Carol Dougherty
Forum Replies Created
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Carol Dougherty’s Chronological Edit
What I learned doing this assignment: What I’ve been learning all along is especially relevant in doing this assignment – that everything in the script: the flow, the clarity, the description, the dialogue is all interconnected. One of the things I do to help me figure out where the problem areas are is to read it out loud, including the description. It’s obvious that the dialogue benefits from that, but it’s surprising how it even helps with checking out the description (I realize what I thought was in there but wasn’t), the flow (when I stumble over things there is usually a problem), and the clarity (if it confuses me at all it will definitely confuse someone else).
Main improvements:
Occasionally I do find that I’ve left something out that is in my mind’s eye, but not on the page. However, the overall flow and clarity are what I’ve worked on most. Finding those places where the transitions don’t move seamlessly, feel awkward, and then fixing them.
As it stands, my script is too long, so I need to work further on what is essential and still maintain the flow and clarity.
With the dialogue I did go through to make sure I maintained that line between not being too on the nose yet getting the point across. There were some places I had to work on that, especially in the early scenes in which the groundwork is being laid for the rest of the story.
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Carol Dougherty Solved Scene Problems
What I learned doing this assignment: These are a couple of scenes that were added to the last act in the past few days. Although Michael was introduced in the second act, he hasn’t been a major player until now, and these two scenes set the tone for the working relationship between Pen and Michael. There have been some major changes in the original storyline, and for Pen to get to the final climax and have the resolution work, she has to go through this conflict with Michael. The two scenes have the work of each scene, and they also have to lay the groundwork for what comes later in her relationship to Kate, because everything in one way or another, ties back to that – even this relationship. The suggested questions helped to tighten the focus and keep me on track.
INT. CONFERENCE ROOM – DAY – IMMEDIATELY AFTER
Pen enters the conference room, which is already crowded with actors, stage management, designers, and staff. It is set up with a table and chairs in the center for the actors, director, and stage management to sit during the read through. There are other chairs around the room, as well as floor and wall space for younger members of the company who aren’t in the play but want to sit in.
Everyone is crowded around another table that has the set and costume designs, so no one sees the scowl on Pen’s face as soon as she sees Michael. She immediately relaxes her facial muscles and goes over to him.
PEN
Hello, Michael.
Michael turns from the design table. Gone is the smart aleck attitude Pen remembers. He is respectful and serious, as well as a little wary.
MICHAEL
Pen. It’s good to see you. Thank you –
PEN
(polite and cool)
There’s nothing to thank me for. Excuse me, I need to see Jacky before we start.
She crosses the room to give Jacky a brief hug. He gives her a knowing smile.
JACKY
Welcome home, Pen. We’ve missed you.
PEN
Thanks, Jacky. I’ll have to come in for one of your omelets soon.
JACKY
Any time.
PEN
Unusual for you to be at a reading, isn’t it?
Jacky glances at someone behind Pen and start to speak.
STAGE MANAGER
Seats, please.
JACKY
(with a grin)
Later.
He gives her a pat on the arm and takes a seat near the door. Pen takes a seat across from Michael at the table where the four other actors are already seated.
Kate sits further down the table, between Sebastian and Sandy. Pen tries to keep her focus on the page and not on Kate. She finds it difficult after being away so long, not to look for changes in her.
As the reading begins, we hear the murmur of the voices, but not the lines. We watch the reading from Pen’s POV, as she studies Kate and Sebastian, with occasional glances at Sandy, Michael, and Peter, who plays her new husband in the play.
Michael’s line readings occasionally startle her. She struggles to hide her irritation at how different he was from Terry. She manages to make it to the end. The audience in the conference room applauds at the end as they always do, no matter how good or bad it is.
STAGE MANAGER
Sebastian has a few things to say. Copies of the rehearsal schedule are on the end of the table. Please be sure to pick one up on your way out. Thank you.
SEBASTIAN
Welcome back, everyone. This will be the first season in this theatre that we’ve done without Terence. I, for one, will find that very difficult, and I ask for your understanding if at times I am sharp or short with any of you.
(he looks around and makes eye contact with everyone in the room before he continues)
I especially want to welcome back Penelope, who will be taking on the Herculean task of playing both Amanda in Private Lives and the title role in Hamlet.
(looks directly at Pen)
It’s good to have you back, Penelope.
(nods to everyone)
Thank you for your avid attention during the reading.
Everyone gets up and either leaves the room to return to work or chats or goes back to the design table.
Michael intercepts Pen on her way to the door.
MICHAEL
Pen, I wonder if we could talk?
Pen sees the lines in his face that make him look a bit haggard. The golden glow he’d had in the summer was long gone.
PEN
Alright.
MICHAEL
Could we have a coffee in the green room?
PEN
Fine.
She turns and leads the way out the door and Michael follows.
CUT TO:
INT. GREEN ROOM – DAY – IMMEDIATELY FOLLOWING
Pen and Michael are seated in two chairs near the window, coffee mugs in their hands. Pen is coolly polite and Michael is still serious and respectful to Pen.
PEN
What is it you want to say?
MICHAEL
I was surprised you agreed to work with me.
PEN
Why is that?
MICHAEL
I got the impression you hated me.
PEN
Did you?
MICHAEL
Yes. Did Sebastian force you to do this?
PEN
(lifts her eyebrows)
Does it matter?
MICHAEL
To me it does.
PEN
Why?
(snaps at him)
What’s the matter, Michael? Did you want me to fall all over you with joy, or did you think I’d come after you with a knife?
Michael looks down. Pen takes a long drink of her coffee. When he looks up his eyes are wet. She tries not to show her surprise.
MICHAEL
Neither. As much as I want to act at this theatre, I don’t want to cause you any further pain.
PEN
Funny. You didn’t seem to have any problem causing Terry any pain, did you?
MICHAEL
I deserve that.
PEN
Yes. You do. I warned you at the opening night party. You were quite scornful of Terry at that point.
MICHAEL
I was. Later, I found out he’d asked the company not to give me such a hard time about Laurence. He said it was a private matter, not a public one, and he asked them to respect his request.
PEN
(puts her mug down and sits up very straight)
I never heard that.
MICHAEL
Ask around, they can tell you. I wanted to apologize to him, Pen, but Laurence went ballistic when I told him that. I left Laurence that same night. It ended up being the night Terry died, so I never got to tell him.
Pen controls herself so as not to react to what he says, not in front of him.
PEN
Very sad.
MICHAEL
I regret what I did to Terry, more than I can say.
PEN
And why would I believe you, Michael?
MICHAEL
I guess you wouldn’t.
PEN
(leans forward, voice very quiet)
I agreed to act with you Michael. Why I chose to do so is absolutely none of your bloody business. I’m a professional. I keep my word. I do my job. That’s all you ever need to know.
(stands)
Thank you for the coffee.
Pen stalks out of the green room, leaving Michael staring into his coffee cup, which is untouched.
CUT TO:
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Carol Dougherty’s Solved Character Problems
What I learned doing this assignment: As I went through scenes to see what needed help, I realized that even a single action or series of actions can have an emotional impact on a scene. As human beings, we rarely do anything without a reason, and the same should go for our characters. Sometimes we don’t even know ourselves why we do something – I remember an episode of M*A*S*H in which Hawkeye tells a woman why he wants to marry her and all the while he is moving, literally trapping himself in a corner. It was brilliant. So I tried to use that kind of emotional response that expresses itself in action.
Character problems: One of the problems listed jumped out at me and I know it’s the primary one to be addressed. It’s D. Characters not in action. I tend to start with dialogue because for whatever reason, that comes easier for me. And this is not an action film, so I really have to work to make the action meaningful, other than in rehearsal or on the stage. In the more problematic scenes, I tend to have characters facing off, which is fine up to a point. I’ve found a few scenes that really are in need of some action and worked on those.
First scene update:
INT. PUB – NIGHT
Pen, Terry, Kate, and Sebastian are at a favorite pub. The front area, where the bar is, has most of the tables and a darts area. They sit on a slightly elevated level at a round table which is usually where Sebastian holds court when he comes in. On this night, everyone else is leaving them alone.
Pen notices Kate has her attention on Terry, who is telling a story, but she seems miles away. She glances at Sebastian, who is watching them, and she takes a drink.
TERRY
I don’t think any of you are listening. I am offended.
(with a grin)
SEBASTIAN
Nonsense. You were telling Katelyn about your music hall experiences.
KATE
You all seem to love the old English music halls. Too bad there’s nothing like it around here.
TERRY
I’ve seen some DVDs and CDs online. Not quite the same, but not bad. And there’s always Olivier’s film, The Entertainer. Sebastian, care for a game of darts?
PEN
I am not coming over to watch you two play again. It’s pathetic.
SEBASTIAN
Never mind, my darling. You and Katelyn can sit here and deplore our appalling lack of skill.
Terry and Sebastian go over to the darts, several other members of the company move from the bar to join them.
As soon as they are out of earshot, Kate speaks.
KATE
Pen, did I upset you at rehearsal today?
PEN
No.
KATE
Then what happened? Why wouldn’t you talk with me?
PEN
(with a rueful smile)
I’m not very good at explaining myself. Maybe I need someone to write my lines for me.
Kate smiles back and waits.
PEN
There’s nothing else when I work. Nothing. No one. And Viola is not an easy part for me, as you may have noticed.
(drinks)
Sebastian has a way of working that encourages actors to deep and uncover truths that are difficult to experience at times. No one can explain exactly what he does or how he does it, but I’ve never met anyone who can bring out a performance like he can.
(she watches him play darts for a moment)
His rehearsals are inspiring, exhilarating, and exhausting. Terry can dive into a part, shatter everyone in the rehearsal hall with his emotional intensity, then during the break he can laugh and chat like nothing happened. I can’t.
KATE
I’ve seen you talk with Terry during breaks.
PEN
(shakes her head)
Not the same thing. We’re acting together, he’s my partner. We’ve been a part of each other’s lives since we were children.
KATE
I appreciate your candor, Pen. I can’t say I completely understand it, but I’ll try not to invade your space in rehearsals again.
The front door of the pub opens, and they both look
up at the stranger, a young man, who enters. The color drains from Kate’s face and she gets to her feet. Pen gets up and stands beside her, watching him.
The young man, MICHAEL (27), moves through the crowd with the regal grace of a lion, and lights up the room with an aura of burnished gold, from the wavy locks that cascade to his shoulders to the metallic shimmer of gold threads woven into the fabric of his shirt.
He checks each booth and table, hunting for someone. Terry gets one look at him and goes over to greet him. They speak briefly and Terry points toward Pen and Kate.
Michael’s head snaps around. He sees Kate and lets out a crow of delight.
MICHAEL
Kate! Finally.
KATE
Michael.
She watches him lope toward them with a poker face, and Pen wonders who he is and why Kate doesn’t seem too happy to see him.
KATE
What are you doing here? I only got your letter today?
MICHAEL
Fine. I’m fine.
(he appraises her with a glance)
You look good, Kate, really good. This place agrees with you.
He flashes an ingratiating smile at Pen.
MICHAEL
(to Kate)
Aren’t you going to introduce me?
KATE
Of course. Pen, this is a friend of mine from school, Michael Lindquist. Michael, Penny Parrish.
Pen holds out a hand to him.
PEN
(friendly, not warm)
How nice to meet a friend of Katie’s.
His eyes narrow when Pen calls her Katie.
MICHAEL
Wow.
(he shakes hands)
It’s great to meet you Ms. Parrish. I love your work. Kate must have told you we drove through the night last fall to catch your final performance in Antony and Cleopatra.
Pen glances at Kate, startled. Kate refuses to meet her eyes.
PEN
No, she didn’t say, but then we’ve had quite a busy rehearsal schedule.
Michael shoots an irritated look at Kate, then turns the smile back on when Terry and Sebastian rejoin them.
PEN
Michael Lindquist, I’d like you to meet Sebastian St. James and Terence Patrick Gibbs. Michael is a friend of Katie’s.
Everyone sits at the table and more drinks appear. Michael and Terry are seated next to one another and are engaged in a quiet discussion, while Kate sits watches Michael apprehensively. Sebastian also observed Terry and Michael with a slight frown. He exchanged concerned glances with Pen.
PEN
(quietly)
Katie? I think I’m going to head home. Would you like to walk with me?
KATE
(glances at Michael)
I don’t think so. I think I’ll stay awhile.
Down near the bar, Sandy put on her jacket. Pen slid out of her seat.
PEN
I’m knackered. Think I’ll catch a ride with Sandy.
She darts toward the door to intercept Sandy.
PEN
Sandy! Would you mind dropping me off at the farm?
Sandy spins around, red curls bouncing.
SANDY
Sure, my car’s right outside.
Sandy and Pen exit. Pen glances up to the elevated table and Kate is watching her.
Second scene update:
INT. PEN’S DRESSING ROOM – NIGHT – IMMEDIATELY AFTER CURTAIN
Pen is in her dressing room in her opening night party dress. Her only jewelry is the silver pear necklace Danni gave her on the chain Kate gave her. She stands at her makeup table and inhales the fragrance of the deep peach roses in the vase. The card simply says, Kate.
Pen goes to the door, nervous about the opening night party and what Kate will say to her. She squares her shoulders and opens the door to find about to knock on the other side. Kate’s flushed face tells Pen she remembers this is exactly how they met for the first time.
PEN
(steps back)
Katie, do come in.
KATE
Just for a second.
Kate enters and moves to the center of the room, between the chair and chaise, using them as a barricade.
KATE
It was a wonderful performance tonight, Pen. Terry would have been proud.
PEN
Thank you.
KATE
I wanted to tell you myself – I’ve accepted the job in Chicago.
Pen struggles not to show any feeling other than polite interest on her face.
PEN
You have? When will you go?
KATE
Soon. Sebastian said whenever I’m ready. Sometime next week, I guess.
PEN
You must be very happy.
KATE
Must I?
PEN
Well, aren’t you? I thought this was what you wanted.
They stare at each other, Pen confused, Kate composed on the surface. Only the tense set of her shoulders shows there is something powerful being held back.
PEN
Don’t go, Katie.
KATE
Why not?
PEN
You said it yourself before, you could spend years with Sebastian and never stop learning.
KATE
That’s true.
PEN
Then why go?
KATE
We both know the answer to that.
Pen paces, like a tiger in a cage. During the next few exchanges, she circles the chair and chaise lounge area where Kate stands, as if trying to contain Kate.
PEN
I don’t. You love the company. You know Sebastian wants you to direct. Why do you have to go?
KATE
Why did you do it, Pen? Why did it have to be so public? Did you need a stage?
PEN
Is that what you think?
KATE
What else can I think? How many times have we been alone since you got back – not one word. Were you just using me to get everyone’s sympathy?
PEN
(stops in her tracks, facing Kate)
How can you think that? I wanted you to know that I meant it, that I wanted to tell the whole world that I love you.
Kate listens, her face stony.
PEN
And I wanted to tell you as soon as I got back. But you were so angry with me you never gave me a chance. When I had time to think about it, I thought maybe I should do what you would have done.
KATE
You think I’d have left you hanging like that after what we shared before you left? You don’t know me at all if you think that.
PEN
Katie, what I’m trying to say is that it seemed as if you had made a decision for yourself. And that I had to honor that decision, as you would have. I just wanted to give you the same kind of respect you tried to give me.
Kate stares at her, incredulous.
KATE
I’m trying to understand, Pen. But if you loved me, why didn’t you respond at all to my letter? Do you have any idea at all how much that hurt me?
PEN
Would you sit down and let me try to explain? I feel like you’re all set to flee if I say the wrong thing. And I know the last time I tried to explain myself it didn’t make much sense.
Kate sits on the gilt chair and Pen sits across from her on the edge of the chaise lounge.
PEN
I told you about my dad leaving and about Danni’s suicide. What I didn’t tell you was that I felt responsible for both.
KATE
You couldn’t have been.
PEN
No, but for a long time I believed I was, and I couldn’t even tell Terry, especially about Danni, because I was sure I’d lose him, too. When your letter came, I was in the midst of sorting all of that out. I’d no idea what to say to you because all I wanted right then was for you to come and be with me through all of it.
KATE
I would have come, Pen.
PEN
(smiles)
I know you would. And that’s why I couldn’t talk to you. I needed to do it on my own.
KATE
Thank you for telling me.
Pen’s shoulders sag a little as she can see Kate is not completely convinced. She takes one of Kate’s hands in hers and looks down at it as she speaks.
PEN
There’s a line in Much Ado About Nothing, “Taming my wild heart to thy loving hand.” I always thought it sounded like a prison sentence and I never wanted to offer anyone a tamed, watered-down heart to keep on a leash.
She lifts Kate’s hand to her cheek for a moment and closes her eyes. Kate’s eyes are riveted to her, and she is barely breathing as she waits for what Pen will say next.
PEN
Before Danni died my heart was wild, passionate, fierce. And I thought that heart died with Danni. Until I met you.
Pen opens her eyes to meet Kate’s.
PEN
What you awoke in me wasn’t just that young girl’s heart, it was the heart of the woman I’d become, with all of my shame and regret, my grief and loss, and a depth of love I never even imagined. Katie, from the day we went out in the rowboat there has been no one else, not Sam or anyone.
KATE
Why not?
PEN
Because I love you and only you.
KATE
And I love you.
Kate brings her other hand up to cradle Pen’s face in her hands and they come together in a kiss of fierce tenderness.
A knock on the door interrupts them.
PEN
(her voice hoarse)
Yes?
MICHAEL (V.O.)
Pen, people are asking for you at the party. Will you be coming soon?
Pen and Kate laugh quietly.
PEN
Thanks, Michael. Be there shortly.
They sit and look at each other for a moment with radiant smiles. Pen stands and pulls Kate up with her.
PEN
Would you like to be my date for the opening night party?
KATE
I’d love to.
Pen holds out her hand and Kate takes it. They walk to the door together.
FADE TO BLACK
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Carol Dougherty’s Filled in Missing Scenes
What I learned doing this assignment: There are a lot of missing scenes, and I’m not completely sure they are all essential. It’s a lot of work, but I think it makes most sense to write them, put them in the screenplay, and then see what works and what doesn’t.
Outlines:
Act 2 scenes
Kate spills the beans
BEGINNING: Kate inadvertently uncovers Pen’s relationship with Danni.
MIDDLE: Terry flips out when he realizes Pen and Danni were lovers.
END: Terry storms out and Pen is terrified he won’t come back.
Terry returns
BEGINNING: Terry shows up at Pen’s door a few days later
MIDDLE: They talk about Danni and about why he was so upset, and she was frightened to tell him.
END: Terry tells Pen he is glad Danni knew love with Pen before she died.
Opening night follies
BEGINNING: Kate visits Pen in her dressing room after the opening night performance.
MIDDLE: Kate has had a little too much to drink and makes a pass at Kate, which she gently deflects.
END: Kate sees the vase of roses from Sam and the note, which makes clear their relationship is still on, and leaves, upset.
Michael gets caught
BEGINNING: Pen catches Michael flirting with Laurence behind Terry’s back.
MIDDLE: She threatens Michael that he better not hurt Terry.
END: Michael laughs and walks away.
Morning after
BEGINNING: Kate is hungover and embarrassed when she sees Pen.
MIDDLE: Pen wants to know why Kate was drinking so much, and finally realizes it was about her. She is confused, because she told Kate about Sam. Kate admits she hoped Pen would drop him and choose her.
END: Terry interrupts to see if Kate drank his home remedy. She goes inside and Pen watches her with longing.
Day at the track
BEGINNING: Pen, Terry, Kate, and Michael are in the box at the track, waiting for Sam to show up – they are his guests.
MIDDLE: Sam shows up and shortly after, so do his wife and teenage son. The son is upset at Pen being there and throws a glass of wine at her. Kate steps in front of Pen and her white shirt is covered with red wine.
END: They leave Sam to his wife and son.
Terry checks in
BEGINNING: Terry visits Pen in her dressing room before the matinee.
MIDDLE: He wants to see how she is after her encounter with Kate the night before. Pen doesn’t want to talk about it.
END: Terry asks her if she is in love with Kate and she refuses to answer.
Sam is oblivious
BEGINNING: Sam arrives shortly after Terry leaves.
MIDDLE: Pen tries to talk about his wife and son, and he wants to dismiss it. She suggests they take a break, and he becomes furious that she would break up with him.
END: Sam storms out and says he’ll sell the farm and she and Terry will have to leave.
Another breakup
BEGINNING: Pen hears voices, then breaking glass in the garden.
MIDDLE: She sees and overhears a fight between Terry and Michael. They break up. Terry is heartbroken and Pen goes out to comfort him.
END: Kate shows up and she and Pen work together to help Terry.
Act 3 scenes
Sebastian calls
BEGINNING: Sebastian calls Pen.
MIDDLE: He tells her Ben (dog) died for no apparent reason other than heartbreak over Terry’s death. He also tells her he wants her to two parts in the upcoming season and what they are. She says she’ll let him know. Asks how Kate took her letter. Not well, he says.
END: After Sebastian hangs up, Pen fills Sarah in.
Christmas with Sarah
BEGINNING: Sarah and Pen exchange gifts Christmas morning.
MIDDLE: Sarah gives her a box from Sebastian – it has gifts and letters from him and Kate. Kate wants to talk with her, even briefly. Pen puts the letter in the fire. She tells Sarah she can’t right now. She says she may want to stay in England permanently.
END: Pen says she has to go to Sevenoaks and finish what she came for.
Sevenoaks first visit to thicket
BEGINNING: Pen goes to the thicket of trees where she and Terry spent so much time, and later Danni as well.
MIDDLE: She remembers moments with Terry and Danni, thinks about Sarah’s words about forgiving herself for what she couldn’t fix.
END: Pen goes back to hotel to finally go through her mother’s possessions.
Treasure trove
BEGINNING: Pen opens the box that holds the remainder of her mother’s things.
MIDDLE: She finds clippings and reviews of her father’s performances and a few with her mother before they married. She finds pictures of the three of them and letters from her dad when he was out on tour. She realizes her mother was happy at one time and loved her dad. She became bitter when she could no longer act because Pen was born.
END: Pen feels as if she knows her parents in a way she never did, and it feels like her father has come back to her, in a way.
The call
BEGINNING: Pen calls Sebastian and talks to him about the upcoming season.
MIDDLE: They work out the details, he lets her know the farm will be ready for her and lets her know Kate will be his full-time assistant director.
END: Pen gets off the phone and determines to let Kate know she loves her when she is back in the States.
First read-through
BEGINNING: Pen goes to the first read-through of Private Lives
MIDDLE: She is polite to Michael, Kate is polite to her, and most people seem to be pleased she’s back. Every time she looks at Michael, she is furious on Terry’s behalf, but she hides it.
END: Michael corners her at the end of the read-through and asks if they can talk privately.
Talk with Michael
BEGINNING: Pen listens to what Michael has to say.
MIDDLE: She tells him she doesn’t need to explain why she will work with him, all he needs to know is that she will, and that she’ll be professional about it.
END: Pen leaves him there.
Rehearsal with Michael
BEGINNING: Rehearsal begins.
MIDDLE: Michael and Pen work well together. They find some depth that Pen and Terry hadn’t found in the play, which upsets her.
END: Pen leaves immediately after rehearsal.
After rehearsal
BEGINNING: Sebastian and Kate come by the farm after Pen’s abrupt departure.
MIDDLE: They understand she is upset because she feels disloyal to Terry. Both argue Terry would love the work she is doing.
END: Pen is reassured. Tells them she’d like to do a company picnic before opening night to relax everyone.
Company picnic
BEGINNING: People arrive, get food, talk
MIDDLE: Pen gives out gifts from Terry’s theatre memorabilia to everyone.
END: Pen feels like she’s beginning to be part of the company.
Why these scenes: This screenplay is being adapted from a novel. I’ve made many cuts, but these scenes are part of continuing the flow of the story, the causality of the core story, and I don’t think right now I can cut them until they are all in a complete draft. The only additional scenes I have not yet incorporated are the final five scenes listed. They are all in Act 4 and I know at least two of them must be there but for now, I’m leaving them out.
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Carol Dougherty’s Solved Structural Problem
What I learned from this assignment: It’s all interconnected, that’s for sure. I was working on the 24<sup>th</sup> assignment and in order to do that, I’d started working on the beat sheet and the structure as I did that. When this assignment came out, I realized I’d done half of this already, and wanted to finish it before finishing the 24<sup>th</sup> assignment, so I’ve switched the order. The 25<sup>th</sup> one will be turned in today, the 24<sup>th</sup> tomorrow. Hope that’s okay.
Act 1:
Opening/Old Ways: The opening scene engages us with the two most important parts of Pen’s life – her work and Terry. Pen is right in the middle of her performance, followed by interacting with her current lover and her director, acting in all of her usual habit energies. Everyone interacts in their normal, familiar ways so we see who they are right from the start.
Inciting Incident: Pen’s reaction to her first sight of Kate immediately makes us aware that she is powerfully impacted by this woman, though we don’t know exactly why yet. Pen’s reaction to Kate is to feel as if she’s pulled out of the grave she’s been buried in (figuratively) with Danni, since Danni’s death.
Turning Point: Pen’s habit energies (Old Ways) have changed her initial emotional response into Kate into treating her as a kind of game, one of teasing/seduction, with Terry’s upset being the fly in the ointment. In the rowboat/picnic Pen sees more of who Kate is and finds that she (Pen) is developing genuine feelings for Kate. Their interactions are no longer a game for Pen.
Act 2:
New Plan: Pen decides to try being friends with Kate, which will mollify Terry. She gets to know her on an everyday basis, and when things come up, she will employ her usual manipulations that have been successful with others.
Plan in action: Pen and Kate hang out together at work and outside, with Terry and Sebastian as well. Their lives are intertwined, and when an opportunity comes up, as in the informal rehearsal kiss, Pen reverts to her old ways/habit energy and tries to get Kate into bed.
Midpoint Turning Point: Until this point, it appears to be primarily a love story. Terry’s death makes it clear that the love story is essential to Pen’s journey, which is Pen dealing with herself and her life. The Turning Point forces her to go to her roots – who is she without Terry, without the theatre?
Act 3:
React/Rethink: With Terry’s death, Pen returns to the notion of being buried in a grave with Terry, as she felt she was with Danni. She isn’t sure she can navigate life without Terry. Pen’s journey has many layers – herself, her work, her relationship with Kate, and her relationship with others.
New Plan: Pen decides to go home to England and revisit her past to see if she can figure out how to move forward without Terry. She thinks she must do this on her own and without Kate, so she refuses to respond when Kate contacts her.
Turning Point: Pen makes the decision to return to both the theatre and Kate. She will accept the parts offered by Sebastian and she will tell Kate she loves her. The company seems pleased she is back, but Kate is hurt and angry that Pen ignored her plea for contact and refuses to even listen to her. She is polite and distant (much like Pen used to be). Pen will have to do something significant to get through to her.
Act 4:
Dilemma: Pen wants to love and be loved; she is also afraid to risk exposing herself to the risks of love (loss, rejection) because of her experience. She can either risk loving and being open to love, which leaves her open to loss and rejection not just by Kate, but also by the company and by audiences. If she doesn’t take the risk, she reverts to her life of solitude and distance, only now there is no Terry in her life.
Climax/Ultimate Expression of the Conflict: The fight to the death here is the fight Pen has with herself to open herself to her worst fears. She confronts not only Kate, but also the entire company with her apologies, her thanks, and her expression of love to Kate. The company accepts her apologies and thanks, but Kate walks out on her.
Resolution: Pen is completely open and honest with Kate, fully embracing the New Ways of risk and openness. Kate questions and challenges her and Pen never wavers from the New Ways, and the love she most wants is hers.
New Ways: The new ways are Pen’s willingness to be open and embrace the risk of loving and being loved. She no longer keeps everyone at a distance in her thoughts, words, and actions. She embodies the New Ways with herself, Kate, her work, and her relationships with others.
These answers are incorporated into the 24<sup>th</sup> assignment, which will be turned in tomorrow with the appropriate scenes.
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Carol Dougherty’s Act 4 Resolution
What I learned doing this assignment: All along one of my concerns is that this wouldn’t be big enough or matter enough to people. As I worked my way through the resolution scene, I felt something build in me as I wrote it. This is just a draft, but I hope that I’m able to bring the bigness of what I felt to life as I continue writing.
Outline:
Key Scene 4: Resolution
BEGINNING: Kate comes to Pen’s dressing room after the opening night performance to talk.
MIDDLE: Kate is angry and wants to know why Pen needed to make her declaration of love so publicly. She feels she’s being used to make Pen look good to company. They argue.
END: Pen somehow finds the words to convince Kate that she does love her.
Key Scene 4: Resolution
INT. PEN’S DRESSING ROOM – NIGHT – IMMEDIATELY AFTER CURTAIN
Pen is in her dressing room in her opening night party dress. Her only jewelry is the silver pear necklace Danni gave her on the chain Kate gave her. She stands at her makeup table and inhales the fragrance of the deep peach roses in the vase. The card simply says, Kate.
Pen goes to the door, nervous about the opening night party and what Kate will say to her. She squares her shoulders and opens the door to find about to knock on the other side. Kate’s flushed face tells Pen she remembers this is exactly how they met for the first time.
PEN
(steps back)
Katie, do come in.
KATE
Just for a second.
Kate enters and moves to the center of the room, more than an arm’s length from Pen.
KATE
It was a wonderful performance tonight, Pen. Terry would have been proud.
PEN
Thank you.
KATE
I wanted to tell you myself – I’ve accepted the job in Chicago.
Pen struggles not to show any feeling other than polite interest on her face.
PEN
You have? When will you go?
KATE
Soon. Sebastian said whenever I’m ready. Sometime next week, I guess.
PEN
You must be very happy.
KATE
Must I?
PEN
Well, aren’t you? I thought this was what you wanted.
They stare at each other, Pen confused, Kate composed on the surface. Only the tense set of her shoulders shows there is something powerful being held back.
PEN
Don’t go, Katie?
KATE
Why not?
PEN
You said it yourself before, you could spend years with Sebastian and never stop learning.
KATE
That’s true.
PEN
Then why go?
KATE
We both know the answer to that.
PEN
I don’t. You love the company. You know Sebastian wants you to direct. Why do you have to go?
KATE
Why did you do it, Pen? Why did it have to be so public? Did you need a stage?
PEN
Is that what you think?
KATE
What else can I think? How many times have we been alone since you got back – not one word. Were you just using me to get everyone’s sympathy?
PEN
(shocked)
How can you think that? I wanted you to know that I meant it, that I wanted to tell the whole world that I love you.
Kate listens, her face stony.
PEN
And I wanted to tell you as soon as I got back. But you were so angry with me you never gave me a chance. When I had time to think about it, I thought maybe I should do what you would have done.
KATE
You think I’d have left you hanging like that after what we shared before you left? You don’t know me at all if you think that.
PEN
Katie, what I’m trying to say is that it seemed as if you had made a decision for yourself. And that I had to honor that decision, as you would have. I just wanted to give you the same kind of respect you tried to give me.
Kate stares at her, incredulous.
KATE
I’m trying to understand, Pen. But if you loved me, why didn’t you respond at all to my letter? Do you have any idea at all how much that hurt me?
PEN
Would you sit down and let me try to explain? I know the last time I tried it didn’t make much sense.
Kate sits on the gilt chair and Pen sits across from her on the edge of the chaise lounge.
PEN
I told you about my dad leaving and about Danni’s suicide. What I didn’t tell you was that I felt responsible for both.
KATE
You couldn’t have been.
PEN
No, but for a long time I believed I was, and I couldn’t even tell Terry, especially about Danni, because I was sure I’d lose him, too. When your letter came, I was in the midst of sorting all of that out. I’d no idea what to say to you because all I wanted right then was for you to come and be with me through all of it.
KATE
I would have come, Pen.
PEN
(smiles)
I know you would. And that’s why I couldn’t talk to you. I needed to do it on my own.
KATE
Thank you for telling me.
Pen’s shoulders sag a little as she can see Kate is not completely convinced. She takes one of Kate’s hands in hers and looks down at it as she speaks.
PEN
There’s a line in Much Ado About Nothing, “Taming my wild heart to thy loving hand.” I always thought it sounded like a prison sentence and I never wanted to offer anyone a tamed, watered-down heart to keep on a leash.
She lifts Kate’s hand to her cheek for a moment and closes her eyes. Kate’s eyes are riveted to her, and she is barely breathing as she waits.
PEN
Before Danni died my heart was wild, passionate, fierce. And I thought that heart died with Danni. Until I met you.
Pen opens her eyes to meet Kate’s.
PEN
What you awoke in me wasn’t just that young girl’s heart, it was the heart of the woman I’d become, with all of my shame and regret, my grief and loss, and a depth of love I never even imagined. Katie, from the day we went out in the rowboat there has been no one else, not Sam or anyone.
KATE
Why not?
PEN
Because I love you and only you.
KATE
And I love you.
Kate brings her other hand up to cradle Pen’s face in her hands and they come together in a kiss of fierce tenderness.
A knock on the door interrupts them.
PEN
(her voice hoarse)
Yes?
MICHAEL (V.O.)
Pen, people are asking for you at the party. Will you be coming soon?
Pen and Kate laugh quietly.
PEN
Thanks, Michael. Be there shortly.
They sit and look at each other for a moment with radiant smiles. Pen stands and pulls Kate up with her.
PEN
Would you like to be my date for the opening night party?
KATE
I’d love to.
Pen holds out her hand and Kate takes it. They walk to the door together.
FADE TO BLACK
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Carol Dougherty’s Act 4 Climax
What I learned doing this assignment: This was a real struggle for me. I’ve been wrestling with Pen’s true antagonist, and in some ways, it is definitely Kate. At the same time, it is even more herself, her fear, which makes her self-sabotage everything in an attempt to maintain control and avoid pain. That made this scene even tougher – how do I show that on the screen? I’m not sure if I’ve succeeded, but it’s a first draft, so if not, I’ll figure out how to fix it.
Outline – Key Scene 3
BEGINNING: Pen takes on Terry’s task of speaking to the entire company before the opening night.
MIDDLE: Pen acknowledges her fear and her past distance from all of them. She apologizes for her supposed indifference in the past and thanks several people as well as the company in general. She admits that she needs their support in trying to become the person Terry believed she could be.
END: She ends by thanking Kate and telling her that she loves her.
Key Scene 3:
INT. GREEN ROOM – EARLY EVENING
The green room is full, with the Private Lives cast and crew as well as the rest of the company. It’s the first opening night of the year and everyone is curious who will give the pre-show talk that Terry usually offered.
There is a low buzz of conversation around the room. As soon as Pen gets to her feet, silence falls. A number of faces are surprised, Jacky and Sandy are delighted, Sebastian is pleased, and Kate expressionless.
Pen looks around and meets the eye of every person there. Her heart is racing – this will either be a disaster or brilliant and she has no idea which.
PEN
(her voice strong)
We all know this was Terry’s job. I went to see him today to ask for his advice. He didn’t tell me a thing, the rat.
There are chuckles throughout the room. Throughout Pen’s speech, we see various people’s response to her words, as well as her efforts to say everything she needs to say.
PEN
I’m not Terry and I never will be, but I’ve learned a lot from him. I saw how he included everyone, spoke with everyone. You may have noticed that’s not exactly my strong suit, but I have come to see how important it is in keeping a company together.
Jacky listens intently and beside him Sandy smiles encouragement.
PEN
The picnic was one of my first efforts to change my way of being a member of this company, this community. And I have a confession to make.
She glances at Sebastian and Kate, standing together near the door. He is openly curious. Kate stands rigid and tense, as if bracing for whatever Pen says next.
PEN
I’m a coward.
There is a collective gasp in the room and Sebastian’s eyebrows lift.
PEN
I thought of myself as something of a lone wolf, other than with Terry, and acted as if I didn’t need anyone but him – unless occasionally I needed someone to flirt with.
She sees a few grins and shakes of the head in the crowd.
PEN
I kept you all at a distance and thought my actions had nothing to do with anyone but myself, because I didn’t want to. I was frankly afraid, because of some experiences in my past, and instead of facing those fears, I let them define me. My hope is that I can get to know all of you over these next months, and I’m sorry if any of you have felt ignored or hurt by my seeming indifference.
The stage manager gestures to Pen that they have 15 minutes to curtain. She wants to leave time for everyone’s preparations.
PEN
I also want to apologize to all of you for any havoc I may have created within the company, either through my turbulent personal life or my thoughtlessness. If I’d been more careful or aware, perhaps Laurence and Peter might still be with us.
SEBASTIAN
Unlikely.
Everyone laughs.
PEN
Sebastian, you’ve been a better friend to me than I ever knew and a better caretaker of this company. After Terry died, you showed me compassion when I had none for myself, and I will be forever grateful.
Sebastian nods his acknowledgement.
PEN
Michael, you know I’ve had my doubts and difficulties about working with you in a play that meant so much to Terry and to me. You’ve been patient and kind. Terry would be proud of the work we’ve done and what we will all do tonight.
Michael meets her gaze with eyes full of surprise and gratitude. She nods to him.
PEN
Jacky, thank you for making sure I was fed after Terry died. You took care of me when I couldn’t take care of myself – you and Sandy – and I’m deeply grateful to you both.
They smile warmly at Pen, and she returns their smile. She grips the chair back in front of her tightly.
PEN
This may not be the time or the place, but you are all my family in a way I never understood before. Right now, I need you, because I’m not sure I can do this without you.
Pen looks directly at Kate, whose face is pale, as if she knows what is coming.
PEN
Katie. ..Katie, I love you. I don’t know if it’s too late, or if you still care, but even if I’m making a total fool of myself it doesn’t matter – I owe you the truth. I love you and I’m sorry it’s taken me so long to tell you.
Kate’s eyes never leave Pen’s face as she speaks. As soon as Pen is finished, Kate turns and walks out of the green room.
CUT TO:
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Carol Dougherty’s Act 4 First Scenes
What I learned doing this assignment: I am seriously re-thinking the structure I’ve come up with for a lot of reasons. At the same time, in order to finish this draft in the time allowed, I have to keep going, so I am. I can see how much sense it makes to make major changes in the outline/beat sheet format first, then figure out the scenes. If the structure isn’t right, the rest of it won’t make sense.
Outlines:
Key Scene 1 – reaction to 3<sup>rd</sup> act turning point
BEGINNING: Pen is walking back to theatre with Kate after being shut down.
MIDDLE: Pen lets Kate go ahead and calls Sarah. Tells her what happened with Kate.
END: Pen decides she has to be the honorable one and respect Kate’s decision.
Key Scene 2 – protagonist faces her dilemma
BEGINNING: Pen invites the entire company to the farm for a picnic.
MIDDLE: Pen makes a point of speaking with everyone and connecting in some way with them. She wants Kate to see she is different and has changed so perhaps she will be open to listening to Pen. They talk and end up in an argument.
END: Kate tells Pen she’s been offered another job and will leave after the opening night.
Key Scene 1
EXT. LAKESIDE – DAY – IMMEDIATELY FOLLOWING
Pen and Kate are on the far side of the footbridge, heading up to the theatre.
PEN
Why don’t you and Trixie go on ahead. I need to make a brief call before the read-through.
KATE
Sounds good. Come on, Trixie.
Kate encourages the dog to follow her and moves quickly toward the theatre without a backward glance. Pen watches her go. When she is out of earshot, Pen calls Sarah.
PEN
Sarah, it’s Pen. It’s not too late, is it?
SARAH (V.O.)
Not at all, Pen. How is it being back?
PEN
She won’t talk to me.
SARAH (V.O.)
Katie won’t? Why not?
PEN
I don’t know. She’s angry that I left her a letter instead of talking to her, but she refuses to discuss that or anything. It’s as if she’s written me off.
SARAH (V.O.)
Do you think she’ll get over it?
PEN
I wish I knew. She’s quite stubborn, I know that.
SARAH (V.O.)
Well, what are you going to do?
PEN
I think I have to accept it. She made it clear early on that honor and respect mean a great deal to her. It’s ironic, but at least for now I think I should honor her feelings and back off.
SARAH (V.O.)
Can you do that, Pen?
PEN
(sighs)
I guess I have to, don’t I?
SARAH (V.O.)
Oh, love, take care of yourself.
PEN
I’ll try, Sarah, thanks.
SARAH (V.O.)
Call me anytime you need to talk. Ta!
PEN
Thanks. Talk to you soon.
(hangs up)
Pen looks up at the theatre and braces herself for the challenge ahead.
CUT TO:
Key Scene 2
INT. PEN’S KITCHEN – EVENING
Pen is bagging some trash and tidying up from the picnic, which can still be heard outside. People are singing to a guitar.
Kate enters the kitchen. Pen turns when she hears the door.
PEN
Katie! Did you need something? More to eat or drink?
KATE
No, thank you, I’ve had plenty.
Pen waits for Kate to speak.
KATE
Thank you for Terry’s script. It means a lot to me.
PEN
(smiles)
I’m glad you like it. He’d love for you to have it.
KATE
What are you doing, Pen?
PEN
Cleaning up a little, why?
KATE
Don’t be cute, that’s not what I meant.
PEN
Katie, I honestly have no idea what you’re asking me.
KATE
All the mementos for everyone, making sure to talk to each person – you’re trying to be Terry and I want to know why?
PEN
Why does it make you so angry?
KATE
I didn’t say I was angry.
PEN
Not in words, no. But your voice is tight, your shoulders are tense, and you never minded Terry being a good host so why don’t you like it in me?
KATE
When Terry died you shut down and wouldn’t let anyone in. As if his death happened only to you. Nobody could help the great Penelope Parrish.
PEN
That isn’t fair, Katie.
KATE
Fair! What was fair about the night we spent together before you left for England? Instead of staying with the love that was right there in front of you, you ran off to try to find yourself in memories of your father and Terry and Danni –
Kate stops herself. Her shoulders slump and Pen wants desperately to go to her, but she can’t. She sees Kate’s pain and knows she needs to hear whatever Kate wants to say.
Kate straightens up and looks at Pen.
KATE
Maybe that’s not fair, maybe you did need to go. But you didn’t even have the courage to tell me to my face. You didn’t trust me enough to ask me to wait, and you came back acting as if nothing had happened.
Pen couldn’t help it. She took one step toward Kate, who thrust out her hand to prevent her from coming closer. Pen immediately stopped.
KATE
No, Pen. Don’t. How could you even think I’d come to you after you ignored my letter. I begged you to talk to me, even once, and not a word from you. Why?
Pen hesitated. Whatever answer she gave Kate would likely walk away forever.
KATE
Was it another case of ‘couldn’t be bothered?’
PEN
No. And the day I said I couldn’t be bothered it was a lie. I tried to push you away for your own sake.
KATE
I see. And is that why you ignored my letter? For my sake?
PEN
No. For mine.
KATE
What do you mean?
PEN
I was afraid. Of you. Of myself. I was afraid to talk with you; afraid you’d see me too clearly and turn away.
KATE
I don’t understand.
PEN
I didn’t either. It felt such a tangle to me. Do you remember what I wrote about you in my letter?
KATE
That I was stronger than you.
PEN
Yes. I wasn’t ready to face you then. And when I got your letter, I still wasn’t ready to face you, even on the phone.
KATE
You were protecting yourself, Pen, like you are now, like you always do. I think I should take the job in Chicago.
PEN
Please don’t do that because of me. Talk to Sebastian first.
KATE
I intend to. But I think it’s best.
(glances out at the picnic in full swing)
Please tell everyone I said goodbye.
(her eyes bore into Pen’s)
I love you, Pen. I always have. I wish you felt the same.
PEN
I –
Kate runs through the cottage and out the front door before Pen can finish.
PEN
– do.
CUT TO:
-
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.
-
Carol Dougherty’s Act 3 Turning Point
What I learned doing this assignment: I’m a bit stunned at how short the scene ended up being. My original idea was much longer, however, it took a different direction from what I expected, and although it’s shorter, I think it’s better. And it’s a first draft, so it’s possible it will grow or deepen later. The main thing is that it feels right, much more so than it did before in its original state.
Outline:
Key Scene 4 – Turning Point 3
BEGINNING: Pen returns from England.
MIDDLE: She is waiting for Sebastian and sees Kate with Sandy. For a moment she thinks they are together, then realizes they are not. When she and Sebastian meet up with Kate and Sandy, Kate is distantly friendly with her and makes it clear she has no interest in spending time with her.
END: Pen is devastated at this end to her hopes and dreams but feels she must honor Kate’s feelings. She can’t help seeing the irony that she is now the one being honorable.
Key Scene 4 – Turning Point 3
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.
-
Carol Dougherty’s Act 3 Middle Scenes
What I learned doing this assignment: I find I’m seeing so many things differently as I move through this writing. It’s based on a draft of a novel already written, and as I go through this process, I can see possibilities for revision or change that I couldn’t see before. I’m not sure if that’s because a screenplay must be shorter and tighter, or because working in that different format simply opens my mind to new ways of looking at the same characters and situations. Either way, it’s breathed a new kind of life into the story for me.
Key Scene 2 – New Plan
BEGINNING: Pen visits Terry’s grave and finds Sebastian there before her.
MIDDLE: She overhears his grief for Terry and his concern for her. They talk and she tells him she’ll finish the season, then go back to England for a while. She needs to find out what it’s like to live without Terry and she thinks going back to their beginning might help.
END: Sebastian offers her whatever help she needs and they part, closer than they’ve ever been.
Key Scene 3 – Things start going well, until…
BEGINNING: Pen has been in England a while and has learned/discovered a lot. Now she is in the place where she and Danni met and then parted.
MIDDLE: Pen’s memories of her time with Danni are vivid. She realizes her self-blame was a way to channel her grief, and all the stories she told herself that caused her to distance herself from everyone only cause her more pain than ever.
END: She leaves, knowing she will go back to the theatre and to Kate.
Key Scene 2:
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.
Key Scene 3
EXT. THICKET – DAY
Pen leans against a tree. She looks at the branch that hung so low, Terry would sit on it any time 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.
-
Carol Dougherty’s Act 3 Reaction to Midpoint
What I learned doing this assignment: Reading through the examples it was clear to me that this is not a rom-com, it is a drama with a love story at the heart of it. Ultimately, it is Pen’s journey, and she is the one to undergo major changes, the major one being the shock of Terry’s death.
Key Scene 1 – Reaction/Rethink
BEGINNING: Pen is alone with Terry’s body in the ER
MIDDLE: As she tries to come to terms with his death she reminisces, gets furious with him for dying on her, and wonders if she even knows who she is without him.
END: Pen leaves Terry’s body – he is already gone and there’s no reason to stay.
Key Scene 2 – New Plan
BEGINNING: Pen visits Terry’s grave and finds Sebastian there before her.
MIDDLE: She overhears his grief for Terry and his concern for her. They talk and she tells him she’ll finish the season, then go back to England for a while. She needs to find out what it’s like to live without Terry and she thinks going back to their beginning might help.
END: Sebastian offers her whatever help she needs and they part, closer than they’ve ever been.
Key Scene 3 – Things start going well, until…
BEGINNING: Pen has been in England a while and has learned/discovered a lot. Now she is in the place where she and Danni met and then parted.
MIDDLE: Pen’s memories of her time with Danni are vivid. She realizes her self-blame was a way to channel her grief, and all the stories she told herself that caused her to distance herself from everyone only cause her more pain than ever.
END: She leaves, knowing she will go back to the theatre and to Kate.
Key Scene 4 – Pen’s lowest low
BEGINNING: Pen returns from England.
MIDDLE: She is waiting for Sebastian and sees Kate with Sandy. For a moment she thinks they are together, then realizes they are not. When she and Sebastian meet up with Kate and Sandy, Kate is distantly friendly with her and makes it clear she has no interest in spending time with her.
END: Pen is devastated at this end to her hopes and dreams but feels she must honor Kate’s feelings. She can’t help seeing the irony that she is now the one being honorable.
Key Scene 1 – Reaction/Rethink
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.
-
Carol Dougherty has completed Act 2 Draft 1
What I learned doing this assignment: It feels like I’m learning so much on the fly, as I feel like I’m literally flying through this process. That’s not a bad thing. I do see how I tend to stop and fuss over something, and with this process I can’t. That’s fine, but also I’m aware that this Act is very long. I’m going to put it all in, other than what gets cut on the fly, but it will take some serious editing later.
Outlines:
Pub scene
BEGINNING: Pen, Terry, Kate, and Sebastian go to the pub after a late rehearsal
MIDDLE: Pen compliments Terry on his Orsino, says she was wrong. Terry and Sebastian play darts while Pen and Kate talk about Pen’s earlier rehearsal. T & S return and they talk about performances and old English music halls. Michael, a fellow student of Kate’s shows up looking for her and joins them. Kate is not thrilled, Terry is charmed, Pen is annoyed.
END: Pen leaves, asks Kate if she wants to walk back with her but Kate says no. Pen catches a ride with Sandy and flirts with her.
Sandy
BEGINNING: Pen and Sandy get in car.
MIDDLE: They chat, and when Sandy pulls up at the farm, Pen makes a pass at her. Sandy goes along but they stop.
END: Sandy looks at her with compassion and Pen is filled with shame.
Rehearsal ends too soon
BEGINNING: Rehearsal ends for the day.
MIDDLE: Pen wants to keep going but Sebastian says they can’t. She can’t get Terry to work with her at home later as he has a dinner with Michael.
END: Kate agrees to help her out.
Morning after
BEGINNING: Pen is out in garden early when Kate stops by.
MIDDLE: They talk about the night before and agree to be friends. Kate askes about Danni and Pen flashes back to the night Danni dies.
END: Pen explains some of the story to Kate, not all.
Of jealousy and Kate
BEGINNING: Pen tries to do something to make Kate jealous.
MIDDLE: It backfires, and Kate walks away instead of it making her jealous. In rehearsal Pen uses a gesture Kate used in their rehearsal. Terry and Sebastian love it.
END: Kate is upset and leaves.
Sebastian and the swans
BEGINNING: Sebastian goes out to talk to Kate
MIDDLE: He tells her Pen is like the swans – she acts out of her nature and if Kate wants to be with her in any way she has to accept that.
END: Kate agrees to think about it.
Pen and Kate talk
BEGINNING: Pen apologizes for hurting Kate.
MIDDLE: The discuss why Kate is really hurt and Pen says as an actor she uses what is in front of her all the time. She doesn’t intend to hurt Kate but can’t limit herself as an actor.
END: They part okay with each other; Kate realizes Pen’s silver pear necklace fell off and picks it up to give back to her.
Revelations
BEGINNING: Kate gives the necklace back to Pen in front of Terry and he recognizes it.
MIDDLE: Terry demands Pen tell him where it came from, realizes she was Danni’s lover, and walks out.
END: Pen is furious with him for walking out and terrified she’s lost her best friend.
Forgiveness
BEGINNING: Terry visits Pen after a few days
MIDDLE: They talk about Danni and about their relationship.
END: Terry is glad Danni had her and gives his blessing to her and Kate.
Another opening…
BEGINNING: A slightly drunken Kate visits Pen in her dressing room.
MIDDLE: Kate makes a pass at Pen, who gently turns her down.
END: Kate leaves, hurt and upset.
Snake in the grass
BEGINNING: At opening night party, Pen sees Michael flirting with Laurence behind Terry’s back.
MIDDLE: She confronts Michael who laughs at her and sneers at Terry.
END: Terry comes to tell her Kate is under the weather and they leave to take her home.
Hangover morning
BEGINNING: Kate is hungover.
MIDDLE: She talks with Pen in the garden and confesses her desire for Pen to want her, not Sam.
END: Terry shows up to make sure Kate has had her hangover drink.
At the track
BEGINNING: Pen, Terry, Michael, and Kate go to the track to see one of Sam’s horses run.
MIDDLE: Sam’s wife and son show up and when Sam tries to smooth it over, the boy throws a glass of red wine at Pen. Kate steps in front of her and it soaks her white shirt.
END: The four of them leave the family to themselves/ uncomfortable car ride home.
Check in
BEGINNING: Terry comes to check in with Kate the morning after the track debacle.
MIDDLE: He asks her if she’s in love with Kate and she refuses to answer.
END: Terry lets her know he’s there for her and leaves.
Check out
BEGINNING: Sam comes in after Terry leaves and acts like nothing happened.
MIDDLE: Pen points out that his wife seemed quite upset and he lied to Pen. They argue and Pen breaks up with him.
END: Sam leaves, furious, and says he’s selling the farm and they’ll be out on their ears.
Break Up
BEGINNING: Pen hears Michael break up with Terry in the garden.
MIDDLE: She goes out after and comforts him.
END: Kate comes home, and they put their differences behind them to help Terry.
Act 2, Draft 1
INT. REHEARSAL HALL – DAY
Pen stands with a light fleece throw around her shoulders, approximating a cloak. She is acutely aware of Kate watching next to Sebastian. The scene only has Pen and Sandy at this point and a handful of others in the room.
Pen is unsettled after her time with Kate in the rowboat. She tried to fill her time so as not to think too much. She’d gone to the company meeting, practiced yoga, went to an evening performance, even pitched in to help Jacky in the green room for a while. Nothing worked.
STAGE MANAGER
Ms. Parrish?
PEN AS VIOLA/CESARIO
(nods and pulls the cloak tight)
Make me a willow cabin at your gate,
And call upon my soul within the house.
Pen glimpses Kate’s face and stops. Everyone remained dead silent.
PEN AS VIOLA/CESARIO
Hallow your name to the reverberate hills,
And make the babbling gossip of the air
Cry out, ‘Olivia…’
Pen stopped again. Sandy waited for the rest of the line, glanced at Sebastian. The fleece throw slipped from one shoulder and Pen threw it to the floor.
PEN AS VIOLA/CESARIO
That’s it, Sebastian, I’m through.
Shocked gasps are heard in the room.
PEN AS VIOLA/CESARIO
(glares at Sebastian)
I can’t do it. How could anyone be so bloody stupid as this woman? I can’t play the part when I see her as nothing but a silly twit. You’ll need time to get someone else up to speed on this part. Best to start right now.
Sebastian doesn’t move, doesn’t take his eyes off Pen.
PEN AS VIOLA/CESARIO
I’m not being a prima donna. I’m thinking of the company. And whoever plays her. It takes time to make it work, for the cast to adjust to a new Viola.
(she stares, baffled by his lack of response, shrugs her shoulders)
Well, that’s it then.
Pen drops the fleece on a makeshift divan and crosses the rehearsal hall to the bench under the window to gather her things. Her fingers shake so much she struggles to unfasten the straps of her bag.
Sebastian comes up behind her. A strong, manicured hand covers both of hers. She looks up to meet his eyes, filled with compassion.
SEBASTIAN
(voice low)
I won’t stop you if you really want to go, Penelope. But I don’t believe you do.
(takes her hands in his)
Do you trust me?
(she nods)
Let’s try the scene again. I’ll be with you.
Sebastian leads her toward Sandy. One arm circles her waist, his other hand holds both of hers. He leans close and rests his forehead against hers. They stand that way for a long moment, then he begins to pivot.
Little by little he moves slightly faster, takes small steps, raises his head and slips behind Pen until they are sweeping in a wide circle, their faces up and out. It is like two swans, swimming as one on the lake. He slows and stops.
Pen faces Sandy, and in one of the seats behind her, Kate, who sits with a rapt expression on her face.
SEBASTIAN
(whispers)
Begin, Cassandra.
SANDY AS OLIVIA
Why, what would you?
Pen focused her attention on Sandy. Sebastian still had one arm around her waist and was pressed against her back. She wore him like a second skin. His intention seemed to transmit itself to her through some magical osmosis and she let go.
PEN AS VIOLA/CESARIO
Make me a willow cabin at your gate,
And call upon my soul within the house…
Sandy and Pen intensify the pace through the remainder of the scene. Sebastian lets Pen go, though she can still feel him there. At the end of the scene Pen and Sandy spontaneously hug.
Pen glances at Katie, whose eyes are wet, her expression awed. Pen turns away.
SEBASTIAN
Well done.
PEN
Thank you.
Sebastian nods to the stage manager, who announces a break. Sebastian takes Sandy aside and talks to her.
Pen escapes back to the window seat and stretches. Kate approaches from behind her.
KATE
Pen?
Pen stops stretching and closes her eyes. A moment later she turns.
PEN
Hello, Katie.
KATE
Your scene was wonderful. You made me cry.
PEN
I saw.
(pulls on a sweater)
Sit.
(they both sit on the bench)
Are you learning a lot from Sebastian?
KATE
Oh, so much. He’s always asking me about what I see, but it never feels like he’s testing me.
(pauses)
Pen, don’t you want to talk about the scene?
PEN
(stifles a sigh)
You’re so very direct, Katie. It can be disconcerting, you know. Perhaps we could talk another time?
Kate immediately gets to her feet.
KATE
Sure.
She pauses for a second, then walks away, her back stiff. Pen watches her go.
INT. PUB – NIGHT
Pen, Terry, Kate, and Sebastian are at a favorite pub. The front area, where the bar is, has most of the tables and a darts area. They sit on a slightly elevated level at a round table which is usually where Sebastian holds court when he comes in. On this night, everyone else is leaving them alone.
Pen notices Kate has her attention on Terry, who is telling a story, but she seems miles away. She glances at Sebastian, who is watching them, and she takes a drink.
TERRY
I don’t think any of you are listening. I am offended.
(with a grin)
SEBASTIAN
Nonsense. You were telling Katelyn about your music hall experiences.
KATE
You all seem to love the old English music halls. Too bad there’s nothing like it around here.
TERRY
I’ve seen some DVDs and CDs online. Not quite the same, but not bad. And there’s always Olivier’s film, The Entertainer. Sebastian, care for a game of darts?
PEN
I am not coming over to watch you two play again. It’s pathetic.
SEBASTIAN
Never mind, my darling. You and Katelyn can sit her and deplore our appalling lack of skill.
Terry and Sebastian go over to the darts, several other members of the company move from the bar to join them.
As soon as they are out of earshot, Kate speaks.
KATE
Pen, did I upset you at rehearsal today?
PEN
No.
KATE
Then what happened? Why wouldn’t you talk with me?
PEN
(with a rueful smile)
I’m not very good at explaining myself. Maybe I need someone to write my lines for me.
Kate smiles back and waits.
PEN
There’s nothing else when I work. Nothing. No one. And Viola is not an easy part for me, as you may have noticed.
(drinks)
Sebastian has a way of working that encourages actors to deep and uncover truths that are difficult to experience at times. No one can explain exactly what he does or how he does it, but I’ve never met anyone who can bring out a performance like he can.
(she watches him play darts for a moment)
His rehearsals are inspiring, exhilarating, and exhausting. Terry can dive into a part, shatter everyone in the rehearsal hall with his emotional intensity, then during the break he can laugh and chat like nothing happened. I can’t.
KATE
I’ve seen you talk with Terry during breaks.
PEN
(shakes her head)
Not the same thing. We’re acting together, he’s my partner. We’ve been a part of each other’s lives since we were children.
KATE
I appreciate your candor, Pen. I can’t say I completely understand it, but I’ll try not to invade your space in rehearsals again.
The front door of the pub opens, and they both look
up at the stranger, a young man, who enters. The color drains from Kate’s face.
The young man, MICHAEL (27), moves through the crowd with the regal grace of a lion, and lights up the room with an aura of burnished gold, from the wavy locks that cascade to his shoulders to the metallic shimmer of gold threads woven into the fabric of his shirt.
He checks each booth and table, hunting for someone. Terry gets one look at him and goes over to greet him. They speak briefly and Terry points toward Pen and Kate.
Michael’s head snaps around. He sees Kate and lets out a crow of delight.
MICHAEL
Kate! Finally.
KATE
Michael.
She watches him lope toward them with a poker face, and Pen wonders who he is and why Kate doesn’t seem too happy to see him.
KATE
What are you doing here? I only got your letter today.
MICHAEL
Fine. I’m fine.
(he appraises her with a glance)
You look good, Kate, really good. This place agrees with you.
He flashes an ingratiating smile at Pen.
MICHAEL
(to Kate)
Aren’t you going to introduce me?
KATE
Of course. Pen, this is a friend of mine from school, Michael Lindquist. Michael, Penny Parrish.
Pen holds out a hand to him.
PEN
(friendly, not warm)
How nice to meet a friend of Katie’s.
His eyes narrow when Pen calls her Katie.
MICHAEL
Wow.
(he shakes hands)
It’s great to meet you Ms. Parrish. I love your work. Kate must have told you we drove through the night last fall to catch your final performance in Antony and Cleopatra.
Pen glances at Kate, startled. Kate refuses to meet her eyes.
PEN
No, she didn’t say, but then we’ve had quite a busy rehearsal schedule.
Michael shoots an irritated look at Kate, then turns the smile back on when Terry and Sebastian rejoin them.
PEN
Michael Lindquist, I’d like you to meet Sebastian St. James and Terence Patrick Gibbs. Michael is a friend of Katie’s.
Everyone sits at the table and more drinks appear. Michael and Terry sit next to one another and are engaged in a quiet discussion, while Kate sits and watches Michael apprehensively.
Sebastian also observes Terry and Michael with a slight frown. He exchanges concerned glances with Pen.
PEN
(quietly)
Katie? I think I’m going to head home. Would you like to walk with me?
KATE
(glances at Michael)
I don’t think so. I think I’ll stay awhile.
Down near the bar, Sandy put on her jacket. Pen slid out of her seat.
PEN
I’m knackered. Think I’ll catch a ride with Sandy.
She darts toward the door to intercept Sandy.
PEN
Sandy! Would you mind dropping me off at the farm?
Sandy spins around, red curls bouncing.
SANDY
Sure Pen, my car’s right outside.
Sandy and Pen exit. Pen glances up to the elevated table before going out the door, and Kate is watching her.
INT. SANDY’S SUBARU – NIGHT
SANDY
Who was that striking man with you tonight?
PEN
A friend of Kate’s. A classmate.
Sandy pulls out with quiet competence and drives through the darkened streets. She chats about the crowd in the pub, but Pen doesn’t hear a word. She is remembering Kate’s apprehensive expression when she looks at Michael.
SANDY
We’re here.
Pen looks out to see they are parked in front of the cottage, engine idling. The outdoor light sensor has activated the lights, casting a mixture of light and shadow into the car.
SANDY
Is everything okay, Pen?
PEN
I don’t know.
Sandy reaches across the car to give her a comforting hug. Pen starts to pull back, then impulsively returns the hug and kisses Sandy. Sandy responds, then pulls back, eyes wary.
PEN
(flustered)
Thanks, Sandy. See you in rehearsal.
Pen jumps out of the car without waiting for a response and strides to the front door. The car tires crunch on the gravel behind her and she is alone.
INT. REHEARSAL HALL – DAY
Much of the company is scattered around the rehearsal hall at the end of a long and grueling rehearsal.
SEBASTIAN
All right, my darlings. Let’s call it a day.
There is an audible sigh of relief in the room.
PEN
Can’t we go over that last scene again?
A collective groan goes up from the company. Sebastian glances at the stage manager who shakes his head.
SEBASTIAN
Sorry, Penelope. Much as I would love to continue, we must follow Equity rules.
The other actors move quickly to get out of there. Pen stands in front of Sebastian, clearly unhappy.
SEBASTIAN
It wasn’t a wasted day, my dear.
PEN
It feels as if it was.
SEBASTIAN
Forget the words for now, Penelope. Focus on how it feels in your body. How is Viola relating to Orsino at this point in their relationship?
Pen nods slowly. She knows she’s been in her head all day. Terry goes over to Kate, who waits for Sebastian.
PEN
Terry, can we work at home tonight for a bit?
TERRY
(shakes his head)
Sorry, brat, I have plans.
Terry gives Pen a pat on the shoulder and goes out the door. She knew it was Michael. Sebastian’s eyes flicker in acknowledgment.
SEBASTIAN
Perhaps Katelyn can help, or at the least, feed you cues?
KATE
(nods)
Sure, I’d be happy to do it, Pen.
PEN
All right. Come over to my cottage around seven. And thank you, Katie.
INT. PEN’S LIVING ROOM – NIGHT
Pen is seated on one of the wing-backed chairs in her living room, while Kate is sitting at one end of the sofa. The living room layout is the same as Terry’s, but there is no grand piano, and Pen’s color scheme, like her dressing room, is peach, light gray, and greens.
PEN
This isn’t going to work. I need to be on my feet, words and actions together to sort this out. Do you mind?
KATE
No, but you may have to tell me what to do.
PEN
Orsino is sitting on his settee; shift yourself sideways.
Pen gets up and pushes and pulls until Kate is seated with her back to the arm of the couch.
PEN
Once I start the speech that begins with, “A blank, my lord,” Orsino literally withdraws further and further into himself. He’s sitting with his forehead resting on his knees, at which point Viola comes over to try to break through to him. When I put my hand on your shoulder, that’s the cue for you to raise your head and give me the next line.
KATE
Okay.
Pen takes a moment to get into character.
PEN AS VIOLA/CESARIO
My father had a daughter loved a man
as it might be perhaps, were I a woman, I should your lordship.
KATE AS ORSINO
And what’s her history?
Pen turns away; Viola can’t let Orsino see her face and emotion.
PEN AS VIOLA/CESARIO
A blank, my lord; she never told her love, but let concealment like a worm in the bud feed on her damask cheek.
Kate/Orsino is sitting with her forehead on her knees. Pen/Viola turns and sees Kate/Orsino’s posture and goes to him. She crouches beside him, her left hand clasps his forearm, her right hand on his shoulder. The audience can see her face, though Orsino can’t, which is suffused with adoration.
PEN AS VIOLA/CESARIO
Was not this love indeed?
Unsatisfied, Pen tried it again and again. One time Pen’s right hand ended up on Kate’s neck instead of her shoulder and Kate jumped. Pen was startled and lost her balance, toppling over from her crouching posture and rolling on the floor.
Kate tries unsuccessfully to keep a straight face.
KATE
Are you alright?
PEN
(laughing)
I’d best anchor myself a bit better.
(gets to her feet)
I’d rather not tumble about onstage. It’s bound to end badly. Let’s try it again.
The next try Pen plants one knee firmly on the carpet. No longer focused on balance, Pen becomes aware of Kate’s proximity.
PEN AS VIOLA/CESARIO
Was not this love indeed?
Kate/Orsino raises her head and turns to Pen/Viola. Their eyes are very close and Kate forgets the line. They kiss. The sound of tires on the gravel causes Pen to pull back a little. Kate’s lips are parted, her expression dazed.
PEN
I think we should talk.
KATE
Now?
PEN
Oh hell!
Pen leans in and resumes the kiss. Kate’s hand creeps up Pen’s arm to stroke the side of her neck in a shy, tentative caress. Pen releases her abruptly and stands, then backs away.
PEN
Yes, we should talk now. I need a glass of wine. Would you like one?
Kate nods. Pen goes over to a dry bar in the corner of the room and pours two glasses of wine with shaking hands.
Pen goes over to the sofa and gives Kate her wine, then sits on the wing-backed chair opposite. She takes a long drink of wine.
KATE
(shaky laugh)
Was the kiss that bad?
PEN
Not at all.
KATE
I mean, I know I don’t have lots of experience, but –
PEN
Have you had any relationships?
KATE
(insulted)
Yes!
PEN
I’m sorry, I didn’t mean to insult you, but I did wonder about you and Michael.
KATE
Michael made a play for me last semester, after he knew I’d be here for the summer. It was obvious he wanted to get himself invited here, only when I didn’t invite him he showed up anyway. We’re fellow students, nothing more.
PEN
You see, Katie, I really don’t know you at all. And there is a kind of innocence about you…
(sees Kate staring down)
Are you listening to me?
Kate lifts her head and lashes out, voice tight.
KATE
Why should I? Terry warns me not to get involved with you. You ask if I’ve ever been in a relationship. You and Terry seem to think I’m some kind of helpless child or idiot who needs to be protected. You only eight years older than I am. What gives you or Terry the right?
PEN
(gently)
We don’t think you’re an idiot or a child. And we’re both very fond of you, we care about you. And I do have a well-deserved reputation. At least Sam had been around the block a few times.
KATE
Sam?
PEN
Terry told you about him – he said he had. Sam owns the farm, the racehorses, all of it. When Sam and I got involved, he knew what he was getting into. It suited both of us to have an open relationship.
KATE
(pales)
Terry told me Sam owned this place, that you knew him. He didn’t say how well. You’re involved with the man who owns my cottage?
PEN
Yes, why?
Kate looks stricken.
PEN
Does it matter?
KATE
(nods)
Yes. It matters.
PEN
I don’t understand.
KATE
Pen, you’re in a relationship with someone. I had no business asking you to go out in that boat with me, much less to kiss you tonight.
PEN
Funny, I thought I kissed you.
KATE
It never would have come to that, either way, if I’d known.
PEN
You can’t be serious.
KATE
Completely. I don’t believe it’s honorable to interfere with other people’s relationships.
Pen’s eyes narrow, wondering if this is some weird way to say she’s not interested after all.
PEN
Honorable? Katie, where did you get such an antiquated notion? No one worries about such
things.
KATE
Maybe not in your world.
PEN
We live in the same bloody world – what are you talking about?
Kate puts down her untouched wine and goes into the kitchen. Pen can hear the water run for a bit. When Kate returns to the living room her face is damp, her eyes red-rimmed but determined.
KATE
Sorry, Pen. I’m not sure I can explain it any better.
PEN
Try me. I’m a reasonably intelligent person.
KATE
It’s not that. It’s just that I don’t want to sound like I’m preaching.
PEN
(scowls)
You’re joking. This is about religious beliefs.
KATE
(raises her chin)
In a way. It’s about integrity. I don’t want to participate in what some people might call casual sex or sexual misconduct.
PEN
Sexual misconduct? You call a simple kiss sexual misconduct? You must be mad.
KATE
It’s the intention that’s the problem. I didn’t know about Sam when I kissed you. I do now. So if I went ahead and kissed you now, knowing you’re in a relationship, it’s…it’s a lack of respect towards you – even towards myself. It’s…dishonorable.
PEN
Dishonorable? Sam and I are non-monogamous – he has his wife, I have my own interests. We choose that freely – doesn’t that matter to you?
KATE
For me, that would just be a way to rationalize the situation, so I could do what I want.
PEN
Oh, I see. You do want to kiss me but you won’t because of some archaic principles. Because you’re noble. It’s not that you’ve come up with this ludicrous story because you’ve changed your mind about me?
Kate was on her knees in front of Pen in a heartbeat. She took Pen’s hands in hers and met her gaze.
KATE
You can’t believe I could change my mind about you! I can hardly see straight most of the time when you’re around.
The tension in Pen’s shoulders and neck relaxes. Kate lays her cheek on Pen’s hands as if in supplication. Pen looks down at her, baffled and moved. Kate eventually lifts her head and looks at Pen, her heart in her eyes, her voice unsteady.
KATE
Think about Viola – you’ve been rehearsing the part for weeks. You know as well as I do she would never betray Orsino’s trust in her, even if it meant she could win him by doing it.
PEN
Viola – what does this have to do…?
KATE
All right. You want me to say it – I do want you Pen, more than I’ve wanted anyone or anything in my life. But not while you’re involved in another relationship. Regardless of how you see it, it isn’t respectful to either of us. I can’t do that to myself.
PEN
But you aren’t respecting my feelings, Katie.
KATE
You’re the one who pulled back from the kiss, not me.
PEN
I didn’t want to take advantage of your innocence. Bloody hell, I never thought this would happen.
KATE
What did you think would happen?
Pen’s face softens and her hands return Kate’s clasp.
PEN
I didn’t think. It wasn’t about thinking. I hoped that even if I gave you the chance to think about it that ultimately you would decide it was worth the risk to get involved with me.
(her voice gets husky)
I hoped that we might end the evening in my bed, Katie, and spend a lovely night together. Maybe many lovely nights.
KATE
(whisper)
I wish I could.
Kate presses her lips to Pen’s hands, gets up and leaves. Pen watches her go out the door in complete disbelief.
EXT. PEN’S GARDEN – EARLY MORNING
Pen is working with her roses, trimming, weeding, adding mulch where needed. She has jeans and a sweatshirt on and a pair of gardening gloves. It is chilly and she tries to stay warm by keeping herself moving.
KATE
Terry?
Pen looks up to see Terry heading off with the dogs and Kate standing on the road, watching. Kate turns around and sees Pen. She waves and Pen waves back. With that encouragement, Kate heads toward her.
KATE
Morning, Pen.
PEN
Morning yourself. You’re up early.
KATE
Mind if I join you?
PEN
Not at all. I’ll put you to work. Can you grab that small tub of mulch out of that storeroom, and one of the hand spades?
KATE
Sure.
She finds the right things and takes them over to Pen, who is working on a rosebush with peach roses.
KATE
Here you go.
PEN
Thanks.
KATE
Those are gorgeous.
PEN
It’s the first bush I planted here. It’s taken me three years to get this garden in shape.
She does a bit of pruning then steps back.
PEN
Brilliant. Now, can you take the spade and put mulch around the bottom of the bush, out as far as the branches reach. Don’t pack it tight, and if you want gloves there should be an extra pair where you found these.
Pen moves on to the next rosebush and Kate gets a pair of gloves.
KATE
I’m sorry if I upset you last night.
Pen keeps pulling out twigs and dead leaves from under the bush.
KATE
Maybe all the stuff I said didn’t make much sense.
Pen glances over at her.
PEN
It did, Katie. You were very clear.
(turns to face Kate)
I was hurt Katie. I’ve rarely had the experience of being turned down.
(she smiles)
I won’t lie to you – I wish very much that your decision were different. There’s still a lot of summer ahead of us and a lot of rehearsal. Let’s continue as friends, the way you and Terry are.
KATE
I’d like that.
Kate flashes her a shy grin with a hint of new confidence which Pen is aware comes from Kate knowing Pen wants her. She feels a bit of concern about damaging that confidence if she follows through on her plan, but it’s always worked before.
Pen turns back to work on her roses, and Kate does the same.
KATE
Can you tell me about Danni?
Pen’s drops her trimmers. In the distance, across the lake a siren wails, and it takes Pen back.
INT. PEN’S LIVING ROOM IN SEVENOAKS – EARLY MORNING FIFTEEN YEARS EARLIER
Pen is 18, listening to a siren come closer and closer in the dawn. She’d been awake in the living room all night, worried about Danni. She could still hear his roars of anger as he tried to get to them in the wild thicket in the woods. Danni told her to escape, that she could handle him better alone, so Pen did.
Pen was alone all night, her mother out for the weekend, and she waited and waited all night for a call from Danni that never came.
Footsteps thud on the pavement outside coming up the pavement to the house, a knock on the door makes her jump. Pen yanks it open to find 19-year-old Terry on the stoop. His face is like stone, his dark eyes full of anguish which fill up with tears and spill down his cheeks.
PEN
What’s wrong?
TERRY
(barely whispers)
It’s Danni.
PEN
Tell me, Terry. What about Danni?
TERRY
She’s dead.
Pen’s hands clutch his shirt sleeves and she sags against him.
PEN
How? What happened?
Terry shakes his head against her, his body convulsed with sobs.
PEN
(frantic)
Tell me, Terry. What happened to Danni?
He tries to calm his breathing enough to speak, and when he finally does speak it is with occasional gasps for air.
TERRY
Dad said he found her – with a boyfriend. The coward must have left her alone – to face him.
Silent sobs shake his body for a few minutes and Pen holds him tight in despair.
TERRY
Dad beat her, but she wouldn’t say who it was. He locked her in her room and went to look for the boyfriend. He told her he’d kill the bloody bastard when he found him and then send her back to her grandmother in the country.
PEN
The one where her uncle –
Terry nods and Pen shakes her head in disbelief. Terry pulls back, his face red and blotched with tears. His lips trembled and he looked at her with eyes that didn’t see her.
TERRY
He was out all night looking. When he got back, she had hung herself.
There is a roaring sound in Pen’s ears. Terry’s lips are moving but she can’t hear him. Her lovely, tender Danni hung herself?
TERRY
– kill that cowardly bastard.
PEN
Your stepfather?
TERRY
(growls)
No. The coward who left her there, all alone, to face him.
Pen stares at him, horrified to realize that if he finds out she was that coward, she would lose him as well as Danni.
Terry clutches her again, his body shaking with silent grief. It would destroy him as well as her if he knew, so she would bear it alone.
The shaking gets worse until Pen is shaken back to the present.
EXT. PEN’S GARDEN – EARLY MORNING
Kate is holding Pen by both arms and shaking her.
KATE
Pen? Are you alright?
Pen blinks and looks into Kate’s worried face.
PEN
What?
KATE
Are you alright? You’re crying.
Pen reaches up and brushes away the tears. She steps back from Kate, reaches for the silver pear necklace she wears always out of sight and fingers it. It was a gift from Danni that night, and Pen was careful not to let Terry ever see it because Danni said it belonged to their mother.
Pen sees Kate notice the necklace and tucks it back into her sweater.
PEN
You asked about Danni.
(swallows hard)
Sorry. You said her name, and then the siren, and – She was Terry’s half-sister and she killed herself fifteen years ago.
KATE
Oh, Pen, no!
PEN
Yes. It’s still painful for him.
(takes a breath and wipes away the tear tracks)
And for me. How did you hear about her?
KATE
I didn’t, really. Terry and I were having coffee. I saw her name in the front of one his books and asked him about her. He just took the book from me, put it back on the shelf and took the dogs out for a walk.
PEN
(nods)
He’ll come back.
KATE
What was she like?
PEN
She was a few years older than we were, but somehow, she seemed younger, less worldly. You remind Terry of Danni. That’s why he was so protective of you.
KATE
Why did she kill herself?
PEN
It’s complicated, Katie, and not my story to tell. If Terry wants to talk about it, he will.
KATE
I’m sorry, Pen. Thanks for telling me what you could.
A piercing whistle split the air. Terry and the dogs were almost back.
PEN
I’ll run in and wash my face. I’d rather Terry didn’t see me like this. See you at rehearsal, Katie.
INT. REHEARSAL HALL – DAY – SEVERAL HOURS LATER
Pen sits on her window seat in the rehearsal hall, pretending to study lines as she waits for Kate. A dozen or more people are scattered around the large room reading, napping, or stretching.
Pen is still raw from reliving the memories of Danni and uncomfortable that after she and Kate talked earlier, she still intends to see if she can make her jealous.
Experience tells her that if Kate sees someone else might take me up on my flirtation, her scruples will fly out the window. Not admirable, but effective.
Kate enters the rehearsal hall with the stage manager, the two of them talking quietly. They finish and she takes her seat and jots down some notes.
Pen gets up and moves quickly to Sandy, who has entered behind them, wearing a gorgeous cobalt sweater.
PEN
Sandy, what a lovely color on you!
Sandy and Kate turn and look at her as if on cue. Pen lays one hand on Sandy’s arm and lets her hand travel from elbow to shoulder and rest there.
PEN
Is this cashmere?
Sandy’s eyes flicker to Kate and back to Pen, and cynical understanding gleams in them. With a twist of her lips, she responds with a chuckle.
SANDY
Trust you to sniff out something soft.
Quick footsteps tap a hasty retreat behind Pen, and she turns to see Kate’s back vanish through the door of the rehearsal hall. Her shoulders slump. Jealous lovers fight for what they want, they don’t run away.
Sandy puts a hand on Pen’s shoulder. Pen whirls around to see her cynical expression morph into a look of compassion.
PEN
(backs away)
Oh, right, um, sorry Sandy, I –
Pen turns and flees to the window seat. She pulls out her schedule – they are starting with the scene she and Kate rehearsed the night before. At least she is somewhat prepared for that.
Terry comes in and immediately makes his way over to Pen. Behind him, Sebastian and Kate come in talking. Kate never looks over.
TERRY
Morning, brat!
He drops his bag on the floor and does a brief stretch.
PEN
I came up with some new business last night.
TERRY
Good, I’m glad the extra session was productive. Anything I need to know?
STAGE MANAGER
Places, everyone.
PEN
Follow my lead, that’s all.
Terry replies with a smile, and they move to their places in the scene. When Pen gets to Viola/Cesario’s description of her sister’s history, which is actually her history, Pen imbues the lines with the passionate tenderness with which Kate had spoken to her.
PEN AS VIOLA/CESARIO
She pined in thought and with a green and yellow melancholy, sat like Patience on a monument smiling at grief.
On one knee beside him, Pen takes Terry’s hands in hers and lays her cheek on his hands in silent supplication as Kate had done.
Terry responds naturally to Pen’s every movement as if he’d been rehearsing with her the previous evening.
Something in that simple gesture of Kate’s clicks for both of them and the scene vibrates with emotional and sexual tension.
The rehearsal hall is silent, the attention of the company palpable.
Pen lifts her head and looks up at him with earnest sincerity.
PEN AS VIOLA/CESARIO
Was not this love indeed?
When the scene ends, the room is silent for a moment, then there is a buzz of excitement. Terry beams at Pen with pride. His focus shifts suddenly and he frowns.
Pen turns to see Kate, pale, speak softly to Sebastian then leave the room. Sebastian watches her go, then turns back to Pen and Terry. He makes a gesture to the stage manager.
STAGE MANAGER
10-minute break everyone.
SEBASTIAN
(walks over to Pen and Terry)
Absolutely lovely, both of you.
TERRY
What was wrong with Kate?
SEBASTIAN
She wouldn’t say. Only that she needed air. If she doesn’t come back shortly, I’ll go check on her.
(looks directly at Pen)
Don’t pull back, Penelope. What happened today is critical to the success of this production. Do not pull back.
PEN
I won’t.
Sebastian leaves and draws the stage manager out of the room with him.
TERRY
That was terrific work, Pen.
PEN
Thanks. I’m going to see if I can check in with Katie before we get started again.
(looks around at the idle actors)
Can you get a short workout going for everyone? It was a little soon for a break.
TERRY
Sure. Good luck.
EXT. LAKESIDE – DAY – IMMEDIATELY FOLLOWING
Pen sees them as soon as she steps out the door. Kate and Sebastian sit on a bench at the lake, near a pair of swans swimming in the water.
Pen perches on a nearby picnic table rather than interrupt and fingers the silver pear on the chain around her neck.
When Sebastian spoke, she could hear some of what he said and sat very quiet.
SEBASTIAN
What are you most upset about, Katelyn?
KATE
I didn’t see it coming. Maybe I should have.
(shakes her head)
How could she? That was a private moment, a gesture of – it was just between us. How could she use me, my feelings, my actions, in a character? On a stage, in front of hundreds of people when the play opens. What happened between us – that was just for her.
Sebastian nods. He looks out over the lake at the two swans.
SEBASTIAN
Have you ever attempted to feed the swans?
They watch the swans circle each other, then move together in a circle.
KATE
No.
SEBASTIAN
Nasty brutes, swans. If you have food and don’t offer some, they’ll come right up out of the water and snatch it out of your hand.
(pauses)
It’s their nature.
The two swans swoop and swirl in the water, always together, always in unison.
Sebastian turns to Kate and puts a hand on her shoulder.
SEBASTIAN
It’s her nature. She’s an actor. You must understand that, or you can have no relationship at all.
He pats her shoulder and walks back toward the theatre. He and Pen nod to each other as he passes.
Pen tucks the necklace back inside her blouse and makes her way down to Kate on the bench.
PEN
May I?
Kate looks up, surprised. She nods and turns back to the swans.
PEN
Katie, you know my life is acting. I thought you knew that I draw from everything. That’s what all actors do.
KATE
You never said anything. You never told me you were going to –
PEN
Why should I?
KATE
It would have been kind.
PEN
You should know by now, I’m not kind.
KATE
(glances at her for a second)
You have been.
PEN
You seem to think this is all about you, Katie. I’m trying to create a character. How did you think I would do that?
KATE
I didn’t think…
PEN
All I can tell you is that I use anything and everything to bring a character to life. Your gesture last night unlocked a key for me to the character of Viola. Maybe it isn’t nice of me. I didn’t get to be this successful being nice.
(Kate nods)
Is there anything else you’d like to talk about?
KATE
No.
PEN
Good.
(stand up)
Kate sits, looking over the water, shoulders slumped. Pen feels a stab of remorse. She might not be kind, but it would be decidedly unkind to leave Kate like this.
PEN
I never meant to hurt you. You understand Viola in a way I never did until after I worked with you last night.
Kate looks up at Pen, tear tracks on her face. Pen reaches out and brushes the tears away with her fingers.
PEN
I’m sorry, Katie, that you were hurt. I can’t be sorry, though, for using that moment, that gesture, to bring truth to the character. That’s my job. That’s the work I do. It didn’t even occur to me that you would take that as a personal affront.
KATE
It wasn’t that.
PEN
Then why were you so upset?
There is a long pause. The swans are grooming each other and Pen and Kate watch.
KATE
I saw you flirt with Sandy this morning, the morning after we kissed. Then a few minutes later you use something I did in an intimate, private moment with you, and you do it in front of Sandy and the entire cast. It felt – it all felt so precious to me. The kiss, the closeness. And it felt like it meant nothing to you.
PEN
Oh, Katie.
(sits back down on the bench)
I apologize. It meant a great deal to me.
(their eyes meet)
I was still hurt that you turned me down, and I wanted to make you regret it, make you jealous with Sandy.
KATE
I thought after we talked this morning, we were fine?
PEN
I know. And we were. I did tell you I’m not very nice.
Kate studies her, then suddenly laughs and Pen stares, puzzled. Something has changed and Pen isn’t quite sure what it is, but Kate is no longer slumping and sad.
KATE
(eyes bright and smile warm)
Pen, you can be very nice. You’re just confusing as hell!
PEN
You forgive me?
(Kate nods and Pen gets up)
I can’t promise I won’t use things I learn from you – that’s one of the hazards of being friends with actors. I do promise to try to act as a friend, not a selfish cow.
Kate grins up at her and Pen smiles back and walks swiftly up the path to the theatre.
Note: more to be inserted here – needs some editing but I want to include it all in 1<sup>st</sup> draft
INT. KATE’S HALLWAY/LIVING ROOM – NIGHT
Kate opens her door to find Pen on the doorstep. Pen is clearly tense and apprehensive. She notices Kate is wearing a blue oxford cloth shirt rather than the white one covered with red wine that she’d worn home from the track.
Pen also notices there is no smile or sign of welcome on Kate’s face.
PEN
May I come in?
KATE
Of course.
Kate steps back and Pen enters the hallway.
PEN
I’ll pay for the white shirt to be cleaned.
KATE
There’s no need, I can take care of it.
PEN
No, I want to.
Kate shrugs and leads her into the living room. She doesn’t offer Pen a seat or fuss over her. Instead, she leans against the mantel, poised in a way that surprises Pen. Pen stands awkwardly at the entrance to the room.
PEN
Katie, I’m sorry you got caught in the middle of that mess today.
KATE
You said before that Sam’s wife understood and was okay with the relationship between you two. Didn’t look like that to me.
PEN
That’s not your concern. I’ll deal with Sam.
KATE
Not my concern? Maybe you’d like to take another look at my white shirt?
PEN
I’ve said I’m sorry about that. I’ve offered to clean it. What more do you want?
Kate straightens up and Pen braces herself.
KATE
Now that you ask, I’ll tell you, Pen. I want you to end your relationship with Sam. I want you to give it a chance with you and me.
Pen is startled by the difference when Kate is unflustered around her. She finds it tremendously appealing but can’t get caught up in that. She needs to go on the attack.
PEN
Katie, your notions about relationship are archaic.
KATE
You told me that before. What about your relationships? You’re a coward. You have Terry, your rock as you call him. Then your lovers. So you never have to risk anything.
PEN
(furious)
If you weren’t so naive, you’d realize Terry is my family, and more important than any lover could be.
KATE
I’m not attacking Terry. But what if he’s not there? Is Sam going to be there for you? I would.
PEN
That isn’t the point.
KATE
What is the point? You said once I was too innocent. You said it as if it were a dirty word.
PEN
That’s not what I meant.
They look like two boxers, sparring for the right opening.
KATE
What did you mean then?
Pen is distracted by the pulse in Kate’s neck. It throbs wildly, which tells her the calm demeanor is a cover. Something snaps in her and she lashes out to hide her pain and shame.
PEN
Think about it, Katie. One minute you’re pushing me away, the next minute you’re making drunken passes at me in my dressing room. You look for excuses to be near me, then you claim your principles won’t allow us to be together.
KATE
That’s not fair.
PEN
Fair? You and your sanctimonious honor – are you really so naive, so blind you don’t see what you’re doing? Or do you like tormenting me, seeing me ache for you and all the while you keep a safe distance?
KATE
(pales)
Pen, I never wanted –
PEN
You never wanted anything! What a hypocrite you are. You watch me in rehearsal with your adoring glances and your tears, and if I respond you push me away because you’re so noble and pure. Bloody hell, Katie, you’re not a child. Maybe it’s time for you to grow up.
Pen closes the gap between them and takes Kate’s face in her hands. She intends to kiss her with all the ferocity of her thwarted passion, but at the first touch her anger dissolves. Her lips hover near Kate’s, her voice low and shaking.
PEN
Inside you, Katie, is a woman you’ve barely begun to explore. Everything in me hungers for that woman in you, longs to help her emerge, see the wonder in her eyes as she discovers herself.
Kate listens, stunned at the outpouring from Pen. She is overwhelmed, unable to pull away, unable to speak.
PEN
(whispers)
You cling to your beliefs as if they have some magical power, never realizing the true magic, the true power, lies in the shiver deep within you at my lightest touch…
Pen’s fingertips caress Kate’s cheek and she lets out a soft gasp.
PEN
…the rhythm of our hearts, beating as one…
Pen takes Kate’s hand in hers and lays it on Pen’s heart, then lays her hand on Kate’s heart.
PEN
(halting)
..the…magic…the shock of recognition…every time our eyes meet. Don’t you..even want to know what…you’re missing?
Pen’s lips brush Kate’s again and again with the most fleeting of kisses, until Kate’s lips seek hers. Pen deepens the kiss slowly. Kate’s free hand clutches Pen’s sleeve.
Pen lifts her mouth to trace a path down Kate’s neck and lingers at the hollow at the base of her throat.
KATE
(somewhere between a moan and a whisper)
Pen…
PEN
(smiles)
Peace, I will stop your mouth.
(kisses Kate)
After a long kiss, Pen lifts her head. Kate’s eyes are closed, and she is radiant. Pen knows if she doesn’t leave then, she won’t be able to leave. And she has to leave. It has to be Kate’s choice.
Pen steps back and Kate’s eyes open. Pen is transfixed by the woman in front of her, alight with passion.
Kate takes Pen’s hand in hers and Pen presses her lips into the palm of Kate’s hand. She walks swiftly to the door and leaves.
INT. AMBULANCE – LATE NIGHT
BEGINNING: Terry and Pen are both in the ambulance, he is hooked up to oxygen and an IV.
MIDDLE: Pen and Terry look at each other as the EMT checks Terry’s vitals, makes notes, checks IV. Pen remembers Terry through the years.
END: Terry dies.
Note: more to be inserted here – needs some editing but I want to include it all in 1<sup>st</sup> draft
INT. TERRY’S KITCHEN – LATE NIGHT
Terry stands looking into the refrigerator, seemingly lost in thought. The back door opens, and he closes the door and turns to see Pen enter.
Pen saw Terry half an hour ago after the show but seeing him at home without makeup she is shocked by how drawn he looks.
PEN
Sebastian and Katie made a brief stop at his office. They’ll be here shortly.
(continues staring at him)
TERRY
Stop examining me brat.
PEN
Are you sure you’re up to an after-theatre supper tonight? It’s already late.
TERRY
(stirs the chowder on stove with a wooden spoon)
Of course I am. That doesn’t mean I won’t make you work. You can put that bread in the oven to warm up.
Pen follows his directions. Ben and Trixie sprawl out of the way and watch them.
PEN
Molly told me Sam’s buyer for the farm is willing to let us stay for now.
TERRY
That’s good news.
PEN
The lawyer told her they’d give us at least three month’s notice, and that we wouldn’t need to go before the end of the season.
Pen starts to set the table while Terry tastes and seasons the chowder.
TERRY
Are you and Sam talking again? When is he coming back?
PEN
He isn’t.
Terry turns but Pen keeps her back to him.
TERRY
Pen?
PEN
I ended it with him the day after the racetrack debacle. His wife wasn’t – well, I simply couldn’t continue, that’s all.
TERRY
Have you told Kate?
Pen gets butter out and puts it on a plate on the table.
PEN
Of course not. If I hadn’t told you, I wouldn’t tell her.
TERRY
Why not?
PEN
I tell you everything, Terry.
TERRY
No, I mean why haven’t you told her?
Pen keeps her back to him while she searches for a butter knife.
PEN
Why should I?
There is no response. The wooden spoon clatters to the floor, Ben and Trixie’s nails scrabble on the tile as they leap to their feet, whining. Pen turns to find Terry half-collapsed against the counter, his face gray and covered in sweat. His right hand clutches his chest, and his breath comes in gasps.
Pen puts her arm around him and helps him stagger to a chair. Once he is seated, she pulls out her phone and calls 911.
INT. AMBULANCE – LATE NIGHT
Terry is lying in the ambulance, hooked up to oxygen an oxygen mask that covers his nose and mouth, and an IV in his arm.
The EMT checks his vitals, makes notes, checks the oxygen and IV and as soon as he finishes he goes through the procedures again.
Pen sits at the side, close, but out of the way of the EMT. She holds Terry’s free hand, which is clammy but grips hers hard, and her eyes never leave his. It’s as if his spirit is undaunted by the controlled chaos that keeps him immobile.
She doesn’t see the man before her in his eyes, she sees the self-possessed young boy in the classroom introducing himself saying, “I’m an actor.” She sees the brave resignation of the boy who returns to the bullying and abuse of his classmates in boarding school. And she sees the speechless suffering of the young man who held the dead body of a beloved sister, who killed herself because she could see no other way.
Terry’s eyes cloud up, his hand grows lax in Pen’s, and the EMT worked over him with increased intensity.
Pen kept her eyes fixed on Terry’s in the hope that her fierce attention will keep him alive. She fails.
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This reply was modified 2 years, 7 months ago by Carol Dougherty. Reason: additional material
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This reply was modified 2 years, 7 months ago by
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Carol Dougherty’s Act 2 TP – Midpoint
What I learned doing this assignment: At first, I questioned whether or not this truly was the midpoint, because it is a scene between Pen and Terry. But the definition of the midpoint as changing the meaning of the journey convinced me I was right. This is the first time since childhood Pen has had to move forward without Terry at her back.
Outline:
INT. TERRY’S KITCHEN – LATE NIGHT
BEGINNING: Pen comes over for a late night supper.
MIDDLE: She is worried because he doesn’t look well, they bicker back and forth as they often do.
END: Terry suffers a heart attack
INT. AMBULANCE – LATE NIGHT
BEGINNING: Terry and Pen are both in the ambulance, he is hooked up to oxygen and an IV.
MIDDLE: Pen and Terry look at each other as the EMT checks Terry’s vitals, makes notes, checks IV. Pen remembers Terry through the years.
END: Terry dies.
Midpoint Scene(s):
INT. TERRY’S KITCHEN – LATE NIGHT
Terry stands looking into the refrigerator, seemingly lost in thought. The back door opens, and he closes the door and turns to see Pen enter.
Pen saw Terry half an hour ago after the show but seeing him at home without makeup she is shocked by how drawn he looks.
PEN
Sebastian and Katie made a brief stop at his office. They’ll be here shortly.
(continues staring at him)
TERRY
Stop examining me brat.
PEN
Are you sure you’re up to an after-theatre supper tonight? It’s already late.
TERRY
(stirs the chowder on stove with a wooden spoon)
Of course I am. That doesn’t mean I won’t make you work. You can put that bread in the oven to warm up.
Pen follows his directions. Ben and Trixie sprawl out of the way and watch them.
PEN
Molly told me Sam’s buyer for the farm is willing to let us stay for now.
TERRY
That’s good news.
PEN
The lawyer told her they’d give us at least three month’s notice, and that we wouldn’t need to go before the end of the season.
Pen starts to set the table while Terry tastes and seasons the chowder.
TERRY
Are you and Sam talking again? When is he coming back?
PEN
He isn’t.
Terry turns but Pen keeps her back to him.
TERRY
Pen?
PEN
I ended it with him the day after the racetrack debacle. His wife wasn’t – well, I simply couldn’t continue, that’s all.
TERRY
Have you told Kate?
Pen gets butter out and puts it on a plate on the table.
PEN
Of course not. If I hadn’t told you, I wouldn’t tell her.
TERRY
Why not?
PEN
I tell you everything, Terry.
TERRY
No, I mean why haven’t you told her?
Pen keeps her back to him while she searches for a butter knife.
PEN
Why should I?
There is no response. The wooden spoon clatters to the floor, Ben and Trixie’s nails scrabble on the tile as they leap to their feet, whining. Pen turns to find Terry half-collapsed against the counter, his face gray and covered in sweat. His right hand clutches his chest, and his breath comes in gasps.
Pen puts her arm around him and helps him stagger to a chair. Once he is seated, she pulls out her phone and calls 911.
INT. AMBULANCE – LATE NIGHT
Terry is lying in the ambulance, hooked up to oxygen an oxygen mask that covers his nose and mouth, and an IV in his arm.
The EMT checks his vitals, makes notes, checks the oxygen and IV and as soon as he finishes he goes through the procedures again.
Pen sits at the side, close, but out of the way of the EMT. She holds Terry’s free hand, which is clammy but grips hers hard, and her eyes never leave his. It’s as if his spirit is undaunted by the controlled chaos that keeps him immobile.
She doesn’t see the man before her in his eyes, she sees the self-possessed young boy in the classroom introducing himself saying, “I’m an actor.” She sees the brave resignation of the boy who returns to the bullying and abuse of his classmates in boarding school. And she sees the speechless suffering of the young man who held the dead body of a beloved sister, who killed herself because she could see no other way.
Terry’s eyes cloud up, his hand grows lax in Pen’s, and the EMT worked over him with increased intensity.
Pen kept her eyes fixed on Terry’s in the hope that her fierce attention will keep him alive. She fails.
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Carol Dougherty’s Act 2 Middle Scenes
What I learned doing this assignment: I learned that even when I feel overwhelmed by how much I still have to do, I can put that aside and focus on what’s due today, and only that. I knew this before, but it’s been a while since I had to exercise that kind of discipline. It’s a bit like a muscle that hasn’t been used enough and it complains like crazy when I first try to do it again.
With every completed assignment I feel more and more confident that I can do this. And every assignment has its own quirks and things I learn about my own characters and story. Makes it pretty interesting.
Outlines:
Key Scene 2:
BEGINNING: Kate helps Pen with lines and blocking in an informal rehearsal at Pen’s place.
MIDDLE: They rehearse, and a blocking mishap propels them into a kiss. Pen surprises both of them by pulling back, though she still wants to pursue a sexual relationship. Kate refuses when she realizes Pen is in an open relationship with Sam.
END: Kate leaves.
Key Scene 3:
BEGINNING: Pen goes to Kate to apologize for what happened at the track.
MIDDLE: She finds Kate calm and determined – she wants Pen to break up with Sam and give her a chance. They argue; Pen says Kat shouldn’t refuse without knowing what she’s missing and kisses her.
END: Pen leaves, not wanting Kate to give in because she’s overwhelmed, but wanting Kate to choose to follow her.
Key Scene 2:
INT. PEN’S LIVING ROOM – NIGHT
Pen is seated on one of the wing-backed chairs in her living room, while Kate is sitting at one end of the sofa. The living room layout is the same as Terry’s, but there is no grand piano, and Pen’s color scheme, like her dressing room, is peach, light gray, and greens.
PEN
This isn’t going to work. I need to be on my feet, words and actions together to sort this out. Do you mind?
KATE
No, but you may have to tell me what to do.
PEN
Orsino is sitting on his settee; shift yourself sideways.
Pen gets up and pushes and pulls until Kate is seated with her back to the arm of the couch.
PEN
Once I start the speech that begins with, “A blank, my lord,” Orsino literally withdraws further and further into himself. He’s sitting with his forehead resting on his knees, at which point Viola comes over to try to break through to him. When I put my hand on your shoulder, that’s the cue for you to raise your head and give me the next line.
KATE
Okay.
Pen takes a moment to get into character.
PEN AS VIOLA/CESARIO
My father had a daughter loved a man
as it might be perhaps, were I a woman, I should your lordship.
KATE AS ORSINO
And what’s her history?
Pen turns away; Viola can’t let Orsino see her face and emotion.
PEN AS VIOLA/CESARIO
A blank, my lord; she never told her love, but let concealment like a worm in the bud feed on her damask cheek.
Kate/Orsino is sitting with her forehead on her knees. Pen/Viola turns and sees Kate/Orsino’s posture and goes to him. She crouches beside him, her left hand clasps his forearm, her right hand on his shoulder. The audience can see her face, though Orsino can’t, which is suffused with adoration.
PEN AS VIOLA/CESARIO
Was not this love indeed?
Unsatisfied, Pen tried it again and again. One time Pen’s right hand ended up on Kate’s neck instead of her shoulder and Kate jumped. Pen was startled and lost her balance, toppling over from her crouching posture and rolling on the floor.
Kate tries unsuccessfully to keep a straight face.
KATE
Are you alright?
PEN
(laughing)
I’d best anchor myself a bit better.
(gets to her feet)
I’d rather not tumble about onstage. It’s bound to end badly. Let’s try it again.
The next try Pen plants one knee firmly on the carpet. No longer focused on balance, Pen becomes aware of Kate’s proximity.
PEN AS VIOLA/CESARIO
Was not this love indeed?
Kate/Orsino raises her head and turns to Pen/Viola. Their eyes are very close and Kate forgets the line. They kiss. The sound of tires on the gravel causes Pen to pull back a little. Kate’s lips are parted, her expression dazed.
PEN
I think we should talk.
KATE
Now?
PEN
Oh hell!
Pen leans in and resumes the kiss. Kate’s hand creeps up Pen’s arm to stroke the side of her neck in a shy, tentative caress. Pen releases her abruptly and stands, then backs away.
PEN
Yes, we should talk now. I need a glass of wine. Would you like one?
Kate nods. Pen goes over to a dry bar in the corner of the room and pours two glasses of wine with shaking hands.
Pen goes over to the sofa and gives Kate her wine, then sits on the wing-backed chair opposite. She takes a long drink of wine.
KATE
(shaky laugh)
Was the kiss that bad?
PEN
Not at all.
KATE
I mean, I know I don’t have lots of experience, but –
PEN
Have you had any relationships?
KATE
(insulted)
Yes!
PEN
I’m sorry, I didn’t mean to insult you, but I did wonder about you and Michael.
KATE
Michael made a play for me last semester, after he knew I’d be here for the summer. It was obvious he wanted to get himself invited here, only when I didn’t invite him he showed up anyway. We’re fellow students, nothing more.
PEN
You see, Katie, I really don’t know you at all. And there is a kind of innocence about you…
(sees Kate staring down)
Are you listening to me?
Kate lifts her head and lashes out, voice tight.
KATE
Why should I? Terry warns me not to get involved with you. You ask if I’ve ever been in a relationship. You and Terry seem to think I’m some kind of helpless child or idiot who needs to be protected. You only eight years older than I am. What gives you or Terry the right?
PEN
(gently)
We don’t think you’re an idiot or a child. And we’re both very fond of you, we care about you. And I do have a well-deserved reputation. At least Sam had been around the block a few times.
KATE
Sam?
PEN
Terry told you about him – he said he had. Sam owns the farm, the racehorses, all of it. When Sam and I got involved, he knew what he was getting into. It suited both of us to have an open relationship.
KATE
(pales)
Terry told me Sam owned this place, that you knew him. He didn’t say how well. You’re involved with the man who owns my cottage?
PEN
Yes, why?
Kate looks stricken.
PEN
Does it matter?
KATE
(nods)
Yes. It matters.
PEN
I don’t understand.
KATE
Pen, you’re in a relationship with someone. I had no business asking you to go out in that boat with me, much less to kiss you tonight.
PEN
Funny, I thought I kissed you.
KATE
It never would have come to that, either way, if I’d known.
PEN
You can’t be serious.
KATE
Completely. I don’t believe it’s honorable to interfere with other people’s relationships.
Pen’s eyes narrow, wondering if this is some weird way to say she’s not interested after all.
PEN
Honorable? Katie, where did you get such an antiquated notion? No one worries about such
things.
KATE
Maybe not in your world.
PEN
We live in the same bloody world – what are you talking about?
Kate puts down her untouched wine and goes into the kitchen. Pen can hear the water run for a bit. When Kate returns to the living room her face is damp, her eyes red-rimmed but determined.
KATE
Sorry, Pen. I’m not sure I can explain it any better.
PEN
Try me. I’m a reasonably intelligent person.
KATE
It’s not that. It’s just that I don’t want to sound like I’m preaching.
PEN
(scowls)
You’re joking. This is about religious beliefs.
KATE
(raises her chin)
In a way. It’s about integrity. I don’t want to participate in what some people might call casual sex or sexual misconduct.
PEN
Sexual misconduct? You call a simple kiss sexual misconduct? You must be mad.
KATE
It’s the intention that’s the problem. I didn’t know about Sam when I kissed you. I do now. So if I went ahead and kissed you now, knowing you’re in a relationship, it’s…it’s a lack of respect towards you – even towards myself. It’s…dishonorable.
PEN
Dishonorable? Sam and I are non-monogamous – he has his wife, I have my own interests. We choose that freely – doesn’t that matter to you?
KATE
For me, that would just be a way to rationalize the situation, so I could do what I want.
PEN
Oh, I see. You do want to kiss me but you won’t because of some archaic principles. Because you’re noble. It’s not that you’ve come up with this ludicrous story because you’ve changed your mind about me?
Kate was on her knees in front of Pen in a heartbeat. She took Pen’s hands in hers and met her gaze.
KATE
You can’t believe I could change my mind about you! I can hardly see straight most of the time when you’re around.
The tension in Pen’s shoulders and neck relaxes. Kate lays her cheek on Pen’s hands as if in supplication. Pen looks down at her, baffled and moved. Kate eventually lifts her head and looks at Pen, her heart in her eyes, her voice unsteady.
KATE
Think about Viola – you’ve been rehearsing the part for weeks. You know as well as I do she would never betray Orsino’s trust in her, even if it meant she could win him by doing it.
PEN
Viola – what does this have to do…?
KATE
All right. You want me to say it – I do want you Pen, more than I’ve wanted anyone or anything in my life. But not while you’re involved in another relationship. Regardless of how you see it, it isn’t respectful to either of us. I can’t do that to myself.
PEN
But you aren’t respecting my feelings, Katie.
KATE
You’re the one who pulled back from the kiss, not me.
PEN
I didn’t want to take advantage of your innocence. Bloody hell, I never thought this would happen.
KATE
What did you think would happen?
Pen’s face softens and her hands return Kate’s clasp.
PEN
I didn’t think. It wasn’t about thinking. I hoped that even if I gave you the chance to think about it that ultimately you would decide it was worth the risk to get involved with me.
(her voice gets husky)
I hoped that we might end the evening in my bed, Katie, and spend a lovely night together. Maybe many lovely nights.
KATE
(whisper)
I wish I could.
Kate presses her lips to Pen’s hands, gets up and leaves. Pen watches her go out the door in complete disbelief.
Key Scene 3:
INT. KATE’S HALLWAY/LIVING ROOM – NIGHT
Kate opens her door to find Pen on the doorstep. Pen is clearly tense and apprehensive. She notices Kate is wearing a blue oxford cloth shirt rather than the white one covered with red wine that she’d worn home from the track.
Pen also notices there is no smile or sign of welcome on Kate’s face.
PEN
May I come in?
KATE
Of course.
Kate steps back and Pen enters the hallway.
PEN
I’ll pay for the white shirt to be cleaned.
KATE
There’s no need, I can take care of it.
PEN
No, I want to.
Kate shrugs and leads her into the living room. She doesn’t offer Pen a seat or fuss over her. Instead, she leans against the mantel, poised in a way that surprises Pen. Pen stands awkwardly at the entrance to the room.
PEN
Katie, I’m sorry you got caught in the middle of that mess today.
KATE
You said before that Sam’s wife understood and was okay with the relationship between you two. Didn’t look like that to me.
PEN
That’s not your concern. I’ll deal with Sam.
KATE
Not my concern? Maybe you’d like to take another look at my white shirt?
PEN
I’ve said I’m sorry about that. I’ve offered to clean it. What more do you want?
Kate straightens up and Pen braces herself.
KATE
Now that you ask, I’ll tell you, Pen. I want you to end your relationship with Sam. I want you to give it a chance with you and me.
Pen is startled by the difference when Kate is unflustered around her. She finds it tremendously appealing but can’t get caught up in that. She needs to go on the attack.
PEN
Katie, your notions about relationship are archaic.
KATE
You told me that before. What about your relationships? You’re a coward. You have Terry, your rock as you call him. Then your lovers. So you never have to risk anything.
PEN
(furious)
If you weren’t so naive, you’d realize Terry is my family, and more important than any lover could be.
KATE
I’m not attacking Terry. But what if he’s not there? Is Sam going to be there for you? I would.
PEN
That isn’t the point.
KATE
What is the point? You said once I was too innocent. You said it as if it were a dirty word.
PEN
That’s not what I meant.
They look like two boxers, sparring for the right opening.
KATE
What did you mean then?
Pen is distracted by the pulse in Kate’s neck. It throbs wildly, which tells her the calm demeanor is a cover. Something snaps in her and she lashes out to hide her pain and shame.
PEN
Think about it, Katie. One minute you’re pushing me away, the next minute you’re making drunken passes at me in my dressing room. You look for excuses to be near me, then you claim your principles won’t allow us to be together.
KATE
That’s not fair.
PEN
Fair? You and your sanctimonious honor – are you really so naive, so blind you don’t see what you’re doing? Or do you like tormenting me, seeing me ache for you and all the while you keep a safe distance?
KATE
(pales)
Pen, I never wanted –
PEN
You never wanted anything! What a hypocrite you are. You watch me in rehearsal with your adoring glances and your tears, and if I respond you push me away because you’re so noble and pure. Bloody hell, Katie, you’re not a child. Maybe it’s time for you to grow up.
Pen closes the gap between them and takes Kate’s face in her hands. She intends to kiss her with all the ferocity of her thwarted passion, but at the first touch her anger dissolves. Her lips hover near Kate’s, her voice low and shaking.
PEN
Inside you, Katie, is a woman you’ve barely begun to explore. Everything in me hungers for that woman in you, longs to help her emerge, see the wonder in her eyes as she discovers herself.
Kate listens, stunned at the outpouring from Pen. She is overwhelmed, unable to pull away, unable to speak.
PEN
(whispers)
You cling to your beliefs as if they have some magical power, never realizing the true magic, the true power, lies in the shiver deep within you at my lightest touch…
Pen’s fingertips caress Kate’s cheek and she lets out a soft gasp.
PEN
…the rhythm of our hearts, beating as one…
Pen takes Kate’s hand in hers and lays it on Pen’s heart, then lays her hand on Kate’s heart.
PEN
(halting)
..the…magic…the shock of recognition…every time our eyes meet. Don’t you..even want to know what…you’re missing?
Pen’s lips brush Kate’s again and again with the most fleeting of kisses, until Kate’s lips seek hers. Pen deepens the kiss slowly. Kate’s free hand clutches Pen’s sleeve.
Pen lifts her mouth to trace a path down Kate’s neck and lingers at the hollow at the base of her throat.
KATE
(somewhere between a moan and a whisper)
Pen…
PEN
(smiles)
Peace, I will stop your mouth.
(kisses Kate)
After a long kiss, Pen lifts her head. Kate’s eyes are closed, and she is radiant. Pen knows if she doesn’t leave then, she won’t be able to leave. And she has to leave. It has to be Kate’s choice.
Pen steps back and Kate’s eyes open. Pen is transfixed by the woman in front of her, alight with passion.
Kate takes Pen’s hand in hers and Pen presses her lips into the palm of Kate’s hand. She walks swiftly to the door and leaves.
-
Carol Dougherty’s Act 2 Reaction to TP 1
What I learned doing this assignment: At times, it’s hard to remember we are doing this one lesson at a time. As I started working on this one, I started to project ahead to what I saw coming and felt overwhelmed. I had to remind myself I only had one outline and one scene due today.
I can see I have things to cut, things to add, but if I remind myself that this is just to get a first draft on paper, I can relax and do it. Frankly, that is not easy for me to do! And I also can see, having been through writing a first draft of Act 1, some of the things I can do to help myself with Acts 2 and 3. But only after I did today’s assignment.
Beat Sheet Line: Pen blows up in rehearsal.
Outline Reaction to TP 1:
BEGINNING: Pen is exhausted from filling her hours after her picnic with Kate.
MIDDLE: Pen tries to do the scene, but it is an emotional scene when she is already feeling emotionally raw and exposed. To make it worse, Kate is one of those watching her. She blows up and tells Sebastian to replace her. He talks with her and asks her to trust him, and they make their way through the scene together.
END: Kate tries to tell Pen how wonderful the scene was and Pen can’t hear it, leaving Kate hurt.
Reaction to TP 1:
INT. REHEARSAL HALL – DAY
Pen stands with a light fleece throw around her shoulders, approximating a cloak. She is acutely aware of Kate watching next to Sebastian. The scene only has Pen and Sandy at this point and a handful of others in the room.
Pen is unsettled after her time with Kate in the rowboat. She tried to fill her time so as not to think too much. She’d gone to the company meeting, practiced yoga, went to an evening performance, even pitched in to help Jacky in the green room for a while. Nothing worked.
STAGE MANAGER
Ms. Parrish?
PEN AS VIOLA/CESARIO
(nods and pulls the cloak tight)
Make me a willow cabin at your gate,
And call upon my soul within the house.
Pen glimpses Kate’s face and stops. Everyone remained dead silent.
PEN AS VIOLA/CESARIO
Hallow your name to the reverberate hills,
And make the babbling gossip of the air
Cry out, ‘Olivia…’
Pen stopped again. Sandy waited for the rest of the line, glanced at Sebastian. The fleece throw slipped from one shoulder and Pen threw it to the floor.
PEN AS VIOLA/CESARIO
That’s it, Sebastian, I’m through.
Shocked gasps are heard in the room.
PEN AS VIOLA/CESARIO
(glares at Sebastian)
I can’t do it. How could anyone be so bloody stupid as this woman? I can’t play the part when I see her as nothing but a silly twit. You’ll need time to get someone else up to speed on this part. Best to start right now.
Sebastian doesn’t move, doesn’t take his eyes off Pen.
PEN AS VIOLA/CESARIO
I’m not being a prima donna. I’m thinking of the company. And whoever plays her. It takes time to make it work, for the cast to adjust to a new Viola.
(she stares, baffled by his lack of response, shrugs her shoulders)
Well, that’s it then.
Pen drops the fleece on a makeshift divan and crosses the rehearsal hall to the bench under the window to gather her things. Her fingers shake so much she struggles to unfasten the straps of her bag.
Sebastian comes up behind her. A strong, manicured hand covers both of hers. She looks up to meet his eyes, filled with compassion.
SEBASTIAN
(voice low)
I won’t stop you if you really want to go, Penelope. But I don’t believe you do.
(takes her hands in his)
Do you trust me?
(she nods)
Let’s try the scene again. I’ll be with you.
Sebastian leads her toward Sandy. One arm circles her waist, his other hand holds both of hers. He leans close and rests his forehead against hers. They stand that way for a long moment, then he begins to pivot.
Little by little he moves slightly faster, takes small steps, raises his head and slips behind Pen until they are sweeping in a wide circle, their faces up and out. It is like two swans, swimming as one on the lake. He slows and stops.
Pen faces Sandy, and in one of the seats behind her, Kate, who sits with a rapt expression on her face.
SEBASTIAN
(whispers)
Begin, Cassandra.
SANDY AS OLIVIA
Why, what would you?
Pen focused her attention on Sandy. Sebastian still had one arm around her waist and was pressed against her back. She wore him like a second skin. His intention seemed to transmit itself to her through some magical osmosis and she let go.
PEN AS VIOLA/CESARIO
Make me a willow cabin at your gate,
And call upon my soul within the house…
Sandy and Pen intensify the pace through the remainder of the scene. Sebastian lets Pen go, though she can still feel him there. At the end of the scene Pen and Sandy spontaneously hug.
Pen glances at Katie, whose eyes are wet, her expression awed. Pen turns away.
SEBASTIAN
Well done.
PEN
Thank you.
Sebastian nods to the stage manager, who announces a break. Sebastian takes Sandy aside and talks to her.
Pen escapes back to the window seat and stretches. Kate approaches from behind her.
KATE
Pen?
Pen stops stretching and closes her eyes. A moment later she turns.
PEN
Hello, Katie.
KATE
Your scene was wonderful. You made me cry.
PEN
I saw.
(pulls on a sweater)
Sit.
(they both sit on the bench)
Are you learning a lot from Sebastian?
KATE
Oh, so much. He’s always asking me about what I see, but it never feels like he’s testing me.
(pauses)
Pen, don’t you want to talk about the scene?
PEN
(stifles a sigh)
You’re so very direct, Katie. It can be disconcerting, you know. Perhaps we could talk another time?
Kate immediately gets to her feet.
KATE
Sure.
She pauses for a second, then walks away, her back stiff. Pen watches her go.
-
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.
-
Carol Dougherty’s Turning Point 1 Scenes
What I learned doing this assignment: In order to write quickly I have to be willing
to change things on the fly without taking a lot of time. And some things I’d
like to change, if I know they’ll take more time and focus, they have to wait
for the next draft. It’s a kind of discerning what to do as I write and what to
file away in my mind for later.Act 1 Turning Point Outline:
BEGINNING: Pen and Katie meet at the lake and go out in a rowboat.
MIDDLE: They talk, have a picnic in the rowboat. Pen’s intention is to be friendly and no more, but their mutual attraction and Katie’s warm and open way of being make it difficult for Pen to keep her distance.
END: Back at the dock, Pen gives in and kisses Katie on the cheek and is very shaken.
(it is one very long scene rather than a series of scenes)
Act 1 Turning Point Scene:
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.
-
Carol Dougherty’s Inciting Incident
NOTE: My Inciting Incident was contained within Pen’s Opening Scene. The emotional reaction to the Inciting Incident was contained within Kate’s Opening Scene. Those are both in the 9th Assignment, so I have chosen two other Key Scenes in the First Act to write.
What I learned doing this assignment: I noticed how different these scenes were from
the first two, especially the first. Those had a lot of Action/Description
because they were very visual scenes. The ones for today were much more
dialogue. It’s not that one is better than the other, just different. It does
feel as if I’m learning on the fly, literally, and while that’s nerve-wracking
at times, it’s also exhilarating.Outlines:
Key Scene 2:
INT. GREEN ROOM – DAY
BEGINNING: Pen gets coffee for the two of them while Katie gets them a place to sit.
MIDDLE: They talk and get to know one another, and Pen begins calling Kate, Katie. Their mutual attraction simmers under the surface with the occasional blush on Katie’s part.
END: Laurence shows up to find Katie – she is late for her appointment. They leave.
Key Scene 3:
BEGINNING: Terry catches Pen watching Katie.
MIDDLE: They bicker over Pen’s intentions toward Katie and Terry warns Pen not to mess with her.
END: They sit together in silence, Pen restless with thoughts of Katie.
Key Scene 2:
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.
Key Scene 3:
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.
-
This reply was modified 2 years, 8 months ago by Carol Dougherty. Reason: forgot to put in what I learned
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This reply was modified 2 years, 8 months ago by
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Carol Dougherty’s Act 1: Opening Scenes
What I learned doing this assignment is: Details matter. I thought I’d done my prep before the class started and would be ready to roll and found that there were things I hadn’t expected that would surprise me. One of those was realizing that the technical part of writing a script that could be copied into the class forum would not be as simple as I’d thought. I’m actually a little behind because it took me a while to figure out my options. It isn’t perfect, but it’s a lot better than the first few tries! (And as I look at it after it’s posted, the formatting changed anyway!)
Opening Scene – Pen:
Outline:
INT. ONSTAGE – NIGHT
BEGINNING: Pen and another actor are performing her final scene in Antony and Cleopatra, in which her character dies.
MIDDLE: As Pen collapses to the stage in her “death throes” she glimpses a woman in the audience who reminds her of her long-dead first love. She spends the rest of the play, curtain call, and opening night ceremonies watching her.
END: Their eyes meet, and Pen knows it is not Danni (her first love) and knows she has to meet her.
Opening Scene – Katie:
Outline:
INT. PEN’S DRESSING ROOM – NIGHT
BEGINNING: Pen flings open the door and stops mid-rant when she recognizes the woman from the audience.
MIDDLE: They stare at one another, and Pen reaches out a hand to draw her into the dressing room. Terry barges in and introduces them. The room is tense, and when Terry is called away Pen and Katie speak for the first time.
END: Terry returns and takes Katie away with him to the opening night party and Pen is left unsettled.
NOTE: Sorry these pages are a little late – I’m having some technical difficulty getting them in a form that can go onto the forum. So far this works best.
Pen’s Opening Scene:
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.
Katie’s Opening Scene
INT. PEN’S DRESSING ROOM – NIGHT
The door slams and Pen drops into a gilt chair. In a rage, she grabs one shoe off her foot and flings 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.
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This reply was modified 2 years, 8 months ago by Carol Dougherty. Reason: tinkering with the format
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This reply was modified 2 years, 8 months ago by
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Carol Dougherty’s Beat Sheet Draft 2
What I learned from this assignment: This beat sheet is a difficult balancing act between being concise and including all of the important information. It feels like quite a different project than it was a week ago when we started. Most of all, I keep learning that there is always something else new to learn.
Act 1:
INT. ONSTAGE – NIGHT
OPENING – successful opening night of Antony & Cleopatra with Terry (best friend/acting partner)
INCITING INCIDENT – sees unknown woman in the audience and is reminded of Danni, her first (and only) love
INT. PEN’S DRESSING ROOM – NIGHT – Pen changing to go seek out unknown woman, Sam (lover) shows up unexpectedly
INT. PEN’S DRESSING ROOM – NIGHT – Sebastian (director) comes to challenge Pen to take on a new role in next season
INT. PEN’S DRESSING ROOM – NIGHT – unknown woman shows up at door and Pen is entranced, then Terry pops in – he knows her (Katie) and introduces them; Pen annoyed/jealous
INT. GREEN ROOM – NIGHT – Pen gives Sebastian his answer, plays the star, and watches the effect on Katie
INT. THEATRE RECEPTION AREA (TO GREEN ROOM) – DAY – months later, Katie returns, Pen runs into her at entrance to theatre and takes her to green room for coffee
INT. GREEN ROOM – DAY – Pen charms and is charmed by Katie
INT. GREEN ROOM – DAY – Terry shows up as Katie leaves and warns Pen to watch her step with Katie
INT. TERRY’S KITCHEN (TO LIVING ROOM) – NIGHT – Pen flirts with Katie again
INT. TERRY’S KITCHEN – NIGHT – Terry pissed at Pen – Katie reminds him of his late half-sister
INT. TERRY’S LIVING ROOM (TO KITCHEN AND OUTSIDE) – NIGHT – Katie and Sebastian go head-to-head in a discussion, and he invites her to rehearsal; Pen impressed
INT. REHEARSAL HALL – DAY – first read-through; Katie invites Pen for a picnic on next day off
EXT. LAKE – DAY
TE 1 – during a picnic in a rowboat Pen wants to hear about Katie, and ends up responding from the heart
TURNING POINT – Pen has a perfect opportunity to pursue Katie as a potential conquest and doesn’t – she realizes she is developing feelings for her
Act 2:
New plan – Pen decides to try a combination of friendship and manipulation
Plan in action – Katie doesn’t respond exactly as Pen plans. They connect in rehearsals and outside, but when Katie finds out Sam is Pen’s lover, she pulls back. Pen eventually breaks off with Sam but refuses to tell Katie.
INT. REHEARSAL HALL – DAY – Pen blows up in rehearsal, Sebastian guides her through it
INT. PUB – NIGHT – Pen, Terry, Katie, Sebastian out together and Michael, grad school friend of Katie shows up. Katie not please, Terry charmed, Pen jealous
INT. – REHEARSAL HALL – DAY
TE2 – Pen tries to make Katie jealous, embarrasses herself and hurts Katie
INT. PEN’S LIVING ROOM – NIGHT
TE3 – an unexpected kiss in an informal private rehearsal causes both Pen and Katie to take turns backing off and shutting down
INT. PEN’S LIVING ROOM – NIGHT – Pen trying to make sense of Katie’s actions and suddenly puts it together with her character, Viola
EXT. PEN’S GARDEN – DAY – Pen and Katie cautiously friendly after night before, Katie asks about Danni
INT. REHEARSAL HALL – DAY – Pen uses movement from Katie’s action night before, Katie upset
EXT. LAKESIDE THEATRE LAWN – DAY – Sebastian talks with Katie, then Pen apologizes
INT. REHEARSAL HALL – DAY – Katie inadvertently uncovers Katie’s relationship with Danni and Terry flips out
INT. PEN’S LIVING ROOM – NIGHT – Terry and Pen reconcile
INT. PEN’S DRESSING ROOM – NIGHT – Katie visits Pen after the opening and is a little drunk already, makes a pass at Pen which she carefully deflects
INT. GREEN ROOM – NIGHT – Pen runs across Michael flirting behind Terry’s back and warns him, he laughs
EXT. PEN’S GARDEN – DAY – Katie is hungover and embarrassed; admits to Pen she drank too much because of her
INT. RACETRACK BOX – DAY – Pen takes Terry, Michael and Katie to track for Sam’s horse’s race – his wife and teenage son show up, Katie steps in front of Pen when son attacks
EXT. KATIE’S HALLWAY/LIVING ROOM – NIGHT
TE4: Pen apologizes for what happened at the track, they end up in a fight, then an intense kiss, Pen leaves
INT. PEN’S DRESSING ROOM – DAY – Terry heard about last night with Katie and checks in
INT. PEN’S DRESSING ROOM – DAY – Sam shows up later and Pen breaks up with him, he is livid
EXT. PEN’S GARDEN – DAY – Pen gardening when Terry, Michael, Katie appear, Pen goes inside to avoid Katie
EXT. PEN’S GARDEN – DAY – later Pen hears Michael break up with Terry and goes out to him, she and Katie comfort him
INT. TERRY’S KITCHEN – LATE NIGHT – a few weeks later Pen helps Terry with a dinner, he has a heart attack
INT. AMBULANCE – LATE NIGHT – Pen is with him, his heart stops
INT. HOSPITAL E.R. – LATE NIGHT – Pen furious with Terry for dying
INT. HOSPITAL E.R. ENTRY – LATE NIGHT – Katie and Sebastian show up and Pen points them to where Terry’s body is, then leaves
EXT. LAKE PATH – NIGHT – Pen walks around lake, finds Terry’s dog, Trixie has followed her
Midpoint Turning Point – Pen’s acting partner/best friend, Terry, dies suddenly and Pen retreats into her work.
Act 3:
Rethink everything – Pen isolates herself in her grief and works through the end of the season.
New plan – She decides to head home to England to figure out if she can act without Terry and who she is without her best friend and acting partner. In England she revisits the past and discovers some possibilities for the future. Once there she ignores Katie’s plea for contact, decides to quit acting, then realizes she doesn’t want to quit and that she loves Katie.
EXT. TERRY’S GRAVE – DAY – Sebastian has shocking news for Pen, she has news for him
INT. PEN’S HALLWAY/LIVING ROOM – NIGHT
TE5 – Terry’s death prompts Katie to offer comfort to Pen and they make love
INT. PEN’S BEDROOM – EARLY MORNING – Pen can’t tell Katie she’s about to leave for England
INT. SEBASTIAN’S HOME – EARLY MORNING
TE6 – Pen asks Sebastian for his help get away from Katie
INT. LIBRARY IN BATH, ENGLAND – DAY – Pen looks up info on her father and finds a woman (Mollie) who knew him and loved him
INT. MOLLIE’S KITCHEN – DAY – Sebastian asks her to come back for next season, says Katie would really like her to call; she tells Mollie she may quit acting, won’t call or return to Katie as it’s best for Katie, Mollie disagrees
INT. SEVENOAKS, ENGLAND HOTEL ROOM – NIGHT – Pen discovers clippings and reviews of her father and letters from him to her mother, plus pictures of the three of them
EXT. THICKET OF TREES/BUSHES – DAY
TE7 – Pen returns to the place in England where she last saw Danni before her suicide
INT: SEVENOAKS, ENGLAND HOTEL ROOM – DAY – Pen lets Sebastian know she’s coming back and that she’ll play the parts
Turning Point: Huge Failure/Major shift – Pen tells Sebastian she’s coming back. She decides to let Katie know she loves her when she gets back, and before she can do so, Katie rejects her.
EXT. LAKE PATH – DAY
TE8 – Katie rejects Pen when she returns; she’ll work with her, nothing more
Act 4:
Climax/Ultimate expression of the conflict – Pen and Katie see each other often in rehearsals. Pen treats Katie with the kind of warmth and friendliness Katie offered before Pen left but Katie continues to rebuff her, unable to understand why Pen couldn’t respond to her at all from England. Pen doesn’t withdraw from Katie, and in fact begins connecting as a friend with others in the company as well. Katie notices the positive change but announces she has been offered a new job in another theatre and that she will take it and leave after opening night.
Resolution – Pen talks to the company before the opening, apologizing for her standoffishness before and after Terry’s death. She also thanks several people for their help, ending with Katie, telling her in front of the company that she loves her. Katie leaves, but after the opening performance, Pen and Katie confront one another in Pen’s dressing room. Katie realizes Pen is sincere and decides not to take the other job but to stay with Pen and the theatre they both love.
INT. REHEARSAL HALL – DAY – first read through of Private Lives with Michael and the company
INT. GREEN ROOM – DAY – Pen and Michael talk to clear the decks, she’s skeptical
INT. REHEARSAL HALL – DAY – Pen and Michael work well together and it upsets her, feels like a betrayal of Terry
EXT. PEN’S GARDEN – DAY – Katie comes by to talk about Pen’s work with Michael, says Terry would be proud of her
EXT. PEN’S GARDEN – EARLY EVENING – Pen has the company over to share some mementos of Terry
INT. PEN’S KITCHEN – EARLY EVENING
TE9: Katie tells Pen she’s been offered another job and she’ll leave after opening night, they argue
INT. GREEN ROOM – EARLY EVENING – Pen addresses the company before the opening that night, thanks them for their support after Terry’s death and addresses both Sebastian and Katie; tells Katie she loves her, Katie walks out without a word
INT. PEN’S DRESSING ROOM – NIGHT – Katie stops in furious about Pen’s public statement, says it was manipulative, Pen explains, they reconcile
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Carol Dougherty’s High Speed Beat Sheet
What I learned from this assignment: I learned how much I like to overwrite and overthink things. I learned that I had identified at least one incorrect transformational event – which is good, as I saw it. I learned that it’s difficult at times to give up some of the scenes I love (because there a lot that aren’t in here – there isn’t room), but that it also is helpful in terms of honing in on what’s most important. And I do make a commitment to use the high speed writing method as I found it very helpful!
Act 1:
INT. ONSTAGE – NIGHT
OPENING – successful opening night of Antony & Cleopatra with Terry (best friend/acting partner)
INCITING INCIDENT – sees unknown woman in the audience and is reminded of Danni, her first (and only) love
INT. PEN’S DRESSING ROOM – NIGHT – Pen changing to go seek out unknown woman, Sam (lover) shows up unexpectedly
INT. PEN’S DRESSING ROOM – NIGHT – Sebastian (director) comes to challenge Pen to take on a new role in next season
INT. PEN’S DRESSING ROOM – NIGHT – unknown woman shows up at door, then Terry, who knows her (Katie) and introduces them
INT. GREEN ROOM – NIGHT – Pen gives Sebastian his answer and watches Katie
INT. THEATRE RECEPTION AREA (TO GREEN ROOM) – DAY – months later, Pen runs into Katie at entrance to theatre and takes her to green room for coffee
INT. GREEN ROOM – DAY – Pen charms and is charmed by Katie
INT. GREEN ROOM – DAY – Terry shows up as Katie leaves and warns Pen to watch her step with Katie
INT. TERRY’S KITCHEN (TO LIVING ROOM) – NIGHT – Pen flirts with Katie
INT. TERRY’S KITCHEN – NIGHT – Terry pissed at Pen – Katie reminds him of his late half-sister
INT. TERRY’S LIVING ROOM (TO KITCHEN AND OUTSIDE) – NIGHT – Katie and Sebastian go head-to-head in a discussion, and he invites her to rehearsal; Pen impressed
INT. REHEARSAL HALL – DAY – first read-through; Katie invites Pen for a picnic on next day off
EXT. LAKE – DAY
TE 1 – during a picnic in a rowboat Pen wants to hear about Katie, and ends up responding from the heart
TURNING POINT – Pen has a perfect opportunity to pursue Katie and doesn’t – she realizes she is developing feelings for her
Act 2:
New plan – Pen decides to try a combination of friendship and manipulation
Plan in action – Katie doesn’t respond exactly as Pen plans. They connect in rehearsals and outside, but when Katie finds out Sam is Pen’s lover, she pulls back. Pen eventually breaks off with Sam but refuses to tell Katie.
INT. REHEARSAL HALL – DAY – Pen blows up in rehearsal
INT. REHEARSAL HALL – LATE AFTERNOON – Pen sneaks into Terry’s rehearsal
INT. PUB – NIGHT – Pen, Terry, Katie, Sebastian out together and Michael, grad school friend of Katie shows up. Katie not please, Terry charmed.
INT. – REHEARSAL HALL – DAY
TE2 – Pen tries to make Katie jealous and embarrasses herself and hurts Katie
INT. PEN’S LIVING ROOM – NIGHT
TE3 – an unexpected kiss in an informal private rehearsal causes both Pen and Katie to take turns shutting down
INT. PEN’S LIVING ROOM – NIGHT – Pen trying to make sense of Katie’s actions and suddenly puts it together with her character, Viola
EXT. PEN’S GARDEN – DAY – Pen and Katie friendly, Katie asks about Danni
INT. REHEARSAL HALL – DAY – Pen uses movement from Katie’s action night before, Katie upset
EXT. LAKESIDE THEATRE LAWN – DAY – Sebastian talks with Katie, then Pen apologizes
INT. REHEARSAL HALL – DAY – Katie inadvertently uncovers Katie’s relationship with Danni and Terry flips out
INT. PEN’S LIVING ROOM – NIGHT – Terry and Pen reconcile
INT. PEN’S DRESSING ROOM – NIGHT – Katie visits Pen after the opening and is a little drunk already, makes a pass at Pen which she deflects
INT. GREEN ROOM – NIGHT – Pen runs across Michael flirting behind Terry’s back
EXT. PEN’S GARDEN – DAY – Katie is hungover and embarrassed but tells Pen she hoped Pen would drop Sam and choose her
INT. RACETRACK BOX – DAY – Pen takes Terry, Michael and Katie to track for Sam’s horse’s race – his wife and son show up
EXT. KATIE’S HALLWAY/LIVING ROOM – NIGHT
TE4: Pen apologizes for what happened at the track, they end up in a fight
INT. PEN’S DRESSING ROOM – DAY – Terry heard about last night and checks in
INT. PEN’S DRESSING ROOM – DAY – Sam shows up later and Pen breaks up with him, he is livid
EXT. PEN’S GARDEN – DAY – Pen hears Michael break up with Terry and goes to him
INT. TERRY’S KITCHEN – LATE NIGHT – Pen helps Terry with a dinner, he has a heart attack
INT. AMBULANCE – LATE NIGHT – Pen is with him, his heart stops
INT. HOSPITAL E.R. – LATE NIGHT – Pen furious with Terry for dying
INT. HOSPITAL E.R. ENTRY – LATE NIGHT – Katie and Sebastian show up and Pen points them to where Terry’s body is
EXT. LAKE PATH – NIGHT – Pen walks around lake, finds Terry’s dog, Trixie has followed her
Midpoint Turning Point – Pen’s acting partner/best friend, Terry, dies suddenly and Pen retreats into her work.
Act 3:
Rethink everything – Pen isolates herself in her grief and works through the end of the season.
New plan – She decides to head home to England to figure out if she can act without Terry and who she is without her best friend and acting partner. In England she revisits the past and discovers some possibilities for the future. She ignores Katie’s plea for contact, decides to quit acting, then realizes she doesn’t want to quit and that she loves Katie.
EXT. TERRY’S GRAVE – DAY – Sebastian has shocking news for Pen, she has news for him
INT. PEN’S HALLWAY/LIVING ROOM – NIGHT
TE5 – Terry’s death prompts Katie to offer comfort to Pen
INT. PEN’S BEDROOM – EARLY MORNING – Pen can’t tell Katie she’s about to leave for England
INT. SEBASTIAN’S HOME – EARLY MORNING
TE6 – Pen asks Sebastian for his help
INT. LIBRARY IN BATH, ENGLAND – DAY – Pen looks up info on her father and finds a woman who knew him
INT. MOLLIE’S KITCHEN – DAY – Sebastian asks her to come back for next season
INT. SEVENOAKS, ENGLAND HOTEL ROOM – NIGHT – Pen discovers clippings and reviews of her father and letters from him to her mother, plus pictures of the three of them
EXT. THICKET OF TREES/BUSHES – DAY
TE7 – Pen returns to the place in England where she last saw Danni before her suicide
INT: SEVENOAKS, ENGLAND HOTEL ROOM – DAY – Pen lets Sebastian know she’s coming back and that she’ll play the parts
Turning Point: Huge Failure/Major shift – Pen tells Sebastian she’s coming back. She decides to let Katie know she loves her when she gets back, and before she can do so, Katie rejects her.
EXT. LAKE PATH – DAY
TE8 – Katie rejects Pen when she returns
Act 4:
Climax/Ultimate expression of the conflict – Pen and Katie see each other often in rehearsals. Pen treats Katie with the kind of warmth and friendliness Katie offered before Pen left but Katie continues to rebuff her, unable to understand why Pen couldn’t respond to her at all from England. Pen doesn’t withdraw from Katie, and in fact begins connecting as a friend with others in the company as well. Katie notices the positive change but announces she has been offered a new job in another theatre and that she will take it and leave after opening night.
Resolution – Pen talks to the company before the opening, apologizing for her standoffishness before and after Terry’s death. She also thanks several people for their help, ending with Katie, telling her in front of the company that she loves her. Katie leaves, but after the opening performance, Pen and Katie confront one another in Pen’s dressing room. Katie realizes Pen is sincere and decides not to take the other job but to stay with Pen and the theatre they both love.
INT. REHEARSAL HALL – DAY – first read through of Private Lives with Michael
INT. GREEN ROOM – DAY – Pen and Michael talk to clear the decks
INT. REHEARSAL HALL – DAY – Pen and Michael work well together and it upsets her
EXT. PEN’S GARDEN – DAY – Katie comes by to talk about Pen’s work with Michael
EXT. PEN’S GARDEN – EARLY EVENING – Pen has the company over to share some mementos of Terry
INT. PEN’S KITCHEN – EARLY EVENING
TE9: Katie tells Pen she’s been offered another job and she’ll leave after opening night
INT. GREEN ROOM – EARLY EVENING – Pen addresses the company before the opening that night, thanks them for their support after Terry’s death and addresses both Sebastian and Katie; tells Katie she loves her
INT. PEN’S DRESSING ROOM – NIGHT – Katie stops in furious about Pen’s public statement, they reconcile
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This reply was modified 2 years, 8 months ago by Carol Dougherty. Reason: unnecessary scene
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This reply was modified 2 years, 8 months ago by
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Carol Dougherty’s Transformational Events
What I learned from this assignment: That I have a lot to learn. That being said, I can see how the tighter and clearer this structure/events chain is, the better the final result. It’s difficult not to second-guess myself but I try to be succinct and at the same time swing for the fences. Challenging, to put it mildly.
Character Arc:
· Beginning: Pen has a lover, and they are in an open relationship. She doesn’t let him or anyone else get emotionally close in what is a sexual relationship.
· Ending: Pen deeply loves Katie and is committed to an emotional and sexual relationship with her.
· In Between: A series of events and challenges that change Pen’s understanding of the world and allow her to experience love again.
Old Ways:
· Sexual relationships are superficial
· Manipulates people to keep them at a distance
· believes if anyone gets too close and sees who she really is they will reject her
New Ways:
· stops the manipulation
· accepts herself
· allows herself to love
Changes/Steps:
· encourage Katie to open up to her
· risk being genuine with Katie
· notice the effect of manipulation on others and herself
· notice how painful shutting down is – whether she does it or Katie does it
· risk letting others reach out to her/help her
· take a close look at herself
· accept herself as is
· risk expressing her love
Transformational Events:
· during a picnic in a rowboat Pen wants to hear about Katie, and ends up responding from the heart
· Pen tries to make Katie jealous and embarrasses herself and hurts Katie
· an unexpected kiss causes both Pen and Katie to take turns shutting down
· Terry’s death prompts both Katie and Sebastian to offer comfort/help to Pen
· Pen returns to the place in England where she last saw Danni before her suicide
· Katie rejects Pen when she returns
· before the opening night Pen addresses the company to thank them and tells Katie she loves her
Act 1:
· Opening – opening night of a new play, interactions with her lover, her director, and her best friend/acting partner
· Inciting Incident – sees Katie in the audience and is reminded of Danni, her first (and only) love
· Transformational Event – during a picnic in a rowboat Pen wants to hear about Katie, and ends up responding from the heart
· Turning Point – Pen has a perfect opportunity to pursue Katie and doesn’t – she realizes she is developing feelings for her
Act 2:
· New plan – Pen decides to try a combination of friendship and manipulation
· Transformational Event – Pen tries to make Katie jealous and embarrasses herself and hurts Katie
· Plan in action – Katie doesn’t respond exactly as Pen plans. They connect in rehearsals and outside, but when Katie finds out Sam is Pen’s lover, she pulls back. Pen eventually breaks off with Sam but refuses to tell Katie.
· Transformational Event – an unexpected kiss causes both Pen and Katie to take turns shutting down
· Midpoint Turning Point – Pen’s acting partner/best friend, Terry, dies suddenly and Pen retreats into her work.
Act 3:
· Rethink everything – Pen isolates herself in her grief and works through the end of the season.
· Transformational Event – Terry’s death prompts both Katie and Sebastian to offer comfort/help to Pen
· New plan – She decides to head home to England to figure out if she can act without Terry and who she is without her best friend and acting partner. In England she revisits the past and discovers some possibilities for the future. She ignores Katie’s plea for contact, decides to quit acting, then realizes she doesn’t want to quit and that she loves Katie.
· Transformational Event – Pen returns to the place in England where she last saw Danni before her suicide
· Transformational Event – Katie rejects Pen when she returns
· Turning Point: Huge Failure/Major shift – Pen tells Sebastian she’s coming back. She decides to let Katie know she loves her when she gets back, and before she can do so, Katie rejects her.
Act 4:
· Climax/Ultimate expression of the conflict – Pen and Katie see each other often in rehearsals. Pen treats Katie with the kind of warmth and friendliness Katie offered before Pen left but Katie continues to rebuff her, unable to understand why Pen couldn’t respond to her at all from England. Pen doesn’t withdraw from Katie, and in fact begins connecting as a friend with others in the company as well. Katie notices the positive change but announces she has been offered a new job in another theatre and that she will take it and leave after opening night.
· Transformational Event – before the opening night Pen addresses the company to thank them and tells Katie she loves her
· Resolution – Pen talks to the company before the opening, apologizing for her standoffishness before and after Terry’s death. She also thanks several people for their help, ending with Katie, telling her in front of the company that she loves her. Katie leaves, but after the opening performance, Pen and Katie confront one another in Pen’s dressing room. Katie realizes Pen is sincere and decides not to take the other job but to stay with Pen and the theatre they both love.
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Carol Dougherty’s 4-Act Transformational Structure
What I learned from this assignment: My first thought was that I learned this assignment is impossible. It is incredibly difficult to boil it all down to this brief outline, but it does force me to get to the heart of the matter. Part of what was so difficult was figuring out if I write this for the inner or outer journey or both. In the end, I focused on the inner journey for the most part, bringing in what I thought was essential from the outer journey.
Concept: After being blindsided by encountering a woman reminiscent of her late first love, actress Penelope Parrish is determined to seduce the woman into her bed.
Main Conflict: Pen is in an open relationship and thinks nothing of having sexual adventures on the side. Katie Finnegan is looking for a monogamous relationship that is fulfilling emotionally as well as sexually. She refuses to get involved with Pen if she is seeing someone, regardless of how open that relationship may be.
Old Ways:
· Pen’s personal and professional relationships are always at arm’s length.
· Pen puts most of her energy into her stage work.
· Pen believes if anyone gets too close, either personally or professionally, they will see how lacking she is.
New Ways:
· Pen values connection, both personally and professionally.
· She falls in love with Katie.
· Pen finally believes in herself.
Act 1:
· Opening – opening night of a new play, interactions with her lover, her director, and her best friend/acting partner
· Inciting Incident – sees Katie in the audience and is reminded of Danni, her first (and only) love
· Turning Point – Pen has a perfect opportunity to pursue Katie and doesn’t – she realizes she is developing feelings for her
Act 2:
· New plan – Pen decides to try a combination of friendship and manipulation
· Plan in action – Katie doesn’t respond exactly as Pen plans. They connect in rehearsals and outside, but when Katie finds out Sam is Pen’s lover, she pulls back. Pen eventually breaks off with Sam but refuses to tell Katie.
· Midpoint Turning Point – Pen’s acting partner/best friend, Terry, dies suddenly and Pen retreats into her work.
Act 3:
· Rethink everything – Pen isolates herself in her grief and works through the end of the season.
· New plan – She decides to head home to England to figure out if she can act without Terry and who she is without her best friend and acting partner. In England she revisits the past and discovers some possibilities for the future. She ignores Katie’s plea for contact, decides to quit acting, then realizes she doesn’t want to quit and that she loves Katie.
· Turning Point: Huge Failure/Major shift – Pen tells Sebastian she’s coming back. She decides to let Katie know she loves her when she gets back, and before she can do so, Katie rejects her.
Act 4:
· Climax/Ultimate expression of the conflict – Pen and Katie see each other often in rehearsals. Pen treats Katie with the kind of warmth and friendliness Katie offered before Pen left but Katie continues to rebuff her, unable to understand why Pen couldn’t respond to her at all from England. Pen doesn’t withdraw from Katie, and in fact begins connecting as a friend with others in the company as well. Katie notices the positive change but announces she has been offered a new job in another theatre and that she will take it and leave after opening night.
· Resolution – Pen talks to the company before the opening, apologizing for her standoffishness before and after Terry’s death. She also thanks several people for their help, ending with Katie, telling her in front of the company that she loves her. Katie leaves, but after the opening performance, Pen and Katie confront one another in Pen’s dressing room. Katie realizes Pen is sincere and decides not to take the other job but to stay with Pen and the theatre they both love.
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Carol Dougherty’s Character Interviews
What I learned from this assignment: I could feel the difference between them as I wrote each interview response. Not simply different voices but different perspectives coming from different lives and life experiences. I got a kick out of Pen saying she wasn’t called to the journey, she was kidnapped. And Katie’s acknowledgement that she didn’t think of herself as special touched me. The interview brought up some different aspects of the characters, so I may well revisit this later.
Pen: I’m an actor, and a very good one. I refuse to say actress, as if that’s some kind of variant – I act, therefore I’m an actor.
My parents are both dead, so Terry is my family now. We met in school in mixed infants, and we’ve been together ever since, as friends and as acting partners. He’s my rock.
My dad loved Shakespeare, and although he died when I was quite young, I inherited that love. It’s why I do classical theatre with a lot of Shakespeare – he understood people and how they function.
I wasn’t called to this journey, I was kidnapped. I looked out into the audience in the middle of a performance and thought I saw a ghost. It wasn’t her, of course, but the woman reminded me of the love of my life, who died 15 years ago. Right after that Sebastian tricked me into taking a role I don’t understand, playing a character I despise. I think it’s fate, spitting in my eye, but who knows? Maybe there’s something I need to learn. As if.
The so-called ghost turned out to be a friend of Terry’s who is so naïve she ought to be outlawed. None of my usual tricks work with this one – she has a mind of her own and it’s one I can’t fathom no matter how I try. She talks about honor as if she’s one of King Arthur’s knights! She doesn’t realize that honor is an archaic concept that has no place in the real world.
She’s also working with Sebastian as a part of her thesis work, so there’s no escaping her. Terry asked me to let her stay in one of Sam’s cottages and I said yes. It’s hard enough trying to dig into a difficult character for me, but to do it with her sitting in rehearsals… Her presence undermines the distance I keep from everyone but Terry; sometimes it breaks me wide open, and it infuriates me that it makes my performance better. The worst part is that I know she’s wrong, she’s naïve, but she looks at me like she thinks I’m the most wonderful person in the world and I damn near forget my name.
It seems as if I’ll have to meet her straightforwardness with my own, though I can’t make myself naïve and wouldn’t want to. My usual habit of quietly manipulating the people around me is so ingrained, I’m not always aware that I’m doing it. And if it means my acting is better, I will do it.
I keep people at bay because I don’t trust them. My mother let me know it was my own fault my dad left us and then died. I wasn’t a good girl. Of course, I was what, five? How bad could I have been? Still, she never shut up about how useless I was, especially when we both got older and her boyfriends started looking at me, even when she was right there. Terry was the only one who told me I was great and that we’d be a terrific acting team. I never would have thought of acting but for him.
The discipline of yoga and acting have taught me a lot and may help me in working on digging deep in the work Sebastian demands of me. On the other hand, I’m not sure it will help me much with Katie. Maybe it will help me change my habits, but I wouldn’t want to put money on it.
There’s one thing no one knows, not even Terry. He’s the only one who would really care, but I’m terrified to tell him. His half-sister, Danni, committed suicide. Their father caught her with a lover, threatened to kill the lover (who had escaped before he saw who it was) and send her back to her grandmother to live. There was an uncle there who’d been trying to sexually abuse her, and her grandmother didn’t believe her. Rather than have her father hurt her lover and Danni must return to probable abuse, she killed herself.
What Terry doesn’t know is that I was her lover, and the other reason she killed herself is that she’d asked me to run away with her and live together and I put her off. It’s not that I didn’t love her enough, it’s that I thought I wasn’t good enough for her and I didn’t want her to find out and then leave me.
If Terry knew, he’d hate me, and I’d lose everything. He’s not just my rock, he’s the reason I act – I probably couldn’t even act without him. I don’t imagine Katie would think I was so wonderful if she knew all of that either.
What do I think of Katie? Her kindness and tenderness are impossible to withstand. I said she’s naïve. Well, she is, naïve and innocent. How is that possible for a modern woman in her mid to late 20s? But that’s Katie, or it’s part of her. The more time we spend together, the more I see her becoming aware of her own feelings, emotionally and physically. It’s like watching a girl becoming a woman and realizing that you are the focus or the inspiration of that awakening. It’s heady and it’s terrifying.
When I get glimpses of the woman she is becoming I also get a glimpse of what my life could be with her, how our personal and professional lives could intertwine and fulfill me in a way that no matter how much I love him, my relationship with Terry never could.
One of the ironies of all of this is that the night I decided to reach out to her, she realized that the Sam who owned the farm we all lived on was my lover. I explained it was an open relationship, Sam was married, but it didn’t matter. Her sense of honor demanded she pull back. How do you deal with someone like that?
Katie: There’s not much to say. I’m a grad student, working on my dissertation for my Ph.D. in theatre and I’d been in touch with Terry. He suggested I come here and do my dissertation here. When Sebastian offered me a chance to work with him, I jumped at the chance.
I’m a hard worker, love Shakespeare, love Sebastian’s directing and Pen and Terry’s acting. I think I’m a person of integrity, or I try to be. I guess my greatest weakness would be my tendency to get caught up in hero worship. It can be easy to forget that people aren’t their characters, and that even the best of actors is still human.
I don’t want Pen to change! It’s hard to explain but I don’t want her to be any different as a person. I hear what she says and see what she does, by which I mean her open relationship with Sam and her insistence that she doesn’t do emotional or romantic relationships.
The thing is, I see something in her eyes that tells me she wants the same kind of intimacy I want – a combining of body, mind, spirit. And I think she does want that with me but won’t let herself for some reason. Maybe I’m wrong, but I don’t think so.
All I want is for her to acknowledge that. If she does, the rest will follow, at least I hope it will. I think if she does, it will change everything between us – not change her, just the situation.
I hate that you ask what do you get? I’m not looking to get anything. This is about giving, sharing, being with someone as yourself and them being themselves, and – oh, hell, this sounds so inane when I try to put it in words.
What drives me isn’t just my own wants and needs, it’s Pen’s as well. The day we went out in the rowboat she started out like the public Pen, friendly, flirty, charming, and that was great. But as we talked and shared the silence and ate together, I could feel her becoming more and more unguarded. When she thanked me and said goodbye, it was a Pen that was warm and sincere, like I’ve seen her with Terry and no one else. And she was happier.
I’m not sure I’d call it a secret, but I don’t share much about my family. It’s not relevant to what I’m doing here, and I don’t quite see the point in sharing it. If there’s any fear around it, it’s fear of boring others.
I don’t really think of myself as all that special. I’m smart. When I care about people or things, I care deeply, wholeheartedly and I become devoted to them.
What do I think of Pen? On the stage she is the most mercurial and magical of actors. She embodies her characters in a way few actors ever manage, and she somehow draws in everyone else on stage so that they are acting as a whole organic being/team rather than a bunch of individuals. It’s incredible to watch.
As a person, a woman, she takes my breath away. I don’t mean because she’s beautiful (though she is). It’s more that even before her first cup of tea or coffee, when her bathrobe is rumpled, her hair askew, and no makeup on, she takes my breath away.
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Carol Dougherty’s Character Profile Part 2
What I learned doing this assignment: This showed me that Pen and Katie are very different in some ways, and they also have more in common than is evident on the surface. Looking at things like their subtext and the irony gives me a stronger sense of the layers of these characters and how they might to respond to each other’s attempts to hide the truth.
Pen:
· What draws us to this character? Pen’s vulnerability and longing for love are evident from the first scene. Unable to accept or trust even affection from anyone other than Terry, she is isolated in the middle of an entire company of co-workers.
· Traits: fiercely loyal, intense work ethic, sensitive to the world around her (people, animals, her garden)
· Subtext: Pen hides her emotions and vulnerability with coolness, sarcasm, and a sophisticated veneer.
· Flaw: Pen uses manipulation to control her relationships and interactions with others to protect herself, thus keeping others at arm’s length.
· Values: integrity, loyalty, tenderness, love
· Irony: As much as Pen values love and tenderness, she works hard to remain invulnerable to them.
· Right for the role: Pen knows what she’s missing in terms of love and tenderness from her experience with Danni, so she knows its value. She is a powerful actress with discipline and integrity in every role and she wants to give her best in every performance.
Katie:
· What draws us to this character? Katie’s ardent spirit and her warmth make her instantly accessible and likeable. Her naïveté makes others feel protective, then proud of her when she stands up for herself.
· Traits: brilliant, kind/warm, tender, naïve, honest
· Subtext: Katie wears her heart on her sleeve most of the time. She is an open book until the last quarter of the story when she learns how to develop a poker face and stonewall Pen.
· Flaw: Her naïveté makes it hard for her to understand Pen’s keeping her at a distance, then drawing her closer, then pushing her away. She can also be quite stubborn.
· Values: Honesty, love, honor/integrity, kindness
· Irony: Her stubborn sense of honor prevents her from responding as she’d like when Pen does reach out.
· Right for the role: Her naïveté is both her flaw and her strength. It’s what allows her to keep trying with Pen. Pen is defenseless against Katie’s warmth and tenderness. She is also able to hold her own in a demanding world – Pen is in awe of Katie when she fearlessly goes toe-to-toe with Sebastian over Shakespeare.
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Carol Dougherty’s Character Profiles Part 1
What I learned: As I worked my way through this, I found myself occasionally tangled up in what was inner vs. outer and how so many of the choices with the questions are not definitive. The more precise I can be in pinning those things down, the better the final product will be (I hope!).
Role of Protagonist: The protagonist, Pen, will play the role of both runner and dreamer. Her outer life is that of the runner, the one who flees from any hint of emotional intimacy. Inside, she is still the dreamer, the one who longs for love and emotional intimacy and eventually takes action to embrace it in her life.
Role of Antagonist: The antagonist, Katie, is the embodiment of Pen’s worst fears – someone to whom Pen is powerfully drawn, against her better judgment. She challenges Pen’s cynicism and fear of letting anyone get close with her ardent openness and warmth.
Supporting Characters:
· Terry, Pen’s best friend and acting partner, who is also Katie’s friend
· Sebastian, artistic director of the theatre and director of their production
· Danni, Terri’s late sister and Pen’s first lover
Minor Roles:
· Jacky, has a history with Pen, Terry, and Sebastian
· Sam, Pen’s current lover and owner of the farm where she and Terry live
· Sarah, a woman from Pen’s late father’s past who befriends her
Background Characters:
· Acting company and crew
· Theatre receptionist
· Farm manager
Genre: This is a drama, with the love story between Pen and Katie at the heart of it. It is not a rom-com.
Lead Character Profiles:
· Pen – I’ve already mentioned her role is that of both runner and dreamer. She is 33, her body is disciplined by intense yoga, she is seen as beautiful though she has many faces in her stage work. In her internal journey she goes from isolating herself emotionally out of fear to finding the courage to connect with others. In her external journey Pen goes from limiting her work and relationships to falling in love with Katie, engaging with the acting company on a personal level, and loving herself enough to take risks in her work. Her motivation is to be accepted and loved for who she is, in her work and in her life. Her wound is Danni’s suicide fifteen years ago, for which Pen feels responsible. Her mission/agenda is to prove to Sebastian that she is the great actress he thinks she can be, and to prove to herself that she deserves Katie’s love. Her secret is that the night Danni killed herself, Danni invited Pen to run away with her and live together and was crushed when Pen didn’t say yes. Pen is special because she has a loving heart and an enormous talent, both severely restricted by Pen’s fears of opening up and letting others in.
· Katie – I mentioned earlier that her role is that of what is termed the villain (though she is not at all a villain); i.e., she embodies Pen’s fears and challenges her constantly. Katie is in her late 20’s, a doctoral graduate student. She is attractive in a sunny, outdoors kind of way, and dresses in a business casual way (jeans or khakis with golf shirts or sweaters). In her internal journey she goes from ardent, uncertain, and naïve to confident and passionate. In her external journey she goes from adoring fan girl to compassionate and mature lover. Her motivation is to share her life with Pen. Her wound is the loss of her brother, who was the center of their parents’ lives, and who ran away after his high school graduation. Katie’s mission/agenda is to find the way to Pen’s heart. Her secret is that she found her brother online and reconnected with him. He broke her heart by begging her not to contact him again for fear their parents would find him. Katie is special because she exudes warmth and kindness in a world that is often unkind and cold. [Note: Katie is also quite intelligent and serious about her thesis and then working as a director. She becomes Sebastian’s assistant/intern for the summer season.]
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Carol Dougherty’s Transformational Journey
What I learned doing this assignment: I struggled with the empowerment exercise. Every moment that I thought of when I felt empowered by some kind of success or situation came with either fear or the feeling of being a fraud. The only moment of real empowerment without negative feelings was a moment of standing in shallow water in the ocean and feeling deeply connected with my body, the water, and everything around me.
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Hero: Pen (aka Penelope, Penny)
Internal Journey: from fearful and isolated to courageous and engaged
External Journey: from limited (though successful) actress with one close friend to daring star with a loving community
Old Ways:
• Works with her best friend and acting partner, Terry, in every play.
• Chooses roles she understands and is comfortable playing.
• Her intimate relationships are sexual and superficial, not romantic in nature or emotional.
• Leads the acting company by her example, not by engaging with them (as Terry does).
• Is afraid to tell Terry the truth about her relationship with Danni, his late half-sister.
• Trusts Sebastian as the director, but not in any other way.
• Uses yoga as both discipline and punishment.
• Lives on her lover’s farm but does not engage with the people or the animals.
New Ways:
• After Terry’s death, she agrees to work with another actor who will play a role Terry played.
• Challenges herself to play more difficult and risky roles.
• Falls in love.
• Connects with old friends she’s pushed away and allows herself to make new ones, both in and out of the theatre.
• Learns to trust Sebastian as a friend.
• Learns to use yoga as both discipline and compassion.
• Learns to survive without Terry at her side.
• Forges a bond with one of the racehorses on the farm.
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Carol Dougherty
I agree to the terms of this release form.
GROUP RELEASE FORM
As a member of this group, I agree to the following:
1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, or in any other way that would make those processes, teleconferences, communications, lessons, and models of the class available to anyone who is not a member of this class.
2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.
I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.
3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.
4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.
5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.
6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.
This completes the Group Release Form for the class.
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This reply was modified 2 years, 8 months ago by Carol Dougherty. Reason: didn’t copy the release part
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This reply was modified 2 years, 8 months ago by
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Hi. I’m Carol Dougherty, I’ve written one documentary film script. I hope to end up with both a script and a good understanding of how to write one efficiently yet with depth and quality. Something unusual: A few years ago (before the pandemic) I started walking the Camino de Santiago and ended up in Ireland.