So off and on I've been working on back-engineering the script for the Tailor audio drama from the first draft of the Tailor screenplay I wrote for last semester. I think I have finished at least a first draft of the third installment, which I'm calling What She Started. Every installment has been a little bit shorter than the previous one, which I'm a bit concerned about, but maybe it doesn't really matter as long as the break points make sense. There will probably be one more episode after this to conclude the story.
If you read the screenplay, it's very similar but visual things are translated more into dialogue here. Instead of the viewer simply seeing a dusty bookshelf of classical texts in one corner of the bedroom, Tom comments on it here. I confess I am a little dissastisfied that I haven't managed to fix certain things about the story that my teacher pointed out. Like, for example, he thinks I should have Officer Crier appear again before the very end, so this episode would be the one for it. But I still haven't figured out how to make him come back. So this script will likely need editing from the version below. If anyone has any suggestions, please let me know. This is something I will definitely need for the second draft of the screenplay, and I think it would improve the audio drama as well.
THE TAILOR OF RIDDLING WAY
By Phoebe Roberts
~~~
Episode 3:
What She Started
~~~
SETTING: Loring’s End
CONSTANCE: Are you quite finished yet?
TOM: Just about, ma’am. I just want to be sure I have your measurements precisely.
CONSTANCE: Any color but yellow. It battles with my complexion.
TOM: Yes, I have that down.
CONSTANCE: Or blue, I will not have blue. And I can’t abide blackwork, it’s very provincial.
TOM: Not to worry, ma’am.
ALICE: Mr. Barrows knows all this, Auntie. He’s going to make lovely dresses for us, don’t you worry.
CONSTANCE: I should hope so. He is being paid well enough for it.
(Exit CONSTANCE.)
ALICE: Sorry about that, Tom. Aunt Constance can be very… particular, when she cares to be.
TOM: Oh, not at all. That’s little enough, believe me. Nothing at all compared to exactly recreating a twenty-year-old ball gown from a newspaper picture.
ALICE: I can’t imagine why Emma was so particular about it.
TOM: It had to be exact, she was very clear about that. But the picture was all she had to give me.
(Pause.)
TOM: Alice? Is there something wrong?
ALICE: Then… why did she ask you to come here?
TOM: I… told her I didn’t think I had enough to go on. That was when she asked me to come, she said she had something that might… help?
ALICE: What might help?
TOM: She never said.
ALICE: What if… she had something else to show you?
TOM: Like what?
ALICE: Tom… what if it was the original dress?
TOM: Do you think she still had it?
ALICE: I don’t know… but I think we can find out.
SCENE 3.2
SETTING: Loring’s End master bedroom
TOM: Alice, why are we here? We shouldn’t be doing this.
ALICE: There’s nowhere else to look. I’ve been in the attic and the basement and I’ve never seen it there. If that dress is still in this house, it’s got to be in here.
TOM: If your aunt and uncle catch us poking around in their bedroom—
ALICE: Then we’ll have to be quick.
(The door creaks open.)
ALICE: As long as we don’t touch Aunt Constance’s medicines, she’ll never know we were here.
TOM: Who reads Latin? And Greek?
ALICE: I’m sorry?
TOM: All those books on the shelf… whose are they?
ALICE: I don’t know.
TOM: They’re all dusty. Looks like no one’s touched them in years.
ALICE: Tom! This way!
TOM: What is it?
ALICE: In the closet. I saw something in here once… a curtain in the back. I didn’t think much of it then, but now…
(The curtain is pulled aside. ALICE draws in a breath.)
ALICE: Ohhhhhh! Tom... that’s it. That’s the dress. It’s beautiful. It’s...
TOM: No.
ALICE: Tom? What is it?
TOM: It’s wrong.
ALICE: What’s wrong?
TOM: The gown. It’s… made all wrong.
ALICE: What do you mean?
TOM: Look at it! Look at the pulls in the weave!
ALICE: It’s seen some rough handling, Tom, Bethany was murdered in it.
TOM: You don’t understand. It’s not draped properly. My mother was an artist, she never would have handed off something so flawed.
ALICE: I’m sure she never—
TOM: Alice, look at this!
ALICE: Tom, be careful with that!
TOM: Satin should flow like water, but this hangs so heavy it left pulls in that perfect Chinese weave.
ALICE: If my aunt sees—
TOM: And look at the bulk in the seams! My mother’s seams were crisp, not thick like these! Feel that!
(There is a papery crackling sound as Tom compresses the seams with his fingers.)
ALICE: What is that?
TOM: I don’t… where’s my pocket knife?
ALICE: What are you doing? If my aunt sees this—
(There is a slicing sound as the knife slides through the fabric.)
ALICE: Tom! You’re destroying it! Stop!
TOM: Alice… look…
ALICE: How could you do that—?
TOM: Look!
ALICE: Is that… paper?
TOM: It’s… lots of papers. Sewn up inside here.
(The papers crinkle as they pull them out and unfold them.)
ALICE: They’re documents! “…this agreement does hereby affirm that Loring Incorporated Textiles shall provide material supplies in the amount of twenty thousand bolts of uniform-rated twill to the… Gesellschaft Donner… until such time as the martial requirements are fulfilled.” There’s more written here, but I think it’s in German.
TOM: German? Uniform-rated twill… does it have a date on it?
ALICE: It was signed on May 14th, 1915… by Herr Freidrich Donner and Mr. Reginald Loring. A deal with a German, in 1915… selling them cloth…
TOM: He was outfitting the army.
ALICE: No. No. My father was a soldier, he died fighting the Germans.
TOM: He was a collaborator.
ALICE: This what he was doing! This is what Emma found, what my father hated him for!
TOM: Stay calm, Alice.
ALICE: Remember what Father said in his letter— Bethany was being married off to secure his devil’s bargain! This was the bargain, and Grandfather was selling Bethany to that devil!
TOM: Alice, please—
ALICE: He made everyone think he was such a pillar of the town, a patriot and a— a decent man!
TOM: Keep your voice down!
ALICE: This is treason! He was a traitor! And here’s the proof, hidden in Bethany’s dress! Why? Why is it here?
TOM: I don’t know. But… Emma must have.
(Flashback effect.)
SCENE 3.3
SETTING: Loring’s End, 1917
BETHANY: Hello. Are you the seamstress?
ABIGAIL: I am. My name is Abigail Barrows. I hope you’ll find my work to your liking.
EMMA: Pleasure to make your acquaintance, Mrs. Barrows. I trust you’ve been told Bethany here is soon to have her coming out ball?
ABIGAIL: Yes, indeed.
EMMA: She’ll be needing something special to wear. Something suitable for the event.
ABIGAIL: I very much understand. Something to make her seem more a woman than a girl.
EMMA: Exactly, thank you, madam.
ABIGAIL: I’ll just take your measurements, then, miss. Lift your arms, please.
BETHANY: Oh. Like this?
ABIGAIL: Thank you. I know just the thing. A straight skirt to lengthen the leg, a close-fitting bodice to flatter a delicate figure. The material will come dear, though, with the rationing…
EMMA: Not to worry. We have secured it already. Please, have a look at this bolt.
BETHANY: Do you think you can use it?
ABIGAIL: Oh, my! I haven’t seen so much fine silk since before the war!
BETHANY: Most decent people haven’t.
ABIGAIL: However did you get it?
EMMA: Our family deals in textiles of all varieties. Such are our spoils.
ABIGAIL: You have lovely taste. It will suit you well, Miss Bethany. I would suggest beading it in dark blue and ivory, to best set off the color. Beadwork is my specialty, you see.
BETHANY: That does sounds beautiful.
ABIGAIL: I’m very glad you think so. I will make sketches of the design for you and send them over. Did you want to talk about your wedding gown in this visit as well?
BETHANY: My what?
EMMA: I beg your pardon, Mrs. Barrows?
ABIGAIL: I’m sorry, it was something Mr. Loring said…
EMMA: What did our father say, Mrs. Barrows?
ABIGAIL: He said he wanted to engage me for more than just the ball gown. He wanted me to make Miss Bethany’s wedding dress as well.
BETHANY: Why would he tell you that? Emma, why would I need a wedding dress?
ABIGAIL: Perhaps I misunderstood…?
EMMA: No, I don’t think you did. Bethany, dear, I believe Father’s plans for you have become entirely clear.
BETHANY: Oh… oh, no. It’s that man, isn’t it? That man with the accent… Father is going to make me… oh, no.
EMMA: Heaven help us.
ABIGAIL: Did I speak out of turn?
BETHANY: (Breaks down sobbing.)
ABIGAIL: Oh, my… miss, whatever is the matter?
BETHANY: So it is true! He is selling me like a sheep.
ABIGAIL: Oh, miss, I… I don’t know what to—
BETHANY: Emma, what am I going to do?
EMMA: Our brother warned me of this, but—
BETHANY: Rowan knew? Why didn’t he tell me? Why didn’t you tell me?
EMMA: Please, Bethany, it doesn’t matter now.
BETHANY: How could you keep this from me?
EMMA: I was waiting until the time was right! I was going to help you!
BETHANY: How?
EMMA: I— I don’t know yet. But not now, Bethany, this is a family matter.
BETHANY: Bother family matters, Emma! You all say family matters when you mean lies and secrets! I won’t have any more of it! I… I’m sorry, Mrs. Barrows. But I don’t know what to do.
ABIGAIL: Not at all, child. If you’d like, you can tell me your troubles. There may be something I can do.
EMMA: Mrs. Barrows…
BETHANY: We must have help from somewhere, Emma.
EMMA: (Sighing) Yes. Yes, we must.
ABIGAIL: Please, tell me. Perhaps… perhaps I can help.
(End flashback.)
SCENE 3.4
SETTING: Loring’s End, 1934
TOM: They put these here to steal away the evidence against Reginald. Emma… and my mother. She sewed them in here to help Bethany.
ALICE: Did Emma know this was still here?
TOM: She must have.
ALICE: But she wanted you to make her another one!
TOM: Yes, a perfect copy— not something close, but a perfect copy! Because only a perfect copy could replace the original.
ALICE: She was going to swap them? So she could get the documents without anyone knowing they were gone. My God. It was Grandfather, wasn’t it!? He must have found them out and tried to stop her! The monster killed Bethany to keep his secret! His own daughter!
TOM: Alice, please—!
(Footsteps as CONSTANCE approaches.)
CONSTANCE: Alice? Is that you?
ALICE: Oh, no. Aunt Constance! She’s coming in! Tom, you have to hide, she can’t see you in here! Quick— into the clothes! We have to—
CONSTANCE: Alice?
ALICE: Auntie!
CONSTANCE: What are you doing in my wardrobe?
ALICE: I— I was looking for you, Aunt. I wanted to ask you— about my dress. For the coming out ball.
(Pause.)
ALICE: Then I… I found this.
CONSTANCE: Bethany’s dress. I see.
ALICE: It’s beautiful.
CONSTANCE: As beautiful as she was. That clipping didn’t do her justice. I thought they would bury her in it, but Father saved it.
ALICE: He did?
(Pause.)
ALICE: Aunt Constance, I want to ask you something.
CONSTANCE: She would have only ruined it if she’d gone out into the garden.
ALICE: Aunt Constance. Do you know… anything about what Grandfather was doing?
CONSTANCE: Of course, dear.
ALICE: You… you did?
CONSTANCE: He arranged marriages for all of us. For Bethany… then for me… you mustn’t think we were all to end up like Emma… But you must forgive me, Alice. We are a little behind schedule, I suppose.
ALICE: Behind schedule? For what?
CONSTANCE: You didn’t think I’d let you become an old maid too, did you? Whatever would people say?
ALICE: Aunt Constance, what are you talking about?
CONSTANCE: Bethany had already been taken care of by the time of her coming out, but no matter, there will be plenty of fine young men to meet at yours. We’ll find someone for you, don’t you worry.
ALICE: You’re going to arrange a marriage for me?
CONSTANCE: Of course your uncle and I want to see to your future.
ALICE: But why!?
CONSTANCE: Because that’s how things are done.
ALICE: But… but I don’t want to get married!
CONSTANCE: You don’t? My poor dear. I fear that in this life we seldom find things go the way we want.
SCENE 3.5
TOM: What are we going to do?
ALICE: What do you mean?
TOM: How are we going to stop this?
ALICE: I don’t know if we can!
TOM: So you’re just going to go along with it?
ALICE: Tom!
TOM: Hasn’t your family done enough damage that way?
ALICE: I can’t just tell them no!
TOM: We have to! Or else you’ll be married off! Or else we can’t—!
(Pause.)
ALICE: Or else we can’t what?
(Pause.)
ALICE: What, Tom!?
TOM: Because I— care about you, Alice! I feel… quite strongly for you.
ALICE: Oh, Tom.
TOM: Yes, Alice! Is that so wrong?
ALICE: Oh, my God.
TOM: I thought… I thought you might too. For me.
ALICE: Don’t say it, Tom!
TOM: Alice!
ALICE: I can’t. I— I can’t. I’ve never—
TOM: Jesus Christ.
ALICE: Tom, I’m a Loring! I can’t just… be with anybody!
TOM: Anybody? Or a tradesman like me.
ALICE: Tom!
TOM: I’m sorry to have presumed on you.
ALICE: I can’t talk about this!
TOM: You don’t have to.
(He turns to leave.)
ALICE: Tom, wait! I need you.
TOM: Don’t worry. I’m still going to help you. And I haven’t asked you for anything.
(He exits. ALICE begins to cry.)
SCENE 3.6
Setting: Della’s pub
DELLA: Tom! Evening there, dear. Were you up with Miss Loring again? How are things there?
(Pause.)
DELLA: What’s happened?
TOM: You were right, Del. About Alice.
DELLA: Aw, Tom. I’m real sorry. Really I am.
TOM: Thanks.
DELLA: At least now you can get back to your own life. You’ve sure got enough on your plate already.
TOM: Can’t do that, Del.
DELLA: Honey! Why would you put yourself through that?
TOM: I made her a promise. I mean to keep it, whatever else.
DELLA: I’ll bring you a little something. It’ll make you feel better.
(DELLA moves off. TOM sighs. He is jostled by KENNETH as he tries to walk by.)
KENNETH: ‘Scuse me.
TOM: Kenneth?
KENNETH: God damn it. You.
TOM: What’s wrong?
KENNETH: Nothing. Just on my way out.
TOM: Hey, wait a minute.
KENNETH: Leave me alone, kid!
TOM: I said wait!
DELLA: Tom! What’s got into you?
TOM: I have to run, Del.
DELLA: Tom!
TOM: It’s something I have to do.
SCENE 3.7
(KENNETH breathes heavily as his steps crunch over gravel. Suddenly he grunts and stumbles, thumping against the alley wall.)
KENNETH: Jesus Christ! You!
TOM: What were you doing out that other night?
KENNETH: What? Let me go!
TOM: Not until you talk to me! When I ran into you on the road, what were you doing?
KENNETH: None of your business!
TOM: I was up at the Lorings’ place, just like you said. And I think you were too.
KENNETH: What are you talking about?
TOM: You were the one who broke in, weren’t you?
KENNETH: Screw off!
TOM: You had your arm hurt just like the burglar. You were hanging around just outside the grounds. And you’re too hot after anything to do with that family.
KENNETH: Oh, you got no idea!
TOM: What do you have against the Lorings?
KENNETH: Plenty, boy!
TOM: Do you want something from them? Money? What did they ever do to you?
KENNETH: More than you’ll ever know! So leave me to my own business!
TOM: Tell me what you’re up to.
KENNETH: No!
TOM: I could have the police after you in a minute! You were real sore against Miss Emma, weren’t you?
KENNETH: So what if I was?
TOM: Because she’s dead, that’s what! Because somebody killed her, and I think it was you!
KENNETH: Me? I didn’t do anything to her!
TOM: You broke into your house and went digging through her things. We know what you were after, Kenneth. We found Emma’s papers. She was looking into the death of Bethany Loring.
KENNETH: I know that!
TOM: What did you want with those papers? Did you have something to do with that too?
KENNETH: You don’t know what you’re on about!
TOM: Did you want to hurt that girl too?
KENNETH: (yelling over TOM) I never! I wanted to marry her!
TOM: What?
KENNETH: You think you know everything just because that ;ittle niece let you in? Think you’re so damn clever? You don’t know a bit of what went on in that house! I never would have hurt that girl in a thousand years! Bethany and me… we were… we loved each other.
TOM: How did you know her?
KENNETH: Why the hell should I tell you?
TOM: So I understand! So I believe you when you say you didn’t hurt anyone!
KENNETH: Augh!
TOM: Because I’m not going to let you alone until you do!
(KENNETH sighs.)
KENNETH: We worked there. At the Lorings’. My old man was Loring’s valet. I was a stable boy.
TOM: Yeah?
KENNETH: Her father had me give Bethany her riding lessons, and we got to talking. She was about my age, and such a nice girl… we fell in love.
TOM: Nobody ever told me about Bethany having a sweetheart.
KENNETH: We kept it secret! We had to! Her father never would have stood for it. He had bigger plans for his baby girl than some ruffian minding horses. We didn’t know how we were going to be together, but…
TOM: Did something change?
KENNETH: Emma found us out.
(Flashback effect.)
SCENE 3.8
SETTING: Loring’s End, 1917
EMMA: Bethany? Mrs. Warren told me you’d gone out to the stables. Bethany?
(Sound of footsteps. Pause.)
BETHANY: Emma!
EMMA: Oh, Bethany…
BETHANY: What are you doing here?
EMMA: Looking for you. I wondered why you were suddenly so devoted to your riding lessons.
KENNETH: Oh, please, miss…
BETHANY: Emma, you can’t tell anyone.
EMMA: Bethany, what are you doing?
KENNETH: Miss, you don’t understand.
BETHANY: I love him, and he loves me.
EMMA: I see. How long has this been going on?
KENNETH: Since last spring, miss.
EMMA: Oh, good heavens. I see we’re all such practiced secret keepers.
BETHANY: Father would never understand. He’d just try to keep us apart!
KENNETH: I swear, miss, I only mean to be good to your sister. I’d never bring her to any harm. I love her, miss.
BETHANY: Please, Emma.
EMMA: (Sighing.) Very well, dear.
(Flashback effect.)
SCENE 3.9
SETTING: Alley outside Della’s Pub, 1934
KENNETH: I kept waiting for her old man or her big brother to come down on us, but they never did, so I suppose she kept her promise. She never spoke to us about it again until we found out about what Mr. Loring was planning.
TOM: The arranged marriage.
KENNETH: Yes. How do you know that?
TOM: It was in Emma’s papers.
KENNETH: She said she was going to help us. She hatched the plan, it was her idea!
TOM: What plan?
KENNETH: To get away! For me to whisk Bethany away from her coming out ball and slip off into the night. She said she had something.
TOM: Had something?
KENNETH: Something that if Loring ever came after us, we could make sure he’d stay away. I don’t know what, she never told me. But I trusted her, that cold bitch, for all the good it did.
TOM: The papers. The papers my mother sewed into the dress. They could have exposed him as a collaborator with the Germans.
KENNETH: The old man was collaborating? Oh, that self-righteous old bastard! Damn shame he never got what he deserved.
TOM: So what happened?
KENNETH: I did what she said. I waited for Bethany just outside the party. I waited for hours, it felt like .All night. Then I heard how they found her, all broken like that… I never got to see her again.
TOM: What went wrong?
KENNETH: That’s the devil of it! I don’t know! I was there are the garden gate just like we planned, but she never came to meet me.
TOM: And Emma blamed you.
KENNETH: For letting it happen. Afterward she chased me off. Dismissed me from my job and told me never to show my face at Loring’s End again. The hag wanted someone to blame, so she settled on me.
TOM: And you swear you didn’t have anything to do with it?
KENNETH: I was a stupid boy, Tom! Just like you are. But I loved her, and there’s nothing I wouldn’t have done to keep her safe.
TOM: And not Miss Emma either?
KENNETH: I didn’t kill her. More like she killed me. Swear on poor Bethany’s grave.
TOM: Then… help me.
KENNETH: Help you?
TOM: Yes. Help me figure out what’s going on herer. It may be the only way to ever know what really happned to Bethany.
KENNETH: And… you won’t turn me in to the cops?
TOM: If what you say is true, no, I won’t. Just work with me.
(Pause.)
TOM: We’ve got almost twenty years of secrets to dig through here. I need all the help I can get.
(Pause.)
TOM: And then there’s Miss Alice. She’s… she’s a real nice girl, Kenneth. She needs all the help she can get too.
KENNETH: For all the good a drunk like me can do you… I’ll help you how I can.
TOM: Thank you. Listen, I’m sorry about how Miss Emma treated you. But I think she hurt just like you do. Whatever she was doing, I think she just wanted to know what happened too.
KENNETH: Might be.
TOM: She must have thought about her a lot. When she came to me, she wanted me to make a copy of Bethany’s gown. She gave me this picture of her.
KENNETH: Picture? Could I… could I see it?
(Crinkling as TOM produces the clipping and hands it to KENNETH.)
KENNETH: Haven’t seen her in years. Didn’t have no pictures of her. Afraid I was going to forget what she looked like. (Pause.) My God, she was beautiful.
TOM: I’m sorry.
KENNETH: Not as sorry as I am. Go on now, Tom. I’ll be seeing you around. Let’s make it in the daylight next time, with no more shoving.
SCENE 3.10
Setting: Della’s pub
ALICE: Excuse me. Are you Miss Carruthers?
DELLA: Call me Della.
ALICE: My name is Alice Loring.
DELLA: Oh. So you’re Miss Alice.
ALICE: Yes. It’s nice to meet you. Tom Barrows has told me a lot about you.
DELLA: Likewise. What brings you down here, miss?
ALICE: I— I, um, was hoping to talk to Tom. He’s not at his shop, so I thought I might find him here.
DELLA: Afraid he just left, miss. Couldn’t tell you where he went.
ALICE: Oh. Well, I said some awful things to him that I never should have said. So if you see him, could you tell him how sorry I am? And that… I didn’t mean it? Would you tell him that for me?
DELLA: Sure I will, miss.
ALICE: Thank you. I suppose I’ll be on my way.
DELLA: All right, then. Stay safe now.
(ALICE turns to go.)
DELLA: Miss, wait. If you wait a moment, I think he might be back soon.
ALICE: Oh. All right. I… I think I will.
(Pause. TOM comes up behind them.)
TOM: Alice? What are you doing here?
ALICE: I’m sorry, Tom. And I want to try.
SCENE 3.11
SETTING: Della’s pub
DELLA: Sure it’s all right that you’re out this late on your own, miss?
ALICE: I sneaked out. They don’t know I’m gone. I couldn’t stand to stay in that house anymore. Not knowing what grandfather did.
TOM: Maybe so, Alice, but he died before any of this happened to Emma. He couldn’t have done that.
DELLA: And now you’re sure old Kenneth isn’t responsible.
TOM: He seemed genuine to me. Like a poor old guy with a lost love.
DELLA: Never knew that about him. Poor old guy.
TOM: And whoever did kill Emma didn’t want her to dig up the secrets she was after. Kenneth would hardly want to protect Reginald Loring from anything.
ALICE: So what’s to be done? It’s as if we’ve learned everything except who did it.
TOM: I think we should keep on with Emma’s plan.
ALICE: What?
TOM: Emma was on the trail of what really happened. She must have found what she was looking for.
DELLA: And look what happened! Seems you’re like as not to bring a killer down on your heads just like Miss Loring did.
TOM: Maybe so. But I can’t think of any other way to find this out.
ALICE: What was Emma going to do now?
TOM: Well, the last thing she did was come to me. I’m going to do her commission.
ALICE: Bethany’s dress?
DELLA: Tom! You’ve hardly had the time as it is!
TOM: You could help me! Both of you!
ALICE: Could we?
DELLA: Tom, you know I’d do anything for you, but I’m no good with a needle.
TOM: Might be, but you’ve got two hands, you can help with other things.
DELLA: And what’s going to happen when it’s made?
ALICE: We could switch it out, like she planned. And bring the documents to light, like she was going to.
TOM: If that doesn’t draw them out, nothing will.
DELLA: So you’re set on doing this, Tom?
TOM: I am.
DELLA: Well, then, you’re going to need help getting through it. I’m in.
TOM: Thank you, Del.
ALICE: Yes, thank you.
DELLA: No trouble for this one, dear. You won’t meet a better man than this one. Well, it’s getting late. I should be getting home to my husband. I’ll be seeing the two of you soon.
TOM: Goodnight, Della.
(DELLA walks off. TOM and ALICE start off as well.)
ALICE: So Bethany loved this stable boy.
TOM: Yeah. And look how well that turned out.
ALICE: She must have seen something in him to make it worth it. Like… if he were the best man she knew.
TOM: Emma trusted my mother to help her save Bethany.
ALICE: It was brave of her.
TOM: I can’t do any less.
(TOM kisses ALICE’s hand.)
ALICE: Tom…
TOM: We have to finish what Emma started. We have to make that dress.
End of Episode 3: What She Started
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