Genre: Comedy
Premise: When four grown-up siblings come back to visit their parents on their 35th anniversary, they’re greeted with a devastating family secret that changes everything they know.
About: This script leapt up and grabbed onto the 2007 Black List with its fingernails, refusing to let go.
Writer: Peter Craig
Details: 109 pages, March 23rd, 2007 revisions

My new thing is using one review slot a week to dig up an old script from 4-10 years ago, and review it. The hope is to find something everyone forgot about. There are times where a couple of big specs hit and the waves they generate are so high that all the little guys get swept away. And maybe those little guys wrote something good. I’ve seen my share of strong scripts that were either passed over or entered development hell immediately, so I’d like to be the lighthouse that guides those scripts back to shore.

The question is, how clueless do I want to be in choosing these scripts? Do I not want to know ANYTHING other than the title and that they finished on the Black List? Apparently, that’s the call I made this week, and booyyyyyyy do I regret it. Okay so look. We all have off days. We all pick up or write a bad script every once in awhile. But does it have to be a back-from-the-dead-hopefully-this-will-be-awesome Scriptshadow review script? Humph.

Today’s script falls into that love-it-or-hate-it subgenre known as the “Wacky Family Independent Film.” Oh man! Those family members. They’re all so wacky! This was popularized by Wes Anderson and somewhere between the years of 2002-2005, everybody and their crazy grandpa was writing one of these. I think I wrote one too. And it was dreadful. So I feel you, Peter. But there was a success or two. Little Miss Sunshine did well, right? I mean, its writer is now writing the next Star Wars movie. But then you had your Running With Scissors’es…es. And those were just as unpleasant as the Sunshine’s were pleasant. Even Wes Anderson seemed to get bored of the genre he popularized, pumping out pale imitations of his earlier films.

Which I guess leads us to Relativity, which I’m relatively sure isn’t going to get a lot of feedback here on Scriptshadow. In fact, I’m willing to bet the comments will dive to subatomic levels, which is probably a good lesson for screenwriters out there. The comments section on Scriptshadow is pretty a pretty good indicator of the public’s general interest for a film. If an idea or genre is boring, people aren’t going to see it (or comment on it).

So with that said, let’s start butchering—er, I mean reviewing. I’ll try to be clean and kind. I’ll try to make this painless. Then I’ll broil the meat instead of fry it so we can have a healthy Monday Scriptshadow meal. Waddaya say?

50-somethings Claire and Franklin Fergusson should be at the precipice of a wonderful weekend. They’re about to celebrate their 35th anniversary with all four of their excitable grown-up children, who are coming home to joyously participate in the festivities.

Except Claire and Franklin have been hiding a deep secret from their children. All four of them were adopted! So when unkempt Charles, nervous twin Vincent, uptight Conrad, and artsy Judith, show up and hear the news, they’re…hmmm, well, upset to put it mildly. The biggest issue seems to be that all of them thought they were born into a rich prestigous family, when in fact they were all poor and deserted by their families.

Vincent is so confused by the news that he runs away. Charles becomes manically obsessed with the fact that Vincent isn’t his real twin and decides to celebrate his “individual” birthday as a sort of “fuck you” to the news. Judith learns she was the daughter of a Russian spy and a hooker and doesn’t know what to do with herself. And I’m not sure what happened to Conrad. He got shafted as far as storylines go because I can’t remember a single thing about him.

As far as the plot, that’s pretty much it. Our four 30-something adopted grown-ups just sort of run around and pout. There’s no goal. No real story. It’s just people complaining to each other. I’m not going to say it’s all bad. I did giggle a couple of times. And if you’re into this kind of humor, you’ll find it funnier than I did and that might help cover up some of the script’s other problems. But that’s the thing. Relativity had so many problems that they couldn’t possibly all be covered up.

So let’s pretend we live in an alternate reality where I’ve been asked to guide this script through development. I would start by adding an actual story. Currently, these kids come home to a 35th anniversary that nobody cares about, that has no festivities or schedule, and that has no stakes attached to it whatsoever. Why would you make that the story center? It’s boring! Make it a wedding instead. Probably Vincent’s, since he brings his fiancé home anyway. Now we have more of a ticking time bomb. We have something that can be interrupted and ruined, which means the stakes will be higher.

Then, instead of this adoption information being offered up voluntarily, which feels beyond artificial (there’s no reason for the parents to bring this up now other than that the writer wants to so he can have a story), the information should come out by accident. One of the kids stumbles upon it at the house. Or another finds a semi-clue and puts two and two together. The kids confront their parents. The parents admit it. Now the situation feels a little more believable.

And here’s a question: Why do the kids have to find out all at the same time? It might be more interesting to have the news spread from kid to kid gradually. That could be fun, with Vincent being the one person the others know CANNOT FIND OUT HE’S ADOPTED. They know he’ll have a mental breakdown. And they know it will destroy the wedding. So everyone’s trying to keep the secret, but at a certain point, too many people find out, and then right before the wedding, Vincent finds out, and everything goes to hell.

I’m afraid that particular story improvement would only slow the bleeding though. This script has too many issues. My biggest problem was that there wasn’t a single authentic moment in the entire screenplay. Nobody acts logically. Choices are made for cheap laughs rather than exhibiting what the characters would really say or do in these situations. For example, one of the kids points out that they SAW the mom pregnant when they were young – which means at least one of the kids can’t be adopted. The mom counters that they suspected the kids might possibly remember an adoption, so to trick them, she stuffed her dresses with pillows to give the appearance that she was pregnant.

Oh. M. Gee.


I mean, come on.

Okay, look. I get that this is supposed to be broad. It’s wacky. It’s nonsensical. And that’s supposed to be the funny part of it. But there wasn’t one REAL moment in the entire script. And because nobody acted real or authentic, I didn’t care about them. Even in Wes Anderson films, like Rushmore, the characters have hearts and feelings. This felt like 7 Jim Carrey’s running around trying to out-overact each other.

Relativity also severely handicapped itself by making its main characters a bunch of rich snobs. These are by far the hardest characters to make likable. There are exceptions where rich people can be made sympathetic (actually, anybody can be made sympathetic by a skilled writer), but no effort was made to do so here, and as a result, everyone came off as stuck-up, ungrateful, juvenile or annoying.

Then you had the Quirk Factor Level 17. Everything was done specifically to try and be quirky. And I’m not going to get carried away with this. I’ve been there. I’ve written the same kind of characters and the same kind of situations. I think every writer goes through that phase. But when the family members were driving around in a bumper car that was decked out to look like a race car, or the grandfather announced that he had breast cancer (yes, the grandfather)…I just died a little inside. I couldn’t take it anymore.

These kinds of scripts are too artificial for me. I need something to be grounded in reality or to know Wes Anderson’s going to make it all alright on screen. This was way too wacky for my taste. I was thinking about giving it a “What the hell did I just read” but then I realized it wasn’t badly written. It was just not my thing. Hence, it wasn’t for me.

[ ] what the hell did I just read?
[x] wasn’t for me
[ ] worth the read
[ ] impressive
[ ] genius

What I learned: When doing a character piece, particularly a companion piece, don’t leave your characters out to dry by not giving them a plot, as was done here. Since the 35th anniversary carried no weight and didn’t mean anything to anyone, there was nothing that needed to be done, and therefore nothing for anybody to do. That forced the characters to try and keep the story interesting via their wackiness alone, which they weren’t able to do. Instead, give your characters a looming goal or end game that carries with it HIGH STAKES. Something like a wedding would’ve worked great here. Now characters have things to get done (preparing, planning, creating) which makes all of them more active and more interesting. With an end game, you also give the audience something to look forward to. They’ll want to know if Vincent finds out about being adopted or not. And if he does, what is he going to do?? Look at Little Miss Sunshine. They had to get to the pageant. So they all had a directive, a goal, stakes. You give yourself a way better chance to write a good story going this route.

  • Poe_Serling

    “My new thing is using one review slot a week to dig up an old script
    from 4-10 years ago, and review it. I’m hoping to find something
    everyone forgot about.”

    That’s a great idea… sometimes really good projects get lost in the shuffle of development. One example of this is the spec script Sherlock Holmes and the Vengeance of Dracula, which received an impressive about 3 years ago on this site.

    • Chris

      Moved and seconded. Also, VLAD by Charlie Hunnam, great script about Vlad the Impaler, the real guy (warrior king, etc) who inspired the Dracula tales.

      • Poe_Serling

        Yeah, Vlad sounds like a winner. I just read a short article about the script at EW. Another project that I’ve heard a lot of good things about is the pirate script Captain Blood by Jonathan ‘Armageddon’ Hensleigh. Who knows… Carson may add both to his short list!

        • Melanie W

          Oh, that does go back — all the way to 1994. The Hensleigh Captain Blood (with revisions by Russell and Darabont) is indeed very good, even if aspects of it are both anticipated by Last of the Mohicans and adopted in the first POTC film.

          I found the Vlad script to be a little rough in terms of craft (could use a polish), but what I do consider to be an absolutely phenomenal take on the historical Wallachian prince is “Dracula: Year Zero.” Despite its unimpressive title, it’s one of the best scripts I’ve ever read. Seriously.

          • Poe_Serling

            Dracula: Year Zero by Matt Sazama and Burk Sharpless…

            To be honest, this is one of those projects that slipped under my radar. In fact, I momentarily got it confused with the Gerard Butler film Dracula 2000, which is somewhat a guilty pleasure for me.

            Thanks for pointing it out. Perhaps Carson will add it to his list. I did notice that the writers of Dracula: Year 0 are keeping busy with other projects. The duo were hired to write a film based on the board game Clue… working on a project with Alex Proyas… selling a pitch for a futuristic jungle book for a mid-six figures.

          • carsonreeves1

            Okay so wait. You guys want me to review a Dracula script? Which one, Vlad?

          • Poe_Serling

            It’s coin tossing time..

            Heads: Vlad is the script from one of the actors from the TV show Sons of Anarchy.

            Tails: Dracula: Year Zero gets a big thumbs up from Melanie W…. ‘… one of the best scripts I’ve ever read.’

            Or you could do a Battle Royal between the two.

          • carsonreeves1

            Okay, as you guys know, that’s not quite my genre so I don’t have these scripts. If you have them, send them. Otherwise I’ll put them on my “Looking For” list.

          • Poe_Serling

            I don’t have them… maybe Melanie W. has access to Dracula: Year Zero… fingers crossed.

  • yeebarr

    My biggest problem with the script – the big speech that’s made on page 100? Could have been SAID on page 20!! “No family is perfect”? That’s the big reveal??

    It was just one of those closing speeches where it would have been better not to say it at all – or have the characters come to that realisation through the story.

    That said, I did enjoyed the writing; the dialog was amusing enough to keep me reading when the story itself made me want to stop after 10 pages.

    • Elvis D.

      Agree. This is not a ‘let’s see what happens next’ kinda script.

  • MaxNorm


    Overly quirky characters are the worst.
    I tried watching a Miranda July movie the other day and threw up…

    • carsonreeves1


  • Somersby

    It took me a while to catch the tone of this one. At first I thought it was just a little too quirky for my liking. I wasn’t sure if it was intending to be a dark comedy or a zany comedy or simply a weird low-key drama with an unconventional edge. I think it was Charles cutting down the oak tree in the backyard that threw me off. That coupled with Judith attempting to teach her dog Spanish just seemed too out there, too indulgent. I didn’t get it.

    By about page 15 it all began to gel. The scene where the family gathers around the dinner table only to learn the shocking family secret from Franklin and Clair set everything nicely back on track. From that point on, at least for me, the story suddenly had heart. And a pretty big heart at that.

    In any script where every character is either super eccentric or radically dysfunctional, there’s the danger that the audience will tune out. There’s simply no one with whom anyone can relate or identify.

    But Peter Craig does something that is both skillful and impressive. After introducing all the characters and their accompanying idiosyncrasies (and they’re all a little nuts in one way or the other), he manages to make each of them incredibly endearing and believable. They may not be particularly realistic, but they are very believable in the world they inhabit.

    The Fergussons are one bizarre, mixed-up family. Yet despite their flaws, they each discover, for good or for bad (but mostly for good), that it’s their shared history as a family that has shaped each of them into who they have become.

    There is some great, unforced comic dialogue here, as well as some hilarious visual moments. A limp Randolf Chang simply dropping out of the tree the morning after the party had me laughing out loud.

    I suspect this one won’t be for everyone. Still, it is really well crafted and worth reading if only for Gwenivere’s stirring “whiney bastards” speech to the family. Funny, deft, and touching. Nice.

    Hard to imagine this is from the same guy who co-wrote The Town. It’s so unlike that script in almost every imaginable way …Except that they’re both pretty damn good.

  • Yuri Laszlo

    This was a relatively fun read, compared to the prospect of gauging my eyes out with a felt pen and writing my notes in my own still warm blood.

  • carsonreeves1

    Hmm, it seems in my travel-day stupor, I actually posted an earlier version of the review I wrote at 5 in the morning. The above draft is much more recent. :)

  • TGivens

    Somehow this script reminded me of Death at a Funeral. Now that wasn’t a great movie either, but it had what Carson is talking about in this review. And it worked. I don’t know what else to say about Relatively. It got swept away for a reason – that’s for sure.

  • PapaKalfou

    Congratulate me! I now have a Master’s Degree in Quirky Pomposity from the Paul Thomas Anderson/Wes Anderson Every Hipster From the NYU School of Who Really Gives a Shit University.

    Ugh. I made it 36 pages. And 35 of those were a struggle. I seem to remember breezing through the title page, so that’s a plus.
    This was just…too much. They’re all adopted. And? There is no “and.” Actually, there might be but I stopped reading and tossed it on the junk pile.
    I admit, these types of scripts do appeal to people. I know some of them. But it’s not for me.
    From a technical standpoint, I guess it was written competently. I mean, the
    words all seemed to be in the right places and formatting and such as.
    Did anyone else get the vibe that this was written back in the 80’s? A hatchback? Voltron?
    I totally called the inciting incident from the very first page, the very first words. They’re all adopted! I was really holding out for more. I do kinda wonder how it ends, and since I’m writing this before Carson
    throws up his review, I guess I’ll find out later today. I’m hoping for explosions. Lots of them.

    • carsonreeves1

      lol. Post of the day! :)

  • UrbaneGhoul

    I didn’t read the script but it sounds like it’s possible to salvage a 35th Anniversary celebration. Maybe they throw a party and find out by going through family records or whatever. They don’t tell their parents or the one brother. Maybe the Twin watches over the other so they don’t find out. The daughter, who was supposed to distract the Mom that day to keep them distracted, has to spend the day with her knowing she’s adopted, knowing she can’t tell and asking questions of her past without getting caught. The other kid does…something. I have no idea to end it. Maybe a twist like the parents decided to tell them that day anyway and they just act like its no big deal after spending the day they did.

  • fragglewriter

    I read until pg 28 and had to stop. I think for the age of the kids, adoption IMO is not such a big deal, unless something bad happened like one of them sleeping with each other and trying to hide it from the other family members and then the adoption reveal at the end. The script just neded something g to happen or a point to all of the weirdness

  • SeekingSolace

    These types of dysfunctional family comedies are usually hit or miss. “Running with Scissors” got a limited release and never garnered enough word of mouth to entice the production studios involved with the film to put the effort into getting it released nationwide. “Little Miss Sunshine” got a limitied release followed by a nationwide release after receiving great word of mouth and then went on to gross a ton of money.

    “Relativity” isn’t bad, but much like the Amatuer Friday scirpt “The Very Last Girl” their familiarity borders on cliche, but the fact that both could be made on a micro budget means there might be someone willing to take a risk on them. The script wasn’t to my liking, it felt like it was written with emphasis on the jokes and not the story. However, comedies can get away with having a lackluster story if the script is funny enough. There are some funny moments, especially when everyone finds out where they’re from and each reacts differently. I’m not sure it’s enough, but it’s worth mentioning.

    • Kay Bryen

      I’ll give “Running With Scissors” credit for introducing me to the song “Year of the Cat” by Al Stewart.

  • Louis Bennett

    I am a big fan of The Royal Tenenbaums and Wes Anderson, so surprisingly I wasn’t expecting much from this script. Wes Anderson movies are like Tarantino movies to my mind, nobody else comes close to getting them right.

    The script definitely has some funny moments, Even Edward had me laughing a lot…lot, Conrad with an air rifle I thought was also good. But it became clear around about the time they started playing a Fantasy RPG that Judith had created as a kid that this was going to be a bunch of funny, and in some cases not so funny, scenes cobbled together.

    I never quite know who to root for in these ensemble pieces, who I should be focusing on, who should be driving the story. I know that they can be done, and done well, but it’s bloomin’ tough to do. Personally, I’d make Gwenivere the lead, she’s new to the family, she’s the audiences guide to this new world, she can ask the questions we can’t.

    That plus the fact it’s 8 people meeting up for a weekend for an event that no one is massively fussed about means this is just some funny ideas stuck together…together.

    • carsonreeves1

      A reason to cobble some funny scenes together is a great summary of the script.

  • Citizen M

    It wasn’t that bad. It’s a lightweight, feel-good dramedy with crazy antics for actors to have fun. There’s no serious depth to this. We are sure it will all work out. They aren’t bad people. The viciousness that happens in some families never shows itself. It’s entertaining, no more, but also no less.

    BTW Conrad is half-Indian, half truck driver. And there is a celebration planned: their 35th anniversary party, which of course goes horribly wrong. But I think Carson’s idea, that they find out by accident they’re adopted and try to keep it secret from the weakest one, is a good one. (Like Goodbye Lenin!)

  • cjob3

    Didn’t realize the quirky family independent film became a sub-genre. (Were there really that many?)
    Personally, I always thought The Royal Tenenbaums and Little Miss Sunshine were both SUPREMELY overrated anyway. In fact, I stopped loving Wes Anderson with Tenenbaums, when he seem to trade in comedy for preciousness. He only recently won me back with Moonrise Kingdom.

    But yeah, quirky IFC families, you can keep ‘em.

    • carsonreeves1

      yeah, Moonrise Kingdom was a return to form for him. Not perfect, but better than his recent work.

      • cjob3

        Yeah, hurts to say and I’m in the minority but Tennebaums didn’t do it for me, and I LOVED Rushmore and Bottle Rocket. From Tennbebaums on, Anderson seemed to value set design over storytelling. But it clicked in Moonrise Kingdom. (Although maybe it’s because the main character was so similar to Max Fisher in Rushmore. He even looked like a young Jason Swartzman.) I’d like to see Anderson go back to Bottle Rocket basics, and stop treating every frame of a film like a shoebox diorama.

        Not sure it’s fair to lump Running with Scissors in the indie family film though. It was a bio-pic wasn’t it? Based on the life of Ryan Murphy, who’s gone on to create really disturbing TV shows like American Horror Story, Nip/Tuck and Glee.

        • Malibo Jackk

          Glee is disturbing.

  • shewrites

    I agree that it’s hit or miss with these scripts. I loved The Royal Tenenbaums. It had so much heart, let alone Little Miss Sunshine.

    Here I had a hard time getting on board from the first. Telling their children they were adopted when nothing warranted it was nothing but a contrivance. I agree with Carson. It would have been so much more compelling if the kids found out by accident.

    I still read up to page 30 when I realized that I didn’t care about the characters. They were too strange to feel real.

  • TheRealMWitty

    Right. In a family that has been living a lie for the past thirty some odd years, there’s never a moment’s suspense that something might be discovered and change everything forever. Funny thing is, it seems the writer knows that and was maybe going that way — the newlywed couple that has to pretend they’ve only just met. For a moment there, it looked like there was going to be honest-to-God tension, but that’s all forgotten about minutes later

    Still, I thought there was a better than slim chance Carson would let all this slide — he did like The F Word and The Jones Party, after all.

    • carsonreeves1

      Hey, The F Word was good! :)

  • Ambrose*

    I enjoyed your thoughts on this script, Carson, especially your suggestions for making it better.
    Raising the stakes would improve it dramatically.
    Zaniness does not automatically equal funny. Or interesting.

    Is this the same Peter Craig who wrote ‘The Town’?

    • carsonreeves1

      great question. I’m not sure.

    • Rick McGovern

      Definitely a different Peter Craig as Poe mentioned.

  • Elvis D.

    Tomorrow’s is pretty good. Take that to the front of your list.

  • Elvis D.

    Relativity was not nearly as bad as Carson made it sound. And this is just not a GSU type film. Also, the way it was executed I did not like Little Miss Sunshine. So…

  • MaxNorm

    ”Which I guess leads us to Relativity, which I’m relatively sure isn’t going to get a lot of feedback here on Scriptshadow. In fact, I’m willing to bet the comments will dive to subatomic levels, which is probably a good lesson for screenwriters out there.”

    Jesus Lord…. he was right!

    There’s no doubt left in my mind… Carson is a wizard!

    ps. Can’t wait for the fucking book.

  • carsonreeves1

    I enjoy seeing why scripts don’t work. I enjoy that process of trying to figure it out. Which is why I don’t mind continuing to read. But yeah, one manager was telling me the other day that of the 300 or so scripts he’s read this year, he finished cover to cover 5 of them!

    • Keith Popely

      I love your guidelines for what works and – between you me and my fourth glass of wine – I am slavishly using them on my own script. But any over-reliance on guidelines – a.k.a. “formula” – has its pitfalls. The thing I think you do well is what I would advise anyone: if you like it, then just like it. The rules don’t matter. If it strikes that “X factor” in you, nothing else matters.

      I just picked up “Easy Riders, Raging Bulls” again after several years and read the intro and what Biskind says is that the reason the 70s produced such an unprecedented number of great films is that the filmmakers broke with the formula that Hollywood had always gone by up ’til then. Some of the greatest movies of all time would never, never, never get greenlighted today. Because they violate some of the basic, most well-established “rules” that scripts today must follow. Have you watched DEER HUNTER recently? I mean, seriously. There’s a 20-minute wedding scene in there during which nothing happens and nobody does anything but talk.

      At any rate, I do believe in what you teach. But I also think that filmmakers are unwilling to go outside the box today and it’s because they’ll never sell their script, get their movie financed or get their film into theaters if it’s not a neat and tidy three-act structure that hits all the right beats. And that’s why there are no more DEER HUNTERs and why there are 15 sequels to THE TRANSFORMERS.

      • carsonreeves1

        Good God no more Transformers films please.

        • Poe_Serling

          Mark Wahlberg just signed on to do Transformers 4.

      • New_E

        And that’s why things suck today. So many films being greenlit these days just… suck. Tasteless pre-packaged stuff. Not surprised though. Many gatekeepers are very young readers, without much in the way of film culture. There’s also pressure on their shoulders from their higher-ups to find the next TRANSFORMERS so everyone can rake in the dough. No more APOCALYPSE NOWs! No more BARRY LYNDONs! No more DEER HUNTERs!

        Did rewatch THE DEER HUNTER about two months ago in its new, glorious BD transfer. Superb. Didn’t work out so great for Michael Cimino in the end though. HEAVEN’S GATE may still be considered the greatest flop ever.


      • Malibo Jackk

        Agree with much you’ve said.
        It’s why you will hear me say: Do what works for your script.
        (Hey, it’s only a suggestion.)
        Know the rules, know why you’re breaking them.
        But the problem will continue to be that your script is being read by a reader who has just learned the rules — and thinks his job is enforcing them.

        Not sure the Deer Hunter wedding scene would work today.
        (Get in late; leave the scene early.)

        • New_E

          The scene worked for [i]this[/i] viewer when I re-watched it just a couple of months ago.
          Can’t imagine the movie without it. It was important to establish the characters’ emotional bond and was a slice of life in a small Pennsylvania mining town full of immigrants. Genius.

        • Keith Popely

          Thanks, Jackk. I really should stop CWD*.

          *commenting while drunk

  • Malibo Jackk

    There’s a well known story about a studio exec who cut his finger on a brad.
    When he tossed the script in the trash, someone reminded him that it might make a great movie.
    The exec’s response– Not by this studio.

    I’m not sure many readers have the patience that Carson has.

  • Ambrose*

    Thanks very much, Poe.
    I had checked IMDb but couldn’t find anything about it.

  • jendecott

    Well call me nuts but I was laughing out loud at some of the scenes. The script drew me in and kept me almost to the end. The speach by Gwen at the end lost me.

    I think the party was the missing ingredient. It is the reason everyone is there. It should have been the stakes, and the time clock and been featured in the third act. Instead it was no big deal and blew over in a single scene. Have everyone reconcile there, maybe have a renew vows/ double wedding with the parents and Vincent and Gwen… that sort of thing.

    For me it had an Arrested Development vibe to it that I got and found it quite funny. Nothing in this seemed to far fetched, there are some bat shit crazy families out there. Either way I think it could work as a quirky Inde.


  • Rosemary

    I’m sucker for this kind of films. So there was some scenes in the script that had me chuckling. I can understand why this could be a hit or miss to some.

  • BAMWire

    I tried but didn’t get very far into it. I usually read further. Will try again over the holidays. I always want to give it a shot on these ideas.

  • Vivek Krishnan

    can anyone send me the script