Page 15 of The Drama King

Thenextfewdayspassed in a blur of hypervigilance and calculated normalcy. I attended classes, completed assignments, maintained the facade of a dedicated student while constantly scanning for threats. The pack's presence felt omnipresent. A glimpse of Dorian in the library stacks, Oakley's laugh echoing from the dining hall, Corvus appearing in my peripheral vision at seemingly random moments.

It was psychological warfare at its most insidious, designed to keep me off balance and reactive. Every interaction required careful calculation: maintain composure, show no weakness, give them no ammunition for complaints about my professionalism or social adjustment.

Our second Scene Study session was scheduled for Thursday afternoon, and I spent the morning preparing. I researched additional background on "The Crucible," analyzed ElizabethProctor's character arc in scholarly articles, even watched three different professional productions online to study how other actors had approached the role.

If Corvus wanted to turn our academic partnership into psychological warfare, I'd meet him with superior preparation.

"You're overthinking this," Stephanie observed as she watched me organize my notes for the third time.

We were in our dorm room, and she was supposedly working on lighting design homework while actually monitoring my anxiety spiral.

"I'm being thorough," I corrected, color-coding my character analysis by emotional beat. "If he tries to catch me unprepared or claims I'm not contributing equally to the project, I'll have documentation of my work."

"Vespera." She closed her laptop and turned to face me directly. "You're treating this like you're preparing for battle."

"Because I am." I looked up from my notes, meeting her concerned gaze. "This isn't just scene study anymore, Stephanie. It's a test of whether I can function under direct, sustained pressure from one of them. If I crack, if I can't handle working with Corvus professionally, it gives them grounds to question my readiness for the program."

She was quiet for a moment, processing the implications. "And if you succeed? If you prove you can work with him effectively despite the harassment?"

"Then I've shown that their intimidation tactics aren't enough to break me," I said. "Which means they'll need to escalate to more direct methods."

"Wonderful. A no-win scenario."

"Not no-win," I corrected, gathering my materials. "Just challenging. Elizabeth Proctor faced impossible choices too, but she found ways to maintain her integrity even under extreme pressure."

"Elizabeth Proctor is a fictional character," Stephanie pointed out. "And if I remember correctly, her story doesn't end particularly well."

"She saves her soul," I replied. "Sometimes that's the only victory we can hope for."

six

Corvus

IarrivedatStudioC-2 early, arranging my materials with methodical precision. Research notes organized by category, script annotated with psychological leverage points, character analysis calibrated for maximum impact. The confined dimensions of the space would serve my purposes well. These smaller rooms increased psychological pressure by reducing perceived escape options.

Vespera arrived precisely on time. Her scent entered before she did, jasmine with undertones of anxiety and determination. I kept my eyes on my notes, establishing dominance through selective attention.

"Punctual as always," I observed. "I appreciate consistency in a scene partner."

"Preparation is important," she replied, taking her seat. "I've been researching different interpretations of Elizabeth's character."

This was unexpected. Most targets responded to psychological pressure with defensive withdrawal, not academic engagement. I raised my eyes, reassessing her strategy.

"Have you? And what conclusions have you drawn?"

She consulted her notebook, a surprisingly organized collection of character analysis. "Most productions focus on her as a victim of circumstance, emphasizing her helplessness in the face of institutional power. But I think that reading underserves the text. Elizabeth makes active choices throughout the play, even when her options are limited."

The analysis was genuinely insightful. I leaned back, recalibrating my approach. "Interesting. Elaborate."

"Her decision to lie about John's affair isn't weakness or manipulation. It's a calculated choice to prioritize love over abstract moral principles. She weighs the consequences and chooses the action she can live with." Her eyes met mine directly—no submission signals, no autonomic stress responses. "Even when she's being interrogated, she's not passive. She's strategizing, looking for ways to protect what matters most to her."

Her interpretation merited academic consideration independent of my tactical objectives. "A more generous interpretation than most actors bring to the role. Though it raises interesting questions about the nature of moral compromise."

I noticed her body language shift slightly—spine straightening, hands repositioning. She anticipated my psychological pivot and was preparing defensive measures. Fascinating.

"Elizabeth's choices are made under duress," she countered. "The moral complexity comes from the impossible situation she's placed in, not from any inherent weakness in her character."

"And yet she still chooses to lie," I noted, probing for vulnerability. "Regardless of circumstances, she abandons her principles when the stakes become personal."