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Dinner and dancing turns into an overload of the senses.

He looked like a Greek god, dark with broad shoulders and an athletic, graceful physique.

At the start of rehearsals, Cyn learned the director's intention was to "sensualize" the story, to make it something that the audience could not only understand intellectually, but could feel viscerally. In his vision, the masquerade party was a celebration of pure sexual attraction, the balcony scene was a voyeuristic paean to idealized love; the bedroom scene was a lament to sexual fulfillment, gained and lost.

For Cynthia, a principled woman who was modest by nature, the approach presented a moral dilemma. She was a dedicated artist who wanted to respect her director's choices, yet she had a strong moral fibre as well. She had difficulty shedding her inhibitions. Complicating things, she soon found herself increasingly attracted to Kyle.

The first sign of trouble was when the director said he wanted the bedroom scene, where the young lovers awake after a night of lovemaking, performed partially nude. They rehearsed the scene over and over with Cyn arising from the bed, covered by only a white sheet, with her bare leg and hip visible to the audience. For their pas de deux, the director and choreographer wanted her to drop the sheet altogether, but Cyn refused. Ever the "good girl", she stuck to her guns, leading to conflict with the director.

Meanwhile, at night, the cast would go out together as a group, drinking and dancing or hanging out at one of their apartments. Cyn found herself incredibly drawn to Kyle. He had a smoldering sexiness she found intoxicating. He was so good looking, she assumed he was gay, like most of the other male dancers. Then, to her shock, he ended up hooking up with her roommate Clare, another dancer in the ensemble.

As their first performance loomed, the director and choreographer pushed Cyn to infuse her performance with more passion and sexuality. They devised choreography that placed the two dancers face to face, pressed against each other. Touching and caressing each other's bodies. Inside, Cyn was dying. She longed for Kyle but didn't dare act on her desires.

Finally, on opening night, after giving a triumphant performance, she stood alone on the stage, watching as Kyle and Clare embraced behind the descended curtain, kissing each other deeply, as the applause from the theater faded in the background.

Dammit, it WAS well-written! What does he mean none of my potential is evident in the story, that the characters are paper thin? It's called subtlety, Mister!

Eve sighed and leaned back in her chair.

OK, don't get defensive. Just get to work.

She began rewriting the first paragraph.

* * * * * *

That night, Eve lay in bed staring at the ceiling, thinking about the events of the day. From the sound of her roommate's slow, heavy breathing, she knew she was asleep. But Eve couldn't sleep. She felt antsy and couldn't turn off her brain.

Had she done enough to breathe life into Cyn's character? What would Prof. Michaels think of the changes she'd made? What did he say to her again? "Comb the corners of your imagination." Dramatize her "secret thoughts". Eve replayed the story over and over in her mind. What were Cyn's secret thoughts? What did she think when she lay in bed at night staring at the ceiling.

Her thoughts drifted back to her meeting with Prof. Michaels. The way he looked at her. The way he understood how hard it was for a young writer to find her way. The way he touched her. It may have been an innocent touch or, perhaps, it was something more. When they stood close, by the door, with his hand on her back, she felt almost as if he would embrace her. Or even kiss her goodbye. What if he had?

She replayed the moment in her mind.

"I've enjoyed our conversation immensely," he said, charmingly. "Rarely has a student so captivated me with her writing."

She responded with gratitude and an appropriate measure of humility.

"I feel I've learned so much from you in such a short tim

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