The camera starts out dark until a hand splashes in the water. The hand takes a plate and begins to run it under the water. Penelope is working in the kitchen in a filthy apron and hair tied messily back. She finishes the dishes and then wipes down the countertop. She hangs the apron in the back and takes the change from the tip jar.

EXT. Diner- Right After

Penelope walks out the back door and unburies her bicycle. She rides down the dark street over a pair of railroad tracks and into a wooded area. A tiny, beat up house comes into view. It’s completely dark. Penelope places her bike on the porch and then unlocks the door. A giant golden retriever jumps up onto her.

PENELOPE

Hhhey, Lincoln. Okay, down. Down.

The dog runs back inside and she closes the door.

There’s a tiny, two person table tucked in the corner of the room under a window with a ripped screen. There’s a 1980 stove next to a mini fridge near the table. A sink follows the fridge. On the other side of the room is a used couch and scratched coffee table. Pictures line the walls- mostly to cover the torn wallpaper. A turn dial television sits on the bookshelf in front of the couch.

Penelope flips through the bills on the table before throwing them down and cracking open a can of spaghettios. She pours a bowl of kibble for Lincoln and places it opposite her at the table. The eat in silence until the phone rings. She answers it.

PENELOPE

(flatly)

What do you want Marc?

The screen splits so the audience can see Marc. Marc is driving a beat up red pickup down the street. Lights flash in and out. He looks almost like a supermodel in his unbutton plaid shirt with the white tee beneath and cowboy hat. The phone is up to his tanned ear.

MARC

How’d you know it was me?

PENELOPE

It’s always you.

MARC

(raising his eyebrows)

Touché.

PENELOPE

(standing and placing the bowl in the sink)

What do you want, Marc?

MARC

(smiling)

Well someone’s in a bad mood.

PENELOPE

(sitting on the couch now with Lincoln on her lap)

I’ll give you five seconds before I hang up.

MARC

You’re off tonight. I’m off tonight. You want to go out for dinner?

Penelope hangs up the phone causing the scene to become one again. She just about falls asleep when the doorbell rings. She stumbles to the door and accidentally trips landing hard on her knee. Penelope cusses and then opens the door biting her lip. There’s a man in a suit and shades on the step. He hands her a pile of papers.

MAN

Your payments are behind. The bank will be foreclosing your house in one week. Good night.

As the man drives away in his BMW, Penelope just stares open mouthed at the papers. Lincoln barks and she walks back inside. Penelope shakes her head and dials the phone.

PENELOPE

Marc? Get your butt over here. Now.

INT. Penelope’s House- 5 minutes later

Penelope is pacing the floor in her pajamas- a pair of black leggings with a tight t-shirt reading ‘ballet built this body.’ Marc is at the table flipping through the paperwork- he’s still in the flannel, t-shirt, cowboy hat, muddy work boots, and paint covered jeans. He looks up, smiles, and then looks down again. He eventually clicks the pen and throws it down.

MARC

So, you just have to sign a couple places.

PENELOPE

(stopping and scanning the papers)

Nope. Not signing there: it violates eminent domain from the fifth amendment.

MARC

(beaming)

Right, but it’s a foreclosure. You’re swimming in debt, Pen. They have a right to take it because you are so behind in payments.

PENELOPE

(rubbing her temples)

I’m working three jobs already. I can’t do much more than that.

MARC

That’s life at its finest.

PENELOPE

(muttering while signing her name)

Then I hate life.

MARC

Only the unfavorable parts, right?

PENELOPE

(shuffling the papers)

And the parts with you in it.

Marc stands up offended. Lincoln runs under his feet knocking him back. Marc looks for something to hold, but is only successful knocking down the music box. Penelope rushes over and looks at the shattered gift.

PENELOPE

(furious)

You stupid, idiotic- (grunts and walks away with the pieces in her hands)

Marc looks around and pets Lincoln’s head. He then stands and walks down the hall.

MARC

(knocking lightly)

Penelope?

PENELOPE

(yelling through the door)

Go away!

MARC

I would, but-

PENELOPE

Just go away, Marc.

MARC

(bites his lip)

I need to know if you are okay first.

Penelope swings the door open revealing her tear streaked face. She throws her arms up in the air.

PENELOPE

Happy?

MARC

Listen, I’m sorry.

PENELOPE

You should be. (pauses and new tears form) That’s all I had left of him.

MARC

Of who?

PENELOPE

He died when I was twelve.

MARC

Who?

PENELOPE

(wiping her face)

My father. 

Marc’s jaw drops and guilt is written across his face.

MARC

(quietly)

I’m sorry, Pen.

PENELOPE

Don’t. I’m tired of the pity from everyone. Saying an apology doesn’t bring him back. And it certainly doesn’t help whatsoever.

MARC

(pursing his lips first)

Well, you’re all set with the paperwork. If you need anything else, just call.

Marc exits and the roar of the truck engine can be heard. Penelope wipes her face and looks at the pieces. Fade out.

Apartments line the streets. Some with porches, others with flower gardens. Cars pass by every now and then. The camera is across the street following a bicyclist. The camera now switches to the same side and the audience sees that it is Penelope.

Penelope is in a lilac sundress with a jean jacket. On her feet are a pair of leather boots and her hair is matted. She is trying to fasten her helmet while flying down the street. A couple of aprons are flapping on her handlebars. Penelope drops the bike at the Mini Mart and storms inside.

INT. Mini Mart- Right After

Frank- short, balding man- is standing with his back to the door stocking the shelves. A couple of customers are looking around. Penelope slips behind the counter and ties her apron.

FRANK

You’re late, Miss Kennedy.

PENELOPE

(cringes)

Sorry, sir. It won’t happen again.

FRANK

I know it won’t.

Penelope sighs and brushes a piece of hair from her face.

FRANK

Because you don’t work here anymore.

PENELOPE

(red faced and disappointed)

But, sir, I need this job. My house is being foreclosed and-

FRANK

(flatly)

You should have thought about that before you strolled in here late. (pauses and turns) Now, remove yourself from behind the counter, average citizen.

A couple of the customers watch with open mouths as Penelope unties her apron and places it on the countertop. She threw the door open. From the window of the Mart, the audience can see her jump on the bike and ride away.

Penelope is riding slowly through the streets. Birds fly in the cloudless sky and kids are laughing while playing on the streets. Some pedestrians were smiling and waving at each other. She stops at the bench across from the park. A twenty dollar bill blows from the pocket of her other apron and falls down the sewer drain.

PENELOPE

(furious)

Oh, come on!

She goes to sit on the bench, but a passing pigeon makes its mark first. Penelope clenches her fists before riding once more. Just as she passes the grocery store, the front tire hit a nail and flattened. Penelope cusses under her breath, gets off, throws the bike to the ground, and then kicks a couple trash cans in the alley way. Marc pulls up in his beat up truck. Brown bags filled with groceries line the bed. He rolls down the window.

MARC

You okay, Pen?

PENELOPE

(angered)

What do you want, Marc?

MARC

(popping the lock)

Want a ride?

PENELOPE

(looking between the bike and the truck)

Fine.

Penelope throws the bike in the bed careful to avoid the groceries. She then rips open the door and hops inside. Marc stays quiet until he turns up the radio and sings along. Penelope stares him down.

MARC

What?

PENELOPE

The hat, the truck, the paint, the music, the tan- you’re a hick.

MARC

(tipping the brim of his hat down and with a heavy drawl)

Why, thank you kindly, ma’am.

PENELOPE groans and then continues to look out the window. When “Tiny Dancer” by Tim McGraw comes on, she leans over and shuts off the radio entirely. The roar of the sputtering engine is the only sound now.

PENELOPE

Does that thing ever die?

MARC

The engine? (Penelope nods)

Nah. Been running since I was born and will keep goin til I die. This was my Pappy’s truck. You know that?

Penelope shakes her head and looks around.

PENELOPE

Where are we?

MARC

My neck of the woods.

Brick buildings line the perimeter of the land with a cobblestone driveway in the middle. A large oak tree is the very middle. Children of all ages run around in gray uniforms. The entire place seems to be drained of color, but still full of hope. A couple of the children stop and wave as the truck pulls up.

CHILDREN

Marcus, you’re back!

Marc parks the truck and scoops up Gina- 7yrs, two long blond braids and freckles. Gina takes the hat off of his head and puts it on her own.

MARC

Gina, looking beautiful.

GINA

Thank you. (points at Penelope)

MARC

Ah..Pen, don’t be scared. They don’t bite. Well, Luke might. (a little boy covered in dirt smiles wide) Everyone, this is Penny Kennedy. She’s a friend of mine.

Mistress Heinsbach- a tall woman with wire rim glasses and stiff posture walks out. Everyone falls silent instantly.

M. HEINSBACH

Mr. Likost, we need to speak later. (sees Penelope standing next to him) Who’s this?

GINA

(completely oblivious)

That’s his girlfriend.

Penelope and Marc blush and avoid eye contact.

M. HEINSBACH

(warning)

Gina…

MARC

No, no, it’s alright, ma’am. I left that one kinda open. (putting his other arm around Penelope’s shoulder) This is Penelope Kennedy, a friend of mine.

At this point, the children disperse leaving Gina, Marc, Penelope, and M. Heinsbach.

M. HEINSBACH

We really need to talk, Mr. Likost.

MARC

Okay. (excuses himself and walks inside)

Penelope goes back to the truck and sits on the tailgate. Gina joins.

GINA
(with sparkling eyes)

So, what are you doin here?

PENELOPE

My bike got a flat and I lost my job. Marc’s just giving me a ride home.

GINA

That’s all he does. Picks you up and brings you here.

PENELOPE

Where is here?

GINA

Home. (smiles as Marc walks back out) Have a nice day, Miss Kennedy. (gives Marc a high five and walks away)

MARC

You ready? (Penelope nods)

The camera follows the exterior of the truck down the road, over the railroad tracks, and to Penelope’s house. Penelope gets out and unloads her bike. Marc comes out and grabs the handlebars making her stop.

MARC

I can fix that tire for you.

PENELOPE

Thanks, but I think I got it.

MARC

(looking straight into her eyes)

Seriously. Let me fix it.

PENELOPE

(staring back)

You’ve got twenty minutes.

As Penelope walks away, Marc smiles ear to ear. The camera leaves the audience with Marc shaking his head, smiling, and patching the tire.

The camera first shows Penelope eating a piece of cold pizza at the table. The camera then pans to Marc taking a swig of soda at the other end. The clock reads 12:38. Lincoln is on the floor gnawing happily on a bone.

PENELOPE

Thank you for fixing the tire.

MARC

(putting the can down)

Thank you for lunch. (pauses) How much does your diner job mean to you?

PENELOPE

Considering I lost a job this morning, it means a whole lot. With this place being foreclosed, I have to find a new one and keep the payments up. And-

MARC

(cutting her off by raising his hand)

What if I told you that I found you a new job?

PENELOPE

(picking up her piece of pizza)

I’d call you a miracle worker and then slap your face.

MARC

Then I suggest you put down your lunch. (smiles) The pay isn’t great, but it comes with free services, food, and shelter. (pauses to take a swig of soda) I was talking to Mistress Heinsbach. We’re really short staff right now. I figured it would be a perfect job for you so I kinda already put in your application.

PENELOPE

(lifts her hand to slap him, but then puts it back down)

You want me to work at your house?

MARC

Pen, face it. You can’t live here after Friday. I’m just looking out for you. (stands) Please, just think about it.

Penelope begins to clear the table while the roar of Marc’s engine can be heard sputtering. It takes three tries before it runs smoothly and then fades out. She stares out the window.

PENELOPE

(quietly)
Thank you, Marc.

Penelope is rubbing the same dish in the sink absentmindedly. The water is steaming and her hands are bright red. Only one dish was in the rack. The rest were piled on the side. Martha- 50s and larger- walks in.

MARTHA
Never seen you like this before, Penny. (Penelope jumps) You ain’t cursing and counting down under your breath today. (leans back on the counter) What’s up?

PENELOPE

(nearly dropping the plate)

Nothing, Martha.

MARTHA

(taking the sponge from her hand)

Come on. You can talk to me, honey.

PENELOPE

(shutting off the water)

Thanks, but I have absolutely nothing to talk about.

MARTHA

(throwing a towel at her)

You know where to find me if you do. (walks and then turns back around) And, Penny, I suggest you wipe down the tables. We need all those plates whole.

Penelope walks out to the front, wipes some tables, and takes a couple orders. The camera flashes between Penelope and the clock. As soon as it reaches nine, she hollers that she’s leaving and then walks out the door.

Penelope is walking down the street looking through the shop windows. Parts of her childhood are playing in the background. As she looks in the toy shop, it’s her atop her father’s shoulders holding a teddy bear watching the fireworks. Next is the grocery store- her parents are in the kitchen experimenting with a bunch of ingredients. She peeks her head over the countertop as the bag of flour explodes. Everyone laughs and then they call for takeout. The last store is the pet store- young Penelope has her face pressed to the fishbowl watching the goldfish swim. She turns and sees her father holding a tiny puppy version of Lincoln. The memories fade out and now it’s just Penelope walking down the street. She walks over the railroad tracks and sits on her porch for a while. Fade out.

Penelope is just finishing up packing the boxes. She is in the midst of rolling up her sleeping bag when Marc enters. Lincoln takes the chance to run out the door.

MARC

(lifting a box)

Almost ready?

PENELOPE

(stares at the mostly empty room)

Yeah.

MARC

What’s wrong?

PENELOPE

(weakly)

This place is so...(sighs) I’m gonna miss it.

MARC

Hey, I missed mine too when I left. (puts down the box and wraps an arm around her shoulder) It gets better, trust me. (taking the box again) Now, wrap up here, I’ve gotta be back before eleven. Important meeting today. Meet me outside when you’re ready (exits through front door).

Penelope finishes packing, the last thing being the shattered music box. She calls for Lincoln and then climbs into the truck. Fade out.

A Murphy bed is pulled down and Penelope’s boxes are atop it. Across is a sink, refrigerator, and stove. A tiny bathroom is off to the side. It is tiny, but very clean. A tiny closet is next to the bathroom.

Penelope is sitting on the bed, still in pajamas, unpacking the boxes.  She is eating handfuls of dry cereal from the box while doing so. Lincoln is at her feet. He lifts his head and Marc enters through the door holding a bundle of fabric. He is in a button down shirt and khakis with polished dress shoes, but the cowboy hat is still on his head.

MARC

I see you’ve settled.

PENELOPE

Yup. (closing the box and putting it on the countertop) What’s that?

MARC

This? (holding up the clothes) Your uniform. But, before you freak out, it’s only for special occasions. (pauses) Unless you want to wear it everyday.

Penelope kicks him out and changes into the uniform. It’s a pale blue dress shirt tucked into a navy skirt with knee high white socks. She slips her feet into black flats and then ties her hair back with a light blue ribbon. Penelope leaves Lincoln a bowl of water and opens the door. Fade out.

M. Heinsbach is standing in the midst of the employees with her glasses in her hand. She says something that enrages the crowd and then has to silence them.

M. HEINSBACH

Okay, okay. As you may know, our funds have been diminishing lately. Because of this, I have to deduct from the paychecks this week. (stops to silence the crowd) If we do not increase revenue by the end of the month, I am afraid that we will need to close the orphanage. (stops to silence the crowd) Are there any ideas to increase profit?

EMPLOYEE 1

Baseball game?

EMPLOYEE 2

Bake sale?

EMPLOYEE 3

Art show?

Marc shakes his head. M. Heinsbach catches it.

M. HEINSBACH

Do you have an idea, Mr. Likost?

MARC

(shocked at first)

Open house. (watches the angered expressions before continuing) We could make it a full day activity. A cheap admission for the whole day. A bake sale in the dining hall. Our painters can run the art show in the main hall. The sports enthusiasts can have a ball game at noon where we can sell food and water bottles. And then Penny can help with the full crew chorus for a concert at dusk and a barbeque in the courtyard. If we don’t make the money needed, at least the general public can see how many talented kids we have here that need homes. It’s a win­-win.

M. HEINSBACH

All in favor? (counts the hands- everyone excluding Penelope) Okay. Open house in a couple of days.

The crowd disperses and Penelope pulls Marc aside.

PENELOPE

(whispering harshly)

Are you insane, Mr. Likost? The general public doesn’t care a lick about these kids. I didn’t even know this place existed! You’re just raising hopes to be crushed later on.

MARC
(puts a hand over her mouth) Miss Kennedy, there is one thing I do not do­ false hope. All those fundraisers separately...that’s false hope. Nothing I said back there was definite. That was all fact. And if the general public doesn’t know about this place, then we’ll show them. (walks past her) Arts and crafts are about to start.

The two weeks pass by quickly. The camera fades in and out of the best events. A couple kids gluing their hands together. A group practicing their baseball game. Another several spilling flour all over the kitchen. The chorus working out their song with Marc and Penelope. The very last clip is Penelope twirling into a ballet pose and crashing into the rack of chairs. She is laughing as Marc pulls her up.

Penelope takes the bag of Chinese food and pays the delivery man. She sets it on the counter and divides it up into three plates. The rice goes onto one, the meat on another. The last plate has a combo of the two. The camera, which was only following Penelope, shows the entire room. Marc is on the bed in a pair of sweatpants with Lincoln on his lap. He takes the plate with both from her and begins eating. Lincoln gets the plate of meat. Penelope sits aside Marc and eats her plate of rice.

MARC

So…

PENELOPE

(smiling)

So.

MARC

(eating a piece of the spare rib)

You gonna dance tomorrow too?

PENELOPE

I..I don’t dance.

MARC

Said the girl with a ballet shoes tied on the back of the front door.

PENELOPE

I can’t dance. I..um..broke my legs?

MARC

Nice try. (takes his plate to the sink and tries to ballet dance on the way back to the bed) Well, I can’t do it.

PENELOPE

(laughing so hard she almost chokes on the rice) Your feet are way to flat. (puts the plate on the bed where Lincoln licks it clean and pushes him aside) Watch closely.

Penelope starts off with a Swan Lake Ballet, but grabs Marc’s hand and switches to a rumba. Lincoln jumps up and runs under their feet causing Marc to fall back on the bed. He accidently grabs Penelope’s hand causing her to land on his chest. Penelope turns bright red, but doesn’t try to get up.

PENELOPE

(staring straight into his eyes and out of breath)

Um...I’m sorry...I just...

Marc just smiles and brushes a strand of hair from her forehead. He then moves his head forward slowly and kisses her. The audience sees the calm expression on Penelope’s face as the actions play out. She eventually puts her hands around his head and gives in. After several minutes, she pulls away leaving both of them winded.

MARC

(smiling)

So, are you gonna dance tomorrow?

PENELOPE

We’ll see.

They kiss again and the camera fades out during the middle of it.

Marc’s POV: His reflection is in the mirror. He’s trying to tie the navy blue tie, but is only successful in knotting his fingers. Penelope walks out of the bathroom with a toothbrush hanging from her mouth. Marc stops and turns (back to normal camera) with his jaw dropped. Penelope has her hair curled and tied half of it back with the ribbon. She already has applied makeup to cover her freckles and bring out her eyes. She is wearing a pale blue leotard with tights. Penelope fixes his tie and then walks back to the bathroom. She comes out seconds later with the uniform skirt and the button down shirt on over the leotard. She grabs her ballet shoes.

PENELOPE

Big day, today. You still think it’ll work.

MARC

Especially if you dance.

PENELOPE

(opening the door)

If I dance, you’re dancing too.

Marc groans and then shuts the door as Lincoln scampers out.

EXT. Courtyard- Afternoon

The entire courtyard is covered in paper chains and tissue paper flowers. The children were dressed up in their uniforms and clean. The crowd of people from all ages file in and the chaos begins. Marc grabs Penelope’s hand and pulls her through the crowd. They meet up with Gina. She takes Marc’s hat and rubs her hands through Lincoln’s fur. Marc goes to say hello to a couple others leaving Penelope with the dog and girl. Martha walks up behind Penelope.

MARTHA

So, this is what you’ve been up to, Penny.

PENELOPE

(turns with a shocked expression)

Martha!

MARTHA

Had I known, I would have been a little lenient with your shifts.

PENELOPE

(waving her off)

It’s fine. I needed the money.

MARTHA

Speaking of which (pauses and drops voice to a whisper) I was talking to Miss Cranky over there. I’m increasing your yearly salary and donating three hundred for these kids. (hands the money over)

PENELOPE

(wraps Martha in a hug)

Thank you so much!

MARTHA

It’s the least I could do.

Martha walks toward the bake sale and Marc joins Penelope again.

MARC

Someone looks happy. (Penelope holds up the money) Three hundred!

They both smile. Marc lifts Penelope up and twirls her. They share a kiss causing M. Heinsbach to raise her eyebrows. Before they can continue, Gina and Lincoln run over. Gina pulls at Marc’s pant leg.

GINA

Come on! The game’s bout to start! Come on!

Marc turns away from Penelope and picks Gina up. He then grabs Penelope’s hand and they walk to the baseball game.

The scoreboard is a piece of wood with wood slabs on top. One of the employees stands close to it. The score is close (1-2) at the top of the ninth. The stands are full so Marc, Penelope, and Gina sit on the top of the dugout. The audience sees that Gina has two prosthetic legs just below the knee. Penelope gasps, but Marc grabs her hand and nods slightly. Billy- 11, athlete- hits a homerun, but Lincoln jumps up and catches it. Everyone laughs, including Billy. The game stays tied 2-2, as all the baseball are chewed up by Lincoln. All the children are beaming with pride. Most of the crowd stays to eat burgers and hotdogs or talk to the children. Penelope sneaks away to set up for the concert.


-EXT. Courtyard- Sunset-


The crates are set up for the staging in front of the giant oak, which now has chinese lanterns hanging from it. Chairs, filled with the civilians are overlooking it. Most of the children are in place for the concert. They look anxiously out at the crowd. In the front hall of the main building, Penelope is fixing the hair of the 5 other dancers (girls of all ages). They are all in blue ballet uniforms and gearing to go. Marc is at the other end in his button down shirt, now unbuttoned, and khakis. His hat is back on his head. He is barefoot.


One of the other employees introduces the choir and dancers. The band starts up with the music and the children begin to sing. The first song is Somewhere Over the Rainbow. The camera focuses on the 5 children dancers for the most part. The second is I Will Always Love You. A slideshow plays in the background. The pictures are of the times at the orphanage. The final shot is Gina on Marc’s shoulder with his hat on her head. The camera turns to the audience, who are somewhat in tears.


Marc walks out at the end of the song with Penelope’s hand in his. The children sing another song: Dance Baby Dance. Penelope looks like she’s about to cry. Marc twirls her once and then gently kisses her cheek. They continue dancing gracefully while a video plays on the side of the building. It’s of her waiting next to the front door in her ballet attire. Her father, in uniform, walks in. He drops the bag and lifts young Penelope over his head and twirls. She then twirls around on the floor. Her mother walks in and she joins in on the dance. The puppy Lincoln even gets caught into it all. Marc and Penelope finish the dance nose to nose. The crowd claps very loudly. The camera is solely on Penelope and Marc who are still nose to nose. They don’t kiss, but just stay there for a while.


MARC

(in a whisper)

You look so hot right now. (Penelope smiles and close her eyes)

How about dinner?


PENELOPE

I’d love to.


Marc leans in to kiss her, but his hat blows off his head. Gina catches it and puts it on her head. She then grabs a microphone.


GINA

(yelling)

Thank you all for coming! I hope you enjoyed your night!


The crowd begins to leave and Marc and Penelope are still standing there.


PENELOPE

So, about this dinner?



Fade out.

Penelope is laying with her head against Marc. He has an arm wrapped around her protectively. Lincoln is on top of both. An alarm beeps faintly in the distance and Lincoln perks his ears up. He barks, but no one notices. He barks again. Then Lincoln licks Penelope’s face and she pushes him aside. She then hears the alarm and nudges Marc awake. He groans and then squeezes her in tighter.


PENELOPE

(whispering)

Marc. Marc, get up. Marc!


MARC

(half asleep)

Is it already morning? (kisses her cheek) Cuz if it is I don’t want to get up.


PENELOPE

(sitting up)

Do you hear that? (getting out of bed) Come on.


Penelope quickly ties a bathrobe around her and opens the door. Lincoln bolts out. She turns to Marc, still in bed.


PENELOPE

(panicking)

Well, you coming?


Marc rolls out of bed and runs out trying to put on a pair of pants. As he closes the door, the scene fades out.

The kids are standing, half-asleep in pajamas, in the middle of the courtyard. The workers are scrambling between the masses of children taking down names. In the back, the entire building is ablaze. It is the definition of chaos.


Marc catches up to Penelope, scans the crowd, and throws his t-shirt in Penelope’s arms. She grabs it and looks confused.


PENELOPE

Where are you going?


MARC

(turning)

I need to get Gina.


He runs off towards the fire leaving Penelope staring dumbfounded. She eventually moves through the crowd and stands as close to the building as she can. A fireman tries to push her back.


FIREMAN

Ma’am, I’m going to have to ask you to back up.


PENELOPE

(frantic)

There’s two people in there!


FIREMAN

And we’ll get them out. Please relax, ma’am.


Penelope tries once more to get behind the fireman, but he pushes her back. The crowd causes her to back up until she reaches the tree. She climbs up and sits on a branch. The camera is right over her shoulder showing two limp figures being loaded into the back of an ambulance. They drive off with the sirens screaming. The camera shows Penelope leaning her head against the trunk and putting Marc’s shirt to her face.



PENELOPE

(quietly with eyes closed)
Please...please...

The children have all dispersed. The building is burned to the ground and it is eerily quiet. It’s drizzling.


Mistress Heinsbach- in black and holding an umbrella- walks over to the tree and looks up. The camera then shows Penelope still sitting there in her pajamas with Marc’s shirt in her hand. Her face is tear stained and she is soaking wet.


M. HEINSBACH

Rather wet up there, is it not?


Penelope doesn’t answer. She stares blankly at the burned building.


M. HEINSBACH

I found your friend.


On cue, Lincoln- with charred fur- comes running across the courtyard with his tongue hanging out. He sees Penelope and sits quietly at the foot of the tree.


M. HEINSBACH

He ended up in my bedroom. (Penelope sniffles so she hands up a tissue)


PENELOPE

I thought things had finally changed. I thought my life was turning around. I just...


M. HEINSBACH

You want the truth? (Penelope nods)

Life doesn’t have a ‘happily ever after’ usually. The fortunate become unfortunate and the unfortunate stay unfortunate.


PENELOPE

And that helped how?


M. HEINSBACH

It wasn’t supposed to, Miss Kennedy. You said you wanted the truth. (pauses) Though I must say that you had definitely made some changes while being here.


PENELOPE

(tight)

It wasn’t me. It was...all...Marc.


M. HEINSBACH

Yes, he was a very good person. But he said his hero was always you.


PENELOPE

Was?


M.HEINSBACH

(stern yet caring)

Come down, dear. I have something to show you.



Penelope climbs down and takes Mistress Heinsbach’s hand. Lincoln follows. Fade out.

The room is filled with machines and is fairly dark. The walls are plain. Gina is laying in a bed covered in wires and a wool blanket. Her skin is black except where the oxygen mask is. Her prosthetics are off. She opens her eyes as Penelope sits on the edge of the bed.


GINA

(quiet & raspy)

He didn’t make it. (tearing up) It’s all my fault. Had I just slept with them on.


Penelope cradles the child and places Marc’s cowboy hat on Gina’s head. She rocks her gently.


PENELOPE

(soothing)

It’s not your fault. Marc chose to save a wonderful little girl like yourself.


GINA

(mistified)

I was two years old when there was a car crash. I had two older brothers in the backseat with me. We were coming back from a Christmas visit at my grandma’s. It was snowy and another car slid and crashed our car against the side of the bridge. Our car flipped over and we were pinned. I felt my brother, Oliver, wrap his arms around my head as the air bag blew. Then his arms grew weak. I couldn’t feel my legs, my head, nothing. But I saw it all. The gross faces of my parents with their eyes closed. Both my brothers barely breathing. Both cars going up in flames. That’s how my legs were lost. I was in the hospital for a year before Marc found me. Apparently, it was his sister that was in the other car and he felt so guilty. He brought me to the orphanage and basically raised me. He became just like my brothers were.


PENELOPE

(biting her lip)

Honey, what if I gave you an offer? (she nods)

You like Lincoln? (nods)

And you don’t mind me? (shakes head)


GINA

Marc always talked about you. (puts a tiny object into Penelope’s hand) He gave me it before...



PENELOPE

(closing the object in her hand without looking at it and wiping the tears from the child’s face)

Would you like me to be your adoptive mother?


GINA

(excited)

I’d love nothing more.


M. HEINSBACH

(walking into the room with her heels clicking)

I was hoping you’d say so. (holding a folder) Marc wanted it so in his documentation.


They all share a smile and the scene fades out.

12 Years Later

There is an island in the tiny kitchen covered in newspaper and breakfast. Stools line the island. The room is light and a window is open blowing the curtains in the breeze.


Penelope, older and in a sundress, is behind the counter packing some cookies into a brown bag. She looks down at her watch and then grabs lemonade.


PENELOPE

(without looking up)

Gina! You’re going to be late!


She continues to pack without looking up.


PENELOPE

(yelling)

Gina!


GINA

I’m right here, Pen.


The camera switches to Gina, much older and drop-dead gorgeous, swivelling on a stool. She is wearing a pair of skinny jeans and a light pink sweater. She has brown leather boots covering her feet and a floral headband holding back her blonde curls.


PENELOPE

(looking up)

Sorry. (looks around) Have you seen Lincoln this morning?


GINA

Yeah. He helped me out this morning. (stands) I can go get him if you want.


PENELOPE

(urgently)

No. Come on, you’re already late.


They hurry out the door and the scene switches to the Marc’s old truck. Penelope drops Gina off at school and then drives off. The camera shows her put on Marc’s old hat, turn up the radio, and then drives down the road that is lined with orange and yellow trees. The camera, through the windshield, shows a marble sign reading “The Marcus Likost Foundation” with lilies growing up the side. The camera then follows the truck as it pulls up into the cobblestone drive.

Brick apartment building lined with flowers are where the old employee quarters were. There is a large building with columns decorating the porch. A large fountain is in front of it. The oak tree is still there.


Penelope walks past everything and into a tiny corner office. She knocks lightly on the door and smiles. A young couple turns their heads and then returns to paperwork. Penelope waits outside the office. The second the couple exits, she turns in and knocks on the glass again. Mistress Heinsbach is seen raising her head, removing her glasses, and then grabbing her light jacket. She walks out and joins Penelope in the courtyard. They begin to walk down a path in the autumn trees.


M. HEINSBACH

A little late this morning, Miss Kennedy.


PENELOPE

Gina took her sweet time. But...can’t blame her. She is a girl afterall.


M. HEINSBACH

Have you heard back from the National Ballet?


PENELOPE

(looking over at M. Heinsbach)

I did. (Pauses and looks at the ground) I turned it down. Had more important things to do.


They stop on a ridge overlooking the entire place. Penelope takes a seat on a log and licks her lips. She turns her head to see M. Heinsbach better.


PENELOPE

Are the children ready for more practice for the recital?


M. HEINSBACH

Always.


Penelope nods and walks away. Mistress Heinsbach looks around before smiling and walking over to a nearby tree that seems to be taller than all the others. The camera shows her sticking her hand out to touch the bark.


M. HEINSBACH

You did good, Marcus. Very, very good.


As she walks away, the camera zooms to a close-up of the tree. The bark is carved out and it reads, “Be the change you wish to see in the world.”


Fade out. Roll credits.