Lesson 1

[Christopher Fallon]

The script I’ve chosen is “Hell or High Water” by Taylor Sheridan.
Scene 1: the first four pages of the script show the desolate West Texas landscape, and then a bank robbery in a provincial bank. Two masked men, one clearly more dangerous than the other, rob a bank first thing in the morning. LOGLINE: Bank robbery. ESSENCE: Things can go bad awful quick.

Scene 2: p 15: The bank robbers are brothers and they have a lot of painful history. LOGLINE: They talk about their deceased parents. ESSENCE: a lot of pain in their lives, a lot of anger and resentment.

Scene 3: The waitress takes a shine to Toby p 28. Logline: The waitress tries to persuade the first handsome man she’s seen in ages to stick around. ESSENCE: Loneliness and heartache are breaking people, and everyone’s looking for a way out of their sadness.

Scene 4: p 52. The two marshalls are laid up in a Best Western Motel watching TV late at night. LOGLINE: From the way they talk to each other marshalls Parker and Marcus loathe each other. They can’t remain civil for even a few seconds. ESSENCE: Parker wants human connection with Marcus but doesn’t know any other way of reaching him except through insults and racist slurs. This is consistent with the film’s mood of loneliness and separation.

Scene 5: This is the final scene between the surviving marshall (played by Jeff Bridges) and the surviving bank robber (Chris Pine). Logline: The reckoning. ESSENCE: Both men recognise that they have both failed. Pine’s character has taken a course of action, one he felt justified in taking, that has led to the deaths of other people — and he’s going to regret that for the rest of his life. Bridges’s character Parker understands that crime sometimes goes unpunished and he leaves his final assignment (he’s about to retire) on the melancholy note that he failed to bring this criminal to justice. In the end Parker hopes that Pine’s troubled conscience will be its own punishment.

[Christopher Fallon]

The final scene:
MARCUS WALKS THE ROAD UP TO THE HOUSE.
He looks up at it. It’s halfway through a new paint cans and rollers rest beside the porch.
Toby steps quietly from the mesquites, coming Marcus. Marcus turns to him.
MARCUS
Painting the house I see …
Know who I am?
paint job, up behind
Toby steps closer, the rifle cradled in his arms. Marcus smiles.
Beat.
MARCUS (CONT’D) I’m the man who killed your
brother.
CUT TO:
107.
TOBY
I know it. I also know you’re
retired. And you’re trespassing.
MARCUS
You could shoot me now and be
within your rights. And you totin’ a gun. How convenient.
TOBY
I imagine you’ve got one too.
Marcus smiles. Toby stands there, waiting patiently for whatever Marcus came here to do. Or say. Marcus has a seat on the edge of the porch.
MARCUS You mind if I sit?
Toby almost smiles.
TOBY Feel free.
Toby walks to the porch sits in his chair.
TOBY (CONT’D) You want a beer?
Marcus thinks about that.
MARCUS
Sure. I ain’t on duty no more.
Toby grabs two from a small cooler and tosses him one.
Silence.
MARCUS (CONT’D)
Nice out here with the breeze, now
that it’s cooled down. Texas is hell till September comes, ain’t it?
TOBY It can be.
MARCUS
How’d you do it — never mind, I’ll
figure that in time … Why’d you do it?
TOBY Do what?
108.

MARCUS
I know why Tanner did it. He robbed
those banks cuz he liked it. He shot my partner three hundred yards away cuz he liked it. Made him feel good. And if I hadn’t blown his shit-for-brains out, there’d be a brand new truck parked out front and four wheelers and anything else he could think to buy. He’d spend it all just to have an excuse to steal some more. But not you … Painting this old house yourself. Driving that beat up truck. Nothing new I can see, ‘cept those pump jacks and each of ‘em paying you a week what you and your brother stole from all four banks combined.
Marcus sips from his beer. Toby shifts the muzzle of his rifle discreetly in Marcus’s direction.
MARCUS (CONT’D)
Help me understand that … Help
me understand why four people died so you could steal money it don’t seem you’ve spent. That it don’t seem you need.
Toby looks at Marcus, and his grin that begs for a fight.
Beat.
TOBY You got a family?
MARCUS
My partner had a family. A big one.
They don’t have no pump jacks in their back yard. They’re gonna have to stretch a pension among the six of em.
TOBY
I didn’t kill your friend.
MARCUS
Yes you did. By setting this thing
in motion. You expect me to believe your dim-witted brother planned all this? We’ve seen how he operated on his own. No, this was smart. This was you.
109.

Beat. Toby looks over at a pump jack, undulating up and down, drawing money from the earth with every revolution.
TOBY
I been poor my whole life. So were
my parents, and their parents before ‘em … Like a disease, passed from generation to generation. And that’s what it becomes, a sickness … Infecting every person you know … But not my boys. Not anymore. This is theirs now. Ain’t no advice you can give a child these days. No lessons. No love. Nothing that can guarantee they have a chance at life, but money. I hate that the world’s come to this, but it has. And I dare you to look me in the eye and tell me different … I never killed anyone in my life, but if you want me to start with you, let’s get on with it, old man. See if you can get that pistol from your boot before I blast you off this porch.
They hold each other’s gaze, no surrender in either man’s eyes, but no anger either, just the grim acceptance that it had to be this way.
An older Ford Expedition bounces up the dirt road and stops in front of the house. Justin, Debbie, and RANDY, 11, step out, book bags over the boys’ shoulders.
Debbie spots the gun in Toby’s lap.
DEBBIE What’s going on?
TOBY
That pig was back in the garden.
(To Marcus) Feral hogs are tearing up this place somethin’ fierce.
DEBBIE Who’s this?
MARCUS
I’m an old friend of your husband.
Debbie recognizes Marcus instantly, but this isn’t her first rodeo with playing dumb.
110.

Marcus giving laugh.
Marcus
DEBBIE Ex husband.
TOBY
I’m just here working on the house.
MARCUS
You don’t live here?
TOBY
It’s not mine. It’s theirs.
looks at the boys. Then at Debbie. Stoic expressions, away nothing … They all know. He can tell. Has to
MARCUS
Things you do for your kids, huh?
rises.
MARCUS (CONT’D) Well, I’d best be going.
Toby stands as well.
TOBY
Me too. (To Debbie) I’ll be back
over around nine tomorrow, try and finish the front.
She nods. Toby looks at Marcus.
TOBY (CONT’D)
You know, I’m renting a little
house in town. If you wanna come by and finish our conversation … You’re welcome anytime.
A dare … A threat … Marcus looks back at him.
MARCUS
I’ll do that. I haven’t figured
this whole thing out yet … But I will.
Marcus looks over at the boys. Studies them.
MARCUS (CONT’D) You as smart as your daddy?
111.

RANDY
I never thought of daddy as all
that sharp.
Marcus laughs. Leans down to the boy.
MARCUS
Don’t you underestimate him.
He looks back at Toby.
MARCUS (CONT’D) I’ll be seeing you.
TOBY
Soon, I hope. I’m ready to be done
with this.
MARCUS
You’ll never be done with it. No
matter what. That’s the price. It’s gonna haunt you, son. For the rest of your days.
Marcus looks up to the sky, letting the autumn sun bathe his face.
MARCUS (CONT’D)
But you won’t be alone. It’s gonna
haunt me too.
TOBY
When you come by, maybe I’ll give
you peace. Marcus smiles.
MARCUS
Maybe. Maybe I’ll give it to you.
TOBY
I’d like that … Till that day.
Marcus looks at this sad, simple man, and smiles. Tips his hat, turns and walks up the dirt road.
The camera rises and looks down on them. The house’s gray, faded shingles and Marcus’s silver hat standing out from the red dirt that surrounds them.
THE END.

[Deb Johnson]

Deb Finds the Essence

What I learned is that there is an essence to every scene. Great writing engages you with clever and original ways to bring that essence to life.

Script I chose: Sunset Blvd.

Scene 1 Location: Act One – midpoint
Logline: Betty Schaefer ruins Joe Gillis’ chance of getting a job from Producer Sheldrake.
Essence: The lovers meet for this first time.

Scene 2 Location: End of Act 1
Logline: Joe Gillis watches from the window as Norma and Max bury the chimp.
Essence: Joe doesn’t realize he’s fallen into a trap and is looking at his future.

Scene 3 Location: Act 2 – prior to midpoint
Logline: When Betty persuades Joe to work with her on a script, they find they have chemistry together.
Essence: The contrast between Betty’s world and Norma’s world. Joe prefers Betty.

Scene 4 Location: Midpoint
Logline: After Norma’s attempted suicide, Norma and Joe become lovers.
Essence: Joe is now firmly in Norma’s grip – like a spider catching a fly.

Scene 5 Location: Resolution
Logline: After killing Joe, a delusional Norma descends her grand staircase believing she’s returning to the spotlight of her former glory.
Essence: Nora’s madness is on display to the whole world.

My selection for most profound essence:
Scene Location: close to the end of Act 2
Logline: On a writing break, Betty and Joe discuss Betty’s nose.

PARAMOUNT’S NEW YORK STREET (NIGHT)

Betty and Gillis are walking down it, THE CAMERA
AHEAD OF THEM.

BETTY
Look at this street. All card-
board, all hollow, all phoney.
All done with mirrors. I like
it better than any street in the
world. Maybe because I used to
play here when I was a kid.

GILLIS
What were you — a child actress?

BETTY
I was born just two blocks from
this studio. Right on Lemon Grove
Avenue. Father was head elec-
trician here till he died. Mother
still works in Wardrobe.

GILLIS
Second generation, huh?

BETTY
Third. Grandma did stunt work
for Pearl White. I come from a
picture family. Naturally they
took it for granted I was to become
a great star. So I had ten years of
dramatic lessons, diction, dancing.
Then the studio made a test. Well,
they didn’t like my nose — it slanted
this way a little. I went to a doctor
and had it fixed. They made more
tests, and they were crazy about my
nose — only they didn’t like my acting.

GILLIS
(Examining her nose
by the flame of his
lighter)
Nice job.

BETTY
Should be. It cost three hundred
dollars.

GILLIS
Saddest thing I ever heard.

BETTY
Not at all. It taught me a little
sense. I got me a job in the mail
room, worked up to the Stenographic.
Now I’m a reader…

GILLIS
Come clean, Betty. At night you
weep for those lost closeups, those
gala openings…

BETTY
Not once. What’s wrong with being
on the other side of the cameras?
It’s really more fun.

GILLIS
Three cheers for Betty Schaefer!
I will now kiss that nose of yours.

BETTY
If you please.

Gillis kisses her nose. As he stands there, his
face close to hers –

GILLIS
May I say you smell real special.

BETTY
It must be my new shampoo.

GILLIS
That’s no shampoo. It’s more like
a pile of freshly laundered hand-
kerchiefs, like a brand-new auto-
mobile. How old are you anyway?

BETTY
Twenty-two.

GILLIS
That’s it — there’s nothing like
being twenty-two. Now may I suggest
that if we’re ever to finish this
story you keep at least two feet
away from me … Now back to the
typewriter.

They start walking in the direction of the office.

Essence: Joe realizes he’s in love with Betty who stands in stark contrast to Norma.

Why I believe this is the essence:
The character of Betty is now set in stark contrast to Norma. Betty was poised to become a great star (like Norma) but was rejected. This did not jade her. She is most comfortable in the fabricated backstreets of the movie industry. She, grounded in reality, understands it’s all an illusion.

[Blair Marino]

Blair Finds the Essence

What I learned is that finding essence in a scene is a significant skill in writing.

Script I chose: Dead Poets Society

Scene 1 Location: Opening scene
Logline: A procession of teens and alumni introduce the start of the school year, as new student Todd Anderson awkwardly observes and mechanically participates.
Essence: Tradition and pageantry are important for success.

Scene 2 Location: Junior class dormitories
Logline: Neil Perry’s domineering father orders Neil to quit an extracurricular class he enjoys.
Essence: Parental manipulation rears its ugly head.

Scene 3 Location: English classroom, beginning of ACT 2
Logline: Students are introduced to the charismatic new teacher, John Keating.
Essence: Non-conformity can encourage free-thinking.

Scene 4: Campus exterior
Logline: Curious students question Keating about the Dead Poet Society.
Essence: Intrigue and secrecy can spark excitement in the mundane.

Scene 5: Cave
Logline: The new Dead Poets Society convenes its new chapter.
Essence: Exhilaration can transform the meek.

My selection for most profound essence :
KEATING Look at Mr. Anderson. In such agony. Step up, lad, and let's put you out of your misery. All eyes are on Todd. He is dying inside. He stands and walks slowly to the front of the class like a condemned man on his way to his execution. KEATING Todd, have you prepared your poem? Todd shakes his head no. KEATING Mr. Anderson believes that everything he has inside of him is worthless and embarrassing. Correct, Todd? Isn't that your fear? Todd nods jerkedly yes. KEATING Then today you will see that what is inside of you is worth a great deal. Keating strides to the blackboard. Rapidly, he writes: "I SOUND MY BARBARIC YAWP? OVER THE ROOFTOPSOF THE WORLD." — Walt Whitman. KEATING A yawp, for those who don't know, is a loud cry or yell. Todd, I would like you to give us a demonstration of a barbaric yawp. TODD (barely audible) A yawp? KEATING A barbaric yawp. Keating pauses, then suddenly moves fiercely at Todd. KEATING Good god, boy! Yell! 53. TODD (frightened) Yawp! KEATING Again! Louder! TODD YAWP! KEATING LOUDER! TODD AHHHHHH! KEATING All right! Very good! There's a barbarian in there after all! Keating claps. The class claps too. Todd, red-faced, swells a bit. KEATING Todd, there's a picture of Whitman over the door. What does he remind you Of? Quickly, Anderson, don't think about it. TODD A madman. KEATING A madman. Perhaps he was. What kind of madman? Don't think! Answer. TODD A crazy madman. KEATING Use your imagination! First thing that pops to your mind, even if it's gibberish! TODD A… A… sweaty-toothed madman. KEATING Now there's the poet speaking! Close your eyes and think of the picture. Describe what you see. NOW! 54. TODD I… I close my eyes. His image floats beside me. KEATING (prompting) A sweaty-toothed madman… TODD A sweaty-toothed madman with a stare that pounds my brain. KEATING Excellent! Have him act. Give it rhythm! TODD His hands reach out and choke me All the time he mumbles slowly. Truth… Truth is like a blanket that always leaves your feet cold. This brings chuckles from the class. This angers Todd. KEATING To hell with them, most about the blanket! Todd opens his eyes and addresses the class in defiant cadence. TODD Stretch it, pull it, it will never cover any of us. Kick at it, beat at it, it will never be enough… KEATING Don't stop! TODD (struggling, but getting it out) From the moment we enter crying to the moment we leave dying, It will cover just your head as you wail and cry and scream! Todd stands still for a long time. Both he and the students have felt the magic or what has just taken place. Neil starts applauding. Others join in. Todd swells and, for the first time, there is a hint of confidence in him. The applause stops. Keating walks to Todd. 55. (MORE) KEATING Don't forget this.

Essence: Breaking out of your shell is rewarding. This is the essence because Keating has been trying to get Todd to participate and to see that he can be bold.

[Jan Fantl]

Jan Fantl – Finds the Essence

What I learned is to re visit a script of a movie I know well put up a pair of fresh glasses and looking for depth and see/ find the essence of the respective scenes.
Script I choose: SPARTAN by David Mamet
Scene 1 Location: 2nd sequence in INTRO

Logline: Sergeant Jackie thanks Scott for being honored to work for him at the hidden training facility 

Essence: Scott (protagonist) is a tough officer yet with an utmost high reputation among this special ops staff.

Scene 2 Location: 2nd half 2nd act

Logline: the president’s wife secret service detail unveils deep knowledge that the president’s team will let Laura die rather than risk the campaign.

ANGLE INT. SANITORIUM. The woman is Mrs. Newton. She walks
with a companion, she wears sunglasses, and starts out of
the sanitorium. As Scott walks up, some yards behind her,
following her out onto a roofed porch. The woman moves to
the far end of the porch, obviously weeping. Scott enters
the porch, and stands for a moment. Beat.
DONNY (V.O.)
…terrible thing, grief…
Scott turns to her, to see a lovely woman in her late
fifties, sitting on a lounge chair, a robe over her legs,
indicating the weeping woman.
Scott nods, and takes something from his pocket. He starts
toward the weeping woman, but the other woman holds him with
her voice.
DONNY
…you want to comfort them, but
you don’t know how.
(pause)
I always think it’s better to
Leave Them Alone…
Scott nods his acceptance of her wisdom, and begins to start
toward the woman.
SCOTT
(of Mrs. Newton, and
the woman, talking to her)
A relative?
DONNY
A psychic.
(pause)
SCOTT
Well.
(pause)
Can we blame her…?
(he gestures, meaning,
we get comfort where
we can find it)
DONNY
That’s right.
Scott begins to move toward Mrs. Newton. The woman on the
lounge chair sits up.
DONNY
…who are you…?
SCOTT
(moving off)
United States Secret Service.
The woman moves her blanket to reveal a pistol which she holds.
DONNY
Guess again, ’cause I’m the
Secret Service, and you follow
my directions or I will shoot
you dead. Spread your hands to
your sides, please…
(Scott spreads his
hands to his sides)
Open them…
He opens his hands to show the red crescent earring. We see
the demeanor of the woman in back of him change, as she sees
the earring. She comes up to Scott, and he turns around. She
looks up, asking, mutely, what it means.
/TIME CUT/
DONNY
(sotto, unable to stop
her invective)
…the motherfuckers pulled the
Detail off of her…He was in
town. Her father was in town,
they pulled the Secret Service
Detail off her, to take him
tomcatting. He’s been doing it
for years. That’s what they do.
They turn the Secret Service
into a bunch of pimps. He took
her protection, she got snatched…
SCOTT
He’d let her die?
A female Agent knocks at the door and sticks her head in and
Donny gestures "rotate".
FEMALE AGENT
…leaving the post…
Donny gestures that she has heard. The Agent leaves and the
door is closed.
DONNY
(meaning, "this is my surmise")
The start of a campaign: Your
daughter got kidnapped because
you were out getting laid?
SCOTT
Her father would let her die…?
DONNY
Who knows if he knows. His
’people’ would let her die in a
heartbeat.
SCOTT
…her mother…?
DONNY
(pause. She takes up
the earring and she
begins to weep. She
looks beseechingly at Scott)
I’m her mother…
She takes out a small, tattered, cheap earring box.
ANGLE INS. We see the empty place for holding two earrings,
and a small arcade photo of a five-year-old Laura Newton,
and this woman, Donny, fifteen years younger. They are
hugging. Scott turns over the photo to read, in a childish
scrawl, "Donny, you can keep the box, cause I’ll never take
them off". Donny starts to weep.
SCOTT
I need some money.
(Donny looks up at him questioningly)
I’m going to get the girl back.
DONNY
What can I do?
SCOTT
I need money. I need a lot of money.
DONNY
(of Mrs. Newton)
I’ve been signing her checks for
years.
SCOTT
Alright…
(he scribbles a figure
on a napkin)
Can you go this high, that’s
what I need…
DONNY
(as she looks down at
the figure on the paper)
…I…I don’t…is there
anywhere else you…
ANGLE. Both look to the side.
ANGLE, their POV. One of the Secret Service Agents, looking
askance at Scott. Does a double-take. And begins to raise
his cuff mike to his lips to speak.
ANGLE, on Donny, as she sees this, and turns around.
ANGLE, her POV. The empty room. Scott vanished.

Essence: Scott and Donny are the only two caring about Laura and Scott will bring her back. – Strangers can be more parental than parents
Why is this the scene with utmost profound essence to me? The scene centers around the aftermath of the alleged tragic accident involving Laura Newton, highlighting the deep emotional pain and grief experienced by Donny, a Secret Service agent who regards herself as Laura's real mother. The discussion between Scott and Donny reveals themes of protection and betrayal, especially regarding the president's misuse of Secret Service resources and its role in Laura’s kidnapping, which underscores a broader critique of power misuse.

Scene 3 Location: campfire scene before finale in 3rd act

Logline: Scott prepares Laura in an isolated desert location that he will bring her on the flight home, when she she expresses feelings of being uncared for and abandoned

Essence: Scott is a Ranger, the Spartan, he will finish his mission no matter what.

Scene 4 Location: mid of 1st half 2nd act

Logline: The president’s advisor, Burch, asks Scott if he would be the man for a dirty mission off this mission

Essence: Scott will do whatever it takes.

Scene 5 Location: End of movie

Logline: Scott watches world news on a street in London – how happily the President watches Laura arriving back home – the ultimate lie.

Essence: Scott is the last witness who knows the truth and therefore cannot return home. – If you really stick to values, you are willing to pay a high price.

• This reply was modified 1 year ago by  Jan Fantl.

[Christopher Fallon]

Hi Jan,

I’ve never seen Spartan or read the script — but I’m going to do so now. Thanks for the heads up!

[Deb Johnson]

It’s been a while but I remember this movie! Wonderful analysis. I would do well to study more of Mamet’s scripts. He’s masterful.

[Yvonne Arnett]

YVONNE ARNETT FINDS THE ESSENCE
What I’ve learned is how much depth can be written into one scene that also supports
the whole movie.
CASABLANCA
Location: End of Act 3
Logline: Rick allows his lover and her husband to escape by shooting the German Major who is
trying to stop them.
Essence: Rick has made the ultimate sacrifice by letting Ilsa go for reasons bigger than himself.
The French Policeman also makes a choice by covering for Rick by rounding up the usual
suspects. This scene had a lot of meaning for the audience at that time as we were in the middle
of a world war against tyranny and we were not sure of the outcome, but folks had to make
choices for the good of humanity.

[Lauren Cragg]

THELMA & LOUISE –
What I learned:
That there are themes to scenes, which cause the audience to form opinions about characters, and as a viewer we have visceral responses which make them have a growing interest in the story.
Scene – The Diner
Logline: Louise is hustling and acting like a queen bee of advice, too young female patrons, and then on the Phone with Thelma.
Essence Louise is a tough woman, and she’s Thelma’s ticket out of an abusive situation.
Scene – Thelma House
Thelma packs up for a 2 -day trip
Essence – Thelma is packing like she’s leaving for good, the promise of escape drive her.
Scene – Partying in a cowboy Bar
Logline Thlema influences Losie to “have some fun”
Essence- Louise knows that the real world is not safe for women.
Scene _ parking lot
Logline – Harlan gets shot by Lousie
Essence – Women have to take justice into their own hands.
Scene- driving off a cliff
Logline – Thelma and Louise escape by driving off a cliff into the Grand Canyon
Essence- these woman would rather die than let men have power over

[Firdaus Bilimoria]

Firdaus finds the Essence

Script I choose: Departed by William Monahan
Scene 1 Lunch Counter – p1 :
Logline: Costello’s introduction and first initiation of mentee- young Colin into a life of crime.
Essence: Insight into Costello’s psychopathic nature as well as nuanced understanding of his victims and future recruits. Costello and young Colin begin a surrogate parent-child relationship.
Scene 2 Church Act1 p5:
Logline: Colin is altar boy at a funeral mass in Church
Essence: Colin’s descent to the dark side foretold in a scene where he is an altar boy in church. The priest is offering a funeral mass, and his invocation of the deceased’s entry into paradise foretells Colin’s descent into a dark path.
Scene 3 STATE POLICE GRADUATION CEREMONY, Act 1:
Logline: Colin graduates from Police Academy
Essence: Unlike the other Police Academy graduates who are surrounding by celebrating families, Colin is alone. Until… car pulls up with Costello and henchman, and Costello congratulates Colin. Costello is now Colin’s surrogate father and has successfully mentored Colin into a position where Colin can serve his criminal enterprise.
Scene 4 Training Field, Act 1 P9 :
Logline: Introduction to Billy, State Police Trainee
Essence: Set up for Billy as future antagonist to Costello and Colin. Insight into Billy’s irreverent and perhaps solitary nature.
Scene 5 Queenan’s office , Act 1 :
Logline: Queenan and Dignam interview Billy
Essence: The two Police Brass try to provoke Billy by bringing up his less than stellar family background, at the same time assess his merit and worth. The cops have something in mind about Billy’s usefulness and are trying to judge Billy and whether he can be reliable.
My selection for most profound essence: (Post scene here without worrying
about formatting and then also post the essence and why you believe that is
the essence).
INT. A CHURCH. MORNING. 1985-ISH
YOUNG COLIN, the good boy, the very good boy, is serving at a
funeral Mass. Various views of the church. Stained-glass
light. The altar is still wreathed in the smoke of incense.
PRIEST (V.O.)
To you, O Lord we commend the soul
of Alphonsus, your Servant; in the
sight of this world he is now dead;
in your sight may he live forever.
Forgive whatever sins he committed
through human weakness and in your
goodness grant him everlasting
peace.
ALL
Amen.
CLOSE on COLIN’S face.
PRIEST (VO)
May the angels lead you into
paradise; May the martyrs come to
welcome you and take you to the
holy city, The new and eternal
Jerusalem.
A liturgical bell tings.