Lancelot Link: European Edition.

Lancelot Link Monday! Wait... half the world gets AVENGERS: AGE OF ULTRON 2 weeks before we do??? And they get STAR WARS 2 days before we do? What's going on here? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Furious 7....................... $18,259,000
2 Blart 2......................... $15,500,000
3 Adeline......................... $13,375,000
4 Home............................. $8,300,000
5 Unfriended....................... $6,244,000
6 Ex Machina....................... $5,441,000
7 Longest Ride..................... $4,365,000
8 Get Hard......................... $3,905,000
9 Monkey Kingdom................... $3,551,000
10 Woman In Gold.................... $3,501,000


LITTLE BOY opened wide but the best it could do was #13... which is pretty close to it's Rotten Tomatoes review rating.

2) AVENGERS: AGE OF ULTRON has already opened in about half of the overseas markets, and made over $200m.

3) Alex Garland On EX MACHINA.

4) DEEP BLUE GOODBYE Postponed.

5) Kevin Spacey On The Importance Of Storytelling.

6) Guillermo Del Toro on CRIMSON PEAK.

7) The Golden God Becomes The Joker.

8) GOODFELLAS Anniversary... Are You Calling Me A Clown?

9) John Boyega On That Movie He's In...

10) Why Is Everyone Writing A Screenplay?

11) Release Date Shuffling For PACIFIC RIM 2, more.

12) Nickelodeon Wants You To Write For Them!

And the Car Chase Of The Week:



From the uncut version of MONKEY KINGDOM...

Bill



IMPORTANT UPDATE:
WATERING YOUR PLANTS - and HANCOCK.
Dinner: Chicken dinner (winner winner)
Pages: 8 pages on a chapter for one of the Blue Books.
Bicycle: Short ride (feeling crappy today).

Movie: Finally saw FURIOUS 7, and the fun thing is that I'm using it in a class for Writer's Store next month!

Lancelot Link: Trailer Edition

Lancelot Link Monday! You may still be watching new movie trailers. There were a handful just released, from QT's HATEFUL EIGHT to BATMAN VS. SUPERMAN to FANTASTIC FOUR to STAR WARS to... Did you miss the HATEFUL EIGHT trailer? It was released on the same day at the same time as the new STAR WARS trailer and seemed to get buried. No mention of it on *any* of the entertainment TV shows (which are really just celeb TV shows now... could we have them arrested for false advertising?) and I wonder why they picked that time to release (or dump) the trailer? Could all of those terrbile things people said about the leaked screenplay fro HATEFUL EIGHT be true of the film? Or did QT take the notes and fix things? Why dump the trailer? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Furious 7....................... $29,056,000
2 Paul Blart 2.................... $24,000,000
3 Unfriended...................... $16,023,000
4 Home............................ $10,300,000
5 Longest Ride..................... $6,850,000
6 Get Hard......................... $4,830,000
7 Monkey Kingdom................... $4,715,000
8 Woman Gold....................... $4,587,000
9 Divergent........................ $4,150,000
10 Cinderella....................... $3,871,000


Box Office still surging: Summer hasn't even begun, and this is a summer filled with huge movies that everyone wants to see, and we are 4.9% ahead of last year and 14.8% ahead of 2013. FURIOUS 7 has only made $1.15 BILLION so far (worldwide). Give the audience what they want.

2) Indie Box Office Winners.

3) Okay, We Got The New STAR WARS Trailer And The New HATEFUL EIGHT Trailer And The New BATMAN Vs. SUPERMAN Trailer And The New FANTASTIC FOUR Trailer.... but what about the NEW NEW STAR WARS Trailer?

4) Banned TV episodes from your favorite shows!

5) Female Screenwriter Over 40? Streep Wants To Help!

6) Film Editing For Improv.

7) Film For Adults Keep Flopping... But Has "For Adults" Become Code For Boring And Downbeat?

8) This Year's Cannes Line Up.

9) Word Counts For Novels, Novelettes, Novellas, Towelettes.

10) Audio interview with Derek Kolstad, writer of JOHN WICK.

11) A novelist looks at the fight scenes in JOHN WICK.

12) Princess Leia Talks New STAR WARS.

And the Car Chase Of The Week:



The best motorcycle chase ever filmed?

Bill



IMPORTANT UPDATE:
A LATE START - Start when the story starts.
Dinner: All You Can Eat @ Hometown.
Pages: Just a couple
Bicycle: Short rides.

Movie: EX MACHINA. Cool, stylish, 4 cast members and a handful of rooms... but what is the test and who is being tested? Young computer genius is hired to go to a remote location to test a sexy A.I. Robot for a rich and possibly crazy version of himself. The great part about this film is it turns *you* into the "tester", you have to figure out who is telling the truth, who is plotting, who is lying, and what are they lying about? There's a line in the film where they talk about a test where someone lives in a black and white world and then is introduced to color... and the inside of the facility is monochrome, and when characters go outside it's so colorful it blinds us... maybe confuses us. This is a film you think about for a week after seeing it.

No Middle Man!

From the beginning of 2011.

Before the holidays I had a meeting with a company about an assignment - they were looking for something in a specific sub-genre for a network they have a deal with that could be made on the network’s budget. One of the problems is that this network is one of the few left that make original movies and they have a target demo... and they want something they haven’t seen before. Imagine pitching someone like Sy Fy Channel and having to come up with two original giant monsters to battle - and a scenario for that we haven’t seen. Though I didn’t have to come up with any giant monsters, this network’s movies do tend to blur after a while - and they want something that stands out but still fits. So I worked to come up with a half dozen pitches that I didn’t think they had heard before. At least, in looking over their recent movies I hadn’t seen anything like these.

As with any bunch-o-pitches there’s always at least one that I love, a couple that are okay, and usually one that I hope they don’t pick because it’s the least thought out and least interesting to me. This time around there are two that I really like because they have ironic twist ends that I don’t think people will see coming, and both also have interesting characters and locations that I don’t think we’ve seen before... at least not in films on this network. As a test, I pitched them to a couple of writer friends... and the two I really liked got the best response.

Now, one of the problems is that you can’t have every story beat thought out for each pitch, so you decide which ones to give some extra thought to - and in this case it was the two I really liked and my friends had liked. So, I anticipated questions they might ask based on the kinds of questions I’d been asked in the past. I also went online and looked into the unusual locations - hey, could they be found in a state with film incentives?

Now, the way these things work is that the network is not at this meeting. The network doesn’t actually produce the movies, they have a few production companies that make movies for their network. The production company takes projects to the network for approval, and the network gives the production company the money to make the movie.

So the production company comes between me and the network guy (or gal), and I pitch it to them and they pitch it to the network - and sometimes things can get lost in translation, But also you are dealing with the production company’s taste rather than the network’s taste. Though the production company is a surrogate for the network, and much of the time they know what the network wants - sometimes they don’t. Everything is based on their past experiences, and that isn’t the same as all experiences. So one production company’s experience may be that all women in jeopardy movies must take place in the suburbs, but another company has had success with that sub-genre in a big city setting or a rural setting. So the network may *want* more rural women in jeopardy movies, but they aren’t getting them due to this filter of the production company’s experiences. If I’m pitching something like this, I like to do a little homework so that I can point out some other things the network has done, etc.

But you are still dealing with a middle man.

And I hate middle men.

I decide to start and end with my best ideas, and if something happens in the middle where I need to gain control I’ll just use that last great pitch early. These are short pitches, just the concepts and a few details - kind of an “elevator pitch”. Might be a page or two if it was on paper. So I go in, pitch that first great pitch... and before I can get to sentence #2, it gets shot down due to some strange thing. “Wait, the character wears a hat? No way is that gonna fly!” (The actual problem was that the conflict was a side effect of another conflict that they had seen before - like a woman running from an abusive husband who swaps identities with someone else... and they shot it down after “Woman running from abusive husband”.)

The problem is, you can’t argue and win. In this case, I mentioned that the real twist came next, but they had already decided they didn’t want it - so I pitched the next thing... and they didn’t like it at all. I was losing it!

So I pulled out that last great pitch and gave it all of my energy... and once again they shot it down after a few words. What? Okay, now my problem is that they are rejecting it before they even hear it! Can I have a full minute, please? Once again I try to explain that there’s more to the idea - that I’m taking a common situation that the core audience can identify with, and using that as the foundation for a completely original and different story. Could I please just get to that different part? No. They’ve heard enough. What else do I have?

So I pitch the last ideas... and they really latch on to the one that is the least developed and that I think is the dumbest. The larger problem is that this is what I call an “underhanded pitch” - something that sounds like a good idea, but when you start writing it you see that it is filled with problems. There are lots of ideas like this, that seem okay in short form but are one problem after another when you flesh it out - and many of them hit a brick wall about halfway in. I can see that brick wall from where I’m standing, but the D-Guy could not.

To me, the big problem is that the two great ones they shot down without listening to the whole things were something the network would really like. And I fear the one they like the network may not like - and that kills this deal. Now, I still own those two great pitches, and there are other producers who make movies for this network (plus I always try to come up with an idea that stands alone and can just be a movie), but it is frustrating to have a middle man get in the way of a deal.

Much of my career is due to middle men - they pass the script to their best contact - but that also means a bunch of deals that never were is due to middle men screwing things up. Sometimes you get a Devo with kind of a “tin ear” and they completely fumble the pitch to their boss. Sometimes you get a person why knows someone looking for an action script, and they want to take submit your women in jeopardy script (WTF?). Sometimes it’s the middle man who is the problem - though I don’t think that Brad Pitt Guy actually had a good connection with Brad Pitt, it still might have been nice if he’d tried giving him one of my scripts. I also know of a “producer” who is just bad news, so when he hands a real producer a script and says he has to be attached, that script gets rejected even if it’s CASABLANCA. Sometimes there’s a different kind of “tin ear” at work - where someone has a connection to an ultra conservative producer and hands them your ultra liberal script... when you have scripts that would match that producer’s politics available. This is when someone doesn’t do their homework. On one of my projects that never was, the producer could not get this money guy’s name right whenever he talked to me. I kept correcting him, but he just kept getting the name wrong. Guess what? The project did not get funding from that source, even though the producer had access to the guy (it was a distrib that picked up his last film). I knew this was going to happen, dreaded it every time the producer talked to me, wished I could be at the meeting to get the guy's name right ("Mr. Lantos" not "Mr. Santos") and maybe save the deal... but no. This becomes frustrating after a while, and you just wish you could get rid of all of these middle men and just do it yourself.

But part of this business, or any business, is that you not only have the connections that you have, you have the connections that your connections have. I don’t have time to know everybody, I’m writing screenplays. I know a small handful of people, and my scripts sometimes travel to people I do not know. But each person knows someone who knows someone else - it’s networking. The thing about networking is that it’s one of those chains that is only as strong as its weakest link - so you should always expect a bunch of links and chains to break. There is no sure thing, it’s all a numbers game. There will always be people between you and the decision maker, and some of those people may screw things up for you. But others may champion your work and open doors for you. I often have people who read something long ago and remembered it, and maybe submit it at their new company. So it’s not really middle men I have a problem with, it’s just the ones that screw up somehow - usually in some way that seems obvious to me, but probably doesn’t to them.

So, I got an e-mail from the producer about that pitch of mine - they want to meet with me sometime to discuss it. In my reply, I included the paragraphs for *all* of my pitches, with the best two first. Maybe he'll read them all the way through, maybe not. I may end up having to write the worst idea of the bunch because the middle man likes it most.

- Bill
IMPORTANT UPDATE:
TODAY'S SCRIPT TIP: Be Indispensable YOU want to be the one they ask for.
Dinner: Ham & cheese.
Pages: 4 pages on the side projects, still working on the main project as I type this.
Bicycle: Short ride to a Starbucks.

Lancelot Link: TV Safe Edition!

Lancelot Link Monday! They are making a TV movie version of ROCKY HORROR PICTURE SHOW. So, either we have progressed to the point where that film seems tame, or they are going to remove anything that might be slightly controversial about it and make it dull. Either way, we lose. So what is the point? While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are a dozen links plus this week's car chase...


1) Weekend Box Office Estimates:
1 Furious 7....................... $60,591,000
2 Home............................ $19,000,000
3 Longest Ride.................... $13,500,000
4 Get Hard......................... $8,635,000
5 Cinderella....................... $7,225,000
6 Detergent........................ $6,850,000
7 Woman Gold....................... $5,852,000
8 It Follows....................... $2,027,000
9 Danny Collins.................... $1,600,000
10 While Young...................... $1,377,000


Box Office is still breaking records, even though summer is still months away! Hollywood is making the kind of films people want to see! This week's box office is ahead of 2014 by 7.2% and ahead of 2013 by only 15.6%. Um, we have an AVENGERS movie opening later this year!

2) Indie Box Office Numbers.

3) INterview with directors of cutting edge horror movie SPRING.

4) The Most Dangerous Film Ever Made... and I own it on DVD.

5) SUICIDE SQUAD casting.

6) Why You Should Write Strong Female Characters.

7) MTV Movie Awards Winers!

8) Willem Defoe Must Learn Subtext.

9) DAWSON'S SCREAM?

10) Children's Books You Should Give To Your Kids!

11) Complications Ensue on JUSTIFIED.

12) Behind the scenes shots of REAR WINDOW.

And the Bicycle Chase Of The Week:



One of my all time favorite scenes!

Bill



IMPORTANT UPDATE:
GOAL ORIENTED - And The Not So Incredible HULK.
Dinner: Hamburger Habit, double cheese with bacon and CPR on the side.
Pages: I had a day last week where I wrote 19 pages... and then made up for it.
Bicycle: Short rides this week.

Movie: WHILE WE'RE YOUNG, about a guy whose life has become stagnant due to his own laziness who meets someone way more ambitious than he ever was and...

Angelina Jolie Eats Live Human Babies!

Because Angie has been in the news lately, from 2011...

You know how movie stars keep looking young even when they get old? They eat live human babies. Tom Cruise is 50 years old and still looks like a teenager – how does he do that? He eats live human babies. Madonna is 50 but doesn't look anything like it – she eats live human babies. She even adopts them from different countries, maybe some kind of a balanced died thing. Angelina Jolie is approaching 40 but looks like she's in her 20s – she also eats live human babies, and also adopts them from different countries. Bridget Bardot was eating live human babies every single day, then she stopped – and look at her now! She just got ancient and ugly fast! See – it works! It's gotta be true that they eat live human babies because they look so young. What else could it be? Plus, I read this on a website that was all about Hollywood, so I know it's true. Movie stars all eat live human babies! Why would the website lie about something like that?

It was on the internet, so it has to be true, right?

BRIDGET BARDOT - BEFORE AND AFTER:


(She should never have stopped eating the babies!)

Back when I was a kid I had a paper route, and delivered the “Green Sheet” - the Contra Costa Times. It was printed on green paper. Every morning I would get up, ride my bike to the newspaper shack, pick up my papers, take them home to roll them and band them, then deliver them before school. Once a month I would go door-to-door to collect. Ah, the joys of childhood! Back then major cities usually had two competing newspapers – one that backed the Democratic Candidates and one that backed the Republican Candidates – independents were out of luck. Newspapers had big staffs and editors and fact checkers and reporters out in the field and in other countries. They reported the facts, and had opinions on the editorial pages, Sure, they may have been a slight spin – if there was a fire the Republican paper would report how much money was lost in structure damage and the Democrat paper would report how many people were left homeless – but 99% of the story was exactly the same. Facts came first, opinion came last. What was important was the fire.

Then cable hit, and all of those news shows, and talk radio, and opinion shows, and two things happened to newspapers: Due to the competition, fewer people read the papers so they had to cut staffs down to the bare bones – fact checkers and editors and field reporters and everyone else was “let go” and they began using “pool reporters” and wire services... and to compete with the crazy TV shows the papers became more like tabloids – filled with gossip and rumor and unsubstantiated facts and opinion. So now the % of facts vs. opinion has changed big time – but newspapers still print retractions when they get something wrong and make an attempt to report the news.

Of course, now everybody gets their news online and the print journalism business is in the crapper. But even online there are legitimate news sources and... the other places: bloggers, 98% opinion news sites, and the rest. Places that are more rumor than fact, where Angelina Jolie eats live babies to keep that hot bod.

She is hot, right? So that proves it!

WANTING TO BELIEVE

Recently there was a wonderful article about the Truth Behind Hollywood that was filled with all kinds of crazy things – some relating to screenwriters. This was not an article in The Hollywood Reporter or Variety or any legit news source – it was some website that generated excitement through incitement. One of those places that is full of scandal and finger pointing and end of the world scenarios – and this was the *Hollywood* end of entertainment scenario. Just reading the article, you could see that it was light on facts and full of opinion. Yet, like wildfire, that article was linked on Twitter and Facebook and messageboards and every place that screenwriters might congregate. And everyone believed it! Well, everyone who didn't know better. But what surprised me was how many people that was. The people who work in the business knew that it was mostly fabricated crap, but many writers who haven't broken in yet believed it without checking out the facts – even though it was not from a source known for facts. They *wanted* to believe it. The didn't want to check the facts – that would take time away from posting on those various messageboards how awful this all way and how Hollywood has actually gone to Hell in a handcart. Why do we want to believe the worst? Why do we believe stuff from suspicious sources?

I can not understand *wanting* to believe that Angelina Jolie eats live babies.

This stuff happens at least once a week – and sometimes it's *amazing* how the same bad info keeps getting passed around. You know that woman who claims that THE MATRIX and every other movie ever made ripped off her idea? You know that story that she took Warner Bros to court and won millions? And, of course, all of that is completely false – her case was thrown out of court for lack of basic evidence. And there are plenty of actual newspaper stories that reported the actual outcome, and if you go to Snopes.com it is listed as complete BS – the woman was interviewed in a *college newspaper* and said she won the case, and then worked her butt off to get that college newspaper story linked all over the place so that it seemed like a fact. But one minute on Google and you can easily find a bunch of legit news sources that dispute her story and have the facts that she lost. It's not hard to find the truth about that one...

Yet, sometime this month someone will post that story on a screenwriting messageboard as proof that Hollywood rips off writers. See, she won in court against Warner Bros. This weird screenwriting blog from someone in Peru proves it!

(Nothing against screenwriters in Peru – just using that as an extreme outside the Hollywood loop example.)

EXPERTS VS. DRIPS UNDER PRESSURE

A while back on one of the messageboards I frequent someone asked a very good question: why would people believe some new writer who has no idea what they are talking about and can't even support their argument with a couple of facts over a working pro (not me, by the way)? And people were arguing *against* the working pro – and arguing *against* his experience! Huh? Though everyone has different experiences (ask a panel of pro writers how they broke in and you will get as many different ways as there are people on the panel), the experience of someone who does this for a living trumps the opinion of someone who does not. Hey, facts may still come into play here and show that the *average* experience is different than that guy who does it for a living... and that's cool. But those are facts from some reliable source, not some rumor mill website. The stuff on the rumor mill website? Not facts. Not a good source for information. Instead of reading stuff there, why not go to Variety or Hollywood Reporter or some other legit source?

Is it because the scandal element is what is exciting? The negative aspects of the “news” are more attractive than the truth? What amazes me are those people on messageboards who will *fight* against the truth. Who will argue against the real facts. Who will argue against someone with experience and do everything they can to tear them down rather than just listen and consider what they say. And, like I said, if you can find the facts that dispute what I say – I want to hear them! My experience may be a fluke! (Though, I take the time to Google stuff so that I don't make a complete ass of myself in print... though sometimes I still screw up. Sorry.)

If someone gives me real information that conflicts with my experience, I'm going to use that real info. Things like that give me a larger picture and help *me*. You know, I'm trying to sell scripts just like everyone else. If I'm doing something stupid, I want to know. I'm not going to *fight* facts – that seems stupid.

But still some people seem to prefer the rumors to the facts and seek them out... when they could just as easily find the facts (and check to see if those rumors are true or not). Why do they *want* to believe that Angelina Jolie eats live babies? Why do they want to spread the rumor that she eats live babies? Why, when faced with the facts, would they fight those facts in order to continue to believe obvious lies? What's up with that?

Here's the thing – the internet is filled with crap. Messageboards are filled with crap. The whole danged world is filled with crap. Instead of just blindly believing something, do a minute of research before you spread that nonsense. Hey, you may learn things!

There are no producer's “staff writers” who script all of those ideas that producers steal from new writers. The WGA is not some evil cabal designed to keep out new writers so that their members can make more money (actually, the WGA makes a pile on initiation fees from new members – and that means they *want* new writers to get work). There are no secret handshakes or odd conspiracies – Hollywood mostly just wants to make money. They want to buy one script instead of another because they believe one will make more money than the other. They hire one writer to do an assignment over another writer because they believe that writer is a better writer (and/or has a better work ethic). Maybe the problem with the truth is that it's mostly pretty boring, but rumors are usually weird and amazing?

But, what else explains why Angelina Jolie is still so hot after all of these years?

- Bill

Lancelot Link: LANCELOTUS 7

Lancelot Link Tuesday! FURIOUS 7 is on track to make at least a *billion* dollars by the end of its run. Death of the star and a new director (the great James Wan who is a *horror movie guy*) haven't put a dent in this franchise. It is Universal's superhero franchise. Don't you wonder how Dick Wolf feels about now? Yeah, Wolf is "Mr. NBC TV" now, with the LAW & ORDER franchise and now the CHICAGO FIRE/PD/MEDICAL franchise... but in the 80s he wrote a film called NO MAN'S LAND about a rookie cop who is sent undercover to join a car theft ring run by a charismatic criminal who loves driving fast, and thinks of his team as his family. Speaking of family, he has a hot sister that the young blond cop falls in love with, further complicating his undercover work. This script (and the film that was made from it) were filled with car chases and all kinds of cool car stunts. But, alas, it did just okay business... and is mostly forgotten now. D.B. Sweeny (Larry on TWO AND A HALF MEN) could have had a huge career... and the guy who played the charismatic gang leader who loved driving fast could have become a huge movie star... instead of *starring* in TWO AND A HALF MEN for a few seasons. What could have been! While you're thinking about that, here are this week's links to some great screenwriting and film articles, plus some fun stuff that may be of interest to you. Brought to you by that suave and sophisticated secret agent...




Here are fourteen links plus this week's car chase...


1) Weekend Box Office Actuals:
1 Furious 7...................... $147,187,040
2 Home............................ $27,011,303
3 Get Hard........................ $13,128,219
4 Cinderella...................... $10,178,750
5 Detergent....................... $10,126,715
6 It Follows....................... $2,513,459
7 Woman In Gold.................... $2,091,551
8 Kingsman......................... $1,808,652
9 Do You Believe................... $1,544,423
10 Second Best...................... $1,079,747


FURIOUS 7 only made $392 million worldwide over the weekend. That ranks it #9 in opening weekends of all time. And it had the misfortune of opening in April on Easter weekend. It broke all records for April, by the way. So, there will probably be an 8th movie, and I predict, like the second SHARKNADO movie, it will take place in New York City. You heard it here first! Box Office is ahead of last year, but only 14.2% ahead of 2013. So everything must be wrong with the Hollywood business model and the whole industry is obviously doomed. You picked the wrong year to be a screenwriter.

2) Your *BUT* Can Improve Your Story!

3) UK Action Writers? Here are a couple of UK action films, one written by friends of mine in the UK. (Congrats Bobby & Nathan!)

4) Unless Paul Giammatti plays Pooh and is *pantsless* for the entire movie, I will boycott this film!

5) SUPER TROOPERS 2... crowdfunded. Why?

6) JURASSIC WORLD Arbitration Saga Continues.

7) NBC Tries To Settle Unpaid Intern Lawsuit... for **much** less than minimum wage.

8) JURASSIC Credit Controversy.

9) Will Sir Isaac Newton's *nipples* be part of his costume?

10) Interview with Matthew Weiner on creating MAD MEN.

11) Interview with FAST & FURIOUS writer Chris Morgan.

12) Big Foot on Film (to celebrate Jamie Nash's EXISTS hitting Bluray!)

13) And EXISTS director talks about the film. 14) Storyboards from your favorite films.

And the Car Chase Of The Week:



Frrom NO MAN'S LAND.

Bill



IMPORTANT UPDATE:
Always Be Prepared - If you met Spielberg in the grocery store, would you be prepared?
Dinner: People always eat Ham on Easter, which makes no sense... Jesus couldn't eat ham! So I had chicken.
Pages: 7 pages.
Bicycle: Nope. A short ride, but stuck around home and watched...

Movie: BEN HUR on DVD, which is two freakin' disks!

Lancelot Link Will Be Tuesday.

Because my face and fingers are covered with Cadbury egg, Lancelot Links will run on Tuesday this week.