The backstory jumped bail, leaving you
with fragments and a breakout hit in a car chase . . .
Cosplaying . . . again? . . .
What do you mean you're not sure? . . .
You know, I'm not sure, so I'm waffling . . .
This is important . . . the lines
as elements of style that blunder along . . .
There were quite a few . . . and, yes,
it was edgy which made it exciting
but the blowback had to be reconciled
with whomever was involved . . .
or maybe not, I don't know . . .
You mean the party of the first part? . . .
Then, everyone was left with jottings
for memoirs, I suppose, following
what Paley calls the open destiny of life . . .
The endgame . . . the warning track . . .
and you're about to hit the wall . . .
Having a plot fenced you in, OK? . . .
keyboardiing your experiences . . . or
assumptions . . . or allegations on your laptop? . . .
Indeed, you're not sure . . .
Maybe retracing your steps with a refurbished script . . .
new words . . . different words . . . that sort of thing . . .
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Camille Claudel by August Rodin |