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Day 20 Assignments
Reply to post your assignment.
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7 Replies
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Ron’s Act 3 Turning Point
What I learned writing this assignment: this lesson flowed smoothly, but I’m worried that I’m repeating myself. Once again, my saving grace is the 20% target. This is laying down a foundation using the architecture of pitch/outline/script. It’s likely to change a lot between now and a final draft. But I “like” this scene, I think it has the potential to be breathtaking and exciting for the audience. I’m not sure what I’ve written is exactly what I hope to achieve, I think I can probably make this a lot better in rewrites. But it’s a good start.
Outline Key Scene 4
Cuccinelli’s out on the water again on the 129, idling in the dark. He gets a message from Hoffman, who (he knows, by previous arrangement) is just north of him. The message is 3 B’s indicating 3 barges! A veritable turkey shoot!
Cuccinelli puts the boat at max speed, crashing through the waves to help Hoffman take out the barges. Cuccinelli is guided by seeing bullets flying from miles away.
A fight ensues, there’s bullets flying everywhere, explosions, one barge goes down, the 129 takes some hits but keeps on going, Hoffman takes some hits, but keeps going. It’s the naval equivalent of a dogfight, with both sides swinging for the fences.
Eventually, Hoffman’s 159 takes a big hit and seems to stop in the water. Cuccinelli has to take out the two remaining barges by himself. He does sink the second barge but the third one gets away into the darkness. Once the action is over, Cooch pulls up to the 159. It’s going to need to be towed back in to Rendova, 3 sailors are dead, 2 injured. Hoffman is one of the injured, and it seems severe.
Cooch knows when he gets back, there’s gonna be hell to pay, and all he can do is hope that Hoffman survives long enough to get to the med tent on Rendova.
SCENE 4
EXT – ON WATER – NIGHT
CUCCINELLI is out on the water again, in the dark. The torpedoes have been removed, so the boat can really move. Everybody’s game for the fight. Radioman FRANCISCONI reports a Morse Code message, apparently from HOFFMAN, “B B B “. CUCCINELLI knows exactly what that is………..and immediately advances the throttles and heads off to the north to support HOFFMAN.
From 6 miles away, CUCCINELLI can see a fight starting. There’s gunfire, back and forth, each side taking its shots. Can’t hear anything over the roar of the engines, but in the dark the gunfire is very obvious. It takes CUCCINELLI 9 minutes to engage, and it’s a dogfight. CUCCINELLI spots one barge already in trouble from taking hits from the 159, and he goes after it. Within a minute, the barge is starting to sink. CUCCINELLI wheels around to locate another barge, but one of them is right on top of him as he comes out of the turn, and it’s firing all it’s got. CUCCINELLI’S port side gunner gets in some good shots, but so do the gunners on the barge.
That barge goes dead in the water, and CUCCINELLI goes looking for the third barge. By now HOFFMAN has gotten in some good shots on the third one too, although the 159 has taken plenty of hits, clearly one of the engines is not doing well.
CUCCINELLI goes back for the stalled barge but can’t find it. FRANCISCONI calls up the 159 on the radio, the 159 signals with lights, and CUCCINELLI drives the boat over for a damage assessment. It’s not good. The 159 is out of commission for the time being, pretty beat up. Two sailors are dead, one is missing, and two are injured, one of them Hoffman himself. CUCCINELLI will have to tow the 159 back to Rendova, all he can do is hope HOFFMAN gets back to Rendova still breathing and that the med tent there can deal with his injuries.
There’s gonna be hell to pay, again.
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Gerry Cousins – Completed Act 3 (These are the first two scenes of my stage play)
What I learned with this and all of the outlining lessons is how much more clear and concise everything is when it’s sketched out in this fashion. I’ve done many playwriting courses and even though I’m doing most scenes after the fact, I’ve never learned this technique before. It most certainly makes mistakes obvious.
Scene 1 –
1) Establishes the writers’ protagonist, MOLLY, in Marfa. The scene begins with her startling her two old gay friends in the middle of the night. They are not pleased to see her.
2) SHE announces to them that she both exhausted and famished. In a manic fashion as SHE eats what they’ve put in front of her, MOLLY relates her entire backstory from NYC to their home and then announces that SHE wants to see the Marfa Mystery Lights.
3) They are gracious and take her in but nothing is said about what will happen with her in their care.
Scene 4 –
1) This scene is a cross-realty in that the writers and their characters appear on the same stage at the same time without acknowledging the other.
2) The two writers arrive in Marfa to check out the lights for their character, MOLLY; they are blown away at the ineffable display of lights and are surprised and delighted. An intimacy immediately develops between them having witnessed this phenomenon together.
3) At the same time we see the “imagined” scene with MOLLY and her two male friends on the Viewing Platform to see the Lights. While MOLLY came to Marfa to see the Lights, she is afraid of being disappointed and has to be convinced that they’re real. The writers and their characters leave the stage separately, both thrilled with what they’ve witnessed.
4) Every effort must be made so that the audience feels as if they are experiencing the Lights as well
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I’ve incorrectly typed Scene 4 when I should have typed Scene 2. Sorry for the confusion.
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Carol Dougherty’s Completed Act 3
What I learned doing this assignment: I have to admit that at this point it’s getting hard not to be repetitive with what I’ve learned. In some ways, I guess right now I’m learning as much about myself as I am about writing a screenplay. What brings up resistance in me, what I’m most attached to in my story, where my blind spots are. The discipline of doing it this way is tough, and I don’t think I prepared quite well enough for it. That’s okay, I’m still doing it, just making it a little harder on myself than it needs to be.
Outlines of remaining scenes:
Second take
BEGINNING: Pen walks the lake paths
MIDDLE: Pen is trying to figure out what to do. Trixie follows Pen and is a reminder to do the next thing and worry about the rest later.
END: Pen and Trixie head home
Surprise
BEGINNING: Kate shows up to see Pen the night before she leaves for England.
MIDDLE: Pen is vulnerable in her surprise, and they connect.
END: They make love.
Morning after
BEGINNING: Pen wakes early while Kate is still asleep
MIDDLE: Pen quietly showers and hopes to leave before Kate wakes up, but Kate wakes. They talk and Pen convinces Kate she has an early meeting and Kate should stay in bed.
END: Pen leaves.
Sebastian to the rescue
BEGINNING: Pen shows up at Sebastian’s door, a wreck.
MIDDLE: Sebastian agrees to help her avoid Kate and get to the airport.
END: Pen leaves a letter w/Sebastian for Kate.
The letter
BEGINNING: Kate shows up at Sebastian’s office to meet Pen.
MIDDLE: Sebastian gives her Pen’s letter, and she is devastated.
END: Kate leaves to walk around the lake, Sebastian sends Trixie after her for company.
Sarah, the librarian
BEGINNING: Pen shows up at a library in Bath to look for info on her dad.
MIDDLE: The librarian, Sarah, gives her papers around the time he leaves, and she reads through them, finds out he was in a car accident with a woman, and he was killed.
END: The woman is Sarah, and she invites Pen to visit with her for a few days.
Past or future?
BEGINNING: Pen and Sarah talk and get to know one another.
MIDDLE: Sebastian calls and asks Pen to think about the following season and tells her what he’s planning.
END: Pen talks about it with Sarah.
Sevenoaks parental review
BEGINNING: Pen goes through a box of her mother’s stuff and finds clippings and letters of her dad’s.
MIDDLE: Pen learns some things she never knew about her parents’ marriage. She reads reviews of her dad’s performances. There are also photos of the three of them.
END: Pen realizes her parents were happy at one time.
Back to Sarah for holidays
BEGINNING: Pen feels like she has a real home/mother-figure for the first time since childhood.
MIDDLE: She shares what she’s learned with Sarah, who invites her to stay for a few months.
END: Pen needs to go back to Sevenoaks one more time.
Decisions
BEGINNING: Pen calls Sebastian to let him know she’s coming back.
MIDDLE: She agrees to do both plays and work with Michael. She is about to give him a message for Kate, but he interrupts to let her know Ben has died. He never got over Terry’s death.
END: Pen decides she’ll talk to Kate when she returns and tell her she loves her.
Act 3:
INT. HOSPITAL EXAM ROOM IN ER – LATE NIGHT – IMMEDIATELY FOLLOWING
Pen is in the room with Terry’s body, the nurse who detached all the equipment and is completing her clean-up, and the doctor, who is completing the paperwork. Pen is across the room so they can do their work.
DOCTOR
We’re through here. If you’d like to stay with him for a little while, you may.
PEN
Yes, thank you.
DOCTOR
We’ll both be outside. Take as much time as you need. And I’m very sorry.
The doctor follows the nurse outside and Pen is alone with Terry’s body. She walks over to his body, which is covered to the neck with a crisp, white sheet. The harsh hospital lights make his lifeless face appear even more gray than it is. His dark blond hair is matted with drying sweat from the battle for his life.
She stands beside him and lets her fingers brush against his short hair for a second, then kisses his cold cheek.
PEN
So, you’re dead, Terry. I wasn’t sure just now if I was going to kiss your cheek or slap it. I keep expecting you to sit up and say, what’s with you, brat?
Her hand grabs the pristine sheet and balls a corner of it in her fist.
PEN
Damn you, Terry! You really are gone this time. You left me and this time there’s no chance you’ll be back. Bastard.
She fights to prevent herself from sobbing and just manages to keep it inside.
PEN
I’ll never forgive you. I’m alone now, onstage and off. And now I’m a worse bitch than ever because you’re dead and I’m making it all about me!
She takes a couple of deep breaths.
PEN
How could you leave me like this? Don’t you know you’re the best part of me? The only part worth a damn.
(laughs, with a hint of hysteria)
When they put you in that coffin, they might as well nail me in there with you because I’ve no clue how to go on without you.
The sound of voices and a rolling cart makes her look over at the door. The sounds go by and she sighs.
PEN
I know. I can just about hear you – What did you expect, brat? There’s no drama in being dead, only in dying.
Pen watches him. The face and body that had been Terence Patrick Gibbs lay there, expressionless, motionless. It was Terry and it wasn’t Terry. It was her standing beside him, and it wasn’t. She could no longer be Terry’s acting partner, best friend, playmate because Terry was gone. The Penelope Parrish that existed an hour ago was also gone, and she had no idea who would take her place.
She takes one final look at his body and leaves. Terry is gone and there is nothing to keep her here now.
CUT TO:
EXT. LAKESIDE – NIGHT
Pen stands in the dark, looking out over the lake. A breeze ruffles the leaves above as well as Pen’s hair. Moonlight glitters on the water as Pen stands in the shadow of an oak tree, waiting.
She is numb, and the oddest memories of Terry parade through her mind. She thinks back to the end of the first week of their young friendship.
CUT TO:
EXT. JUST OFF SCHOOL GROUNDS – DAY – AFTER SCHOOL
Pen (5) comes out of school to see RUSTY BIGELOW (7), who is twice Terry’s (6) size, shove Terry to the ground and kick the books out of his arms.
Pen throws her own books to the pavement and launches herself at Rusty like a rocket, her fists clenched, furious, heedless of the consequences.
Rusty sees her charge and as most bullies do, turns tail and runs. Pen chases him for half a block down the suburban street before he scrambles over a garden gate and disappears into the greenery.
Pen is prevented from following him by her dress and the size of the gate.
PEN
Coward!
Terry has picked up his books and hers and followed her down the street.
TERRY
Thanks, Pen. He’ll never come near us again now that everyone saw him run from you.
(gives her her books)
We’ll be a team. Forever.
CUT TO:
EXT. LAKESIDE – NIGHT
Pen blinks at the lake in front of her, back in the present moment, and knows they’ll never be a team again.
She hears an animal padding toward her on the dirt path. She is no more afraid now than she was with Rusty Bigelow. The animal moves through a patch of moonlight, large and light in color. It is Trixie, Terry’s dog.
Trixie trots over and sits in front of Pen. She looks up at Pen with a steady expression. When Pen doesn’t move, Trixie gets to her feet and moves closer to nudge Pen’s hand with her wet nose.
Pen’s fingers trail slowly over the silky head. The dark brown eyes looking up at her never waver in the moonlight, and Pen gives in.
PEN
All right, girl. Let’s go home.
CUT TO:
EXT. TERRY’S GRAVE – DAY
Pen and Trixie are approaching Terry’s newly filled grave in a small cemetery near the lake.
The memorial service and funeral had been an agony of other people’s grief and loss and talking at her about Terry. She is at the cemetery to be with him alone, only to find someone else arrived before her.
She slips behind a tree, closes her eyes and presses her forehead to the tree. Trixie lays at her feet as Sebastian’s voice catches her attention, faint, but audible.
SEBASTIAN
(looks down at grave)
I can find other actors, that’s never an issue. Actors willing and able to take on the Herculean task of leading a company are scarce on the ground, however. You led the company offstage; Penelope led it onstage.
Pen’s head comes up when she hears her name. She peers around the tree to see Sebastian standing at the grave with a bouquet of purple irises in one hand.
SEBASTIAN
I fear I shall lose both of you now that you are gone. She’s quite lost, my dear, and quite unable to let anyone help her. Not even Katelyn can reach her. All I can do is wait and see.
Sebastian drops to one knee and lays the flowers at the head of the grave site.
SEBASTIAN
Penelope says she’ll finish out the season. She’s a thoroughgoing professional. Jacky has agreed to take over Orsino, though you are a difficult act to follow. It would be too disruptive to the schedule to have the understudies –
His voice breaks and he gets to his feet. He is silent for a long moment. Pen watches, moved.
SEBASTIAN
The truth, Terence, is that working with you, being your friend, has been one of the greatest joys of my life. I shall miss you damnably.
Tears fall unchecked down Pen’s cheeks. She steps out from behind the tree and Sebastian turns to see her. His face is lined with tears as well. He holds out his arms to Pen, who walks into them, and they weep together. Trixie follows her and sits, watching them.
Eventually they pull apart and seat themselves on a nearby bench. Sebastian pulls an envelope out of his jacket pocket. His fingers measure the edges as he turns it around and around.
SEBASTIAN
Terence discovered he had heart trouble last fall, at the end of the season.
PEN
(shocked)
That’s not possible. He’d have told me.
SEBASTIAN
He didn’t want to worry you.
PEN
You’re wrong. He never even went to the doctor except for that flu he had.
SEBASTIAN
That’s when he found out.
PEN
He couldn’t have confided in you and not me.
SEBASTIAN
He did.
PEN
I don’t believe you. It would be like letting the dogs starve. He just wouldn’t do it.
Pen glares at Sebastian, who looks back at her, his gaze steady.
SEBASTIAN
I’m sorry, Penelope. He left this letter for you.
Sebastian hands her a letter with her name on the envelope. Tears fill her eyes when she recognizes Terry’s familiar handwriting. She opens it.
TERRY (V.O.)
Dearest Pen, Please forgive me. I couldn’t tell you, and I know you’re angry and hurt. Especially hurt. I didn’t intend to tell anyone, not even myself, but Sebastian insisted I see a doctor. You thought I was in Hawaii, while I was in Chicago having tests done.
Pen puts the letter down for a second. Trixie comes over and lays her head on Pen’s knee and Pen pats it absently. She resumes reading and Trixie lies at her feet.
TERRY (V.O.)
Once I knew for sure, I didn’t see any point in worrying you. You could do nothing and the last thing I needed or wanted was fuss. Maybe that’s not fair, you’re not a fusser by nature. Maybe the truth is, I hoped I’d get lucky and have many years ahead. Well, if you’re reading this, we both know how that turned out. Don’t be angry with Sebastian, he knew it wasn’t his to tell. Enough of that.
Pen looks up at Sebastian when she finishes that page.
PEN
Did he let you read this?
SEBASTIAN
No.
Without a word, she hands him the first page and begins reading the second.
TERRY (V.O.)
Do you know why I made you learn Shakespeare with me and go to drama school? Even as a child, I sensed something in you. No matter how hard I worked I knew I’d never quite have it, and I was jealous of you for a time. However, I loved you far more than I was jealous of you, and I wanted to see you grow beyond me. You never would. You wouldn’t act without me. Now you’ll have to. You won’t believe any of this, but it’s true. Sebastian knows it as well – we’ve talked about it.
Pen gives Sebastian the second page along with a long look.
TERRY (V.O.)
I left some money to the theatre, but most of what I have is yours. If you can’t take the dogs, ask Sebastian. Oh, brat, I’m sorry. Sorry to leave you, sorry I lied to you.
Tears once again fall down Pen’s cheeks.
TERRY (V.O.)
I love you, Pen. With the last breath of my life, I’ll love you. Maybe I should have played Sebastian in Twelfth Night, not Orsino. At times it felt as if we were twins anyway. I must stop this before I get maudlin. Take care of yourself, brat. Terry. P.S. Pen, I’m the one who bought Sam’s farm. I didn’t want to tell you until after the season, but if anything does happen to me it’s yours. Sebastian has the papers.
Pen hands the final page to Sebastian without looking at him. As he reads, she sits and feels grief, like a stone in her throat, weighing her down, preventing her from speaking.
Sebastian puts a hand on her shoulder. She looks up at him.
PEN
Were you serious before, that Jacky will play Orsino the rest of the season?
SEBASTIAN
Yes.
PEN
Will you cancel Private Lives? I can’t –
SEBASTIAN
Yes. I’ll find something to replace it.
(his hand tightens briefly on her shoulder)
Are you sure you can finish with Twelfth Night?
(she nods)
All right, then. I’ll let everyone know. We’ll need to do a rehearsal or two, so everyone is comfortable with the new Orsino.
PEN
I know.
He drops his hand from her shoulder and hands the letter back to her.
PEN
When the season is over, I’m leaving.
SEBASTIAN
For how long?
PEN
I don’t know.
SEBASTIAN
Where will you go?
PEN
England. I need to go back there, I think, to figure out what’s next.
SEBASTIAN
I’ll take care of the dogs while you’re gone.
PEN
I don’t know if I’ll be back – at all.
SEBASTIAN
You’d stop acting?
PEN
Maybe. I just don’t know. All I know is that Terry has been beside me since I was five years old. Even when he was away at school, he was with me in vacation times, and we wrote constantly.
(shakes her head)
I’ve no idea what I’m going to do without him.
SEBASTIAN
I understand.
(pauses)
There are people here who care a great deal for you. Who would like to be there for you if you’d give them a chance.
PEN
You mean Katie?
SEBASTIAN
Yes, but others as well. Jacky, Sandy, myself.
Pen meets his gaze with a flicker of a smile.
PEN
Thank you. I appreciate that, Sebastian.
He gets to his feet.
SEBASTIAN
May I drop you somewhere?
PEN
No, I’m going to stay.
As if on cue, Trixie sits up and puts one paw on Pen’s knee. Sebastian lays his hand on Trixie’s head for a second.
SEBASTIAN
Very well, Beatrice, I leave her with you.
Sebastian leaves, Pen watches him go, Trixie watches her.
CUT TO:
INT. PEN’S LIVING ROOM – NIGHT – SEVERAL MONTHS LATER
Pen sits curled up in her wing-backed chair, eyes closed, head resting against the chair. A knock on the door interrupts her reflections.
She opens the door to find Kate on her doorstep. Kate’s warm smile burns away the fog that has enveloped her since Terry’s death.
Pen’s hand reaches out to touch her cheek and Kate catches her hand, kisses her palm. Kate moves closer, takes Pen’s face in her hands, and kisses her. Gently, then more deeply, as they cling to each other.
A cool breeze from the open door brings Pen to her senses and she frees herself from Kate’s embrace to close the door.
PEN
I thought you were still out of town?
KATE
No. False alarm. My mother decided the best way to get me home was to tell me my dad was sick. He did have the flu, but he was far from death’s door.
PEN
I’m sorry they did that to you, Katie.
KATE
I had to go back at some point, anyway. I wasn’t due back till tomorrow…
PEN
Then why -?
Pen stops talking when she sees the light in Kate’s eyes.
KATE
Jacky and I emailed back and forth. He wrote last night that he heard you’d ended your relationship with Sam.
(pause)
Did you?
PEN
Yes. Once I saw his wife and son, I didn’t feel right about it. She was clearly miserable.
KATE
Why wait so long?
Pen turns away and walks over to sit in one corner of the couch. She gestures to Kate to join her, and she does. She sits right next to Pen and waits.
PEN
I didn’t wait. I broke up with Sam the day after we went to the track. That’s why he sold the farm.
KATE
And you didn’t tell anyone?
PEN
Terry knew. I asked him not to tell anyone else.
KATE
(picks up Pen’s hand)
But why?
Pen looks at their hands together.
PEN
Because I knew this would happen and I –
(Stops)
KATE
Can’t you tell me, Pen?
Pen meets her eyes and sees the love and trust. Could she ever earn that love and trust? If she gave in now, wouldn’t it be out of need and emptiness? That wasn’t fair to Kate.
Tears cloud her vision at the thought the Kate might not even be here when she returns from England, if she returns.
Kate sees the tears and misinterprets them.
KATE
I miss Terry, too.
She moves closer and wraps her arms around Pen, who buries her face in Kate’s neck, unable to think enough to make sense of any of it and unwilling to keep trying.
Pen raises her head in mute invitation and Kate kisses her.
CUT TO:
INT. PEN’S BEDROOM – EARLY MORNING
Pen stifles a groan when she sees the red digits of the alarm clock show six a.m. She disables the alarm, so it doesn’t go off and wake Kate.
Kate sleeps on, a contented smile on her face even in sleep. Pen’s heart twists at the thought of disappearing without an explanation.
She slips out of bed and into the bathroom for a quick shower. When she comes back into the bedroom dressed to go, she sees Kate moving in the bed.
PEN
Did I wake you?
KATE
I’m a light sleeper. Why are you up so early?
PEN
Some errands and an interview. Let’s meet up around one at Sebastian’s office. You haven’t seen him yet, have you?
KATE
No.
(grins)
I had other priorities.
PEN
Why don’t you see if you can fall back to sleep for a bit. No need for you to be up so early.
Pen sits next to her on the bed, smoothing her hair, taking a mental picture of Kate’s hazel eyes with a glint of mischief in them. She kisses her soft, stubborn lips and stands up.
PEN
Goodbye, Katie.
KATE
(grabs her hand)
Pen?
PEN
Yes?
KATE
I love you, Pen.
Pen carries Kate’s hand to her face for a moment.
PEN
Darling Katie.
Pen presses her lips to Kate’s hand and lets go, grabs her bag, and dashes for the door, barely holding back her tears.
CUT TO:
INT. SEBASTIAN’S KITCHEN/BREAKFAST ROOM – DAY
Sebastian is having coffee with Ben and Trixie sprawled on the floor near him. Pen appears at his kitchen door and knocks frantically.
He opens the door to her.
SEBASTIAN
Penelope, whatever is the matter?
PEN
I need your help.
SEBASTIAN
You shall have it, of course. Come into the kitchen and sit.
Trixie gets up, her tail waves a salute, and she goes to Pen and noses her hand. Ben’s eyes flicker up at her appearance, then drop.
Pen sits at the table while Sebastian produces a mug and pours tea from a matching pot. Without asking, he adds cream and sugar, stirs, and puts the mug in her hands.
SEBASTIAN
First drink a little, then tell me what you need from me.
He sits beside her at the round table, his assurance comforting her. She gulps the tea, then turns to him.
PEN
May I stay here until I have to leave for the airport?
SEBASTIAN
Of course.
PEN
And would you give a letter to Katie for me? I still have to write it, but she thinks she’s meeting me at your office at one today.
SEBASTIAN
Ah.
PEN
She came back a day early and surprised me. We –
Pen stops and flushes.
SEBASTIAN
You need say no more, my darling, I understand.
PEN
I couldn’t tell her I was leaving.
Sebastian gets up and takes Pen’s tea into the next room. He brings it back, adds more tea, milk, and sugar, then hands it back to her.
SEBASTIAN
Drink up.
Pen does and chokes.
PEN
What did you put in here?
SEBASTIAN
A touch of brandy. You have a long day ahead of you after an emotional night. It will steady your nerves.
PEN
I can’t drink, I have to drive into Chicago!
SEBASTIAN
What time is your flight?
PEN
Noon.
He pulls a box of cream stationery and a fountain pen from a drawer in the table and lays them in front of Pen.
SEBASTIAN
You have a letter to write. I’m going to arrange a driver for you. You’re in no state to drive all that way, even without the brandy.
Sebastian goes into the other room to make the call and leaves Pen alone. She drinks her tea and brandy and starts writing.
By the time the driver arrives, she has emptied half a box of tissues. She hands the sealed letter to Sebastian.
PEN
I don’t know how to thank you.
SEBASTIAN
Not at all.
Pen says goodbye to the dogs and kisses Sebastian on the cheek.
PEN
You’re very kind, you know.
SEBASTIAN
I’m a terrifying creature in the rehearsal hall, as you’ll find out again when you return.
Pen’s eyes fill with tears, and she leaves.
CUT TO:
INT. FIRST CLASS CABIN OF JET – DAY – CONTINUOUS
Pen is seated in a single seat in the cabin, with double seats across the aisle. They are in the air long enough for her to have a ginger ale in front of her. She glances at her watch and sees that it is just after 1 p.m.
She closes her eyes; her expression is as blank as she can make it. Every so often a flash of pain cannot be suppressed.
CUT TO:
INT. SEBASTIAN’S OFFICE – DAY
At the same moment Pen closes her eyes, Sebastian hands Kate the letter Pen gave him. Kate opens her letter and reads.
PEN (V.O.)
My dearest Katie, By the time you read this I shall be on a plane and on my way to England. I did not have the courage to tell you last night or this morning. I’m so very sorry.
Kate looks up blindly. Sebastian gently guides her into a chair and without acknowledging him she returns to her reading.
PEN (V.O.)
The truth is, I’d planned to be gone before you returned to town. But I wasn’t and I wouldn’t change a single moment of our time together. Last night meant more to me than I can put into words.
CUT TO:
INT. FIRST CLASS CABIN OF JET – DAY
Pen still sits, eyes closed. A single tear escapes one eye and rolls down her cheek. Her hands are clenched in her lap.
PEN (V.O.)
I’m not leaving because of you, Katie. When Terry died, I lost a part of myself. I’ve tried to live and work without him for the past few months but it I need to go home to England for a while. I don’t want to use you to fill the void he left in my life. It would be all too easy to do that – you are so loving and tender and strong. I care too much for you to use you or lean on you in that way.
CUT TO:
INT. SEBASTIAN’S OFFICE – DAY
Trixie moves over to sit beside Kate and lean against her, as if to support her. Sebastian takes Ben and quietly leaves Kate alone to finish her letter. Kate sees nothing but the letter in front of her, hears Pen’s voice as she reads the words.
PEN (V.O.)
I wish I could say I’ll come back to you when I sort myself out, but I’m not sure that’s even possible, and I don’t want you to wait around for me. You have a gift for relationships – look at how Terry, Sebastian, and I all found ourselves drawn to you. There is one final thing I have to say before I conclude this letter.
Kate digs in her pocket for a bandana, which she uses to wipe her eyes and the tears on her face. She pulls herself together and reads the end of the letter.
PEN (V.O.)
Please don’t follow me. I love your stubbornness and your loyalty, but please let me go. You are stronger than I am and if you followed me, I’m afraid I would give in. I would end up hurting you and I can’t bear the thought of hurting you more than I already have. Please honor this request. Goodbye, my dearest Katie. Thank you for your love. I cherish it. Always, Pen
Kate folds the letter and tucks it into the pocket of her shirt. Barely holding herself together, she leaves Sebastian’s office.
CUT TO:
EXT. LAKESIDE – DAY – IMMEDIATELY FOLLOWING
Kate strides stiffly to the footbridge and crosses it.
Behind her on the path, Sebastian gestures to Trixie to follow Kate, and she does.
By the time Kate reaches the other side of the footbridge, Trixie is beside her, and when Kate stops to slump down against a large oak, sobbing, Trixie comes over to stand close against her. Kate reaches out and wraps her arms around the dog, her shoulders shaking as she cries.
CUT TO:
INT. FIRST CLASS CABIN OF JET – DAY
Pen turns her face to the window, her arms wrap around her torso, and her shoulders shake as her tears fall silently.
CUT TO:
INT. PUBLIC LIBRARY IN BATH, ENGLAND – DAY
Pen sits in front of a computer station scrolling through digital records and newspapers. The librarian said the microfilms had all been digitized a few years ago and if she had rough dates she should be fine.
It takes even less time than Pen expects. Maxwell Parrish pops up after only two searches. The first is his obituary. Pen is shocked to discover he died the same day he left them. Car accident on the A4, southwest of Chippenham. Car skidded out of control in the rain, killed instantly. One passenger critical but survived. Sarah Gregory.
Pen finds an address for her on the outskirts of Bath and prints that, the obituary, and a more detailed article on the accident.
She goes back to the librarian.
PEN
Hello again.
LIBRARIAN
Did you find what you were looking for?
PEN
Yes, but I wonder if you could tell me where I’d find this address.
Pen shows it to the librarian, who gives her a strange look.
LIBRARIAN
Why are you looking for this address?
PEN
I think it might be someone who once knew my father. If it’s the right person – I’m not absolutely certain of that.
The librarian looks closely at her,
LIBRARIAN
(with hesitation)
Little Penny?
PEN
How do you know that’s my name? And how do you know that nickname?
LIBRARIAN
Oh, my.
(points to her name tag: Sarah)
I’m Sarah Gregory. I was with your father in that accident.
Pen stares at her in shock.
CUT TO:
INT. SARAH’S KITCHEN – NIGHT
Pen and Sarah are sitting at the kitchen table, the remains of a chicken pie on the table and both of them with cups of tea.
SARAH
I can’t get over how like your father you are. Of course, I didn’t expect to see you, so I didn’t even notice it at first.
PEN
I read the article. It said you were traveling westbound on the A4 – that sounds like you were headed toward Bath.
SARAH
We were. He turned around, just couldn’t leave you with your mother, as much as she was drinking. So he was coming back to get you. Then the accident happened.
PEN
It must have been so hard for you.
SARAH
I didn’t know anything for weeks; I was in critical care. Then months of rehab with my injuries.
(reaches and hand out to pat Pen’s)
I tried to find you, I had this daft idea your mother might let me take you, maybe even adopt you. I’d have a little part of him with me and you’d be rescued, as he wanted. But you were gone and no forwarding address.
PEN
Thank you, Sarah. We left for Sevenoaks the day after he left and never came back.
SARAH
I have a guest room, Pen. Would you like to stay with me for a while, get to know one another?
PEN
(smiles)
I’d like that very much.
SARAH
And I’d like to get to know Max’s Little Penny now that she’s all grown up.
CUT TO:
EXT. THICKET – DAY
Pen leans against a tree. She looks at the branch that hung so low, Terry would sit on it anytime he wanted to convince her of something. The last time he did that was the day he introduced her to Danni.
EXT. THICKET – DAY
17-year-old Pen glares up at Terry, sitting on the branch.
TERRY
Please, Pen. I know you’ll love Danni as much as I do. She’s one of the dearest people you’ll ever meet.
PEN
Why can’t I meet her somewhere else? Why does it have to be here?
TERRY
Because she’ll feel safe here.
PEN
Safe?
TERRY
I can’t really explain. Oh please, Pen?
PEN
(reluctant)
All right.
Terry runs off to get her. Pen doesn’t want to be ungracious, and Terry asks for so little, but she doesn’t want to share her time with Terry.
Twigs snap, leaves rustle, and Pen gets up.
Terry comes through the branches first, then steps aside and lets Danni in. Pen is speechless. It is as if the sun entered the thicket. Danni’s golden hair frames the sweetest face Pen has ever seen. Her smile lights the entire space.
Pen stares, bewildered by Danni’s luminous presence and an anxious expression in Danni’s eyes.
DANNI
(soft and hesitant)
Terry said you wouldn’t mind if I came, but if you do you must tell me, and I’ll go away.
PEN
(croaks)
No, don’t go.
Terry beams and puts an arm around each of the girls.
TERRY
I knew you’d like her. We’ll have a great time together.
The scene dissolves to another time when it is only Pen and Danni in the thicket.
EXT. THICKET – DAY
Danni sits hunched up against the tree while Pen faces her, sitting cross-legged in the grass.
DANNI
You’re a good listener, Pen.
PEN
Thanks. I was afraid what with you being older, you’d think I was gauche or something.
DANNI
No, you’re very kind, Pen. Not like that boy –
PEN
You didn’t really say what happened with him.
DANNI
(whispers)
I really liked him. And I thought he liked me. But he got so rough. He hit me when I said I didn’t want to.
Danni’s hand creeps up to her cheek, as if she can still feel the blow. Pen curls her hands into fists.
DANNI
He ran when he heard someone coming. After that, I stayed away from him, and he pretended he didn’t see me when he passed me in the school hallways.
Danni pulls her knees up to her chest; her eyes are downcast.
Pen stretches her hand out tentatively to pat Danni’s arm for comfort. The kind gesture seems to crack the floodgates as Danni pillows her face on her knees and weeps.
Pen moves over to put her arms around her protectively while Danni cries on her shoulder.
Danni’s sobs cease and she lifts her head. Her eyes are red, her face tearstained. Pen picks up her sweatshirt from the ground nearby and uses one sleeve to wipe Danni’s eyes and cheeks.
Danni’s smile is tremulous. Moved by her bravery, Pen leans over to softly brush her lips against Danni’s.
She suddenly pulls back in horror.
PEN
I’m sorry, Danni, I didn’t mean to. I –
DANNI
(lays a finger on Pen’s lips)
It’s all right, Pen. You’re not like him. Not at all.
Danni’s fingertips trace the outline of Pen’s lips. She takes her fingers away and kisses Pen.
Return to present with Pen in thicket.
Pen opens her eyes to see the ground dappled with weak winter sunlight under the trees. She feels a kind of peace she hasn’t felt in years. The thought of Danni no longer torments her, she feels forgiven by both of them and Terry as well and feels ready to move on.
CUT TO:
Note: there are a handful of scenes still to go in here. I hope to get them in tomorrow morning.
EXT. FOOTBRIDGE OVER NARROW PART OF LAKE – DAY
Pen is standing on the footbridge, waiting for Sebastian to join her. She is restless and crosses the bridge, following the path into the trees.
She climbs into the lower limbs of a horse chestnut tree with a mischievous smile.
The murmur of voices down a side path catches her attention and Pen sees two women walking together. One woman turns to speak to the other and Pen sees it is Kate.
Something cold and wet touches her ankle. Pen jumps and falls out the tree. Trixie trots over to lick her face. Pen scratches her behind the ears.
PEN
Rascal! You scared me out of a year’s growth.
Sebastian makes his way up the path toward them.
SEBASTIAN
Quite an entrance, Penelope. However, you shouldn’t be sitting on the damp ground, you’ll catch a chill.
Pen stands up and brushes herself off.
PEN
It isn’t damp.
She goes over to give him a kiss on the cheek. He gives her a brief embrace. She can see new lines in his face and strands of white in his hair.
SEBASTIAN
I’d no idea where you’d gone, but Beatrice knew. My apologies for making you wait so long.
Pen caresses the dog’s head and her tail waves softly.
PEN
Clever girl.
SEBASTIAN
She is, indeed. Are you ready to get back to work? You got my email with the time of today’s read-through?
PEN
Yes, I’m prepared.
SEBASTIAN
You look well, Penelope. The trip wasn’t too much for you?
PEN
No. I think it was exactly what I needed. I’ll admit, I have some concerns still about working with Michael.
SEBASTIAN
I understand. No need to figure everything out today. Take it as it comes, and we shall be fine.
As they approach the footbridge, Kate and Sandy approach from a different path. It is obvious the four will meet at the entrance to the footbridge.
SEBASTIAN
(in a slightly raised voice)
Katelyn, Cassandra.
They both look up. When Kate sees Pen, she gives her a warm smile, which Pen returns. Then Kate’s face is suddenly blank and Pen’s smile fades as well.
Kate and Sandy arrive at the footbridge. Sandy gives Pen a hug. Sebastian takes Sandy by the arm and steers her across the footbridge to the theatre, leaving Pen and Kate looking at each other.
KATE
Hello, Pen.
PEN
Hello, Katie, it’s good to see you.
KATE
Is it?
PEN
Of course, why wouldn’t it be?
KATE
You tell me, Pen. You’re the one who took off without a word. Oh, that’s right, you wrote a letter. And then nothing. Not one word.
PEN
Katie, I’m –
KATE
Forget it, Pen. You made yourself plenty clear. No need to say more.
Trixie shoves her nose under Kate’s hand. Kate laughs and kneels to give her a hug.
KATE
Sorry girl, I didn’t mean to ignore you.
Pen doesn’t know what to do. Her plans for a happy reunion with Kate are dashed and she has no idea what to say or do now.
Kate stands and looks at Pen as if they are mere acquaintances.
KATE
Everyone was pleased to hear you’d be back for the season.
(smiles at dog)
Trixie seems happy, too.
PEN
Sebastian was kind to leave the parts open for me.
They cross the footbridge, chatting politely. The only sign of how either feels is tension in Pen’s carriage and the white knuckles on Kate’s hands when they grip the handrail.
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What I learned doing this assignment is thinking of strong scenes for Act 3. Still thinking on it, however I thought of a scene to add to Act 3:
Beginning: Jayla calls Barry and he picks her up at a street corner. Jayla tells him that she considers him her dad and wants him to come back. Barry says her mother doesn’t love him anymore and he can’t come back, but she’s welcome to stay with him. Jayla accepts.
Middle: Barry offers to take Jayla with him to a hotel since he was just kicked out of Tina’s home and doesn’t have an apartment just yet. Jayla accepts and they head to the hotel.
End: As Barry drives, he gets mysteriously ill. The more he continues to drive, the worse his health gets. He hears a voice in his head tell him to let Jayla go. He tells her to get out of the car, she does, and he speeds off, leaving her in a strange neighborhood. Jayla, afraid, calls Tina to pick her up.
Barry sees Jayla standing on the street corner waving at him. He pulls over and she gets in his car.
BARRY: Your mother let you come out here?
JAYLA: I ran away.
BARRY: Jayla…
JAYLA: I had to, you’re like my dad and I want you to come back and stay with us.
BARRY: Your mom doesn’t love me anymore, Jayla. I can’t go back. Do you still love me?
JAYLA: Yeah, that’s why I want you to come back. Or me and Daylen can stay with you from now on.
BARRY: That’s sweet, but I don’t have a home yet, sweetie. Your mom just kicked me out, but we can go to a hotel tonight.
JAYLA: Okay. Then we can pick Daylen up tomorrow.
BARRY: Sounds good to me. Let’s go.
As Barry drives on, he suddenly has a sharp pain in his chest. He starts to swerve.
JAYLA: Barry, are you okay?
Barry can’t speak, his pain worsens. He pulls over.
MALE VOICE (only Barry can hear): If you want to live, let her go.
Barry thinks he’s hearing things. His pain worsens. Finally…
BARRY: Get out, Jayla.
JAYLA: Why? Are you okay?
BARRY: Get out!
Jayla, confused, reluctantly gets out of the car. Barry speeds off. Jayla, afraid, looks around the strange neighborhood. She pulls her cell out of her pocket and calls Tina.
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M.M.’s Completed Act 3
What I learned in this exercise is to continue to write quickly, use free association and this time I added dialogue.
INT. RITZY BEACH CLUB DINING ROOM – DAY
BEGINNING:
Hector, Inez and Emilio eat breakfast. Their table is laden with every breakfast food imaginable – pancakes, waffles, toast, muffins, eggs, a platter of meats, jars of jellies and jams, and fresh fruit.
HECTOR: Time to fire Phil as your agent.
EMILIO: No way, Dad. He says he’s talking to MLB agents for both of us.
HECTOR: I told you the fix is in. You WILL be drafted. You will have realized your dream, although why you want to play that hot, sweaty game is lost on me.
INEZ: Yes, son, you should get rid of that rough exterior and be smooth like your Dad.
They give each other knowing glances.
HECTOR: We’ll get you in the clubhouse, but after that you’ll have to play to their standards. Prove yourself.
INEZ: But if you do fail, the door is wide open for you to move with your bride to San Juan and manage the rum factory there. When your Dad decides to retire, you can come back to the States and run the international empire.
HECTOR: Which will be many years for you to enjoy our mansion on the island.
INEZ: Many years, indeed.
MIDDLE:
Emilio balks at firing Phil.
EMILIO: May I remind you Phil also reps Bella. If he’s not looking after my interests, too, he might get something better for Bella. But if it’s lucrative enough, I’d have to go along with it.
HECTOR: O ye of little faith. Don’t you know your mother’s money can buy anyone, anywhere, anytime? She’s done it many times and she can do it again.
EMILIO: I like being able to control Bella’s future by approving or disapproving Phil’s offers.
END:
Inez puts her foot down.
INEZ: Fire the agent and take control of your wife. Tell her what her job is now and that you expect her to do as you say. Now eat your breakfast and wake up your bride. We have a sailfish catch before we go home!
HECTOR: Two would look even better in the downstairs bar.
INT. LUXURY HOTEL HONEYMOON SUITE – DAY
BEGINNING:
Bella calls Luke after getting Emilio’s voicemail.
BELLA: Luke? Can you talk?
LUKE: What’s wrong? I can hear it in your voice.
BELLA: No, nothing. Well, at least I think it’s nothing.
LUKE: Where’s Emilio?
BELLA: On his way back. Had to talk to his parents. Probably about his trust.
LUKE: The family trust is legendary. Even Mark, my agent, knows about it. He has repped a lot of Puerto Rican players. Don’t know why he didn’t pick up Emilio.
BELLA: Yes you do. Unfortunately, we both do. I guess too many people do.
MIDDLE:
LUKE: What can I do?
BELLA: Just assure me I made the right decision.
LUKE: Bella? After one night? What happened – he hit you?
Bella is silent.
LUKE: I was joking. Tell me that isn’t true.
BELLA: Nothing like that. Of course not. I mean, he kicked you out —
LUKE: Escorted me was the word they used, but it felt more like being dragged out like trash.
BELLA: I am so sorry —
LUKE: That’s nothing. I was happy to see you.
END:
BELLA: I guess I wanted to hear your voice.
LUKE: Last night it looked like you — both of you — are so much in love.
BELLA: We are. I am. I mean I hope he loves me as much as I love him.
LUKE: Well it shows. I’m sure he does. I mean, just your ring. Has to be ten carats. If that’s not love —
BELLA: It’s his mother’s. Family heirloom.
She admires it on her finger.
BELLA: But I have to admit it is gorgeous. Other than my medal of St. Rita, the baseball patron saint, I don’t even have any other jewelry.
LUKE: If you want it, I’m sure he and his trust fund will oblige. I wish you so much happiness, Bella. You deserve it.
Bella hears the card key clicking and the door opening.
BELLA: He’s coming in – gotta go.
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Angelina Fluehler – Finish Act 3 – completed Act 3
“What I learned doing this assignment is…?” Revised the structure. Check!
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This reply was modified 2 years, 8 months ago by Angelina Fluehler.
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