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Show 91 know which of you wrote certain of those scenes. I understand that your editor . . . where's Jan Marsh?" Jan raised her hand, quickly retrieving it. "I understand that you edited the script and fit it all together." Jan beamed. "That was a big job. You didn't leave the scriptwriter much to do, you know." He opened the manuscript he held. "Let me ask about this opening scene, the one with the old fellow stretched out in the park, totally bombed out of his mind. Who wrote that one?" Dyna's shoulders weren't jiggling now. For a minute Parker thought she wasn't going to speak up. "I did," she said at last. "I was really moved by that." He was talking to Dyna now and no one else. "My business is journalism, not fiction writing, but that's a powerful part of the script. Wouldn't you agree?" He looked to Ms. Goddard, "-•where the girl gets this cop and they take the old man home?" Barbara nodded. "That's a terrific scene." "My hat's off to you kids," he went on, including everybody. "The idea behind the plot-that people really care about one another, regardless of age-that's what needs to be said." Then he wanted to hear about the project from the beginning. Whose idea was- it? How had they gathered information? How much had they been influenced by their teacher2 He even wanted to know how they'd settled their differences in this kind of group collaboration. Through two periods no one broke for a drink or a rest stop. In any other class they'd be squirming by now. Finally, it was Barbara's plane schedule that ended the session. "Come September," she said as they all shook hands, "I want to hear from every last one of you!" She left the room, waving and blowing kisses to the kids. Mr. de Costa hung around a few minutes after Simpson and the story editor left, answering questions about his job, showing his equipment to Mike and Greg who were both camera freaks. Parker hated to leave, same as everyone else. Finally, however, when Dyna stood, he got up and they walked out of the room together* |