Storytelling Output Report

for

"Four Weddings And A Funeral"

ANALYSIS INFORMATION:

General Storytelling:	Complete
Act Order Storytelling:	Complete
Character List:	Complete
Build Characters:	Complete

Author:		Screenplay by Richard Curtis
Analysis sources:		Video tape and screenplay (published by Corgi books)
Genre:		Romantic Comedy
Setting:		England
Period:		Contemporary
Analysis by:		David Knell

Comments:

This is a wonderful example of a psychology objective throughline--a nice change from the usual stories where we look at characters solely in terms of what they do or the situations in which they find themselves. In this story we have no idea what any of the characters do for a living, but we get to enjoy watching how they think. On the subjective side, the relationship between Charles and Carrie plays out in the activities in which they participate, and although there isn't much of an "argument" between them or what we might traditionally think of as "conflict," the relationship is nonetheless very passionate and definitely the area from which the change in Charles stems. In the words of Father Gerald, "May Almighty God bless you all, The Father, The Son, and The Holy Spigot."

Brief Synopsis:

Always a best man, never a groom. Charles fears that he's going to spend the rest of his life attending weddings without ever actually getting married. Until he meets Carrie. She's beautiful, American, unapproachable... It must be love. But unless Charles gets over his belief that he could never sustain a long term relationship, he'll end up marrying someone he doesn't really love.

Objective Character Mini-Synopsis:

Carrie's ability to seek Charles out, forces Charles to face his tendency to run from marriage and hide from uncomfortable situations. Tom's undying faith (in, among other things, the fact that he will eventually marry) contrasts with Fiona's disbelief that there will ever be someone (other than Charles) for her. Gareth's ability to throw caution to the wind contrasts with David's belief in thinking through the consequences of one's actions. Carrie's ability to force Charles to reconsider his basic beliefs and disbeliefs conflict with Charles' need to consider the ramifications and causes of everything he does. Fiona's controlled approach comes into conflict with Henrietta's.

THE OBJECTIVE CHARACTERS:

Name: Charles

Gender: Male

Description:

According to the screenplay, Charles is "33, fairly good-looking, fairly ironic." Charles says that he is "in bewildered awe of anyone who makes the kind of commitment" necessary to get actually married. Henrietta refers to him as a "serial monogamist" who will "never really love anyone, because you never let them near you."

Role: Bachelor

Characteristics:

Motivation: Consider; Avoidance;

Methodology: Certainty; Reaction;

Evaluation: Proven; Cause;

Purpose: Knowledge; Perception;

Name: Carrie

Gender: Female

Description:

A beautiful American girl. She used to work for Vogue, and now lives in America. Charles meets her at Angus and Laura's wedding and eventually doesn't marry her.

Role: American Girl

Characteristics:

Motivation: Reconsider; Pursuit;

Methodology: Potentiality; Proaction;

Evaluation: Unproven; Effect;

Purpose: Thought; Actuality;

Name: David

Gender: Male

Description:

David is deaf, therefore he and Charles can have private conversations in public without anyone knowing what goes on between them. He reminds Charles that when all is said and done, one has to marry the one that one loves with their whole heart.

Role: Charles' Brother

Characteristics:

Motivation: Logic; Help;

Methodology: Probability; Evaluation;

Evaluation: Expectation; Ending;

Purpose: Aware; Ability;

Name: Father Gerald

Gender: Male

Description:

Nervous neophyte priest. Performs Bernard and Lydia's wedding and manages to get some of it right. More or less.

Role: Vicar

Characteristics:

Name: Fiona

Gender: Female

Description: Tall, intelligent, aristocratic, 33. She's been in love with Charles for years. But until she lets him go, she'll never love another.

Role: Tom's sister

Characteristics:

Motivation: Oppose; Disbelief;

Methodology: Nonacceptance; Induction;

Evaluation: Process; Non-Accurate;

Purpose: Change; Chaos;

Name: Gareth

Gender: Male

Description:

Flamboyant and exuberant, Gareth loves going to weddings and finds humor even in the most embarrassing moments. He dies of a heart attack at Carrie's wedding (The funeral in the title is his).

Role: Friend

Characteristics:

Motivation: Uncontrolled; Feeling;

Methodology: Protection; Possibility;

Evaluation: Test; Hunch;

Purpose: Self Aware; Desire;

Name: George

Gender: Male

Description:

Obnoxious and bombastic, he makes a play for Carrie at the Lucky Boatman.

Role: Henrietta's brother

Characteristics:

Name: Hamish

Gender: Male

Description:

A Scottish politician, he meets Carrie in America and marries her. It doesn't last.

Role: Carrie's Fiancé

Characteristics:

Name: Henrietta

Gender: Female

Description:

AKA "Duck Face." Henrietta is fragile and probably a bit crazy. She corners Charles in the hallway at Lydia and Bernard's reception and tells Charles that he must change. He eventually asks her to marry him, then leaves her at the altar. She doesn't take it well.

Role: Former Girlfriend

Characteristics:

Motivation: Temptation; Hinder;

Methodology: Production; Reevaluation;

Evaluation: Determination; Unending;

Purpose: Inequity; Speculation;

Name: Matthew

Gender: Male

Description:

33, Clean shaven, with a kind face, Matthew has been Gareth's partner for a long time. He is a stable, calm influence on Charles and the others, and the best man at Charles' wedding.

Role: Friend

Characteristics:

Motivation: Control; Conscience;

Methodology: Inaction; Reduction;

Evaluation: Trust; Theory;

Purpose: Equity; Projection;

Name: Scarlett

Gender: Female

Description:

25, not at all upperclass. Brash, flirty. At one time considers working at store called Spank that sells rubber stuff.

Role: Charles' Roommate

Characteristics:

Motivation: Support;

Methodology: Deduction;

Evaluation: Accurate;

Purpose: Order;

Name: Tom

Gender: Male

Description:

High spirited, very affectionate and stupid aristocrat. The seventh richest man in England. Never considers the possibility that he might not eventually marry.

Role: Fiona's Brother

Characteristics:

Motivation: Faith;

Methodology: Acceptance;

Evaluation: Result;

Purpose: Inertia;

---

AUDIENCE AND STORY DYNAMICS APPRECIATIONS:

• Nature as it relates to Actual Dilemma:

Once Charles takes that leap of faith, and believes he can commit to spending the rest of his life with Carrie, something magical happens and all of the friends are shown to have made happy, committed relationships.

• Essence as it relates to Negative Feel:

Until the final breakthrough, the characters in the story, particularly Charles, grow increasingly afraid of (or resigned to) the idea that they will remain single for the rest of their lives.

• Tendency as it relates to Willing:

Charles would like to believe there is someone out there for him, even though it doesn't seem likely.

• Reach as it relates to Both:

Men can identify with Charles' cause-and-effect attempts to resolve his problems, while women can identify with the internal feeling that "time is running out" for Charles.

• Resolve as it relates to Change:

Charles changes from disbelieving he will ever be able to make a lifelong commitment with anyone, to finally stepping out on faith and asking Carrie to spend the rest of her life with him.

• Approach as it relates to Be-er:

Charles prefers to solve problems by changing his mind or adapting to a given situation rather than doing something about it. For example, Charles makes no move to change tables at Lydia and John's wedding, even after seeing that he will be sitting at a table filled with "Ghosts of girlfriends past;" When he is stuck in the closet of Lydia and Bernard's honeymoon suite, he chooses to quietly adapt to the situation and wait it out, rather than disturb the newlyweds; finally, he almost convinces himself to marry someone he doesn't love because it is easier for him to pretend it is OK than to tell everybody that the wedding is called off.

• Direction as it relates to Stop:

Charles needs to stop sabotaging his relationships.

• Mental Sex as it relates to Male:

Charles tries to solve problems by looking at causes and their effects. Unfortunately for him, there isn't always a clear cut relationship between the two which makes solving his problems very difficult. For example, when he first discovers that Carrie is engaged to Hamish, he immediately (in his conversation with Matthew) tries to figure out what he's been doing wrong.

• Outcome as it relates to Success:

Everybody becomes happily "committed" -- they each find a long-term relationship to which they can commit themselves.

• Judgment as it relates to Good:

Charles overcomes his personal dilemma (fear of commitment) and spends the rest of his life with Carrie as a happy family man. The last still photo on screen is that of a cheerful, contented Charles with Carrie and their new son.

• Work as it relates to Decision:

The story is about commitments and marriages. The decisions to enter into each marriage drives the action forward.

• Limit as it relates to Optionlock:

Though each member of the group's biological clock may be ticking away, it is the narrowing of their choices for potential significant others that brings the story to an end. Besides, the title itself sets up the limit. Once the four weddings and the funeral have happened, the story should naturally reach its conclusion.

---

THE OBJECTIVE STORY THROUGHLINE:

Throughline Synopsis:

A group of unmarried friends learn about love and commitment by attending the weddings (and a funeral) of other friends and acquaintances.

Backstory:

Charles has a history of ruining perfectly good relationships with perfectly nice (though sometimes crazy) women. He and his friends have, over the years become very supportive of their collective single state and are, for the most part, proud of it.

• Domain as it relates to Psychology:

The story revolves around a group of close-knit friends' developing maturity towards commitment in relationships. The dynamics of the group's interrelationships and manipulations go a long way to explore these issues.

• Concern as it relates to Becoming:

Everyone in the story is concerned with becoming married. Not just in the literal sense, but in all that it implies: committed, cared for, monogamous, and happy-ever-after.

• Range as it relates to Commitment:

The story is about the commitment of marriage and how the responsibilities to oneself and one's friends conflict with that commitment. Objectively, commitment is generally seen in a positive light in this story. All of the marriages, (with the notable exception of Carrie and Hamish) turn out very well.

• Counterpoint as it relates to Responsibility:

Overall, in Four Weddings and a Funeral, responsibility is presented as a disadvantage. At the first wedding, when Lydia is despondent over the fact that she was promised sex and hasn't engaged in any, Bernard takes on the responsibility and offers himself up as the solution, only to be immediately shot down ("I'm not that desperate," says Lydia); Henrietta corners Charles in the hallway and assumes the responsibility of explaining to him exactly what his problem is, putting him in a very embarrassing position; Scarlett points out that Tom hasn't asked her to marry him, so he cheerfully assumes that responsibility (Scarlett politely declines); Charles's decision to marry Henrietta is outright disastrous.

• Thematic Conflict as it relates to Commitment vs. Responsibility:

The overall theme of Four Wedding's objective story can be summed up in the comparison between commitment and responsibility. Matthew and David both speak of marriage as wonderful, IF you love the person with all your heart. Ultimately the argument is brought home that marriage can't work if it's done out of some sense of obligation or responsibility, no matter what the rationale.

• Problem as it relates to Disbelief:

There is a general disbelief in the group that the world holds a "special someone" for each of them. This disbelief lets them pass up perfect opportunities, miss following through on relationships, and often prevents them from even looking for happiness.

• Solution as it relates to Faith:

Everything seems to come together when Charles makes that leap into the void by committing to (NOT marry) Carrie, even though he clearly has no idea what will happen in their future. This action symbolically clears the way for all of them. The next few images shown are wedding photos of the entire group. The implication is that "that special someone" was in fact there for each of them.

• Focus as it relates to Avoidance:

We see almost every character, at one time or another, "skulking around:" Carrie, hiding behind a chair to avoid the obnoxious George at the Lucky Boatman; Scarlett hiding under the table at Lydia and Bernard's wedding; Charles hiding in the closet of the honeymoon suite. Also, Charles and Scarlett are late for almost every event, and have to sneak on in to avoid bringing attention to themselves. At Charles' wedding, Tom does his best to prevent Henrietta from entering the church; and so forth.

• Direction as it relates to Pursuit:

Everyone is in pursuit of the perfect mate. From the first wedding, Charles pursues Carrie, though it seems as though she is avoiding him; Henrietta seems to find Charles wherever he is hiding; Carrie makes a directed effort to get Charles up to her room, after being pursued by George at the hotel. Gareth, sensing that all of his friends are avoiding the question of marriage gives them the order, "Go forth and conjugate-find husbands and wives!"

• Stipulation as it relates to Conceptualizing:

As the story progresses, the friends gradually start to visualize themselves as potential spouses or partners as opposed to just as failures doomed to remain single. Fiona stops wallowing in unrequited love, lets go of Charles and opens up to the possibility of "falling in love with someone who fancies me for a change." Scarlett stops seeing herself as someone who falls for blokes who think she's stupid and pointless, and sees a possible future with Chester. Charles, who at first doesn't think he has what it takes to have a committed relationship, gradually starts to see himself as potential groom, then finally as someone who could be with Carrie for the rest of his life.

• Catalyst as it relates to Responsibility:

At the first wedding, when Lydia complains that she was promised sex, Bernard volunteers to um... Ultimately this leads to their decision to get married. Gareth takes the initiative and commands his friends to seek out husbands and wives, and they do. David takes the responsibility (when even Charles won't), of stopping Charles' wedding.

• Inhibitor as it relates to Self Interest:

After the second wedding, comes the "day off." It's a short break in the story, when for the moment, there are no weddings, no funerals, and nothing happens. Charles plans to take advantage of the fact that "for the first time in my life it's Saturday and I don't have a wedding to go to."

• Goal as it relates to Becoming:

The goal, objectively, is for the friends (and more specifically Charles) to become committed.

• Consequence as it relates to Obtaining:

Much of the focus of Charles and the others is not so much as wanting to live happily ever after, but trying desperately not to fail by entering into an incompatible and potentially damaging relationship. Gareth's words of encouragement at Carrie and Hamish's wedding spurs them on to avoid these consequences: "Go forth and... find husbands and wives!"

• Cost as it relates to The Future:

Charles' speech at the top hints at the idea that the potential for divorce between any happy couple should not be completely ruled out. When Charles mistakenly tells John that his wife may have been "bonking old Toby de Lisle," it is hinted that their marriage may not last terribly long either. Gareth's premature death reinforces this idea, because if even Matthew and Gareth's happiness can't last, what chance do any of the others have?

• Dividend as it relates to The Subconscious:

The sex is very nice: Carrie and Charles, Bernard and Lydia, Carrie and Charles again. Scarlett finds her prince in Chester; Tom his Deirdre; and so forth.

• Requirements as it relates to Conceptualizing:

All of the friends at one point or another envision how Charles may make a commitment. Matthew sees Charles looking at Carrie at the first wedding and asks if it is love at first sight; Fiona sees it at Carrie's wedding; even Charles himself must see that it is possible (as he does when Carrie shows up at his wedding) before he can actually make the commitment.

• Prerequisites as it relates to Understanding:

All of Charles' friends seem to understand what is happening to Charles well before he allows himself to admit it. Although Charles claims he is watching the bloke Carrie is dancing with at the first wedding, Matthew knows better; Fiona understands that she has to let Charles go because he is clearly in love with Carrie; David understands that Henrietta is not the right one for Charles, and forces Charles to look at that fact.

• Preconditions as it relates to The Past:

Charles must endure Henrietta and the rest of the "Ghosts of girlfriends past," that keep popping up in his life.

• Forewarnings as it relates to Memory:

At Carrie and Hamish's wedding, Charles tells Henrietta that perhaps they "should have got married."

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THE SUBJECTIVE STORY THROUGHLINE:

Throughline Synopsis:

Despite falling in love with each other right from the start, Charles and Carrie have a problem. Because of apparently bad timing, it looks as though they will never live happily ever after with each other. But the growth that occurs during their brief moments together changes Charles, ultimately leading him to leave a potential bride at the altar and commit himself once and for all to Carrie.

Backstory:

Charles and Carrie meet at the beginning of the story, thus do not share a past. They are, however, predisposed to each other as they both have experienced many relationships yet are idealistic enough not to settle down until they have found their soul mate.

• Domain as it relates to Physics:

Charles and Carrie's relationship revolves entirely around external activities: weddings, of course, but also their own sexual encounters and pursuits, shopping for wedding dresses, and so forth.

• Concern as it relates to Obtaining:

The biggest issue between Charles and Carrie is their timing gets in the way of attaining happiness with each other. Charles can't have her because she is engaged, or married. And when Carrie becomes available, he's getting married. At the cafe, Charles is thrown by the sheer number of men Carrie has had in her lifetime. Also, Carrie asks Charles to help her shop for the dress she'll wear at her (not their) wedding.

• Range as it relates to Self Interest:

Self interest, where it concerns Charles and Carrie, is shown in a very good light. It translates into following your heart. After the first wedding, when Charles is heading back to Tom's "castle" with the others, he decides to go after his own interests, and seek out Carrie at the Lucky Boatman, instead of joining his friends. In the car after the second wedding, Charles, thinking of Carrie's commitment to Hamish, wonders if going up to her room is such a good idea. Thankfully, Carrie is not thinking of her husband-to-be and Charles and Carrie spend the night together. At Charles' wedding, David convinces him that he needs to marry the one he loves with whole heart. In other words, forget Henrietta, and do what he really wants to do. This turns out to be the best possible move. After Charles' wedding, Carrie apologizes for showing up, but clearly it was the right thing to do.

• Counterpoint as it relates to Morality:

Putting others before oneself proves to be far from beneficial in the relationship between Carrie and Charles. After the first wedding, when Carrie approaches Charles and asks where he's staying, he at first chooses to not disappoint his friends, and nearly blows his chance at getting together with her. After they have been shopping for a wedding dress, Charles tells her (more or less) that he loves her, but thinking of her and her commitment to Hamish, will not allow them to follow through. At his own wedding, Charles won't allow himself to follow his own heart (until his brother David walks him through it) and nearly marries Henrietta so as not to disappoint her and the other wedding attendees.

• Thematic Conflict as it relates to Self Interest vs. Morality:

Although Charles is accused by Henrietta and his old girlfriends of being self-interested, it is ultimately self-interest which successfully brings Charles and Carrie together.

• Problem as it relates to Uncontrolled:

The problem between Charles and Carrie is that their relationship is very haphazard. Different people, circumstances, and situations keep them apart all too easily. Because Charles leaves it to Carrie to take charge, he always seems to flounder in her wake.

• Solution as it relates to Control:

Charles has no luck in meeting Carrie at the first wedding until Carrie takes control of the situation and asks where he is staying. Their subsequent meetings are always precipitated by Carrie's manipulating him into keeping her company. Charles finally decides to "face the music" and takes control of their relationship, asking Carrie if she could see her way to "not" marry him.

• Focus as it relates to Avoidance:

Charles and Carrie seem to avoid the real question of commitment by walking out on each other on those "mornings after." At Charles' wedding to Henrietta, Carrie and Charles agree that their timing has been disastrous. Indeed, it always seems as though the universe is conspiring to keep them apart. One or the other of them leave each time they spend the night together; she gets engaged; he must meet his brother; and so forth.

• Direction as it relates to Pursuit:

Charles pursues Carrie at the first wedding ("Nice hat!") Carrie pursues Charles ("Where are you staying tonight?") Charles runs after Carrie after they go dress shopping ("In the words of David Cassidy, 'I think I love you'"); Carrie shows up at Charles' wedding. Unfortunately when they catch each other, neither will hold on for very long.

• Stipulation as it relates to Understanding:

As the story progresses, Charles and Carrie understand more and more how perfect they are for each other, and ultimately why they have to be with each other to the exclusion of all others.

• Catalyst as it relates to Morality:

If Charles was thinking only of himself, he probably wouldn't have gone to any of the first three weddings. But he does. And every time he does, he runs into Carrie. On his "day off," Charles goes to the expensive store to pick up a wedding gift for Carrie and Hamish and meets Carrie there. Carrie selflessly shows up at the funeral and at Charles' wedding.

• Inhibitor as it relates to Commitment:

When Carrie first brings up the idea of commitment, Charles sputters before realizing that she's joking. She says they both missed a great opportunity and they don't see each other again for months; After Carrie announces her engagement to Hamish, they do have sex, but Charles, honoring her commitment to Hamish, leaves at dawn.

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Charles's THROUGHLINE:

Role: Bachelor

Description:

According to the screenplay, Charles is "33, fairly good-looking, fairly ironic." Charles says that he is "in bewildered awe of anyone who makes the kind of commitment" necessary to get actually married. Henrietta refers to him as a "serial monogamist" who will "never really love anyone, because you never let them near you."

Throughline Synopsis:

Charles sees himself as doomed to be forever single, until he meets the woman who will ultimately change his view of himself, love, and commitment.

Backstory:

We are told little about the whys and wherefores of Charles' past. There isn't any indication of what he does for a living. He does confess to having slept with a total of nine women, most of whom pop up like "Ghosts of girlfriends past at every turn."

• Domain as it relates to Mind:

In his speech at Angus' and Laura's wedding, Charles states flat out that although he is in awe of those who can make the kind of commitment marriage requires, he knows he couldn't do it. His views on commitment are, so far as he or anyone else can tell, completely fixed.

• Concern as it relates to The Subconscious:

Charles is driven by emotions that he cannot fully understand. Every time Charles nears an opportunity to have a committed, long term relationship, his basic drives come into conflict with his beliefs about himself and marriage. After their first night together, Charles' desire to stay with Carrie comes into conflict with his belief in his own ability to commit. At the second wedding, Charles' desire for Carrie comes into conflict with his respect for her commitment to Hamish. After they shop for the wedding dress, Charles nearly tells Carrie that he loves her, but stops short of whisking her away, because she is about to be married. When she shows up at his wedding, Charles grapples with the fact that his desire for Carrie has come into direct conflict with the commitment he has already made to Henrietta.

• Range as it relates to Dream:

It is clear from Charles' speech at the first wedding, that he dreams of someday having a long term relationship, but sees it as highly unrealistic. When Fiona tells Charles about Carrie, she tells him that she's "quite out of your league." Fortunately, Charles doesn't let this stop him.

• Counterpoint as it relates to Hope:

After the funeral, Charles starts to wonder if it is too much to hope that "this one true love stuff" will ever happen to him.

• Thematic Conflict as it relates to Dream vs. Hope:

When it comes to love, does one hold out for one's dreams or does one simply hope for the best under the circumstances?

• Problem as it relates to Disbelief:

Charles states at the very first wedding that he does not believe in marriage, or rather that he doesn't believe in him marrying. This is echoed by all of his ex-girlfriends throughout the story and acts as the single greatest impediment to him getting together (on a permanent basis) with Carrie.

• Solution as it relates to Faith:

Charles must break with his limiting past beliefs, and trust unquestioningly that when you love someone with all your heart, somehow, everything will turn out for the best.

• Focus as it relates to Oppose:

Charles thinks that the source of his own troubles is his general disapproval of his friends' potential mates. He has a loose tongue and his expressions of opposition to his friends' relationships get him into uncomfortable positions.

• Direction as it relates to Support:

Although personally opposed to the idea of marriage, Charles is very supportive of those that make the commitment. He never misses a wedding.

• Stipulation as it relates to Memory:

Charles forgets the rings at the first wedding, his appointment with his brother, and is late for every wedding including his own (or so he thinks). As a barometer, this shows that Charles really isn't making progress, per se, but must abandon an old pattern in one fell swoop.

• Unique Ability as it relates to Dream:

Although he waffles back and forth, ultimately it is Charles' faith in the dream that his perfect match is out there, which leads to his leaving Henrietta at the altar and ending up with Carrie.

• Critical Flaw as it relates to Delay:

Charles is almost defined by his bad timing. He's late for every wedding and is committed to putting off the marriage game for as long as possible.

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Carrie's THROUGHLINE:

Role:

American Girl

Description:

A beautiful American girl. She used to work for Vogue, and now lives in America. Charles meets her at Angus and Laura's wedding and eventually doesn't marry her.

Throughline Synopsis:

Carrie is the one person in the world capable of shattering Charles' strongly held belief that he will never marry. Charles has reached the conclusion that HE is the problem with his love life. But from the moment Carrie enters his life, Charles is forced to consider the idea that the real problem may simply be that he hasn't yet met the right woman.

Backstory:

We aren't told much about Carrie's past. Fiona describes her as "American... Slut... Used to work for Vogue. Lives in America now. Only goes out with very glamorous people." Carrie herself claims to have had sex with thirty-four men and says she was raised on a farm.

• Domain as it relates to Universe:

Carrie is viewed almost exclusively in terms of her circumstances. At first she is almost an icon, seen from afar as an unapproachably beautiful American who only goes out with very glamorous people. When she next appears in Charles' life, she is engaged to be married, again seemingly untouchable. When she shows up at Charles' wedding, she is separated, alone, and in need.

• Concern as it relates to The Future:

Carrie's very existence forces Charles to re-evaluate his belief that he has no future as a married man.

• Range as it relates to Choice:

Every time Carrie shows up, Charles is forced into some sort of decision. He must choose between going with his friends back to Tom's, or going back to the Boatman to find Carrie; between meeting his brother for a movie and going shopping with Carrie; between Henrietta and Carrie at his own wedding. In fact, when Carrie finds him at the gift shop, she specifically says to him (ostensibly referring to the wedding dress), "Come with me. You have an important decision to make."

• Counterpoint as it relates to Delay:

The other side of Carrie's impact is that whenever Charles puts off making a choice, he loses her. When Carrie asks when he plans to announce their engagement, Charles sputters until he realizes she's joking. She leaves for America. When Carrie shows up at his wedding, Charles tries to delay his wedding, but unless he makes a choice he will end up with Henrietta.

• Thematic Conflict as it relates to Choice vs. Delay:

Ultimately it is shown that one has to trust one's choices (and heart). Delaying will only exacerbate the problem. For Carrie, this means that putting off contacting Charles after her separation from Hamish almost results in Charles' marriage to Henrietta:

Charles

. . . Why didn't you get in touch with me?

Carrie

Well, you know, I did think about it. Wanted to. . .

but I was in a state . . .Then I heard about this

[Charles' wedding] so I thought better not.

(Curtis 109-110)

• Problem as it relates to Oppose:

Although Carrie never speaks against Charles, her very presence flies in the face of his belief that there is no one special person out there for him.

• Solution as it relates to Support:

Carrie seems quite content to enlist Charles' aid from time to time. She uses him to help her escape George; She asks Charles to keep her company when Hamish goes back to Scotland; She asks him to help her pick out a wedding dress.

• Focus as it relates to Avoidance:

It often seems as though Carrie is avoiding Charles. When Charles tells John that his wife is sleeping with Toby de Lisle, Carrie makes a graceful escape and Charles has to deal with John alone; She sneaks out of the hotel lobby, leaving him to deal with George; She almost leaves for America before Charles wakes up; After introducing Charles to her fiancee, she leaves him by himself.

• Direction as it relates to Pursuit:

It really seems that Carrie is doing the pursuing in this relationship. At the end of the first wedding, she finds Charles and asks where he is staying; she seeks him out after Hamish has left for Scotland; she finds him at the expensive store, at Charles' wedding, and finally in the rain outside Charles' house. If she didn't pursue him the way she did, she wouldn't make the impact she does.

• Stipulation as it relates to The Past:

After the wedding dress expedition, Carrie tells Charles that she has promised Hamish that she will be faithful once they are married, in essence this means her past will be behind her once she is committed. At her wedding she says that she'll let keep Charles posted if things don't work out with Hamish, and finally at Charles wedding, she indicates that her marriage to Hamish is in the past. Taken as a whole, the implication is that she is now available and has put her past behind her.

• Unique Ability as it relates to Choice:

It is Carrie's ability to force Charles into choice-making situations that gets him once and for all to decide to follow his own heart, leave Henrietta at the altar, and end up with Carrie.

• Critical Flaw as it relates to Hope:

When Carrie marries Hamish, Charles' dream of spending his life with her is smashed. He then has to contend with the idea that he may have to be more realistic in his romantic pursuits.

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ACT PROGRESSIONS:

The Objective Throughline Act Order:

• Objective Story Signpost #1 as it relates to Becoming:

The wedding itself is an objective look at how one couple transforms from their single state to one of wedded commitment.

• Objective Story Journey #1 from Becoming to Conceptualizing:

As soon as the first wedding is over, everyone sets out on what seems to be the real purpose of weddings: figuring out how to find that special someone. Charles asks Fiona about Carrie, the girl in the black hat; Serena asks Matthew about David; Charles asks Matthew about the right approach to take to ask a girl out.

• Objective Story Signpost #2 as it relates to Conceptualizing:

Lydia and Bernard break from their kiss (as everyone's leaving the first reception) as though she has just seen Bernard for the first time (and she likes what she sees). This is the deciding moment that swings us into the second wedding. Also, just before Carrie leaves for America, Carrie envisions the future they might have had together, telling Charles "I think we both missed a great opportunity here. Bye."

• Objective Story Journey #2 from Conceptualizing to Being:

Father Gerald, after going over the wedding ceremony in his head, does his best to fulfill the role of priest; Scarlett, under the table with her new friend, shares her concern that she may be stuck in her current situation forever; Charles receives indicators from his old girlfriends that his own situation will never change; Fiona seems resigned to the fact that she'll never get the man she loves. These ideas intensify for most of the friends up to the point of Gareth's funeral.

• Objective Story Signpost #3 as it relates to Being:

After Gareth's funeral, in his conversation with Tom, Charles points out that while no one was looking, Gareth and Matthew were "to all intents and purposes married all the time." An illusion has been shattered. The poem Matthew reads speaks of the temporary nature of even True Love. Charles and Tom begin to wonder if temporarily adopting a lifestyle is the best they can hope for.

• Objective Story Journey #3 from Being to Conceiving:

There's a very temporary feeling about Charles' wedding to Henrietta. While Charles seems to have resigned himself to the fact that he must play at being a bridegroom, there's something slightly false to the whole proceeding, because we have known all along (or so we were led to believe) that in the end Charles would end up with Carrie. When she ultimately does show up, the question changes to HOW this will all be resolved. While Tom delays Henrietta, Charles, Matthew, and David try to come up with an idea. David says Charles has three choices: go through with it, call the whole thing off, or. . . but for the moment he can't think of a third option.

• Objective Story Signpost #4 as it relates to Conceiving:

Ultimately, just before Charles has to say "I do," David stops the proceedings. He has come up with the answer. He reminds Charles that finally, he's got to marry the one who he loves with all his heart. Later, outside his house, Charles presents Carrie with the idea of "not" marrying him and spending the rest of her life doing it. She agrees.

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The Subjective Throughline Act Order:

• Subjective Story Signpost #1 as it relates to Understanding:

There is a level of understanding present at the start of Charles and Carrie's relationship that is absolutely necessary for their growth. In fact Carrie, through watching Charles' actions at the first wedding, seems to instantly understand Charles better than he does himself.

• Subjective Story Journey #1 from Understanding to Doing:

Carrie uses her seemingly innate understanding of Charles and takes the action necessary to get them together. For instance, she understands that although he is smitten with her, he will not take the first step to get them together, so she approaches him and asks where he is staying. At the Lucky Boatman, she trusts that Charles will understand when the waiter says that his "wife" is waiting for him in Room Twelve. She understands that she needs to guide him into making the first move in her room. She also seems to understand from his speech that he is afraid of commitment, which is why she teases him with the announcement of their engagement.

• Subjective Story Signpost #2 as it relates to Doing:

Carrie and Charles spend the night together at the Lucky Boatman and make love.

• Subjective Story Journey #2 from Doing to Obtaining:

On the morning after they have made love for the first time, Carrie switches the question to one of attainment. "I assumed that since we had slept together and everything, we'd be getting married." In other words, do they now keep each other's company forever? When the answer, for now, is no, she goes back to America. When they meet again at Bernard and Lydia's wedding, Charles has clearly reconsidered the question, but it is too late. Carrie is engaged to Hamish. Despite this fact, they make love again after the reception, but Charles leaves early in the morning, knowing that he can't have her.

• Subjective Story Signpost #3 as it relates to Obtaining:

They meet again while Charles is looking for a wedding present, and Carrie invites Charles to help her decide on a wedding dress.

• Subjective Story Journey #3 from Obtaining to Learning:

Charles learns just how many men Carrie has slept with, and Carrie learns Charles' true feelings ("I think I love you"). Charles learns at Carrie's wedding (when she says publicly that she'll keep him posted), and at the funeral (when she tells him she liked what he said in the street) that there is a glimmer of hope for them, however unlikely.

• Subjective Story Signpost #4 as it relates to Learning:

Charles learns that Carrie is no longer married. This information changes everything, and ultimately forces him to make a decision that will affect the rest of their life.

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The Main Character Throughline Act Order:

• Main Character Signpost #1 as it relates to The Conscious:

At the first wedding, Charles makes a speech which indicates that he is fully aware of the fact that he will never marry or have a long term relationship of his own.

• Main Character Journey #1 from The Conscious to The Subconscious:

Although Charles is aware that he may never have a long term committed relationship, the moment he sees Carrie in the crowd, he is driven (however unsuccessfully) to pursue her. He asks Fiona who Carrie is, and though he denies that it's "love at first sight" to Matthew, he is driven to find a way to approach her.

• Main Character Signpost #2 as it relates to The Subconscious:

On the way back to Tom's house, Charles is driven to make the decision to abandon his friends and go after Carrie (an "Odd decision," he admits).

• Main Character Journey #2 from The Subconscious to Memory:

Three months later, at the second wedding, Charles sees Carrie again. He is ecstatic, until he realizes that she is engaged. He starts immediately to delve back into his memories (and is confronted by a table full of them) to wonder if he has in fact already met the "right girl," and if his problem lies within himself. His conversation with Carrie in the cafe forces him to remember how many relationships he has had himself (then he suddenly remembers his appointment with his brother).

• Main Character Signpost #3 as it relates to Memory:

At Gareth's funeral, Charles looks back on his own life and relationships, reassessing his own needs, hopes, and dreams.

• Main Character Journey #3 from Memory to The Preconscious:

Somewhere during the ten month lapse between the funeral and his own wedding, Charles reconciles his bad memories of Henrietta, and the two of them become engaged. But when Carrie shows up at the wedding, unaccompanied and quite single, memories of what happened between them flood back, and Charles has to deal with his fight or flight impulses. Does he marry Henrietta or run?

• Main Character Signpost #4 as it relates to The Preconscious:

Ultimately Charles must step into the proverbial void, leaving Henrietta at the altar and choosing something greater, without thinking of the consequences (or thinking at all). In fact, when he does think about it, as he does in the back room, he can't make any decision.

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The Obstacle Character Throughline Act Order:

• Obstacle Character Signpost #1 as it relates to Progress:

Although he describes himself as in "bewildered awe" of those that can make the kind of commitment necessary to marry, Carrie's presence at the first wedding starts to force Charles to reassess the progress he has made thus far in terms of relationships.

• Obstacle Character Journey #1 from Progress to The Future:

Charles tries fruitlessly to make progress toward meeting Carrie or making a date with her. But she always seems to be talking or dancing with someone else. When she asks Charles where he is staying, she opens up the possibility that they may indeed have a future together, at least for the night. At the Lucky Boatman, she keeps hinting at their possibly getting together, if only Charles is willing to surmount the obstacles (meaning George, and Charles' own seeming inability to be proactive).

• Obstacle Character Signpost #2 as it relates to The Future:

Carrie asks Charles point blank when he is planning to "announce the engagement." Although he realizes this is a joke, it forces Charles to address the idea that there may in fact be a future with this girl, provided he takes the right steps.

• Obstacle Character Journey #2 from The Future to The Present:

When Carrie shows up at the second wedding, she is engaged. Any future she and Charles might have had seems to have been eliminated. Yet later that night, when she asks if Charles will keep her company, she is indicating that they can at least enjoy the present together.

• Obstacle Character Signpost #3 as it relates to The Present:

Carrie's showing up at the gift store and inviting Charles to the dress shop forces Charles to realize that the time they spend together (in the present) is more important than anything (even meeting his brother, the only thing he HAD to do that day). He almost takes the opportunity to tell her exactly how much he loves her, but censors himself.

• Obstacle Character Journey #3 from The Present to The Past:

At her own wedding and at Gareth's funeral, Carrie lets Charles know that she appreciated what he said in the street. When Carrie shows up at Charles' wedding, she tells him that she and Hamish have left each other. Thus a major obstacle that stood between them is now forever behind them. It's now up to Charles to do what he must.

• Obstacle Character Signpost #4 as it relates to The Past:

Carrie shows up at Charles' house and he is forced to realize the little they have shared together is much more powerful than all the relationships he has had in the past. Once he has successfully left all that behind, he can now finally commit to Carrie for the rest of his life.

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Miscellaneous Other Storytelling Items:

• All Concerns:

Everyone in the story is concerned with becoming married (or not). When Carrie shows up in Charles' life, he finds his basic emotional drives immediately coming into conflict with his belief that he does not have what it takes to marry. Carrie's very presence starts making Charles rethink his future, to the point where he believes they really can have each other in the end.

• Master Plot Synopsis:

The core of the overall plot can be found in Charles and Carries' relationship. At first Charles is shown to have a pretty fixed opinion of himself and his inability to commit to a long term relationship. Yet Charles is at heart a very passionate fellow, and when he first sees Carrie, he is driven to meet her, however unsuccessful his efforts may appear. Fortunately, before the day is out, Carrie pursues him. From their moments together in the hotel room at the Lucky Boatman, it is clear that Carrie understands Charles better than he does himself. She is able to get past his self-imposed "three week question popping" stage very quickly, and forces him to face his fear of commitment by jokingly asking when he plans to announce their engagement. It is up to Charles to see that a committed relationship is possible, if he will only trust in himself and the circumstances. The time they spend together is comprised entirely of activities (weddings, shopping, etc.), yet in this limited time that they spend together Charles is able to address the negative beliefs he holds about himself and of love, and take the steps necessary to end up with Carrie.

• Master Theme Synopsis:

The theme of commitment vs. responsibility in Four Weddings and a Funeral can be summed up as follows--commitment can be a wonderful thing, IF you trust that the right person for you is out there, and make a conscious choice to follow your heart.

• Subjective Character Synopsis:

Charles and Carrie meet at Angus and Laura's wedding. Charles is instantly smitten, but can't seem to get near Carrie. Just before he is ready to leave, she finds him and tells him that she's staying at the Lucky Boatman. Charles chooses to leave his friends and go in search of her. They end up in her room, where she gets him to break past his usual "three week question popping" phase, and they make love. When Charles wakes up, Carrie is in the process of leaving for America. She asks him when he is planning to announce the engagement, causing him to sputter until he realizes she was joking. She leaves and they don't see each other again until Bernard and Laura's wedding. Unfortunately, Carrie is now engaged to Hamish. Later that night, after Hamish leaves, Carrie asks Charles to keep him company. Again they spend the night together, but in the morning, Charles leaves. They meet again while Charles is shopping for a present for Carrie and Hamish's wedding. Carrie says she needs his help and they go to the bridal store to look at dresses. They go for a cup of tea, and are discussing the number of sexual partners Carrie has had when Charles remembers he had an appointment with his brother. As she leaves them, Charles catches up with Carrie and tells her that he thinks he loves her. Carrie thinks this is sweet, and they see each other again at her wedding. She mentions in her speech that someone (clearly Charles) volunteered to step in if things didn't work out with Hamish, and that she'll "keep you posted." Carrie shows up at Gareth's funeral and tells Charles that she liked what he said in the street. They part, but she shows up at Charles and Henrietta's wedding. She has split with Hamish. Charles finds himself in the position of debating whether he should call off the wedding or go through with it, so as not to disappoint the guests. He finally decides that he cannot marry Henrietta. Carrie shows up at his house and Charles tells her that he loves her, then asks if she would consider spending the rest of her life with him. She says yes. And they do.

• Master Character Synopsis:

Charles and Scarlett arrive late at Angus and Laura's wedding. Charles, the best man has forgotten the rings. At the reception, Charles says in his speech that he is in "bewildered awe" of anyone who can make the kind of commitment necessary to marry, but he clearly never will. Meanwhile, he and his friends are all on the lookout for romance. Then Carrie shows up. Charles is smitten, but has no luck making the first move to meet her. Fortunately, before the party is over, Carrie makes a subtle invitation, and Charles leaves his friends and goes off in pursuit of Carrie. Although he has self-imposed rules about how long it takes to get to the "question popping" stage, Carrie gets him to abandon these rules, and the two of them spend the night together. The next morning she calls him on his fear of commitment, and Charles panics. Carrie leaves for America. Some months later, Bernard and Lydia, who found each other at Angus and Laura's wedding, get married. Charles is thrilled to see Carrie again, until she introduces him to her fiancé, Hamish. Charles asks Matthew why he (Charles) never seems to be the one getting married at any of these weddings. Matthew suggests that he hasn't met the right girl. Charles then finds himself face to face with evidence that Matthew may be right. He is seated at a table with four or five former girlfriends. The experience makes him really question his ability to commit. Charles tries to hide, but unfortunately ends up in the happy couple's bedroom, where Charles hides in the closet rather than intrude. When he finally escapes, he is confronted by Henrietta, a particularly fragile former girlfriend who wants desperately to help Charles. Carrie shows up, and asks him to keep her company. They spend the night together. In the morning, it is Charles that leaves. Shortly thereafter, Charles receives the invitation to Carrie's wedding. While shopping for a gift, Carrie finds him. She says he an important decision to make and takes his to a dress shop to show him potential wedding dresses. Afterwards, they have tea and discuss the number of lovers they have had in the past (Carrie, 33 - Charles, 9, as it turns out). Charles runs to meet his brother but starts to tell Carrie that he is in love with her. However, knowing that she has made a commitment to Hamish, he stops just short of saying it. Carrie appreciates the gesture. At Carrie's wedding, Charles shows up late and watches as Carrie gets married. Henrietta turns up and says she's fine, but Charles wonders if they should have married. Fiona tells Charles that she has been in love with him since they first met. Gareth, after telling the group of friends that he is distressed at their unending single state, commands them to go and find husbands and wives. Shortly thereafter, during the speeches, Gareth dies of a heart attack. Carrie shows up at Gareth's funeral. After hearing Matthew's word's about Gareth, Charles starts to seriously wonder if it is folly to wait for the "right" woman. Ten months later, Charles is getting married- to Henrietta. Carrie shows up. She and Hamish are separated. Charles starts to second guess his decision to marry Henrietta, but he can't decide what to do. Not wanting to disappoint the guests, he resigns himself to going through with it. Fortunately, his brother David reminds Charles that when all is said and done he has to marry the one he loves with his whole heart. Charles leaves Henrietta at the altar. After the wedding, the friends commiserate and support Charles. Carrie appears at the door, in the pouring rain. Charles tells her he loves her. He says he has learned that marriage is not for him, and so he asks Carrie if she will spend the rest of her life "not" married to him. She says "I do." They kiss. The end.