Shasta

EXT. KNUTE LOVE'S MANSION - NIGHT

Natalie's limo door is opened by the chauffeur. She steps out, dressed in a business suit, and looks at the mansion in awe.

INT. KNUTE LOVE'S MANSION, LIBRARY - NIGHT

Natalie sits in an overstuffed leather chair in front of a blazing fireplace, glass of wine in one hand, tape recorder in the other. Knute sits opposite her.

Natalie looks in frank admiration at the sumptuous furnishings. Then she notices a rusted 1898 Krag rifle hanging above the fireplace. Knute watches her.

KNUTE:

Krag. Belonged to my Mom.

NATALIE:

Your Mom? Looks pretty rusty.

KNUTE:

There's a story behind that. You'll see.

NATALIE:

I hope so.

KNUTE:

I trust you're comfortable.

NATALIE:

Doing fine, thank you. The dinner was wonderful and the wine is really excellent.

KNUTE:

My private vintage.

NATALIE:

I'm honored!

KNUTE:

Actually, I developed it myself.

NATALIE:

I guess I shouldn't be surprised.

KNUTE:

If I cease to surprise you, Natalie, I'll be surprised.

NATALIE:

So, then, what other surprises have you in store?

KNUTE:

For one thing, despite what your sources tell you, I do know the identity of my father.

NATALIE:

But it's a-

KNUTE:

Secret I prefer to maintain.

NATALIE:

Why?

KNUTE:

Perhaps the best answer to that is on a shelf here.

Knute gets up, goes to a shelf, takes a leather bound journal, and returning, hands it to Natalie.

NATALIE:

What's this?

KNUTE:

At one time, my mother kept a journal.

NATALIE:

You're letting me use it as a source?

KNUTE:

For now, I'm merely letting you read it. One stipulation, however. You cannot remove it from my house.

NATALIE:

Of course. I understand. I assume your mother's passed away?

He nods.

KNUTE:

Feel free to visit every day if you'd like. The book will be here, on that shelf.

NATALIE:

Thanks. I appreciate your vote of confidence.

KNUTE:

Ordinarily, I wouldn't have even considered you, but I'm hoping you'll get me your boyfriend's autograph.

Natalie looks astonished.

KNUTE (CONT’D)

You didn't think I'm just a clueless geek, did you?

Natalie looks even more astonished.

EXT. MODEST SUBURBAN HOME - DAY

Natalie watches as her mother, MARY, tends her rose bushes.

NATALIE:

They're beautiful, Mom.

MARY:

If you keep them well tended. Otherwise, they look like unkempt weeds.

NATALIE:

Well, you put a lot of love into growing things.

Mary smiles.

MARY:

Like you.

NATALIE:

I'm not nearly as thorny.

Mary gives Natalie a look of disbelief.

NATALIE (CONT’D)

Well, maybe a little.

MARY:

So what were you so excited to tell me?

NATALIE:

I scored big time.

MARY:

I didn't know you do drugs.

NATALIE:

Funny, Mom.

MARY:

Seriously, what happened?

NATALIE:

I landed a contract to write a biography. Guess who the lucky subject is.

MARY:

Well, I didn't sign a contract. Who, then?

NATALIE:

Knute Love.

Mary stops working momentarily, seemingly surprised, then resumes.

MARY:

How'd you land that one? Did he contact you?

NATALIE:

Get serious, Mom!

MARY:

I guess it seems weird. Not that you aren't good at what you do.

NATALIE:

Well, I just had this idea one day, and strangely enough, I couldn't get it out of my head. Everything just fell into place after that.

Mary stops her puttering and stares at the dirt.

MARY:

Do you think it's a good idea to...

NATALIE:

What?

MARY:

I mean, that's make or break. Maybe you should start with someone... you know...

NATALIE:

You don't think I can handle it?

MARY:

You're just starting out. I mean...

NATALIE:

I could spend years and not get a break like this, Mom.

MARY:

You're right, of course. You'll do fine, I'm sure.

INT. KNUTE LOVE'S MANSION, LIBRARY - DAY

Natalie is in the easy chair with the journal in her lap. As she opens it, a paper falls out. She picks it up and starts reading.

NATALIE:

For Knute:
Dispatch the cobwebs from the corners of your vision. Grab those slippery concepts as they slide off your mind. Probe deep your fingers to peel off the rind. Observe the shapes of spaces in patterns under revision. Revel, my child, in spring-fed elation, and as I love you, love the taste of creation. Love forever, your Dad.

Natalie is moved.

NATALIE (CONT’D)

Wow! Someone's a poet!

She reads the journal.

FLASHBACK TO:

INT. NAPA VALLEY WINERY - DAY

SUPER:
NAPA VALLEY, CALIFORNIA, JULY 1947

SEAN O'LEARY, a handsome man in his late 20's, sweeps the floor at the winery. His BOSS, a gruff-looking 60, comes to see him.

BOSS:

Hey, Sean. Butch said you were late again this morning.

SEAN:

I know boss. Overslept. Didn't get much shut-eye.

BOSS:

Look, Sean, I can't have you showing up late like this. One more time and you're out of here. Understand?

SEAN:

Sure, boss. Got it. Won't happen again.

BOSS:

You were in the war, I know. But I got a business to run.

INT. BAR - NIGHT

Sean sits at the bar sipping a beer. GERTIE, a young woman who looks worn from the inside out, sees the "USMC" tattoo on his arm, then sits next to him.

GERTIE:

You look lonely, Mister. Use some company?

SEAN:

Look, lady, whatever the fare, I can't afford it, okay?

GERTIE:

I ain't no hooker! Just thought you could use a lift.

SEAN:

Look, whatever you want, go squeeze someone else.

GERTIE:

Jeepers! I ain't never seen no man play hard to get before. You must think you're something special!

SEAN:

Yeah? Well, I ain't special. I'm just Sean.

GERTIE:

Gertie's the name.

SEAN:

Well, Gertie, it's a pleasure. You buying?

GERTIE:

Hell, no! You?

INT. SEAN'S APARTMENT, BEDROOM - NIGHT

Sean is sleeping with Gertie. He starts getting restless and is apparently having a bad dream. Gertie wakes up and shakes him.

GERTIE:

Bad dream, huh? Ain't real, honey.

INT. WINERY - DAY

Sean walks in. His boss is waiting for him with a grim look.

EXT. NORTHERN CALIFORNIA ROAD - DAY

Sean drives a beat-up old car along a country road. He sees a sign reading, "Weed, California." Mount Shasta looms over the town.

EXT. TOWN OF WEED - DAY

Sean sees a "Help Wanted" sign in front of a house. He stops and stares at it for a while, then parks.

INT. SANDRA'S HOUSE, LIVING ROOM - DAY

SANDRA, a pretty woman in her late 20's, is seated on a chair, while Sean is on the couch. It's a modest, clean and well-kept bungalow.

SEAN:

No. No references, Miss Love.

SANDRA:

Been having troubles, Mr. O'Leary?

SEAN:

You could say that.

SANDRA:

Anything involving the law?

SEAN:

Nothing serious.

SANDRA:

Drinking problem?

SEAN:

A beer or two after work ain't no problem.

SANDRA:

Well, Mr. O'Leary, what with the war... Hell, not too many takers left around here. Guess I'll have to take a chance on you.

SEAN:

Thanks. I ain't gonna let you down.

SANDRA:

There's a rooming house down the street. Come by again at eight tomorrow morning. I'll show you the cabin.

EXT. DIRT ROAD ON MOUNT SHASTA - DAY

Sandra and Sean ride in her pick-up truck up Mount Shasta.

SEAN:

Ain't this a pile of rocks!

SANDRA:

Mount Shasta? It's a volcano.

SEAN:

Ain't gonna fire up, is it?

SANDRA:

Don't worry. It's not dangerous.

SEAN:

You sure?

EXT. OLD CABIN - LATER

They stop at a dilapidated old cabin on the mountainside and get out. Sean walks around the cabin inspecting it.

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