for a long beat. Trying to decide how to best answer that without lying to her.
JOHN
I dunno. Maybe not at first.
But that doesn’t do much to reassure her. Back in the house behind them, the crowd has started to thin. The party is dying down.
SAVANNAH
It’s selfish of me to act like this. I get that. You’re the one that’d have to go back there. But two more years, John...
She finally turns to him. He immediately looks away.
SAVANNAH
Wait, have you already done it?
Have you already reupped?
John shakes his head no. Savannah stares at him harder, speaks quieter.
SAVANNAH
But have you already made your mind up? Do I get a say at all in this?
John looks away. Before he can respond, though...
...Tim steps out on the porch to say goodbye, carrying a sleeping Alan in his arms, no idea what he’s walking into. John turns when he hears him.
SAVANNAH
Don’t look at him, John. Look at me.
John does. They hold eye contact.
JOHN
You just... you don’t understand--
He tries to put his hand on her arm, but she SLAPS it off.
SAVANNAH
You son of a bitch. Don’t ever tell me I don’t understand.
Then she turns and walks away. Tim tries to inch back into the house, pretend like he was never here. But John knows he is.
JOHN
That’s the first time I’ve ever heard her curse.
Alan stirs in Tim’s arms, but doesn’t quite wake.
TIM
She’s angry because she loves you that much. Because she misses you that much. Trust me... that’s a lot better than the alternative.
John watches Savannah get smaller and smaller.
JOHN
So what do I do?
Tim carries Alan to the door, looks back before he leaves.
TIM
You go after her, John.
126 EXT. SAVANNAH’S FAMILY HOME -- ON THE DOCK -- LATE DAY
This pier is much smaller than the one in Charleston, but as John comes up behind Savannah, it’s a very familiar sight.
SAVANNAH
Just leave me alone, okay?
John pauses, trying to find the right words. Whether it’s nerves or desperation, he starts to sweat, suddenly has a hard time catching his breath.
JOHN
Whaddaya want from me, Savannah?
Huh? You want me to quit, is that it?
(off her silence)
You’re all that matters to me. Okay?
You are all that matters.
His voice turns intense, his eyes desperate.
JOHN
I just-- I don’t know how I got here.
I don’t know what happened. I just know that I woke up one day and buildings were suddenly falling down and -- I know I had a plan but now I don’t, I know I have no clue what to do anymore, I have no idea what to do, because all I want is to stay here with you, right here with you for as long as I possibly can.
John looks like he’s six years old all of a sudden, anxious and scared and vulnerable. Savannah’s anger quickly melts away. She puts her hand on his face, trying to calm him down.
JOHN
I’m just trying to do the right thing here, but I’ll tell you what, I’m so turned around I don’t have a friggin idea what that is anymore.
So you tell me. Tell me what to do, Savannah. Tell me what you want me to do and I’ll do it.
She quietly wraps him up, holds on as tight as she can. Then she kisses him lightly on the lips.
SAVANNAH
I want you to come with me.
127 EXT. STABLES -- DUSK
Savannah leads John inside. The place is empty now.
She pulls John back to the far-most stable, which is different than the others. There are stacks of hay but there are also blankets, a flashlight, a bunch of paperbacks, an old radio.
SAVANNAH
Whenever I used to sneak out of the house, late at night... this is where I’d come.
She looks through the open window at the house she grew up in.
SAVANNAH
Kinda pathetic, huh? Even when I ran away, I never went very far.
Then, finally, she shakes the nostalgia away, turns to John, pulls him down onto this makeshift bed.
John looks through the window up at the house. It’s a distance -- no one can see them here, no one can hear them.
Savannah turns on the radio. The song that starts to
JOHN
I dunno. Maybe not at first.
But that doesn’t do much to reassure her. Back in the house behind them, the crowd has started to thin. The party is dying down.
SAVANNAH
It’s selfish of me to act like this. I get that. You’re the one that’d have to go back there. But two more years, John...
She finally turns to him. He immediately looks away.
SAVANNAH
Wait, have you already done it?
Have you already reupped?
John shakes his head no. Savannah stares at him harder, speaks quieter.
SAVANNAH
But have you already made your mind up? Do I get a say at all in this?
John looks away. Before he can respond, though...
...Tim steps out on the porch to say goodbye, carrying a sleeping Alan in his arms, no idea what he’s walking into. John turns when he hears him.
SAVANNAH
Don’t look at him, John. Look at me.
John does. They hold eye contact.
JOHN
You just... you don’t understand--
He tries to put his hand on her arm, but she SLAPS it off.
SAVANNAH
You son of a bitch. Don’t ever tell me I don’t understand.
Then she turns and walks away. Tim tries to inch back into the house, pretend like he was never here. But John knows he is.
JOHN
That’s the first time I’ve ever heard her curse.
Alan stirs in Tim’s arms, but doesn’t quite wake.
TIM
She’s angry because she loves you that much. Because she misses you that much. Trust me... that’s a lot better than the alternative.
John watches Savannah get smaller and smaller.
JOHN
So what do I do?
Tim carries Alan to the door, looks back before he leaves.
TIM
You go after her, John.
126 EXT. SAVANNAH’S FAMILY HOME -- ON THE DOCK -- LATE DAY
This pier is much smaller than the one in Charleston, but as John comes up behind Savannah, it’s a very familiar sight.
SAVANNAH
Just leave me alone, okay?
John pauses, trying to find the right words. Whether it’s nerves or desperation, he starts to sweat, suddenly has a hard time catching his breath.
JOHN
Whaddaya want from me, Savannah?
Huh? You want me to quit, is that it?
(off her silence)
You’re all that matters to me. Okay?
You are all that matters.
His voice turns intense, his eyes desperate.
JOHN
I just-- I don’t know how I got here.
I don’t know what happened. I just know that I woke up one day and buildings were suddenly falling down and -- I know I had a plan but now I don’t, I know I have no clue what to do anymore, I have no idea what to do, because all I want is to stay here with you, right here with you for as long as I possibly can.
John looks like he’s six years old all of a sudden, anxious and scared and vulnerable. Savannah’s anger quickly melts away. She puts her hand on his face, trying to calm him down.
JOHN
I’m just trying to do the right thing here, but I’ll tell you what, I’m so turned around I don’t have a friggin idea what that is anymore.
So you tell me. Tell me what to do, Savannah. Tell me what you want me to do and I’ll do it.
She quietly wraps him up, holds on as tight as she can. Then she kisses him lightly on the lips.
SAVANNAH
I want you to come with me.
127 EXT. STABLES -- DUSK
Savannah leads John inside. The place is empty now.
She pulls John back to the far-most stable, which is different than the others. There are stacks of hay but there are also blankets, a flashlight, a bunch of paperbacks, an old radio.
SAVANNAH
Whenever I used to sneak out of the house, late at night... this is where I’d come.
She looks through the open window at the house she grew up in.
SAVANNAH
Kinda pathetic, huh? Even when I ran away, I never went very far.
Then, finally, she shakes the nostalgia away, turns to John, pulls him down onto this makeshift bed.
John looks through the window up at the house. It’s a distance -- no one can see them here, no one can hear them.
Savannah turns on the radio. The song that starts to
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