Day 14 Assignment

[Mary Emmick]

Mary Emmick/Most Memorable Line

What I learned from doing this assignment is how important it is to write some memorable lines in your scripts. Actors and actresses want scripts that have these lines.

The scene I am writing is the last line:

Isabel

You opened my eyes to so much. I hope to learn more and try to make a difference.

New line:

Isabel

You really opened my eyes this year. We can’t look away from injustice.

(I thought this captured more meaning and emotion)

EXT. ROLLING HILLS WINERY – AFTERNOON

It is a sunny mid-June afternoon. Guests are mingling outside the winery on the patio drinking wine, beverages and nibbling on appetizers. A sign near the entrance to the winery reads MARIA GONZALEZ FOR STATE SENATE.

Isabel surveys the gorgeous views of the winery with a backdrop of the vineyards in the distance. Victor is talking with Maria nearby. Isabel sees her history teacher.

ISABEL

Mrs. Andrews, great to see you here! How’s your summer going?

MRS. AMY ANDREWS

Good. Getting some needed rest and spending some time gardening. How about you?

ISABEL

Okay, but I had eye surgery a few weeks ago. It’s much better though.

MRS. AMY ANDREWS

What happened?

ISABEL

I had a retinal detachment of the left eye.

MRS. AMY ANDREWS

(takes off her glasses)

I’m so sorry this happened to you. Without these glasses I can hardly see a thing. I’ve had poor vision since I was a child.

ISABEL

I had no idea…

MRS. AMY ANDREWS

Well, good to see that you’re doing better. Glad to see you are supporting Maria’s campaign.

ISABEL

She is awesome. Victor and I have been doing some canvassing for her.

MRS. AMY ANDREWS

I have to say, you’ve come a long way this year. You see so well what is truly important.

ISABEL

You opened my eyes to so much. I hope to learn more and try to make a difference.

EXT. ROLLING HILLS WINERY – AFTERNOON

It is a sunny mid June afternoon. Guests are mingling outside the winery on the patio drinking wine, beverages and nibbling on appetizers. A sign near the entrance to the winery reads MARIA GONZALEZ FOR STATE SENATE.

Isabel surveys the gorgeous views of the winery with a backdrop of the vineyards in the distance. Victor is talking with Maria nearby. Isabel sees her history teacher.

ISABEL

Mrs. Andrews, great to see you here! How’s your summer going?

MRS. AMY ANDREWS

Good. Getting some much needed rest and spending some time gardening. How about you?

ISABEL

Okay, but I had eye surgery a few weeks ago. It’s much better though.

MRS. AMY ANDREWS

What happened?

ISABEL

I had a retinal detachment of the left eye.

MRS. AMY ANDREWS

(takes off her glasses)

I’m so sorry this happened to you. Without these glasses I can hardly see a thing. I’ve had poor vision since I was a child.

ISABEL

I had no idea…

MRS. AMY ANDREWS

Well, good to see that you’re doing better. Glad to see you are supporting Maria’s campaign.

ISABEL

She is awesome. Victor and I have been doing some canvassing for her.

MRS. AMY ANDREWS

I have to say, you’ve come a long way this year. You see so well what is truly important.

ISABEL

You opened my eyes to so much this year. We can’t look away from injustice.

[Ian Greenham]

Ian Greenham: Most Memorable Line

1. Rather than rewrite, this is a new line of dialogue added at the end of a scene.

2. The scene is when Cal Knifton arrives uninvited at the apartment of his wife, who’s recently left him, to demand that she sign some papers to sort out their affairs. While Cal is there, Lauren arrives at the entrance downstairs and rings the buzzer, pursuant to a previous invitation from Sylvia, so Cal leaves, but Lauren and Cal meet in the elevator lobby, where’s there’s a mildly unpleasant exchange. Cal’s unexpected visit, and the unpleasant exchange between him and Lauren unsettle the tone between Sylvia and Lauren as they settle in for a drink together. Given the very early, fragile state of their relationship, the mood between them quickly deteriorates, so that Sylvia suggests she needs to bring the occasion to an end, and attend to the papers Cal left with her. There’s a distinct chill between Sylvia and Lauren as Lauren leaves. The new line will deliver Sylvia’s disappointment at how things turned out.

3. The line needs to show Sylvia’s disappointment.

4. Sylvia’s new line, muttered to herself as Lauren disappears down the corridor into the lift lobby, is “That’s another thing I have to be grateful to you for, Cal.”

5. Doing this assignment I learned once again the importance of brainstorming to solve structural issues.

[Bob Onufer]

Bob’s Most Memorable Line

What I learned doing this assignment was there are a large number of ways to approach dialogue, each with a different shade of meaning.

Scene – Jeff has been trying to convince Rebecca that she is his soulmate and they belong together. In this scene, Rebecca’s fiancée, Ken, has agreed to go to Dr. Volger’s office with her so she could learn more about her possible past life.

INT. DR. VOLGER’S WAITING ROOM – DAY

Ken and Rebecca enter the waiting area. Lauren is sitting behind the desk. Ken peruses the area, taking in the soulmate artwork while Rebecca speaks with Lauren.

LAUREN (O.S.)

Sorry. No same day appointments.

Doc’s got two actors this morning, a

politician this afternoon, and he’s

meeting a shortstop for lunch.

Besides, you’re not current patients.

REBECCA

But it’s important.

LAUREN

Sorry.

Ken comes up behind Rebecca.

KEN

We’ll pay triple his hourly rate.

LAUREN

In that case, I’ll see if the Doc can

squeeze you in. What type of

appointment do you want?

REBECCA

I want to learn about a past life.

LAUREN

You want to be regressed?

REBECCA

If that’s what you call it.

Lauren picks up the phone and dials Volger.

Ken wanders back to the artwork. He takes a picture of “infinite hearts” off the wall.

KEN

This is bullshit you know.

REBECCA

Ken…

KEN

This guy is a scam artist. Look at

the pictures. I assume that’s him

in his doctor bow tie with Shirley

MacLaine, with Wayne Gretsky.

It’s all fake. He’s doing it for the

money.

REBECCA

What if it’s not?

KEN

Gwen told me you were having second

thoughts.

REBECCA

I never said that.

KEN

Gwen said this guy, this homo dancer

really got into your head.

REBECCA

This has nothing to do with anything

Gwen said. Isn’t it important to you

to know if we’re destined to be

together?

Ken tosses the “infinite heart” artwork on the floor, damaging the frame. Lauren puts down the phone,

LAUREN

Hey. You can’t do that.

Ken grabs another soulmate piece of art.

KEN

And if this doctor regresses you and

tells you the gay dancer is your

soulmate, what then? Are you going to

leave me, running to this guy you

barely know?

REBECCA

I don’t know.

(beat)

I just thought…

KEN

If you don’t want to marry me, you

can come up with a better reason than

this mumbo jumbo.

Ken tosses the soulmate artwork on the top of the “infinite heart” artwork.

LAUREN

Sir, I’m going to have to ask you to leave.

REBECCA

(ignoring Lauren)

I didn’t say I didn’t want to marry

you.

Ken grabs the picture of Volger with Shirley MacLaine. Lauren gets up and takes it away.

LAUREN

Sir, please.

Ken takes a wad of money out of his pocket, hands it to Lauren.

KEN

For the damage.

(to Rebecca)

I’m out of here. I planned something

special for rehearsal dinner tonight.

That is, if you still want to marry me.

REBECCA

Of course, I do. I’m sorry, Coming

here was a stupid idea.

Rebecca takes Ken’s hand.

REBECCA (cont’d)

We’re together now, in this life, and

that’s all that matters.

Rebecca and Ken leave the waiting area. As they leave Ken grabs a business card from a display.

The lines being rewritten are in bold/italic. As written, it is apologetic. New versions are as follows:

Angry: You promised you’d cooperate.

Threat: If you leave, I’ll know you’re not my soulmate.

Sarcastic: Of course, I want to marry you, who wouldn’t want your money.

Defeated: (to Lauren) Tell the doctor, it was my mistake to come here.

Begging: Can you ever forgive me for making you come here.

Amusement: You don’t have to be afraid of an old soulmate.

Denial: None of this meant anything.

Sadness: I thought you loved me.

Suspicious: If I don’t come, you’ll always have Gwen.

Sensual: No dialogue. Rebecca takes the photo from Ken, kisses him.

Other Actions:

Rebecca takes out her cell phone and dials Gwen.

Rebecca grabs a print of the “Love of Souls” painting and smashes it on Ken’s head.

Rebecca asks Lauren for Jeff’s number.

The new line will be “If I don’t come, you’ll always have Gwen.” Rebecca’s character profile says she is strong and would therefore not just cave or crumble. She puts Ken back on the defensive as well as hints at the fact that Ken and Gwen belong together.

[Dan Hart]

What I learned:

SET UP These four pages are about two-thirds of the way through “Dancing with Defeat.” Chuck-It and Mandonna are starting to warm to each other. They are outside of the TV studio, taking a break from rehearsal, watching their entourages interact. I punched up the dialogue.

EXT. ATHLETIC FIELD – DAY

Chuck-It is outside in his dancing gear, taking a break.

Mandonna does the same thing. They notice each other.

They watch their two crews in sensing gear, pushing and kicking a medicine ball. A camera crews record it all.

MANDONNA

(nods towards field)

Practice. Fly. Hotel, Match. Practice Fly. Hotel. Match. Repeat. My life.

CHUCK-IT

The worst about away games is being away from my wife and home…like now.

MANDONNA

Where Mandonna is…is home.

CHUCK-IT

Didn’t you want a family?

MANDONNA

Ramses say Mandonna only loved for feet.

CHUCK-IT

You let that guy, Ramses, have a lot of power over you.

The two men blink away their sadness. Chuck-It surveys the whole scene before them.

CHUCK-IT

Do you think Hood has bad intentions with this computer game of his?

MANDONNA

There is nothing in world that Sandor Hood doesn’t have bad intentions about.

The two men hold their footballs and appear as they are – fellow footballers.

IN FRONT OF THEM

The hooligans enter their trailer.

The linemen enter theirs. Immediately, the trailer leans, balancing on one set of wheels.

CHUCK-IT

You know how many cities I stayed in but never saw?

MANDONNA

Ha! Mandonna stay every place. See nothing. Mandonna in Paris, one hundred times, no climb Eiffel Tower…except in Las Vegas.

CHUCK-IT

Ha! The only Disneyland I ever went to is in France. Nobody knows me.

MANDONNA

French cook McDonalds best. Deserve Michelin star.

In front of them, the hooligans’ trailer rocks violently. Noises from inside. BANG. BOOM. CRASH.

A window is busted out by a hooligan. He’s pulled back in by his associates.

The trailer is punched out from the inside.

Two hooligans tumble out of the trailer. They quit fighting, seeing the linemen’s precariously balanced trailer.

WHACK. Soccer balls hit the lineman’s trailer. It sways, then falls over on its side.

The hooligans high five, then reenter their trailer.

Chuck-It and Mandonna watch as if it’s all normal behavior.

CHUCK-IT

You a room service guy?

Mandonna shows Chuck-It his tattoo-covered menu arm.

MANDONNA

(points at arm)

Yes. Marriot menu. Hilton. Ritz-Carlton and–

Chuck-It spots golden arches on the underside of Mandonna’s arm.

CHUCK-IT

The Golden Arches?

MANDONNA

(turns arm to show)

Dollar value menu. Brought to hotel in Gucci bags. Otherwise, no leave hotel. Except zoo. Now, you tell me secret.

Chuck-It pulls out his good luck charm – attached to his keys.

CHUCK-IT

My mother and I have these lucky charms. Same thing in this plastic here. Don’t know what it is. She says I’ll remember.

MOMENTS LATER

The linemen climb out of their trailer. In formation, they barrel into the hooligan’s trailer. It flops over too.

The hooligans climb out. The two crews face off.

Mandonna drops a soccer ball at his feet. It’s kicked.

It bounces off the British Hooligan’s head.

All stop. Transfixed, the hooligans move to Mandonna. Linemen follow.

Mandonna balances a ball on his nose like a seal.

MOMENTS LATER

A soccer goal is manned by one goalkeeper.

A less-than-svelte Mandonna stands away from the goal with a ball. He shakes his head “no,” motioning for the massive linemen to be goalkeepers.

More people fill the goal.

Mandonna shakes his head “no” again.

More people block the goal. No opening.

Mandonna kicks. Goalkeepers break, leaving a hole. The ball curves. Goal!

Mandonna crushes the ball. Everybody ducks. Goal!

Mandonna fakes a crushing kick then lobs the ball. Goal!

Turned away from the goal, Mandonna flips the ball into air with his feet. A thunderous bicycle kick. Goal!

Chuck-It applauds with everybody else.

Mandonna dribbles the ball around, over and through everybody without losing the soccer ball. He is joyful.

MOMENTS LATER

Chuck-It spins a football on his finger.

An easy throw to Corey Johnson.

Unimpressed, the hooligans rest.

Chuck-It puts more heat on it. Corey snags the ball.

The hooligans sit up to watch.

Chuck-It waves the hooligans into the game.

Several hooligans chase Chuck-It who evades them. Hooligans crash into each other.

Chuck-It makes a high, hard throw.

Only Corey’s hands are visible. He snags the ball, then runs circles around his defenders.

Mandonna nods in appreciation.

Chuck-It throws another one.

The hooligans tackle Corey before the football arrives. More football on futbol violence. It’s a brawl between the two entourage.

Everything stops. Everybody’s mesmerized.

A GLISTENING HAND, as bright as the sun, descends between the warring sides.

It’s Mandonna’s right hand – held out by Ramses. There are huge rings on both hands. Both crews are transfixed.

RAMSES

Mandonna’s right hand is the cathedral of world football domination. He wears four World Cup Golden Ball rings…

(to the Americans)

…most valuable player to you.

Ramses switches to Mandonna’s left hand as if giving a tour.

RAMSES

This hand eclipses ring-capacity with seven rings from European Championships. Replicas available through Tiffany.

BRITISH HOOLIGAN

(to Chuck-It)

How many you got?

Chuck-It pulls out his key ring from his skin tight jeans.

BRITISH HOOLIGAN

I thought that was yo’ willy, mate. Made me feel less than.

FRENCH HOOLIGAN

But he has no championships. Rien.

SPANISH HOOLIGAN

Niente.

JAPANESE HOOLIGAN

Nani Mo.

BRITISH HOOLIGAN

Nothing.

Chuck-It holds up his left hand with his wedding ring.

CHUCK-IT

Only the most important one.

FRENCH HOOLIGAN

But that is over. Oui? Non? You have no mistress? Nothing from sport?

Chuck-It points out three black keys on his key ring.

CHUCK-IT

My wife, who is still my wife, calls them my “keys to unhappiness.” Losses. Two NFC Championships and a Super Bowl. I call them motivation.

[Pamela Rice]

Pam’s Most Memorable Line

What I learned: I was able to improve this scene’s “memorable line” (shown in bold below) by adding a Misinterpretation, which I think gives it more impact.

– – – – – –

Logline: When a top Hollywood hairstylist witnesses a murder, he’s relocated to rural Vermont and works incognito as a dog groomer to evade the dangerous hitman. In his faux world, he meets his soulmate — but can’t tell her who he really is.

Scene Set-up: This is the last scene before the final image/resolution. It contains a couple of Call-backs:

– When Henri first meets Acadia, he walks into the dog shelter wearing ridiculous designer loafers. He slips in dog poo and she hoses down his shoes in an effort to save them.

– Henri’s turning point with dogs happens when he transforms a mangled-fur rescue mutt with his scissoring skills. He names the dog “GoodFella” and they form a connection.

– In the story’s climax, Acadia finds out Henri has been lying to her all along. She’d been hurt badly before, and wants nothing to do with Henri once she learns his true identity.

– Henri leaves Vermont after the big showdown. Acadia has not seen or talked to him since then.

– – – – – –

INT. DOG SHELTER (VERMONT) – DAY
Acadia sorts mail at the front desk. Looks up when someone comes in. She’s startled to see that it’s Henri. Looks back down and continues to sort the mail.

ACADIA
Here for a visit?

HENRI
Here for good.

She glances up, a puzzled look in her eyes.

ACADIA
What about your real world…
with your fancy friends and your fancy shoes?

Henri looks deeply in her eyes.

HENRI
This is about as real as it gets, Acadia.
And I don’t need anything fancy.
(beat)
As for my shoes?
(tries to make her laugh)
They just need to be washable.

Acadia’s expression is still icy.

HENRI
(filled with emotion)
I’m so sorry that I hurt you. And I get
why you’d still be upset with me.
(takes a calming breath)
Besides wanting to see you again, I’m actually here on business.

Acadia looks surprised.

HENRI
I wanna adopt GoodFella… if he’s still available.

Acadia tries not to show any emotion. She grabs a pen and an adoption form from the filing cabinet.

ACADIA
Employed?

HENRI
Believe it or not, Camden
wants to make me his partner.

ACADIA
(checks a box on the form)
Can you provide GoodFella
with a good home?

HENRI
Absolutely.
(imploring)
But he could really use a mom…
to help out his new dad.

Acadia starts to soften up, he hit her weak spot.

HENRI
(begging)
Can you give this stray
another chance?

She signals to an unseen volunteer in the adjacent kennel who brings out the lovable big mutt, Goodfella, on a leash. He spots Henri.
Overjoyed, he wags his tail and jumps up on his chest. Henri leans in, GoodFella bathes him with kisses.

ACADIA
(misinterprets)
Of course. GoodFella deserves
a good Forever Home.

HENRI
(softly)
I was talking about me.

Acadia hesitates. Then looks into his eyes and smiles.

Henri can’t hold back any longer. He joins Acadia behind the counter and embraces her.

After a minute, they pull back. Their eyes meet and they kiss deeply. GoodFella sits happily by Henri’s leg and looks up. Henri pats his head while he kisses Acadia.

• This reply was modified 3 years, 3 months ago by  Pamela Rice.
• This reply was modified 3 years, 3 months ago by  Pamela Rice.
• This reply was modified 3 years, 3 months ago by  Pamela Rice.

[Dan Hart]

Hi Pamela

I like your scene and the new “buttons.” Your dialogue rings true like two people really having a conversation. You don’t say too much or too little. Interestingly, the final line might strike some as too literal, but at the end of the script is the time for the subtext to meet reality. I like this (and the line) scene a lot.

As an aside, due to some insomnia this week, I’ve been able to watch all five of the Pirates of the Caribbean films in succession. You know what? It was a fun exercise. I have always liked the films although a couple get overly goofy in their stories. However, IMHO, I have a new respect for the writers in that the dialogue is amazingly good throughout. This is in contrast to the Marvel world pictures where the dialogue isn’t as strong or funny. I am quite able to change my opinions on this. LOL

BTW. I heard a very interesting story about the very beginnings of the Pirates of the Caribbean franchise when all Disney had was the ride.(It was told by an agent I heard at UCLA Extension a number of years ago.) I’ll post it here later.

Good writing,

Dan Hart

[Pamela Rice]

Hi, Dan.

Thanks for taking the time to read my scene and provide feedback. I enjoyed your scene as well!

If you enjoy movies/TV shows with good dialogue… and soccer… I think you would like Apple TV’s TED LASSO. It’s well-written in a way that makes the audience care about the show’s characters. Maybe give it a try next time you have insomnia?

Cheers,

Pam

[Alice Eden]

Hey, Pamela!

It’s a little bit too much. He can’t just be kissed by dog, then kissed by woman, patting dog along.

Think of actors. They commonly got makeup. They cannot go wash their faces, and come back, for one scene only.

I don’t keep a dog though. Still

[Pamela Rice]

Alice,

Thanks for taking the time to read my scene. I ended up scrapping it after I posted it. New scene does not have any kisses.

Pam

[Johnny Cullen]

Johnny Cullen Most Memorable Lines

What I learned from doing this exercise is that focusing on key lines can really land a scene.

Before

Diarmuid

All publicity is good publicity.

After

Diarmuid

You have to go through the worst to get to the best!

— Before

DIARMUID (TEXT ON SCREEN)

Can we meet for a coffee? Would love to get some…

Diarmuid ponders a moment, then finishes his sentence.

DIARMUID

Business advice.

After

DIARMUID (TEXT ON SCREEN)

Can we meet for a coffee? Would love to get some…

Diarmuid ponders a moment, Writes a line

DIARMUID

Business advice…

Diarmuid quickly backtracks and rewrites.

DIARMUID

Spiritual Mentorship.

—-

BEFORE

VICTOR

Its a lot for them to have to deal with all of a sudden. I think seeing things from their view could go a long way.

Maeve pushes the chair away from the table.

MAEVE

Excuse me.

ALICE

Maeve…just…For fuck sake Victor.

AFTER

VICTOR

Its a lot for them to have to deal with all of a sudden. I think seeing things from their view could go a long way.

Maeve pushes the chair away from the table.

MAEVE

Excuse me.

ALICE

Nobody fucking move!

Alice laughs nervously followed by complete silence.

Maeve tries to cautiously move her chair but the sound of screeching reverberates amongst the tension.

ALICE

You may be excused Maeve.

Maeve dashes upstairs. She gets a text from Richard.

[Rae Rodgers]

REWRITE – DAY #14 – MOST MEMORABLE LINES
What I learned from this assignment: I have shortened the exercise using only two
scenes with the main character, Jesi. This is because I have fallen so far behind in
the assignments. I will expand on this assignment later, after the end of this class.
OPENING SCENE:
INT. JOHNSON RESIDENCE/ BATHROOM – DAY
JESI (35) squats by a toilet, spanner in hand while her contractor father yells
instructions from his recliner, his foot in a cast.
JACKSON
Are you sure you shut the water off?
JESI
Yes Dad.
JACKSON
Then you drained the tank?
JESI
Of course, Dad.
JACKSON
Well give a yell if you need help to lift it back on. That’s one helluva heavy toilet.
JESI
All’s good, Daddy.
JACKSON
Now, you see that worn wax seal beneath the bowl? Replace it with the new one
on the counter then drop the toilet back on.
JESI
It’s not my first replumb, Dad.
She resets the toilet with Jackson still shouting.
JACKSON
Remember to tighten those bolts real good before setting that toilet back on.
JESI
No worries, Dad.
JACKSON
If you’re gonna run my truck someday you have to know this stuff.
JESI
Admit it, Dad. This daughter can plumb, roof, re-wire and pound nails better than
any freakin’ man.
(to herself)
Geez, what a mind drop.
NOTE: This is the re-write. I did not post the old scene. In this new dialogue Jesi
is more assertive, professing she is as good as any man. This sets her up for the
male dominated commercial real estate field she is about to break into.

[Rebecca Jordan]

Rebecca’s most memorable lines, #14

What I learned from doing this assignment is that I think I have more than I’m aware of. I need to go through for more.

This is the opening scene; first line of dialogue for Rachel. Moved her second line to be her first for more character trait and emotional impact.

Paul swoops in, automatically unloads Rachel’s gig bag from the truck. Rachel grabs her guitar, runs alongside Paul toward the stage where a steady rhythm seduces the restless patrons.

PAUL

You okay?

RACHEL

I will be.

PAUL

You have a shit ton of paint in your hair.

RACHEL

Oh… My Uncle Ben shot himself in the head.

PAUL

Holy crap.

RACHEL

He’s dead.

PAUL

… I’m so sorry.

RACHEL

Oh well. (considering “what’re you gonna do?” instead)

At the backstage stairs. Rachel takes her guitar out of its bag while Paul grabs the rest of her gear.

RACHEL

Oh my God! I have to pee so bad!

They run up the stairs and onto the stage. Crowd goes nuts.

_________________________________________

Sc 124, pg 86

EXT. L STOP – DAY, 1977

SOUND of L train leaving the station as folks head home from, work emerge from the turnstile. Finally, Rachel, 13, emerges from the turnstile. Stops at the corner news stand, buys a pack of smokes. Catches the walk signal and trots across the street.

Suddenly two undercover police OFFICERS, cut her off, one at a time, from different angles.

OFFICER #1

Excuse me, young lady. Is your name —

Rachel ignores him as if he’s crazy. Then Officer #2 steps in, his badge held up in Rachel’s face.

OFFICER #2

It’s okay. We’re police officers.

Rachel, scopes her escape.

OFFICER #1

Maybe you could help us out. What’s your name?

RACHEL

Mary.

Officer #1 shows her a photo from his pocket.

OFFICER #1

Are you sure?

OFFICER #2

Isn’t there someplace you should be?

RACHEL

Yeah. Work.

OFFICER #1

Why would you lie about your name?

RACHEL

Do you mind? You’re embarrassing me.

Cop #2 takes hold of Rachel’s wrist. She winces. He drags her toward the squad car.

RACHEL

Come on man.

OFFICER #2

Not takin’ any chances.

RACHEL

Fuck you.

Officer #2 gives Rachel a good yank.

RACHEL

Ow! You’re hurting me you asshole.

OFFICER #2

Then stop resisting.

Look for great line in next scene using this as the set up maybe?

_____________________________________________________