REDEMPTION FALLS - SimplyScripts
REDEMPTION FALLS
“ACROSS THE GREAT DIVIDE” (PILOT)
BY
Brendan L. Heldenfels
Final Draft
Revised 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.
LAUREN
Franklin wants us up at the office in ten. That was five minutes ago.
She tosses him a flashlight.
LAUREN
Gabby’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.
LAUREN
Christ. How are we supposed to find anyone in this? It’s darker than a crate of Tennessee assholes.
FENN
I’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?
LAUREN
You decided to replace the diving dummy—
FENN
That diving dummy wasn’t the proper weight.
LAUREN
Did you honestly think that we—and by we, I mean you—were going to get away with that?
FENN
You know, I honestly thought that we—and by we, I mean us--were going to get away with most of that.
LAUREN
You replaced it with a dead pig. How did you intend to get away with most of it?
FENN
Well, for starters, I figured we would pull off everything but the whole “Coach finding out where we got the dead pig” part.
LAUREN
Maybe that’s why we wound up pulling the worst section on site, then.
Lauren turns to the woods, calls:
LAUREN
Hey, 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.”
SERA
It’s over. They got her.
FENN
Where?
Sera smirks. This’ll be funny in a day or so.
LAUREN
Where?
Sera
Apparently, 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:
LAUREN
Behind my cabin. I’m going to kill her. I will snap her neck.
FENN
“Why’d she do it? She wasn’t…”
LAUREN
Stow 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.
SERA
Yes. 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.
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.
LAUREN
I can’t believe we’re letting them get away with that. She’s six years younger than him.
ELLIE
We can’t accuse them of getting away with something they haven’t tried to get away with, you know.
Lauren points.
LAUREN
Look. 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.
TOM
Go to the dining hall!
FIONA
Do 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.
ELLIE
Gate. And I want it.
LAUREN
Guarding. I think Rudy has boats.
FIONA
And where’s he?
Lauren gestures back behind them. Fiona walks in that direction and so do we.
LAUREN AND ELLIE CONTINUE TALKING-
ELLIE
I need you to do something-
LAUREN
Do 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.
RUDY
I’m not saying, I’m telling you, there is no way in all of—well, Antarctica—she’d quit-
TOM
She isn’t quitting, she’s leaving.
Fiona falls into step behind them.
FIONA
You have to quit in order to leave. You just can’t, you know, not show up. Who are we talkin’ about?
TOM and rudy
Sera.
FIONA
Sera?
(beat)
I AGREE, NO WAY IN ALL OF ANTARTICA.
TOM
Hey, I’m just saying what I heard. WRI wants her. Jake Starkey’s been out here. Multiple times.
FIONA
Wadewater Riding Institute? No shit?
RUDY
Mmm-hmm.
FIONA
Okay, 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.
FIONA
Your camper’s got away from you.
Tom looks, shouts:
TOM
Hey, stay together!
FIONA
Say, who’s got boats today?
RUDY
I do. Can I ask why?
She almost pouts. Almost.
FIONA
Rulon…
RUDY
Hey! Not! During! Camp!
TOM
“I hate the sun?”
FIONA
See, I’d stop short of calling it hate. More like…feverishly loathe.
RUDY
And you’d be damaging that Irish skin that your ancestors decided to curse you with—
FIONA
Bless me—
RUDY
Bless you with on the floating dock today?
She looks at him with big feminine eyes. Awwww
RUDY
Sure, all right. Check with Fenn.
She beams, continues back. Turns as an afterthought.
FIONA
Oi. Who’s idea was it to play that music on Monday, with the horns and the cymbals and the thing?
TOM
The ‘Sports Center’ theme? Danny’s.
FIONA
That’s so much like him.
RUDY
Da-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…
HOPE
Seriously, 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.
FENN
No.
(to Coyote)
DON’T START. I MEAN IT, NOW. MY SISTER LOVES THAT INSIPID SHOW. SHE GETS THE DVDS IMPORTED.
COYOTE
That’s kind of sick.
FIONA
Why not?
He turns off the main road and heads down a secondary one. He points to Fiona.
COYOTE
You come find me later.
She nods, rotates back to Fenn.
FENN
(sing-song)
SOMEBODY’S GETTING A BEATIN’…
FIONA
Hey, is it true?
FENN
Sera? Damned if I know—and no.
FIONA
Tom says Jake Starkey’s been out here multiple times, why can’t I trade with Rudy, and there’s a camper—
FENN
Where 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.
FIONA
Hey, who helped you guys pull a dead pig off the side of the road on her night off? In heels, no less?
FENN
All right. You can trade. This once.
She circles around him and kisses him on the cheek.
FIONA
You’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?
HOPE
You know they never do.
Fiona pokes Hope in the arm.
FIONA
You, come with me. I need to borrow her, okay?
The two women walk off. Fiona pulls Hope inward and down, a couple of conspirators.
FIONA
So. Are you two snogging?
HOPE
Snogging?
FIONA
You don’t like that word?
HOPE
Well, I suppose I’d have to know what it meant before I made up my mind.
FIONA
You and Corne. Are you two together?
HOPE
Oh.
FIONA
Yes.
HOPE
No.
FIONA
You’re not kissing him behind the KYBO?
HOPE
You 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.”
FIONA
I saw you guys last night, that’s why I ask. Who rides shotgun in fire engines?
HOPE
Firefighters.
FIONA
Why’d you lie to me just then?
HOPE
I wasn’t lying so much as I was trying to tell you it was none of your business.
FIONA
If you guys get caught—
HOPE
We’re not going to—
FIONA
So you are snogging behind the KYBO.
HOPE
Now that’s downright pornographic.
FIONA
Seventeen. Twenty-three. Seventeen. Twenty-three.
HOPE
I know. It was one time.
FIONA
One time?
HOPE
Okay, when I say one time?
FIONA
Yeah…
HOPE
That’s, like, my special code for seven times.
FIONA
Seven?!
HOPE
Oh, 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.
FIONA
Okay. I’m gonna let that last one go because of the circumstances. You know, the whole dying co-worker thing.
HOPE
That’s it?
FIONA
As for the rest, well, I don’t think it’s any of my business.
HOPE
Didn’t I say it’s none of your business, like, six seconds ago?
FIONA
The only reason I wanted to make it my business was to see if it happened to be true.
HOPE
Oh. Okay. You gonna tell anybody?
FIONA
Now, 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.
FIONA
Oi, are you hearing what I said?
HOPE
Isn’t that Dave’s brother?
FIONA
Who now?
HOPE
Dan. He was a counselor when I was here. Tied my first rag and everything. Dan!
The figure waves.
HOPE
It is him! Dan!
She runs towards the dining hall. Fiona shrugs.
FIONA
Okay, 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.
LAUREN
Ellie-
ELLIE
Lauren-
LAUREN
Does Coach wants me to talk to her before or after her parents come back from Bermuda?
ELLIE
Jamaica.
LAUREN
Jamaica. Coach called them?
ELLIE
No, he called the emergency contact number and they called Jamaica.
LAUREN
Why doesn’t the emergency contact come pick up Gabby, then?
ELLIE
Take a guess. Pick a number.
LAUREN AND ELLIE
Because they’re not authorized to.
LAUREN
Cute. We can be friends. And this whole talking to her thing, was that before he called down there?
ELLIE
Don’t you start-
LAUREN
Three years, Ellie. Three years I’ve been her counselor. Grief every time.
ELLIE
She’s a good kid.
LAUREN
I don’t doubt that she’s a good kid. But I don’t do psychos.
ELLIE
Lauren, she’s right up there!
LAUREN
Oh, I get it now. This is one of Coach’s “tests”. His “how much do you care” things. I’m good at these. Okay.
ELLIE
You’ll talk to her—find out why she ran away? Find out why she wrote that letter?
LAUREN
The “camp sucks and I’m being abused by being made to clean the KYBO” letter?
ELLIE
You really shouldn’t have read that, you know.
They are getting closer to the dining hall by the minute.
LAUREN
Gee, 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.
ELLIE
Wow. You just did a whole little thing there. All by yourself. And with campers around.
LAUREN
You’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.
ELLIE
You know who that is, you met him on Monday. At the thing. Dave’s brother?
LAUREN
Asshole.
ELLIE
Lauren, campers!
LAUREN
They 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.
LAUREN
So. In conclusion. I don’t do psychos. But assholes like that, I do them fine.
ELLIE
I’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.
SERA
Hey.
ELLIE
Thomas 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.
SERA
Full contract. They want a decision. Soon.
ELLIE
You won’t take it.
SERA
Never been one to be told what to do. Not about to start now.
ELLIE
Sure. I get it.
SERA
Yeah. Well, I should probably go get something to eat with my girls.
She starts to walk off, a slight limp in her left leg.
ELLIE
How pissed is Coyote?
Sera pauses.
SERA
Oh, you know him. Pretty pissed, I’d say.
She leaves Ellie leaning against the sink.
ELLIE
Shit.
FADE OUT
END ACT ONE
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.
DEAN
You’re a mystic.
MEGHAN
Not quite. I might be something like that. If I were the topic of conversation at the present. The topic is you.
DEAN
Funny. Here we are, both pissed out of our skulls—
MEGHAN
Oh, 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.
DEAN
That. I did that.
MEGHAN
You played piano?
DEAN
That, and…I wrote. I wrote musical theatre.
MEGHAN
And that begs the question: Were you good at what you did?
DEAN
They said I could have been very good. Someone disagreed.
MEGHAN
That’s no excuse.
DEAN
It is if you heard it from who I heard it from.
MEGHAN
Who did you hear it from?
DEAN
My brother.
(beat)
HE WAS BETTER.
MEGHAN
So. 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.
HOPE
So, do you know how long you’re back for?
DEAN
Yeah, the summer.
HOPE
Awesome!
DEAN
Yeah, I’ve got this special contract—
One camper, an eleven-year-old named AMBER, looks at Dean.
AMBER
Are you married?
DEAN
No.
AMBER
Do you have a girlfriend?
DEAN
Not at the moment, no.
Another camper, sitting next to him, elbows Dean in the ribs. Her name is JANEL.
JANEL
Why not, huh?
DEAN
Why not what?
JANEL
Why don’t you have a girlfriend?
Dean looks to Hope. She smiles.
HOPE
They’re just curious.
AMBER
Come on. I want to know. Why don’t you have a girlfriend?
DEAN
Um, I’m not-we’re not-supposed to talk about our personal lives. Right?
HOPE
He’s right. We’re supposed to be role models for good behavior.
JANEL
You are. He don’t work here.
DEAN
Doesn’t work here. And yes, I do.
AMBER
But you don’t start until after lunch.
DEAN
Good memory.
He grins.
JANEL
You gonna tell us?
DEAN
Tell you what?
AMBER
Why you don’t have a girlfriend?
DEAN
Because I used to be married.
HOPE/AMBER/JANEL
Really?
DEAN
No.
Janel and Amber are silent. They get it, but they don’t get it.
JANEL
Hey, what are we doing for cabin acts?
AMBER
I 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.
HOPE
What have you got going on now?
DEAN
I’m supposed to meet Rudy for the grand tour.
He looks at his watch, pats his pockets.
HOPE
“Watching the ducks.”
DEAN
Excuse me?
She laughs.
HOPE
It’s code. I can see you looking for one. You know, that thing you do after every meal?
DEAN
It’s called “watching the ducks?”
HOPE
You got it. Back behind the dining hall.
He moves away.
AS SOON AS HE WALKS OFF, C.B. SITS DOWN ACROSS FROM HER.
HOPE
Go watch your kids.
C.B.
Eh, my co’s with them. I want to talk to you.
HOPE
I 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.
TOM
We’re gonna have to talk to him.
FENN
I’m his mate, you’re his unit director. It might sound better coming from me than from you.
TOM
You think I can’t be nice?
FENN
I’m just saying, he’s the kind of guy who’d read it as “do this or you’re fired.”
TOM
He will be fired if he doesn’t do it.
Pause, or, as we like to call it, beat.
FENN
I know.
EXT. DINING HALL – SMOKING PATIO – DAY
Lauren sits on a wobbling chair. Her face presses into one hand, a cigarette dangles from the other.
LAUREN
Chriiiiiiiiiist.
Dean comes around the corner.
DEAN
Hey.
LAUREN
Hey.
He pulls out a pack of smokes and lights one.
DEAN
Have we met?
LAUREN
Oh, yes.
DEAN
Oh. You sang at Dave’s funeral.
lauren
I did.
DEAN
Warren Zevon, right?
LAUREN
Your brother loved him. Seemed fitting.
DEAN
I know he loved him.
They smoke there in silence.
LAUREN
You should know something. I don’t like you.
DEAN
Excuse me?
LAUREN
I don’t like you. I’ve heard things, from your brother, from staff who used to know you when you worked here.
She stands up and looks at him.
LAUREN
I 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.
DEAN
Is this about the kids?
She looks at him and laughs.
LAUREN
You 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.
RUDY
Hey, man, how you doing?
He shakes Rudy’s extended hand.
RUDY
Hey. Come here.
He pulls Dean towards him and envelops him in a hug.
RUDY
It’s a hard thing. I know. But you keep getting up and that’s all you can ask for, right?
DEAN
I guess. Yes.
RUDY
You need anything, you know what the deal is. Let me know, all right?
They look at each other.
RUDY
Okay. Now. You ever ridden shotgun in a Snapper?
Dean finally smiles.
DEAN
Sounds 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.
AL
Jake Starkey’s here to see you.
She gets out of the car.
SERA
He is?
AL
Don’t play cute with me, Sera. You know the rules.
SERA
I’m not “playing cute.” I’m genuinely surprised.
AL
No job interviews on camp.
SERA
Gee, how many years have I been here?
AL
Gee, how many years have I had this job?
SERA
You mean at camp or as Equestrian Director?
AL
I say again: Don’t play cute. He’s in your office. Get him out of here. If Franklin sees that guy, he’ll flip.
SERA
You know, I’ve only been here seven years. I think I have a handle on the rules.
AL
I 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.
JAKE
Hey, baby.
SERA
One: 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!
JAKE
I wanted to see you. You look nice today.
SERA
After all that, the best you can come up with to make me feel better is “you look nice today?”
JAKE
What are you doing tonight?
SERA
Hanging out with some of the boys. Fenn and Tom want me to do rove with them. They invited this new guy, Dave’s brother.
JAKE
So you’re going to do what?
SERA
My 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.
JAKE
How much is that again?
SERA
Nice.
He touches her shoulder.
SERA
This weekend, maybe. We’ll see.
His hand runs up and down her arm, intimate without being obvious.
JAKE
I 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.
SERA
Yes?
JAKE
Was that a “yes” to this weekend or a “yes” to something else?
SERA
This weekend.
She smiles. They kiss again.
JAKE
I should tell you my boss wants an answer soon. They’re already looking at somebody else.
She pulls away.
SERA
You should go.
JAKE
Wow. That-that was sudden.
SERa
Jake, I like you. I like being with you. I’m just not sure if I’m ready to leave yet. Here.
JAKE
I heard your boss. Real jerk.
SERA
They 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…
JAKE
Let 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.
SERA
I 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.
RUDY
So yeah, this is pretty much camp. Over there’s Wolf Pack-our boys cabins, where you’ll be staying. Do you know who your co is?
DEAN
No. I’m staying in Wolf Pack 2
RUDY
That’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?
DEAN
Not yet.
RUDY
You met anybody?
(pause)
I’M KIDDING. YOU’LL REALLY LIKE FENN. HE’S INTO MUSIC, TOO. YOU PLAY?
DEAN
A little bit.
RUDY
Thought so. Didn’t you play on the first Products of Indubitable Silence album?
Dean
That was as a session guy and as a favor to a friend—you knew that?
rudy
I 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.
Dean
Guitar, huh?
EXT. COOLIDGE LODGE – DAY – CONTINUOUS
Rudy pulls the Snapper up to the flagpole, stops it.
RUDY
Coolidge Lodge. Oldest building on camp. The basement will be your home. Good place.
They get out and head down the steps.
RUDY
Yeah, I play guitar. Got a band and everything. Lotta people here get together to jam. You should join us.
DEAN
Maybe. I don’t know how long I’ll--
RUDY
Hey, 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.
DEAN
What? I mean, come on, you can’t do that—
RUDY
Go.
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.
DEAN
Bob 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.
RUDY
The Nylon Curtain, man?
DEAN
You asked.
He smirks.
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.
FIONA
Oh, 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?
DEAN
Yeah.
FIONA
Great. 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.
She runs up to him, kisses him on the cheek.
FIONA
You 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.
RUDY
I got to go, too. They need me to guard. Like she said, look around, get yourself situated. You glad to be here?
DEAN
Yes.
RUDY
That’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:
LAUREN
Hey, 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!
FENN
Way to go. Lay the hammer down.
LAUREN
I’m doing my job.
FENN
I know. That’s why I said “Way to go.” Understand you had a little run in with Ellie this morning.
LAUREN
It wasn’t a run-in, it was more of a spirited conversation and why do you care?
FENN
She’s on my team, you’re on my team. I care when my team isn’t getting along. For the kids.
LAUREN
She just wants me to do something that I don’t want to do. For a kid.
He softens.
FENN
Gabby’s right up on the shore. I’ll take over. Go talk to her.
LAUREN
No, I’m fine. I’ll do it later.
FENN
Go 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.
GABBY
You know Sally from Lake Grove Five was smoking behind the KYBO last night, right?
LAUREN
What are you reading?
Gabby shows her the book.
GABBY
Jonathan Strange and Mr. Norrell. It’s like Harry Potter for kids who are tired of 500 pages where nothing happens.
LAUREN
So. Why’d you do it?
Gabby shuts the book.
GABBY
I don’t want to talk about this.
LAUREN
Gabby, 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.
GABBY
Because I’m a troublemaker. Right?
LAUREN
Hey, I didn’t say that—
GABBY
But 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:
GABBY
So 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.
LAUREN
So you wrote a letter to Child and Family Services.
GABBY
Yeah, 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.
LAUREN
Safe?
Gabby rolls up her sleeves. There’s a wicked-looking burn on her wrist.
GABBY
This 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.
GABBY
Mom 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—
GABBY
Yeah, 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--
LAUREN
That’s why you wanted to talk to the social worker here. But—Gabby—I mean, why not tell someone? Why not tell me?
GABBY
None of you guys acted like you gave a crap about me before, so why would now be any different?
Ouch.
GABBY
Are we done? I’m gonna go read somewhere else.
She picks up her book and towel and walks away. Then turns:
GABBY
Hey, 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.
LAUREN
Oh. Well. Shit.
FADE OUT.
END ACT TWO
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.
ELLIE
I know, I know, I know. And you think—
LAUREN
You 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.
ELLIE
Yes. 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?
LAUREN
Her parents are kickin’ the crap outta her!
ELLIE
So she says.
LAUREN
God, when did you become such a fu-
COYOTE
That’s enough.
He looks at Ellie, then at Lauren.
COYOTE
We’re obligated to report this, and we will. But Coach wants to talk to her first.
LAUREN
But I-
COYOTE
I read the letter, too, Lauren. I read the letter.
He turns to Ellie, nods. Ellie leaves.
COYOTE LOOKS TO LAUREN.
LAUREN
She’s telling the truth. I know.
COYOTE
You can bring her by after breakfast tomorrow. When’d you last sleep for more than six hours?
LAUREN
Sunday.
COYOTE
I need you to do your job.
LAUREN
I a-
COYOTE
I need you to do your job.
LAUREN
Hey, look, I want to help her—
COYOTE
You’ve got to make the call. It’s policy.
LAUREN
It has to be now?
COYOTE
It has to be now.
He indicates the phone.
COYOTE
It has to be now.
EXT. OFFICE – NIGHT
Lauren and Ellie walk out together.
ELLIE
I know what’s going on. Lauren!
LAUREN
Sure, you do. I mean, you’ve only been here since you were, what, two months old?
ELLIE
Six months. And that’s not what I meant. You know that’s not what I meant. Don’t huckle me, Lauren!
Lauren sighs.
LAUREN
Is this gonna get any better?
ELLIE
I can’t tell you that.
LAUREN
I thought, after five years of doing this, I would have gotten down the whole philosophy behind “for the kids.”
ELLIE
It’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.
LAUREN
And the difference is…
ELLIE
Camp 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.
LAUREN
Yeah. 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.
ELLIE
Of 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 about all of them. I want them all to come back. I want them to do this.
LAUREN
I know.
ELLIE
It’ll work out.
Lauren gets up, starts to walk away.
ELLIE
It’s not about you, Lauren. It’s about her.
Lauren turns. She and Ellie look at each other for a long moment.
ELLIE
It’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-
HOPE
Shhh. 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.
FENN
Bus-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.
HOPE
How do you know?
FENN
She told me.
Fenn and Hope understand each other. He whispers--
FENN
Go.
EXT. LEADERSHIP DEVELOPMENT CENTER – NIGHT
Fenn shuts the door. It rattles.
C.B.
Rove doesn’t end for another hour.
FENN
It 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.
FENN
You 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?
FENN
Years. And the schtupping that goes on between staff—
C.B.
Is that because you’re Jewish, or because Ellie—
FENN
Shut 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.
FENN
Well, 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.
FENN
After 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.
FENN
Figure 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?
FENN
Your 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.
FENN
And 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.
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.
TOM
That kinda hurt.
FIONA
Ooh, is the big bad ex-ranger scared of the poor little Irish waif? What do you think of the new guy?
Tom
Dave’s brother? I guess he’s all right.
FIONA
Not very social, is he?
RUDY
Come on—his brother just died.
TOM
We were all there. We know.
RUDY
Just sayin’—cut him a little slack.
FIONA
Aren’t you going to ask me what I think of him?
TOM
What do you think of him?
FIONA
He’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 MISTER—
SERA
Okay, hold up. That’s not how it goes at all.
RUDY
Sure, it does.
SERA
Not if you’re doing the Springsteen version.
TOM
I think he was doing the Manfred Mann version.
SERA
Well, 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.”
FIONA
It’s not “cut loose like a douche another runner in the night?”
TOM
No, it’s not.
RUDY
It sure sounds like “cut loose like a douche.”
SERA
Rudy, 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?
TOM
Although you could, conceivably also cut loose like a douche.
RUDY
Who the hell came up with this song?
FIONA
The mighty mighty Boss, Bruce Springsteen.
TOM
What was he on when he wrote it?
SERA
The Boss doesn’t do drugs.
FIONA
He used a dictionary.
TOM
That’s a fouled-up dictionary.
SERA
It was a rhyming dictionary.
She thinks about this moment for a second. (I should really stop telling you how to act.) She smiles.
SERA
I’m gonna go for a swim.
TOM
You’ll freeze your ass off.
SERA
I’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.
TOM
You want this one?
FIONA
Yeah. I got it.
EXT. KYBO – BACK – NIGHT
Dean leans against the wall, smoking. Fiona walks around the corner.
FIONA
That’s it, then?
DEAN
I can’t do this.
She looks at him. She really looks at him. Then:
FIONA
Coward.
DEAN
I’m not.
FIONA
You are.
She starts to walk up to him.
FIONA
What? 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—
DEAN
How do you?
FIONA
I hear stuff. I know you got fired.
DEAN
You don’t know a thing.
FIONA
Well, then, why don’t you tell me? Why don’t you tell me whatever it is you’re so scared of.
DEAN
I’m not scared.
FIONA
Then tell me.
DEAN
Why the hell should I?
FIONA
Because I care just as much about this place as David did!
DEAN
And that’s a—
FIONA
You’re goddamn right it is.
They’re really close now. Face to face. Spittle can be seen.
DEAN BACKS AWAY.
DEAN
You’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?
FIONA
Counselors in training.
dean
Yeah. 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…
FIONA
He told them where he got it?
DEAN
He told them where he got it. And that was the end of it.
Pause. She takes it in.
FIONA
Dean. Was that when you left for Los Angeles?
He doesn’t respond.
FIONA
Was that the last time you spoke to your brother?
DEAN
I was done. Gone. And I don’t know what 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?
FIONA
Well. I don’t think you did anything wrong. And neither did your brother.
DEAN
He did. He did!
FIONA
Then 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.
FIONA
Hrum. 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.
FIONA
Oh, 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
FIONA
And 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.
DEAN
I can’t. I don’t know. I really don’t.
FIONA
Do you think your brother did?
She stands up.
FIONA
I’ve got to go to bed. I’ll see you in the morning.
She walks off, leaving him there.
FADE OUT.
END ACT THREE
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.
SERA
Thought you thought I was crazy for going in this late.
TOM
Like a fox.
SERA
You should stick your feet in.
TOM
No chance.
SERA
In all of Antartica?
She smiles. So does he.
SERA
How long have you known?
TOM
Since Monday. At the funeral.
Beat.
SERA
We’re…we’re talking about two different things.
SERA
So, you’re not going to ask me how long I’ve been with Jake Starkey?
TOM
It’s none of my buisness.
She sits down on the dock.
TOM
How long have you been sleeping with him?
SERA
That’s none of your buisness, Thomas.
He grins. They sit there in silence for a few moments.
TOM
So.
SERA
Am I going to take the job?
TOM
Are you?
SERA
Are you trying to get me to stay?
TOM
I am not.
SERA
You came down here to the water to get me to stay. Right?
TOM
I 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.
SERA
Okay.
Tom looks at her and knows. He smiles.
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 WATER
I mean she swims so well, but still
So she won’t go near the sea—
He hears Lauren and hits the next line.
DEAN
Not me.
He stops.
LAUREN
Keep going.
He turns around.
DEAN
I thought you didn’t like me.
LAUREN
Well, Jason Robert Brown—I’m weak.
DEAN
Yeah.
LAUREN
Let 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.”
LAUREN
(singing)
AND I HEAR THE CALLING OF ADVENTURE,
And I hear the ringing in my ears
The lights are glaring,
Trumpets blaring,
I’m right here
And I hear the calling of tomorrow
And I Hear the stirring in my bones
And David lov-
She stops. So does he.
LAUREN
Keep going. Come on, keep going.
He continues.
LAUREN
(singing)
AND DAVID LOVES ME
He’s afraid to hold me
Listen to the calling of excitement
Can you hear the pounding of my heart
Lights are ready,
Pulse is steady,
I can start
Never stop the calling of a challenge
Blessing on the water and the stones
And-and David loves me
He’s afraid to trust me
He’s afraid to hold me
And 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.
LAUREN
Thanks.
She turns to look at him.
LAUREN
Did you know?
DEAN
I guessed. How long—
LAUREN
Two years, six months, five days and eighteen hours.
DEAN
That’s-that’s precise.
She smiles.
LAUREN
I’m a precise gal.
DEAN
Have you talked to anybody about Dave’s death? I know that’s an odd question, but—
LAUREN
It’s a precise one, too.
DEAN
Yeah.
LAUREN
There’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.
DEAN
I didn’t say I was.
LAUREN
I’m glad we understand each other. Because I still don’t like you.
She smiles, looks at the clock.
LAUREN
I should go. You going to stick around?
DEAN
Don’t know yet.
LAUREN
You 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.
LAUREN
Well, I’ll see ya.
She exits. As she does, Dean starts to play again behind her.
DEAN
(singing)
I’M NOT AFRAID OF ANYTHING
Be 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 mile
I’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.
COACH
Ellie tells me you’re reading an interesting book. Any good?
GABBY
It’s pretty good. Like Harry Potter for people—
COACH
Who don’t like five hundred pages where nothing happens?
His smile is wide and passionate. Comforting.
COACH
Yeah, I don’t like that either.
He sits down.
COACH
Everything okay at home, Gabby?
Beat.
GABBY
Yeah. It’s lovely.
COACH
Lovely?
GABBY
Yeah. I like it.
Lou considers this.
COACH
Well, 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.
COACH
You’re being sent home for the rest of the week. But you can come back, okay? You can always come back.
GABBY
Really?
COACH
You’ve been coming here since before I started, right?
GABBY
Yes, sir.
COACH
Well, that’s who camp is made for.
He looks to Ellie and Coyote, then sighs, saddened.
COACH
You can go meet your parents now. Ellie?
Ellie gets up and leads Gabby out. Coyote and Lou look at each other.
COACH
Lauren called Children’s Services?
COYOTE
Last night.
COACH
Then there’s nothing more we can do. They’ll look into it. Our hands are tied.
(beat)
WE’LL GET HER BACK, NICK.
COYOTE
Let’s hope.
COACH
We 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.
LAUREN
Did you tell them?
GABBY
No.
LAUREn
Why?
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.
LAUREN
We’re…we’re not supposed to do this, but this is my cell. Call it.
GABBY
Okay.
LAUREN
Call 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.
HOPE
Everybody knows. You think somebody wasn’t going to tell somebody who mattered?
C.B. mutters something in Afrikaans.
HOPE
Excuse 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:
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.
JAKE
Hey, baby.
INT. DOVETAIL FALLS OFFICE – DAY
Sera stiffens, then smirks.
SERA
Hey, who’s my favorite musician?
JAKE
Bruce Springsteen. You thought I wasn’t going to know that?
SERA
I did. I did. Hey, you know that song “Blinded by the Light”?
JAKE
Yeah…
SERA
What’s the first line?
JAKE
Oh, 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.
SERA
Listen, I’m actually pretty comfortable here. I like it here.
JAKE
I’m going to ask again: Is this about what happened to you, or is it because I didn’t know “Blinded by the Light”?
SERA
Well, it has absolutely nothing to do with what happened to me, and mostly everything to do with “Blinded by the Light.”
(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.
COYOTE
Sticking around?
SERA
For a little while.
COYOTE
Because we know the words to ‘Blinded by the Light’?
SERA
Where else am I gonna get the chance to argue about them?
C.B.
A Springsteen concert?
They all sort of look at him.
COYOTE
I’m still pissed at you.
SERA
I heard you were. But right now, Al and I have a ranch to run.
COYOTE
Good. Go.
She leaves just as Coach’s door opens.
COACH
Hope, C.B.
int. office – coach’s office – day
They enter, conversing.
COACH
C.B., Coyote tells me our baseball clinic’s looking pretty good. Enough to put a team together, you think?
C.B.
Maybe. I guess.
COACH
In 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.
COACH
Not if you went home, though, right?
And there it is. He closes the door and gets serious.
COACH
I could have you both fired right now, you get that? Seventeen and twenty-three. Seventeen and twenty-three.
C.B.
Everyone el-
COACH
I’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.
COACH
That’s it. You’re broken up.
HOPE
But, Coach—
COACH
You’re broken up.
He smiles again.
COACH
Now, go be good role models out there!
C.B. gets up, storms out. Hope is a little slower to the door.
COACH
You 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.
HOPE
C.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.
HOPE
Look. 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—
HOPE
You are. You’re fuzting it up.
She moves in, quiet.
HOPE
Despite…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 we’ve been doing is the best—is the right idea anymore.
C.B.
You breaking up with me?
HOPE
We can’t break up if we were never together.
C.B.
We can’t break up if we were never together? Are you kidding?
HOPE
I 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.
HOPE
Because 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.
FIONA
Oi! You should quit smoking.
DEAN
That’s what the studies tell me, but don’t I look cool?
She sits down next to him.
FIONA
You know what I think?
DEAN
What’s that?
FIONA
I think your brother was a great guy. I think you can be one too. But you gotta answer this question. Ready?
DEAN
Yes.
FIONA
Whatcha doin’ now?
DEAN
Well, 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.
DEAN
So what are we doing today, Irish?
FIONA
Who said you could call me Irish, Los Angeles?
DEAN
Techinically, I’m from New York.
FIONA
Who said you could call me Irish, New York?
DEAN
I’m Irish-American, you know. I can do that. We have a bond.
FIONA
In 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 MITCHELL
You know I’d go back there tomorrow…
…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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