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Day 1 Assignment
Reply to post your assignment.
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13 Replies
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KZ Finds the Essence
What I learned is that if you go through your script and ask yourself what the essence of each scene is, that you will achieve clarity and understand what you wanted to say, rather than only having a vague idea of what you meant.
Script I chose: ETERNAL SUNSHINE OF THE SPOTLESS MIND by Charlie Kaufman
Scene 1 Location: Midway point, page-wise; not sure where it fits on the usual paradigm
Logline: Clementine wants to have a baby, but Joel lets it slip that he thinks she’d be an unfit mother
Essence: This is the true ending of their relationship, the absolute low point, and they’re both happy to be rid of the memory of this awful moment. At this point, Joel is happy he decided to “erase” Clementine.
Scene 2 Location: p. 65 out of 130
Logline: A memory of Joel and Clementine hiking in the forest, while the memory erasure machine is on auto-pilot because Stan and Mary are making love and not paying attention.
Essence: We see some of what was wrong with Joel and Clementine’s relationship, and also what worked, and Joel takes a step towards figuring out how to stop the erasure.
Scene 3 Location: This would probably be Plot Point 2
Logline: Howard’s wife arrives and sees Howard and Mary kissing, which leads to Mary finding out that she already had an affair with Howard (which led to an abortion – the erasing of a child), but doesn’t remember because she had the memory erased.
Essence: People who are destined to be together can’t change their feelings just by erasing memories (which sets up the ending).
Scene 4 Location: p. 103 out of 130
Logline: In one of their first memories, Clementine breaks in to a beach house that is closed for the season, but Joel is afraid and says he wants to go. In the real memory, Clementine says, “So go.” Now she says, “Stay, this time.”
Essence: This is the moment they cement their relationship, but also where she whispers, “Meet me in Montauk,” setting up their reunion after they’ve had their memories erased.
Scene 5 Location: Last scene of the memory erasing
Logline: The last memory to be erased is their first memory together. The lovers know they are doomed to lose this last beautiful moment. Clementine says, “What should we do?” Joel says, “Enjoy it.”
Essence: This is a metaphor for life. We know we will die, but we have to savor the moment.
My selection for most profound essence is the final scene:
Location: Final Scene
Logline: Joel and Clementine make get-to-know-you chit-chat, while the recording tells about the dark ending of their relationship. Clementine leaves, but Joel pursues her and they acknowledge that although the relationship followed a typical arc for both of them, they’re willing to try again.
Essence: They know how it is likely to end, but they decide to embark on a new affair anyway.
ETERNAL SUNSHINE OF THE SPOTLESS MIND by Charlie Kaufman
INT. JOEL’S APARTMENT AND HALLWAY – MORNING
Clementine advances down the hall, looking at apartment numbers until she comes to Joel’s. The door is ajar. Inside she can hear Joel’s voice, but can’t make out what he’s saying. She stands there for a moment then enters.IN JOEL’S APARTMENT
Clementine looks around; the place is not what she expected. She comes upon Joel in his study. The room looks as if it’s been ransacked. He’s listening to a tape of his own voice and holding a drawing. She stands and listens, too, unbeknownst to him.JOEL’S VOICE …that’s Clementine all over. Complete selfishness. Complete and utter disregard for anyone else’s feelings.
CLEMENTINE
Hi.He looks up. His eyes are red-rimmed and wild looking. They stare at each other.
JOEL
Hey.Joel’s taped voice drones on in the background.
JOEL (cont’d)
Look what I found.He holds up the drawing for Clementine to see. It’s the picture of her in the skeleton costume.
She studies it, touched and confused. She doesn’t know what to say.CLEMENTINE
Well, you made me look skinny.JOEL’S VOICE
She’s like a train wreck, tearing people apart, leaving chaos and destruction in her wake. And…CLEMENTINE
It’s a nice place you have.JOEL
Thanks. Y’know, it’s… relatively cheap. I like it. The location’s good. It’s not usually this messy.CLEMENTINE
It’s nice.JOEL’S VOICE
…seems obvious to me that it’s all based on some kind of mammoth insecurity.JOEL
I’m sorry I yelled at you.JOEL’S VOICE
She plays at being this rebel, free-spirit.CLEMENTINE
It’s okay. (beat) I like you so much. I hate that I said mean things about you.JOEL
I’ll turn this off.CLEMENTINE
No. I think it’s… I think it’s only fair.JOEL’S VOICE
I mean, the whole thing with the hair? It’s all bullshit. And it’s sort of pathetic when you’re thirty and you’re still doing that shit.JOEL
I really like your hair.CLEMENTINE
Thank you.JOEL
Can I get you something to drink?CLEMENTINE
Do you have any whiskey? I’m cold.JOEL
Yeah.Clementine enters the study as Joel exits into the kitchen.
IN THE KITCHEN
Joel finds his almost empty bottle of scotch in the cabinet. He pours the little left into two glasses, exits.IN JOEL’S STUDY
Joel enters with the two glasses of whiskey. Clementine sits on the couch, looking stunned. He hands her a glass.JOEL
Sorry, I thought there was more.JOEL’S VOICE
…that’s what occurred to me that night, that the only way Clem thinks she can get people to like her is to fuck them or at least dangle the possibility of getting fucked in front of them. And I think she’s so desperate and insecure that she’ll sooner or later she’ll just go around fucking everyone.CLEMENTINE
I don’t do that.JOEL
I wouldn’t have thought so.CLEMENTINE
Because I don’t.JOEL
I know.Joel turns off the tape.
CLEMENTINE (crying)
Because it really hurts me that you said that. Because I don’t do that.JOEL
Okay, I’m sorry.They both stare off. Finally:
CLEMENTINE
I’m sorry about this. I’m going to go. I’m a little confused. I don’t think I can be here.JOEL
Okay. Yeah. I’m sorry.Clementine gets up.
CLEMENTINE
So… bye. It was nice meeting you and all.JOEL
Yeah, you too. I had a good time.She exits.
IN THE HALLWAY
Clementine walks down the hall. Joel appears behind her.JOEL
Hey, wait.CLEMENTINE
What?JOEL
I just wanted to…He doesn’t know what to say, stops.
CLEMENTINE
What?JOEL
I just wanted to… Um, I was just wondering… how your bruise is? From falling. Y’know?CLEMENTINE
It hurts. My ass is purple.JOEL
I’m sorry. It was a nasty fall. I mean, it was sort of funny once I realized you weren’t dead.CLEMENTINE
I’m good for a laugh, anyway.JOEL
No, that’s not what I meant.CLEMENTINE
Anyway, look, I’m gonna go. Take care of yourself.JOEL
You too.She heads down the hall.
JOEL (cont’d)
Wait!CLEMENTINE
What?JOEL
I came up with another hair color.CLEMENTINE
(not turning)
Oh, yeah?JOEL
Brown versus The Board of Education.CLEMENTINE
(walking, no change of expression)
It’s a little cumbersome.JOEL
Wait!She stops and turns.
CLEMENTINE
(impatiently)
What, Joel? What do you want?JOEL
(at a loss)
I don’t know. Just wait. I just want you to wait for a while.They lock eyes for a long moment: Clementine stone-faced. Joel with a worried, knit brow. Clementine cracks up.
CLEMENTINE
Okay.JOEL
Really?CLEMENTINE
I’m not a concept, Joel. I’m just a fucked-up girl who is looking for my own peace of mind. I’m not perfect.JOEL
I can’t think of anything I don’t like about you right now.CLEMENTINE
But you will. You will think of things. And I’ll get bored with you and feel trapped because that’s what happens with me.JOEL
Okay.CLEMENTINE
Okay.-
This reply was modified 3 years, 2 months ago by Kristina Zill.
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This reply was modified 3 years, 2 months ago by Kristina Zill.
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This reply was modified 3 years, 2 months ago by Kristina Zill.
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This reply was modified 3 years, 2 months ago by Kristina Zill.
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This reply was modified 3 years, 2 months ago by
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Gary finds the essence –
What I learned: Once you boil down the scene/ sequence to it’s essence, what it’s about. There are countless ways to express that. You not tied into just the way it occurred to you to originally write it. No matter how clever or good you think that writing is.
Script I choose: Stripes
Scene 1 Location: Opening Scene – introduction to the protagonist and his core trait.
Logline: John Winger (Bill Murry’s Character) tosses away a parking ticket he finds on his cab for parking in front of a fire hydrant. Two college kids get in his cab for a ride.
Essence: John has no use or respect for the rules.
Scene 2 Location: Second scene – Introduction to the main secondary character and his core trait.
Logline: Russel Ziskey (Harold Ramis’s character) is teaching English to a class of foreigners. He has no business teaching the class, he’s a total fraud as a teacher.
Essence: Russel will try to con or talk himself into/out of any situation he finds himself in instead of facing the truth.
Scene 3 Location: Third Scene – A montage of woe. This is an attempt to create empathy for our main protagonist. Also, it continues to show his character trait of hostile rebellion against all authority.
Logline: John has quit his job, had his car repossessed, his dry cleaning and pizza run over by the repo men and upon finding out about this his girlfriend leaves him.
Essence: John is a lazy loser, full of excuses.
Scene 4 Location: Fourth Scene – Inciting incident – also explores the dynamic between the protagonist and his sidekick.
Logline: John sees an Army commercial on the television and is taken by the glamourous ad. Russel bets him he can’t do 5 push-ups. John proves him wrong but just barely, leading to him suggesting they join the Army.
Essence: John comes to the self-realization that he must change.
Scene 5 Location: Sixth scene – First action after the inciting incident or maybe the inciting incident itself.
Logline: John and Russel go to the recruitment office and sign up. They joke around not taking it seriously.
Essence: The are looking at this like a college prank. John is looking for an easy fix for his life. He’s not prepared for the work that he’ll have to do to create meaningful change.
My selection for most profound essence:
Location: First or second scene in act two – Antagonist meets Protagonist in their first skirmish.
Logline: The Troop Company is gathered in the barracks introducing themselves. John Gives a sarcastic speech, while introducing himself, denigrating the army in the subtext of his words. Their drill sergeant picks up on the double meaning of John’s words and rises to the challenge of wills. John’s against his.
Essence: Two opponents on a battle-field size each other up. This will be a battle of wills. With sarcasm and subtext as the weapons of choice.
It plays different in the movie than in the script. The script uses the scene to mostly introduce the tertiary characters to us. A lot of the dialogue is the same in the movie as in the script but it’s moved around making sure the Bill Murry character of John is clearly the protagonist. Bill Murry’s character John gives a totally different monologue in the movie that I think is better and funnier but more important it’s more on point with the essence of the scene, which is a battle of wills using sarcasm and subtext as the weapons of choice. Where as in the script it’s more about flatly stating his feelings and the drill sergeant saying, in essence too bad, you’re stuck here. (I shortened the scene to just it’s basics because it goes on for a while.)
INT. BARRACKS – NIGHT
Roy and Harold’s platoon are sitting on the floor at the foot of their bunks as one of the recruits completes his introduction of himself. He’s CRUSIER, a short flat-headed recruit with two missing teeth and a nervous twitch.
CRUSIER
My names Howard Turkstra, I’m from Kansas City and I joined the army ‘cause my father and brother were in the Army. Uh — my hobbies are fast cars and fast women — (the other recruits’ whistle and applaud) which is why the guys in my car club call me — “The Crusier” .
He sits down smiling proudly.
CUT TO:
ROY
ROY
They should have called him ‘The Dork’.
CUT TO:
HULKA
HULKA
(pointing to Roy)
Okay, Mr. Push-ups, your turn.
He glares at Hulka and stands up.
ROY
My name is Roy Winger and basically I have to say I got roped into joining by a friend because I can’t think of a single good reason why I enlisted. The pay stinks, I look lousy in green and I’m not that interested in heavy artillery. But here, I am anyway, in the Army, a victim of circumstance —
He sits down.
HULKA
Sounds like you got a little morale problem, son.
ROY
Well, there’s no rule says I have to like it, is there?
HULKA
No. In fact with an attitude like that I can personally guarantee that you are going to hate it.
(TO EVERYONE)
Now hit the sack. Reveille is at 0500!
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Ed Finds the Essence
What I learned, finding essence is difficult. I find trying to sort out the other “noise” helps me focus on what is trying to be accomplished within the scene. I think if this scene was removed, what would be not learn as the audience. Somewhat reverse engineering.
Script I choose: JURASSIC PARK
Scene 1 Location: Beginning of Act One Logline: Dr. Grant and Dr. Sattler (Ellie) explore a dinosaur fossil site Essence: These paleontologist are experts, lovers, looking for answers in the dirt.
Scene 2 Location: Mid Act One Logline: Grant and Ellie meet their benefactor, Hammond for the first time Essence: Hammond needs Grant and Ellie’s help getting his park certified
Scene 3 Location: End of Act One Logline: Grant and Ellie, and others, come to Jurassic Park, meet real dinosaurs and find answers. Essence: Dinosaurs live again and the amazed scientist discover they are different that what they thought.
Scene 4 Location: Act Two – Beginning Logline: Hamond shows his guest how Dinosaurs are created in the lab. Essence: Twist of fate – The scientist suspect what Hammond is doing is dangerous.
Scene 5 Location: Act Three – Near End Logline: Hammond goes for broke shutting down the system for a reboot try. Essence: Desperate times call for desperate measures.
My selection for most profound essence:
The essence of this scene is the scientist detect a level of danger, not appreciation, in what Hammond has done by bio-engineering dinosaurs – in particular – Velociraptors.
INT HATCHERY/NURSERY DAY
The hatchery is a vast, open room, bathed in infrared light.
Long tables run the length of the place, all covered with eggs, their
pale outlines obscured by hissing low mist that’s all through the room.
HAMMOND
Come on in.
HAMMOND takes off his hat and hands it one of the technicians.
HENRY WU, late twenties, Asian-American, wearing a white lab
coat works at a nearby table, making notes.
HAMMOND (cont’d)
Good day, Henry.
WU
Oh, good day, Sir.
GRANT goes to a round, open with various eggs under a strong
light.
One of the eggs makes strong movements – a robotic arm steadies
the shell.
GRANT
My God! Look!
Hammond, Ellie, and Malcolm join him, as does Henry Wu.
WU
Ah, perfect timing! I’d hoped they’d hatch before I had
to go to the boat.
HAMMOND
Henry, why didn’t you tell me? you know I insist on
being here when they’re born.
Hammond puts on a pair of plastic gloves.
The egg begins to crack. The robotic arm moves away….a BABY
DINOSAUR tries to get out, just its head sticking out of the shell.
Hammond reaches down and carefully breaks away egg fragments,
helping the baby dinosaur out of its shell.
HAMMOND
Come on, then, out you come.
HAMMOND (cont’d)
They imprint on the first living creature they come in
contact with. That helps them to trust me. I’ve been
present for the birth of every animal on this Island.
Just look at that.
MALCOLM
Surely not the ones that have bred in the wild?
WU
Actually, they can’t breed in the wild. Population
control is one of our security precautions here. There
is no unauthorized breeding in Jurassic Park.
Grant and Ellie exchange a look. She manages not to smile.
MALCOLM
How do you know they can’t breed?
WU
Because all the animals in Jurassic Park are females.
(I’ve) We engineered them that way.
Hammond keeps his attention trained on the new dinosaur.
HAMMOND
There you are. Out you come.
ELLIE
Oh my God.
HAMMOND
Could I have a tissue please?
WU
Right away (certainly). Coming right up.
The animal is now free, Hammond sets in don carefully next to
its shell. Grant picks it up and holds it in the palm of his hand,
under the incubator’s heat light.
GRANT
Blood temperature feels like high eighties.
HAMMOND
Wu?
WU
Ninety-one.
Grant picks up the large, broken half-shell, but the robotic arm
snatches it back out of his hand, and puts it down.
GRANT
Homoeothermic? It holds that temperature?
(to Wu)
Incredible.
Malcolm is looking at Hammond, skeptical.
MALCOLM
But again, how do you know they’re all female? Does
someone go into the park and, uh – – lift up the
dinosaurs’ skirts?
WU
We control their chromosomes. It’s not that difficult.
All vertebrate embryos are inherently female anyway. It takes an extra
hormone at the right developmental stage to create a male, and we
simply deny them that.
HAMMOND
Your silence intrigues me.
MALCOLM
John, the kind of control you’re attempting is not
possible. If there’s one thing the history of evolution
has taught us, it’s that life will not be contained.
Life breaks free. It expands to new territories. It
crashes through barriers. Painfully, maybe even..
dangerously, but and…well, there it is.
Ellie listens to him, impressed.
HAMMOND
Watch her head – support her head.
Grant, ignoring the others, picks up the baby dinosaur, and
holds it on the palm of his hand, under the incubator’s heat light. He
spreads the tiny animal out on the back of his hand and delicately runs
his finger over its tail, counting the vertebrae. A look of puzzled
recognition crosses his face.
WU
You’re implying that a group of composed entirely of
females will breed?
MALCOLM
I’m simply saying that life – – finds a way.
ELLIE
“You can’t control anything.” I agree with that. I
like that.
She walks over to Malcolm, he smiles at her, too warmly.
ELLIE (cont’d)
You can talk. I don’t k now how to say it. You’re just
articulate. You say everything that I think, that I
feel. It’s exciting.
(or)
I find it so exciting. It’s exciting that you can’t
control life, that you know – –
(or)
You know that, I find it terrifying. Life will always
find a way.
MALCOLM
That’s right. Will break through.
ELLIE
I get ah – –
MALCOLM
I know, it’s very exciting.
ELLIE
And scary.
MALCOLM
And scary.
ELLIE
When people try to control things that it’s out of their
power – –
MALCOLM
It’s anti-nature.
ELLIE
Anti-nature.
Grant doesn’t notice, as he’s still obsessed with the infant
dinosaur, measuring and weighing it on a nearby lab bench. He stops, a
strange look on his face. He knows what this animal is – – but it
can’t be.
GRANT
(dreading the answer)
What species is this?
WU
Uh – – it’s a Velociraptor.
Grant and Ellie turn slowly and look at each other, then look at
Hammond, astonished.
GRANT
You bred raptors?
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Kristen Finds the Essence
What I’ve learned is the essence in the scene gives the energy and drive to the subsequent scenes
Speed, 1994
Scene 1 Location: End of Act One
Logline: Jack and Harry are pursuing Payne who is strapped with explosives
Essence: Jack and Harry are daring and masterful at working together to outwit an adversary even if averting a hostage situation means shooting your partner in the leg
Scene 2 Location: Start of Act Two
Logline: In shock from witnessing a bus explosion, Jack finds himself answering a pay phone and receiving unexpected news
Essence: Jack learns that his adversary wasn’t killed in the explosion and Payne is willing to put other people’s lives in danger to get his revenge.
Scene 3 Location: Act Two
Logline: Annie runs to catch a bus successfully using her charm to get the bus driver to stop well past the bus stop. Annie also adeptly avoids having to sit next to an overly talkative tourist on the bus.
Essence: Annie is a good natured young, attractive woman who can navigate everyday situations and endear herself to others.
Scene 4 Location: Act Two
Logline: Jack commandeers a Jaguar to chase the bus and notify the bus driver of the catastrophic situation before the bomb activates at 50 mph.
Essence: Jack is willing to do whatever it takes to save lives and he is good at thinking on his feet in high stress situations.
Scene 5 Location: Act Three
Logline: Jack and Annie are on a speeding train. Jack can’t stop the speeding train and only one of them is able to jump off.
Essence: Jack has fallen for Annie and even though he could die, he doesn’t leave her. His ability to think under pressure pays off when he uses the train’s velocity to jump the track and save them both.
The most profound essence is Jacks’ conversation with Payne on the pay phone which sets up the challenge (“Pop quiz, hotshot. There’s a bomb on a bus. Once the bus hits fifty miles an hour, the bomb is armed. If the bus drops below fifty, it blows up. What do you do?”) and the rules (“No one gets off the bus. If you take any of the passengers off, I will detonate it. If I don’t get my money by 11:00am, there is also a timer.”). It also sets up the mental aspect of the back and forth between Jack and Payne. Jack is disoriented from the bus explosion, and he is now learning of a new threat. Jack thought Payne had been killed and he now must play catch up to try to get ahead of Payne’s methodical plan. This scene also gives the audience insight into the mind of Payne which sets up future sequences in which they try to outsmart one another.
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Amechi Finds the Essence
What I learned doing this assignment is a scene should have a simple premise but can also have layers hidden clearly in sight on a second watch/read.
SCRIPT: GET OUT by Jordan Peele
SCENE 1 LOCATION – EARLY IN ACT 1 (SET UP)
LOGLINE: Chris and Rose talk about the upcoming trip and his fears about meeting her parents.
ESSENCE: Chris is worried that Rose’s parents are not going to like him, but Rose is certain they will because she has planned this with her parents.SCENE 2 LOCATION – LATE IN ACT 1
LOGLINE: The family have dinner together and Jeremy gets drunk and tries to wrestle Chris.
ESSENCE: Chris sees a second side to everyone in the family, including Rose.SCENE 3 LOCATION – ACT 2
LOGLINE: Chris is concerned about the after effects of the hypnosis, but Rose says that it worked for her when she was younger. She tries to put him at ease.
ESSENCE: Rose tries to stop Chris from looking too deeply into what has been done to him with the hypnosis.SCENE 4 LOCATION – ACT 2
CHRIS AND GEORGINA
LOGLINE: Georgina apologizes to Chris for unplugging his phone and tells Chris that the workers are treated like family
ESSENCE: Georgina has in fact revealed that the workers are in fact family members in new bodies.SCENE 5 – END OF ACT 2
LOGLINE: Chris tries to escape the family but Dean explains that they have a purpose for him, and Missy knocks him unconscious.
ESSENCE: The family reveals that they have trapped Chris here and knock him unconscious to perform surgery on him. -
Lesson #1
George Finds the Essence
What I learned is that there is more depth to great writing and it all
starts with getting to the essence of what you want to write.
Script I choose: APOCALYPSE NOW
Scene 1 Location: Beginning of Act One
Logline: Charlie suggests that maintaining America’s economic dominance may require using America’s military dominance while his bodyguard Willard, a vet, listens quietly to his boss’s assertions.
Essence: Charlie isn’t above using force, even on a grand scale, to enrich himself and maintain dominance.
Scene 2 Location: Middle of Act One
Logline: Willard studies Kurtz’s dossier, noting his accomplishments and talents and that the military planned to exploit him.
Essence: Kurtz’s journey into madness was caused by the military.
Scene 3 Location: Middle of Act One
Logline: Soldiers riot from gawking at Playboy models, unable to control their animalistic urges.
Essence: War is brutal.
Scene 4 Location: Latter Middle of Act One
Logline: Colonel Kilgore is made aware that one of the soldiers traveling with Willard is a famous surfer of which he is a huge fan.
Essence: Brutality and murder are compartmentalized by Kilgore, allowing him to have civilian hobbies and recognize greatness outside of war.
Scene 5 Location: End of Act One
Logline: Kilgore begins an air raid on a civilian fishing village while scoping out killer waves, as the villagers scramble to defend themselves from yet another military attack.
Essence: Another day at the office for one person could be the last day on earth for another.
My selection for most profound essence is Scene 3 Location: Middle of Act One
Logline: Soldiers riot from gawking at Playboy models, unable to control their animalistic urges.
31 FULL SHOT – PEDESTAL – GIRLS – MEN
They crush forward starting to scream — men fall on the
wire — the guards in the “riot control positions” forget
— the attack dogs are trampled. The mob as one surges
forward onto the wire. Men scream and fall into the moat,
which is filling up fast. The Agent sees this all as he
has seen it before. He casually pulls the pin of a smoke
grenade; the girls retreat into the copter — he follows,
then the two Green Berets. The ROTARS WHINE — the black
Playboy Huey lifts off just as the first crazed men reach
it. They grab frantically for the wheels, but miss. The
Huey wheels up into the blue sky, leaving them all below.
Such are the ways of war.
Essence: War is brutal.
War changes a person and even thought these soldiers are being treated to entertainment, they can’t control themselves or their most basic drives. They have been broken down and dehumanized, stripped of remorse and empathy. The military knows this, hence the moat, punji stakes, and barbed wire surrounding the stage where the Playboy models will perform.
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Judith Finds the Essence
What I learned is essence has a feeling to it and great writing is full of it.
Script I choose: The Last of the Mohicans
Scene 1 Location: Forest
Logline: Three men hunt for food.
Essence: The huntsmen, two Indians and a white man, respect the Elk they have killed: “We’re are sorry to kill you, Brother. Forgive us. I do honor to your courage and speed, your strength.
Scene 1 Location: Cabin in the woods
Logline: The three men meet with their frontier friends.
Essence: The Indians and the white frontier people respect each other.
Scene 1 Location: Garden
Logline: Duncan and Cora have tea in the garden and Duncan proposes.
Essence: Duncan expects Cora to accept his proposal, but Cora doesn’t love him and turns him down as politely as she can.
Scene 1 Location: Woods
Logline: Cora, Hawkeye, and his two Indian adopted brother and father hide from Indians trying to kill them.
Essence: Cora realizes that there is more to Indians than being savages.
Scene 1 Location: Cameron’s Cabin in the woods
Logline: The women and their Indian guides find the Cameron family massacred.
Essence: Cora learns that the frontier is a harsh place when Hawkeye and his Indian family leave the Cameron’s unburied in order to protect them.
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Jonathan Skurnik finds the essence
I really enjoyed finding scenes that had an essence that consisted mostly of subtext. These were the most fun scenes to use for this exercise. I learned that the essence can be direct or in the subtext and both approaches serve the script well.
Script I choose: The Big Sick
Scene 1 Location: Kumail’s Uber
Logline: Kumail drives Emily home after their one-night stand
Essence: Kumail wants Emily, but Emily doesn’t want Kumail: After Kumail asks Emily for a second date and Emily declines, Kumail makes jokes to cover up his disappointment.Scene 2 Location: Kumail’s parents’ home
Logline: Kumail’s quirky but traditional parents try to find him a wife
Essence: Kumail doesn’t fit his family’s traditional expectations: He must keep any white girl he dates a secret.Scene 3 Location: Backstage at the Comedy Club
Logline: As they try out their jokes with each other, Kumail worries about Emily
Essence: Kumail tries to convince himself that Emily will be fine without him.Scene 4 Location: Comedy Club
Logline: When a racist heckler interrupts Kumail’s performance, Emily’s parents defend him with threats of violence.
Essence: Kumail bonds with Emily’s parents.Scene 5 Location: Emily’s Apartment
Logline: Kumail and Emily’s mom Beth talk about how Beth and Terry (her husband) met.
Essence: Kumail and Beth’s bond deepens. They discover that Beth and Terry’s story is a lot like Kumail’s and Emily’s -
(Sorry for the lateness. I had difficulty with the script from script-o-rama. Turned out the last 20 or so pages were missing – I was able to locate another complete one, but that took extra time)
Ed finds the Essence
What I learned is that there is more depth to great writing and it all starts with getting to the essence of what you want to write.
Script I choose: The Green Mile
Scene 1 Location: Act One, p12 of 145
Logline: Enormous John Coffey arrives on The Mile, escorted by guard bully Percy Wetmore.
Essence: Meek men in shackles are ideal targets for compulsive bullies.
Scene 2 Location: Act Two
Logline: The guards and a trustee, Toot, rehearse Arlen Butterbuck’s execution. Toot’s comedic bent cracks them up, to Paul’s dismay.
Essence: A man’s execution is a serious matter.
Scene 3 Location: Denouement
Logline: At Elaine’s funeral we discover Paul has outlived everyone he knew.
Essence: Unnaturally long life is actually a curse.
Scene 4 Location: Beginning of Act Three
Logline: Paul discovers a newfound appreciation for his wife and compassion for the suffering of their friends Hal and Melissa
Essence: We shouldn’t take our relationships for granted.
Scene 5 Location: Just before the point of no return, p95 of 145
Logline: Paul believes John Coffey can and would “take back” Melinda’s terminal cancer and decides he must try to arrange it.
Essence: A good man can’t sit by and do nothing.
My selection for most profound essence: Of these five I believe the last has the most profound essence because it speaks to conflicts we all might face (usually on a lesser level).
INT. PAUL’S BEDROOM – NIGHT
Paul is wide awake, staring at the dark. Jan can sense him brooding. She rolls over sleepily.
JAN
Honey? If you don’t say what’s on your mind, I’m afraid I’ll have to smother you with a pillow.
PAUL
I’m thinking I love you. I’m thinking I don’t know what I’d do if you were gone.
JAN
Oh.
PAUL
(beat)
I’m also thinking I’d like to have the boys over tomorrow.
Off Jan’s look, we
CUT TO:
INT. DINING ROOM- DAY
Brutal, Harry, and Dean are seated at the table with Paul and Jan. Serving plates are passed, everybody digging in:
THE MEN
(various, ad-lib)
Ma’am, you sure know how to fry up some fine chicken…Brutal, don’t hog the taters now…Try that corn yet? It’s something special…
Paul softly interjects:
PAUL
You saw what he did with the mouse.This stops everybody cold. Dean puts his chicken down, wipes his hands. Looks are traded in the silence.
BRUTAL
I could’a gone the rest of the day without you bringing that up.
DEAN
I could’a gone the rest of the year.
PAUL
He did it to me too. He put his hands on me and took my bladder infection away.
The men absorb this. Brutal glances to Jan.
JAN
When he came home, he was…all better.
DEAN
You’re talking about an authentic healing. A praise-Jesus miracle.
PAUL
I am.
BRUTAL
If you say it, I accept it. But what’s it got to do with us?
Jan looks to Paul, realization starting to dawn:
JAN
Melinda? Oh, Paul…
BRUTAL
Melinda? Melinda Moores?
Paul nods–that’s who we’re talking about.
JAN
You really think you can help her?
PAUL
It’s not a bladder infection, or even a busted-up mouse. But there might be a chance.
HARRY
Hold on now. You’re talking about our jobs. Sneak a sick woman onto a cellblock?
PAUL
Hal would never allow that. You know him, he wouldn’t believe something unless it fell on him.
BRUTAL
So you’re talking about taking John Coffey to her. That’s more than just our jobs, Paul.
DEAN
Damn right. That’s prison time if we get caught.
HARRY
Let’s not discuss this like it’s even an option. Brutal, help me out here…
Brutal lets out a deep breath, considering. He looks to Paul.
BRUTAL
I’m sure she’s a fine woman…
JAN
The finest.
PAUL
What’s happening to her is an offense, Brutal. To the eyes and the ears and the heart.
BRUTAL
I have no doubt. But we don’t know her like you and Jan do…do we?
PAUL
That’s why it’s a lot to ask.
HARRY
It is. Let’s not forget Coffey’s a murderer. What if he escapes? I’d hate losing my job or going to
prison, but I’d hate having a dead child on my conscience even more.
PAUL
I don’t think that’ll happen…
(beat, softly)
…in fact, I don’t think he did it at all.
The men are stunned by this. Off their looks:
PAUL
I just can’t see God putting a gift like that in the hands of a man who would kill a child.
DEAN
Well, that’s a tender notion, but the man’s on death row for the crime. Plus, he’s huge. If he tried to get away, it’d take a lot of bullets to stop him.
BRUTAL
We’d all have shotguns in addition to sidearms. I’d insist on that.
(to Paul)
He tried anything, we’d have to take him down. You understand.
PAUL
I understand.
BRUTAL
(beat)
So. Tell us what you had in mind.
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Steve John Bennett Finds the Essence
I learned that the scenes that have the most impact on me are scenes with a deep essence.
Script I choose: DANCES WITH WOLVES
Opening Scene
Logline:The last of the wounded are being tended to, exhaustion and desperation drive the soldier to a desperate act.
Essence: Within the horror of war, the tenacity of Dunbar.
Scene 9 BATTLEFIELD
Logline: Resolved with his death, Dunbar rides into the enemy lines and releases his life to God.
Essence: Dunbar’s acquiescence to his fate.
Scene 22 FAMBOUGH’s OFFICE
Logline: Dunbar arrives at the verge to the Plains and is confronted by the Major’s broken psyche.
Essence: Guided onwards, he encounters the mad Major, a symbol of the death of the past.
Scene 47 CORRAL
Logline: Performing his duty, Dunbar begins the cleanup and encounters the antelopes.
Essence: The previous inhabitants had no regard for health and nature.
Scene 65 RIVER
Logline: Adapting to his circumstances, Dunbar warns off an encroaching Indian.
Essence: Now a part of nature (naked) Dunbar encounters Kicking Bird
My selection for most profound essence:
65 EXT. RIVER - DAY Comfortable with his nakedness, Dunbar is meandering along the stream in no particular hurry. He's very white. His skin practically sparkles in the sun. Dunbar is making his way up the bluff. The steepest part is at the lip and here he drops to all fours. Dunbar's face comes into view. He freezes. Someone is creeping under the shade of the awning... an aboriginal man. Dunbar's head pops down behind the bluff. The lieutenant is down on his naked haunches. His heart is pounding in his ears. Sweat has broken out on his face. His mouth is dry as ash. He's playing back images in fragments. A deerskin shirt, strands of hair sewn along each sleeve. Fringed leggins. A dark, faded breechclout. Moccasins with beading. A single, large feather drooping behind a head of shiny, black hair. Braids wrapped in fur. A lethal stone club hanging from a red hand. No eyebrows on a magnificent, primitive face. 27 (CONTINUED) 65 CONTINUED: Dunbar stays in a crouch, trying to think on jellied legs. His breathing has quickened. His mouth is open. A horses' whinny startles him. Ever so slowly, the lieutenant peers over the bluff. The aboriginal man is in the corral. He's walking slowly toward Cisco. One hand is held out reassuringly, the other is grasping a rope. He's making gentle, cooing sounds and is only a step or two from being able to loop his line over the horse's neck. DUNBAR You there! Kicking Bird jumps straight into the air. As he lands he whirls to meet the voice that startled him. Dunbar is coming. His hands are clenched and his arms are swinging stiffly at his sides. Kicking Bird has turned to stone at the sight of this horror. With a sharp intake of breath, he staggers back a few steps. Then he turns and runs, tearing through the corral fence as if it were made of twigs. He leaps onto his horse and quirts the pony into full gallop. Dunbar is watching from the yard. His jaw is clenched, his hands are still fisted. The great grassland is empty. Kicking Bird is gone.
Essence: for meths is a great metaphor for Dunbar’s arc – for his transition from modern man to wise man, as he adopts the ways of the Indians.
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Essence
What I have learned is that the essence of a scene resonates on a much deeper level for the viewer causing a richer emotional experience for the reader/viewer.
Saving Private Ryan
Scene 1 location: Opening Act
Logline: Teenage soldiers land of Normandy Beach- D-Day.
Essence: War is scary and unpredictable; soldiers are brave but still scared to death.
Scene 2 location first act.
Logline: a mother sees government officials approaching, she knows something horrible has happened to one of her sons serving in the military.
Essence: The mother sons will never come back to the house they were raised in or the yard they played in together as young boys- war has taken them away forever. In this scene we see the back drop of a swing set, basketball court, ect.
Scene 3 location 2<sup>nd</sup> act
Logline: soldiers long for the lives they left behind as civilians.
Essence: Soldiers take a break from killing to listen a song on the record player- the song is by a woman longing for a life she once had. All of the dialogue is about happier times they experienced back home in the U.S.
Scene 4 location 2<sup>nd</sup> act
Logline: the stress of fighting has the soldier in the company at odds and ready to kill each other
Essence: Captain Miller admits to the company that as a civilian he was a elementary teacher. The soldiers stop their in-fighting. Maybe he stated that fact about himself to reveal to the company he has no clue leading men into war.
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Maureen Finds the Essence: <font color=”#000000″>What I learned is that even when I know a film well, when I discover and define the essence of the scenes I love, I begin to have an understanding for how they are crafted, and what tools I can use to craft my own scenes. </font>
<font color=”#000000″>
</font>Script I choose: DEAD POETS SOCIETYScene 1 Location: ACT 1 Intro Keating/Carpe Diem Scene
Logline: Prof Keating introduces himself to the class by taking them out in the hall and conjuring the spirits of the dead athletes in the old school photos.
Essence: This Teacher is offbeat and not afraid to go deep and wake the Boy’s up to what is really at stake in life. His class is going to be a different kind of challenge.Scene 2 Location: Early Act 2 – The FIrst Cave Scene
Logline: The Boys huddle around a campfire and read poetry aloud.
Essence: The Boys begin to stir the buried yearnings in their hearts and souls.
Scene 3 Location: Middle of Act Two – Sweaty-Toothed Madman Scene
Logline: Keating challenges Todd to face his fear of speaking, find his primal voice, and reveal his disowned worth.
Essence: Sometimes we have to tap our ‘barbaric’ emotions to break out of the straitjackets we have crafted to hold us back.Scene 4 Location: Later Middle of Act 2
Logline: Keating has the Boys march to their own tune, but they soon unconsciously fall into formation.
Essence: The pull of conformity is strong and embedded; it takes intention to stay on your own path.Scene 5 Location: End of Act 3 – Climax/Resolution
Logline: When a ‘disgraced’ Keating comes in to get his things while Nolan teaches his class, Todd finds his courage stands on his desk to salute Keating, “Oh, Captain, My Captain,” inspiring most of the class to do the same.
Essence: From tragedy and failure to transcendent triumph: Keating has inspired the Boys to be individuals of courage and commitment, and their brave act of acknowledging him cements their achievements, and lets him know that all has not been in vain.My selection for most profound essence: The Climax/Resolution Scene at the end of the film.
Essense: From tragedy and failure to transcendent triumph: Keating has inspired the Boys to be individuals of courage and commitment, and their brave act of acknowledging him cements their achievements, and lets him know that all has not been in vain.
I believe this is the essence of this scene (and in a larger sense the essence of the film) because it ties together all the scenes in the film, and delivers the film’s ultimate meaning. If the actions in this scene did not take place, then the message of the film would have been that even brave attempts to express individuality often end in loss and defeat. The film needs this scene to be emotionally large and triumphant in order to achieve the emotional impact that it has been driving toward.
INT. THE ENGLISH CLASSROOM – AFTERNOON
Todd, Knox, Meek, Pitts, Cameron and the rest of the class
are there. Conspicuously empty are Neil’s desk and Charlie’s
desk. Todd looks numb, his gaze downward, reminding us of
the way he looked when we first met him. Knox, Meeks, and
Pitts look humiliated. All of the former club members are
too ashamed of themselves to look at one another. Only
Cameron looks halfway normal. He sits at his desk studying
as though nothing had happened.
The door opens. In strides Mr. Nolan. All stand. Nolan
sits at the teacher’s desk. All sit down.
130.
NOLAN
Since the semester is so near to a
close, I will be taking over this
class through exams. We will find
a permanent English teacher during
the Christmas holidays. Who would
like to tell me where you are in
the Hutton textbook?
Nolan looks around. There are no volunteers.
NOLAN
Mr. Anderson?
TODD
(softly, barely audible)
The… Hutton…
Todd looks through his books. He fumbles nervously.
NOLAN
I can’t hear you, Mr. Anderson.
TODD
(still low)
I… think we…
NOLAN
(exasperated with this)
Mr. Cameron, kindly inform me.
CAMERON
We skipped around a lot, sir. We
covered the romantics and most of
the chapters on post civil war
literature.
NOLAN
What about the realists?
CAMERON
I believe we skipped most of that.
Nolan flips through the text. The door to the classroom
opens. Mr. Keating enters.
KEATING
(to Nolan)
I came for my personals. Should I
wait until after class?
131.
NOLAN
Absolutely not. Get your things
and get out.
(to the class)
Gentlemen, turn to page fifty four.
Mr. Cameron, read aloud the poem by
Eugene Field.
CAMERON
Mr. Nolan, that page has been
ripped out.
NOLAN
Then borrow somebody else’s book.
CAMERON
They’re all ripped out, sir.
NOLAN
(staring at Keating)
What do you mean they’re all ripped
out?
CAMERON
Sir we…
NOLAN
Never mind, Cameron.
He carries his textbook to Cameron’s desk.
NOLAN
Here. Read.
CAMERON
“Little Boy Blue” by Eugene Field:
“The little toy dog is covered with dust,
But sturdy and stanch he stands.
And the little toy soldier is red with rust,
And his musket moulds in his hands…
As Cameron continues reading, Keating, who is at the closet
in the front corner of the room, looks out at the students.
He sees Todd, whose eyes are full of tears. He sees Knox,
Meeks, Pitts, too shamed to look him in the eye but
nevertheless full of emotion. The irony of Nolan choosing
the “Little Blue Boy” is too incredible.
Keating finishes his packing. He walks across the room
towards the door. Just as Keating reaches the door, Todd can
no longer hold it in.
132.
TODD
(interrupting Cameron’s
reading)
Mr. Keating, they made them sign
it!
KEATING
I know that, Todd.
NOLAN
Quiet, Mr. Anderson! Leave, Mr.
Keating!
TODD
But it wasn’t his fault, Mr. Nolan!
Neil’s father did it. Neil wanted
to be an actor more than anything.
Nolan strides down the aisle and slaps Todd mightily. The
boy falls to the floor.
NOLAN
One more outburst, Mr. Anderson!
(turns to the class)
Or anyone else! And you are out of
this school!
He turns toward Keating who has taken a few steps back
towards Todd as though to help.
NOLAN
Leave now.
Keating stands facing Nolan. He turns and faces the class.
KEATING
Wonderful things are possible if we
only dare dream them, boys. Be
bold.
NOLAN
GET OUT!
The boys stare at Keating. He stares at them, taking them in
for the last time. Keating turns and moves towards the door.
TODD
Oh Captain!
Keating turns. So does everybody else. Todd pulls himself
off the floor, props one foot up on his desk then stands up
on it. He stands atop his desk, holding back tears, facing
Mr. Keating.
133.
NOLAN
(moving at him)
You little…
As Nolan moves down the aisle, Knox (whose seat is on the
other side of the room) calls Mr. Keating’s name and stands
up on his desk too. Nolan turns and sees this. Meeks
musters his courage and stands on his desk. Pitts does the
same. One by one and then in groups, the rest of the class
follows suit. Soon the entire class is standing on their
desks in silent salute to Mr. Keating.
Nolan who started at Todd, then at Overstreet, stands
motionless. He is amazed by this overwhelming response.
Keating stands at the door, tears welling in his eyes.
KEATING
Thank you, boys.
Keating looks into Todd’s eyes, then into all their eyes,
gives a nod, then exits.
ANGLE ON each of the members of the Dead Poets Society
standing on their desks:
MEEKS
PITTS
KNOX
and finally, TODD, who is holding back tears but standing
proud.
BLACKOUT. -
Daniel Turner finds the Essence
What I learned is How finding the Essence brings out the subtext and makes the story, scene more interesting. Whether writing or watching, reading it greatly enhances the experience.
Script I chose: Steve Jobs
Scene 1 Location: Openning Scene
Logline: Determination, persistence, stubbornness, who is this guy?
Essence: We are introduced to the main character and learn the essence of whohe is very quickly.
Scene 2 Location: Second Scene
Logline: He’s not only determined and stubborn, but also highly intelligent and a visionary.
Essence: The scene reaffirms what we learn in the first scene about him, and adds the highly intelligent part and that he has a vision that he is determined gets carried out.
Scene 3 Location: Act 1 Set up
Logline: He’s estranged from his maybe daughter and her mother. And has very little social grace.
Essence: He is denying that this little girl is his daughter though it seems fairly obvious that she is, and he looks to be a coward along with all of the other traits we have been shown thus far.
Scene 4 Location: Act 2 B Story
Logline: The two guys responsible for Apple are having a disagreement that looks to be a disagreement that started years ago.
Essence: One guy can dream and the other can do. And they have been arguing about what is more important since the beginning.
Scene 5 Location: Bad Guy closes in.
Logline: Former business associate Sculley visits Steve before his presentation. They both have different versions of their history that come to light.
Essence: One is a businessman, one wants to leave his mark on the world and they interpret and see the world in completely different ways.
This is the essence of the scene and in many ways the essence of the movie. How people view their world and what they consider important in it.
This is a long and dialogue heavy scene. Because I believe that 17 pages is too much to ask people to read, especially poorly formatted I’m just going to give the beginning .
45 INT. BALCONY LOBBY – CONTINUOUS 45 –Steve stops when he hears the voice of John Sculley
SCULLEY
You know all those times I told you
you needed security? Here’s why.
STEVE’s looking at SCULLEY. SCULLEY’s a sworn enemy now but STEVE’snot going to show him that. He has bigger plans. STEVE JOBS – Shooting Script 03/19/15 104. 45 CONTINUED:
STEVE (pause)
I don’t know how it is I’ve gotten older and you haven’t. Some deal with the devil I was never offered.
SCULLEY
So you know what I’ve been thinking for the last four years?
STEVE
As it turns out I’ve never known what you were thinking.SCULLEY
No newborn baby has control, do you
know what I’m talking about? In ‘84, before the Mac launch, you said– STEVE Yeah.
SCULLEY
You said that being adopted meant
you didn’t have control.
STEVE (pause)
We’re starting in a minute so–
SCULLEY
Why do people think I fired you?
STEVE
It’s fine, John, it’s all behind
us.
46 INT. STEVE’S LIVING ROOM – NIGHT
It’s a beautiful house but it’s almost entirely unfurnished. There’s a very nicefloor lamp, a framed photograph of Einstein on the wall…and that’s about it. Except for a Mac that sits in the middle of the floor.
The DOORBELL RINGS–STEVE looks at the door– QUICK CUT TO:
CUT BACK TO:INT. BALCONY LOBBY – SAME TIME
STEVE’S FOYER – NIGHT
STEVE opens the door and SCULLEY is standing there. 48STEVE JOBS – Shooting Script 03/19/15 105. Is it? Hm?
SCULLEY STEVE SCULLEY
Don’t play stupid, you can’t pull it off. STEVEYou came here to ask me–
SCULLEY
Sorry to come by unannounced.
INT. BALCONY LOBBY – SAME TIME STEVE–why people think you fired me? CUT BACK TO:
Yeah.
SCULLEYSTEVE Seriously? Yeah.
SCULLEY
STEVEI haven’t seen or spoken to you in three years.
SCULLEY
Why do people think I fired you? STEVE (pause)Just confirm something for me, okay? You liked the ad, right? (MORE)
QUICK CUT TO:CONTINUED:
STEVE (CONT’D)
The commercial. “1984.” You liked it?INT. STEVE’S LIVING ROOM – NIGHT SCULLEY
When are you gonna get furniture? STEVE
It’s not an easy process.
SCULLEYIt is, you buy a couch and take it from there.
STEVE
I’ve been thinking a lot about couches. What do we use them for? SCULLEY Steve–STEVE
I’d be really surprised if you came
here to talk about interior decorating.
INT. BALCONY LOBBY – SAME TIME SCULLEY
I liked the ad very much.
STEVE You did.
SCULLEY
You know I did, now please answer
my question.
STEVE
You’re lying, son of a bitch, you
tried to kill it.STEVE JOBS – Shooting Script 03/19/15 106. QUICK CUT TO:
CUT BACK TO: QUICK CUT TO:
INT. STEVE’S LIVING ROOM – NIGHT
SCULLEY
It’s time to take a hard look at
the Mac.
STEVE
It’s past time. It’s overpriced, we
need to drop it to nineteen ninety- five. We need to double the marketingbudget, put more bodies on an internal hard drive and invest in FileServer. SCULLEY
Where would that money come from? STEVE
It would come from finally getting rid of the Apple II.INT. BALCONY LOBBY – SAME TIME SCULLEY
Where the hell did you get the idea
I tried (to kill the ad?)STEVE Lee Clow.
SCULLEY Lee’s wrong.
STEVE He’s lying?
SCULLEY He’s mistaken.
STEVE
You agreed with the board. SCULLEY
I understood the board’s concerns but I certainly did not (try to kill–) STEVE
The board’s concern that we didn’t6
show the product. 52
53
53STEVE JOBS – Shooting Script 03/19/15 107. CUT BACK TO:
53
CONTINUED:
53
54
INT. STEVE’S LIVING ROOM – NIGHT SCULLEY
The Apple II is the only thing
making money.
STEVE
That’s because we keep selling it.
SCULLEY (pause–this is awkward
and hard)
I can’t diagram that logic but–
STEVE
We keep making it so people keep–
the Mac needs to sell for $1995.
54
STEVE JOBS – Shooting Script 03/19/15 108. SCULLEY
Among other things, but my
(question was–)
STEVE (over)
What other things? You said among other things. SCULLEY
There is no market research telling7
us the Mac is failing because it’s overpriced. It’s telling us that people don’t like it because they think it doesn’t DO anything, it’s closed end to end. We didn’t know it wasn’t what people wanted but it isn’t, they want slots, they want choices, they want options. The way we buy stereos, mix and match components.
STEVE
John, listen to me. Whoever said
the customer is always right was, I promise you, a customer. SCULLEY
My job is to make a recommendation
to the board.
QUICK CUT TO:54
CONTINUED:
54
55
INT. BALCONY LOBBY – SAME TIME
SCULLEY
Among other things, it was set in a
dystopian galaxy, it took place on a planet where we don’t live, it was darkand the opposite of our brand. And we didn’t show the product. People talked about the ad but most of them didn’t know what we were selling.
55
56
INT. STEVE’S LIVING ROOM – NIGHT STEVE When?
SCULLEY
Just now. An hour ago. I’m coming from Markkula’s house.
STEVE
And what did he say?
(beat)8
What did he say?
56
STEVE JOBS – Shooting Script 03/19/15 109. STEVE
Recommend that we drop the price,
double the marketing–
SCULLEY I can’t.
STEVE Well what are you recommend that we gonna do, kill the Mac?
SCULLEY
I already have, Steve.
STEVE (pause)
What?9
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This reply was modified 2 years, 11 months ago by Daniel Turner.
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This reply was modified 2 years, 11 months ago by Daniel Turner.
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