sensible 
                         or not.
                              (to Homer)
                         Peaches is from Georgia, where we 
                         met him pickin' peaches. He's still 
                         better with peaches than hs is with 
                         apples.
                              (Peaches grins)
                         Jack here is new. And this here is 
                         Hero, 'cause he was a hero of some 
                         kind or other once. Ain't that right, 
                         Hero?

               There are some disrespectful suggestions from the pickers 
               concerning what his heroism might have been.

                                     MR. ROSE
                         And this here sensitive-lookin' fella 
                         is Muddy. The less said about Muddy, 
                         the better. Ain't that right, Muddy?

               Muddy scowls at Homer, but he smiles at Mr. Rose.

               INT. BUNKHOUSE - NIGHT

               Homer unpacks his suitcase. (His bed should be nearest Muddy's 
               and Mr. Rose's.) Jack lies on his bed, smoking. Muddy, also 
               smoking, is sitting on his bed, sharpening a knife. Hero and 
               Peaches are playing cards on one of their beds. Mr. Rose is 
               finishing shaving. Rose Rose watches Homer unpack.

                                     ROSE ROSE
                         What's that?

                                     HOMER
                         It's just my heart.

                                     ROSE ROSE
                         What you got a picture of your heart 
                         for?

               He holds up the X ray, in order to show her.

                                     HOMER
                         There's a little something wrong 
                         with it. Just this part here--the 
                         right ventricle. It's slightly 
                         enlarged.

                                     ROSE ROSE
                         So what?

                                     HOMER
                         Yes, so what. It's nothing serious, 
                         really. Just a small defect.

                                     MR. ROSE
                         It's big enough to keep you out of 
                         the war, I suppose. Ain't that right?

                                     HOMER
                         Right.

               Rose Rose picks up the book that Homer has put on the bed. 
               She studies the cover; it's "Great Expectations" by Charles 
               Dickens. She puts it down, restlessly.

                                     MR. ROSE
                         They told me I was too old to serve.

                                     PEACHES
                         They told Muddy his feet was too 
                         flat!

               Everybody laughs, except Muddy.

                                     MUDDY
                              (to Peaches)
                         And you was "generally unfit," as I 
                         recall.

               Finished unpacking, Homer sits on his bed; he picks up "Great 
               Expectations" and begins to read. Rose Rose sits down next 
               to him, watching him read. Homer notices her interest.

                                     HOMER
                         Do you like to read?

                                     ROSE ROSE
                              (embarrassed)
                         I can't read. Nobody taught me.

               Homer smiles politely and goes back to his book. Rose Rose 
               keeps looking over his shoulder at the pages.

                                     ROSE ROSE
                              (pointing to the page)
                         What does it say there?

               Homer looks around at the pickers lying in their beds, 
               smoking, listening. (Like bedtime stories at the orphanage, 
               he thinks; however, the picker's attitude is suspicious, 
               reserved.)

                                     HOMER
                              (reading)
                         "I looked at the stars, and considered 
                         how awful it would be for a man to 
                         turn his face to them as he froze to 
                         death, and see no help or pity in 
                         all the glittering multitude."

               Homer looks up; there's no response.

                                     HOMER
                              (to Rose Rose)
                         More?

               Some muttering, some giggling, mostly silence. Rose Rose 
               wants more, but suddenly Jack jumps out of bed and stomps to 
               the kitchen end of the cider house, where a piece of paper 
               is tacked to the wall. Jack is talking to Homer all the way.

                                     JACK
                         Since you're the one who's smart 
                         enough to read... what's this?

               Jack points at the piece of paper. Homer gets up and looks 
               at it.

                                     HOMER
                         It's a list of rules, it seems.

               All the men groan--Jack swears and Peaches laughs.

                                     ROSE ROSE
                         *Whose* rules?

                                     MUDDY
                         They're for us, I suppose.

                                     JACK
                         Go on and read 'em, Homer.

                                     HOMER
                         "One. Please don't smoke in bed."

                                     ROSE ROSE
                         It's too late for that one!

               All the smokers laugh and cough in their beds.

                                     MR. ROSE
                              (uncharacteristically 
                              blunt)
                         Stop it, Homer. They aren't our rules. 
                         We didn't write them. I don't see no 
                         reason to read them.

                                     HOMER
                         Okay...

               Rose Rose stomps back to her bed. Her father absently snaps 
               his towel.

               INT. BUNKHOUSE - NIGHT (LATER)

               Everybody is asleep, except Homer. He is staring at the 
               ceiling in the quiet semi-darkness, the book lying on his 
               chest.

                                     LARCH (O.S.)
                              (distant echoing)
                         Good night, you Princes of Maine! 
                         You Kings of New England.

               INT. BOYS' DIVISION - NIGHT

               Dr. Larch is standing in the doorway to the boys' room; he 
               closes the door.

               INT. BUNKHOUSE - NIGHT

               Homer, on his bed, closes his eyes.

               INT. DISPENSARY - NIGHT

               Larch lies in bed with his eyes open. (No ether.)

               EXT. CIDER HOUSE - NIGHT

               The cider house and the apple orchard in the moonlight.

               EXT. ORCHARDS - MORNING

               Wally in his farm clothes at the wheel of the Jeep--he is 
               racing through the orchards, dodging trees, with Homer in 
               the passenger seat, hanging on for dear life.

                                     WALLY
                         Remember this! In the morning, when 
                         the tall grass is wet, you can make 
                         the Jeep slide on the grass. Can you 
                         feel it?

               Homer is excited as Wally weaves among the trees--faster and 
               faster.

                                     WALLY
                         It's almost like flying.

                                     HOMER
                         What about the trees?

                                     WALLY
                         The trees are flak--antiaircraft 
                         fire from those geeks on the ground.

               Wally brakes hard. The Jeep comes to a stop in the packing-
               house area.

               Candy has been waiting on the loading platform. The pickers 
               are working in the background.

                                     WALLY
                              (defensively to Candy)
                         I was just showing Homer the 
                         orchards... kind of a geography 
                         lesson.

                                     CANDY
                              (good-naturedly)
                         I know what you've been doing.

               She pulls an apple branch, with an apple to two, out of the 
               vehicle's grille--or else the branch is wedged in the front -
               bumper or headlight area. Candy playfully starts poking Wally 
               with the branch.

                                     CANDY
                              (to Wally)
                         You've been giving him a *flying* 
                         lesson!

                                     WALLY
                              (teasing her)
                         He *loved* it!
                              (to Homer)
                         Didn't you?

                                     HOMER
                         Yeah, it was great.

               Wally gets the apple branch away from Candy. He pins her 
               arms at her sides--he hugs her, kisses her. She doesn't 
               struggle.

                                     CANDY
                              (laughing to Homer)
                         He thinks people *like* to get whacked 
                         by branches.

                                     WALLY
                         *Homer* liked it!
                              (to Homer)
                         Didn't you?

                                     HOMER
                         Yeah, sure. There's no stress or 
                         strain around here...

               They all laugh. Homer observes the happy couple.

               EXT. ORCHARDS - DAY

               Homer is walking with Wally and Candy. The orchards are 
               beautiful.

               EXT. PACKING HOUSE - MORNING

               Much activity: the pickers are unloading apple crates from a 
               full flatbed trailer. An angry-looking VERNON gives Homer an 
               evil glare. Homer spills some apples lifting the crate to 
               the loading platform.

                                     VERNON
                         What's wrong with you?

               Mr. Rose takes Homer aside.

                                     MR. ROSE
                         That's Vernon. You best stay away 
                         from him until he gets to know you 
                         better--then you best stay away from 
                         him *more*!

               Wally, in full uniform, appears from inside the packing house; 
               he calls for Homer.

                                     MR. ROSE
                         Out lieutenant's calling you, Homer. 
                         Mind your ass.

               Homer smiles are runs toward Wally.

               INT./EXT. PACKING HOUSE - MORNING

               Homer and Wally walk through the packing house, where the 
               HEFTY, LOUD WOMEN sort through the apples rolling by on the 
               conveyor tracks. Wally snatches an apple from one of them, 
               giving it to Homer.

                                     WALLY
                              (to Homer)
                         You getting along okay?

               Before Homer can answer, the women interrupt.

                                     BIG DOT
                         Where is that Candy?

                                     FLORENCE
                         Did she leave you, Wally?

                                     DEBRA
                         Who's the boy?

               Wally makes an effort to introduce Homer, but he's 
               interrupted.

                                     FLORENCE
                         Wally, you can marry Debra if Candy 
                         leaves you!

                                     BIG DOT
                         Wally's gonna marry *me* if Candy 
                         leaves him!

                                     DEBRA
                         You can marry all three of us, Wally!

                                     FLORENCE
                         We can take turns.

               Wally puts his hand to his heart.

                                     WALLY
                         You girls make it hard for a guy to 
                         go off to war.
                              (points to Homer)
                         But I'll leave my best man here to 
                         pinch-hit for me.

               As the women are left behind giggling, Wally continues talking 
               to Homer.

                                     WALLY
                         Uh... I'm shipping out sooner than I 
                         thought. I just wanted to be sure 
                         you were settled in--and happy enough, 
                         considering...
                              (grabbing another 
                              apple from a crate)
                         Are you bored stiff? Or can you stick 
                         it out for a bit?

                                     HOMER
                         Uh... actually, picking apples is as 
                         much excitement as I want for a while. 
                         I'm grateful for the job.

                                     WALLY
                              (his hand on Homer's 
                              shoulder)
                         You're the one who's helping *me*, 
                         Homer. You're going to give my mom a 
                         little peace of mind while I'm gone. 
                         Candy, too.

                                     HOMER
                         Well, sure... that's good, then.
                              (awkward pause)
                         All I mean is, I'm lucky I met you.

                                     WALLY
                         I don't think so, Homer. *I'm* the 
                         lucky one.

               Homer shakes his head. Wally stops walking; they both stop.

                                     WALLY
                              (more serious)
                         You want to fight about it?

               Homer is unfamiliar with this kind of kidding around; at 
               first he is startled, but then he laughs. Wally laughs, too. 
               They shake hands.

               Mr. Rose calls out to Homer from the tractor. The pickers 
               are impatiently waiting for him on the flatbed; they're going 
               back to the orchard. Homer has to run to catch up to them. 
               He jumps on the flatbed; he sees Wally waving good-bye.

               EXT. ORCHARDS - DAY

               High up in a tall tree on a couple of ladders, Mr. Rose and 
               Homer are picking side by side. Mr. Rose is picking with 
               high-speed perfection, but Homer is slower and fumbling--he 
               drops an occasional apple to the ground.

                                     MR. ROSE
                         You pickin' more cider apples then 
                         anythin' else. Them drops is good 
                         only for cider. And you pickin' the 
                         stems with the apples only half the 
                         time. They good only for cider, too--
                         if you don't pick them stems.
                              (Homer watches him)
                         The rule is, you wanna pick the apple 
                         *with* the stem, Homer. And see 
                         here... see that *bud* that's just 
                         above the stem? That's the bud for 
                         *next year's* apple--that's called 
                         the *spur*. You pick the spur, you 
                         pickin' two years in one--you pickin' 
                         next year's apple 'fore it have a 
                         chance to grow. You leave that on 
                         the branch, you hear?

               Homer nods; he picks more carefully, with more concentration.

                                     MR. ROSE
                              (approvingly)
                         That's better. I can tell you got 
                         yourself some education. Them's good 
                         hands you got, Homer. Them hands you 
                         got, they know what they're doin'--
                         ain't that right?

                                     HOMER
                         I guess so...

               Homer can see over the apple mart parking lot from the top 
               of the tree. He can see the driveway of the Worthington house, 
               where Candy and Olive are saying a tearful good-bye to Wally. 
               Distracted, Homer drops another couple of apples, which Mr. 
               Rose observes with a wry smile.

                                     ANGELA (O.S.)
                         Wilbur! Wilbur!

               INT. LARCH'S OFFICE - DAY

               Larch is doing something at his desk when Angela comes in.

                                     ANGELA
                         Wilbur, you should read this.

               Larch stares at Angela, who holds a letter.

                                     ANGELA
                         It's from the Board. Another letter.

               INT. LARCH'S OFFICE - NIGHT

               Dr. Larch stands in front of a mechanical drawing easel. He 
               works intently with a calligraphic pen, but we don't see 
               what he's working on. Angela and Edna sit at the desk; they're 
               looking over the letter.

                                     ANGELA
                              (quoting the letter)
                         Uh... "merely suggesting that some 
                         new blood might benefit you all... 
                         someone with new ideas in the 
                         obstetrical and pediatric fields."
                              (she looks up at Larch)
                         I think they're just testing some 
                         ideas for our next meeting.

                                     EDNA
                         Dr. Holtz seems nice. I think he 
                         only wants to help...

                                     LARCH
                         He is a goddamn psychiatrist--of 
                         *course* he wants to "help"! He'd be 
                         happy if he could help *commit* me!

                                     ANGELA
                         It's that Mrs. Goodhall you have to 
                         be careful of, Wilbur.

                                     LARCH
                         One has to be more than "careful" of 
                         Mrs. Goodhall--she has sufficient 
                         Christian zeal to start her own 
                         country! I'd like to give her a little 
                         ether.

                                     EDNA
                         So what are you going to do?

               Larch puts down the pen, comes around the easel, opens a 
               drawer in a filing cabinet, and hands Edna a folder containing 
               a few cleanly typed pages. Larch returns to the easel, to 
               his painstaking work. Edna opens the file; as she and Angela 
               read the contents, Larch recites from memory as he works.

                                     LARCH
                         "Homer Wells, born Portland, Maine, 
                         March 2, 1915..."

                                     EDNA
                         Homer was born *here*, in, what was 
                         it, 1922?

                                     LARCH
                         "...graduated Bowdoin College, 1935, 
                         and Harvard School of Medicine, 1939."

                                     ANGELA
                         This is *your* life story, Wilbur! 
                         You just changed the dates!

                                     LARCH
                         "An internship and two years of 
                         training at the Boston Lying-in, 
                         South End Branch. For his age, he 
                         was judged an accomplished 
                         gynecological obstetrical surgeon; 
                         he is also experienced in pediatric 
                         care..."

                                     ANGELA
                         You *invented* him! You've completely 
                         made his up!

                                     LARCH
                         Don't you understand? The board is 
                         going to *replace* me! That's what 
                         the "new blood" is *for*!

                                     EDNA
                         You mean they'll replace you with 
                         someone who won't perform abortions.

                                     LARCH
                              (sarcastically)
                         Well, we can only guess about that, 
                         Edna. They *are* against the law.

                                     ANGELA
                         These *credentials* are against the 
                         law!

                                     LARCH
                         We all know who trained Homer--his 
                         credentials are as good as mine are. 
                         Don't you be holy to me about the 
                         *law*! What has the law done for any 
                         of us here?

               Edna and Angela think this over.

                                     LARCH
                              (points at file)
                         So here is my candidate. What do you 
                         think?

                                     EDNA
                         But what about school records? Homer 
                         doesn't have any *diplomas*...

               Larch turns the easel around. Attached is a parchment headed: 
               "HARVARD MEDICAL SCHOOL"--it's a diploma-in-progress.

                                     LARCH
                         He *will* have them, Edna.

               The women are shocked, awed.

                                     ANGELA
                         Oh, Wilbur, I don't know...
                              (sudden thought)
                         We don't even know where he is!

               EXT. CIDER HOUSE, ROOF - NIGHT

                                     ROSE ROSE (O.S.)
                         Where's that Homer?

               Homer stands in front of a ladder that leans against the 
               cider house; he starts to climb up, drawn by the murmuring 
               voices, the soft laughter.

                                     JACK (O.S.)
                         Who cares?

                                     MR. ROSE (O.S.)
                         Now, now. He's a good boy.

                                     JACK (O.S.)
                         Shit. We don't know what he is.

                                     MR. ROSE (O.S.)
                         Jack, you gotta watch your language 
                         'round my daughter.

               Homer arrives at the top and sees everyone sitting on a long 
               plank, a bench attached to the apex of the roof--obviously a 
               popular spot.

                                     MR. ROSE
                         Here he is.

               No one moves.

                                     MR. ROSE
                         Where's your manners? Make room for 
                         Homer, so's he can enjoy the view.

                                     MUDDY
                         What view?

               Peaches slides over and Homer sits down.

                                     HOMER
                         Are we supposed to be up here? The 
                         rules said...

                                     MR. ROSE
                         Homer, you the only one who's read 
                         them rules, so you the only one who 
                         feels like he's doin' somethin' wrong.

               The others laugh.

                                     MUDDY
                         *What* view?

                                     MR. ROSE
                         Well, Muddy, we can look at all these 
                         angry stars Homer's been readin' to 
                         us about.

               More laughter; Homer smiles, enjoying the teasing.

                                     JACK
                              (gesturing toward the 
                              Worthington farmhouse)
                         I bet the view looks better from the 
                         Worthin'tons'.

                                     MR. ROSE
                         You think so, Jack? Well... I wouldn't 
                         want to be in that Wally's shoes 
                         tonight.

                                     ROSE ROSE
                              (playfully, teasing 
                              him)
                         Daddy, I'd like to be in that Wally's 
                         shoes *every* night.

                                     MR. ROSE
                              (teasing her back)
                         You lucky you in your work boots 
                         tonight, girl...

                                     ROSE ROSE
                         What's lucky about that?

               Rose Rose is being physically affectionate with her father--
               lightly punching his arm, rubbing the top of his head.

                                     MR. ROSE
                         You know where that Wally is tonight, 
                         darlin'? He's up there in them angry 
                         stars.
                              (gesturing at the 
                              dark sky)
                         He's flyin' all around up there... 
                         with them Japs shooting at him.

               They all look up, imagining that. Homer more than the others. 
               Rose Rose, looking thoughtful, rests her head on her father's 
               shoulder. They are completely natural together.

               EXT. CAPE KENNETH - APPLE MART - DAY

               Homer and the pickers are loading crates of apples into a 
               shipping truck. Olive and Candy are consulting some papers 
               (the shipping tally) on a clipboard; Mr. Rose is standing 
               beside them.

                                     MR. ROSE
                         They all on board, Mrs. Worthin'ton.

                                     OLIVE
                         Thank you, Arthur.
                              (see is looking at 
                              Homer)
                         And how is our Homer working out?

               She catches Homer's eye; he smiles, then joins them. Mr. 
               Rose puts his arm around him.

                                     MR. ROSE
                         Oh, he's a smart young man, most of 
                         the time--Wally was right about him.

               Olive is looking over the rest of the picking crew.

                                     OLIVE
                         No rotten apples?

                                     MR. ROSE
                              (it's an old way of 
                              speaking that they 
                              have)
                         No, no--not this year. Well... maybe 
                         we got *one*, but it ain't Homer.

               He means Jack, who gives Olive and Candy and Mr. Rose a 
               furtive look. Olive smiles at Rose Rose, who comes up to her 
               and Candy. Olive touches Rose Rose with affection.

                                     OLIVE
                         Rose... dear girl, I'm sure I can 
                         find you some other clothes.
                              (to Candy)
                         You must have some things that would 
                         fit her.

               Candy takes Rose Rose by the shoulders and turns her around. 
               Rose Rose is enjoying this.

                                     CANDY
                         I have a *ton* of things that would 
                         fit you.

                                     MR. ROSE
                         Now, now, Candy--this girl don't 
                         need no more clothes, not for pickin'.

               He starts leading his daughter away.

                                     OLIVE
                              (charming)
                         Arthur, there's no such thing as a 
                         young woman who's got all the clothes 
                         she needs.

               Olive waves good-bye as she moves toward her car. Candy turns 
               to Homer.

                                     CANDY
                         So. Not bored yet?

                                     HOMER
                         I'm *never* bored! It's all very... 
                         different for me... here.

               Homer has the hardest time looking at Candy.

                                     HOMER
                         Uh... have you been *feeling* okay?

                                     CANDY
                         When I'm not thinking about Wally. 
                         I'm not good at being alone.
                              (realizing)
                         Oh, goodness. You meant... yes, I'm 
                         fine. I...
                              (struggling to change 
                              the subject)
                         ...I don't suppose you've seen a 
                         lobster yet.

               Homer shakes his head. He looks at the tractor and the empty 
               trailer. Mr. Rose and the pickers are just watching them.

                                     CANDY
                              (more seriously)
                         You have to come to my dad's lobster 
                         pound and see one, then.

                                     HOMER
                         Okay...

               Homer looks toward the pickers sitting on the flatbed when 
               he hears the tractor start. Candy follows his gaze.

                                     HOMER
                         I better go.

                                     CANDY
                         I don't think Mr. Rose would leave 
                         without you.

               Mr. Rose gestures for Muddy to drive off; the tractor trailer 
               pulls away.

                                     CANDY
                              (laughing)
                         Sorry!

               Homer has to run to catch up.

                                     CANDY
                              (calling)
                         Come next week!

               He jumps on the back of the departing flatbed between Mr. 
               Rose and Rose Rose, as Candy watches him.

               INT. BUNKHOUSE - DUSK

               An anxious-looking WHITE PLUMBER is fixing the kitchen sink 
               while the pickers (in their towels) stand around and watch.

               Homer is putting on his best shirt. Peaches admires the shirt 
               as Rose Rose cooks the night's supper on the wood stove.

                                     PEACHES
                         Whoa--look at that Homer! He's gettin' 
                         all dressed up for supper tonight!

                                     ROSE ROSE
                         He ain't gettin' dressed to have 
                         supper with *us*, Peaches!

               The pickers all look at Homer, who looks guilty as he leaves.

                                     MR. ROSE
                              (to the plumber)
                         Don't let us make you nervous or 
                         nothin'--we know you gotta job to 
                         do.

                                     MUDDY
                         Yeah, we can wait all night for the 
                         water to come back on--you just go 
                         on and take your time.

               EXT. INLAND ROAD - DUSK

               Homer pedals a bicycle down a dirt road.

               EXT. LOBSTER POUND - DUSK

               Ray holds a lobster up to the camera. We see the old-fashioned 
               wooden pens, floating dockside.

                                     RAY
                         Hungry?

               Homer looks uncertain.

               EXT. GANGPLANK, DOCK - DUSK

               Homer and Ray and Candy go up the gangplank from the dock to 
               the lobster pound.

                                     RAY
                         They're the garbage-eaters of the 
                         ocean's floor. The seagulls clean up 
                         the shore. The lobsters clean up the 
                         bottom of the sea.

                                     HOMER
                         They eat everything?

                                     RAY
                         Everything that falls to the bottom.

                                     CANDY
                         It's time somebody ate *them*.

                                     RAY
                              (to Candy)
                         I was lookin' for Wally's letter. I 
                         was gonna show it to Homer...
                              (to Homer)
                         They made him a captain already--
                         *Captain* Worthington!

                                     CANDY
                         Daddy, it's a letter to *me*.

                                     RAY
                         He mentions Homer, too, you know.

                                     CANDY
                              (awkwardly)
                         Wally said to say, "Hello."

                                     HOMER
                              (equally awkward)
                         Oh! That's... nice.

                                     RAY
                              (to Homer)
                         Wally said the most spectacular hits 
                         were in the oil fields at Yenangyat.

               Later, through the window of the lobster pound, we see them 
               eating lobster around a kitchen table. Laughter and some 
               unclear dialogue drift to us.

               EXT./INT. CAPE KENNETH/WALLY'S CAR - NIGHT

               With the bicycle stowed in the trunk, Candy is driving Homer 
               back to the cider house. They pass a drive-in movie theatre, 
               the marquee announcing "CLOSED FOR THE SEASON." Homer stares 
               in awe at the giant blank screen.

                                     HOMER
                         A movie *outside*?

                                     CANDY
                         Yes. But it's closed all the time 
                         now, because of the blackout.

                                     HOMER
                         People watched the movies in their 
                         cars?

                                     CANDY
                              (smiling)
                         When they watched at all. Do you 
                         like movies?

                                     HOMER
                         Yes! I've only seen one, though.

               Candy looks at him; he isn't joking.

                                     CANDY
                         You've seen only one movie? Which 
                         one?

                                     HOMER
                         "King Kong". It's really good.

               Candy laughs.

                                     CANDY
                         I haven't seen "King Kong" since I 
                         was a kid!

               Homer laughs a little self-consciously; around her, he feels 
               like he's *still* a kid.

               INT. DINING HALL - EARLY MORNING

               At one table, the children are happily eating apples; a few 
               of the kids are stuffing apples from a big bowl into their 
               pockets. At another table, Larch, Edna, and Angela sit around 
               an open packing crate of apples. Larch takes a bite from an 
               apple and spits it out. Angela takes the apple out of his 
               hand.

                                     ANGELA
                         That's a pie apple, Wilbur. Homer 
                         said you're not supposed to eat it!

               Angela hands him another apple.

                                     LARCH
                         So he's an apple expert, is he?

               Angela gives him a critical look as Larch takes a bite out 
               of the new apple.

                                     LARCH
                              (sarcastically)
                         Oh my, yes! This is a *far* superior 
                         taste--and crisp, too! You know, so 
                         many apples are disappointingly mealy. 
                         I wonder of most of the apples in my 
                         life weren't meant for pies!

                                     ANGELA
                         Wilbur, he picked them for us 
                         himself...

                                     LARCH
                              (incredulous)
                         You don't find it depressing that 
                         Homer Wells is picking apples?

               Both Edna and Angela glower at him.

                                     LARCH
                         Or that he can't be bothered to write 
                         us a proper letter? A dissertation 
                         on apples, we don't need!

                                     EDNA
                              (annoyed)
                         He probably doesn't make much money 
                         picking apples--he must have had to 
                         pay to send them, too.

                                     LARCH
                         I wouldn't worry, Edna, that he 
                         doesn't have money. If he gets hungry, 
                         he can pick his dinner!

               Larch angrily tosses the half-eaten apple into the garbage.

                                     EDNA
                         Wilbur, it's a *gift*! How can you 
                         be angry with Homer for sending us a 
                         *gift*?

               Larch stares into space, depressed. Then he examines the 
               crate and finds the mailing label that says "OCEAN VIEW 
               ORCHARDS--CAPE KENNETH, MAINE." He rips it off, holds it up 
               triumphantly.

                                     LARCH
                         I'll show him a *gift*! I'll give 
                         him a gift he can *use*!

               Larch storms out of the room.

               INT. CAPE KENNETH - MOVIE THEATRE - NIGHT

               A newsreel from the war is playing on the screen--soldiers 
               marching, smiling, waving to the camera. Homer and Candy sit 
               together watching. Homer is completely fascinated; Candy 
               watches Homer as much as the news. Her expression changes 
               when the newsreel cuts to footage from an air raid.

               EXT. CAPE KENNETH - MOVIE THEATRE - NIGHT

               Candy and Homer walk out of the theatre, under the marquee 
               and past the poster for "Wuthering Heights."

                                     CANDY
                              (disappointed)
                         But you looked as if you liked it.

                                     HOMER
                              (smiling)
                         I *did* like it. All I said was, 
                         "It's not 'King Kong'."

               Candy makes a face, but in good fun.

                                     HOMER
                         First she loved him, then she didn't, 
                         then no one else could have him...

                                     CANDY
                         She *did* love him!
                              (teasing him)
                         How many women have you known?

               Homer is embarrassed; he ducks the question.

                                     HOMER
                         And what did she die of, exactly?

                                     CANDY
                         She was torn apart! She died of a 
                         broken heart.

                                     HOMER
                         Oh, sure!

               Homer smiles and shakes his head; Candy starts to laugh.

                                     HOMER
                         What's the *medical* explanation?

                                     CANDY
                         Well, she was in a weakened 
                         condition...
                              (laughs)
                         I don't know! What about "King Kong"?! 
                         Is that medically possible?

               Homer smiles; he knows she's teasing him, and he likes it.

                                     HOMER
                              (mock serious)
                         At least King Kong knew what he 
                         *wanted*.

               Candy pushes him playfully. They're both having a good time, 
               *too* good a time.

               EXT. ORCHARDS - DAY

               Homer is picking apples in a big tree; Rose Rose is on a 
               ladder in the tree right beside him. She's picking about 
               twice as fast as he is, and he keeps dropping his apples. In 
               another tree, Muddy is watching.

                                     ROSE ROSE
                         What is you *doin'* with that Candy, 
                         Homer?

                                     MUDDY
                              (imitating Mr. Rose)
                         He's makin' history, I suppose.

               From the surrounding trees, the other pickers laugh.

                                     ROSE ROSE
                         You ain't gettin' in no trouble, I 
                         hope.

                                     HOMER
                         No trouble.

               In adjacent trees, both Peaches and Hero are picking apples; 
               they can hear Homer and Rose Rose, too. (So can Mr. Rose.)

                                     PEACHES
                         That Candy--she's the nicest girl I 
                         know!

                                     MUDDY
                         She's about the most beautiful girl 
                         I ever seen--I don't know if she's 
                         the nicest.

                                     HOMER
                         She's the nicest *and* the most 
                         beautiful girl I've ever known.

               The men *oooh* and *aaah* at Homer's announcement--Mr. Rose, 
               too.

                                     ROSE ROSE
                         That sounds like you is in trouble 
                         already, Homer.

                                     MR. ROSE
                         That's right--that sounds like trouble 
                         to me.

                                     HOMER
                         I'm not in trouble.

                                     ROSE ROSE
                         Yeah, you is. I know when people is 
                         in trouble, and you is.

               Camera closes on Homer's face; he keeps picking.

                                     LARCH (O.S.)
                         His name is Homer Wells...

               INT. ST. CLOUD'S - DINING HALL - EVENING

               Edna and Angela face the Board of Trustees around a table. 
               Larch circles the table as everyone reads the contents of a 
               folder. Larch has provided a copy for each member. The three 
               elderly gentlemen on the Board don't speak; they just nod 
               their heads to everything Dr. Holtz or Mrs. Goodhall says.

                                     LARCH
                         ...and his *pathetic* resume is the 
                         best I've seen. Though I find it 
                         hard to believe the Board would be 
                         interested in this character.

                                     DR. HOLTZ
                         But he looks like an excellent young 
                         man, a first-rate candidate!

                                     LARCH
                         He looks like a bleeding-heart 
                         missionary *moron* to me, but that's 
                         going to be the problem with any 
                         doctor interested in coming here!

                                     MRS. GOODHALL
                         Do you know him?

                                     LARCH
                         *No*! I don't want to know him! He's 
                         doing *missionary* work--in *India*! 
                         I wrote him *weeks* ago, but he's 
                         either too holy or too busy to answer. 
                         Maybe he got killed in the war!

               Suddenly Steerforth bursts through the door, having been 
               pushed from behind by Mary Agnes. The two stop when they see 
               what's going on--not to mention Larch's stern expression. 
               They back out. Mary Agnes winking at Dr. Holtz before the 
               door closes. Mrs. Goodhall is ready to continue.

                                     MRS. GOODHALL
                         I fail to see how someone courageous 
                         enough to make a commitment to a 
                         foreign mission is automatically to 
                         be dismissed--that part of the world 
                         requires precisely the kind of 
                         dedication that is needed here.

                                     LARCH
                         Does it *snow* in Bombay? One winter 
                         here and we'll be shipping him south, 
                         in a *coffin*!

                                     MRS. GOODHALL
                         You can't think that a man who has 
                         *served* under such conditions as 
                         exist over there will be in the 
                         slightest daunted by a little *snow*--
                         have you no idea how harsh and 
                         primitive and full of *disease* that 
                         part of the world is?

                                     LARCH
                         Then I suppose we can look forward 
                         to catching various diseases from 
                         him!

                                     DR. HOLTZ
                         But, Dr. Larch, he seems exceptionally 
                         qualified...

                                     LARCH
                         I'm not talking about his medical 
                         qualifications. It's the *Christian* 
                         thing that bothers me--I just don't 
                         see it being of much *use* around 
                         here.

                                     MRS. GOODHALL
                              (bitterly)
                         I fail to see how a little 
                         Christianity could *hurt* anyone 
                         here!

                                     LARCH
                         Anyway, I was just showing you this 
                         guy as an example of what's available--
                         I didn't think you'd be interested.

                                     DR. HOLTZ
                         We're *very* interested!

                                     MRS. GOODHALL
                         Yes, *very*!

                                     DR. HOLTZ
                         You wouldn't be opposed to meeting 
                         with him?

                                     LARCH
                         I suppose it wouldn't hurt to *meet* 
                         him. What's his name again?

                                     ANGELA
                         Dr. Homer Wells.

                                     LARCH
                              (mumbling)
                         I just hope he won't expect us to 
                         say *Grace* all the time.

               The three elderly gentlemen repeat the name.

                                     MRS. GOODHALL
                         It's a nice name, very New England.

                                     DR. HOLTZ
                         Very *Maine*, a very *local*-sounding 
                         name.

                                     EDNA
                         *Very*!

               INT. DISPENSARY - NIGHT

               A song plays on the old phonograph as a happy Larch and Angela 
               dance. Edna interrupts them.

                                     EDNA
                         I just wanted to ask you...

                                     LARCH
                         Edna! Come dance with me! Let's be 
                         foolish tonight.

                                     EDNA
                         Does he *know* he's supposed to be 
                         in India? Does he even *want* to 
                         come back?

               This causes Larch to take the needle off the record.

                                     LARCH
                              (angrily)
                         He's a field hand! What could possibly 
                         hold him there?

               EXT. CIDER HOUSE - RAINY DAY

               The rain beats down on Olive's car. Homer gets soaking wet 
               as he leans in to talk to Candy, who's behind the wheel. Mr. 
               Rose calls to Homer from the doorway of the mill room.

               INT. MILL ROOM - RAINY DAY

               Mr. Rose is instructing Homer as they stand bottling cider 
               in their yellow slickers and rubber boots. Rose Rose is hosing 
               down the pressboards; Muddy and Hero and Peaches are operating 
               the grinder and the press. Jack is stirring the vat. In a 
               defiant, contemptuous way, Jack keeps flicking the ash of 
               his cigarette into the vat. This make everyone uncomfortable; 
               only Mr. Rose doesn't appear to notice.

                                     MR. ROSE
                         Cider don't have no taste till later 
                         in October--it's too watery now, 
                         when we're usin' just them early 
                         Macs and them Gravensteins. You don't 
                         get no *good* cider till you're 
                         pickin' them Golden Delicious and 
                         them Winter Bananas, them Baldwins 
                         and them Russerts...

                                     HOMER
                         What about the worms? Most of these 
                         apples are the drops--off the ground, 
                         right? There have to be worms.

                                     MR. ROSE
                         Of *course* there's worms, Homer! 
                         And what is them worms, really? They 
                         just *protein*, them worms! They is 
                         *good* for you!

               Everyone but Jack laughs. He takes a last drag on his 
               cigarette, then deliberately drops it into the vat.

                                     MR. ROSE
                         That just ain't right, Jack--your 
                         cigarette's gonna end up in nine or 
                         ten gallons of this batch of cider! 
                         That ain't right.

                                     JACK
                         Them people drinkin' that cider, 
                         they don't know there's a cigarette 
                         in there!

                                     MR. ROSE
                         It's not that hard to find it in 
                         there, Jack--it'll take you just a 
                         minute. You just gotta go fishin'.

                                     JACK
                         You mean *swimmin'*. I ain't goin' 
                         in that vat to fish out no cigarette!

                                     MR. ROSE
                         What business is you in, Jack? Just 
                         tell me what your business is...

               Jack looks for a translation from the other men, who are 
               nervous.

                                     MUDDY
                         Just say you're in the *apple* 
                         business, man. That's the only 
                         business you wanna be in. Just say 
                         it.

               Jack pulls a knife on Mr. Rose.

                                     PEACHES
                              (whispers excitedly 
                              to Jack)
                         You don't wanna go in the knife 
                         business with Mistuh Rose--just say 
                         you're in the *apple* business, Jack!

                                     JACK
                              (to Mr. Rose)
                         What business are *you* in?

               We never see Mr. Rose's knife. We see the men circle each 
               other: Jack takes a swipe at Mr. Rose's head--then he steps 
               back, his yellow slicker slashed open. His slicker is opened 
               up, right up the middle. His shirt underneath the slicker is 
               slashed open, too--he feels his bare chest and stomach, 
               feeling for the cut. But there's no cut--Jack's not bleeding, 
               he's not even scratched. Just his clothes have been slashed.

                                     MR. ROSE
                         I'm in the *knife* business, Jack. 
                         You don't wanna go in the knife 
                         business with me.

               Muddy turns Jack around and views his slashed clothes.

                                     MUDDY
                         You're lucky he didn't cut your 
                         *nipples* off, man.

                                     PEACHES
                         The good news, Jack, is you're half-
                         undressed for *swimmin'*...

                                     MUDDY
                         Yeah, that cigarette ain't hard to 
                         find when you're properly undressed.

               Jack starts to undress for the vat.

               Mr. Rose ushers Homer and Rose Rose outside.

               INT. BUNKHOUSE - RAINY DAY

               Mr. Rose has cut his own hand in the fight. Homer's 
               professionalism if offended to watch Rose Rose's amateurish 
               efforts to stitch up her father's wound, but clearly this 
               isn't the first time she's done it.

                                     HOMER
                         Give men that. I know how to do it.

                                     ROSE ROSE
                         Oh, I suppose you is a doctor, Homer?

                                     HOMER
                         Almost.

                                     MR. ROSE
                         I don't need no "almost" a doctor, 
                         Homer.

               Homer can't bear to watch Rose Rose at work with the needle.

                                     ROSE ROSE
                         We should drown that damn Jack in 
                         the vat!

                                     MR. ROSE
                         Now, now, darlin'... Jack just needs 
                         to know what business he's in.

                                     ROSE ROSE
                         Yeah, you really showed him, Daddy--
                         you just about cut your own hand 
                         off, and all you cut off *him* was 
                         his clothes!

                                     MR. ROSE
                         You oughta know you don't go to jail 
                         for cuttin' a guy's *clothes*. Ain't 
                         that right, Homer?

               Homer winces at the stitching.

               INT. WALLY'S CAR - DRIVE-IN THEATRE - EARLY EVENING

               Wally's car comes bouncing along the ditches of the closed 
               drive-in. Homer is at the wheel; Candy calls out some driving 
               instructions. The car comes to a stop next to a speakerpost. 
               Candy leans out; she grabs the speaker and hangs it on the 
               window. Homer sits back and drapes his arms out the window 
               and over the seat. He feels great.

                                     CANDY
                         You're a natural. You were born to 
                         drive a car like this.

                                     HOMER
                         You think? Maybe I was.
                              (looks around)
                         I love this place!

               Homer looks up at the giant movie screen.

                                     HOMER
                         The screen is enormous! Imagine King 
                         Kong up *there*! Have you seen a lot 
                         of movies here?

                                     CANDY
                         Yes... and no. When you come here, 
                         you don't really care about the movie.

               Homer stares at Candy in disbelief.

                                     HOMER
                         You don't care about the movie?

               Candy looks at him for a moment.

                                     CANDY
                         What are you so crazy about the movies 
                         for?

                                     HOMER
                         It was my favorite night at the 
                         orphanage--movie night. We'd race 
                         into the dining hall. Of course 
                         everyone wanted to sit in front, so 
                         we'd be packed in so tight you could 
                         feel the kid next to you breathing.

                                     CANDY
                         At least you were never lonely.

                                     HOMER
                         I didn't say that. Growing up in an 
                         orphanage, you're always lonely. 
                         You're just never alone.

               Candy is moved. Homer feels exposed; he tries to change the 
               mood by making light of what he's said.

                                     HOMER
                         You're not alone in the bathroom, 
                         or... or in the shower... you're 
                         never alone in wanting the last piece 
                         of meatloaaf, or even in your own 
                         bed on a cold morning.

               Candy laughs.

                                     CANDY
                         You don't miss it?

                                     HOMER
                         I miss things. I miss... people.
                              (with certainty)
                         I miss reading to the boys.

                                     CANDY
                         But you had so much *responsibility*.

                                     HOMER
                         I never *asked* for any 
                         responsibility.

                                     CANDY
                         Just a little privacy.

               Homer laughs.

                                     CANDY
                         Privacy is exactly the point of drive-
                         in movies.

                                     HOMER
                         Did you come here with Wally--to 
                         *not* watch movies?

               At the mention of Wally they both look a little self-
               conscious.

                                     CANDY
                         Sometimes... movies mostly bore Wally.

                                     HOMER
                         Ah-ha.
                              (points to the speaker)
                         So what is that--a radio?

                                     CANDY
                         The *speaker*. For the movie sound.

               Candy looks at Homer.

                                     CANDY
                         Scrunch down like this.

               Candy scrunches down in her seat; Homer imitates her. Homer 
               is focused on the giant screen.

                                     HOMER
                         How could you not *care* about the 
                         movie?

                                     CANDY
                         You just cuddle. You come to hug... 
                         to kiss. You don't *come* here to 
                         watch the movie.

                                     HOMER
                              (teasing her)
                         That's what *I'd* come here for. I'd 
                         watch the movie.

                                     CANDY
                         Not with the right girl you wouldn't.

               Homer's expression changes from exhilarated to guilty. He 
               leans back in his seat and looks straight ahead at the screen. 
               Candy tentatively leans her head on his shoulder. Homer looks 
               afraid to breathe.

               From behind, with her head on his shoulder, they look like a 
               normal couple. We track in toward the huge screen until we 
               see only the screen. There are shadows on the black screen. 
               Suddenly the movie "King Kong" appears.

               INT. DINING HALL - NIGHT

               "King Kong" is playing against the bare, white wall. Fuzzy 
               is very weak, but he smiles at the sight of the love-struck 
               Kong holding the screaming Fay Wray in his giant hand. Dr. 
               Larch runs the projector; he sits close beside Fuzzy. When 
               the film breaks in the predictable place, Fuzzy makes no 
               protest. Dr. Larch looks at Fuzzy, who has stopped breathing; 
               his eyes are closed.

                                     LARCH
                         Fuzzy? Fuzzy?

               They are alone in the dining hall. Larch has wheeled in Fuzzy 
               for a private viewing.

               EXT. ST. CLOUD'S - GRAVEYARD - MORNING

               Buster helps Larch lower the small coffin into the grave. 
               The tiny gravestone says "F.S."

                                     BUSTER
                         What are you going to tell the little 
                         ones?

                                     LARCH
                         I'll tell them Fuzzy was adopted.

                                     BUSTER
                         Why would the little ones believe 
                         that *anyone* would adopt him?

                                     LARCH
                         They'll believe it because they want 
                         to believe it.

                                     BUSTER
                         Shouldn't we tell Homer?

                                     LARCH
                         If Homer wanted to know what was 
                         happening here, he could pick up a 
                         telephone and call us.

               INT. BOYS' DIVISION - NIGHT

               The boys in their beds listen to Buster inventing Fuzzy's 
               "family."

                                     BUSTER
                         It was a family with a better 
                         breathing machine then the one Dr. 
                         Larch built.

               INT. ST. CLOUD'S - CORRIDOR - NIGHT

               Larch leans against the wall, covering his eyes, overhearing 
               the boys.

                                     BUSTER (O.S.)
                         The family that adopted Fuzzy, they 
                         *invented* the breathing machine. 
                         It's their business... breathing 
                         machines.

               Larch pauses; he waits to see if they believe this.

                                     CURLY (O.S.)
                         Lucky Fuzzy!

               Larch almost breaks with a sudden sharp breath.

                                     ALL THE BOYS (O.S.)
                         Good night, Fuzzy! Good night, Fuzzy! 
                         Good night, Fuzzy Stone!

               EXT. CIDER HOUSE - MORNING

               As the men sit at the picnic table eating their cornbread, 
               Rose Rose pours coffee. A jeep comes down the orchard road 
               toward them. It's Olive. Mr. Rose leads the "Good mornin', 
               Mrs. Worthin'ton!" greeting. Olive has an armful of clothing 
               and a fairly sizable package; she brings the latter over to 
               Homer.

                                     OLIVE
                         Some mail for you, Homer.

               Homer shakes the package; he puts the package beside the 
               table, unopened. Olive turns to Rose Rose.

                                     OLIVE
                         And some clothes for you, dear--
                              (nodding to the cider 
                              house)
                         let's go see if they fit.

               Mr. Rose watches Rose Rose and Olive disappear into the cider 
               house. The other men view Homer's package with curiosity, 
               especially Peaches.

                                     PEACHES
                         Ain't you gonna see what it is, Homer?

                                     MR. ROSE
                         Mind your own business, Peaches.

                                     PEACHES
                         Sorry, Homer...

               INT. BUNKHOUSE - LATE AT NIGHT

               Homer lies awake in bed; everyone else is asleep. Homer pulls 
               the package out from under his bed, opening it just enough 
               to see what it is; then he shoves it back under his bed.

               EXT. OCEAN/BEACH - DUSK

               The beach at sunset. Candy and Homer, dressed for cooler 
               weather, are alone at the water's edge. From a paper bag, 
               Candy is scattering some small, brightly colored pieces of 
               broken glass.

                                     HOMER
                         Aren't you worried that people will 
                         cut their feet?

                                     CANDY
                         Nobody will swim here until next 
                         summer. By then, the water will have 
                         rubbed the glass smooth against the 
                         sand--there won't be any sharp edges.

               She finds and old piece of glass among the stones and shells 
               at the high-tide mark.

                                     CANDY
                         See? That's last year's glass, or 
                         from some year before. I put glass 
                         here every year. The ocean makes it 
                         beautiful.

               Candy holds up a piece of glass to the sun for Homer to look 
               at. The ocean is a gray-green color, the glass a paler shade 
               of green.

                                     CANDY
                         Give me your hand.

               She rubs the smooth piece of glass against his hand, then 
               throws it toward the water. It falls short. Homer retrieves 
               it. Candy splashes him playfully. He chases her away from 
               the beach, into the pine trees. Homer locks his arms around 
               her, from behind. He can't let go. She lets him hold her, 
               then breaks his grip. She turns to face him. She is taller 
               then he is, older, obviously more experienced. She initiates 
               the kiss. They drop to the ground right there; they make 
               love by the roots of the tree, Candy guiding him.

               EXT. WALLY'S CAR - BEACH PARKING LOT - NIGHT

               They come out of the woods, walking toward the car, Candy 
               leading. We hear Candy talking just before we see her and 
               Homer.

                                     CANDY
                              (increasingly upset)
                         *Nobody* volunteers for the Burma 
                         run--he said so himself. And nobody 
                         knows *me* better than him! So how 
                         am I supposed to feel? He's a bomber 
                         pilot and I'm just selfish, I know. 
                         Well, I'm *not* a brave little girl 
                         and I'm *not* sorry.

               She sits in the passenger seat, Homer in the driver's seat.

                                     CANDY
                         I *know* this was right.
                              (pause)
                         I told you. I'm not good at being 
                         alone.
                              (pause; in a whisper)
                         I told him, too.

               Homer concentrates on starting the car.

                                     CANDY
                              (repeating herself)
                         I *know* this was right.

                                     HOMER
                         Right.

               Their expressions, as the car pulls away, belie their words.

               EXT. CIDER HOUSE - END OF DAY

               Homer and Mr. Rose sit opposite each other at the picnic 
               table. Rose Rose stands behind her father, her hands on his 
               shoulders, watching Homer snip out Mr. Rose's stitches--very 
               quickly.

                                     MR. ROSE
                         Slow down, Homer--don't be in such a 
                         big hurry.

                                     HOMER
                         This is easy--I'm not hurrying.

                                     MR. ROSE
                         You still doin' it too fast!

               Job done, Homer leaves the table and hurries to the bicycle, 
               pedaling away. Rose Rose watches Homer go, as Mr. Rose flexes 
               his healed hand.

                                     ROSE ROSE
                         He's in a big hurry, all right. I 
                         told you he's in trouble.

               EXT. CAPE KENNETH - LOBSTER POUND - EVENING

               Candy and Homer sit on the dock. Candy still seems to be 
               wrestling with her conscience. Homer throws snails in the 
               sea. It's cold.

                                     HOMER
                         Just tell me. Do you want me to go? 
                         Do you want me to stay?

                                     CANDY
                         It will be okay.

                                     HOMER
                         *What* will be okay?

                                     CANDY
                         We have to wait and see. I think 
                         that, for *everything* in life, you 
                         have to wait and see.

               Homer throws a snail with more force.

                                     HOMER
                         I'll just move on, get another job 
                         somewhere.

               Ray comes out onto the dock; he sees Homer throwing another 
               snail.

                                     RAY
                         Every time you throw a snail off the 
                         dock, you're makin' someone start 
                         his whole life over.

               Candy throws a handful of snails into the water.

                                     CANDY
                         Maybe we're doing the snails a favor, 
                         Daddy.

               Ray looks at the two of them; he sighs.

                                     RAY
                         It's gettin' late. I think I'll pack 
                         it in.

                                     CANDY
                         Good night, Daddy.

               Ray nods good night; he leaves. Homer looks expectantly at 
               Candy.

                                     CANDY
                         We'll just have to wait and see.

               INT. WORTHINGTON HOUSE, DINING ROOM - NIGHT

               Olive and Homer sit at the dining-room table, the remnants 
               of an apple pie in front of them. Homer is still eating. 
               Pictures of Wally are on the wall.

                                     OLIVE
                         I used to hate it when Wally went 
                         back to college--even when it was 
                         just college! And this was when his 
                         father was still alive... I hated it 
                         even then. Naturally I hate this 
                         more.

               Homer nods in sympathy. His mouth is stuffed with apple pie.

                                     OLIVE
                         What I mean is... I would like it 
                         very much if you thought you could 
                         be happy here, Homer.

                                     HOMER
                              (wiping his mouth)
                         Mrs. Worthington, I feel I'm very 
                         lucky to be here.

                                     OLIVE
                         There's not a lot of work in the 
                         winter, and you'll have to tolerate 
                         Vernon--even Wally despises him, and 
                         Wally likes everyone.

               Olive's thoughts drift; her eyes look up at a photo of Wally.

                                     HOMER
                         I think Wally will be fine, Mrs. 
                         Worthington--he seems indestructible 
                         to me.

                                     OLIVE
                              (distracted)
                         I don't know.
                              (intently at Homer)
                         Just promise me one thing.

               Homer is tense. Does Olive suspect about Candy?

                                     HOMER
                         Uh... sure.

                                     OLIVE
                         Just promise me that, if there's a 
                         blizzard, you'll move into Wally's 
                         room until it's over.

               They both laugh, but Homer has a hard time looking her in 
               the eye.

               EXT. CIDER HOUSE - DAY

               The pickers are moving out; the harvest is over. Olive and 
               Homer stand near the door to the bunkhouse, talking--we can't 
               hear their conversation. Rose Rose and the other men walk 
               past them, carrying the last of their belongings to the truck. 
               Olive and Homer walk over to the truck.

                                     OLIVE
                         Good-bye. Have a safe trip home. 
                         Thank you, again, for all your hard 
                         work.

                                     MR. ROSE
                         You take care now, Mrs. Worthin'ton.

               They shake hands.

                                     OLIVE
                         Good-bye, Arthur.
                              (she hugs Rose Rose)
                         Homer, I'll see you tomorrow?

                                     HOMER
                         Right.

               Olive gets in her Jeep and waves as she drives off.

               The truck is packed. Muddy tugs on a rope that secures the 
               load.

                                     MUDDY
                              (to Mr. Rose)
                         We all set, I think.

               Mr. Rose nods and gets in behind the wheel. Rose Rose and 
               Muddy get in next to him. The others are bundled up for the 
               ride in the open back of the truck.

               As they're leaving, Homer waves good-bye--the pickers calling 
               out to him.

                                     MR. ROSE
                         You all take care of yourself, too, 
                         Homer!

                                     PEACHES
                         We see you next harvest.

                                     MUDDY
                         Don't freeze to death, Homer.

                                     JACK
                         Go on and freeze to death if you 
                         want to, Homer.

                                     MR. ROSE
                         Now, now, Jack--that just ain't right.

                                     ROSE ROSE
                         You just stay out of trouble, Homer!

               Homer stands looking after them, after they're gone.

               INT. BUNKHOUSE - LATER THAT SAME DAY

               Homer is alone, rearranging his stuff--spreading out a bit, 
               making the place his own. (On the other beds, we see the 
               mattresses rolled up on the bare bedsprings.)

                                     CANDY (O.S.)
                         So, you're staying.

               Homer turns; he hadn't seen Candy come in.

                                     CANDY
                         Olive told me.
                              (awkward pause)
                         You might have told me yourself.

                                     HOMER
                         I'm just waiting and seeing. Like 
                         you said.

               She smiles. He goes to her; they embrace.

               BEGINNING A MONTAGE OF THE NEXT NINE OR TEN MONTHS.

               EXT. CIDER HOUSE ROOF - MORNING

               Homer, drinking coffee, is writing a letter on a note pad.

                                     HOMER (V.O.)
                         Dear Dr. Larch, thank you for your 
                         doctor's bag...

               EXT. RAY'S LOBSTER BOAT - DAY

               Homer is learning how to "haul" a lobster pot with Ray and 
               Candy's guidance.

                                     HOMER (V.O.)
                         ...although it seems that I will not 
                         have the occasion to use it.

               EXT. LOBSTER POUND, FLOATING PENS - EVENING

               Following Ray's example, Homer is trying to "disarm" the 
               lobsters' big claws by blocking them shut with the little 
               wooden wedges. Roy works quickly, never getting pinched. As 
               Candy watches, Homer gets pinched.

                                     HOMER (V.O.)
                         Barring some emergency, of course. I 
                         am not a doctor. With all due respect 
                         to your profession. I am enjoying my 
                         life here.

               INT. BUNKHOUSE - NIGHT

               Homer and Candy are naked. They have pulled two beds together 
               and made a double bed. He can't take his eyes off her.

                                     HOMER
                         I've looked at so many women... I 
                         mean, I've seen *everything* about 
                         them, *everything*... but I never 
                         felt a thing. I felt nothing. Now... 
                         with you... it *hurts*... to look at 
                         you.

               INT. DISPENSARY - DAY

               Edna and Angela and Larch are all reading Homer's letter, 
               their lips moving silently as they read the words.

                                     HOMER (V.O.)
                         I am enjoying being a lobsterman and 
                         an orchardman--in fact, I have never 
                         enjoyed myself so much.

               INT. WORTHINGTON HOUSE, FIREPLACE - NIGHT

               Olive and Homer and Candy are playing a board game around 
               the fireplace.

                                     HOMER (V.O.)
                         The truth is, I want to stay here. I 
                         believe I am being of *some* use.

               INT. LARCH'S OFFICE - NIGHT

               Edna and Angela view him anxiously from the doorway as Larch 
               furiously types and types.

                                     LARCH (V.O.)
                         My dear Homer, I thought you were 
                         over your adolescence, that period 
                         which I would define as the first 
                         time in our lives when we imagine we 
                         have something terrible to hide from 
                         those who love us.

               INT. WALLY'S CAR - DAY

               Candy is singing to the car radio, as animated and happy as 
               we've ever seen her. Homer, driving, can scarcely keep his 
               eyes on the road; he has to keep looking at her.

                                     LARCH (V.O.)
                         Do you think it's not obvious to us 
                         what's happened to you?

               INT. BUNKHOUSE - NIGHT

               With the radio playing (a popular song), Homer hops across 
               the bare floor, pulling on his boxer shorts; he opens the 
               door to Olive, who's holding out an armload of blankets to 
               him. He sheepishly thanks her. When Homer closes the door, 
               we see a hidden (and stricken) Candy, naked from their 
               interrupted lovemaking.

                                     LARCH (V.O.)
                         You're fallen in love, haven't you? 
                         By the way, whatever you're up to 
                         can't be too good for your heart. 
                         Then again, it's the sort of condition 
                         that can be made worse by worrying 
                         about it. So don't worry about it!

               EXT. ORCHARDS - DAY

               Vernon and Homer are working under an apple tree; they are 
               poisoning mice.

                                     HOMER (V.O.)
                         Dear Dr. Larch, what I am learning 
                         here may not be as important as what 
                         I learned from you, but everything 
                         is new to me. Yesterday I learned 
                         how to poison mice. You use poison 
                         oats and poison corn.

               INT. DINING HALL - EVENING

               Supper chaos--Buster and Mary Agnes are doing their best to 
               stop a food fight while Larch and Angela and Edna are 
               completely absorbed reading Homer's letter.

                                     HOMER (V.O.)
                         Field mice girdle an apple tree. 
                         Pine mice kill the roots. I *know* 
                         what you have to do--you have to 
                         play God. Well... killing mice is as 
                         close as I want to come to playing 
                         God.

               INT. MOVIE THEATRE - CAPE KENNETH

               Homer and Candy are watching "Rebecca".

                                     LARCH (V.O.)
                         Do I interfere? When absolutely 
                         helpless women tell me that they 
                         simply *can't* have an abortion, 
                         that they simply *must* go through 
                         with having another--and yet another--
                         orphan... do I interfere? *Do* I? I 
                         do not. I do not even *recommend*. I 
                         just give them what they want: an 
                         orphan or an abortion.
                              (close on Homer)
                         You are my work of art, Homer. 
                         Everything else has been just a job. 
                         I don't know if you've got a work of 
                         art in you, but I know what your job 
                         is. You're a doctor!

               INT. BUNKHOUSE - DAY

               The radio is playing a slow, sexy dance number. The fat ladies 
               from the apple mart are dancing as they paint the interior 
               walls of the bunk house.

                                     HOMER (V.O.)
                         I am not a doctor.

                                     LARCH (V.O.)
                         You know everything I know, plus 
                         what you've taught yourself--you're 
                         a better doctor then I am and you 
                         know it!

               Homer is finishing up painting the kitchen walls. When he 
               gets to the list of rules, tacked on the wall, he removes 
               the list and finishes painting under where the rules were.

                                     LARCH (V.O.)
                         They're going to replace me, Homer! 
                         The Board of Trustees is looking for 
                         my *replacement*!

               Two of the ladies unroll the rolled-up mattresses on the 
               bare bedsprings, as Vernon enters with an armload of blankets 
               and pillows.

                                     HOMER (V.O.)
                         I can't replace you! I'm sorry...

               Homer holds up the list of rules, rereads it briefly; he 
               walks over to an unpainted beam, a support beam, and tacks 
               the rules on this beam.

               EXT. CIDER HOUSE, ROOF - MORNING

               Homer reads Larch's letter, sipping coffee.

                                     LARCH (V.O.)
                         Sorry? I'm not 'sorry'! Not for 
                         anything I've done. I'm not even 
                         sorry that I love you!

               INT. DISPENSARY - NIGHT

               Larch sits on his ether-bed with a letter from Homer in his 
               hand. He looks completely deflated. Angela is standing in 
               the doorway.

                                     LARCH
                         I think we may have lot him to the 
                         world. He's not coming back.

               END OF THE MONTAGE.

               INT. BUNKHOUSE - EARLY EVENING

               In the newly painted, spruced-up cider house, Homer and Candy 
               are dancing to another slow, sexy song on the radio. He is 
               untucking her blouse, feeling under her blouse--she starts 
               to unbutton his shirt. They kiss while they dance. But the 
               song changes abruptly on the radio to something fast and 
               silly.

               Homer responds to the music, dancing goofily--instantly out 
               of the mood. Candy laughs, but she picks up a pillow and 
               swings it at him, hitting him. He dances away from her. She 
               throws the pillow; he ducks--the pillow lands somewhere near 
               the door. Now Homer grabs a pillow and chases her from bed 
               to bed. She shrieks--they're both laughing. They each grab a 
               pillow and stand toe to toe whacking each other, laughing 
               all the while, until he pins her arms behind her and, 
               breathing hard--and despite the stupid music that broke the 
               mood--they are passionately kissing again.

               The sound of a truck is sudden and loud.

               EXT. CIDER HOUSE - DAY

               Mr. Rose's truck has arrived. The pickers are hopping out of 
               the truck, grabbing their gear.

               INT. BUNKHOUSE - DAY

               The door opens. Hero and Peaches barge in, as Homer and Candy 
               are struggling to return the pillows to the beds.

                                     HERO
                         Who's that?

                                     PEACHES
                         It's that Homer!

               Muddy is right behind them. He picks up a pillow, off the 
               floor, looking for which bed it belongs on.

                                     MUDDY
                         It's that Candy, too...

               Then comes Mr. Rose, slyly smiling, taking it all in--there's 
               no hiding what's going on. Homer and Candy are caught, their 
               shirts untucked and half-unbuttoned--they're still out of 
               breath. The pillows lie crazily on the beds, each one of 
               which has been stepped on.

                                     MR. ROSE
                         Don't this place look like home?

                                     PEACHES
                         It look nicer then home!

                                     MR. ROSE
                         What have you two been doin' to make 
                         it look so nice?

               Rose Rose enters. She looks hardened, toughened--not happy. 
               She plops down her stuff on her bed, looking only at Candy.

                                     ROSE ROSE
                         How is that Wally doing?

                                     CANDY
                         Oh, he's fine! I just heard from 
                         him. He's bombing all these places...

               Homer tries to help out.

                                     HOMER
                              (mumbling)
                         ...bridges, oil refineries, fuel 
                         depots...

               He peters out, knowing how sick of hearing this Candy is. He 
               tries to change the subject.

                                     HOMER
                         Where's Jack?

               There is an uncomfortable silence.

                                     MUDDY
                         He just wasn't up for the trip.

               More silence.

                                     MR. ROSE
                         That Jack just never knew what his 
                         business was.

               One look at Muddy and we know something pretty bad happened 
               to Jack.

               EXT. ORCHARDS - DAY

               The pickers on their ladders, all picking. Homer is now a 
               good picker; he looks over at Rose Rose. She is slumped 
               against the ladder, not picking, completely ignoring an 
               argument beneath them in the aisle between the trees. (Mr. 
               Rose is checking over the apples Peaches has just picked.)

                                     MR. ROSE
                         You pickin' nothin' but cider apples, 
                         Peaches--I hope you understand that.

                                     PEACHES
                         They ain't drops--I picked 'em off 
                         the tree!

                                     MR. ROSE
                         Then you pickin' 'em too fast--they 
                         ain't no better than drops to me. 
                         See that bruise, and that one? *Half* 
                         of these is bruised! Look at this 
                         one! It ain't got no stem! You might 
                         as well *step* on 'em, too--they 
                         only good for cider.

               EXT. ORCHARDS - DUSK

               In the aisle between the trees, Homer and Candy are arguing 
               in one of the work vehicles.

                                     CANDY
                         Do you think I'm having a good time? 
                         Do you think I'm just *teasing* you? 
                         Do you think I *know* whether I want 
                         you or Wally?

                                     HOMER
                         So we should "wait and see." For how 
                         long?

                                     CANDY
                         I grew up with Wally. I began my 
                         adult life with him.

                                     HOMER
                         Fine. That's all there is to it then.

                                     CANDY
                         No! That's not all there is to it! I 
                         love you, too--I *know* I do.

                                     HOMER
                         Okay, okay--I know you do, too.

                                     CANDY
                              (bitterly)
                         It's a good thing I didn't have that 
                         baby, isn't it?

               Her sudden hardness leaves him speechless as they go their 
               separate ways. Candy drives on.

               EXT. CIDER HOUSE - SUNNY MORNING

               Breakfast time at the picnic table. Rose Rose by herself, 
               away from the table. She does not look well; she suddenly 
               goes back inside the bunkhouse.

                                     PEACHES
                              (calling after her)
                         Ain't you eatin' with us, Rose?
                              (to the men)
                         She used to eat with us. Now we ain't 
                         good enough for her, I guess.

                                     HERO
                         She ain't hungry, maybe.

                                     MUDDY
                         She ain't hungry every mornin' 'cause 
                         she's sick every mornin'.

               Homer gets up to take his dishes inside.

               INT. KITCHEN AND BUNKHOUSE - MORNING

               When Homer comes in, Rose Rose is throwing up in the sink.

                                     HOMER
                         You okay, Rose?

                                     ROSE ROSE
                         I guess you must like watchin' me be 
                         sick...

                                     HOMER
                         I don't like watching anyone be sick.

               Rose Rose lies down on her bed with the curtain open. There 
               is something familiar about the way Homer approaches her 
               bedside; he does so with the authority of a doctor. He sits 
               on the edge of her bed with such complete self-assurance 
               that she doesn't protest.

                                     HOMER
                         How many months are you?

               She just stares. But she doesn't stop him when he touches 
               her abdomen. It's as if she knows that he knows what he's 
               doing.

                                     HOMER
                         You're not yet three months, are 
                         you?

                                     ROSE ROSE
                         Not yet. What do you know about it?

                                     HOMER
                         I know more than I want to know about 
                         it. Who's the father?

                                     ROSE ROSE
                         Don't trouble yourself about it, 
                         Homer--this ain't your business.

                                     HOMER
                         But you don't look very happy.

                                     ROSE ROSE
                         *Happy*! What are you thinkin'? How 
                         am I supposed to take care of a baby! 
                         I can't have a baby.

                                     HOMER
                         Rose, please listen. Whatever you 
                         want to do, I can help you.

               She is taken back.

                                     HOMER
                         What I mean is, if you don't want 
                         to... keep the baby, I know a place 
                         where you can go.

                                     ROSE ROSE
                         You think Daddy's gonna let me go 
                         anywhere? I ain't going *nowhere*.

               She rolls over on the bed, facing away from him again.

                                     ROSE ROSE
                         Why don't you just go back to your 
                         pickin', Homer? I can take care of 
                         it myself!

                                     HOMER
                         Rose, listen--don't *do* anything. 
                         You know, I mean to yourself. Please 
                         listen...

                                     MR. ROSE (O.S.)
                              (calling)
                         Homer! Is this a workin' day or what?

               EXT. LOBSTER POUND - EVENING

               Homer and Candy are sitting at the dock.

                                     CANDY
                         We should take her to St. Cloud's. 
                         That much is obvious, isn't it? Let 
                         her make up her mind when she gets 
                         there...

                                     HOMER
                         I told her! She doesn't feel she can 
                         do that. Something about her father 
                         not letting her go anywhere...

                                     CANDY
                         Well, we have to help her!

               Homer doesn't respond.

                                     CANDY
                         We have to do *something*. Don't we?
                              (beat)
                         Homer?

               Homer looks out over the ocean; he remains unresponsive.

               EXT. CIDER HOUSE - MIDDAY

               Rose Rose is setting the picnic table for lunch when Candy 
               arrives.

                                     CANDY
                         Hi...

                                     ROSE ROSE
                         Hi...

               She keeps setting the table.

                                     CANDY
                         I've got some more clothes for you--
                         I just keep forgetting to bring them 
                         with me.

                                     ROSE ROSE
                         I don't need no more clothes, thank 
                         you.

                                     CANDY
                              (softly)
                         Rose, I know what's going on. Homer 
                         told me. I got pregnant, too--about 
                         a year ago.
                              (pause)
                         I've been through this.

               Rose Rose looks down.

                                     ROSE ROSE
                         You ain't been through what I been 
                         through, Candy.

                                     CANDY
                              (doesn't get it)
                         Yes, I *have*!

               Rose Rose dismissively waves her hand.

                                     CANDY
                         Who's the father, Rose?

               Rose looks at Candy and shakes her head.

                                     CANDY
                         You want to have the baby?

               Rose Rose shakes her head again, more emphatically.

                                     CANDY
                         I know where you can go. Homer and I 
                         can take you...

                                     ROSE ROSE
                         I can't go nowhere.

                                     CANDY
                         Why?

               Rose Rose stays silent.

                                     CANDY
                         Is it the father? Does he know?

               Rose Rose turns away from Candy.

                                     CANDY
                         You can trust me. Is it Jack? It's 
                         not Jack, is it? It's *Muddy*! Is it 
                         Muddy?

                                     ROSE ROSE
                              (almost wistfully)
                         No. It ain't Muddy. Muddy's just...

               Rose Rose stops; she can't even continue setting the table. 
               Her voice turns bitter, despairing.

                                     ROSE ROSE
                         It sure ain't Jack.

               There, suddenly, is Mr. Rose, walking past them. He is 
               uncharacteristically tentative.

                                     MR. ROSE
                              (to his daughter)
                         I'll be up top...

               Mr. Rose leaves Candy and Rose Rose alone again. Rose Rose 
               nods almost invisibly after her father. Rose Rose looks 
               pointedly at Candy, nodding. Candy slowly gets it. Mr. Rose 
               is the father! Rose Rose lets that sink in; she keeps looking 
               at Candy with an ashamed expression.

               EXT. ORCHARD - DAY

               The pickers are at work, on their ladders, when Candy runs 
               down the aisle between two rows of trees. She stops at the 
               bottom of Homer's ladder, out of breath. Muddy and Peaches 
               and Hero, in the treetops, are watching and listening.

                                     CANDY
                         She won't go to St. Cloud's!

                                     HOMER
                              (shrugging)
                         Well, we can't force her. It's her 
                         decision.

                                     CANDY
                         You don't understand! It's her 
                         father...

                                     HOMER
                         Mr. Rose *knows*?

                                     CANDY
                              (shouting)
                         He's the *father*! He's her baby's 
                         father!

               The pickers can't help but hear this, too. Candy starts to 
               leave, Homer running after her.

                                     HOMER
                         Wait... *wait*! Are you sure?

                                     CANDY
                         We've got to keep her away from that 
                         bastard!

               Candy leaves. Homer starts looking for Mr. Rose.

               EXT. ORCHARD, NEAR CIDER HOUSE - MOMENTS LATER

               Smiling his enigmatic smile, Mr. Rose keeps slowly picking 
               while Homer stands at the foot of his ladder.

                                     MR. ROSE
                         I didn't see where you was pickin' 
                         this mornin', Homer, but you musta 
                         worked up a big appetite. You look 
                         like you're serious about gettin' to 
                         your lunch today!

                                     HOMER
                         Is it true?

               Mr. Rose stops picking, his eyes darting to see who's around.

                                     HOMER
                         Are you sleeping with your own 
                         daughter?

               Mr. Rose, with deliberate slowness, comes down the ladder.

                                     MR. ROSE
                              (slyly; still composed)
                         I think you been stayin' up too late 
                         at night, Homer.

                                     HOMER
                         You're actually having sex with your 
                         own little girl? Is that possible?

                                     MR. ROSE
                         Ain't nobody havin' *sex* with my 
                         little girl, Homer--that's somethin' 
                         a father knows.

                                     HOMER
                         You're lying. How can you... with 
                         your own daughter!

               Mr. Rose switches from sly to threatening in a split second.

                                     MR. ROSE
                         Homer, don't you know what business 
                         you in? You don't wanna go into no 
                         business with me, Homer--ain't that 
                         right?

                                     HOMER
                         Go on, cut my clothes. I've got other 
                         clothes.

               Mr. Rose is indignant.

                                     MR. ROSE
                         You a fine one to be talkin' about 
                         lies. Shame! These people took you 
                         in. That boy Wally's at *war*!

               That takes some of the steam out of Homer's superiority.

                                     HOMER
                         But she's your *daughter*...

                                     MR. ROSE
                         And I *love* her! There ain't nobody 
                         else gonna treat her as good as I 
                         do!
                              (looks away)
                         I wouldn't do nothin' to hurt her, 
                         Homer--you must know that.

               Homer turns; he speaks over his shoulder as he walks away.

                                     HOMER
                         She's *pregnant*. Do you know *that*?

               By his expression--he looks as if he's been punched--it's 
               clear that Mr. Rose didn't *know that*.

               The other pickers are on their way to lunch; it's obvious 
               that Muddy, Peaches, and Hero already know that Mr. Rose is 
               sleeping with his daughter.

               EXT. CIDER HOUSE - PICNIC AREA - LUNCHTIME

               Rose Rose is sitting at the picnic table when the pickers 
               arrive for lunch, almost simultaneously with Homer. He looks 
               at, then looks away from, Rose Rose. Mr. Rose is the last to 
               sit down at the table as a very tense, wordless lunch begins.

               EXT. ORCHARD - DAY

               Homer is on a ladder picking apples. Muddy climbs a ladder 
               on the other side of the same tree.

                                     MUDDY
                         Don't mess in this, Homer, if you 
                         know what's good for you.

                                     HOMER
                         How long's this been going on, Muddy?

                                     MUDDY
                         Long enough. You ain't gonna stop 
                         it.

               Muddy looks all around for Mr. Rose; then he gives Homer his 
               knife.

                                     MUDDY
                         There's my knife, Homer. It ain't 
                         gonna do *me* no good. You give that 
                         knife to Rose Rose, you hear?

               Homer nods, pocketing the knife. As Muddy climbs down and 
               moves his ladder to an adjacent tree, he keeps talking to 
               Homer until he disappears in the leaves.

                                     MUDDY
                         You best just watch you ass, Homer! 
                         You don't wanna end up like Jack!

               Homer thoughtfully continues his work.

               INT. BUNKHOUSE - LATE AT NIGHT

               Homer lies awake in his bed.

               EXT. ORCHARD - LATE AFTERNOON, ANOTHER DAY

               The pickers on their ladders in the trees; nobody is talking. 
               In the late sun, the leaves have a reddish, fiery glow.

               EXT. ORCHARD - ANOTHER DAY

               It's much colder; the pickers are on their ladders in the 
               trees again, but they're dressed for the cold. Homer is high 
               on a ladder; he turns toward the view of the Worthington 
               house when he hears a car come to a screeching halt in the 
               driveway. Homer sees Candy get out of Wally's car; she leaves 
               the door open and runs toward the house. Parked in front of 
               Wally's car is an Army Jeep, with an ENLISTED MAN leaning 
               against it. The indifferent soldier smokes a cigarette as he 
               watches Candy run.

                                     CANDY
                         No! No!

               Homer descends the ladder and runs for the house, down as 
               aisle between the row of trees. The pickers watch him run.

               INT. WORTHINGTON HOUSE, LIVING ROOM - DAY

               Camera follows Homer into the Worthington house where, from 
               the front hall, he sees Olive and Candy (in profile) sitting 
               on the couch. We can't see who's talking, nor do we recognize 
               the voice. As Homer comes into the living room, we see MAJOR 
               WINSLOW sitting in a chair (also in profile), talking to 
               Olive and Candy.

               Major Winslow is a smooth, handsome well-briefed officer in 
               the casualty branch of the Army Air Corps; he's done his 
               homework, but he's not all business. He's painfully aware of 
               the delicate nature of his report.

                                     MAJOR WINSLOW
                         When the plane was hit, the crew 
                         chief and the radioman jumped close 
                         together. The copilot jumped third. 
                         All on Captain Worthington's orders--
                         the captain was still flying the 
                         plane. None of the men of the ground 
                         could see the sky--that's how thick 
                         the jungle was. They never saw the 
                         plane crash--they never *heard* it 
                         crash. They never saw Captain 
                         Worthington's parachute, either.

                                     OLIVE
                         Why was he missing for twenty days?

                                     MAJOR WINSLOW
                         Because the crew thought he'd gone 
                         down with the plane. They were 
                         hospitalized for almost a week in 
                         China before they were flown back to 
                         India. It wasn't until that they 
                         sorted through their gear...

                                     CANDY
                         Who cares about their *gear*?

                                     MAJOR WINSLOW
                         Three men jumped from the plane, but 
                         they had four compasses with them. 
                         One of the crew jumped with Captain 
                         Worthington's compass.

                                     CANDY
                         He was in Burma for twenty days 
                         without a compass?

                                     MAJOR WINSLOW
                         He followed the Irrawaddy River, all 
                         the way to Rangoon. Somehow he managed 
                         to avoid the Japs, but not the 
                         mosquitoes.

                                     OLIVE
                         Then it's malaria?

                                     MAJOR WINSLOW
                         It's encephalitis B. He's recovering 
                         at Mount Lavinia Hospital, Ceylon.
                              (pause)
                         Uh... Captain Worthington is 
                         paralyzed.
                              (Olive gasps)
                         Waist down. He won't walk.

               Candy stands and leaves the room.

                                     MAJOR WINSLOW
                              (to Olive)
                         I'm sorry.

                                     HOMER
                              (asks the major)
                         There are no autonomic effects, are 
                         there?

               Major Winslow has to consult his notes.

                                     MAJOR WINSLOW
                         No autonomic effects... that's 
                         correct.

                                     OLIVE
                         When will he be home, Major?

                                     MAJOR WINSLOW
                         Four weeks or so, right around 
                         Halloween.

               INT./EXT. WALLY'S CAR - LOBSTER POUND - END OF DAY

               Homer and Candy are sitting in the parked car in silence.

                                     HOMER
                              (finally)
                         There are no autonomic effects, just 
                         the paralysis of the lower 
                         extremities.

               Candy stares at him, uncomprehending.

                                     HOMER
                         Wally can have kids, a normal sex 
                         life...

               Candy cries.

               EXT. LOBSTER POUND - EVENING

               Ray is throwing snails in the water. Candy sits on the end 
               of the dock, slumped on Homer's shoulder.

                                     RAY
                         How about him not needin' the friggin' 
                         compass! How about that?

                                     CANDY
                         Daddy, *please*...

               Ray knows that she wants him to leave. He shuffles off the 
               dock, toward the house. He knows how they both must feel.

                                     RAY
                         Good night, kids. Don't catch cold--
                         it's gettin' cold already.

                                     CANDY
                         Good night, Daddy.

                                     HOMER
                         Good night, Ray.

               Homer tries to cuddle closer, but Candy sits up, preoccupied.

                                     HOMER
                         Just tell me. I'll do whatever you 
                         want to do.

                                     CANDY
                         Nothing.

                                     HOMER
                         Isn't that like waiting and seeing?

                                     CANDY
                         No. Nothing is nothing. I want Wally 
                         to come home. I'm afraid to see him, 
                         too.

                                     HOMER
                         I know.
                              (he kisses her)
                         Is *that* nothing.

                                     CANDY
                         No, don't--that's something. Nothing 
                         is nothing.
                              (Homer's sad smile)
                         Don't even look at me. I want...

               Candy buries her face in his chest.

                                     CANDY
                         ...to do nothing.

               Homer holds her, doing nothing, while she sobs. As her crying 
               subsides, Homer's thoughts are far away. With Candy slumped 
               against him, hugging him, he doesn't look at her; instead, 
               he looks out to sea and at the darkening coast, Candy's words 
               resonating. An unfamiliar expression is on his face.

                                     HOMER
                              (mumbling to himself)
                         It's a tempting idea, I know... to 
                         do nothing.

               Candy is silent. Homer feels strangely agitated; he shifts 
               his position.

                                     CANDY
                              (groans)
                         Please don't move, don't go anywhere.

                                     HOMER
                              (overly genuine)
                         *Go* anywhere? Of course not! That 
                         would be *doing* something, wouldn't 
                         it? We wouldn't want to *do* 
                         something. Let's just sit here all 
                         night!

                                     CANDY
                              (irritated)
                         If you're trying to be funny, Homer...

                                     HOMER
                              (irritated, too)
                         I'm not trying to be anything--I'm 
                         just doing nothing! If I wait and 
                         see long enough, then--with any luck--
                         I won't *ever* have to make up my 
                         mind! Decisions can be painful, after 
                         all...

               Candy is angry; she gets to her feet and stares hard at him.

                                     CANDY
                         Stop it! Just cut it out!

                                     HOMER
                              (mock surprise)
                         You got up! You *did* something! If 
                         you keep this up, you might be in 
                         danger of making a *decision*!

                                     CANDY
                         For God's sake, Homer, Wally's been 
                         shot down!

               Candy sobs. Homer puts his face in his hands for a minute. 
               He regains his composure and stands up.

                                     HOMER
                              (genuinely contrite)
                         I know, I'm sorry.

                                     CANDY
                              (yelling and sobbing)
                         He's *paralyzed*!

                                     HOMER
                              (deadpan; just the 
                              facts)
                         He's *alive*. He still loves you.
                              (pause)
                         So do I.

                                     CANDY
                              (anguished)
                         What do you want me to *do*?

               He faces away from her.

                                     HOMER
                              (with calm resolve)
                         Nothing. You're not the one who has 
                         to do anything.

               EXT. CIDER HOUSE - NIGHT

               Homer is in semidarkness as he walks toward the cider house.

                                     MR. ROSE (O.S.)
                         Where do you think you're going?

                                     ROSE ROSE (O.S.)
                         You gotta let me go, Daddy. Please...

               Homer walks faster. When he gets to the cider house, he sees 
               Mr. Rose and Rose Rose arguing. Rose is sitting on the 
               bicycle, a bundle of her clothes tied up behind the seat.

                                     MR. ROSE
                         You ain't goin' nowhere in the middle 
                         of the night, girl!

                                     ROSE ROSE
                         I ain't your business no more, Daddy. 
                         Please let me go.

               Rose Rose starts to pedal away, but Mr. Rose stops her. She 
               starts to struggle.

                                     HOMER
                         Hey, hey! Stop it. Maybe I can help.

               They turn to see Homer.

                                     MR. ROSE
                         You just go inside, Homer. We don't 
                         need no help.

                                     ROSE ROSE
                         That's right, Homer. This ain't your 
                         business.

               She tries to break free from her father and pedal away, but 
               he stops her again. They keep struggling.

                                     HOMER
                         Please listen to me! *Both* of you...

                                     MR. ROSE
                         You forget yourself, Homer. This 
                         here's my daughter! You got your own 
                         mess to deal with--ain't that right?

               Homer steps between them, which makes Mr. Rose furious.

                                     MR. ROSE
                              (yelling)
                         What business is you in, Homer?

                                     HOMER
                         Mr. Rose, I'm in the *doctor* 
                         business.
                              (to Rose Rose)
                         If you want, I can help you. You 
                         don't have to go anywhere.

               Rose Rose and Mr. Rose stop struggling. Suddenly Homer is in 
               charge.

               INT. BUNKHOUSE - NIGHT

               Muddy, Hero and Peaches smoke in their beds. Rose Rose opens 
               her curtain and peers out from her bed. She gets up and goes 
               toward the kitchen area in her nightshirt; she stops at an 
               unused bed, now covered with white rubber sheeting--Homer's 
               medical instruments are displayed and ready. Homer finished 
               scrubbing his hands in the sink. His surgical mask is loosely 
               tied around his neck.

               Mr. Rose is looking at Homer's surgical instruments when 
               Rose Rose joins him.

                                     MR. ROSE
                              (to Homer)
                         What's that? What's it called?

                                     HOMER
                         One cervical stabilizer, two sets of 
                         dilators--Douglas points. One medium-
                         sized curette, one small; one medium 
                         speculum, one large; two vulsellum 
                         forceps.

                                     MR. ROSE
                         There ain't no *almost* about this 
                         stuff, Homer--ain't that right?

               Homer ignores him; he keeps naming his equipment.

                                     HOMER
                         Merthiolate, ether, vulval pads, 
                         gauze--lots of gauze.

                                     MR. ROSE
                         When it comes to this, you is the 
                         real thing--is that what you sayin'?

               Homer looks at Mr. Rose and Rose Rose.

                                     HOMER
                         No *almost* about it--I'm a doctor.

               Homer turns to Peaches, Hero, and Muddy.

                                     HOMER
                         Get out of here, please.

               Muddy herds Peaches and Hero out of the bunkhouse.

                                     MR. ROSE
                         I'm stayin', Homer.

                                     HOMER
                         Okay. Then you can be of use.

               INT. BUNKHOUSE - NIGHT

               Mr. Rose wears a surgical mask; he is sweating, even in the 
               cold, and his eyes look stricken as he watches Homer, who is 
               performing the abortion. Mr. Rose holds the ether cone over 
               Rose Rose's face. He drips some ether from the bottle on the 
               cone.

               Cut quickly for Rose Rose's etherized face... to Mr. Rose's 
               eyes above his mask... to Homer working with his eyes trained 
               on the speculum...

               EXT. CIDER HOUSE - NIGHT

               ...to Muddy and Peaches and Hero huddled under the overhanging 
               roof in the rain.

               INT. BUNKHOUSE - NIGHT

               Mr. Rose is having a hard time breathing.

                                     HOMER
                         You better get some air.

               EXT. CIDER HOUSE - NIGHT

               The cider house in the rain. Mr. Rose staggers out; he stands 
               there in the rain, trying to regain his composure. He starts 
               to scream.

               Another angle: huddled under the overhanging roof, Muddy and 
               Peaches and Hero are watching him.

               INT. BUNKHOUSE - RAINY DAY

               Rose Rose, curled in a fetal position, listens to the rain 
               on the roof. Candy sits on her bed beside her. She helps her 
               to sit up, to drink a glass of water; then Rose Rose lies 
               down again. Rose Rose's expression never changes while Candy 
               talks to her. Mr. Rose lies in his bed in the exact same 
               fetal position as his daughter; he too, is listening to Candy. 
               Homer is putting away his instruments.

                                     CANDY
                         The bleeding should taper off 
                         tomorrow, but it can come back again. 
                         The cramps will ease up, almost 
                         entirely. The bleeding is usually 
                         much lighter in two days. As long as 
                         the bleeding isn't heavy, it's normal.

               Muddy enters the cider house from out of the storm. He glances 
               at Candy and Rose Rose; then at Homer. Then he speaks to Mr. 
               Rose.

                                     MUDDY
                         It's that Vernon--he keeps askin' 
                         where you and Homer and Rose Rose is 
                         at.

                                     MR. ROSE
                         Tell that Vernon to mind his own 
                         business, Muddy.

                                     MUDDY
                         I told him that you all is sick.

                                     MR. ROSE
                         Tell him what you want, Muddy--*you* 
                         is the crew boss today.

               Hero and Peaches, dripping wet, come inside. Peaches is 
               standing next to the list of rules tacked to the kitchen 
               support beam.

                                     PEACHES
                         Look at that. Them same damn rules 
                         is tacked up again!

               Homer has finished putting his instruments away.

                                     MUDDY
                         Why don't you put them damn rules in 
                         the wood stove, Peaches?

               As the men are murmuring their approval of this idea, Rose 
               Rose interjects.

                                     ROSE ROSE
                         I want to hear what they are, first.

               The men groan, but Mr. Rose won't oppose his daughter on 
               this subject--not this time. He just lies there.

                                     ROSE ROSE
                         Homer, let me hear what they are.

               Homer begins to read.

                                     HOMER
                         "One: Please don't smoke in bed."

                                     MUDDY
                         We heard that one already, Homer.

                                     HOMER
                         "Two: Please don't go up to the roof 
                         to eat your lunch."

                                     PEACHES
                         That's the best place to eat lunch!

                                     HOMER
                         "Three: Please--even if you are very 
                         hot--do not go up to the roof to 
                         sleep."

                                     HERO
                         What do they think? They must think 
                         we're crazy!

                                     MUDDY
                         They think we're dumb niggers so we 
                         need dumb rules--that's what they 
                         think.

                                     HOMER
                         This is the last one.

               The men groan, in mock disappointment.

                                     HOMER
                         "Four: There should be no going up 
                         on the roof at night."

                                     PEACHES
                         Why don't they just say, "Stay off 
                         the roof!"?

                                     HERO
                         Yeah, they don't want us up there 
                         *at all*!

               Homer crumples the list and throws it into the wood stove.

                                     ROSE ROSE
                              (to Homer)
                         That's *it*?

                                     HOMER
                         That's it.

                                     ROSE ROSE
                         It means nothin' at all! And all 
                         this time I been *wonderin'* about 
                         it!

                                     PEACHES
                         They're *outrageous*, them rules!

                                     MR. ROSE
                         Who *live* here in this cider house, 
                         Peaches? Who grind them apples, who 
                         press that cider, who clean up the 
                         mess, and who just plain *live* 
                         here... just breathin' in the vinegar?
                              (he pauses)
                         Somebody who *don't* live here made 
                         them rules. Them rules ain't for 
                         *us*. *We* the ones who make up them 
                         rules. We makin' our *own* rules, 
                         every day. Ain't that right, Homer?

                                     HOMER
                         Right.

               Camera closes on Candy.

               INT./EXT. WALLY'S CAR - DRIVE-IN THEATRE - EVENING

               Homer and Candy sit and stare at the blank screen; they don't 
               look at each other. Candy grips the steering wheel of the 
               parked car.

                                     CANDY
                         Please don't make me say it again.

                                     HOMER
                         No, that's not it--I just want to be 
                         sure I understand you.

               Candy slumps forward with her forehead on the steering wheel.

                                     HOMER
                         I *helped* you not to think about 
                         Wally. You were so upset--you couldn't 
                         stand worrying about him, about his 
                         being killed and not coming back--
                         but when you were with me, you could 
                         stop worrying... well, for a while, 
                         anyway. This is how I helped you, 
                         right?

                                     CANDY
                         Please... that's enough. I *loved* 
                         you, too--you know I did.

                                     HOMER
                         "...did." Well, okay.

                                     CANDY
                         Please don't...

                                     HOMER
                              (sarcastically)
                         And now that Wally's coming back, 
                         and because he'll certainly *need* 
                         you...

                                     CANDY
                         You say that as though it's some 
                         awful thing!
                              (angrily)
                         I never stopped loving Wally!

               Homer lets that sink in.

                                     HOMER
                              (still sarcastic)
                         At least there's no more waiting and 
                         seeing. At least I got to see the 
                         ocean.

               Candy covers her face in her hands and cries uncontrollably, 
               unstoppably. Homer's anger keeps him impervious to her tears--
               another "first" for him. He turns and looks at her with an 
               almost clinical curiosity; then he goes back to staring at 
               the blank screen.

               EXT. ORCHARD - IN FRONT OF THE APPLE MART - DAWN

               The rain has stopped but the grass is wet, the trees 
               glistening in the dawn light as Wally's car stops and Homer 
               gets out. The car exits the frame in one direction; Homer, 
               walking, exits the frame in another.

               EXT. CIDER HOUSE - DAWN

               As he walks toward the cider house, Homer sees Muddy and 
               Peaches and Hero waving to him from the roof.

                                     MUDDY
                         Rose Rose has runned away!

                                     PEACHES
                         She took off in the night!

                                     MUDDY
                         She took off on the bicycle, man.

               Homer starts jogging, then running toward the cider house. 
               Muddy comes down the ladder to meet him.

               INT. BUNKHOUSE - EARLY MORNING

               Rose Rose's bed is exposed. The curtains are flung open; her 
               bed is empty. Mr. Rose is still in his bed, in the fetal 
               position we have seen before. Mr. Rose's trancelike expression 
               doesn't change as Homer and Muddy enter.

                                     MR. ROSE
                         Ain't nobody gonna find her, Homer--
                         she's long gone.
                              (pause)
                         I swear, I didn't try and stop her--
                         I just wanna touch her hand before 
                         she go. That's all I wanna do, I 
                         swear.
                              (pause)
                         Where'd she get that knife, Muddy? 
                         That looked like *your* knife--what 
                         I seen of it.

               Muddy is scared; he looks to Homer for advice.

                                     MR. ROSE
                         If that was your knife, Muddy, I 
                         wanna thank you for givin' it to her--
                         no girl should be goin' *hitch-hikin'* 
                         if she don't got a good knife with 
                         her.

                                     HOMER
                              (seeing the blood)
                         Where'd she get you?

                                     MR. ROSE
                         She just plan misunderstand me--I 
                         was tryin' to give her my knife, I 
                         was just reachin' to touch her hand. 
                         But I understand if she misunderstand 
                         me--it's all my fault, ain't that 
                         right?

               Homer takes the blanket off him; Muddy gasps. Homer tries to 
               examine Mr. Rose's wound. Mr. Rose smiles at him.

                                     MR. ROSE
                         It's too late for the doctor now, 
                         Homer--ain't that right?

               Homer doesn't answer; he knows Mr. Rose is a goner.

                                     MR. ROSE
                              (proudly)
                         She's *good* with that knife! She's 
                         real fast. She's a lot better with 
                         that knife than *you* is, Muddy! And 
                         who do you suppose taught her?

                                     MUDDY
                         *You* taught her, I suppose...

                                     MR. ROSE
                         That's right! A girl's gotta know 
                         how to defend herself, don't she?

               He winces in pain at Homer's examination.

                                     HOMER
                              (surprised)
                         There's more than one laceration, 
                         more than one cut.

                                     MR. ROSE
                         That's 'cause I sticked my *own* 
                         knife in the wound--after she go, I 
                         sticked my *own* knife in there. I 
                         poked it all around, I just tryin' 
                         to find the same place she got me.

               Homer finds Mr. Rose's knife. There's blood everywhere.

                                     MR. ROSE
                         You listen to me: you tell them police 
                         how this happen, you tell it *this* 
                         way, you hear? My daughter, she runned 
                         off--and I so sad about it that I 
                         stabbed myself. I so unhappy that 
                         she gone, I killed myself--that what 
                         you say, you hear? That the true 
                         story--ain't that right?

               Homer and Muddy exchange a glance. Mr. Rose, with his blood-
               soaked hand, suddenly grabs Homer by the throat.

                                     MR. ROSE
                         Let me hear you say that! I so unhappy 
                         she runned away that I killed myself--
                         that what happen here, ain't that 
                         right?

                                     HOMER
                         Right?

                                     MUDDY
                         That what happen--you lost you only 
                         daughter so's you killed yourself! 
                         That's what we say, all right.

                                     MR. ROSE
                         That's right. I know you understand 
                         how I feel, Homer--you is breakin' 
                         them rules, too. Ain't that right?

               Mr. Rose dies. Muddy turns away. Homer closes Mr. Rose's 
               eyes.

               EXT. CIDER HOUSE, ROOF - MORNING

               Muddy and Hero and Peaches are sitting close together on the 
               roof, like banished children. It is from their perspective 
               that we see the police car and the ambulance--two men carrying 
               the body out of the cider house, and a cop or two talking to 
               Homer and Olive, and Homer talking to them. We hear no 
               dialogue.

               EXT. APPLE MART - DUSK

               Homer and the men load crates of apple jelly onto a truck. 
               The mood is solemn; they work with tired focus. Candy drives 
               up. The men are evasive with her; they find a reason to work 
               across the mart. Candy walks to Homer, stands next to him. 
               They say nothing for a moment, until Candy breaks the silence.

                                     CANDY
                         Do you think she'll be all right?

                                     HOMER
                         She knows how to take care of herself.

               Candy looks away; she can't think of what to say. She shoves 
               her hands into her pockets, finds a letter there, which she 
               hands to Homer.

                                     CANDY
                         This came for you a couple of days 
                         ago. Olive asked me to bring it. 
                         With everything happening, I guess 
                         she forgot.

                                     HOMER
                         Sure. Thanks.

               Homer looks at the letter from St. Cloud's; he puts it 
               unopened in his pocket without a second thought. Candy can't 
               let things end there.

                                     CANDY
                         I know you don't think much of being 
                         needed, or of me for that matter...

                                     HOMER
                         I'm sorry for what I said about Wally 
                         needing you. It was... unnecessary.

                                     CANDY
                         No, I'm the one who should be sorry. 
                         You have every right to be angry.

                                     HOMER
                         No. You warned me. I didn't listen, 
                         but you warned me.

               Candy looks surprised.

                                     HOMER
                         You told me you weren't any good at 
                         being alone.
                              (pause)
                         You told Wally, too. Right?

               Candy can only stare straight ahead.

                                     HOMER
                              (relenting)
                         He's going to be fine, Wally's going 
                         to be fine. I know he is.

               A tear rolls down Candy's cheek, Homer wipes it away; then 
               he stops touching her and looks off into the quiet orchards.

               INT. BUNKHOUSE - NIGHT

               The pickers lie in their beds, smoking. Homer is undressing. 
               He pulls the letter out of his pocket and sits down on his 
               bed. Homer opens the letter without enthusiasm and begins to 
               read.

                                     ANGELA (V.O.)
                         Dear Homer, I am writing to tell you 
                         about Wilbur.

               INT. DISPENSARY - NIGHT

               Music is playing on the old phonograph as an exhausted Larch 
               gives himself ether.

               INT. GIRLS' DIVISION - NIGHT

               Edna is getting the girls ready for bed. Music continues 
               Over.

               INT. DISPENSARY - NIGHT

               Larch has twisted himself on the narrow bed so that his face 
               is unusually close to the windowsill, and when the ether 
               cone starts to fall off his face--and his slack hand trails 
               down, off the side of the bed--the cone becomes caught against 
               the windowsill.

               He tries to turn his face away from the cone, but he presses 
               his face into the sill--thus holding the ether-soaked cone 
               over his mouth and nose. His hands twitch, he's trying to 
               wake up; the hand that holds the ether bottle lets the bottle 
               fall. The bottle shatters against the sill; the ether spreads, 
               running red with blood from a cut on Dr. Larch's hand or 
               finger. Music continues Over. It's a funeral.

               INT. CORRIDOR - NIGHT

               Buster is bringing in the wood as the music plays Over. Buster 
               smells the spilled ether. He heads toward the dispensary, 
               sniffing. Camera follows him into the dispensary.

               In the dispensary: Buster approaches Larch's ether-bed.

                                     BUSTER
                         Dr. Larch? Dr. Larch?

               He drops the armload of wood and runs for help.

               INT. DISPENSARY - NIGHT

               Angela enters. She feels for Larch's pulse; Larch is dead. 
               Angela opens a window. She pull's Larch's body away from the 
               windowsill. Buster joins her on the bed.

                                     ANGELA (V.O.)
                         I can assure you that the overdose 
                         was entirely accidental.

               INT. BUNKHOUSE - NIGHT

               Homer finishes reading the letter; he puts it down, gets up, 
               and walks to a window. He stares into the night.

                                     ANGELA (V.O.)
                         Let us be happy for Dr. Larch. Dr. 
                         Larch has found a family.

                                     THE BOYS (V.O.)
                         Good night, Dr. Larch! Good night, 
                         Dr. Larch! Good night, Dr. Larch!

               Homer wipes a tear off his cheek.

               EXT. PICKERS' TRUCK - CIDER/PACKING HOUSE - MORNING

               The truck is packed for the long trip south; it passes by 
               the packing house, which looks closed for the season. No one 
               else is about. Muddy is driving slowly, his arm out the open 
               window. In the back, huddled among their belongings, are 
               Peaches and Hero (on one side) and Homer (on the other). The 
               pickers are trying to draw Homer into their conversation, 
               while Homer is giving the apple farm a good-bye look. He has 
               made up his mind about something.

                                     MUDDY
                         You ever see a palm tree, Homer?

                                     PEACHES
                         He ain't never been outta Maine!

                                     HERO
                         Ain't you sick of pine trees, Homer?

               Homer just smiles and shakes his head.

               EXT. WORTHINGTON HOUSE, DRIVEWAY - MORNING

               As the pickers' truck drives past, Homer is on the side of 
               the truck nearest the Worthington house and driveway; he 
               sees Olive and Candy and Ray helping Wally out of the car 
               and into a wheelchair. A NURSE stands by.

               Wally is wearing what appears to be an oversized officer's 
               coat or flight jacket, his face looking small in the overlarge 
               clothes. He can't move his legs at all, and his mouth is 
               drawn into a tight-lipped smile.

                                     PEACHES (O.S.)
                         Let me tell you somethin' about 
                         Florida, Homer.

                                     HERO (O.S.)
                         The Sunshine State!

                                     PEACHES (O.S.)
                         It's so nice 'n' warm down there, 
                         you can pick them grapefruits and 
                         oranges *naked*, if you want to.

               Olive is dissolved in tears. Candy is sobbing; she kisses 
               Wally, without ceasing, while he haltingly touches her face, 
               her hair.

               In the truck the smile is gone from Homer's face. He shakes 
               his head.

                                     HOMER
                         Thanks, guys... I'd like to go with 
                         you. But I've got to move on.

                                     MUDDY
                         Yeah, well... you could move on with 
                         *us*, man! You could move on somewhere 
                         *warm*!

                                     PEACHES
                         Homer, stayin' in Maine ain't movin' 
                         on!

               This makes all the pickers laugh, but Homer just smiles and 
               shakes his head. He watches the Worthington house disappear 
               from view.

               INT. MOVING TRAIN - PASSENGER CAR - NIGHT

               A CONDUCTOR, taking tickets, comes to Homer, who is better 
               dressed than we've ever seen him; he is looking at his sober 
               reflection in the black window-glass of the night train when 
               the conductor gets his attention. When the conductor moves 
               on, Homer takes Angela's letter out of his breast pocket; he 
               skips ahead to the end.

                                     ANGELA (V.O.)
                         Dr. Larch often wondered how the 
                         world was treating you.

               EXT. ST. CLOUD'S - GRAVEYARD - AFTERNOON

                                     ANGELA (V.O.)
                         He talked a lot about you, hoping 
                         you would be of use, whatever you 
                         were up to.

               Angela and Buster and Mary Agnes and Edna carry Larch's 
               coffin; they set it down by the raw hole. The pile of fresh 
               dirt stands out against the new snow; the hole is black 
               against the new white.

                                     EDNA (O.S.)
                         "Oh, Lord, support us all the day 
                         long..."

               We see the wheelbarrow with the gravestone.

                                     EDNA (O.S.)
                         "...until the shadows lengthen and 
                         the evening comes, and the busy world 
                         is hushed, and the fever of life is 
                         over, and our work is done."

               INT. GIRLS' DIVISION - NIGHT

               We see the faces of the girls praying for Larch (Mary Agnes, 
               too) as Edna finishes her favorite prayer.

                                     EDNA
                         "Then, in Thy mercy grant us a safe 
                         lodging, and a holy rest, and peace 
                         at the last."

               INT. MOVING TRAIN - PASSENGER CAR - NIGHT

               Camera closes on Homer, sleeping to the sound of the rocking 
               train. Angela's letter lies in his lap.

                                     THE GIRLS (O.S.)
                         Amen! Amen! Amen!

               EXT. ST. CLOUD'S - TRAIN STATION - EARLY MORNING

               The train stops, blowing snow. Homer steps off the train 
               carrying a suitcase and Dr. Larch's bag. The disapproving 
               stationmaster is still disapproving. Music plays Over, 
               something triumphant.

               EXT. ST. CLOUD'S - THE HILL - EARLY MORNING

               Homer makes his way up the hill toward the orphanage. Music 
               Over.

               EXT. ORPHANAGE - EARLY MORNING

               Edna is breaking up fights; this time, instead of fighting 
               over snowballs, the orphans are fighting over their pumpkins. 
               Suddenly Homer tops the brow of the hill and they all see 
               him. Buster is the first to catch sight of Homer; he runs 
               toward him. Mary Agnes also sees Homer; she immediately turns 
               away and runs inside. Music FADES OUT Over.

               INT. LAVATORY - EARLY MORNING

               Mary Agnes crashes into the bathroom and stumbles up to the 
               mirror; she starts to fix herself up with shaking hands.

               INT. ORPHANAGE, FRONT HALL - EARLY MORNING

               Everyone has heard the news; they come on the run. The 
               children flock around Homer, hugging him. Homer takes Angela 
               and Edna in his arms. Mary Agnes joins the group. Homer takes 
               in how changed, how attractive she is. They smile awkwardly 
               at each other.

               INT. BOYS' DIVISION - EVENING

               Homer's suitcase is open on the bed; we see Homer's hands as 
               he begins to unpack. Smaller hands reach in and root through 
               the clothes.

                                     CURLY (O.S.)
                         Did you bring something for me?

               Curly continues his search. Homer thinks for a second; then 
               reaches into his pocket and pulls out the piece of pale-green 
               glass.

                                     HOMER
                         You know what? I did.

               Homer hands the piece of glass to Curly.

                                     HOMER
                         It's from the ocean. It's for you.

               Curly is duly impressed; he walks away to examine his new 
               treasure. Homer continues unpacking. He pulls his X ray out 
               and puts it aside.

                                     BUSTER
                         What are you doing here?

               Homer turns to see Buster, Mary Agnes, Angela, and Edna in 
               the doorway.

                                     MARY AGNES
                         We made up a room for you.

                                     ANGELA
                         Wouldn't you be more comfortable by 
                         yourself?

               Homer smiles; he nods.

               Angela and Mary Agnes start to put Homer's things back in 
               his bag. Edna picks up the X ray and looks at it with a somber 
               expression.

                                     EDNA
                         Homer, do you know what this is?

                                     HOMER
                         Sure. It's my heart.

                                     ANGELA
                              (shakes her head)
                         Actually, it's Fuzzy's. There's 
                         nothing wrong with your heart.

                                     HOMER
                         Fuzzy's?!

                                     EDNA
                         Dr. Larch wanted to keep you out of 
                         the war, Homer--that's why he did 
                         it. That's why he told you it was 
                         yours.

               Homer is stunned; he puts his hand to his heart.

                                     ANGELA
                         I think he worried about his own 
                         heart. He said it would never stand 
                         up to Homer Wells going off to war.

               Homer takes that in; he nods. Mary Agnes touches him 
               sympathetically.

               INT. LARCH'S OFFICE - NIGHT

               Homer looks at his fake diplomas; they are now framed and 
               hanging on the office wall. Homer surveys the office, as if 
               for the first time; he sits down in the desk chair, as if 
               slowly getting used to his new position.

               INT. BOYS' DIVISION - NIGHT

               Homer reads to the boys from "David Copperfield". While his 
               voice is strong--positive, optimistic, certainly reassuring 
               to the boys--there is in the conclusion of the chapter 
               something that distracts him. He seems to hesitate; he misses 
               a line or two, and perhaps he purposely skips one or two 
               others. (Possibly Homer's eyes wander ahead, to the title of 
               the next chapter: "I Make Another Beginning.")

                                     HOMER
                         "Thus I began my new life, in a new 
                         name, and with everything new about 
                         me... I felt... like one in a dream... 
                         The remembrance of that life is 
                         fraught with so much... want of 
                         hope... Whether it lasted for a year, 
                         or more, or less, I do not know. I 
                         only know that it was, and ceased to 
                         be; and... there I leave it."

               Homer stops and looks at the boys' faces.

                                     CURLY
                         What happens next?

               Homer smiles.

                                     HOMER
                         That's tomorrow, Curly. Let's mot 
                         give the story away.

               Homer puts out the lights and leaves the boys in the familiar 
               semi-darkness. Seconds, later, the closed door to the hall 
               is flung open, flooding the room with light from the hall, 
               and Homer, dressed in his long white laboratory coat and 
               looking every inch the doctor, delivers his best imitation 
               of Larch's popular blessing.

                                     HOMER
                         Good night, you Princes of Maine! 
                         You Kings of New England!

               On Copperfield and Steerforth and Curly as the door to the 
               hall is closed and semi-darkness prevails in the room again. 
               Copperfield, smiling, shuts his eyes. After a second, the 
               wide-eyed Steerforth shuts his eyes, too. Then Curly.

               The last to close his eyes is Buster.

                                                             FADE TO BLACK:

                                         THE END



Cider House Rules, The



Writers :   John Irving
Genres :   Drama  Romance


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