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Day 12 Assignments
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Ron’s Turning Point 1 scenes
What I learned from writing this lesson: I’m not convinced I “get” this part yet and it’s a challenge because clearly this is where some drama gets injected so it’s an important element of my script. I get “locking in” with regard to the examples, but somehow it’s still a little elusive for me in my own script. In all 4 examples, the protagonist is given a choice at this point (Act 1 Turning Point) – it’s either A or B in his future. And I’m not “entirely” sure I got that so far. The scene I wrote doesn’t “quite” feel like it’s got the juju yet, may require a total rewrite. But consistent with “aim for 20% in 30 days”, I’ll leave it be and let the plot percolate in my widdle bwain.
What I tried to do in this scene was to put the protagonist in a second FUBAR of his own making. Back to back mistakes in front of Lard Ass. Presumably, at this point, being a PT captain looks a lot harder to Cooch than it did a few weeks ago. It takes judgment and finesse on top of physical courage, it takes a constant “what’s the worst that could happen” perspective and planning for that eventuality “just in case”. In this case, Cooch is 0 for 2 (bawled out by Commander for first incident, gonna get bawled out again by that same Commander, and this was supposed to be a “get well” plan, something simple enough to where Cooch was unlikely to blow it). And then he did, again by ignoring his fears with macho and bravado, and assuming the way to succeed was to do just that – ignore his fears.
Act 1 Turning Point Beat Sheet
EXT – ON WATER – NIGHT
PT129 is half a mile offshore waiting for a light signal from a coastwatcher who’s being evacuated with his radio because the Japanese have figured out his general whereabouts and intend to capture or kill him.
They get the signal – almost. It’s not “quite” the initiating signal they were expecting. Cooch was expecting G in Morse Code (–.) and the light showed M (–).
Cooch decides to go in very close with mufflers on, launches a pair of lifeboats to go fetch the coastwatcher and his radio.
Suddenly, all hell breaks loose. It’s a trap! Massive gunfire erupts, there are mortars landing near the 129, throwing up big fountains of water. Next one might be the last of the 129! Lots of noise, seems like bullets flying from all directions.
Cooch has to start turning around so he’s pointed out of the lagoon, while he gunners do their best to suppress incoming fire, get the coastwatcher and radio on board and then fight his way out of the relatively little bay he’s in. The coastwatcher is killed, the radio destroyed. Cooch and the 129 and its crew get out alive but mission is a failure. Cooch is looking at another ass chewing.
Act 1 Turning Point Outline
EXT -ON WATER – NIGHT
BEGINNING: PT129 is off a small island, idling (similar to opening scene, good for setting theme), ready to enter a fairly small lagoon. Pitch black. Everyone’s at battle stations. Communication is being accomplished in whispers. Delaney and Lewis are each assigned to a lifeboat, with paddles. Cassidy and Carter are on the 50 cals. The torpedoes aren’t even loaded tonight. The torpedoes will be useless tonight and it’s better to keep the 129’s weight low.
MIDDLE: Cooch decides to get in very very close, to shorten the distance for the rafters. Brand new XO Lecroix asks if that’s wise, Cooch, in his default aggressiveness, dismisses him. The lifeboats enter the water after getting a “mostly right” blinking light signal, presumably from the coastwatcher. There’s some ambiguity, plenty of discussion. We going in or not? Was there a dot after those two dashes or not?
END: The lifeboats leave the 129, paddle in to where the light signal was, pick up the coastwatcher and his radio, and start to return to the 129. Still quiet. It has been just over 14 minutes since the boats left. Just as the lifeboats get to within 20 feet of the 129, all hell breaks loose. It’s a trap! The Japanese used the coastwatcher to set a trap. Bullets are flying everywhere, aimed at the lifeboats, aimed at the 129, aimed at Cuccinelli. Cooch can’t leave without securing his men and the coastwatcher, so he’s a sitting duck. Cassidy and Carter man the 50 cals, and they are spraying the jungle anywhere they can see the flash of weapons fire, but there’s a LOT of it tonight from half a dozen attack points. After what seems like an hour, Newman and Thompson help Delaney and Lewis get the coastwatcher and the radio up on the deck. Just as they get to the deck, Cooch finishes his pirouette, turns the wheel hard and hits the throttles to get out of his predicament. But once they’re out on open water, it becomes clear that the coastwatcher is dying from multiple bullet wounds, and the radio has been badly damaged. The men do what they can to save the coastwatcher.
There’s another ass chewing in Cooch’s future.
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Gerry Cousins – Finished ACT I – MARFA LIGHTS (Playscript)
Once again, I remind you this is a stage play, not a screen play, and my ACT I is considerably longer as there are only 2-Acts in the straight play rather than the 4-Acts in your film format.
What I learned working this way: Somethings work; others don’t. Not word smithing in this ongoing fashion remains to be seen as language is so much a part of theater, but I know there’s still room for that until the Final Draft. So far, however, I’ve been able to follow your instructions and I think it’s made for an overall improvement in the quality of writing.
Here then is ACT 1:
ACT I – CIRCLE ‘ROUND THE VOID
Scene 1- Prelude
The entire set may be composed of several various level platforms and two staircases, which appear to be hanging in mid air.
Studio City, CA – Writing studio of JENNA and SID – Mid-Day.
Accessible by stairs and a doorway, the office overhangs part of the stage. Day light shines through a two-story window Center stage. Agreeably furnished with a partner’s desk, networked computers, printer, etc., there’s a comfortable sofa, matching chair and ottoman, 2-drawer file cabinets that double as end tables with lamps, and a coffee table. A closet houses a small stocked refrigerator, microwave, single-cup coffee maker, dishes, etc. Other accoutrements include framed celebrity photos, various publicity posters for their hit series, CRIME STOPPERS, and a shelf of award statues. There’s an Exercycle, weights, TV, coat tree, and the door to a toilet.
A Chopin piano selection plays in the background.
SID, mid fifties, is handsomely grey, and altogether comfortable in his skin (and Gucci loafers). HE is a transplanted NYC well-educated, successful show business Jew.
SID sits astride the bike pedaling, a white towel draped around his neck.
SID
(Already in conversation)
So she’s grieving for her youth, missed opportunities — not measuring up to her own high standards or self-aggrandizement –what?
JENNA, in her late forties, is pretty, tailored, expensively groomed, and easily described as “pleasantly” ambitious.
At her desk, SHE applies polish to a chipped fingernail.
JENNA
(Answering)
Seems to me there are a number of reason why grief can envelop a person. But dealing with it starts with self-care–giving yourself permission to grieve. Also, reaching out to connect with other people and the opportunity to laugh–always the best medicine.
SID
(Joking)
We send her to clown college?
Together SID and JENNA comprise a multi- award winning TV episodic writing team. While not married to each other, they have an easy familiar relationship that carries with it a trace of sexual tension.
THEY are working.
JENNA
A brilliant idea but not for our Molly — at least not yet. Actually, I think she sees a healer with whom she already has a relationship.
SID
Then where’s the laughter? I don’t follow.
JENNA
I…um…don’t know yet.
SID
(Shrugging her answer aside)
A healer? You mean a shrink?
JENNA
No. A clairaudient kind of psychic.
SID
A-hah! –a spiritual wacka-doodle. Love it.
(Then…)
By the way, that nail shit stinks and I’m breathing it.
JENNA
(On the verge of laughing)
Where were we? We already know she’s pretty, middle aged and zaftig or Rubenesque, if you prefer.
SID
Exactly what I prefer — Entre deux ages magnifique, sil vous plait?
(Sub-vocalizing)
Easy to say…but so not my type.
SID and JENNA laugh heartily.
SID (CONT)
Why not another series, Jenna? Something’s gotta be in the pipeline. Maybe we even go to work and come up with a new treatment? We’re an award-winning writing team for Chris sakes. Any show runner’d be tickled. Besides a new series is guaranteed to generate more money. What will a play guarantee? You’ve got Marty to rely on and I’ve got alimony payments to make.
JENNA
Pipe line rusted through, two…three years ago, and I’m bored beyond words with CRIME STOPPERS. A hit play produces more than money. It’s…it’s a…huge challenge–like nothing we’ve done.
SID
…
A quiet moment, then…JENNA holds out her hand to check her patched fingernail. Satisfied but distract-ed, SHE closes the polish and puts it in her upper right hand drawer
JENNA
Sorry…
SID
You had them done yesterday. Same thing happened last week. Find yourself another manicurist. Vietnamese, right?–a dime a dozen.
JENNA
And who gave you permission to tell me how to manage my fingernails.
SID
Only trying to be helpful, Jenna.
JENNA
Shall we continue? We were talking about the central character. And aging beauty sucks, Sid–even when you say it in French.
JENNA (CONT)
We need a tangible image: a “diva type” –or was. And the moth thing works. Flame’s seductive. Instinct brings it to the light. Too close and we’ve got toast.
SID
That’s a contradiction–
JENNA
Tennessee Williams used it for Blanche.
SID
(Laughing again)
It took a “grieving” Blanche directly to the looney bin. Do not pass GO!
JENNA
This isn’t Streetcar!
SID
Besides, isn’t instinct designed to protect us?
JENNA
Do guppies eat their young?
SID
(Pause)
So, what are you saying? That if light is a metaphor for spiritual love, then carnal knowledge is the path to spiritual suicide.
JENNA
Or perhaps enlightenment. Not a clue. Sounds like political claptrap to me.
(Then…)
She has a spiritual mentor–
SID
The clairaudient?
(Offering)
Her husband hates him?
JENNA
It’s the character’s journey. Give her some slack for self-discovery.
SID continues pedaling as JENNA types into the computer, mindful of her patched nail.
SID
As long as she doesn’t hang herself–and us–in the process.
No response from JENNA
If TV’s why they pay us the big bucks, why’s this so fucking hard?
Sweating now, SID stops the bike, uses the towel. Their eyes meet.
JENNA
The series isn’t gonna be around forever.
SID
Yeah. So they say. But I call myself a crime-story writer. Isn’t that what you are, partner?
JENNA
(Patiently)
A play’s a kind of cocoon-ish experience, Sid, a collective journey. In the light of day, it either morphs into a recognizable moth or it’s a dead caterpillar. The trick is to hold on to the whole picture so the pieces it comprises don’t cause it to fall apart.
(Pause)
No one said this would be easy.
SID
Drawing out a real live person, Jenna, the complications, relationships, subtext…all that crap in order to find the essence of a character. Shit! Gimme formula writing every time! Pretty people. Tits. Perfect hair. No grey areas, just black and white. Blood and guts. Simple episodes with A, B, and C stories. That’s our style.
SID (CONT)
Then throw in a few expletives for authenticity. What’s talent but the ability to get away with stuff?
JENNA
(Choosing to ignore him)
“Molly” then.
SID
No! Not “Molly” then. You’re pushing me, pushing me, and I haven’t signed up for the trip.
(Suddenly followed by)
Remember Coleen Dewhurst? She could’ve done her. Like we said, slightly round…no sharp edges.
JENNA
Would’ve been great. Unfortunately, DOA.
SID
Kathleen Turner? Fine actress. What happened to her?
JENNA
Slightly round? Think moth, Sid–put wings on her, she’d never get off the ground. Also, I think she’s almost seventy.
SID
Moths turn into butterflies.
JENNA
That’s caterpillars.
SID
Fuck! I knew that.
(Beat)
What’s-her-name, MOMMA MIA and something with Clint Eastwood and bridges? Wins all the Oscars?–Meryl Streep!
JENNA
Really, Sid. Lucky I am you remember my name.
SID
You sound like whatsis, the short wrinkled dwarf guy in STAR WARS.
JENNA
Streep’s more on track but approaching her mid-seventies.
SID
How did they get to be old. Where have I been–? Chasing ass.
JENNA
Think, Sid. Elegance, spirit and surprisingly unexpected crepy skin. Fiftyish. Sexy, feminine, unafraid.
Once-upon-a-time undeniably hot. Now stuck with old choices. And new ones foisted on her. Once so fortunate and suddenly thrust into a world of joylessness or maybe…idealized fantasy. I know Molly. She exists.
Uncomfortable moment.
SID
This isn’t you, Jenna. Your marriage is fine.
(Completely dismissive)
Ergo, Our Molly’s restless, disappointed, sexually frustrated and pissed. That’s a cat on the prowl.
JENNA
–Vulnerable and voracious.
SID
Ahhh! Turns me on when you talk like that! A lady writer with a great vocabulary makes me horny!
SID issues a directive at JENNA.
Type!
JENNA
No. You type. It’s your turn. I’m hungry.
THEY make the switch as JENNA meanders over to the kitchen area.
SID finds deodorant in his desk drawer, absently sniffs, and applies it. Checks himself in a hand mirror.
SID
What’s for lunch?
JENNA
Cold remains of my chicken dinner from last night.
SID
Is there enough for everyone?
JENNA
You can have what’s left of the Chinese from yesterday’s CRIME STOPPERS’ meeting with the Network.
(Long pause…then)
Furthermore, I don’t agree with what you said about talent. That’s the reason I want to do this. Not the ability to get away with “stuff.” Could be that’s you; it’s not who I am.
SID
Two days choking on the same Moo Shoo. Stick it in the microwave would you?
SHE does, then looks for a place to park herself and eat.
SID purposely changes the subject.
The husband–?
JENNA
Todd.
SID
–Whatever. We agreed we’d use me as the model.
JENNA
Yep. Except for the white hair we gave him, spitting image. Good looking. Lazy. Insensitive. Selfish.
SID
(Bowing)
What can I say? But she loves him.
JENNA
Or did–thoughts are things–
HE reaches for the dictionary.
SID
–And words matter. Hold a sec. Hmmm…Here it is…”Love: 1) A deep tender feeling for affection and solicitude toward a person, such as that arising from kinship or a sense of oneness. 2) Intense desire and attraction toward a person with whom one is disposed to make a pair; the emotion of sex and romance.”*
JENNA
The impulse of “intense desire” recognizes no such word as impossible and accepts no such reality of failure.
(Beat)
Were you making a pass at me?
SID
(Sincerely))
No.
(Finally confessing)
You’re right Jenna. It does behoove us to be the best we can be. But I’m 100% pure chicken shit. Glitzy forensics and women are my schtick, you know me. Nevertheless, I won’t be any old pull toy for you to schlep along in my Red Flexible Flyer doing something I know nothing about because you think it’s cool.
(Microwave bell rings))
Moo Shoo it is then.. Warmed up left-overs…
JENNA
I know I’ve captured your imagination, Sid. (If) We can’t make it work, and we go your way. Deal?
_____________________________________________________________
*American Heritage College Dictionary, Third Edition (c) 1993 Houghton Mifflin Company
JENNA puts down her lunch, and moves to her computer. As SHE types, SHE reads aloud.
JENNA (CONT)
CIRCLE ‘ROUND THE VOID, ACT 1, Scene 1: Posh Manhattan restaurant — Early Saturday evening. A candle-lit table downstage left occupied by MOLLY and TODD, an
especially striking well-dressed couple. In front of them half empty wine glasses and plates of partially eaten food.
The strains of live piano music are barely audible…
LIGHTS ON THE OFFICE SET SLOWLY FADE AS JENNA AND SID WORK.
END Scene 1
SIMULTANEOUSLY, LIGHTS COME UP ON SCENE 2.
ACT I
Scene 2 – Cold Start
A candle-lit table in an upscale Manhattan designer-type restaurant – Too early on a Saturday evening to be fashionable.
Live music plays in the background.
Especially striking well-dressed couple, MOLLY and TODD, are surrounded by randomly placed individual Mylar panels. At the back and sides, the reflective images are a distortion of the moment, the people, table, and candlelight.
MOLLY’S hardly eaten, while TODD’S plate is almost clean. Two half-empty wine glasses grace the meal.
TODD breaks into the uncomfortable silence between them.
TODD
–Quite delicious. I was hungry.
MOLLY
You’re leaving me for some blonde bimbo you just announced, and I’m supposed to daintily cut around the rack of lamb you so graciously ordered for us. I’d sooner make one clean stab at excising your heart!
(Beat)
Please ask the waiter to take this away and order me a double vodka martini with lots of olives.
TODD ignores her, tops off both wine glasses and moves his plate to the side. MOLLY gulps her wine and places the now empty glass in the middle of her plate.
TODD directs his attention to MOLLY’s mouth. HE indicates to it with his hand and finger.
TODD
Use you napkin, Molly, you’ve a wine mustache around your mouth.
MOLLY automaticallt opens her purse, withdraws her mirror and lipstick, and repairs her face.
MOLLY
(Mechanically)
Thank you.
TODD
(Continues talking))
You know mixing wine with liquor always makes you sick–
MOLLY
–Don’t tell me what I know! I hate when you do that.
TODD
Where was I?
MOLLY
(Referring to her face)
Better?
TODD
(Going on)
–Financially, you’ll enjoy pretty much the same quality of life, unless you remarry, then we’ll have to make another arrangement. I uh…I don’t get why this comes as such a surprise. You’ve already replaced me. I even thought of suing you for abandonment.
MOLLY
Abandonment? Replaced you? What are you–? With whom? Look around, here I am.
TODD
You have a new best friend.
MOLLY
What? Who? You can’t mean Simon? An overweight gay man, who chain smokes, and has a big grey cat that craps giant turds in a box. He’s a psychic.
TODD
But you’re in love with him. You’d go to bed with him, if you could…if he’d have you.
MOLLY
(Near tears)
–I can’t stand his smoking, I’m allergic to cats. And he has no interest in women.
TODD
All bullshit.
MOLLY
No! I love you. I never didn’t not love you.
(Going on)
I love lots of people: my parents, the children, your family, our friends…and Simon.
TODD
Which reminds me. With the children in college, there’s no point in maintaining such a large house. Consequently, I’ve put it on the market. Please arrange to find a smaller place for yourself with enough room for our daughter and son when they’re home from school. Oh, and the realtor will need your signature on the Sales Contract.
MOLLY
My signature?
(Short pause)
MOLLY (CONT)
Twenty-five years, Todd, and I never knew till this moment you were such a colossal shit.
(Beat)
You’ve told the children?
(Then)
Is there anything I can do to change your mind? Reconsider? Could we…? Would you see a marriage counsellor with me?
TODD
Shrinks are nuts. That’s why they become shrinks.
MOLLY
A visit–or two?
TODD
Heather is picking me up in about ten minutes. We have a flight to catch. She’ll meet them both tomorrow. Stay. Enjoy dessert, if you like. Here’s the valet ticket for the car. Be careful driving home.
MOLLY
Heather, huh? Just like that?
(Taking the ticket, SHE mimics TODD)
“Here’s the valet ticket for the car. Be careful driving home.” Fuck you! I don’t eat dessert! We always share the one you want.
TODD
You’ve always been gracious and genteel. I don’t expect any less of you now–
MOLLY
(Interrupting half out of her chair)
–HOW OLD IS SHE?
TODD
–Shhh! Try substituting intensity for volume. We’re in a restaurant.
MOLLY
You bastard. Of course we are. Too bad you couldn’t have arranged to do this in American Sign Language–no noise–almost poetic. We know people who did that.
TODD
(Persisting)
Nor do I anticipate an expensive divorce attorney. Nothing messy.
MOLLY
Everything according to plan. Nothing to talk about. Only that I wear a “neat” veil of propriety–any particular color suit you?
TODD
…
MOLLY
So sterile, I want to vomit for the sheer joy of making a grand chunky mess with a stink to high heaven. Make everybody look at us. What about me? You’re asking me to reinvent my life over Pinot Noir and lamb chops? I abandon you? That’s a laugh.
Holds up the bottle of wine in the air and looks around for a waiter.
Who dreamt up wine anyway. Musta been the ancient Egyptians. Brilliant of them. Pyramids, papyrus and wine.
TODD
Molly–
MOLLY
(Interrupting)
–You owe me. We were business partners. Your success was a joint venture that included both of us. It’s always gnawed at you because you needed me–you thought it made you less of a perfect man. Be honest with yourself for once. No one’s perfect till they’re dead.
(Then …)
How long have you been sleeping with her?
TODD
I envision a generous settlement.
MOLLY looks at TODD but doesn’t recognize him. SHE picks up the wine bottle momentarily, then puts it down, lost for a moment.
MOLLY
I didn’t cheat.
TODD
I never said–
MOLLY
–What?
TODD’s cell phone rings interrupting them. HE answers it as MOLLY asks again.
–WHAT?
TODD
(To MOLLY)
Excuse me, I have to take this call. It’s Heather.
(Into the phone)
Hello… I’m–I’m sorry–I don’t–I don’t get… Who is this…? Could you please speak up…? Say it again… It’s difficult to hear–
(Listening and repeating)
–The car’s totaled…
(Then …)
–Alive!
(Listens)
–NYU Downtown… Where… ? The old Beekman? Thank you. I’ll–be right there. Thank–Thank you.
(Collecting himself, then to MOLLY)
Heather’s had an accident. It’s–She’s in the hospital.
MOLLY
Are you in love with her? (Followed by) Are we done?
TODD
(A truly long beat)
Molly, our love has gone sick but it’s as deep as ever. It’s boring…problematic…and I need– Now is not the time–
MOLLY
–What the…what does any of that mean? When is the time? “Problematic?” You “need”? Who are you? Who the hell are you? Who the hell are you?
(Long loud silence)
Shall I drive you to the hospital? Or would you prefer to take a cab or Uber?
TODD
Give me the ticket. I’ll call a cab for you and take the car myself.
HE extends his hand for the valet ticket; SHE has no intention of giving it to him.
MOLLY
Absolutely, no. NO!
(Short beat)
Don’t plan on coming home either, Todd. It’s not your house now–that would be trespassing. Furthermore, it’s not for sale.
SHE gets up to leave.
TODD
But–
MOLLY stops dead in her tracks, gathering her dignity. SHE turns around to face him.
MOLLY
–But? Do you have an objection, Todd?
(Then in her most alluring sultry voice…)
MOLLY (CONT)
My darling husband, I seem to recall a very passionate repast that took place in our bed only this morning. I pleasured you in every conceivable, imaginable manner. How pleasant it must be to take and know you’re under no obligation to give back. You’ll miss that. I’m curious. Was it before or after you decided to make the reservation for this evening’s dinner?
(Turning icy)
Deliberate cruelty is unforgiveable. You and I, we had an agreement: it was called marriage.
SHE walks O.S. HE calls after her.
TODD
Wait! Molly, don’t…
Left standing alone and angry, TODD’s reflection is repeated over and over again in the Mylar panels that surround him.
Son of a bitch.
TODD looks around self-consciously, reaches into his pocket, grabs some cash, ruffles through a count, puts it on the table and exits.
THE STAGE SLOWLY GOES BLACK AS THE REFLECTED CANDLELIGHT IS LAST TO GO OUT.
END Scene 2
ACT I
Scene 3 – Premise
Lights up on the Office Space – 3:30 in the afternoon.
SID and JENNA have been busy working. Remnants of lunch are scattered about. On a break, SID is finishing in the toilet–we hear the water flush. JENNA is near the window counting out her stretches. SID enters drying his hands and jump-tosses the paper towel into a ready waste basket.
SID
Brilliant cold start. Cut to commercial.
(On reflection)
Ballsy broad, that Molly! “It’s my house now!” I like her. Woulda been cool to see the two of ‘em in bed–not just hear about it.
(Then)
Needs to be longer.
JENNA
(Broadly smiling)
Lo and behold! We have us a playwright! Applause! Applause! And you’re right, of course, it needs to be longer. We’re writing too close to TV format. We’ll get better. But NOTE TO ME: their tension has to be strong enough to hold a live audience.
SID
Yeah, but it’s still great. Finish your stretching. Break time’s over!
He paces.
SHE’s been counting stretches. Does one or two additional and stops.
JENNA
Done.
Not quite ready to sit, SHE goes about the room tidying up from lunch.
You’re up.
SID
Now more than ever, I want to get her over to Marfa.
JENNA
Hmmm. What’s “Marfa?” You’ve gotta give me more. Maybe connect the dots. Like what’re you talking about?
SID
UNSOLVED MYSTERIES–the Lights. Saw it quite a while back. I told you. You obviously don’t remember?
JENNA
Maybe. On television? No. You’ll have to tell me again. But Marfa or not–whatever–that’s ACT II. SHE needs to get from A to B. Her husband’s dumped her. She goes home and??? What?
SID
The gay guy-what’s-his-name. Where’s the list? The one her husband thinks she wants to screw?
JENNA
Simon?
SID
Yeah, him. Gays are safe. Broads dig ‘em. Intelligent! Artistic! Tremendously empathetic–they get what it’s like to be hurt by a man.
JENNA
Do they now? Not my first choice.
SID
Safe havens. Resident expert here!
JENNA finds her purse, touches her nose with powder from a mirrored compact and reapplies lip stick.
JENNA
Hmmm.
(Then)
So, okay. She goes to see Simon. Why? She’s already in the crapper with her husband over him. Why not a woman’s shoulder to cry on–her BFF.
SID
Cause’s he’s her BFF. Todd’s dead on. She’s in love with him–cat turds, cigarettes and all! She digs Simon and finds what he does alluring, beguiling, tantalizing. Even sexy.
(Then)
Jeez, a light went off in my head–flash of genius–
SID stops pacing long enough to find his yellow pad.
Need a pink Post-It stat.*
(Finds one, writes and speaks Soto voce)
Cat fight!
JENNA
(Interrupting)
–Don’t make her a fag hag, Sid.
SID
No. Definitely not. At this point she’s hurt, hungry and lonely. Which reminds me, I have a date with a lady for cocktails later.
JENNA
Only cocktails?
_____________________________________________________________*SID uses yellow pads for notes to which he affixes various color Post-Its.
SID
Not interested in dinner.
JENNA
You or her? What about the ones you took to High Tea at the Plaza? I used to be jealous.
SID
Chicks in New York. This is L.A. Different rules.
JENNA
How’d you meet? You never said anything.
SID
On the phone. Wrong number. One of us must’ve ass dialed. Don’t remember her name. She e-mailed me a picture–like an audition. Very eye-catching–
Thinking the same thought, THEY spontaneously break out laughing.
JENNA
Next seasons opening episode! We find our victim dead. On the ground, of course. Gore gushing from where she cut off his dick. The designer slacks–Zegna?–are ruined. There’s a note in a Vlassic–product placement–pickle jar reads: “Wrong number.” Blood smeared finger prints everywhere. They’re mostly for shit but one is salvageable–barely. Good thing it’s CRIME STOPPERS’ forensic team on the job! Cut to computer screen. Bing! Bing! Bang! We’ve got the name. Episode: The Deadly Circumcision.
(Laughing all over again)
Make sure you get this down on your yellow pad and circle it SAVE.
SID
Thanks, Jenna. Fun laughing with you even at my expense.
JENNA
Get back to me –with how your date turns out.
SID
(Suddenly serious)
You know, in this very moment, reality finally hit me. There may not be a next season.
JENNA
Yeah. But they’re still talking to us. If there is, we’re ready for ‘em.
(Beat)
Let’s keep going.
SID
AS in, “Don’t think about it?”
(Beat)
Where we at?
JENNA
Hungry and lonely.
(Then)
All we know about Marfa is what you saw on TV–whenever it was? Seems to me–besides the research–we ought to at least pay a visit there–sensate the experience that brings Molly before we decide to send her.
SID
I Googled it. Big trip. Almost a third across the U.S. Middle of a desert plateau–in rancher country–somewhere in the mountains of West Texas.
JENNA
Didn’t know Texas had mountains. We’ll need to book a flight.
SID
No direct flights and three hours’ drive from Odessa. Nine hours plus getting there. We could go to China.
JENNA takes her crochet bag from wherever it’s kept, and commences work on a camel colored scarf already in progress.
SID watches her a quiet moment.
SID (CONT)
Lucky guy, Marty. I don’t tell you often enough how special you are. Having you in the room makes it beautiful.
Their eyes lock briefly.
JENNA
Thanks. Oh, and save that last line for Molly.
(Referring to the scarf)
For Marty’s birthday. If he’s lucky, I won’t hang him with it.
SID
Your husband gonna be okay with us taking this trip together? –Something to think about.
JENNA
Wouldn’t be the first time. Why?
SID
Still raw. Fresh out of my third divorce. Change changes things.
JENNA
It doesn’t have to. Not everything. We’re grown-ups. When did you want to go?
SID
Soon, I guess. Next week?
JENNA
I want to stay through a weekend. Tourists–if they’re there–that’s when they’ll come
SID
Wednesday to Monday?
JENNA puts down her crocheting, gets up from the sofa, goes for a bottled water.
JENNA
If Molly goes to Marfa because she’s drawn to the light, couldn’t that just as easily be Vegas or Broadway–
SID
(Interrupting)
–Simon.
JENNA
Again? How so? Simon’s Mystery School. Sedona’s the spiritual capital of–I don’t know–the world. High energy field–vortex–or some thing along those lines. Energy equals light–it’s the same isn’t it? What is it about Marfa?
SID
A feeling. I don’t know…you tell me. Seems right.
(Beat)
But what the hell? I’m game. Studio City to Sedona…’bout 500 miles. Been there…both of us on location…where we did an early CRIME STOPPERS. What was it?–Mystical Murder or ah…don’t have a clue. We’ll go tomorrow. Check on the moth situation. Turn around and come home.
JENNA
Very funny.
SID
Why? Maybe that’s where it’s at. Molly sits atop a high vibrating mountain and satisfies herself–
JENNA
(Stops him before he goes further)
–You dirty old man!
(Then)
Talk to me about Marfa.
SID
Unexplained, unpredictable “ghost” lights–illuminations floating above the ground that kind of hover, vanish and reappear. We’ll go and probably never see them–
JENNA
–Then why–
Not allowing JENNA to interrupt, SID reads from notes on his desk.
SID
–”They pulsate. They dance and flicker. Sometimes they flash colors…or display the bright intensity of a strobe. Always, they fascinate”*
(Looking up at JENNA)
From dusk to dawn any time of year in every kind of weather. They’re a kind of…optical phenomenon.
(Then)
All kinds of folklore’s attached to ‘em too. One story has it that a guy claimed the lights talked to him when he was caught in a blizzard. ”Saved his life,” he said.
JENNA
And you want to go there, sit outside from dusk to dawn, two maybe three nights–possibly freeze to death in the mountains during some kind of extreme weather event–with no guarantee of ever seeing anything other than a good chance of a bad cold or pneumonia? Do I have that right, Sid? Not too unreasonable, I imagine.
SID
They have a viewing area.
JENNA
Good. Our shoes don’t get sand in them.
SID
You’re the one wants to visit before we send Molly.
JENNA
I don’t get how we can say she’s seen them when we don’t have a clue. This isn’t Tinker Bell dust?
SID
There’s more, Jenna…
_________________________________________________________
*The Marfa Lights – A Mystery by Rosemary Williams
JENNA
Oh-kay.
SID
In the midst of cowboys and Indians, Marfa’s artsy fartsy. Museums, artists, spiritual types. Whatever. And gays. Complete antithesis of Texas! Also, bargain priced sound stages. Amazon did I LOVE DICK with Marfa as a backdrop.
JENNA
Cancelled before I ever got to it. Heard it was an interesting show though.
SID
How’d they even know the place existed.
(Shrugs)
JENNA
Intriguing.
(Suddenly recalling)
GIANT!! It’s where they filmed GIANT!
SID
That was then–
JENNA
Don’t James Dean fans still visit the ruins of Reata? He died in what?..1955. I think only the windmill remains.
SID
Almost seventy years ago? His fans have to be the Walking Dead.
The room gets very quiet. Neither knows what comes next. Finally JENNA speaks.
JENNA
All right. Let’s say, Molly, the moth, for whatever reason, is attracted to the Marfa Lights.
SID
Please. No. Don’t call her that. She’s the only part of you I can safely get to.
Slow sexual tension builds.
JENNA
I’m not who you want, Sid We know each other too long–have our own kind of relationship. Don’t fuck with it.
SID
Twelve weeks, three days, and a shit load of money. That’s how long the marriage lasted. Can you believe it? Next time I’ll pick someone age-appropriate, like Molly–with dividend paying investments. You think she’d find me appealing?
A long reflective moment passes between them.
JENNA
This play is becoming your voyage…
SHE crosses to her desk to check the time and find where they’re at in the script.
We could probably continue another hour and/or quit and get back to the play tomorrow. What’s your day look like?
THEY check their I-Phones
I’m free after ten.
SID
Let’s put the time in now. Then we could push off coming in till eleven? I’ll book the flights and the car before we get to the office. You do the hotel.
JENNA indicates agreement.
SID scrawls something on a Post-It and places it on the back of his I-Phone.
Where we at?
JENNA situates herself at her computer, while SID makes sense of his yellow pad and various color Post-Its.
SID (CONT)
Wait! I’ve-I’ve got it: Sunday. She’s home alone.
JENNA
You want her to call Simon and tell him what’s transpired?
SID
(Indicates yes)
Only we’ll open in his apartment early Monday evening. The audience’ll get it. Simon and Molly have shared an-a Chinese take-out dinner. No. Make that finished two separate take-outs. Simon’s visible in the kitchen pass-through–
THEY interrupt each other.
JENNA
–She won’t go in there. It’s where the litter box is–
SID
–Making tea for both of them. He’s a published poet, university teacher and recovering alcoholic. No booze. No wine. Nothing for ether of them–
JENNA
–Nice touch. We’ve already established that he’s overweight…also big…tall. He’s a chain smoker and we know Molly doesn’t smoke. In fact, it bothers her–
SID
–And while he’s a…winsome man, he’s not the swishy type.
JENNA
We’re all extreme in one way or another…at times. That’s a note to us.
SID
He uses heaping amounts of sugar.
JENNA
Good! She’s at a…a glass dining room table retrieving a Splenda from her purse.
SID
How much do you want to restate?
JENNA
Nothing. This isn’t television. No three minutes of commercials to stop the action. We go from one scene to the next.
SID
One more thing. Let’s go for some diversity and make him a man of color.
JENNA
Works for me.
SID
What’s the hold-up then? Go! Go! Go!
JENNA
What if he’s a fraud?
SID
No.
JENNA
Because you say so? Does Molly ever question it? Lots of crackpots and fakes out there.
SID
He’s the real McCoy.
JENNA
You know this?
SID
Yes.
JENNA
(Laughs, shaking her head)
Women and homos, Vietnamese nail salons, now healers. Who would have thought? Always the expert!
(Pause)
Yet, at some point it’s plausible, she could question her belief in him.
(Then…)
Let’s do it.
Typing, SHE reads aloud.
Monday, early evening, SIMON’s New York City loft-style apartment. Downstairs is the eating and living area, the upstairs is for sleeping…
LIGHTS ON OFFICE SET FADE AS LIGHTS COME UP ON SCENE 4.
END Scene 3
ACT I
Scene 4 – Inciting Incident
SIMON’s New York City loft style apartment – Monday, early evening.
Two levels, a staircase separates the living space from the sleep- ing area. The tall window re-veals the early evening sky turning to night. Traffic noises are audible when open. The high ceiling lends itself to a kind of church-like spirituality. Decora-tions are simple and functional.
There’s a pass-through window from the dining area to the kitchen. The dining table is glass and seats six. There’s a sofa, books, lamps, a TV/music center, wall art and a long mirror opposite the dining area. In the background meditation-type music plays. The apartment is aglow with flickering candle light which contributes to the smoky haze visible in the air. Somewhere there’s a large fat cat we never see.
SIMON, early to mid-thirties, is a tall, overweight, dark-skinned man, memorable for his girth rather than size. His clothes: shirt, jeans and boots are all black.
While HE smiles easily, a laugh from him is hard won.
A gifted clairaudient, he is personally insecure, soft spoken, kind and concerned, and readily displays his affection for MOLLY.
SIMON is seen preparing tea through the kitchen pass-through. MOLLY stands at the table, which shows the remains of their separate “take-out” Chinese dinners. SHE removes a Splenda from her purse, places it on the table, then begins stacking the empty take-out containers.
MOLLY
Pepper steak left, Simon.
SIMON
Pass it through. Tomorrow’s lunch.
Closing the lid, SHE hands it over.
MOLLY
The plastic bag?
SIMON
(Handing her the bag the food came in)
Anything to put in the fridge for you?
MOLLY
I get the clean plate surprise. Moo Shoo was delicious. I never got to eat lunch.
SIMON
(Smiling at MOLLY)
I’m glad you’re here–that you called yesterday.
SIMON comes around from the kitchen with two steaming mugs of tea.
MOLLY
Me too.
SIMON
Careful. It’s hot.
Spooning large amounts of sugar into his mug.
You look…terrific but then you always do.
MOLLY
I’m okay.
Tearing open the package of Splenda, adds it to her tea.
Wouldn’t even consider a marriage counsellor. Did you know he had me followed here? More than once. Like we were doing something…illicit and dirty. HOW COULD I NOT HAVE SEEN WHAT WAS GOING ON?
(Beat)
I don’t get it. Poor Molly. I only want someone to want me.
SIMON lights a cigarette, making an attempt at keeping the smoke away.
Finished loading the plastic bag SHE ties a knot at the top.
What now?
SIMON
I’ll take it to the chute–
MOLLY
I know where it is. But would you mind opening the window a crack?
SHE goes out the door with the garbage.
SIMON opens the window. Street noise trickles in merging with the background music. HE puts whatever isn’t in order back in place, then take a long drag on his cigarette, crushes it in an ashtray, and drinks his tea.
MOLLY returns. Blows across her mug before taking a sip.
MOLLY
Still hot.
SIMON
How is she…? The other–?
MOLLY
Other women!? You mean Heather. Dead! Four-twelve yesterday afternoon.
SIMON
Before we spoke. You never said. Sorry.
MOLLY
Not your fault. You didn’t wish her any harm.
(Pause)
Neither did I for that matter.
SIMON
You’re sure you’re up to this? Wouldn’t you rather just hang out–maybe watch the tube…? Or go out to a movie?
MOLLY
There’ll be a group here tomorrow. I’d rather do this now.
(Then)
Answers…I’m looking for answers.
SIMON
I’m not a fortune teller.
MOLLY
I know that.
(Beat)
Will you channel or…? What are we doing?
SIMON
Maybe nothing…we’ll see.
SIMON mumbles something, as if to himself, then speaks aloud.
Plan on tomorrow as well.
(Smiles and speaks directly to MOLLY)
I would prefer your being here with the group–the collective energy.
MOLLY
In the chair over there or here at the table?
SIMON
Doesn’t matter as long as you’re comfortable.
(A moment, then…)
Close your eyes. Center on your breathing. When you feel ready, let go.
MOLLY’s done this before. SHE visibly gives up control.
SIMON takes his cues off MOLLY, and proceeds accordingly.
Good. Be with your breath. Feel it as it enters and leaves your body. Go with the rhythm your body sets. Breathe in peace. Breather out anger. Breathe in love. Breath out apathy. In. Out. In. Out. In. Out. Become your breath.
(Closely watches MOLLY)
Feel the space around you…the temperature…sounds. Smell the air. Experience the energy.
(Waits for her to catch up as SHE closes her eyes)
Go into your heart center. As you do, you may feel your heart beat a little faster or even skip a beat.
Give yourself permission to let this happen–a warmth may course through you. Relax.
SIMON (CONT)
Allow yourself to become present. Listen to your body. What’s it saying? Hear and respond. Recognize your feelings? What sensations are you experiencing,
MOLLY
Abandonment. Disappointment. Isolation.
SIMON
Be specific, Molly. How do you go through any of those as sensations?
MOLLY
I don’t–I don’t think…What?
SIMON
What’s the experience of it? Don’t intellectualize. Describe it. Like bunches of knots, hot flowing lava, stabbing icicles, skin baked raw? You know how to do this.
MOLLY
Breaking vertebrae–snapping. My back is collapsing.
(Her pain is real–vocal and visible)
I can’t hold the weight of my body.
SIMON
Where does that take you? Can you be that sensibility?
MOLLY
A black hole…I’m a broken black hole. Surrounded by a void. I don’t have to be real with anyone, no failing here. Nothing anyone says or does affects me. Comfortable.
Begins blinking as if a bright light is shining in her eyes and SHE covers them.
Wait. No light, please. When it’s dark, I disappear.
(Beat)
Damn! Slipping. Falling.
SIMON stands before Molly. The front side of his hand is open; HE places it inches from her body in the vicinity of her throat and heart chakras. It appears he is actually drawing negative energy from her body.
MOLLY
Searchlight burning my eyes. Everywhere. I’m building a pile of round red rocks. Locked out of my own escape
Torment registers on MOLLY’s face. SHE opens her eyes.
Pain! Searing, penetrating pain. Hot! Very hot! A steep hill; I need to pull against it lest I vanish. My back–I can no longer stand. I am crawling…
SHE is coughing, gagging, fighting and out of breath.
SIMON
Where are you? Describe it.
MOLLY
My–I don’t know.
(Beat)
My hair…my hair is in my face. I-I can’t see. Not round red rocks at all! Cartons! I’m lugging cartons–a tractor trailer load of cartons. Salty burning sweat is dripping in my eyes. A prison of boxes stacked around me. So dry. My mouth is…Where do I put the boxes?
SIMON
Molly, with me now. You are embraced by Light. Open to receive.
SIMON mumbles something as if to himself, speaks aloud, waits, mumbles, speaks again. HE does this two, three, four times. Mumble, speak, repeat. HE is channeling.
SIMON
Empty trash. Put in dumpster. Learn no. Do it for the one you need to love most. You. Look for real feelings. How do you do? Be everything you are–it is your obligation. Clean closets–your closets. Relinquish fear–Fear of change, Embrace what is new. Set intention. When you achieve BEING every part of you knows it. Set intention. Set intention.
MOLLY
Set intention…
SHE is back in her mind and body. MOLLY drinks down the remaining tea.
A long quiet moment…
SIMON
(To MOLLY)
How’s your back?
MOLLY
(Becomes aware of it)
Hurts.
(Then)
I feel…lighter somehow…?
SIMON
Good.
MOLLY
What happened? Simon, I’m–What happened? “Empty trash?” Cartons?…What were you channeling? Where did I go?
Instead of answering, SIMON gives himself over to his Guides again. Then…
SIMON
(As himself to MOLLY)
Cold water?
MOLLY
Cold water. Yes.
(Beat)
How do I know any of this is real?–you’re not some charlatan?
SIMON
…
HE gets up, goes to the kitchen, lights a cigarette, and rummages through the freezer.
MOLLY
How would I know? I mean…
(Long beat))
Could we talk a while? I can’t bear to think about getting in the car and driving home now.
SIMON
Stay. Sleep on the sofa. I’ll be upstairs.
MOLLY
I used to imagine what it would be like to spend the night here. No one to stop me now.
SIMON
(Calling from the kitchen)
Hungry? I have Cherry Garcia.
MOLLY
Yogurt or ice cream? Never mind. I’m ravenous and thirsty. Not too much though.
SIMON returns with napkins, two bowls of ice cream, bottled water, and a cigarette dangling from his lips. MOLLY gives him a dirty look followed by a cough. HE snubs it out.
SIMON
Napkin, m’Lady.
(Smiling broadly at his own heaping dish of ice cream)
The big one’s for me.
MOLLY
All yours.
THEY laugh, open the water and consume the ice cream. A quiet comfortable moment between friends)
Feels like I’ve been here a lifetime tonight. What time is it?
SIMON
The energy work…you lose track.
(Then)
Shall I turn on the television? Sometimes it–
MOLLY
(Interrupting)
No.
(Beat)
They–your Guides said to come back tomorrow evening. I didn’t imagine that, right?
SIMON
Could be they’re not finished. Maybe you’ll want to ask something. A lesson perhaps…
MOLLY
As my friend could you–?
SIMON
–”Clean your closets” is code for clean your closets. No mystery there. “Trash” is what you’re unnecessarily holding on to. I’m not clairvoyant, Molly. I don’t pretend to know what’s coming, but I get a sense there’s an opportunity for change. Go for it!
MOLLY
I could take Todd back.
SIMON
Too many cartons.
MOLLY
He asked.
SIMON
Of course, he asked. His play thing is…gone.
MOLLY lets out a huge sigh, then speaks. What she says is difficult for her.
MOLLY
A marriage has its own life, Simon, its own way of being. Two people commit to it–they create it and give it energy. The energy is between them; they move it, shape it, push it in different directions. Like an investment.
SIMON
And end it by fucking up–
MOLLY yearns to touch SIMON but knows better. SHE gets up and away from him.
MOLLY
–Making it something it isn’t. Almost happened with us–you and me. You’re a gay man. I’m an older woman tremendously attracted to you. But we got through it. Our own sexual identities are intact. We share a belief in each other but not in “us” as a couple.
SIMON
Thanks to you. You could have blown it.
MOLLY
Todd and I were a couple. I did love him…do love him.
SHE stares out the window at the night sky
SIMON
He cheated–broke the rules–and didn’t consider you.
MOLLY
Perhaps we could get past the pain. Just because you’ve not been able to do that with the men in your life–
SIMON
(Defensive)
–We’re not talking about me.
Turning back to the room, SHE faces SIMON through the smoky haze.
MOLLY
I apologize.
(Then waving at the air)
You know, Simon, smoking is a filthy, disgusting habit. “Healer, heal thyself…”
SIMON
Yeah, I know. Even the Guides are insisting: “To hear more clearly.”
Looking around, SHE changes the subject.
MOLLY
No Miss Tickles tonight? I don’t see the cat anywhere?
SIMON
She hides under my blanket when it’s only the two of us. La Lump! The group energy brings her out.
MOLLY
Two females vying for the same male animal, huh?
(Calling)
Here kitty, kitty, kitty. How ‘bout a cat fight?
Making a gnarly sound, MOLLY curls her fingers like cat’s claws.
SIMON
With Miss Tickles?
This strikes SIMON’s funny bone. HE laughs heartily. It’s contagious and MOLLY joins in.
MOLLY
Surprised you! I still remember how to play.
(Then abruptly introspective)
Once upon a time when I was a kid, I had this big Golden Book Bible. On the cover was a picture of God with a long white beard sitting in the middle of a cloud–
SIMON
–Michelangelo’s depiction of God–?
MOLLY
–No. Anyway, I thought He was a fairy tale character like in all the other Golden Books. But my parents said he was real. I devised a game for us–God and me. It was kind of a-a test. We’d play Marco Polo. I’d concentrate on the sky real hard to see if I could see Him and call, “Marco.” If the answer came back, “Polo,” then my parents had told the truth. I wanted Him to be real.
SIMON
Did he ever answer?
MOLLY
…
SIMON
Busy?
MOLLY
I called out different times of the day and night–in every kind of weather.
Laughs at the sudden silly realization.
He didn’t want to play.
(Then determinedly…)
MOLLY (CONT)
Simon, before what we did tonight gets mixed up with my dreams, could we discuss what happened? What it means? Please.
SIMON
Time and dreams often clarify a healing.
MOLLY
It won’t fade away in the morning?
SIMON
I promise.
SIMON begins channeling again. As before, HE mumbles as if to him-self, speaks aloud, waits a moment, mumbles, speaks, etc.
Polo. Polo. Polo.
(To MOLLY)
Someone wants to play.
(Repeating to the GUIDES)
Go to the stars in… Martha…Martha?…Not Martha?…
M-a-r-f-a.
(To MOLLY)
Go to the stars in Marfa. What does that mean?
MOLLY
…? Damned if I know
SIMON
(To the Guides)
Go to the stars in Marfa? Explain.
(Repeating information from the Guides)
Sky lights?
Another moment while SIMON takes instructions from his Guides. Finally to MOLLY
Apparently, there are lights in the sky in Marfa. They want you to go there. “Always they fascinate.”
(A short beat)
MOLLY
Marfa–as in Texas?
The Guides answer before SIMON asks and HE nods his head.
SIMON
Yes.
MOLLY
Bell ringer! How could they know what I’d forgotten?
SIMON
Forgotten?
MOLLY
Two guys from yesteryear. A sculptor and a former figure skater-turned-hair-dresser–both all around brilliant, stunning, sexy…My God! We’ve never even talked about them.
SIMON
And…?
SHE doesn’t know how to begin or where to put herself in the room.
MOLLY
And nothing. They live there. A good while back, I got a picture postcard from them…with an address.
(Beat, then…)
Before Todd, the three of us–we hung out a lot–always this on-going flirting between us. Then one night, quite spontaneously, we fell into bed for a three-way. The room, space, scented candles. For me a fantasy dream come true. Gavyn, Rand–all of us drunk–turned on. The attraction was…huge…like nothing I’d ever experienced.
SIMON
…??? Go on.
MOLLY
Nothing happened. Hot sweaty bodies twisted up in each other and Gavyn’s whispered voice: “This is wrong!” Thought about it…off and on over the years. We stayed friends but… Even Todd liked them.
SIMON
Two homos, Molly?
MOLLY
Yes.
(Beat)
Then five, six years ago, they sold their Tribeca loft and retired to Marfa. Out of sight, out of mind. Except for the name of the town, I forgot…
SIMON
You’ll see them there?
MOLLY
I thought the lights–not the faintest idea.
MOLLY is physically and emotionally spent.
Wow…!
SIMON
You’re wiped. We should think about getting you into bed.
MOLLY
(Insinuates herself into his arms)
So tired. I need Simon to hold me up or I’ll fall where I’m standing.
SIMON holds her briefly, then unwinds from the embrace. HE escorts MOLLY to a chair and busies himself finding whatever SHE will need for the night.
SIMON
Sit. I’ll make up the sofa. The right-hand drawer in the bathroom, there’s a new sample toothbrush from the dentist and toothpaste.
(Subvocalizes)
Let’s see–sheets, pillow, clean T-shirt for sleeping in-
HE makes up the sofa as SHE follows him with her eyes.
What else?–The music…
Turns it off.
MOLLY
I appreciate…everything…
SIMON extinguishes the candles and heads for the stairs. We see him turn on the loft light and make his way up the stairs. The cat meows.
Whoa! The guys in Marfa–they’ve got twenty years on me. Couple of old codgers! Life happens and then who has the time to think about anything.
SHE takes the T-shirt and heads for the bathroom.
SIMON
(Calls out from upstairs)
Pleasant dreams. Don’t let the bed bugs bite.
THE STAGE GOES DARK.
END Scene 4
ACT 1
Scene 5 – Midpoint
The Writing Studio – One day after yesterday – Almost eleven a.m.
Rain pours down on the window and roof making for a dark melancholy mood. JENNA is already there as the lights come up—a Starbucks container close at hand. Her raincoat and umbrella drip on the coat tree.
Dressed in a sweater and slacks, SHE has turned on lamps and selects background music for the day. Reading from the blurb…
JENNA
“…Perfect for a massage and a glass of wine.”
(Chuckles to herself)
We’ll see.
After a brief moment of music, we hear SID clatter up the stairs. HE enters sporting a much-wrinkled trench coat draped over his shoulders, and heads straight to the coat tree. Like JENNA, HE too wears a sweater and slacks.
SID
L.A. in the rain. Uch! Nasty! I’m making coffee. Want tea?
JENNA
(Lifts her cup to him)
Chai Latte. Thanks. There’s half a scone for you–the bag’s on the counter.
At the coffee machine, SID checks the water level and inserts a pod.
SID
Much appreciated.
(Refers to the music selection)
That a zither?
JENNA
Could be a Theremin or a synthesizer. Music From the Pleiades. Just found it on Spotify, looking for something stellar.
SID
Cute.
JENNA
You know you’ll spoil that coat hanging it on a coat tree. Why not roll it up and throw it on the floor in the corner? So wrinkled, it looks like it’s been living up somebody’s ass.
SID
To a worm in the horseradish, the horseradish is the world. In fact, Jenna, it thrives rumpled in a ball in the trunk of my tiny ten-year old SLK convertible. When the top’s down, there’s barely enough room for a lady’s skimpy black negligee and two toothbrushes.
JENNA
TMI!
SID chews on the scone, waits for the coffee to finish, adds cream and sugar, warms his hands on the cup and then extends it toward JENNA.
SID
Here’s to us and a productive day.
JENNA
(Acknowledging the toast)
You book the tickets?
SID
Expedia. Five hundred thirty-three bucks a piece, round trip. Next Wednesday morning. American out of LAX, 10:45. A stop-over in Dallas, connecting to another flight to Midland/Odessa, arriving 5:45 p.m. Whereupon, we get into a Hertz mini SUV–$400–and drive south three hours or so, getting us into Marfa in time for a late dinner burrito and our first night’s watch. Almost nine hours, if everything goes without a hitch. Returning Monday, United–
JENNA
(Interrupting)
–Send me an email.
SID
Lest you forget the day we get back, there’s still another lunch meeting with the Network.
JENNA
I did forget. Bit of a squeeze.
SID
Fifteen hundred dollars on my credit card to look at stars in the sky.
JENNA
Uh-uh. Mystery Lights!
SID
Thought we’d even out the bill with you picking up the hotel, food and gas. Then charge the whole thing off when–if the play sells.
JENNA
Not “sells”…”is produced!” And what you mean “if” Kimosabe?
SHE makes a noise with her straw.
By the way, was she pissed?
SID
Who?
JENNA
Your cocktail date. We worked really late.
SID
I called her, rescheduled for ten. And there she was! Attractive plastic. Another blonde right out of Central Casting. I swear her hair wouldn’t blow in a gale. Over-flowing boobs framed by a too tight white pant suit came in a package called “Feather O”–short for O’Malley. She ordered a frozen blini* or whatever the hell was the drink-of-the-day. I gulped down a scotch. We spoke. She said absolutely nothing that meant anything. I thanked her and took her home. Thirty-five minutes on the clock. I was in my bed by eleven. I don’t wanna do this anymore. There has to be something better.
JENNA
Sorry.
SID
I must be getting old. I-I think I’m hooked on Molly–
He makes a second coffee.
She walks, talks, thinks and believes in tomorrow. Is it transference when you fall for a character you’ve created?
JENNA
Fantasy. A-cute fantasy. Careful, Sid, could be terminal!
SID
(Takes in JENNA’s play on words)
That supposed to be funny? Hmmm.
(Then)
Where we staying?
JENNA
The Marfa Inn.
_____________________________________________________________
*SID confuses Bellini, a drink, with blini, a pancake.
SID
Original…
JENNA
It’s a two bedroom casita. Including breakfast, $250 a night. The owner and I spoke on the phone–she’s been there forever, knows all the local lore, the museum scene, told me about some famous minimalist artist who lives there, name of Donald Judd, whatever–
JENNA puts herself on the sofa near where SHE left her crochet bag.
SID
(Calculating on his yellow pad)
Let’s see…five nights at $250…puts us up at around 2750 bucks, not counting food. Shit! All in the name of research!
Now on his second cup, acknow-ledging the coffee machine.
Smartest thing we could’ve done–this little coffee maker.
JENNA
(Interrupting)
Sid, how would you view my husband joining us?
SID
(Clearly not thrilled)
Marty with us in Marfa? We’ll need another ticket.
JENNA
I already told him no. We had one of the worst rows of our marriage.
SID
Jealous?
JENNA
I guess. He didn’t say but brought up everything that’s ever gone wrong in all the years we’re together. We’re a comfortable habit. Jealousy’s exciting
SID
How long, Jenna?
JENNA
Twenty years, going on forever.
SID
I can’t imagine. You bored?
JENNA
Sometimes. Then what we do…how we…you and I work together–makes it okay.
SID
Isn’t that what Molly tells Simon?
JENNA
I wrote the lines.
(Beat)
Marty and I have inadvertently switched over to “companionship.” Good company with fucking privileges. You and I…we play…it’s fun–the days are about Jenna and Sid.
SID
What do you want to do about that?
JENNA
Nothing. Too scary! Very hooey, looey.
SID
Donald Duck’s bare-assed nephews?
JENNA
(Laughing)
That’s Huey, Dewey and Louie.
(Then)
Let’s get to the play.
SHE goes to the computer.Sid removes his sweater, replaces it with a T-shirt, grabs a towel and before mounting his Exercycle,
looks for his yellow pad and Post-Its.
SID
So, we’re back at Simon’s for the group thing. More insight–answers to questions from the night before. Nice ’n easy set-up.
JENNA
…? Or?
SID
Is there a problem? She does something stupid?
JENNA
Who knows?
SHE looks back at the previous day’s writing.
Here it is: Simon says, “Time and dreams often clarify a healing.”
(Beat)
ACT II opens…Molly’s In Marfa…what you wanted.
SID
But not necessarily to have sex with the two old gay coots?–to fulfill some kind of long-held fantasy?
JENNA
You’re green-eyed?
SID gives her a dirty look, then does a few stretches, parks himself on the bike and begins pedaling slowly.
SID
How does she find them?
JENNA
Gavyn’s a sculptor–he’ll have a website. We need to give him a last name. Also, from what I’ve gleaned, the town’s an art fest. Presumably, everyone knows everyone else.
JENNA (CONT)
Don’t forget about Rand either–probably give up hair dressing by now.
SID
It’s been years…
JENNA
Why do you think she never heard from them beyond their address?
SID
Complete change of life style. One day melted into another. They belong here–it’s become their world.
HE stops pedaling.
Is Simon with her?
JENNA
I like Simon but it works better if she’s alone.
SID
We done with him, Jenna?
JENNA
…
(Beat)
Do you expect we may all have Guides but don’t know how to tune them in?
SID
For real?
(Changing the subject)
Sorry about your fight with Marty–he’s an okay guy–a mensch.
JENNA
Yep. And a great Dad.
SID
I’m excited to get there.
JENNA
So am I.
SID
By the way, I almost forgot, inside my coat sleeve is bunch of flowers. Don’t make a big deal! They’re from Trader Joe’s.
JENNA goes to the coat tree and removes the cellophane wrapped flowers from inside the coat sleeve. SHE finds a vase, fills it with water, arranges the flowers and puts it on her desk. SHE resumes sitting at her computer.
JENNA
You shouldn’t have.
SID
Got that right.
JENNA
Need to learn to simply say, “You’re welcome.”
A resounding clap of thunder immediately followed by lightening.
Wow! Listen to it…Loud!
SID
Too close. I hate storms–why I don’t live in Texas.
JENNA
Really? The complete unvarnished truth?
SID
Shall we begin?
Another startling round of thunder and lightning.
JENNA
Dammit all. I hope we don’t lose the lights.
AND THE LIGHTS FLICKER AS THE STAGE GOES DARK.
END Scene 5
—–
INTERMISSION
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Danielle – Act 1 outline scene additions
What I learned doing this assignment is adding in scenes to my outline while still working on writing the actual script. I’m still putting it together. In the meantime, I’ve added additional scenes to my outline for Act 1.
EXT. APARTMENT – DAY
Beginning: Protagonist Tina smiles and opens her front door for her boyfriend who is standing in her doorway carrying a box of his belongings. There’s a moving truck outside. They kiss and he comes in. Her two children wave at him. Tina does a voiceover introducing who this man is.
Middle: Montages of this boyfriend constantly on the couch playing video games and watching TV as Tina leaves/returns from work. Tina opens the door and throws the box of his belongings out of her apartment. She throws him out of the apartment. Her two children wave goodbye at him. Tina does a voiceover explaining his freeloading ways and why she threw him out.
End: Quick one by one montages of Tina smiling and opening her front door to other boyfriends (shown one at a time). Each one carries a box of belongings as the moving truck is seen in the background. Her children wave at each man. We see each man’s flaw that angers Tina. More one by one montages of these men getting kicked out of her apartment just like the first boyfriend. The children wave goodbye in each montage to each man. Tina’s voiceover explaining what happened & how discouraged she feels.
Turning Point: After a dysfunctional pattern Tina is alone, her greatest fear. She wants to find another love interest.
INT. CHURCH – DAY
Beginning: Tina sings a beautiful hymn in front of the congregation. Everyone feels the song with strong emotions, except for a woman in the front looking at Tina in disgust while everyone else is applauding.
Middle: Tina meets eyes with the woman, and they give one another mean looks while everyone else is praising.
End: During the sermon, Tina is on her cell phone conversing with men on a dating website.
INT. CHURCH, WOMENS RESTROOM – LATER
Beginning: Tina primps herself in front of the mirror and the woman from before who glared at her with disgust comes out of the stall. There’s a moment of awkward silence.
Middle: The woman gives Tina a bitter prophecy about her lifestyle and leaves the bathroom.
End: Tina is offended. Tina’s friends enter the bathroom, and she tells them what happened.
Turning point: The prophecy has Tina thinking about her life. Tina’s a little frightened but is still determined to find another man.
EXT. RESTAURANT – LATER
Tina and her friends talk at a restaurant about their love lives. One friend is a lot like Tina. The other has changed her life for the better.
INT. TINA’S MOTHER’S HOUSE – DAY
Tina visits her mother in hopes she’ll watch the kids while she has a date with someone she met online. There’s unsettling dialogue between them showing a painful past. Her mother doesn’t approve of Tina’s lifestyle today. Tina leaves. Her mother prays for Tina and her grandchildren.
INT. CLUB – NIGHT
Tina meets with a man she met online. He’s not interested in a woman with kids, and he’s checking out the younger women while taking with Tina. As she talks about herself, he’s making eyes at the other ladies, so she leaves. She’s a little discouraged.
INT. CHURCH – DAY
Beginning: Barry, well dressed, intensely scopes out the children playing in Sunday school. He blends in with the other parents, but stares at the little girls… especially Tina’s daughter. Tina heads to the choir room to get a microphone and Barry catches her eye on the way. She’s attracted to him and introduces herself. She asks if his child is in the Sunday school, he says no and wanted to talk to someone about teaching Sunday school. Tina introduces him to one of the teachers who says they’re not looking to bring another teacher on board at this time.
Middle: Barry and Tina continue to talk. He says he’s new to the church and was invited by a friend. They get more acquainted. Tina suggests he join the church. Barry says he will only if she goes out with him. Flattered, she agrees.
End: When Tina’s not looking Barry quickly takes a picture of her daughter on his cell phone and sneaks out of the church.
Turning Point: Tina is going out with Barry not knowing his attraction towards her own daughter.
EXT. AMUSEMENT PARK – DAY
Beginning: Montages of Barry, Tina and her kids having a great time at an amusement park.
Middle: Montages of Barry taking Tina’s kids to school, being romantic with Tina and fixing up her home.
End: Montages of Barry, Tina and the kids having dinner together, playing video games and looking like a happy family. Barry moves in.
Turning Point: Tina is taking another risk, but this time with a man who really seems like the right one for her this time.
INT. TINA’S APARTMENT – NIGHT
Beginning: Tina walks in and sees Barry sitting on the couch playing video games with her kids. She tells Barry she went to the elementary school he said he works at and was told that he doesn’t work there. She demands an explanation. Barry plays it cool in front of the kids and casually asks where’s her trust in him. Tina responds with where’s the truth and wonders why he lied about his work.
Middle: Barry ignores her and continues playing the video game. Tina turns it off. Her kids gripe. Barry keeps his composure. She tells the kids to go next door to their neighbor’s apartment for a few minutes. When the kids leave, Barry strikes her across the face and tells her to never question his whereabouts again.
End (INCITING INCIDENT): Barry apologizes with an engagement ring. He puts it on Tina’s finger.
Turning Point: Although she was just hit, she’s now engaged. She’s in this bad relationship that will only get worse.
-
M.M.’s Finished Act 1
What I learned doing this assignment is to continue to use the high speed writing rules and be satisfied with a 20% (or a little more) draft of Act I.
JUNE, 6 MONTHS FROM NOW
EXT. PRO BASEBALL STADIUM – NIGHT
The stadium is filled with screaming fans. First game of the season! MLB Icon Matt Morrison’s son Luke is starting pitcher. High hopes that this farm team game will spearhead a winning streak.
EXT. SEATING BEHIND HOME PLATE – NIGHT
Bella watches her good friend preparing to pitch on the mound. She is visibly pregnant, wearing her monogrammed All-American baseball jersey.
EXT. INTERCUT MOUND/HOME PLATE – NIGHT
Luke warms up with his catcher, tossing and returning.
EXT. OUTFIELD – NIGHT
Outfielders get in position.
EXT. HOME PLATE – NIGHT
The first hitter takes his place and nods.
EXT. MOUND – NIGHT
Luke winds up. “First pitch of the rest of my life in MLB. No pressure here,” Luke mutters to himself. No problem. He blasts out a sizzling fastball.
EXT. HOME PLATE – NIGHT
WHIZ! The ball flies by the batter into the catcher’s glove.
“Strike one!” The ump makes the call.
Bella claps with excitement behind the plate with the VIP’s.
EXT. MOUND – NIGHT
Luke is excited. His first strike on his first pitch in his first game on an MLB farm team.
EXT. STANDS – NIGHT
Out of nowhere, a shot rings out.
Pandemonium!
The fans scatter, screaming and blocking all the exits as they push their way to safety.
EXT. FIELD – NIGHT
More shots ring out onto the field as players, coaches and umpires rush to dugouts and the building for safety.
Stadium security calls for police back-up while trying to locate the point of the shots. They finally spy a lone shooter, male, tall, and packing.
Bella scurries as fast as she can toward the dugout as a bullet whizzes by her.
Luke rushes toward her, just as POW! A bullet hits him in the leg.
EXT./INT. DUGOUT – NIGHT
Luke helps Bella join his teammates in the dugout. He opens his bag to find two concealed carries.
Luke gives Bella a determined look and peers out of the dugout with his trusty Glock.
BANG! BANG! Two shots, but who shot whom?
JANUARY, PRESENT DAY
EXT. COLLEGE BASEBALL FIELD – DAY
It’s college spring baseball tryouts. Coach Matt Morrison talks to the hopefuls sitting in the stands. He explains the rules of how tryouts will be run.
EXT. BASEBALL STANDS – DAY
Pitchers Bella and Luke sit with their group in the special “reserved” section for seniors.
The stands are filled with players, many of them wanna-be’s, anxious for some pearls of wisdom from MLB icon Coach Matt Morrison.
Luke and Bella chat. They’ve heard it all before – the Coach is Luke’s dad.
A to-die-for handsome dude saunters in and takes a seat below the group of seniors. He scans the place – who’s the cute girl? He nods to Bella.
Bella is taken aback. She knows him – Emilio Cruz. Hasn’t seen him in 5 years since they played on opposing baseball teams back in San Juan. She always had a secret crush on him but he didn’t give her the time of day. Maybe today will be different?
Emilio looks back up at Bella. She seems his glimmer of recognition, or is it just his playboy ways? He winks and points to the seat next to him. It’s all about control with him. Especially control over women.
PLACEHOLDER (backstory): Emilio was the star catcher in Puerto Rico – All-National team, every baseball award you could win. The ones he didn’t actually win were bought by his filthy rich parents. His mom’s family owns a multi-generational internationally-known rum factory. They decided to move with him to Georgia to help him get drafted into MLB. Their only child and son deserves his dream come true.
Emilio watches Bella walk down the steps to meet him, smiling at him. He chuckles to himself. His motto is “when a girl smiles at you, she’s already in your bed.”
Bella takes the seat next to him. Emilio smiles – perfect teeth. He brushes his jet black hair back – perfect hair. He waits to let her talk. She doesn’t want to tell him who she is so asks him about himself. What position do you play? From then on, Emilio dominated the conversation. “Catcher. And a really strong one. Made the All-Star team in Puerto Rico.”
Bella smiles. She may not have much experience with men but she does with baseball players. They love to talk about themselves.
Emilio is intrigued and asks her out — not for any particular day, just to see what she’ll say. “Want to go out with me?”
“Sure” she says. Then she asks him about the All-Star team. He beams and rattles on nonstop.
EXT. BASEBALL FIELD – DAY
Coach Matt calls the student hopefuls onto the field to begin the tryouts.
EXT. BASEBALL STANDS – DAY
Emilio excuses himself to Bella. He saunters down the stadium steps with his lanky legs.
Bella hurries to catch up with him.
Emilio turns back to see her. Surprise on his fact. She plays, too? A girl on a college team? Wait a minute – is she the one from San Juan that pitched against him?
EXT BASEBALL FIELD – EXT.
All the hopefuls line up on the field by position. Coach Matt and his assistant coaches start the exercises.
Tryouts begin.
EXT. BASEBALL FIELD PARKING LOT – NIGHT
Bella, Emilio and Luke walk out of baseball tryouts together, exhausted but happy. Each made the team.
Bella congratulates Emilio on his superb catching to her pitching.
He puts his arm around her and says they make a great team.
Luke knows he’s a third wheel and splits off in a different direction and says he’s got to call his on-again girlfriend Mia. Bella asks him to tell her hi for her.
Bella tells Emilio she’ll see him in practice but he steers Bella to his car, a shiny new convertible. He asks her if she wants to go with him to grab a burger.
She beams and accepts. She stands by the door waiting for him to open it. He ignores it then says to hop in. She shrugs and gets in.
As Emilio drives off, he tells her he doesn’t even know her name.
Bella stares at him in shock. He doesn’t remember her? They played on opposing baseball teams in San Juan. She keeps it to herself and tells him her name.
He says it sounds familiar.
She keeps it to herself, wondering if she should tell. But she’s still excited to be on a date with him!
INT. UPSCALE WOMEN’S BOUTIQUE – DAY
Bella meets up with Mia, her sort of BFF at college after Mia apologized for being a mean girl to her in high school. After all, Bella is a baseball star and Mia loves to bask in that limelight.
Bella asked to meet with Mia for some romantic advice. Mia has money to burn and asks Bella to carry a load of clothes to the dressing room.
Bella asks how Mia and Luke are getting on and Mia says great but she’s bored because all Luke wants to do is study and play baseball.
Mia asks Bella about the interesting man she’s met that she wanted to talk about.
Bella mentions a new baseball player who transferred in this semester; doesn’t mention his name.
Self-absorbed Mia half listens while trying on clothes, darting out for Bella’s required approval then changing into a new outfit.
Bella finally says his name is Emilio Cruz.
Mia jumps out of the dressing room. Mia says he’s the hottest guy in her Art History class, a cinch class that C students take for the credit hours. She’s been trying to get his attention with no luck.
Bella casually mentions they’ve known each other for years back in Puerto Rico and played baseball for different schools.
Mia lights up and asks for an introduction.
Bella says they’ve already had a date and he asked her out again for the weekend.
Mia pouts and goes back to trying on clothes.
As Mia pays the expensive tab for all her clothes and loads Bella down with bags and boxes, Bella says she really likes Emilio and with all their things in common, she sees him as husband material.
EXT. STREET – DAY
Mia piles her purchases into her car parked in front of the boutique. She gives Bella some last-minute advice.
“Play hard to get and let him go out with other girls. Then he’ll miss you and come back begging to be exclusive with you.”
Bella is worried. “But I really like him. I don’t want to chase him away. I think he likes me too.”
Mia says, ‘That’s the point. You don’t have enough experience to know a guy like Emilio. He’ll rush you hard then break your heart.”
Bella says they have a lot in common, from their old hometown to their culture and language and moving to the U.S. and playing baseball.
Mia says if she wants him long-term she has to let him spread his wings now. Mia then offers generously to go out with him to help Bella.
Bella ask if Luke would mind and Mia says he won’t know and if he knows, he won’t care.
Besides Mia sees Emilio with a different girl after every class so he’s clearly a player. Bella agrees to introduce them, then bites her lip, realizing she made a big mistake.
INT. COLLEGE DORM DINING ROOM – DAY
Mia meets Bella on the pretext of giving Bella more advice on men. Bella is all ears, waiting for advice to make Emilio more interested in her.
Mia convinces Bella the best plan is to introduce Emilio to her “to make him jealous.”
Bella balks because she really likes him and doesn’t want to push him away. She is also concerned that if Mia starts seeing Emilio, she will hurt her good friend Luke, who is Mia’s boyfriend.
Mia assures her Luke is too busy and won’t know anything.
Bella is inexperienced with men and trusts worldly Mia, so she agrees to go ahead with the plan after Mia’s class.
EXT. COLLEGE CLASSROOM – DAY
Bella waits outside Mia’s Art History classroom for the class to end. Students come and go. Bella gets a phone call.
Bella answers it. It’s Luke.
As they talk, Bella feels a tap on the shoulder. Luke hangs up the phone and continues their conversation in person.
Bella learns he is there to surprise Mia since he’s been too busy with practice and games lately. He wants to show her he cares. Bella feels guilty about the plan.
The classroom door opens. Mia walks out a few students ahead of Emilio. She spies Bella and smiles.
Then Mia sees Luke and her face drops, motioning to Bella to cancel the plan.
But Bella is still engrossed in a laughing conversation with Luke. She doesn’t see Emilio walk out into the hall.
Emilio is focused on Luke and Bella laughing. He doesn’t like it.
Bella introduces Emilio to Mia. He barely nods at her.
Mia is humiliated in front of Bella, who doesn’t even notice.
Emilio links arms with Bella, takes charge and says he’s taking her to one of his favorite places. Mia is crushed.
Luke puts his arm around Mia, not noticing her disappointment. Luke suggests a double date at the local malt shop.
Emilio abruptly cuts him off and says he has something special planned for Bella.
Bella, oblivious to the emotions raging among the others, waves happily to Luke and Mia as she walks off with Emilio, his head close to hers as he whispers sweet nothings in her ear. Bella adores him already.
-
Carol Dougherty’s Finished First Act 1
What I learned doing this assignment: It’s hard not to stop and fix things when I see them, but if I do that every time, there’s no way I’d get this done at all. What I can also see is that there is a lot of editing and transitions between scenes that I need to do. This is a first draft, but it’s hard to let it go as is.
Outlines (in order):
Sam scene:
BEGINNING: Sam surprises Pen in her dressing room.
MIDDLE: Sam explains he won’t be around for a while because of his wife. Pen wonders if his wife is really okay with the open relationship. Pen wants to get to the party to see the woman from the audience.
END: Sam takes off to go to wife, Pen ready to go find her.
Sebastian scene:
BEGINNING: Sebastian shows up, frustrating her search for the woman, and tells her he needs to play Viola in the next season.
MIDDLE: She doesn’t want to play Viola and they argue. He suggests he could dock her pay and/or cast someone else if she refuses.
END: She kicks him out.
Terry & Pen relaxing scene:
BEGINNING: They are at Terry’s, and she asks him how he sees Viola.
MIDDLE: She agrees Kate can stay at the third cottage for the summer. Pen worried about Terry’s cough, he’s worried about her failed fling with Peter.
END: They part affectionately.
Terry’s Party scenes (continuous):
Pen and Kate:
BEGINNING: Pen joins Kate at the party.
MIDDLE: Pen flirts with Kate, who responds.
END: Terry interrupts them, furious with Pen.
Pen and Terry scene:
BEGINNING: Terry livid with Pen, disproportionately
MIDDLE: Pen gets him to admit Kate reminds him of his late sister, Danni, which is why he’s so protective. She agrees to behave.
END: Sebastian shows up and they go rejoin the party.
Kate and Sebastian scene:
BEGINNING: Sebastian joins Kate at the piano.
MIDDLE: Sebastian and Kate discuss Shakespeare and Kate holds her own with him.
END: Sebastian invites Kate to rehearsal and Pen is shocked.
Rehearsal scene:
BEGINNING: Pen enters alone – prepares for rehearsal by doing yoga stretches.
MIDDLE: The read-through. Kate loves watching and learning. Pen and Sebastian talk, and he apologizes for what he said in her dressing room last season.
END: Pen relaxes after the talk with Sebastian and gets distracted by Kate.
Kate invites Pen to picnic scene:
BEGINNING: Pen working in her garden and Kate comes out playing a flute.
MIDDLE: Kate explains the flute playing, invites Pen to go on a picnic in a rowboat on the lake.
END: Pen accepts Kate’s invitation.
Complete Act 1:
INT. ONSTAGE – NIGHT
It is the final scene of the opening night of Antony and Cleopatra. The theatre is packed with critics, donors, board members, friends and family. PENELOPE PARRISH (known to most as PEN) is about to die onstage. By this time, the gold lamé of her costume is clammy with sweat against her skin, the weight of its jewel-encrusted glitter akin to wearing a gown made of chain mail. As strong as her yoga-disciplined body is, she is exhausted at this point in the play.
PEN (AS CLEOPATRA)
As sweet as balm, as soft as air, as gentle –
O Antony! – Nay, I will take thee too.
Applies another asp to her arm. She suddenly catches a glimpse of a face in the audience that reminds her of her first love, dead fifteen years ago. She hides her shock and says her final line.
What should I stay –
Cleopatra dies – The sounds of the other characters and their dialogue in the final moments of the play are muted – Pen collapses as if dead while trying to get another look at the woman in the audience but from the floor she can’t see well enough.
PETER (AS CAESAR)
Our army shall in solemn show attend this funeral,
And then to Rome. Come, Dolabella, see
High order in this great solemnity.
Lights dim, theatre darkens. There is a roar of applause and cheering.
TERRY
Pen?
In the dark, he helps her to her feet, and they move backstage for the curtain call. The lights come up and the company does its curtain call, building to Pen and Terry coming out together as Antony and Cleopatra. The crowd is on its feet, the applause louder than ever. Pen and Terry bow together as she tries to glance through the audience to find the woman who reminded her of Danni.
Terry leads her forward for her to take a solo curtain call and she curtsies almost to the floor, nod and smiles at board members and donors she recognizes.
A head tilted in a certain way catches her attention and she looks closer. It is the woman she’d seen before. She confirms it is not Danni and hides the disappointment that crushed her wild hope for a miracle.
The woman catches her staring and returns the stare, lifting her chin at Pen’s scrutiny. Pen moved as if to leave the stage and Terry grabs her hand, holding her.
TERRY
Where are you going? They’re bringing your roses, brat!
Pen goes through the presentation with grace, hiding her impatience. Finally, they take one more bow and the entire company leaves the stage.
INT. BACKSTAGE – NIGHT
Terry sweeps Pen into a bear hug.
TERRY
Nice job, brat.
PEN
Thanks Terry, you were wonderful, too.
(cuts off more talk)
We can talk later. See you at the party.
Pen hurries down the hall to her dressing room as fast as her costume will allow.
INT. PEN’S DRESSING ROOM – NIGHT
Pen enters the dressing room and removes her headpiece and puts it on the makeup table. On her way to the shower, she peels off the top half of the costume and lets it fall. With a practiced twist, the bottom half drops to the floor.
By the time Pen exits the bathroom her costume has disappeared. A sleek, black jumpsuit hangs on the rack and Pen sheds the robe and puts on the jumpsuit.
A hard rap on the door startles her as she struggles into her shoes. The door crashes open and
SAM’S towering frame fills the doorway.
His curly black hair clings tight to a head and body that looks like an Italian Renaissance sculpture. He speaks to everyone as if he is at a board meeting, voice robust and persuasive.
SAM
Surprise! The bad penny shows up to see the good Penny.
Pen pastes on a smile at the oft-repeated joke and moves toward him. He lifts her off her feet into a hearty kiss, which she returns along with a fond embrace.
I’m sending some of my horses out to the farm from the track after the Breeder’s Cup this fall. Shouldn’t be in your way – Molly will take care of them.
PEN
It’s your farm Sam. Is that why you’re here? You said you couldn’t make the opening.
SAM
(sheepish)
I, uh, didn’t see the show. I got in just a few minutes ago.
PEN
(steps back)
What’s going on?
SAM
Nothing, really. I wanted to see you in person instead of telling you on the phone.
PEN
Try again.
Sam reaches for her, and she slips out of his grasp.
Oh no you don’t. You’ll tell me what’s going on before there will be any more of that.
Anger darkens his face and Pen goes back to him and lays one hand on his chest.
Sam, I can see something’s wrong. Please tell me.
His anger dissolves, the hangdog expression returns.
SAM
It’s my wife. She’s heard about you. Not you specifically, at least, I don’t think so. Just that there’s someone else.
PEN
I thought you told me she knew about your – outside interests.
SAM
She does. For some reason, this time she’s asking questions. I may not be able to come around for a while. If her family’s lawyer gets wind of trouble and pulls her money out of the mix, my finances could get messy.
PEN
(lets out a breath)
You do whatever you need to do. I’ll be fine.
SAM
I wish I weren’t so sure of that.
PEN
You wouldn’t want me hanging around your neck, would you?
SAM
(a broad smile lightens his scowl)
Much as I might enjoy it, I can’t say it would be very convenient.
PEN
Why don’t you go out and get a drink with Terry?
Pen draws him toward the door, and he resists.
Better yet, why don’t you go straight home to Chicago and take care of your family business. No sense getting your wife upset when you can avoid it.
Sam relaxes and nods decisively. After a swift, hard kiss he strides out the door.
Pen looks around for her shoes when there is another knock on the door. She flings it open.
It is SEBASTIAN, the artistic director of the theatre and director of the play. He has an incredible mind housed in a lean, compact frame that makes him look like a Formula One driver ready to leap into his race care and roar through a few laps at Le Mans.
His meticulous appearance, from his blend of Asian and Native American features to his ever-present immaculate white shirts and pressed khakis, masks a ferocious intelligence. The English accent that comes out of him startles people, along with the jet-black hair that falls to his shoulders and a face impossible to read.
SEBASTIAN
Good evening, Penelope.
PEN
Sebastian.
She brings a gilt chair over and offers him a seat, then perches on the edge of her chaise lounge. He studies Pen for a few seconds, then nods.
SEBASTIAN
It is essential that you play Viola next season, Penelope.
PEN
(stiffens her back and lifts her chin)
You’re mad. I told you last week, I’ve never been able to make heads or tails of her.
SEBASTIAN
Then this is your opportunity. That’s why you came over from London to the States, isn’t it? To play all of the great parts?
PEN
Yes, but Viola isn’t a great part. It’s an unplayable part. She makes no sense at all as a character. Why couldn’t I play Rosalind if you want a comedy. I understand her, what makes her tick.
SEBASTIAN
It’s not an unplayable part. Actors and actresses have been paying Viola since the first Elizabeth was on the throne. I’m putting together an entire season, not simply one play. Twelfth Night works, As You Like It doesn’t. Players Repertory Theatre is meant to challenge you, not coddle you.
PEN
(glaring)
Viola is a total prat. A wimp. How can I go from Cleopatra to that?
SEBASTIAN
If you see her as a prat, it’s because you haven’t looked beneath the surface.
PEN
Nonsense. She moons around after Orsino, moans about her brother, and doesn’t have the mettle to stand up for what she wants.
SEBASTIAN
Unlike you.
PEN
Yes. Unlike me.
Sebastian raises an eyebrow at her. Pen refuses to be cowed.
It won’t be the box office draw you need.
SEBASTIAN
Are you saying you can’t do it well enough to bring in the crowds?
PEN
(sits very straight)
No, I’m not.
SEBASTIAN
Then what?
PEN
It isn’t a good play. Not all Shakespeare –
SEBASTIAN
I beg to differ. However, if you don’t feel able to play it –
PEN
I didn’t say that. I can play anything – haven’t I proved that the last two nights? Dryden’s All for Love one night followed by Shakespeare’s Antony and Cleopatra the next, with insane audience and critical response both nights. What more do you want?
SEBASTIAN
(leans forward)
Is Cleopatra a difficult part for you in either play? Did the either version of her make you stretch?
Pen wants to argue but can’t, because she knows he’s right.
SEBASTIAN
Are you demanding a comfortable little theatre where you can play the same limited repertoire of familiar roles for the next twenty or thirty years?
PEN
Of course not.
SEBASTIAN
That’s what it sounds as if you want. To recycle parts you’ve already played and avoid testing yourself with what is difficult.
(he pauses)
You did sign a contract Penelope, which runs for several years yet.
PEN
A contract which allows me to refuse a role I don’t want to play.
SEBASTIAN
Yes. And should you exercise that option, it also allows me to reduce your salary at my discretion.
PEN
I don’t care about the money.
SEBASTIAN
No, I don’t suppose you do.
(leans back)
Very well, then. I can always ask Cassandra to play Viola.
PEN
Sandy?
SEBASTIAN
She’s never turned down a part she’s been offered. Perhaps you’re not up to the demands of acting in a repertory theatre.
A brief moment flashes through Pen’s memory of her father looking down her five-year old self, shaking his head. Little Penny, perhaps you’re just not up to acting. She glares at Sebastian.
PEN
Get the hell out of here.
She clenches her fists and is suddenly looming over him.
PEN
How dare you come here and question my commitment after the performance I gave tonight?
SEBASTIAN
Your performance tonight was magnificent. You don’t need me to tell you that.
Pen stalks to the door and throws it open.
PEN
Get out, you son of a bitch. I don’t care who you ask to play what. Just get out.
Sebastian stands, goes to the door and meets her eyes.
SEBASTIAN
You haven’t asked what else you’d be playing in the season.
PEN
Don’t tell me – Medea?
SEBASTIAN
No, though it’s an intriguing possibility. I wanted you and Terence to do a new production of Private Lives.
PEN
You’re joking.
SEBASTIAN
Amanda and Viola have a lot in common.
(his lips twitch)
It would have been fascinating to see what you made of that. Too bad.
Sebastian slips out the door and pulls it closed behind him. Pen drops onto the gilt chair, trembling with rage. She puts on one of the shoes lying beside the chair, then picks up the other and whips it at the door. Someone knocks.
PEN
Damn!
She gets up, hobbles over on one shoe to pick up the other and wrenches the door open with a snarl.
What do you – ?
It is the woman from the audience, whose face is alight with a smile. Their eyes lock. Pen feels light-headed.
The shoe drops from her fingers and, suddenly free, her hand seeks the hand of the young woman, who doesn’t pull away. When Pen backs into the room, she follows without protest.
Pen sees an open, ingenuous countenance, with an ardent spark that glimmers in her eyes. Her smile fades, remembering Pen’s angry tone, though she doesn’t back away.
The fingertips of Pen’s free hand stretch up to her face to trace the beckoning curve of a cheek. Her eyes are clear and candid as they meet Pen’s, with no flirtation or mockery in her gaze.
Her face is framed by hair that is dark and thick, cut in a comfortable style rather than a modish one. Clothing too, is appropriate for an opening night, but understated. No one would look twice as she passed. She isn’t beautiful, yet the total picture is charming.
When she looks closer, Pen sees a shade of awkwardness in the tilt of her head, the uncertainty that just misses being gauche. There is also a hint of steel in the straightness of her back, a suggestion of inner strength that puts Pen on her guard. And there is a gravity in the young woman’s expression that indicates experience of the dark and coming through it.
Pen’s thumb brushes against the softness of her lips. Pen swallows, draws her closer, and the woman’s eyes widen.
TERRY
(From the hall)
Pen?
Pen drops her hand, and they move apart. Pen puts the chair between them, and they turn to face the open door. Terry appears in the door frame.
Women love him, for all the good it does them. He is handsome, with cropped dark blond hair and snapping brown eyes. His body seems coiled, as if ready for the hero inside to spring into action.
Everything all right, Pen? They’re looking for you at the party.
He recognizes the other woman and his face lights up.
Oh good, you’ve met.
UNKNOWN VOICE OUTSIDE
Terry, they need you!
TERRY
Sorry, I’ll be right back.
Pen tugs her shoe off so both feet are free and picks up the one on the floor.
PEN
Please sit down.
She gestures toward the chair and sits on the chaise lounge.
I’m sure Terry would have introduced us eventually.
KATE
My name is Kate. Kate Finnegan.
PEN
Lovely to meet you, Kate Finnegan.
Terry bounds into the room.
TERRY
Sorry Kate, Pen. Have you introduced yourselves?
With a grin at Kate, he sits next to Pen on the chaise lounge and gives her a hug.
PEN
Yes, we have.
He picks up her shoe from the floor and hands it to her.
TERRY
You must finish dressing before you can join the party,
brat. Is that what kept you?
PEN
No Sebastian came to see me.
TERRY
What did Sebastian want?
He drops down to one knee and slips the shoes on her feet. With a pat on her knee, he moved back to the chaise.
Now you’re ready.
PEN
Sebastian wanted to talk about next season.
TERRY
I see.
PEN
Can’t you change his mind?
TERRY
Don’t you want to do Private Lives?
PEN
Of course. But Viola in Twelfth Night? It’s such a dull,
depressing part. She’s a silly little fool.
KATE
But Viola is wonderful! Her love for Orsino is so unselfish and noble.
Pen glares at her and Kate flushes and stops talking.
PEN
Are you the graduate student Terry’s been emailing?
KATE
Yes.
Pen looks at her for a long moment then turns to Terry.
PEN
Twelfth Night is different for you. What are you
playing? Malvolio? Toby?
TERRY
No.
PEN
Really? Feste, then?
Terry’s face reddens a little.
Oh, Terry, you aren’t playing Sir Andrew Aguecheek?
TERRY
Settle down, brat.
He gets up and paces around the dressing room, then turns to her with a grin.
You don’t think I’d make a good fop?
She stares in disbelief and his grin disappears.
No, I’m not playing Andrew. As it happens,
I’m playing Orsino.
PEN
You’re not serious?
TERRY
Completely. Sebastian asked what I wanted to play,
and I chose Orsino.
PEN
Terry, are you mad? Orsino is even more of a nothing
role than Viola. What can you be thinking?
Kate shifts in her chair and Terry catches her eye and shakes his head. Pen is shocked at how well they seem to know one another. Terry turns back to her.
TERRY
I’m not afraid of playing any part. And I always thought Viola would be more believable if she had an Orsino worth loving.
PEN
You can’t do that to yourself, Terry.
TERRY
Would you rather I wasn’t in it at all?
PEN
Don’t be an ass. I told Sebastian I wouldn’t do it.
And that’s not the point. We always act together.
We’ve been partners since mixed infants.
TERRY
Yes, and I’ve done parts without you. Maybe it’s
time for you to do the same.
PEN
Don’t be ridiculous. If you want to sacrifice yourself,
I’m not going to tell you that you can’t. But it’s mad.
Terry shrugs and goes to the door. He meets her glare with a steady look.
TERRY
Grow up, Pen. This is good for the company.
You are part of the company, even if you
hate to admit it. Act like it.
He opens the door and walks out, and Kate gets up to go with him. The door closes behind them and the click of the latch echoes in the room.
INT. TERRY’S LIVING ROOM – NIGHT
Three months after the opening night.
Pen is cozy in a wing-back chair with an afghan tucked around her. Terry is slouched on an overstuffed faux leather sofa with his yellow Labrador Retriever, Benedick (Ben), lying beside him, the dog’s head pillowed on Terry’s thigh. Ben’s sister, Beatrice (Trixie), is asleep in front of the stone fireplace which has burned down to red coals.
PEN
Tell me, Terry, why do you think Viola is such a wonderful part?
TERRY
You’ve always enjoyed masquerading as a young man onstage. Rosalind has always been one of your favorite parts.
(his fingers massage Ben’s soft ear)
Viola’s different from Rosalind, different from any of the other heroines Shakespeare wrote. She understands men better than she does women. Maybe from living with her father and brother for so long. She’s – gallant.
PEN
(disconcerted)
That doesn’t sound like you.
Terry gently pushes Ben’s head to one side and stands up. He puts another log on the coals without disturbing Trixie and adjusts it with a poker. Once he has a blaze going he turns to her with a grin.
TERRY
It’s true, those aren’t my words though I agree with them.
PEN
Did Sebastian say that?
TERRY
No, Pen.
He returns to the sofa, where Ben wakes long enough to nestle against him before returning to his nap.
That was Kate’s word – you remember Kate?
PEN
(plays it cool)
Ah yes, your little friend.
Terry’s lips tighten and he opens his mouth to speak. A sudden paroxysm of coughing cuts off his words.
That cough isn’t getting any better, Terry. And you look as if you’ve lost weight. Have you seen a doctor?
TERRY
Yes, mother, I have.
PEN
And?
TERRY
He prescribed time in the sun for me. Said I was overtired and run down.
PEN
Will you join me in Mexico then?
TERRY
No, a yoga retreat is too strenuous. I’ll spend a few weeks in Hawaii. Sebastian has a friend with an empty condo I can use, and he’ll take Ben and Trixie while I’m gone.
Pen scrutinizes him carefully.
– Pen, you’re not listening to me.
Terry and Ben both look at her, their heads cocked at an identical angle and Pen bursts out laughing.
PEN
Yes, my golden boys, what is it?
TERRY
I asked if you’d consider letting Kate use the third cottage for the season. She’d rent it.
PEN
Kate?
TERRY
Yes.
PEN
(shrugs)
That’s up to Sam. It’s his cottage.
TERRY
Don’t be difficult. He does what you ask him to do. Didn’t he keep the cottage empty the last three years so you and I could have peace and privacy on the farm?
PEN
Why is she coming?
TERRY
She wants to do her master’s thesis on one of our productions. That’s what she was here for on opening night – to talk with me about it and see what I thought. She has approval from her advisor, and I’ve mentioned it to Sebastian.
PEN
Why are you so concerned about taking care of Kate?
TERRY
What’s the matter with you, Pen? I’d like to help her out, that’s all.
Pen turns to gaze into the fire. Terry watches her as she thinks about it. She turns to him with a smile.
PEN
All right. Sam won’t mind if she stays in the cottage, and if you want her here, I’ve no objection.
(folds afghan and stands)
I must go. Sam will be calling soon.
TERRY
No Peter tonight?
PEN
No, that’s over.
TERRY
That relationship didn’t last long.
PEN
Relationship? With Peter?
Terry looks at her, concerned.
Don’t look like that. You know it was a short-term fling while Sam was busy. And Peter has no sense of humor.
TERRY
You have to work with him onstage.
PEN
No worries. I’m a professional.
(makes a serious face and they both crack up)
It’s all right, I’ll be nice to him.
Terry holds out a hand to her. She goes to him, takes his hand in both of hers and kisses him on the nose.
I love you, Terry.
TERRY
Goodnight, brat. Sure you’re all right?
PEN
Quite sure. Get a nice tan in Hawaii and think of me sweating in a headstand while you lie on the beach.
He releases her and and she goes.
EXT. THEATRE COMPANY ENTRANCE – DAY
Pen is walking up to the entrance and sees Kate in a discussion with STELLA, the dragon who guards the gates. Kate seemed to be pleading and Stella appeared unmoved. Pen pulls the door open and breezes in.
PEN
Good morning. We meet again, Kate. Is Stella taking care of you?
Kate jumps at Pen’s voice and turns.
STELLA
She says she has a meeting with Mr. Laurence.
KATE
I don’t say I have, I do.
Stella purses her lips, not impressed.
PEN
(sickeningly sweet)
You’re so good to all of us, Stella. Terry will be grateful for your kindness to his friend.
Stella takes another look at Katie, surprised.
I’ll take her to the green room and get her to Laurence’s office in plenty of time.
Pen grabs Kate’s hand and pulls her through the doors beside Stella’s desk while Stella struggles to get out of her chair in time to stop them.
INT. THEATRE HALLWAY – DAY
Pen whisks Kate halfway down the hall before collapsing against the wall in laughter.
PEN
Isn’t she a bitch?
KATE
(eyes bright with merriment)
Thank you. I don’t think she wanted to let me in.
PEN
Of course she didn’t.
Pen moves further down the hallway, Kate’s hand firmly in hers.
INT. GREEN ROOM – DAY
Pen and Kate enter from the hallway, Pen still pulling Kate by her hand. The Green Room is a gathering place/eating area for the company. A large opening into the kitchen provides a place to order food or drinks. At this hour, the two of them are the only ones there other than the man behind the counter.
JACKY is an African-American male with gray-streaked dreadlocks with enormous presence. He once shared a stage with Pen, and they are informal with one another.
PEN
We’ll have some coffee before your meeting with Laurence. Or would you prefer tea?
KATE
Coffee, thanks.
PEN
Coffee it is then.
Pen releases Kate’s hand and gestures toward a picture window overlooking a lake.
Why don’t we sit on that sofa by the window? You go over and I’ll bring your coffee. Cream, sugar?
KATE
Just black, thanks.
Pen watches her walk across the room. Kate is awkward and self-conscious, shifting her backpack from shoulder to hand as she walks.
JACKY
Planning to order today are you, Pen?
Pen turns to smile at him.
PEN
Sorry, Jacky. Two coffees, please.
She turns back to watch Kate, who glances over and blushes when she is caught looking.
JACKY
The cat’s away, eh?
He chuckles as he glances from Kate to Pen, who grins.
PEN
You know me too well, my friend.
JACKY
(In a grim tone)
I do, indeed.
Pen picks up the coffees and goes over to the sofa. Kate starts to get up but Pen puts one mug in front of her.
PEN
Stay where you are, I’ll join you.
She sits on the sofa, her body angled to face Kate.
What time is your meeting with Laurence?
KATE
Nine-thirty.
PEN
Wonderful. We have plenty of time to chat.
KATE
Thanks so much for the coffee and the help Penny, Penel- I mean, Ms. Parrish.
Kate gets more and more embarrassed with each version of Pen’s name.
PEN
Pen or Penny, please! Penelope is for playbills, contracts, and Sebastian. And Ms. Parrish is
much too formal for friends. I do hope we’re going to be friends, Kate.
KATE
(her face lights up)
Oh – yes, that would be great.
Pen studies her for a moment and Kate gets embarrassed again. Pen lays a hand on her arm.
PEN
I’m sorry, Kate, I’m making you uncomfortable. I wonder, do you mind if I call you Katie?
KATE
No. No, that’s fine.
PEN
And Penelope is not a name for “this working-day world.”
KATE
As You Like It.
PEN
Do you know the whole quote?
KATE
“O how full of briers is this working-day world!”
PEN
I’m impressed. I saw a Royal Shakespeare Company production once. Susan Fleetwood played Rosalind.
Pen glances at her to see if she knows the name and Kate nods.
She had a scene with Derek Godfrey as Jacques that I’d never noticed before. They played it almost as a seduction scene.
Pen tucks one foot under her and takes a sip of coffee. Kate waits, absorbed in the story, which Pen notices.
I couldn’t imagine where the scene came from – I even went back to the text to see if they’d added it, but no, it was there. Terry and I tried to act it out, but we couldn’t make it work, we couldn’t make sense of what they did. In the end, I wrote her a letter to ask how they’d come up with their interpretation, and their business in the scene.
KATE
You wrote to another actress to ask about her performance?
PEN
(Nods)
I was a student then. She wrote back, too. A lovely note all about the scene and how they’d worked it out that Rosalind and Jacques were north and south poles. I still have it. I only wish I’d had the chance to meet her and talk shop before she died.
KATE
I thought I was the only one who did things like that. My emails to Terry brought me here this summer.
PEN
(looks at her over the mug as she drinks)
He let me read a few of them. That’s one of the reasons I asked Sam if you could rent the cottage.
Staccato footsteps echo through the room, coming closer. The room has begun to fill with a dozen men and women scattered at the surrounding tables and chairs.
LAURENCE, a tall, thin man with a wild mane of ginger hair and bushy beard stands in front of the couch, glaring.
Pen pastes an insincere smile on her face.
PEN
Laurence, are you looking for us?
LAURENCE
Ms. Finnegan and I had a meeting scheduled to start five minutes ago.
KATE
I’m very sorry –
PEN
Oh, Laurence, it’s all my fault. Katie told me you had a meeting, but I wouldn’t stop talking.
LAURENCE
No doubt.
Kate stands and picks up her empty mug. He heads for the door without speaking. Pen sticks out her tongue at his retreating back and Kate grins.
KATE
Thank you for the coffee.
PEN
Goodbye, Katie. We’ll talk again once you’ve escaped.
Kate looks at her mug and then at Laurence disappearing through the door. Pen reaches up and takes the mug from Kate.
PEN
Go. I’ll take care of this.
KATE
Thanks, Pen.
Kate flashes a bashful smile at Pen, grabs her bag and rushes after Laurence. As she crosses the room her bag almost trips her, and she glances back to see Pen smiling at her.
INT. GREEN ROOM – DAY
Immediately following Kate’s exit.
TERRY has entered, unnoticed and stands a few feet away, watching Pen watching Kate. As Kate goes out the door, Terry moves closer to Pen, who still doesn’t notice him.
TERRY
Pen, what are you up to?
Pen jumps and sloshes coffee onto the table. She mops it up with a napkin to avoid his question.
PEN
You rat, look at the mess you made. Why are you sneaking up on me?
TERRY
I’m not sneaking, you’d have seen me if you hadn’t been watching Kate so intently. What are you up to, Pen?
Terry sits in Kate’s vacated spot on the couch and takes a big gulp of his tea. He grabs the wet napkin from Pen, tosses it in the mug and looks at her from under shaggy brows.
PEN
Why Terry, whatever do you mean? I’m innocent as a newborn lamb.
She gives him a “who me” expression and he snorts.
TERRY
(voice low)
You don’t fool me. I saw you. You were practically licking your chops.
Pen takes his mug and drinks some tea to avoid answering. She watches him over the mug.
Don’t you play with that child, Pen.
His expression is stern, lips compressed in a tight line.
PEN
She’s not a child, she’s a grown woman.
TERRY
Yes, and don’t you know it! Don’t mess her about, Pen.
Pen puts his mug down.
PEN
I don’t understand you. For months now you’ve been raving about Katie and how wonderful she is.
He tries to speak, and she talks right over him.
I thought you wanted me to be friendly with her.
TERRY
By all means, be friendly. As long as you don’t play any of your tricks with her.
PEN
What’s the matter, Terry? You’re very concerned. Do you have an interest there yourself?
(pats his knee)
Don’t tell me the leopard has changed his spots?
Terry finally grins and he roars with laughter. Everyone in the green room turns to see him doubled over with laughter. He notices their interest and grabs Pen’s hand from his knee and carries it to his lips in an old-fashioned, courtly gesture.
TERRY
Only for you, my darling.
Pen pulls her hand away and slaps his shoulder. They collapse on each other in giggles, everyone shakes their heads and returns to their own business.
PEN
You’re so naughty, to tease them all like that.
TERRY
Yes, well, they should know better. You’ve broken enough hearts in this room, male and female.
PEN
Me? You’re a bigger heartbreaker than I am. You never give the poor girls an opportunity, and the lads complain you won’t play around enough.
TERRY
Never you mind about my love life, Pen, you are not distracting me from my point.
PEN
But your love life should be the point.
(sits up)
I’m going to find you a nice, young man for the summer!
TERRY
Don’t you dare.
PEN
Don’t threaten me, I can still beat you up Terence Patrick Gibbs.
TERRY
Not since we were thirteen, brat.
Pen makes a fist and waves it under his nose.
PEN
I could try.
TERRY
Waste of time, I’m in better shape.
He puts his arms around her in a crushing hug and they fall back against the couch, her head on his shoulder.
You’re incorrigible, you know.
PEN
Thank you, sir.
Pen relaxes into his arms, thinking about Katie, her body humming with the thrill of the chase. She squirms slightly and Terry’s embrace tightens, then relaxes.
TERRY
Settle down, Pen.
She closes her eyes and smiles, listens to the sound of clattering dishes and the rise and fall of familiar voices. She realizes Katie is with Laurence, who is one of her exes, and sits up abruptly, banging her head on Terry’s chin.
PEN
Ow! What are you doing, trying to kill me?
TERRY
Don’t flail around so. We’ll both end up damaged.
(moves his jaw)
Unbroken. No thanks to you, brat.
PEN
Your chin is unbreakable. My head, on the other hand –
Terry leans down to drop a kiss on the sore spot.
TERRY
All better?
PEN
No.
(chuckles)
But I’ll live.
She glances up when there is no answering laugh. Finally, his lips twitch with a reluctant smile.
TERRY
Kate will be at my party tomorrow night and I want you to behave yourself. I’ll beat you senseless if you mess her about.
PEN
You can try.
He tightens his arms and drops another kiss on her head.
I’ll be good, Terry. As good as I can.
TERRY
(chuckles)
Mmmm. That’s not much.
PEN
Bastard.
They sigh in unison and sit silent.
INT. TERRY’S KITCHEN – NIGHT – CONTINUOUS
The cottage kitchen is empty, with open boxes of crackers, knives, cutting boards, and wadded up paper towels on the counters. The sounds of voices and glassware clinking indicate that a party is in progress.
The kitchen door is closed with Pen visible through the window. She peers through and sees the kitchen is empty, then quietly opens the door and slips inside. She peeks inside the living room and sees Terry with his back to her, talking in front of the fireplace with a few of his guests.
The sound of a thumping tail brings her attention to the piano in the corner by the kitchen and she sees Kate sitting on the piano bench flanked by Ben and Trixie. Trixie is closest to the kitchen and the one wagging her tail against the floor.
Kate surveys the room, a wistful expression on her face, with one hand on Trixie’s head. When the front door opens, Kate tenses briefly, cranes her head to look, then slumps, visibly disappointed.
Pen pours herself a glass of Cabernet, steps into the room, and gives Trixie a look. The dog politely whuffs and moves to lay down beside Ben. Pen slides onto the piano bench beside Kate.
INT. LIVING ROOM – NIGHT – IMMEDIATELY FOLLOWING
PEN
Katie, how lovely to see you!
KATE
(face brightens)
Hi Pen.
Pen and Kate both face the living room. Pen deliberately spins around so she is back to the living room, facing only Kate. Kate moves to give her a little more room and Pen slides closer. Kate’s cheeks turn pink.
PEN
Are you enjoying the party?
KATE
Yes, though I don’t know many people. Terry’s such a wonderful host; he takes time to talk with everyone.
PEN
And how was your meeting with our dear friend Laurence yesterday?
KATE
He’s not too thrilled with me.
PEN
From what I heard you had a very nice meeting until he made a remark about me. I understand you spoke up in my defense to Laurence?
KATE
Sort of.
PEN
I don’t understand, Katie. Why would you antagonize the man whose help you most need to do your research here?
KATE
I wasn’t trying to antagonize him.
PEN
That’s not what I heard. He said you were highly insulting to him.
KATE
(eyes flashing)
Why? Because I wouldn’t sit quietly and nod my head when he sneered at you? It wasn’t your fault I was late; it was mine. I knew what time it was; I just didn’t want to leave.
PEN
(slightly baffled)
Thank you, Katie. That was terribly sweet, but please don’t do it again. I don’t want you to ruin your research project over me.
KATE
(lifts her chin)
I only said what was true. I’m not interested in telling lies to get what I want.
PEN
Heavens, look at that stubborn jaw.
Pen lays her hand along Kate’s jawline for a second. Kate just stares at her, wide-eyed. After a moment, Pen removes her hand, cradles her glass of wine in both hands and takes a sip. She holds the glass out to Kate.
PEN
This is wonderful Cabernet. Care to try it?
Kate is confused but nods and reaches for the glass. Pen turns it so that when Kate takes it she will have to drink from the same spot Pen did or turn the glass to make it obvious she’s avoiding it.
Kate slowly puts her lips to the glass right where Pen’s lips had been and drinks, watching Pen above the rim. She gives the glass back with a hand that is shaking.
Terry appears behind Pen’s shoulder.
TERRY
(growling)
Pen, could you help me in the kitchen?
PEN
(smiles at Kate)
Of course. Katie, we’ll talk more later.
Kate nods, looking between Pen and Terry, confused.
INT. TERRY’S KITCHEN
Pen follows Terry into the kitchen.
PEN
What would you like me to do, spoilsport?
TERRY
(slams a wheel of cheese on counter)
Could you cut this, please, while I look for more crackers?
PEN
Are you sure you want a knife in my hands?
Pen picks up a cheese knife from a bamboo cutting board and slices into the Brie, watching Terry tear through cabinets too fast to see what is in them. His expression is grim.
She puts down the knife and goes over to stand behind him. Her arms encircle his waist and she lays her head against his back. He stiffens.
TERRY
Pen!
PEN
Terry, stop. Tell me what’s going on.
TERRY
Nothing.
PEN
(tightens her arms)
No, this is me, not some stranger. There’s more to this than Katie. I like to play, but you know I would never intentionally hurt anyone.
TERRY
I know. You might not mean to hurt her, Pen. It’s just that she’s quite – innocent.
PEN
(closes her eyes, takes a deep breath)
She reminds you of Danni, doesn’t she?
He sags in her arms; she opens her eyes and turns him around to face her.
Terry?
TERRY
Yes, she does.
PEN
Katie is nothing like Danni.
TERRY
Not in looks, no. It’s that quality of – they trust people. Trusted.
Pen pulls Terry close and holds him tight. They both lost Danni in different ways, but he can’t know the depth of her grief. He pulls back a little.
You’re not unkind, Pen, but I’ve seen people fall hard for you. You have a fling, go back to Sam and the poor fools have to pick up the pieces of their lives. I saw that seductive little game you played with your wine. I don’t want Kate to have to pick up the pieces.
PEN
(hurt, but honest)
I understand. You mean more to me than any passing flirtation. Don’t worry.
The front door slams and they both jump. A sudden rise in the sound level of conversation makes them both roll their eyes.
PEN AND TERRY
Sebastian.
(laugh gently)
TERRY
I’d best get back to my party.
Piano music is heard.
INT. TERRY’S LIVING ROOM – NIGHT – IMMEDIATELY FOLLOWING
Pen follows Terry into the living room. They find Sebastian sitting beside Kate on the piano bench, improvising on the piano.
TERRY
Sebastian, was that you who slammed the door?
SEBASTIAN
(continuing with the music)
No, that was Peter, exiting in a huff.
Terry moves off to see to his other guests. Pen moves to a spot in the curve of the baby grand where she could see both Sebastian and Kate. Kate glances at Pen, a smile in her eyes, while Sebastian plays with effortless grace.
PEN
(to Sebastian)
I didn’t think you’d be in town until Monday’s rehearsal.
SEBASTIAN
Plans change, Penelope. Now Kate – no, that must be wrong. What is your given name?
KATE
Katelyn.
SEBASTIAN
Much better. Now Katelyn, which is your favorite of Shakespeare’s plays?
KATE
Twelfth Night.
SEBASTIAN
Is that because we’re doing it this season?
KATE
No, I’ve always loved it.
SEBASTIAN
(still playing softly)
Why?
KATE
I love Viola. She’s resourceful, she doesn’t feel sorry for herself – when she loses her brother in the shipwreck, she finds a way to live and keep going, strange as that life is for her. She’s brave.
SEBASTIAN
Mmmm. Isn’t she a bit of a fool, though, to hide her love and woo another lady for Orsino?
KATE
No!
Sebastian raises his eyebrows at her emphatic response and a few guests look over to see what’s going on.
Sorry. I don’t mean to be rude, but Viola’s not a fool. She loves him. She wants him to be happy, and she’ll do whatever it takes to ensure that.
Sebastian is silent for a moment. His fingers slow, then stop. He turns to Kate and studies her, his expression unreadable.
SEBASTIAN
Then doesn’t that make Orsino a fool, for his sudden change from Olivia to Viola at the end of the play?
KATE
(unshaken)
I don’t think he’s a fool. He has an abrupt realization – for the first time, he sees the difference between being in love with love, and actually loving someone.
SEBASTIAN
Is he in love with Viola then?
KATE
I don’t know. It depends on who plays Orsino and how he interprets the role.
Sebastian smiles, his entire mien goes from striking and dramatic to simple warmth.
SEBASTIAN
I agree.
(beckons to Terry)
Terence, please bring your friend Katelyn with you to rehearsal Monday.
Pen gasps, Terry’s eyes widen, Sebastian’s smile deepens.
And now I must go.
(lays one hand on Kate’s shoulder, a benediction)
Delightful to meet you again Katelyn. Stay here and keep the dogs company.
Sebastian gets up and walks to the front door with Terry. Pen turns to Kate in shock.
PEN
Sebastian never lets anyone into rehearsal. Not anyone.
KATE
Maybe Terry talked to him earlier for me.
Pen shakes her head and looks at Kate in awe. Trixie whines and lays her head against Kate’s leg. Pen watches Kate’s hand stroke Trixie’s cream-colored furn. She lifts her gaze to find Kate watching her, grave, questioning.
PEN
(attempts lightness)
I guess this means we’ll be seeing you in rehearsal next week. Tell Terry I had to go, please? Goodnight, Katie.
Pen rushes through the kitchen and out the back door.
EXT. OUTSIDE TERRY’S KITCHEN DOOR – NIGHT
Pen leans against the cottage and breathes in the night air, clearly shaken.
INT. REHEARSAL HALL – DAY
Pen enters the rehearsal hall, where most of the company is scattered in small groups, talking and reading. PETER, who will play Malvolio, is a wiry, sardonic man with a hard edge to him, and as Pen is aware from experience, has hard hands as well. He is in conversation with SANDY, who is cast as Olivia. She is an auburn-haired beauty with a penchant for physical comedy, which makes her fun to work with onstage.
Pen goes over to the window seat under the picture window, which the company always leaves for her and Terry. She lays out her yoga mat and starts a few stretches. Others bring their mats over and she leads them through an informal routine, as usual.
Terry enters alone, with a word or a smile for each person as he makes his way to Pen. He drops his bag on the bench, lays out his mat and joins the workout.
Sebastian and Kate enter together, and Peter immediately walks over to talk with Sebastian.
Everyone picks up their yoga mats and returns to their previous places. Terry props himself against the wall in the corner of the bench and makes room for Pen, who sits in front of him and leans back against his chest.
TERRY
You’re here early.
PEN
Restless night.
SEBASTIAN
Good morning, my darlings. Welcome back to rehearsal.
(gestures toward Kate)
This is Katelyn Finnegan, who will be with us today as my guest.
There is a murmur of greetings, Sebastian leads Kate over toward his regular seat and gestures for her to take the seat beside him.
All of you may stay where you are. I want to do a complete read-through of the play. No action, do your lines from wherever you sit.
Kate looks around the room. When her gaze finds Pen and Terry she smiles. Pen smiles back and Terry’s fingers tighten on her shoulders.
TERRY
(whispers)
Behave.
PEN
(also whispers)
I’m being friendly.
(elbows him)
Pen watches Kate take it all in as people move around and make themselves comfortable. She looks as if it’s Christmas Day, Boxing Day, and her birthday rolled into one.
Peter flashes her a knowing grin. He’s aware of her apprehension about playing Viola from discussions during their brief affair. She ignores him.
STAGE MANAGER
Quiet, please.
TERRY AS ORSINO
(arms around Pen)
If music be the food of love, play on…
We look around the room as actors say their lines. In spite of her apprehension, when Pen’s first lines come, Terry’s warmth against her back has relaxed her.
PEN AS VIOLA
What country, friends, is this?
Brief montage of faces in the company and Kate as they go through the first two acts.
They take a break and upon returning Pen stops near Kate.
PEN
Are you enjoying yourself?
KATE
(eyes sparkle with delight)
It’s great! I almost hate to take notes for my thesis, it’s just so much fun to watch and listen.
PEN
There’s not much to see, it’s only a read-through.
KATE
I know, but I try to imagine what Sebastian will do with the staging, how the characters will develop.
(hesitates, remembering Pen’s dislike of Viola)
PEN
Well, Terry’s made my work much easier by choosing to play Orsino. If anyone can make him believable, Terry will.
KATE
What a wonderful friend he is.
SEBASTIAN
(appears behind Pen)
A wonderful friend and a damn silly actor.
PEN
(glares at him)
I did try to persuade him not to do it. Terry has a mind of his own.
SEBASTIAN
(unfazed)
A word, Penelope?
PEN
Shouldn’t we get started?
SEBASTIAN
In a moment.
Sebastian takes Pen’s elbow in his hand and guides her toward the window seat. Everyone keeps a discreet distance. Pen looks out at the lake and waits for him to speak.
SEBASTIAN
I want to apologize, Penelope.
(smiles as her head turns to him)
Yes, you heard me correctly. I owe you an apology.
PEN
For what?
SEBASTIAN
For what I said on the opening night of Antony and Cleopatra, my dear. I wanted you to play Viola. Given your reluctance, challenging you seemed the most likely method to get the response I wanted.
PEN
You didn’t mean it?
SEBASTIAN
(considers)
I do think you are capable of more than you’ve done, but it was unfair to imply you were holding back. You invariably give a wholehearted performance in every moment on the stage. I have complete faith in you, Penelope.
PEN
(with difficulty)
You were right as well. I am capable of more.
SEBASTIAN
Of course you are. So am I and so is Terence. It’s why we keep going, why we keep striving to be better, to reach for the deepest truth in every scene of every production.
PEN
Why are you telling me this now?
SEBASTIAN
You can’t play Viola if you worry about falling short of my expectations. I don’t want you burdened with that.
PEN
(shoulders straighten)
Thank you, Sebastian.
He nods. His hand moves up to rest on her shoulder.
SEBASTIAN
There is more of Viola in you than you know, Penelope. Let her emerge. She will surprise you.
(smiles)
I suspect you will surprise you. Now let us return to rehearsal.
He squeezes her shoulder and lets go. She stares after him, astounded by his words, and knowing they both know she will now work harder than ever to please him.
There is a flurry of activity as everyone pretends they weren’t watching. Terry and Kate remain unmoving, facing Pen. Terry squeezes Kate’s shoulder then leaves her to join Pen. Kate and Pen lock gazes across the room, Kate’s face suffused with hero-worship and longing. It reminds Pen of how Viola’s face should look when she looks at Orsino.
Terry’s hand guides Pen to the window seat and they wait for the first line.
TERRY
(under his breath)
It’s your line, Pen.
PEN AS VIOLA
(glances at her script)
Save thee, friend, and thy music!
(her voice is strong and sure)
EXT. PEN’S GARDEN – DAY
Pen is pruning roses in the garden. It’s a favorite recreation, she appreciates the quiet beauty. And she needs that right now. She is still not comfortable with her understanding of Viola.
The faint strains of a flute catch her attention. It is a haunting tune. She turns her head to see Kate appear around the corner of the cottage, playing a tin whistle.
Kate stops short.
KATE
I’m sorry if my playing disturbed you. I thought you and Terry were both out this afternoon.
PEN
No, just Terry. I have a break for a few hours. What was that song?
KATE
Picard’s theme from an episode of Star Trek: The Next Generation.
(smiles at Pen’s blank look)
The episode was “Inner Light.” Picard, the captain, is knocked unconscious and a light beam holds him captive, while in his mind he lives an entire lifetime on a planet that is later destroyed.
PEN
Where does the flute come in?
KATE
He teaches himself to play on this planet. He doesn’t play well, but he loves it. They also used it in a later episode, and he played the same tune to show that the life he had lived on that planet meant a great deal to him.
PEN
Have you always played?
KATE
(laughs and shakes her head)
No. It’s just that I loved that tune so much I bought a tin whistle, sat down, and listened a million times so I could teach myself.
PEN
Unusual.
(returns to her roses)
KATE
Pen?
(waits for her to look up, speaks in a rush)
There’s no rehearsal tomorrow, would you like to go rowing on the lake? I can bring a picnic.
Pen looks at Kate’s hopeful face, sees how hard it was for her to ask. She thinks of Terry’s likely disapproval.
PEN
Thank you. I have costume fittings in the morning. Why don’t I meet you at the dock at noon?
Kate beams. Pen takes a rose she’s clipped and threads the stem through the pen hole on Kate’s pocket.
Brave. Very brave.
EXT. LAKESIDE DOCK – DAY
Pen and Kate meet on the dock at the lake. The day is warm and sunny with a soft breeze. Kate is in the process of renting the rowboat when Pen arrives, so Pen closes her eyes and feels the warmth of the sun and listens to the murmur of their voices.
KATE
Okay, we’re ready.
Pen opens her eyes and turns to Kate with a smile. A muscular young man unties the rope and tosses it into the rowboat. He holds the boat against the pier with one hand, wipes his other hand on his jeans and holds it out to Pen. She takes his hand and climbs into the boat while Kate scowls and Pen tries to hide her amusement.
Kate steps into the boat unassisted, sets a cloth bag filled with food and drink at her feet. She nods at the young man to let the boat go. Kate takes the oars and rows out into the lake, her eyes fixed on Pen, who needs to break the silence.
PEN
Why the interest in Shakespeare, Katie? It’s not so common here in the States as it is in England.
KATE
When I was in high school, we read one Shakespeare play every year. I’d go to the library during study hall or after school to listen to the recordings.
PEN
Couldn’t you watch on DVD or stream a digital version at home?
KATE
I preferred to stay at school, and it was an old library, not so well equipped. They had an old listening room with vinyl records.
(smiles)
I’ll never forget hearing Richard Burton as Hamlet. He brought it to life for me.
Pen gets lost in watching Kate and realizes she’s waiting for her to respond to something she didn’t hear.
PEN
Did you ever listen to Twelfth Night?
KATE
Oh yes! Paul Scofield played Malvolio, Vanessa Redgrave was Olivia, and Siobhan McKenna played Viola. I can still hear the husky tones of her voice pleading on Orsino’s behalf. She made me cry.
The oars dip rhythmically through the water as she speaks, and the boat glides as if pulled by a string.
PEN
Did your school do any Shakespeare on stage?
KATE
When I was a sophomore, Mr. K. the theatre teacher, tried. The students loved it, but not the administration.
PEN
Why not?
KATE
He did Romeo and Juliet with a multiracial cast. It’s kind of a conservative area so it caused quite a furor. The next year he directed Agatha Christie’s The Mousetrap, and the community loved it.
PEN
That must have been painful for him.
KATE
You’d think so, but no. He loved both plays and made it all seem like a wonderful adventure.
Pen was riveted to her radiant face, so unguarded.
He invited us all to his house to read Shakespeare’s plays together. His wife cooked pots of chicken soup and she baked fresh bread to eat with it.
Kate rows, lost in thought. The distant crack of a ball on a bat and the cheers that follow bring her back. She looks around, puzzled, and Pen points toward the ball field on the far side of the lake. Kate smiles sheepishly and continues.
KATE
He was a wonderful teacher. By the time I got to college I was totally hooked on Shakespeare.
PEN
He must be proud of you.
KATE
He died the summer before I started college. He never knew how I did, or that I went on to grad school.
PEN
I’m sorry, Katie.
Kate gives Pen a grateful smile and maneuvers through a curtain of green and brown.
KATE
Here we are.
They are in a cove shaped like a half moon, screened off from the rest of the lake by weeping willow branches that trail through the water. Sunlight dapples the surface; the shadows shift with every breeze.
While Pen examines the scenery surrounding them, Kate opens the bag at her feet and a box inside the bag becomes a table, a bright red bandanna a tablecloth. She cuts a baguette with a Swiss Army knife and then sets it out with some brie. Blueberries appear, then a deep blue bud vase which is dipped into the lake for some water. Kate pulls out a cream-colored rose edged in deep pink and tucks it into the vase which goes on the table. Finally, chilled white wine is poured into clear plastic wine goblets.
Kate hands the glass to Pen, who is struggling not to show how moved she is by Kate’s efforts.
PEN
What a gorgeous spot, Katie. I can’t imagine how I missed it before.
KATE
(grins)
I did a little scouting when you said you’d come with me.
PEN
Are you enjoying rehearsals? What do you think of Terry’s Orsino?
The food disappears as they talk.
KATE
I never knew what a wonderful actor he was until I saw him in this role.
PEN
But it’s a nothing role compared to Malvolio or Feste or even Toby.
KATE
Yes, of course. Except that he’s made something of it I’ve never seen before.
(hesitates)
PEN
Go on, you can’t stop there. What has he done?
KATE
He never lets you forget he’s a duke, he’s an important man with responsibility for his people. Yes, he’s in love, but his vision is larger than that and that’s why Viola falls in love with him.
Pen stares at her, astonished. Kate packs up the remains of the meal and Pen is distracted watching her hands. The murmur of their voices slows. Katie’s eyes are wide, luminous. Pen clutches the plastic wineglass so tight it crackles.
PEN
I have to get back. We have a company meeting this afternoon.
Kate gathers the oars and maneuvers through the willow branches and back out onto the main part of the lake.
KATE
(sighs softly)
Okay. Lakeside dock, next stop.
As Kate rows back, her eyes never leave Pen.
PEN
You look at me as if you’ve never seen me before, Katie.
KATE
(nods)
People usually see you as a character, in makeup and costume. They don’t really get to know you outside the stage roles, do they Pen?
PEN
True. They want to have drinks with Desdemona or tell people they’ve partied with Cleopatra, not with Penelope Parrish.
(lifts a flirtatious eyebrow)
Which role do you prefer?
KATE
As you are right now.
(her face lights up)
I know you’ve heard it a million times, but you don’t need the makeup, Pen. You’re beauty begins inside.
Kate bites her lip and stops rowing. She stares down at her feet and doesn’t see the tears that well up in Pen’s eyes. Pen blinks away the tears just before Kate lifts her head and meets her gaze without flinching.
PEN
(whispers)
Brave.
(in a normal tone)
Thank you, Katie. What a sweet thing to say.
Kate picks up the oars and rows. Pen watches her row and listens to the splash of the oars and the hum of a distant lawnmower.
The rowboat bumps against the dock and Pen is startled. The same young man catches the line Kate throws to him. She places her bag on the dock and scrambles out of the boat. The young man ties up the boat and Kate holds out her hand to Pen.
Pen takes it and Kate pulls her up out of the boat close enough to notice the scent of citrus and mint in her hair.
Pen’s fingertips brush Kate’s cheek and she leans close to kiss Kate’s cheek gently. Kate begins to move, and Pen puts her hand on her arm to prevent her from moving closer.
PEN
Thank you, Katie. It was a lovely afternoon.
Pen steps back and walks swiftly off the dock while Kate watches her.
-
4. “What I learned doing this assignment is…?” I learned how to complete the Act1 according to the structure. I added the OUTLINE of the missing scene of protagonist‘s flashback (slave holder). I’ll need to come back to my placeholders as it will need more inspiration.
3.
MIDDLE: – SCENE FLASHBACK: Protagonist in the past, when he was a slave holder (America)
OPENING: He went to buy/select new slaves in Africa to take them over to US. The group of slaves he selected was brought to his camp, where they were prepared for the trip to US and waited for the ship.
PLACEHOLDER: Details.
MIDDLE: One of the slaves started a run away and tried to convince others to do so. After doing a certain effort to overcome the guards he runs away. However, next day the slave was found in a village as others sold to protagonist his location.
PLACEHOLDER: Details.
END: In order to give a lesson to other slaves that the running away is not a good idea, protagonist ordered to whip this slave to death and even gave few last whips himself.
PLACEHOLDER: Details.
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