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Day 7 Assignments
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Robert R.Smith Connection with Audience.
WHAT I LEARNED DOING THIS ASSIGNMENT IS: To reexamine my script with an eye of character development and dialogue to create connectedness with the audience.
My screenplay. Title: “Angels in Gangland.”
Nutshell: Think “The Sopranos” meets “It’s a Wonderful Life” with a Jewish twist.
Logline: Because of his life of crime, the soul of a slain gangster (Lou Tasca) cannot get into the World to Come unless he returns to earth and do a good deed with a far-reaching impact, namely, persuades his killer (Carlo Vizzini) to leave the mob and go into Witness Protection.
OVERVIEW
Drawing from gangster films and supernatural films of redemption with the help of guardian angels, Angels in Gangland creates a world between two worlds and its intersection with the everyday world. In this case a world of criminal activity. Angels in Gangland is a story of despair but ultimately it is a tale of redemption.
CHARACTERS
Lou Tasca – (50–ish.) A seasoned wise-guy who was slain in a mob hit and is in search of redemption from his life of crime so he can enter the World to Come.
Carlo Vizzini – (30 years old.)A young soldier in the Giordano Crime Family who assassinated Lou by order of his crew captain, Tony Rizzo. He resists Lou’s attempt to persuade him to do the inconceivable of “flip” and rat out his fellow mobsters.
Solomon Levinsky – (60’s.)The spiri guide of Lou on his quest for redemption by getting Carlo to leave the mob. Solomon was an accountant in the Garment District but also earned a Rabbinical Degree. He is learned in the Jewish mysticism of the Kabballah. His son Sam was a boyhood friend of Carlo and they both became members of the Giordano Family. Solomon hopes to get Sam to leave the mob through Carlo, if Lou can get Carlo to leave.
Sam Levinsky – (Early to mid 30’s) The son of Solomon Levinsky who calls him “Shmuley,” a diminutive of the Hebrew name Shmuel (Samuel). Sam is an associate of the Giordano Crime Family but cannot be a member because he is not Italian. He and Carlo have been friends since childhood. To the dismay of his father (Rabbi Solomon Levinsky, Sam left his Jewish faith in order to become a mob associate.
The Characters for intentional connection to audience–
Lou Tasca – (50–ish.) A seasoned wise-guy who was slain in a mob hit and is in search of redemption from his life of crime so he can enter the World to Come.
Carlo Vizzini – (30 years old.)A young soldier in the Giordano Crime Family who assassinated Lou by order of his crew captain, Tony Rizzo. He resists Lou’s attempt to persuade him to do the inconceivable of “flip” and rat out his fellow mobsters.
Solomon Levinsky – (60’s.)The spirit guide of Lou on his quest for redemption by getting Carlo to leave the mob. Solomon was an accountant in the Garment District but also earned a Rabbinical Degree. He is learned in the Jewish mysticism of the Kabballah. His son Sam was a boyhood friend of Carlo and they both became members of the Giordano Family. Solomon hopes to get Sam to leave the mob through Carlo, if Lou can get Carlo to leave..
Sam Levinsky – (Early to mid 30’s) The son of Solomon Levinsky who calls him “Shmuley,” a diminutive of the Hebrew name Shmuel (Samuel). Sam is an associate of the Giordano Crime Family but cannot be a member because he is not Italian. He and Carlo have been friends since childhood. To the dismay of his father (Rabbi Solomon Levinsky, Sam left his Jewish faith in order to become a mob associate.
Connecting characters with audience.
LOU TASCA:
A. Relatablility: He asks a question most people ask at some time in their lives: Haven’t I done enough good in life to go o heaven? In other words, “What is the ulimate and eternal disposition of my soul for good or for ill for eternity. He also returns to go abroud among the living in order to atone for his life of crime and do one supreme good deed to win eternal reward: convince the fellow wiseguy who killed him to turn State’s Evidence and joint Witness Protection. .
B. Intrigue: Two intrigues: Loue is a disembodied spirit who moves between the spirit world and the earthly world of organized crime.
C. Empathy: Lou is saddled with an impossible task: Getting a Mafia gangster to “flip” and violate the sacred oath of the Cosa Nostra to be loyal. Hasn’t everybody had something that looks like an impossible task.
D. Likeability: “He is a tough guy with a heart” He is tough talking guy who is funny as he explains who he did go good for lot’s of people and should have a share in the World to Come. For essample, he donated Turkeys to a homeless shelter for Thanksgiving and helped a neighbor with the rent. However he stole the Turkeys from a truck he had hijacked and “made the landlord an offer he couldn’t refuse.” He might have been a loanshark but he was a volunteer at St. Anthony’s Church where the priest told him to put a message on the church sign: “Pray without ceasing.” But he puts up “Pay without ceasing.’ He defends himself by saying that it was a Freudian slip but “on the upside the Poor Box hit the jackpot.”
CARLO VIZZINI:
A. Relateability – Carlo committed the murder of a friend (Lou Tasca) and is guilt-ridden. Everybody regrets something they did and may have been challenged by what they have do to make it right and find redemption. For Carlo, it is hard for him to leave the old belief system of the Mafia of absolute silence and loyalty and flip and go over to the side of the Law in Witness Protection. .
B. Intrigue: Two intrigues: Carlo is haunted by the spirit of Lou Tasca whom he murdered and is also bound to the oppressive belief system of organized crime.
C. Empathy– Getting out of the mob is not easy just as any of us may or might find ourselves mixed up in something we wish we could get out of.
D. Likeability – Carlo was once hooked on cocaine and alcohol but is now in recovery. He peppers his speech with gangster jargon but comes across with authenticity in his struggle with what he has to do (leave the mob) as the only way to get rid of the spirit of Lou.
RABBI SOLOMON LEVINSKY
A. Relatability – He is tormented by his rebellious son (Sam) who has rejected the life of an observant Jew and joined the mob and Solomon wants to get his son to leave the mob with Carlo if Lou can get Carlo to leave. Solomon regrets that he disowned his son when he learned that he joined the mob.
B. Intrigue – Solomon is a spirit guide for Lou and crosses two worlds (the spirit world and the earthly world of the Cosa Nostra on his quest to coach Lou on the way to his redemption and get his son out of the mob for the good of his life and his soul.
C. Empathy – Although he appears to be a judge of Lou he is also an exacting but empathetic coach.
D. Likeability – Although Solomon is pious, nobody can pull the wool over his eyes, especially Lou. Solomon is street-wise and survived the crime-ridden garment district of New York. He is personable and a source of wisdom and insight.
SAM LEVINSKY
A Relatability – Lives with the pain that his father (Solomon) disinherited and disowned him. This is a primordial problem parental rejection.
B. Intrigue – He too lives with the old silence and loyalty belief system of the Mafia. Sam is a down to earth rationalist who is now confronted with Carlo’s claim to be haunted by the ghost of a fellow wisseguy he was ordered to whack, Lou Tasca.
C. Empathy -. His doubts express our doubts about a supernatural encounter.
D Likeability – He cares for Carlo’s well-being and says things that poke fun at other characters. Like Zoey the Psychic Stripper who is to be called to do a Séance to send away the spirit of Lou Tasca. Sam says, “What is Zoey going to do to get rid of Lou? Promise him a free lapdance in the Hereafter?”
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Profound Day 7 Assignment: Connection. What I learned from doing this assignment is by breaking down the connection beats into groups, it becomes easier to manage and prevents a shallow “one-stanza song.”
Logline: A nit-picking and entitled medical student finds meaning in life when he must learn how to sew from a nursing home resident in order to pursue a career in surgery.
Relatability: Studies hard, does his best work, admits his nit-pickiness, helps out another student with studying a medical topic
Intrigue: “has to become a surgeon” – why? (his best friend in grade school died of a botched surgery)
Empathy: The long call hours that violate legal limits, the less-than-minimum wage pay, the student debt, the low status as a student, the competitive and sometimes underhanded environment
Likability – nit-picking is also his strength—seeks the latest treatments; goes through long lists of patient’s problems to make sure the priorities are addressed; gets pillows, blankets, water, and food for patients; knows cleaning staff by name because his nit-picking makes cleanliness important.
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This reply was modified 4 years ago by Joseph Savage.
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This reply was modified 4 years ago by
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DAY 8 ASSIGNMENT – CONNECTING WITH AUDIENCES
Joshua Doerksen’s Connection With Audience
WHAT I LEARNED DOING THIS ASSIGNMENT:
I was very surprised to learn more myself about my characters as I defined each their personalities. Though the categorical descriptions seemingly wrote themselves, I felt I gained a much more intimate knowledge of each and I found that scenes started to develop for my story in that alone. I also learned that each of the categories are somehow linked to the other in aligning with an audience connection and it helps to define each character’s transformational journey in that process.
INTENTIONAL CHARACTERS:
Bill Bishop
Dr. Cynthia Pratt
Edward Mullins
A.) RELATABILITY:
Bill – Although wealthy and a man of a dying generation, he is self-made, a hard-worker, and appreciates blue-collar grit and perseverance. He is challenged with having to again prove himself to others, dealing with mortality and leaving behind a legacy.
Bill’s wealth and age are apparent in the opening where he tours his own manufacturing plant. His appreciation of line workers over executives show us an appreciation for an “honest day’s work” and being in touch with the common man.
Still within the opening scenes, Bill expresses his “waning time on this earth” and want to “leave behind something more than a trust fund or fancy sign on a building with my name on it!”, when he defends the status of his company to the Board.
Cynthia – A survivor who scrapped and struggled to gain her position and continues to do so after attaining her degree and “earning her star”.
We meet Cynthia later in the story (Act IIa), arguing with her superior over a treatment protocol for a patient. We see that she is scrappy and unafraid to stand-up for what is right. Also, that she can hold her ground in a time, and in a profession, where few other women could or did.
Edward – From the opening board meeting scene, Edward is uneasy with the executive assessment and condemnation of the current state of business at Bishop Enterprises. He is older, although not as old as Bill, and he does not have the same authority, though he has his own strong morals and has been loyal to the company for many years.
Edward represents a character who has some authority but is careful where to use it. He must discern where best to tread and it usually lay somewhere in the middle-ground despite his true beliefs. His strong moral beliefs come to light when he finally stands up to defend Bill from the attack of the Board and later resigns to align with Bill completely.
B.) INTRIGUE
Bill – From the opening we know little of Bill other than he is wealthy, powerful, aging, and in jeopardy of losing his company to the sharks of the corporate world. We see his vast empire and fortune in the sprawling grounds and buildings and the influence he has within, but the intrigue stems from how he came to be.
Bill’s history is eluded to by Edward when coming to his defense in the Board Meeting and cites his shared history with Bill who has “done many great things in his lifetime, including building this very corporation from sweat and dirt!”. We don’t know the entire story in the first 30 minutes, but surely know there is more.
Cynthia – Although we see Cynthia as a fighter, we also see her “compose” herself after confrontation with authority – her eyes tell a story of hurt. And where she fiercely advocates for her patients behind the scenes, her compassion for her patients up front and personal seems a little distant or guarded. We are not fully sure just where she came from, if she is simply cold or limited, or exactly what she is trying to “prove” in this lifetime.
Edward – Aligned with Bill, we know little of his origin in the first 30 minutes, but we understand it to be closely linked. Bill is British and has a strong accent yet makes a remark of serving with Bill in WWII on a C.S.S. mission. We do not have all the details, but there is a story in that alone.
C.) EMPATHY
Bill – From the beginning we empathize with Bill: one man ganged up on by an entire boardroom. He walks slowly with a cane and looks fatigued which makes his age not only evident, but of some consequence to him. His board is trying to assume control of a business that he worked a lifetime to build, in turn taking something away from him when he already is losing in life.
Cynthia – Away from the scenes (superiors, colleagues, and patients), Dr. Pratt is woefully alone. We see very little support from fellow doctors. Nurses (all women) are kept at a distance from what seems a mandated hierarchal division of the day in the medical field. We sense that she is hurting on another level as well, and yet wants to do good for all her patients. We want to feel sad for her struggles and her loneliness.
Edward – Alone on an island seems to describe Edward best. He has opinion and a very strong sense of morality but little authority to exercise either. In a time of relative precarity he is definitely between a rock and a hard place, forced into decision between his laurels and livelihood.
D.) LIKABILITY
Bill – We like Bill almost instantly from the moment he arrives at his company driving in his own car while his executives arrive in limos. From the interaction we see between him and his staff he is a man’s man. Despite his vast wealth and corporate power, he places little interest in the executive function of his company, and this makes him relatable to us. He is also liked by others we relate to ourselves. That he has resources beyond our comprehension yet seems not at all pretentious in that regard is endearing. We see him as genuine and sincere.
Cynthia – Dr. Pratt is bright and beautiful and if not for a very intentional “professional style” she would most definitely be a bombshell! We like her from the instant we see her because her beauty shines through her pain and vulnerability, and where she could win over almost anyone by virtue alone, she has far too much integrity to do so. She is kind and caring in her own distant way, though not untenable, and we feel as though we want to “save” her as much as she saves others.
Edward – Mr.
Mullins is suave, polished, and pure. He has
a baritone voice that when paired with his accent gives him instant credibility and lends to his intelligence. Humility is omnipresent with him in his
actions, his polite way with service
staff and the like, and his loyalty to friends
and convictions alike. We see this in the way he runs to Bill’s defense and quickly takes up stake in the battle of a lifetime. -
Mark Smith/ASSIGNMENT/Day 7
I learned the importance and ways to “connect” an audience to a character through relatability, intrigue, empathy and relatability
1) Tell us which characters you are going to INTENTIONALLY create a connection with the audience:
Frank Hammond
Tamara Brown
Robert Kennedy
TV Reporter
2) With each character, tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie
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Frank Hammond, school counselor
Relatability: Excited, Intrigued, and Nervous in New Job
Intrigue: What will Frank do when he discovers the corruption and unfairness within the school? How should he go about reporting it?
Empathy: Troubled by a bullying incident and attempted rape but feeling unable to help through the existing school system.
Likeability: Doesn’t talk down to students and truly interested in their dreams
Tamara Brown, school counselor
Relatability: Feeling upset and helpless when Principal Moten makes “passes” at her.
Intrigue: Will she stand-up with Frank against the school power structure?
Empathy: Her frustrations at the inability to bring change to the school.
Likability: Honesty and willingness to speak out against injustice
Robert Kennedy
Relatability: Student feeling powerless and helpless
Intrigue: What should he do after beat up in the “cage?’
Empathy: Picked on by other students and coaches
Likability: Kind, considerate, hard-working student trying to do it the “right way.”
TV Reporter
Relatability: Trying to do bring a spotlight to a wrong.
Intrigue: Will his efforts bring about any change?
Empathy: Doing job despite “pushback from school and news director
Likability: sincere attempt to understand the troubles of others
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Suzanne Kelman – Connection with the audience
What I learned from doing this assignment is by choosing to focus on the connections between character, you make sure you continue to engage the audience
Logline: A Russian spy working undercover in the UK during WW2 is given the choice of either facing a firing squad or helping the British intelligence service and in return, he must fake his own death and walk away from the love of his life
The character is Nikolai Petroff
Relatability: He starts out as a man trying to find out about the death of his father. We feel his grief and pain. He then falls in love with the agent he is with in the field.
Intrigue: What really happened to his dad. Will the British uncover them? Who is really chasing them in the story?
Empathy: When he has to choose between a firing squad or saving the woman he loves.
Likability – He decides to give up the love of his life so she can live.
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Chris Cornelius’ Connection with Audience
What I learned doing this assignment is how much contol I have over the audience.
1. Tell us which characters you are going to INTENTIONALLY create a connection with the audience.
Trish
Tom
2. With each character, tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie.
Trish
A. Relatability – first page: Riding down switchbacks out of the Rockies the biker, in leathers head to toe with a full-face helmet on, switches to the reserve tank and is looking for gas. Not a car, house, vehicle, anything, anywhere in sight. We’ve all been there. !979 was also a year of gas shortage. Many stations were closed.
B. Intrigue – She stops at a dusty old deserted gas station (selling regular and high-test). An attendant comes out. She takes off her helmet and we see that she’s female. Where’s she going? Why alone? I chose to start the script this way to give the audience the same feeling of surprise people had when they first saw her in her travels. That way the audience can also relate to the characters she meets.
C. Empathy – On page 2 the audience will really connect with Trish’s and the gas station attendant’s predicament when he inserts the nozzle into the hole in the gas tank that sits between her legs. Awkward. Embarrassing.
D. Likability – First line: “What state is this?” She’s got an infectious laugh. People like that she’s a symbol of freedom and adventure. They all wish they were doing what she is.
Tom: Enters on page 24, the mechanic that’s tuning her bike.
Trish has already broken away from her family& friends, work and the old world. She’s had encounters with a Wall Street broker, her (through the South) travel companion James, and Tad the mortician.
A. Relatability – The audience is already anticipating Tom’s reaction to Trish and wondering what will happen this time. Love at first sight-the same look as in Dead Poets Society.
B. Intrigue – This is the first time the audience has seen Trish attracted to a man. And he’s quite the opposite of her in many, many ways. He’s settled down with a need for adventure and she’s adventurous with a need to setle down. The marijuana issue, deep south racial discrimination, a man with children… Where’s this headed?
C. Empathy – People can relate to Tom being a single parent, juggling the responsibilities, and trying to do the right thing
D. Likability – He looks and sounds so sweet (the accent), his blue eyes, his accommodating personality-hospitality He’s taking care of the Hawk right away.
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Frank Jordan’s Day 7 Assignment ( Connecting With Audiences)
What I learned doing this assignment is that a key to a successful story is to have the audience feel connected to the lead characters, and it is my job to intentionally cause them to connect via relatability, intrigue, empathy, and/or likability.
Character: Freddie Stowers
A. Relatability: In the beginning we see Freddie picking cotton under a searing sun. He is badgered to work harder by the white foreman. Most of us have been pushed to the brink at some time in our lives by a parent, boss, teacher, coach, etc. Freddie and wife Pearl dream of moving to the north for a better, safer life. Most of us have dreams/goals, and applaud those who have the fortitude to chase what they want. When Freddie has to say goodbye to his family it is heartbreaking. Most of us have had to say goodbye to someone or something we love.
B. Intrigue: We connect with Freddie via two flashbacks to his childhood (age 8). First, Freddie is sitting at a table in his bedroom, practicing his letters. He doesn’t know how to write. (Note: He can read with effort due to his early learning of scripture.) Frustrated with the mistakes he’s making he slams his pencil down, picks up a dominoes box on the corner of the table, and pulls out a tile. Lost in thought, he gazes at the tile. We flashback to Elijah, black, gaunt, aged beyond his 65 years, sitting on his front porch teaching Freddie how to play dominoes. Freddie and Elijah converse about life. It is clear Elijah is a mentor figure to Freddie. When Freddie realizes it’s late he dashes off. In the second flashback scene, before Freddie says goodbye to his family and heads off to training camp, he is staring out his bedroom window, pensive, at the moonlit fields. Pearl is asleep. A light gust rustles some nearby trees, catching his attention. He is now playing tag in the woods with Moses (sub-character) and two other pals, all age 8. Freddie covers his eyes and counts to ten while the others scatter. Freddie opens his eyes and starts running through the woods in search of his friends. In the meantime, three drunk rednecks walk up a tract, laughing. Freddie hides behind a thick tree trunk as they pass then runs down the tract in the opposite direction, once they are out of sight. When Freddie gets to a clearing he stops and bends over to catch his breath. He spots a domino tile in the dirt, then another, then a third. He picks them up, stands erect, and glances around. As we pull back, a pair of old boots slowly appear, suspended above Freddie’s head. Over black, Freddie screams.
C. Empathy: We empathize with Freddie, laboring in the cotton field under a searing sun and being bullied by the foreman. We empathize with his frustration, trying to practice his letter writing. We empathize with his plight. “Why should we fight for a country that treats us like dirt?” While plodding into training camp with his suitcase, Freddie gazes at an American flag fluttering above the barracks. A white recruit, Peavey, sticks his foot out and trips Freddie. He tumbles into a mud puddle. Several white recruits laugh.
D. Likability: In the beginning, Freddie is in a barn late at night cleaning a tractor air filter. Moses enter with a pitch fork to bale some hay. He tells Freddie to go home, he’ll clean up. Freddie says, “Promised I’d get this tractor runnin’ before I turn in.” We know Freddie’s goal is to move to the north. He encourages Moses to Join he and Pearl. Freddie displays concern for his friend Moses when he says he’d rather stay put. “This is home.” Freddie’s obvious love and concern for Pearl and her safety. Freddie’s love for his family and special attention paid to his youngest sister, Mary, age 10. Freddie asks her to help Pearl when the baby comes along. First morning in the barracks, Freddie and the rest of the recruits are under the gun to get dressed and hustle outside. Freddie reverses course, drops to a knee and helps Jonah (sub-character), simple-minded, tie his boots. (Note: Earlier we saw Jonah entering the camp in his bare feet.)
Character: Pearl (Freddie’s wife)
Relatability: Loving wife. Shares Freddie’s dream. Shares Freddie’s concern for her safety. Tries to diffuse Freddie’s concerns.
Empathy: In the beginning we see Pearl on her hands and knees scrubbing a factory floor. She’s exhausted and collapses onto her elbows. Another laborer helps Pearl to her feet. She turns and, holding her baby bump, reveals she is seven months pregnant. We empathize with Pearl when she has to say goodbye to Freddie.
Likability: We like how Pearl appears a tower of strength. When Freddie is leaving for camp, he laments, “You know I could never…” Pearl lifts a finger to Freddie’s lips. “You can do anythin’ you set your mind on. You hear me? Anythin’.
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Birgit’s Connection with Audience
What I learned doing this assignment is I have been using all four of the ways of connecting with the audience already, but these techniques have been emphasized in my mind.
1. Tell us which characters you are going to INTENTIONALLY create a connection with the audience.
Walter Camp is my main character and the change agent (although in a couple of episodes, he is the transformational character). Other characters, who do not appear throughout the series, but for whom I will create a connection with the audience when they do appear are Alice Camp and Harvard’s Charles W. Eliot and Bill Reid, although I won’t do that today, but on my own time, after the course.
2. With each character, tell us how you’ll use each of the four ways of connecting with the audience in the first 30 minutes of the movie. A. Relatability B. Intrigue C. Empathy D. Likability
A. Relatability – In early episodes, as a teen, Walter
Camp is scrawny and dreams of playing football for Yale. Most boys have similar
dreams at that age and men remember those feelings. When he tries to talk to
Alice Graham Sumner (his future wife), she wants nothing to do with him because
he’s brought a football to an open house. Many teens flub their first
introduction to a romantic interest or worry about doing so.B. Intrigue – The opening scene of the first episode
lets the audience know Camp’s peers called him “The Father of American
Football.” Then we see him as a teen and wonder how this scrawny kid ends up
with that sobriquet.C. Empathy – In the first episode, his cousin teases
him about being too scrawny and how he needs to be exceptional to get into
Yale.D. Likability – He has friends who clearly like him,
even paying for his hot chocolate when he cannot afford it. -
Scott Richards’ Connection with Audience
What I learned doing this assignment is that with planning and thought, it is really quite easy to connect with an audience.
Character to connect with the audience: Vikki (Vikki is a self-loathing alcoholic who must escape from the coercive control of and ex-fiancé to find the self-worth to break a life-long chain of addiction.
A. RELATABILITY: Questioned by others about her decisions having just come from rehab and about to spend a week alone at her dead mother’s apartment. Ordinary person on the outside but dealing with inner turmoil.
B. INTRIGUE: Something terrible happened in her past that she won’t talk about.
C. EMPATHY: She is obviously in pain about incidents in her past.
D. LIKEABILITY: She’s a openly loving person with others and cares for the people she feels are in need of help. She gives a gift to a homeless person she knows and greets her with a hug.
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Brenda Lynn’s Connection with Audience
What I learned doing this assignment is that using these four ways of connecting with the audience is a terrific way to get the audience to go along the journey with the characters. Having these characteristics already set up will help when writing the script and filling in the details of the characters.
Change Agent: Father Sean
A. Relatability – Trying to do his best for his students
B. Intrigue – He is a CeltIberian – he reads Runes
C. Empathy – His student doesn’t understand why he is changing the plan
D. Likability – He loves life
Change Agent: Appo
A. Relatability – He dyes his hair
B. Intrigue – His understanding of the Cosmos
C. Empathy – He is one of the last of his kind
D. Likability –He plays the harmonica and is happy with life.
Transformable Character: David Lazar
A. Relatability – David has a plan for his life, but it is not in his control. Someone else makes the decision for him.
B. Intrigue – He is in competition with his brother. He wants to be the youngest PhD student at Columbia University.
C. Empathy – He is the second son who is constantly being compared to his brilliant older brother.
D. Likability – He keeps trying even though his hopes and dreams have been dashed.
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