REDEMPTION FALLS

“ACROSS THE GREAT DIVIDE” (PILOT)

by

Brendan L. Heldenfels

Final DraftRevised 6/10/2006

All episodes are a work of fiction. Names, characters, places, and incidents either are used fictitiously or are the product of the author’s imagination, and any resemblance to actual persons (living or dead), pet, locales, or business establishments is entirely

coincidental. Copyright (c) 2005-2006 Brendan L. Heldenfels. All rights reserved, including the right to reproduce this work, or portions thereof, in any form.

TEASER

FADE IN:

INT. FENN’S CABIN – NIGHT

Black. A steady breathing, interrupted by a slamming door.

LAUREN (O.S.)Fenn! Get up! Get. Up!

Lights fill the small, retro cabin. SHEPARD “FENN” FENNESY, twenty-three and Australian, rolls his neck and shoulders.

LAUREN KEEZHEKONI, twenty-two, Native American, a fluid, ready adrenaline junkie, moves through the cabin.

Never staying in one place, she waits for her friend.

LAURENFranklin wants us up at the office in ten. That was five minutes ago.

She tosses him a flashlight.

LAURENGabby’s gone AWOL. We’re at level two.

Fenn sighs. His shoulders slump as we slide into—

EXT. SERVICE TRAIL – NIGHT

The pair runs side-by-side, carrying flashlights, sweeping them towards the woods. Lauren has the grace of a seasoned runner while Fenn is steady and persistent.

LAURENChrist. How are we supposed to find anyone in this? It’s darker than a crate of Tennessee assholes.

FENNI’d just like to know how we wound up pulling the worst section on site.

(off her look)Oh, come on. They’re not still pissed?

LAURENYou decided to replace the diving dummy—

2

FENNThat diving dummy wasn’t the proper weight.

LAURENDid you honestly think that we—and by we, I mean you—were going to get away with that?

FENNYou know, I honestly thought that we—and by we, I mean us--were going to get away with most of that.

LAURENYou replaced it with a dead pig. How did you intend to get away with most of it?

FENNWell, for starters, I figured we would pull off everything but the whole “Coach finding out where we got the dead pig” part.

LAURENMaybe that’s why we wound up pulling the worst section on site, then.

Lauren turns to the woods, calls:

LAURENHey, Gabby! Can you hear us?! Are you okay?

(beat)I don’t get this. She wasn’t acting up. Why’d—

The brights of a green pickup truck stop their pursuit.

SERA LUCAS, twenty-seven, gets out. She’s handsome and rugged. Her coworkers nicknamed her “the last cowgirl.”

SERAIt’s over. They got her.

FENNWhere?

Sera smirks. This’ll be funny in a day or so.

3

LAURENWhere?

SERAApparently, and this is only what Fiona got out between f-bombs, sje doubled back and was hiding behind her cabin—your cabin—while we ran around. Looking for her.

INT. SERA’S TRUCK – NIGHT

Lauren lights up a cigarette, growling:

LAURENBehind my cabin. I’m going to kill her. I will snap her neck.

FENN“Why’d she do it? She wasn’t…”

LAURENStow it. Correction: I’m going to make her explain why she thought it’d be fun to make us run around at three in the morning, and then I’m going to snap her neck. That sound all right to you?

No response. Fenn and Sera can only laugh.

SERAYes. Yes, it does.

She starts the car, and with it, Nanci Griffith’s cover of “Across the Great Divide.”

EXT. TRAIL – NIGHT

As the truck pulls away, a logo becomes clear:

Camp Dovetail Falls. “Future Leaders At Work And Play”

MAIN TITLES

FADE OUT.

4

ACT ONE

FADE IN:

EXT. CAMP – DAY

Bagpipes playing “Amazing Grace” over a PA system echo over the grounds of Camp Dovetail Lake:

-Coolidge Lodge, the oldest building at camp.

-A large fire circle, still smoldering, with bleachers cut into the earth.

-A large, green bathhouse called the KYBO (“kai-bo”) and ‘C’ Field, sloping down towards a volleyball court.

-The four cabin units: Wolf Pack (Boys), Dovetail (Girls), Bridle View (Ranch), and Lake Grove (Teens). While identical, some are in much better shape than others.

-The waterfront, with its shore that’s more like a hill, metal docks, floating watch points and trampoline.

-The dining hall and office, both new buildings, and ‘A’ Field, the main area for free play.

EXT. COOLIDGE LODGE – DAY

Campers ranging from seven to seventeen watch one of the boys’ cabins raise the flag. Their counselor, TOM, leads them.

LYDIA “ELLIE” BERNSTEIN, twenty and the Ranch unit director stands behind some kids. Short and dark haired, she’s been coming to camp since she was six months old.

Lauren stands next to her, but neither of them pay much attention.

Instead, they focus on CORNE “C.B.” BUTCHER, twenty-three, South African, and a very smooth talker.

He leans in to say something to one of the junior counselors, HOPE REDDING-GILL, tall for seventeen with an aristocratic beauty. Their conversation looks intense.

LAURENI can’t believe we’re letting them get away with that. She’s six years younger than him.

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ELLIEWe can’t accuse them of getting away with something they haven’t tried to get away with, you know.

Lauren points.

LAURENLook. Right there. Does that look like a pair of people who aren’t getting away with something?

FIONA DUNNE, twenty-one, Irish with angular features and gold-grey eyes, walks up between them as flag ends.

TOMGo to the dining hall!

FIONADo you guys have floating dock during g-swim today?

EXT. MAIN TRAIL – DAY – CONTINUOUS

The staff and campers head down through camp in a formless mass.

ELLIEGate. And I want it.

LAURENGuarding. I think Rudy has boats.

FIONAAnd where’s he?

Lauren gestures back behind them. Fiona walks in that direction and so do we.

Lauren and Ellie continue talking-

ELLIEI need you to do something-

LAURENDo I even want to guess—No. Aw, no!

Fiona strides through the rambunctious kids towards Tom, twenty-five, bespectacled, an ex-Army Ranger, and RULON “RUDY” WALLER, twenty-two and the black sheep of a Mormon fundamentalist family.

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RUDYI’m not saying, I’m telling you, there is no way in all of—well, Antarctica—she’d quit-

TOMShe isn’t quitting, she’s leaving.

Fiona falls into step behind them.

FIONAYou have to quit in order to leave. You just can’t, you know, not show up. Who are we talkin’ about?

TOM AND RUDYSera.

FIONASera?

(beat)I agree, no way in all of Antartica.

TOMHey, I’m just saying what I heard. WRI wants her. Jake Starkey’s been out here. Multiple times.

FIONAWadewater Riding Institute? No shit?

RUDYMmm-hmm.

FIONAOkay, I take that back. No way in all of Antartica, and, oh, eighty-seven percent of Hell does she leave us for them. No. Way.

She points to one of Tom’s campers.

FIONAYour camper’s got away from you.

Tom looks, shouts:

TOMHey, stay together!

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FIONASay, who’s got boats today?

RUDYI do. Can I ask why?

She almost pouts. Almost.

FIONARulon…

RUDYHey! Not! During! Camp!

TOM“I hate the sun?”

FIONASee, I’d stop short of calling it hate. More like…feverishly loathe.

RUDYAnd you’d be damaging that Irish skin that your ancestors decided to curse you with—

FIONABless me—

RUDYBless you with on the floating dock today?

She looks at him with big feminine eyes. Awwwwwww.

RUDYSure, all right. Check with Fenn.

She beams, continues back. Turns as an afterthought.

FIONAOi. Who’s idea was it to play that music on Monday, with the horns and the cymbals and the thing?

TOMThe ‘Sports Center’ theme? Danny’s.

FIONAThat’s so much like him.

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RUDYDa-da-da, da-da-da.

Fiona continues walking towards the end of the line. She passes Hope and C.B., overhearing:

C.B.So I’m not on rove tonight…

HOPESeriously, do you want to get me fired?

(soft)That’d be nice…

Fiona cocks her head, curious, then continues walking.

She meets up with Fenn, who’s talking to NICK “COYOTE” FOXBOROUGH, thirty-two and the Summer Camp Director. He’s a tall Englishman who walks like a tired gunslinger.

Fenn sees Fiona coming.

FENNNo.

(to Coyote)Don’t start. I mean it, now. My sister loves that insipid show. She gets the DVDs imported.

COYOTEThat’s kind of sick.

FIONAWhy not?

He turns off the main road and heads down a secondary one. He points to Fiona.

COYOTEYou come find me later.

She nods, rotates back to Fenn.

FENN(sing-song)

Somebody’s getting a beatin’…

FIONAHey, is it true?

FENNSera? Damned if I know—and no.

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FIONATom says Jake Starkey’s been out here multiple times, why can’t I trade with Rudy, and there’s a camper—

FENNWhere are your two buddies?!

(to Fiona)The sun will be good for that delicate Irish skin, and if she leaves them for us, then I’m a bloody citizen of England instead of Australia.

Beat.

FIONAHey, who helped you guys pull a dead pig off the side of the road on her night off? In heels, no less?

FENNAll right. You can trade. This once.

She circles around him and kisses him on the cheek.

FIONAYou’re too nice!

She jogs back up through the crowd until she re-encounters Hope and C.B.

C.B.(to campers)

Guys, I’m not going to ask you to stay together again…okay, buddies?

HOPEYou know they never do.

Fiona pokes Hope in the arm.

FIONAYou, come with me. I need to borrow her, okay?

The two women walk off. Fiona pulls Hope inward and down, a couple of conspirators.

FIONASo. Are you two snogging?

10

HOPESnogging?

FIONAYou don’t like that word?

HOPEWell, I suppose I’d have to know what it meant before I made up my mind.

FIONAYou and Corne. Are you two together?

HOPEOh.

FIONAYes.

HOPENo.

FIONAYou’re not kissing him behind the KYBO?

HOPEYou know, that’s just one of those phrases that sound dirtier than they actually turn out to be. Like “reading your water meter” or “riding shotgun in fire engines.”

FIONAI saw you guys last night, that’s why I ask. Who rides shotgun in fire engines?

HOPEFirefighters.

FIONAWhy’d you lie to me just then?

HOPEI wasn’t lying so much as I was trying to tell you it was none of your business.

FIONAIf you guys get caught—

HOPE We’re not going to—

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FIONASo you are snogging behind the KYBO.

HOPENow that’s downright pornographic.

FIONASeventeen. Twenty-three. Seventeen. Twenty-three.

HOPEI know. It was one time.

FIONAOne time?

HOPEOkay, when I say one time?

FIONAYeah…

HOPEThat’s, like, my special code for seven times.

FIONASeven?!

HOPEOh, and then there was that one time at Cedar Point, and then last week in the hospital parking lot. So nine. Nine times.

Fiona shakes her head.

FIONAOkay. I’m gonna let that last one go because of the circumstances. You know, the whole dying co-worker thing.

HOPEThat’s it?

FIONAAs for the rest, well, I don’t think it’s any of my business.

HOPEDidn’t I say it’s none of your business, like, six seconds ago?

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FIONAThe only reason I wanted to make it my business was to see if it happened to be true.

HOPEOh. Okay. You gonna tell anybody?

FIONANow, do I look like the sort? I’m only lookin’ out for you.

Hope doesn’t answer, instead focusing on a figure standing outside the dining hall they approach.

FIONAOi, are you hearing what I said?

HOPEIsn’t that Dave’s brother?

FIONAWho now?

HOPEDan. He was a counselor when I was here. Tied my first rag and everything. Dan!

The figure waves.

HOPEIt is him! Dan!

She runs towards the dining hall. Fiona shrugs.

FIONAOkay, well, I’ll see you later. Whatever.

Lauren and Ellie walk by as Fiona slows her pace. Their conversation from earlier is now more of an argument.

LAURENEllie-

ELLIELauren-

LAURENDoes Coach wants me to talk to her before or after her parents come back from Bermuda?

13

ELLIEJamaica.

LAURENJamaica. Coach called them?

ELLIENo, he called the emergency contact number and they called Jamaica.

LAURENWhy doesn’t the emergency contact come pick up Gabby, then?

ELLIETake a guess. Pick a number.

LAUREN AND ELLIEBecause they’re not authorized to.

LAURENCute. We can be friends. And this whole talking to her thing, was that before he called down there?

ELLIEDon’t you start-

LAURENThree years, Ellie. Three years I’ve been her counselor. Grief every time.

ELLIEShe’s a good kid.

LAURENI don’t doubt that she’s a good kid. But I don’t do psychos.

ELLIELauren, she’s right up there!

LAURENOh, I get it now. This is one of Coach’s “tests”. His “how much do you care” things. I’m good at these. Okay.

ELLIEYou’ll talk to her—find out why she ran away? Find out why she wrote that letter?

14

LAURENThe “camp sucks and I’m being abused by being made to clean the KYBO” letter?

ELLIEYou really shouldn’t have read that, you know.

They are getting closer to the dining hall by the minute.

LAURENGee, I’m sorry. But when, by mystical intervention, a camper’s letter falls out of the envelope that is clearly too small for it—and I know this, of course, because I take an interest in my campers and have conversations about proper envelope size—when that letter falls to the ground and I just so happen, just so happen, to see the word ‘abuse’ next to not my name, and not your name, but Sera’s name and Coyote’s name and—this part is still hilarious to me-Rudy’s name, well, I just got to admit: We got lucky.

ELLIEWow. You just did a whole little thing there. All by yourself. And with campers around.

LAURENYou’re missing my original point—and who is that guy?

She refers to the figure talking to Hope in the distance. He’s a handsome man with dark hair and a goatee. He wears slacks and a polo. This is DEAN LYDELL, twenty-six.

ELLIEYou know who that is, you met him on Monday. At the thing. Dave’s brother?

LAURENAsshole.

ELLIELauren, campers!

15

LAURENThey diagnosed Dave way before he died. The guy could have pulled himself away from the hellhole called L.A. for a few days.

She sizes him up from a distance.

LAURENSo. In conclusion. I don’t do psychos. But assholes like that, I do them fine.

ELLIEI’m going to ignore how that sounds and remind you that Coach wants you to talk to Gabby before her parents get in tomorrow. You’ll talk to her?

EXT. DINING HALL – DAY – CONTINUOUS

They’ve arrived at the dining hall. Dave and Hope, along with some other staff and campers, are inside. Other counselors get the kids lined up outside the hall.

Lauren turns energetic and excited to direct her campers.

LAUREN‘Kay, team, let’s get lined up so we can go get some grub.

(to Ellie)Was there ever any doubt?

Ellie smiles. She strides away towards a side entrance.

INT. WOMEN’S RESTROOM – DAY – CONTINUOUS

Sera finishes washing her hands as Ellie enters.

SERAHey.

ELLIEThomas says Jake Starkey’s been out here multiple times. WRI offer you anything?

Sera pulls a set of folded papers out of her back pocket.

SERAFull contract. They want a decision. Soon.

16

ELLIEYou won’t take it.

SERANever been one to be told what to do. Not about to start now.

ELLIESure. I get it.

SERAYeah. Well, I should probably go get something to eat with my girls.

She starts to walk off, a slight limp in her left leg.

ELLIEHow pissed is Coyote?

Sera pauses.

SERAOh, you know him. Pretty pissed, I’d say.

She leaves Ellie leaning against the sink.

ELLIEShit.

FADE OUT

END ACT ONE

17

ACT TWO

FADE IN:

INT. BAR – EVENING – TWO WEEKS EARLIER.

A jazz piano. L.A. The Hollywood Hawaiian Hotel, which is neither a hotel nor all that Hawaiian.

The few scattered patrons have that “coulda made it once” slump in their shoulders.

Sitting in a corner booth is DEAN. He’s drinking with MEGHAN, who might be a fan or a hooker. They’re both pretty shitfaced. Dean laughs at something she’s just said.

DEANYou’re a mystic.

MEGHANNot quite. I might be something like that. If I were the topic of conversation at the present. The topic is you.

DEANFunny. Here we are, both pissed out of our skulls—

MEGHANOh, how I do like that phrase—

DEAN--and we’re just now getting around to telling each other what we do for a living.

He looks over his shoulder at the piano player in the corner. He gestures towards him.

DEANThat. I did that.

MEGHANYou played piano?

DEANThat, and…I wrote. I wrote musical theatre.

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MEGHANAnd that begs the question: Were you good at what you did?

DEANThey said I could have been very good. Someone disagreed.

MEGHANThat’s no excuse.

DEANIt is if you heard it from who I heard it from.

MEGHANWho did you hear it from?

DEANMy brother.

(beat)He was better.

MEGHANSo. If you don’t write and you don’t play, what’s your job now?

Dean doesn’t answer.

INT. DINING HALL – DAY

Lunchtime! The kids chow down. Their counselors eat with them, as do some support staff, like Fenn and Coyote.

At one table, Dean sits with Hope and her group of girls.

HOPESo, do you know how long you’re back for?

DEANYeah, the summer.

HOPEAwesome!

DEANYeah, I’ve got this special contract—

One camper, an eleven-year-old named AMBER, looks at Dean.

19

AMBERAre you married?

DEANNo.

AMBERDo you have a girlfriend?

DEANNot at the moment, no.

Another camper, sitting next to him, elbows Dean in the ribs. Her name is JANEL.

JANELWhy not, huh?

DEANWhy not what?

JANELWhy don’t you have a girlfriend?

Dean looks to Hope. She smiles.

HOPEThey’re just curious.

AMBERCome on. I want to know. Why don’t you have a girlfriend?

DEANUm, I’m not-we’re not-supposed to talk about our personal lives. Right?

HOPEHe’s right. We’re supposed to be role models for good behavior.

JANELYou are. He don’t work here.

DEANDoesn’t work here. And yes, I do.

AMBERBut you don’t start until after lunch.

DEANGood memory.

20

He grins.

JANELYou gonna tell us?

DEANTell you what?

AMBERWhy you don’t have a girlfriend?

DEANBecause I used to be married.

HOPE/AMBER/JANELReally?

DEANNo.

Janel and Amber are silent. They get it, but they don’t get it.

JANELHey, what are we doing for cabin acts?

AMBERI don’t know. Terri and Tammy want to go spillway sliding, but I want to go to the climbing wall…

Hope leans over to Dean.

HOPEWhat have you got going on now?

DEANI’m supposed to meet Rudy for the grand tour.

He looks at his watch, pats his pockets.

HOPE“Watching the ducks.”

DEANExcuse me?

She laughs.

HOPEIt’s code. I can see you looking for one. You know, that thing you do after

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every meal?

DEANIt’s called “watching the ducks?”

HOPEYou got it. Back behind the dining hall.

He moves away.

As soon as he walks off, C.B. sits down across from her.

HOPEGo watch your kids.

C.B.Eh, my co’s with them. I want to talk to you.

HOPEI will talk to you later. Go watch your kids.

INT. DINING HALL – STAFF TABLE- DAY – CONTINUOUS

From their corner table, both Tom and Fenn watch C.B. get up and stalk back over to his table.

TOMWe’re gonna have to talk to him.

FENNI’m his mate, you’re his unit director. It might sound better coming from me than from you.

TOMYou think I can’t be nice?

FENNI’m just saying, he’s the kind of guy who’d read it as “do this or you’re fired.”

TOMHe will be fired if he doesn’t do it.

Pause, or, as we like to call it, beat.

FENNI know.

22

EXT. DINING HALL – SMOKING PATIO – DAY

Lauren sits on a wobbling chair. Her face presses into one hand, a cigarette dangles from the other.

LAURENChriiiiiiiiiist.

Dean comes around the corner.

DEANHey.

LAURENHey.

He pulls out a pack of smokes and lights one.

DEANHave we met?

LAURENOh, yes.

DEANOh. You sang at Dave’s funeral.

LAURENI did.

DEANWarren Zevon, right?

LAURENYour brother loved him. Seemed fitting.

DEANI know he loved him.

They smoke there in silence.

LAURENYou should know something. I don’t like you.

DEANExcuse me?

LAURENI don’t like you. I’ve heard things, from your brother, from staff who used to know you when you worked here.

23

She stands up and looks at him.

LAURENI don’t care if your novel failed or your record flopped. I don’t care if you’re on some deep emotional journey and I don’t know if you’re doing this so you don’t have to do whatever it is you do anymore. I don’t…

(beat)I just wanted to let you know that I don’t like you.

She pushes by him to leave.

DEANIs this about the kids?

She looks at him and laughs.

LAURENYou know, pal, there’s a saying here at camp that you better learn. “It’s all for the kids.”

She walks towards the dining hall and runs into Rudy. Rudy bops back to the porch as Dean finishes his smoke.

RUDYHey, man, how you doing?

He shakes Rudy’s extended hand.

RUDYHey. Come here.

He pulls Dean towards him and envelops him in a hug.

RUDYIt’s a hard thing. I know. But you keep getting up and that’s all you can ask for, right?

DEANI guess. Yes.

RUDYYou need anything, you know what the deal is. Let me know, all right?

They look at each other.

24

RUDYOkay. Now. You ever ridden shotgun in a Snapper?

Dean finally smiles.

DEANSounds like something dirtier than it actually might turn out to be.

As they walk towards the office, Sera’s personal truck, grey, bruised, and battered, pulls away from it. Two large herding dogs, LUCINDA and BELTRAM, ride in the back.

EXT. EQUESTRIAN CENTER – DAY

The truck pulls into the driveway next to two large buildings: one a barn, the other an indoor arena. Horses graze in the distance.

Before she can get out of her truck, AL WARNER, a diminutive forty-two, the Equestrian Director, taps on the glass.

ALJake Starkey’s here to see you.

She gets out of the car.

SERAHe is?

ALDon’t play cute with me, Sera. You know the rules.

SERAI’m not “playing cute.” I’m genuinely surprised.

ALNo job interviews on camp.

SERAGee, how many years have I been here?

ALGee, how many years have I had this job?

SERAYou mean at camp or as Equestrian Director?

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ALI say again: Don’t play cute. He’s in your office. Get him out of here. If Franklin sees that guy, he’ll flip.

SERAYou know, I’ve only been here seven years. I think I have a handle on the rules.

ALI really don’t care what you have a handle on. Take care of it.

INT. EQUESTRIAN CENTER – SERA’S OFFICE – DAY

Sera shoves open her door.

JAKE STARKEY, thirty, dressed in designer cowboy wear, sits in her chair with his boots up on her desk. He’s a snake—but a gorgeous one.

Sera sighs and slams the door. Besieged on all sides.

JAKEHey, baby.

SERAOne: Don’t call me baby. Two: If you’re going to insist on calling me baby, don’t do it here. Three: I will have an answer for you when I have an answer for you. So don’t, you know, just show up!

JAKEI wanted to see you. You look nice today.

SERAAfter all that, the best you can come up with to make me feel better is “you look nice today?”

JAKEWhat are you doing tonight?

SERAHanging out with some of the boys. Fenn and Tom want me to do rove with them. They invited this new guy, Dave’s brother.

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JAKESo you’re going to do what?

SERAMy job, for starters. I’m going to sit around a fire and wait for kids to try to sneak out. It is, after all, part of what they pay me for.

JAKEHow much is that again?

SERANice.

He touches her shoulder.

SERAThis weekend, maybe. We’ll see.

His hand runs up and down her arm, intimate without being obvious.

JAKEI just wanted to stop by to see how you were doing and to let you know…

They kiss, sexy and hungry, blah, blah, blah. You get it.

SERAYes?

JAKEWas that a “yes” to this weekend or a “yes” to something else?

SERAThis weekend.

She smiles. They kiss again.

JAKEI should tell you my boss wants an answer soon. They’re already looking at somebody else.

She pulls away.

SERAYou should go.

27

JAKEWow. That-that was sudden.

SERAJake, I like you. I like being with you. I’m just not sure if I’m ready to leave yet. Here.

JAKEI heard your boss. Real jerk.

SERAThey really like me here. And Coyote says Al’s not going to be around much longer, which means I can take this program and make it…

JAKELet me ask you something, Sera, okay? Every time we get together, you talk about leaving, but then you don’t want to. So is this because of me or is it because of my camp or is it because of, oh, I don’t know, your accident? What is it?

Pause.

SERAI think you should go. I told Al that I’d take care of some stuff before the afternoon trail rides show up.

He just looks at her. It’s awkward yet mysterious.

Then, he pushes-not slams, the door to her office open.

She watches him go. There are a lot of people watching each other in this show. I love non-verbal acting, that’s why.

EXT. MAIN TRAIL – DAY

Rudy drives the Snapper, a small yellow ATV for carrying supplies around camp. Dean rides shotgun next to him.

Rudy narrates the key locations of camp as they fly by.

RUDYSo yeah, this is pretty much camp. Over there’s Wolf Pack-our boys cabins, where you’ll be staying. Do you know who your

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co is?

DEANNo. I’m staying in Wolf Pack 2

RUDYThat’s a good cabin! You get an average age, not too old and smart-mouthed, but not too young and homesick. Plus, you got Fenn backing you up. You met him?

DEANNot yet.

RUDYYou met anybody?

(pause)I’m kidding. You’ll really like Fenn. He’s into music, too. You play?

DEANA little bit.

RUDYThought so. Didn’t you play on the first Products of Indubitable Silence album?

DEANThat was as a session guy and as a favor to a friend—you knew that?

RUDYI got to tell you, that band, that album, that was what made me want to pick up a guitar and play. Made me dream. So you could say I owe you one.

DEANGuitar, huh?

EXT. COOLIDGE LODGE – DAY – CONTINUOUS

Rudy pulls the Snapper up to the flagpole, stops it.

RUDYCoolidge Lodge. Oldest building on camp. The basement will be your home. Good place.

They get out and head down the steps.

29

RUDYYeah, I play guitar. Got a band and everything. Lotta people here get together to jam. You should join us.

DEANMaybe. I don’t know how long I’ll--

RUDYHey, man, you know what? We’ve been talking about music and I never asked you the most important question: Top ten albums. The only way to get to know a man. Go.

DEANWhat? I mean, come on, you can’t do that—

RUDYGo.

They enter a large room, the arts and crafts area at camp—

INT. COOLIDGE LODGE – ARTS AND CRAFTS – DAY – CONTINUOUS

It’s gray and cold, the tables covered with paint and corners occupied by crafts only found at camp.

DEANBob Dylan, Blood on the Tracks. Nanci Griffith, Other Voices, Other Rooms. Lucinda Williams, Car Wheels on a Gravel Road. Joni Mitchell, Court and Spark. Bruce Springsteen, Darkness on the Edge of Town. Billy Joel, The Nylon Curtain. Neil Young, Harvest. Rolling Stones, Let it Bleed. U2, Joshua Tree. And the original Playwrights Horizons cast of Stephen Sondheim’s Assassins.

Beat. Also known as the “pause” in some circles.

RUDYThe Nylon Curtain, man?

DEANYou asked.

He smirks.

30

FIONA (O.C.)Rudy?

Before either of them can respond, Fiona comes out of the supply closet, sees them both, and starts talking. She’s frazzled.

Dean sees her. Can you say “electric”? I knew that you could.

FIONAOh, there you are. Good. You’re Dean? Okay, hi, I’m Fiona, it’s very nice to meet you, your brother was a lovely man. He really impacted us all, you know? Annnnnnnyway, here’s the deal: I understand that you were going to be arts and crafts director and a co-counselor, basically taking over what Dave was doing, right? Okay. Well, turns out that they’re a little—just a little—short staffed this summer, and they want me to take over the day camp as the director. So what they’ve asked me to ask you to do is to take over both arts and crafts and drama clinics for the summer. If you don’t want to, that’s okay, I can do both, but I’d really prefer to, you know, put all my energy into making sure that the day campers go home happy so I don’t have angry parents yelling at my staff. Is that okay with you?

DEANYeah.

FIONAGreat. I’ve actually got to go, right now, they need me to spot at G-swim—even though I asked them to allow me to be down here for boats—do not get me started—but I’ve got to get changed. The supply closet is right. Back. There. You should have everything you need. And really, let us know if you can’t handle this. But knowing your family, that’s not going to be a problem.

31

She runs up to him, kisses him on the cheek.

FIONAYou are, of course, the best.

She exits. Dean stands there, struck by the tornado. Get used to this, because you just met our Josh and Donna, our Sam and Diane, our ‘will they or won’t they’. Rudy grins.

RUDYI got to go, too. They need me to guard. Like she said, look around, get yourself situated. You glad to be here?

DEANYes.

RUDYThat’s what I like to hear. Laters.

Dean looks around the room. He pulls out a chair. It scrapes against the cement floor. He sits, and—

EXT. WATERFRONT – DAY

Swim time! You’ve got kids on the shore, kids on the floating dock, on the trampoline, and kids wailing on one another with fun noodles in the shallow end.

Various staff (including Lauren, Ellie, and Rudy) lifeguard with their adorable rectangular lifesavers and sunglasses.

Lauren watches the shallow end as Fenn walks up to her. In his board shorts and wraparounds, intricate tattoos cover most of his arms and chest.

Lauren blows her whistle and shouts:

LAURENHey, I’m not going to tell you again! If you don’t keep your head above the water, you will come out of the water!

FENNWay to go. Lay the hammer down.

LAURENI’m doing my job.

FENNI know. That’s why I said “Way to go.” Understand you had a little run in with

32

Ellie this morning.

LAURENIt wasn’t a run-in, it was more of a spirited conversation and why do you care?

FENNShe’s on my team, you’re on my team. I care when my team isn’t getting along. For the kids.

LAURENShe just wants me to do something that I don’t want to do. For a kid.

He softens.

FENNGabby’s right up on the shore. I’ll take over. Go talk to her.

LAURENNo, I’m fine. I’ll do it later.

FENNGo talk to her.

Lauren sighs.

EXT. WATERFRONT – HILLSIDE – DAY

GABRIELA “GABBY” PORTER, fourteen, reads a book under a tree. She’s thin, pale, and says she doesn’t care what anyone else thinks.

Lauren sits down next to her.

GABBYYou know Sally from Lake Grove Five was smoking behind the KYBO last night, right?

LAURENWhat are you reading?

Gabby shows her the book.

GABBYJonathan Strange and Mr. Norrell. It’s like Harry Potter for kids who are tired of 500 pages where nothing happens.

33

LAURENSo. Why’d you do it?

Gabby shuts the book.

GABBYI don’t want to talk about this.

LAURENGabby, you’re going to have to, either to me, or to your parents, but you’re going to have to talk to somebody. This staff was up from three to five looking for you. You caused a lot of trouble.

GABBYBecause I’m a troublemaker. Right?

LAURENHey, I didn’t say that—

GABBYBut you thought it. You did! I mean, like, I know I messed up. I did. But I have been coming here just as long as everyone else, I have just as much money as all these kids, and every counselor, from Quintana to you, has ignored me. I don’t like to play Nuke ‘Em, and I don’t like to swim. I like to read and I like to sing and do arts and crafts. But I never got to do any of those things. Never. This place can’t afford to do anything else.

She sighs, looks at Lauren, continues:

GABBYSo I don’t do that, you know, and I get called a troublemaker. I get called fat, even though I’m not, and I get called stupid, even though—look what I’m reading. Whatever, man. I just didn’t want to be ignored.

LAURENSo you wrote a letter to Child and Family Services.

34

GABBYYeah, but I was going to deny the abuse stuff. You don’t get it. I mean…Man. I just wanted to talk to the social worker, here, where it was safe. Okay?

Lauren stars to put shit together now.

LAURENSafe?

Gabby rolls up her sleeves. There’s a wicked-looking burn on her wrist.

GABBYThis is from the time I dropped the dishes. It’s a butter knife and I’ve got another one just like it on my shoulder from the time I spilled Dr. Pepper in the back of the Mercedes.

She turns, slightly, and pulls up her shirt so no one else sees. A bruise runs across welts and scars on her back.

GABBYMom pushed me into a chair. Took a belt or a piece of cord and told me to choose after I mouthed off to my history teacher. There was this other time she gave me a nosebleed when I was late from school, by, like, two seconds. Two seconds. God forbid I talk to a cute boy!

Lauren starts to open her mouth—

GABBYYeah, people know. They don’t care. You’ve got my file, you know how rich we are. They check my calls, if and when I get to use the phone, so--

LAURENThat’s why you wanted to talk to the social worker here. But—Gabby—I mean, why not tell someone? Why not tell me?

GABBYNone of you guys acted like you gave a crap about me before, so why would now

35

be any different?

Ouch.

GABBYAre we done? I’m gonna go read somewhere else.

She picks up her book and towel and walks away. Then turns:

GABBYHey, I hear my parents are picking me up tomorrow. What do you think’s gonna happen now that you called them home from Jamaica?

Lauren watches her go.

LAURENOh. Well. Shit.

FADE OUT.

END ACT TWO

36

ACT THREE

FADE IN:

EXT. OFFICE – NIGHT

It is, you guessed it, bedtime. Nothing you care about happened between the last scene of act two and now.

From inside the lit-up office, Lauren and Ellie argue.

ELLIEI know, I know, I know. And you think—

LAURENYou don’t believe me?

INT. OFFICE – COYOTE’S OFFICE – NIGHT

Coyote sits, fingers interlaced behind his head. Lauren and Ellie stand in front of his desk.

ELLIEYes. But I have to believe her—and I don’t. Not right now. She lied before. How do we—how do you—know she isn’t lying about this?

LAURENHer parents are kickin’ the crap outta her!

ELLIESo she says.

LAURENGod, when did you become such a fu-

COYOTEThat’s enough.

He looks at Ellie, then at Lauren.

COYOTEWe’re obligated to report this, and we will. But Coach wants to talk to her first.

LAURENBut I-

37

COYOTEI read the letter, too, Lauren. I read the letter.

He turns to Ellie, nods. Ellie leaves.

Coyote looks to Lauren.

LAURENShe’s telling the truth. I know.

COYOTEYou can bring her by after breakfast tomorrow. When’d you last sleep for more than six hours?

LAURENSunday.

COYOTEI need you to do your job.

LAURENI a-

COYOTEI need you to do your job.

LAURENHey, look, I want to help her—

COYOTEYou’ve got to make the call. It’s policy.

LAURENIt has to be now?

COYOTEIt has to be now.

He indicates the phone.

COYOTEIt has to be now.

EXT. OFFICE – NIGHT

Lauren and Ellie walk out together.

ELLIEI know what’s going on. Lauren!

38

LAURENSure, you do. I mean, you’ve only been here since you were, what, two months old?

ELLIESix months. And that’s not what I meant. You know that’s not what I meant. Don’t huckle me, Lauren!

Lauren sighs.

LAURENIs this gonna get any better?

ELLIEI can’t tell you that.

LAURENI thought, after five years of doing this, I would have gotten down the whole philosophy behind “for the kids.”

ELLIEIt’s a plural. Gabby’s a good kid, sure. She’s got a lot of problems, but she’s a good kid, and we’re going to do what we can to help. We are. I am. But she’s just one kid.

LAURENAnd the difference is…

ELLIECamp is for the kids. All of them. We have to make sure that they can come back next year. Money here’s tight enough as it is. You know we’re hurting, you know what Gabby’s parents could do.

LAURENYeah. But I tried that, you know? And I guess I have to care about each one. They’re not just names or faces to me. They’re people. They’re kids.

ELLIEOf course they’re kids! Why do you think I’m doing this? Why do you think I come back? I care about Gabby, too. I care

39

about all of them. I want them all to come back. I want them to do this.

LAURENI know.

ELLIEIt’ll work out.

Lauren gets up, starts to walk away.

ELLIEIt’s not about you, Lauren. It’s about her.

Lauren turns. She and Ellie look at each other for a long moment.

ELLIEIt’ll work out.

INT. LEADERSHIP DEVELOPMENT CENTER – NIGHT

In an empty cabin lit only by the exit sign, Hope and C.B. are making out on a bunk. It is, in a word, intense. (And that’s all you’re going to get because I’m no perv.)

C.B.I lo-

HOPEShhh. Don’t. It’s summer.

They start to make out again.

The door slams open, much like in the teaser.

Hope and C.B. pull apart, half-falling off the bed. They look towards the door.

It is like the teaser. Except Fenn’s the one currently pointing a floodlight in their faces. He grins.

FENNBus-ted. Yeah, I don’t know if you heard, but rove ends in twenty. So you might want to put a shirt on, there, and get back to your cabin. Ellie’s gonna be checking.

HOPEHow do you know?

40

FENNShe told me.

Fenn and Hope understand each other. He whispers--

FENNGo.

EXT. LEADERSHIP DEVELOPMENT CENTER – NIGHT

Fenn shuts the door. It rattles.

C.B.Rove doesn’t end for another hour.

FENNIt doesn’t. She didn’t have a watch.

(beat)All right. What are you doing?

C.B. reaches into his pocket, lights a cigarette.

Fenn grabs it out of his mouth. It goes, unsmoked, into the grass.

FENNYou know me, man. I like you. I like Hope. It happens all the time. Know how long I’ve been doing this?

C.B.Months?

FENNYears. And the schtupping that goes on between staff—

C.B.Is that because you’re Jewish, or because Ellie—

FENNShut up. I mean it. Really, dude. I see you with these kids—you’re a great counselor. What exactly is going on with you?

Long pause.

C.B.I don’t know.

41

FENNWell, you had better figure that out soon. The schtupping going on between toey underage counselors and hot foreign nationals happens—

C.B.Nothing is happening.

Fenn looks at him. He shuts up without being told to.

FENNAfter what I saw in there you’re going to tell me nothing is happening? You think nobody knows where everybody goes to make out?

He gives him a long hard “it would be in your best interest to unfuck yourself” stare.

FENNFigure out what’s going on. You can lie to me and you can lie to everyone else. But please, please, please, don’t let me find out you’re lying to the people you don’t want to lie to.

C.B.Is that an ultimatum?

FENNYour ultimatum is to stop being a dick. I’m just saying—you don’t want to lie to the people you don’t want to lie to.

He goes up to him and takes the cigarettes out of C.B.’s pocket.

FENNAnd you should quit smoking.

He crushes them. It’s cliché, but brotherly, and there’s still that hint of a threat there.

INT. WOLF PACK THREE – NIGHT

Dean looks up at the ceiling, unable to sleep.

He rolls over on his side.

42

EXT. WOLF PACK UNIT – NIGH

Fiona, Sera, Rudy, and Tom sit at picnic tables around a dying fire. They’re here to make sure the campers don’t do what campers do: sneak out for late-night hijinks.

Rudy picks at his guitar, messing around, playing bits and pieces of “Blinded by the Light.”

Fiona smacks Tom on the thigh.

TOMThat kinda hurt.

FIONAOoh, is the big bad ex-ranger scared of the poor little Irish waif? What do you think of the new guy?

TOMDave’s brother? I guess he’s all right.

FIONANot very social, is he?

RUDYCome on—his brother just died.

TOMWe were all there. We know.

RUDYJust sayin’—cut him a little slack.

FIONAAren’t you going to ask me what I think of him?

TOMWhat do you think of him?

FIONAHe’s got plenty to live up to, but I think he’s gonna be fine. You know?

Rudy continues picking at the guitar, watching Sera think.

He starts playing a verse of ‘Blinded by the Light.’”

RUDY(singing)

Some manager’s sister with her silicone

43

mister—

SERAOkay, hold up. That’s not how it goes at all.

RUDYSure, it does.

SERANot if you’re doing the Springsteen version.

TOMI think he was doing the Manfred Mann version.

SERAWell, you can’t play Manfred Mann on that is one, and the only line they change in the Manfred Mann version is making “deuce” sound like “douche.”

FIONAIt’s not “cut loose like a douche another runner in the night?”

TOMNo, it’s not.

RUDYIt sure sounds like “cut loose like a douche.”

SERARudy, what makes more sense to you? Cutting loose like a Deuce, as in the classic automobile the Deuce Coupe, or cutting loose like a douche, as in a hygienic product?

TOMAlthough you could, conceivably also cut loose like a douche.

RUDYWho the hell came up with this song?

FIONAThe mighty mighty Boss, Bruce Springsteen.

44

TOMWhat was he on when he wrote it?

SERAThe Boss doesn’t do drugs.

FIONAHe used a dictionary.

TOMThat’s a fouled-up dictionary.

SERAIt was a rhyming dictionary.

She thinks about this moment for a second. (I should really stop telling you how to act.) She smiles.

SERAI’m gonna go for a swim.

TOMYou’ll freeze your ass off.

SERAI’m unpredictable.

The door to Wolf Pack Three opens, then shuts as Sera walks off.

The remaining three watch Dean head toward the KYBO. They look at each other.

TOMYou want this one?

FIONAYeah. I got it.

EXT. KYBO – BACK – NIGHT

Dean leans against the wall, smoking. Fiona walks around the corner.

FIONAThat’s it, then?

DEANI can’t do this.

She looks at him. She really looks at him. Then:

45

FIONACoward.

DEANI’m not.

FIONAYou are.

She starts to walk up to him.

FIONAWhat? You think people are going to keep comparing you to your brother if you stay here? You think they’re going to start? Is that it? Are you afraid whatever happened—

DEANHow do you?

FIONAI hear stuff. I know you got fired.

DEANYou don’t know a thing.

FIONAWell, then, why don’t you tell me? Why don’t you tell me whatever it is you’re so scared of.

DEANI’m not scared.

FIONAThen tell me.

DEANWhy the hell should I?

FIONABecause I care just as much about this place as David did!

DEANAnd that’s a—

FIONAYou’re goddamn right it is.

They’re really close now. Face to face. Spittle can be seen.

46

Dean backs away.

DEANYou’re right. I did get fired. My first summer here. That was—jesus christ, eight years ago. I loved camp. I wanted to work here the rest of my life, you know? I had music and I had camp. I was set. But I was a ninteen year old guy who bought a porno mag on his night off. I know. You thought it was something bigger than that.

(beat)And then Davey found it. He was one of those campers who work but don’t get paid—what do you call them?

FIONACounselors in training.

DEANYeah. One of those. And he forgot to put the magazine away. So do you get what happened when my co walked in that afternoon with a bunch of kids coming back from swim time? And then…then, well, the shit hit the fan and I lied. So when they asked Davey about it…

FIONAHe told them where he got it?

DEANHe told them where he got it. And that was the end of it.

Pause. She takes it in.

FIONADean. Was that when you left for Los Angeles?

He doesn’t respond.

FIONAWas that the last time you spoke to your brother?

DEANI was done. Gone. And I don’t know what

47

I’m still doing here. I mean, they throw away the files after five years, sure. But after what I did…It’s a pretty piss poor role model who lets campers find his porn stash, right?

FIONAWell. I don’t think you did anything wrong. And neither did your brother.

DEANHe did. He did!

FIONAThen why the hell did he specifically request you come back and take over his old job? You weren’t there, Dean. I was there!

Another exchange of looks.

FIONAHrum. Okay. You do what you want. I know you’re on some special contract where you can leave whenever, and that’s not up to me. I’m just the Day Camp Director. But if you’re afraid you’re not going to live up to your brother, or you’re afraid that somebody’s going to find out about something you never did wrong, or any of the many things I can assume are going through your pretty little head right now, I stick by my original assesment: You’re a coward.

Dean sighs, slumps against the wall.

FIONAOh, please. Really, now. Stop feeling sorry for yourself. Get some sleep. Then, tomorrow, go teach arts and crafts. Do it again for the next nine weeks. This is a second chance your brother gave you, you know? Not everybody gets that. Not everybody gets to come to camp.

She sits down next to him

48

FIONAAnd I know I’ve been talking your ear off, but you better get used to it, because I’ve decided to take an interest in you, Dean Lydell. One more thing. Don’t you, even for a second, don’t you ever take put yourself ahead of these kids. They demand everything and more. And you know what? In thirteen years, or ten years, or however many years, they’ll be smoking behind the KYBO, schtupping underage staff, and yes, buying porno mags on their nights off. They’re us. If you get that—the way your brother did—if you do, you’ll be fine.

DEANI can’t. I don’t know. I really don’t.

FIONADo you think your brother did?

She stands up.

FIONAI’ve got to go to bed. I’ll see you in the morning.

She walks off, leaving him there.

FADE OUT.

END ACT THREE

49

ACT FOUR

FADE IN:

INT. LAKE – NIGHT

A full moon refuses to pierce the surface. Someone enters from above, cutting downwards through the water.

Sera dives through the water, white skin against black. No, she’s not skinny-dipping, pervs.

She’s free-diving, trying to get to the bottom in a single breath.

Sera continues to swim. She’s elegant. Peaceful.

EXT. WATERFRONT – NIGHT

Sera climbs out of the water onto the dock. She doesn’t see Tom sitting cross-legged until she reaches for her towel.

SERAThought you thought I was crazy for going in this late.

TOMLike a fox.

SERAYou should stick your feet in.

TOMNo chance.

SERAIn all of Antartica?

She smiles. So does he.

SERAHow long have you known?

TOMSince Monday. At the funeral.

Beat.

SERAWe’re…we’re talking about two different things.

50

SERASo, you’re not going to ask me how long I’ve been with Jake Starkey?

TOMIt’s none of my buisness.

She sits down on the dock.

TOMHow long have you been sleeping with him?

SERAThat’s none of your buisness, Thomas.

He grins. They sit there in silence for a few moments.

TOMSo.

SERAAm I going to take the job?

TOMAre you?

SERAAre you trying to get me to stay?

TOMI am not.

SERAYou came down here to the water to get me to stay. Right?

TOMI was just, you know, wondering if they argue about the words to Springsteen songs at Wadewater. If they know any Springsteen songs at Wadewater.

They watch her. Sera reaches over and takes Tom’s hand. It’s friendly and nothing more.

SERAOkay.

Tom looks at her and knows. He smiles.

51

INT. DINING HALL – LOBBY – NIGHT

Lauren comes out of the bathroom, drying her face. She starst to leave, then hears someone playing the piano.

Her head cocks. She knows this song.

INT. DINING HALL – NIGHT

Dean sits at the far end, playing the piano. It’s “I’m Not Afraid of Anything” (from Songs for a New World). He thinks he’s the only one here.

His voice is smooth and precise. His playing is spectacular.

DEAN(singing)

Jenny’s afraid of waterI mean she swims so well, but stillSo she won’t go near the sea—

He hears Lauren and hits the next line.

DEANNot me.

He stops.

LAURENKeep going.

He turns around.

DEANI thought you didn’t like me.

LAURENWell, Jason Robert Brown—I’m weak.

DEANYeah.

LAURENLet me.

He starts to play again, going right to the song’s emotional climax.

Lauren can sing. As in “she could do this professionally if she didn’t love camp so much.”

52

LAUREN(singing)

And I hear the calling of adventure,And I hear the ringing in my earsThe lights are glaring,Trumpets blaring,I’m right hereAnd I hear the calling of tomorrowAnd I Hear the stirring in my bonesAnd David lov-

She stops. So does he.

LAURENKeep going. Come on, keep going.

He continues.

LAUREN(singing)

And David loves meHe’s afraid to hold meListen to the calling of excitementCan you hear the pounding of my heartLights are ready,Pulse is steady,I can startNever stop the calling of a challengeBlessing on the water and the stonesAnd-and David loves meHe’s afraid to trust meHe’s afraid to hold meAnd he’ll—he’ll always—

They stop together. He sits there, awkward. Her shoulders heave but she doesn’t cry. She’s done her crying.

Dean reaches over and puts a hand on her shoulder. He’s trying.

LAURENThanks.

She turns to look at him.

LAURENDid you know?

DEANI guessed. How long—

53

LAURENTwo years, six months, five days and eighteen hours.

DEANThat’s-that’s precise.

She smiles.

LAURENI’m a precise gal.

DEANHave you talked to anybody about Dave’s death? I know that’s an odd question, but—

LAURENIt’s a precise one, too.

DEANYeah.

LAURENThere’s a reason I like this song. I’m big girl. I don’t need therapy. I don’t need saving. I don’t need protection and I don’t need some shining knight in silver armor. You’re not him.

DEANI didn’t say I was.

LAURENI’m glad we understand each other. Because I still don’t like you.

She smiles, looks at the clock.

LAURENI should go. You going to stick around?

DEANDon’t know yet.

LAURENYou know, you’re not your brother. Nobody ever really will be. I don’t think. But I think you care. I hope you care. You know?

Before he can respond, she walks off.

54

LAURENWell, I’ll see ya.

She exits. As she does, Dean starts to play again behind her.

DEAN(singing)

I’m not afraid of anythingBe it growing old or going out of style…

EXT. CAMP GROUNDS – NIGHT

Over Dean’s singing:

-Sera and Tom sit on the dock, feet in the water.

–Fenn sits outside the Wolf Pack unit, watching the cabins.

–At the Bridle View units, Fiona and Ellie do the same. Ellie works a crossword, Fiona reads.

–Coyote sits in his office, feet up on his desk, thinking.

-Rudy tries to sleep and cannot. Ooooh mystery!

DEAN (V.O.)(singing)

Who would give up what they want without a trial?Another mileI’m not afraid…

He hits the small instrumental break and—

INT. OFFICE – COACH’S OFFICE – MORNING

A white luxury car pulls into the gravel lot.

A tall man watches Gabby’s parents, MATTHEW and KITTY PORTER, early forties, get out. They’re rich enough to own this car but not rich enough to have a driver.

The man turns away from the window, revealing COACH LOUIS “LOU” FRANKLIN, forty-six and a former member of the Boston Red Sox.

(Yes, it’s a Sorkin homage. Have you not picked up on these yet?)

Gabby sits next to Ellie in front of Coach’s desk, Coyote in the background. The shelves hold memorablia from Lou’s pro ball days as well as the camps he’s directed.

55

COACHEllie tells me you’re reading an interesting book. Any good?

GABBYIt’s pretty good. Like Harry Potter for people—

COACHWho don’t like five hundred pages where nothing happens?

His smile is wide and passionate. Comforting.

COACHYeah, I don’t like that either.

He sits down.

COACHEverything okay at home, Gabby?

Beat.

GABBYYeah. It’s lovely.

COACHLovely?

GABBYYeah. I like it.

Lou considers this.

COACHWell, I’m not going to lie to you. You caused a lot of trouble for my staff. I don’t like that and I wish it didn’t have to…

He trails off.

COACHYou’re being sent home for the rest of the week. But you can come back, okay? You can always come back.

GABBYReally?

56

COACHYou’ve been coming here since before I started, right?

GABBYYes, sir.

COACHWell, that’s who camp is made for.

He looks to Ellie and Coyote, then sighs, saddened.

COACHYou can go meet your parents now. Ellie?

Ellie gets up and leads Gabby out. Coyote and Lou look at each other.

COACHLauren called Children’s Services?

COYOTELast night.

COACHThen there’s nothing more we can do. They’ll look into it. Our hands are tied.

(beat)We’ll get her back, Nick.

COYOTELet’s hope.

COACHWe will.

They’re both disappointed but committed to the end.

EXT. OFFICE – PARKING LOT – MORNING

Gabby walks down the office steps and runs into Lauren.

LAURENDid you tell them?

GABBYNo.

LAURENWhy?

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GABBY(sad, ironic)

What do you think’s gonna happen now that I called them home from Jamaica?

Lauren softens.

She writes a number on a scrap of paper, tears it.

LAURENWe’re…we’re not supposed to do this, but this is my cell. Call it.

GABBYOkay.

LAURENCall it.

It’s understood. They both come from the same place.

Lauren reaches out and hugs her.

EXT. DINING HALL – MORNING – CONTINUOUS

Hope and C.B. approach the office, arguing.

C.B.Well, if you didn’t tell them, you told somebody.

HOPEEverybody knows. You think somebody wasn’t going to tell somebody who mattered?

C.B. mutters something in Afrikaans.

HOPEExcuse me? That’s what I thought.

INT. OFFICE – MORNING

They enter. Ellie and the Porters talk, Coach’s office door still closed. Sera picks up a phone Coyote hands to her.

SERA(into phone)

Hello?

INTERCUT WITH:

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INT. WADEWATER RIDING INSTITUTE – JAKE’S OFFICE - DAY

This one room is nicer than the whole of Dovetail. Jake sits with his feet on his desk.

JAKEHey, baby.

INT. DOVETAIL FALLS OFFICE – DAY

Sera stiffens, then smirks.

SERAHey, who’s my favorite musician?

JAKEBruce Springsteen. You thought I wasn’t going to know that?

SERAI did. I did. Hey, you know that song “Blinded by the Light”?

JAKEYeah…

SERAWhat’s the first line?

JAKEOh, baby, you know that I don’t really like Springsteen. I mean, “Born to Run” is great, but…

Sera’s reaction says it all. The Porters are gone. Ellie watches her from the background.

SERAListen, I’m actually pretty comfortable here. I like it here.

JAKEI’m going to ask again: Is this about what happened to you, or is it because I didn’t know “Blinded by the Light”?

SERAWell, it has absolutely nothing to do with what happened to me, and mostly everything to do with “Blinded by the Light.”

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(beat)You have my cell if you need to get in touch. Don’t call the office again.

She hangs up the phone. Coyote looks at her and grins.

COYOTESticking around?

SERAFor a little while.

COYOTEBecause we know the words to ‘Blinded by the Light’?

SERAWhere else am I gonna get the chance to argue about them?

C.B.A Springsteen concert?

They all sort of look at him.

COYOTEI’m still pissed at you.

SERAI heard you were. But right now, Al and I have a ranch to run.

COYOTEGood. Go.

She leaves just as Coach’s door opens.

COACHHope, C.B.

INT. OFFICE – COACH’S OFFICE – DAY

They enter, conversing.

COACHC.B., Coyote tells me our baseball clinic’s looking pretty good. Enough to put a team together, you think?

C.B.Maybe. I guess.

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COACHIn a couple of years, though, right? You know my little league’s always looking for good assistant coaches, and I see how the kids respond to you.

C.B.Yeah, I’d be up for something like that.

COACHNot if you went home, though, right?

And there it is. He closes the door and gets serious.

COACHI could have you both fired right now, you get that? Seventeen and twenty-three. Seventeen and twenty-three.

C.B.Everyone el-

COACHI’m not talking about everyone else. You two are the subject at hand.

(beat)I don’t want you arguing about who I heard it from or how I found out. I want it to stop, and I want it to stop now. I’ve got way too much to deal with—without trying to keep track of which of my counselors are committing illegal acts by schtupping behind the KYBO. It stops.

He sits back down behind his desk.

COACHThat’s it. You’re broken up.

HOPEBut, Coach—

COACHYou’re broken up.

He smiles again.

COACHNow, go be good role models out there!

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C.B. gets up, storms out. Hope is a little slower to the door.

COACHYou should know better.

She turns. It sinks in. He nods.

EXT. OFFICE – DAY

Hope exits the office. In the background, yellow schoolbuses unload day campers onto ‘A’ Field.

C.B. grins.

C.B.Well. I thought that was amusing.

HOPEC.B., the idea of me getting fired is not amusing. Why’s it to you?

He shrugs.

C.B.Because I like you and it’s summer and everybody does it and we were the only ones to get caught. Many reasons.

HOPELook. Look. Look. You and the Spaniards and whoever else can act like this is a summer vacation. It’s not. This is not your chance to see America. Who wants to see America from Ohio? This is a job, okay? This is—this can be—the best job you’ll ever have. And you are futzing it up.

C.B.I’m not—

HOPEYou are. You’re fuzting it up.

She moves in, quiet.

HOPEDespite…despite what Coach said in there, I do like you. I think you’re a great guy. I just…I don’t know if what

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we’ve been doing is the best—is the right idea anymore.

C.B.You breaking up with me?

HOPEWe can’t break up if we were never together.

C.B.We can’t break up if we were never together? Are you kidding?

HOPEI can’t. I can’t do this. I can work with you, but I can’t be with you. Not now.

C.B.Why the hell not?

Hope considers this. Lot of considering going on in this show, too.

HOPEBecause I love this job. And I have to go do that now. Okay?

He waves her off. She shrugs, then walks towards the day campers.

EXT. DINING HALL – BACK PORCH – DAY

Dean has one last cigarette before the morning starts.

Fiona sticks her head around the corner.

FIONAOi! You should quit smoking.

DEANThat’s what the studies tell me, but don’t I look cool?

She sits down next to him.

FIONAYou know what I think?

DEANWhat’s that?

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FIONAI think your brother was a great guy. I think you can be one too. But you gotta answer this question. Ready?

DEANYes.

FIONAWhatcha doin’ now?

DEANWell, I was going to see if there were any day campers who needed my help.

She smiles. They get up and start walking.

As they head out towards A-Field, Joni Mitchell’s “Free Man In Paris” starts.

DEANSo what are we doing today, Irish?

FIONAWho said you could call me Irish, Los Angeles?

DEANTechinically, I’m from New York.

FIONAWho said you could call me Irish, New York?

DEANI’m Irish-American, you know. I can do that. We have a bond.

FIONAIn your dreams. In your sweet little dreams.

The campers start to stream out of the dining hall, the whole of main camp coming into view…

The many counselors and support staff spread out across A-Field and down the roads, headed toward another grand and glorious day at Camp Dovetail Falls…

JONI MITCHELLYou know I’d go back there tomorrow…

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…Where every day’s a holiday…

…And every meal’s a feast.

FADE OUT

JONI MITCHELL…But for the work I’ve taken on.

END OF SHOW

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