Sample Create a Sequel Assignment
(written by a former student in a previous class)
HUM 110: Introduction to American Film
JC Clapp, North Seattle College
This should give you an idea of what is expected. Notice the extensive annotations at the end.
Original Film: Blade Runner (1982), Directed by Ridley Scott
Sequel Title: Blade Runner: Life for Death
(Non-diegetic engine sound from a factory starts playing)
Superimposed white text scrolls up on a black background: “With
the death of Dr. Eldon Tyrell, the TYRELL CORPORATION ceased to
create anymore Replicants. All NEXUS 6 Replicants are believed
to be retired thanks to the actions of a particular Blade
Runner.”1
Slide with the same font and background: “NEAR LOS ANGELES,
2025”
Fade out and in to extreme long shot of the nighttime outdoors;
top of the frame has a gloomy sky with fires coming from the
city in the distance on the left, rest of the frame is filled by
bare trees.2
(Non-diegetic organ plays futuristic tune and diegetic sounds of
rain can be heard).3
Move into long shot, bare trees fill the frame and a cabin made
of rock can be seen in the middle.
Cut to a close up of the gray cabin, a green neon light appears
from the two windows. An old flying car is situated on the
right. Light rain hits everything in the frame.4
Cut to a medium long shot of the small living room, a single
green neon light illuminates the room5, there’s a table in the
middle, couch on the left facing the table, leather chairs on
the right, a brown windowless door in the back, the rest of the
frame is filled with empty boxes indicating recently moved.6
Cut to a medium shot, shallow focus, of Deckard, in a brown
overcoat with a dark blue long sleeved and red tie inside and
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dark brown pants, sitting on the couch. He’s holding a halffilled bottle of alcohol.7 He’s deep in thought and has a smug
look8 on his face as he begins to narrate.
Deckard (voiceover)
“It’s been six years since I retired the NEXUS 6 Replicants
and left LA with Rachel. She may be a Replicant, but she’s
special to me. I don’t know what I’d do without her.”9
(Clacking of heels on the floor comes from off-screen)
Cut to a medium long shot of the room.
Rachel, in a blue and white patterned blouse and matching pencil
skirt, enters the frame from the right.10
Cut to a close up of her face, her diluted red pupils can be
seen11 as she begins to speak.
Close up shot / reverse shots12
Rachel
“What’s on your mind?”
Deckard
“Nothing.”
Rachel (expressionless)
“You like it?”
Deckard (looks up)
“Yeah I do, you look perfect.” (a smile forms on his face)
Cut to a medium close up of him standing up, placing the bottle
on the table, and approaching the camera.
Cut to him walking towards Rachel with his back to the camera
for a match on action.13
He goes in for a hug and she’s receptive placing her arms around
him.
Cut to the glass window and an owl14 on a branch peering in. It
looks side to side until square with the camera. Its diluted red
pupils are in stark contrast to the surroundings behind.
Close up of the couples’ faces
3
Deckard (looking into her eyes)
“Say, ‘I want you’”.15
Rachel (looking back)
“I want you.”
Deckard
“Kiss me.”
Rachel
“Kiss me.”
He closes his eyes going for a kiss, their lips make contact,
but she keeps her eyes open.16
(Sounds of footsteps outside, off-screen)17
They stop their embrace and look to the left.
Cut to a shot of the door for an eyeline match. Red and blue
lights come from the space on the bottom of the door.
UNIDENTIFIED (offscreen sound coming from the door)
“Blow it open.”
Cut to Deckard and Rachel, he opens his coat and tries to reach
for his gun, but it isn’t there.
Cut to the door, there’s an explosion and it falls down with
white smoke coming in.
(Non-diegetic ominous electro music plays)18
Police officers with guns scurry in and surround the room. A
figure of a short, wide man walks in. Bryant, smoking a cigar19
and wearing a wet, black overcoat and matching hat, looks at the
couple with a smirk. A blue light20 possibly from the police cars
outside illuminates his back.
Medium close up shot / reverse shots
Bryant (sucks in and exhales a smoke)
“Well, well, look at what we have here; a rogue cop and a
skinjob21. Hello Deckard, thought you’d never see me again, huh?”
4
Deckard (looks intently at Bryant, pulls Rachel behind
him)
“..”
Bryant
“Well you thought wrong buddy. (raises his voice) You’re
little people; you can’t run away from me. To think you would
give everything up for a skinjob is funny.”22
Deckard
“Leave us alone, I did the job, I’m quit now.”23
Bryant
“Oh, you’re done alright. (chuckles) Unfortunately for you,
I’m going to finish the job you were not man enough to do. Grab
her!”
Bryant beckons and his officers walk towards the camera.
Cut to a medium long shot of the couple being surrounded by
officers. They try to reach for Rachel, but Deckard throws
punches trying to stop them.
Cut to a medium shot of an officer grabbing Deckard from behind.
Deckard struggles to be free and another officer enters the shot
and punches him in the stomach repeatedly to weaken him.
Cut to a medium shot of Rachel trying to push an officer away,
but he slaps her hard and she falls.24
Cut to a close up reaction shot on Deckard.
Deckard
“Rachel!”
He grows infuriated and kicks the punching officer towards the
camera. He almost breaks the hold, but Bryant enters the frame
from bottom right walking towards him. Bryant pistol whips
Deckard into unconsciousness.
(Loud thud)25
Cut to a long shot of the outdoors with the cabin in the middle.
It’s still cloudy and raining, but not as dark as before.
5
Cut to a close up26 of Deckard’s face with a purple bruise on his
forehead. He slowly wakes up.
Deckard (mutters to himself)
“Rachel..”
Cut to a medium shot, shallow focus27 of him getting up groggily.
The messy room in the background is blurry. He places his hand
to his forehead to assess the damage.
Deckard (voiceover)28
“Bryant took Rachel, but he won’t get away with it. Knowing
him, he’s probably going to keep her in his old station.”
He looks to the left. Cut to a close up of the couch, his gun
rests near the middle.29
He enters the frame, his back to the camera, and reaches for his
weapon.
Cut to a long shot of the cabin, a figure leaves and enters the
car.
(Non-diegetic grand organ music plays)
Fade in to an extreme long shot of Los Angeles. The sky is gray
and the city is full of black factory like buildings with spires
shooting fire from the top.30 A flying car, assuming Deckard,
comes from the bottom right towards the middle left.
Cut to a crane shot of the police station, the flying car enters
from the right heading towards the roof. Rain can be heard in
the background. A bluish light emits from the ground next to the
building.31
Dissolve to a crane shot inside the police station. Desks in
rows fill the space.32 There is no artificial lighting, just
white light coming from the windows on the right. A lot of the
space is unlit.33
Cut to a medium long shot, shallow focus of Deckard entering the
space gun drawn.
(Non-diegetic mysterious piano sound plays)34
6
Deckard walks slowly towards the camera passing by the desks. He
looks left and right to ensure no one tries to jump him from the
desks. There seems to be no one else in the room as his
footsteps can only be heard. He looks forward.
Cut to a medium long shot of a door on the other side. It’s
closed, but there’s blue light coming through the white blinds
on the door window. The rest of the space is just white wall and
nothing else.
Deckard enters the frame, his back to the camera, and approaches
the door cautiously.
Cut to a close up of his face. He looks apprehensive and alert
at the same time.35
Cut back to the medium long shot. His left hand opens the door
halfway while his other hand holds the gun in front of him.
Cut to a medium long shot inside the office. The door opens
completely. A single blue neon light illuminates the room in the
middle of the frame. Cabinets surround the walls and a desk is
on the right. A glass pane leans against a cabinet on the left.36
Cut to a medium shot of Deckard walking in towards the desk.
Cut to a medium shot, shallow focus of the desk. Stacks of
papers sit on top. A leather chair with its back facing the
camera is behind the desk. The boxes against the wall are
blurry.
Cut back to the medium shot on Deckard. The door slams behind
him and a cane taps him on the shoulder.37 He turns to look.
Cut to a close up of Gaff. His piercing blue eyes match the
lighting. He is wearing a gray hat and matching overcoat.
Gaff (raspy voice)
“Remember me?” (Smirks)
Cut to a medium shot of Gaff, using both black gloved hands,38 he
swings his cane. Deckard tries to block by making an X with his
arms to no avail.
Cut to a medium close up of Deckard falling hard on the hardwood
floor. His gun slips from his hand falling a few feet behind
him. He gets up intently and there’s frustration on his face.
7
Cut to a medium shot of both men standing a few feet away from
each other. The blue neon light hits their faces. Gaff stands
erect and confident, holding his cane on his shoulder. Deckard
looks fazed and fists up ready for a fight.
Close up shot / reverse shots39
Deckard (demanding)
“Where’s Rachel?”
Gaff (smiling)
(Cityspeak, no translation)40 “She’s not here...”
Deckard
“Tell me where she is!”
Gaff (annoyed)
“You’re in no position to ask for anything.” (Cityspeak, no
translation, he’s possibly cursing)
Cut back to the medium shot of both men. Gaff swings his cane
again.
(Loud thud)41
(Non-diegetic steady ominous music plays)
Cut to a long shot of the Tyrell Corporation. The sky is yellow
and is reflected off the pyramid like structure.42
Cut to a medium long shot of the top. The camera slowly zooms in
on a room.
Cut to a close up of Rachel’s face. Her hair is down and she
looks depressed.
(Off-screen sound of footsteps on tile floor)
Cut to a long shot of the space. Large pillars are on the left
and right of the frame. The floor is made of black tiles. At the
top of the frame is a long table with chairs surrounding it.
Beyond the table is a large windowless view of the outside. The
sun can be seen in the background; its yellow light illuminates
the entire room.43
8
Cut to a medium close up of the middle of the table. Bryant,
facing the camera, stands behind and is on a computer on the
table. To the right of the frame, Rachel sits handcuffed to a
chair.
Cut to a close up of Bryant looking down annoyed.
Cut to a close up of the computer screen’s blue error message44:
“Access denied.”
Bryant (mutters to himself)
“What could that old fool’s password be?”
Close up shot / reverse shots45
Bryant (looking at Rachel)
“You know what it is, tell me!”
Rachel (puzzled)
“..”
Bryant
“I’m not going to risk anymore skinjobs popping up on my
street. Tell me the password so I can wipe the system with a
virus!”
Rachel
“I don’t know what it is.”
Cut to a medium shot of the two. He walks menacingly from the
left of the frame towards her. She tries to get away expecting
something. He slaps her with the back of his right hand.
Cut to a medium long shot of Deckard and Gaff. Deckard moves out
of the way and the cane hits the floor. Deckard throws a punch,
but Gaff blocks with his left forearm. Gaff swings his cane and
hits Deckard’s side.
Cut to a medium shot of Deckard falling on the floor. Gaff gets
on top of him and tries to choke him with the cane. Deckard,
with both hands, tries to push it away from his throat. They
struggle back and forth. Deckard, using his knees, shoves him
off.
Cut to a medium shot of Gaff falling backwards and dropping his
cane. He slowly gets back up.46
9
Cut to a close up of Deckard’s gun on the floor. It’s on the
bottom of the frame. Deckard scrambles to reach it, moving
towards the camera. He gets his hands on it, turns around, and
shoots.
Cut to a medium shot of Gaff getting hit in the stomach for a
match on action.47 He flies back a feet and hits the thick glass
pane. The glass cracks, but does not break as he slides down on
it to the floor.48
Cut to a medium close up of Deckard walking towards him, towards
the camera, and kneeling.
Cut to a medium shot of Gaff lying on the ground, blood starting
to pour out of his stomach. He applies pressure to it with his
hands hoping to stop the bleeding. He looks bewildered.
Close up shot / reverse shots
Gaff
“How can you shoot an unarmed opponent? I thought you were
supposed to be good. Aren’t you the good guy?”49
Deckard (does not reply)
“Where’s Rachel?”
Gaff (chuckles)
Cut back to Gaff lying on the ground. Deckard enters the frame,
his back to the camera, and chokes Gaff.
Deckard
“Where is she?”
Gaff (blurts out slowly)
“She’s with Bryant at the Tyrell Corporation.”
Deckard lets go and gets up.
Cut to a close up of his face. He looks down and has a sad look.
Deckard (voiceover)
“I didn’t want to kill Gaff. He stood between Rachel and
me. It still didn’t make me feel any better about what I did. I
thought my Blade Runner years would desensitize me to
feelings... but I guess not.”50
10
Cut to a close up of Gaff’s face. His blue eyes look towards the
top left of the frame.
(Sounds of voices and footsteps from the other room)
Cut back to Deckard looking up and leaving the frame.
(Non-diegetic ominous electro music plays)
Cut to an extreme long shot of the Tyrell Corporation. The sun
is still up; its yellow light illuminates the frame. A flying
car enters the frame from the middle left headed towards the
large pyramid.
Cut to a long shot of the car landing near the top.
Cut to a medium close up of an elevator going up the pyramid. Up
close, it can be seen that the pyramid is made entirely of metal
and sophisticatedly crafted. The camera pans up following the
elevator all the way to the top.
Cut to a medium long shot of Bryant and Rachel. Rachel,
defeated, is slumped on the chair. Bryant with a frustrated look
is on the computer.
UNIDENTIFIED (off-screen echo sound)
“Bryant!”
Bryant looks up towards the sound.
Cut to a medium long shot, shallow focus of the other side.
Large pillars are on the left and right of the frame. Deckard
slowly approaches from the middle, gun in hand.
Cut to a medium close up, he is walking towards the camera and
staring intently at his former boss.
Cut back to the medium long shot with Bryant and Rachel. Deckard
enters the frame, his back to the camera.
Close up shot reverse / shots
Rachel
“Deckard!”
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Bryant
“I see you’ve found us. Not that I wasn’t expecting it. How
are you Deckard?” (Grins)
Deckard
“You are going to pay for what you’ve done.”
Bryant
“And to think I thought we were actually friends after all
I’ve done for you.”
Deckard
“..”
Bryant
“You’re just like everyone else; ungrateful for everything
I’ve done. It’s no wonder you will always be little people.”
Deckard
“Let her go.”
Bryant
“You mean the skinjob? Never. I’m going to make sure
there’s no more skinjobs on my street, starting with this one.”
Cut to the Bryant going behind Rachel and taking out a gun from
his pocket.
Cut to Deckard walking forward in response and pointing his gun
towards the camera.
Cut to Bryant and Rachel. He places his left hand on her left
shoulder and points the gun with his other hand towards Rachel’s
head. She’s clearly frightened and tears form in her eyes.51
Close up shot / reverse shots
Bryant (smug)
“Wrong move pal.”
Deckard (gulps)
“Stop, just don’t shoot..”
Bryant
“You have a choice here, either point that gun towards your
head and kill yourself or she’s done for.”52
12
Rachel
“No, Deckard don’t do it!”
Deckard (has a look of acceptance)
Bryant
“Your choice, you die and she lives or you live and she
dies.”
Deckard
“I love you Rachel.”
Rachel
“No, I won’t let you.”
Cut to a medium close up of Deckard. He starts to point the gun
towards his head.
Cut to a medium shot of Bryant and Rachel. She bites his hand on
her shoulder. Bryant, startled, screams in pain.
Cut back to Deckard who sees the opportunity and quickly shoots.
Cut back to Bryant and Rachel. He gets hit and flies back, gun
in hand, out of view due to the table. Deckard enters the frame
running from the left towards Rachel sitting on the right.
Cut to a close up of Deckard. He’s clearly tired and looks down.
Cut to a close up of the handcuffs for an eyeline match.
Cut to Deckard who looks to the right.
Cut to a medium shot of Bryant lying on the ground, blood
pouring out of his chest. His gray overcoat now a dark brown
thanks to the blood. His eyes are closed and his gun lies on his
right hand. Keys lie next to him possibly having slipped out.
Deckard enters the frame, his back to the camera, and grabs the
keys. He hurries back to Rachel, leaving the frame.
Cut to a medium shot of Deckard and Rachel. Deckard gets the
handcuffs off, kisses her forehead, and pulls her in for a hug.
She reciprocates, hugging him back.
Close up shot / reverse shots
Deckard
13
“Do you trust me?”
Rachel
“I trust you.”
Deckard (nervous)
“Do you love me?”
Rachel (staring into his eyes)
“..I love you Deckard. I’ve missed you so much.”53
Cut to a medium close up of the couple. Deckard is on the left
of the frame and Rachel is on the right. They go in for a kiss
with both closing their eyes.53
(Gunshot)
Deckard stumbles backward from the force. Rachel starts slumping
in his arms before her weight is too much and they both fall to
the tile floor.
Cut to a close up of Deckard. He looks puzzled and confused.
Cut back to the medium close up of the couple. Rachel lays on
his left shoulder motionless with her eyes closed. He feels
something on his left hand. He lifts his hand to find blood. He
looks towards the camera.
Cut to a medium close up of Bryant. He is propping himself up
with his left elbow and has his gun drawn. He smirks before
collapsing back.
Cut back to the couple. Deckard sees blood coming out of
Rachel’s back and realizes what happened.
Bryant
“Rachel? Rachel? Rachel?!... No... No... No.”
He hugs her tightly rocking back and forth. Tears form in his
eyes. The yellow light in the room fades and becomes darkness as
the sun sets off-screen.54
Wipe to credits.
White text superimposed on a black background displays the cast
and crew.
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Notes and Annotations
1. The introduction and how it is composed pays homage to the original’s introduction. It
sets the tone of the movie and provides viewers a background of the plot. Rather than
start with the shot of a future Los Angeles and risk causing confusion, an exposition is
given so all viewers are on the same page of the current events before the film even starts.
2. Before every scene, Director Scott employed establishing shots extensively to orient
viewers and ensure scene changes make sense.
3. Music is an important part of Blade Runner. Not only does it set the mood, but it also
adds to the film’s feeling of grandness (a much bigger deal than it is). Also, it adds clarity
to how scenes should be perceived and interpreted. The sound of an organ in the
beginning of the original made it seem futuristic. Moreover, mixing diegetic and nondiegetic sounds, like the music and rain, adds to the film’s continuity editing as the mix is
smooth and seamless.
4. Rain is a motif in the original; aside from a few scenes involving the Tyrell Corporation,
it seemed it always rained in Los Angeles. The rain could represent economic status,
appearing in scenes involving people in the bottom of the totem pole and not appearing
when there are people with money.
5. Neon lights are another motif as they can be seen throughout Blade Runner. Aside from
Deckard’s apartment with white lighting, the rest of the world is illuminated by either
light from the outdoors or some sort of neon light. The choice helps create stark shadows
and silhouettes, a nod to the film noir genre.
6. Just like the original, there are boxes or other things that fill the empty spaces. Thus,
scenes look claustrophobic, a nod to the film noir genre.
7. The detective like outfit and bottle of alcohol follows film noir conventions and displays
a bit of Deckard’s personality.
8. A character trait of sci-fi films, Deckard always seemed arrogant and so sure of himself.
9. His voiceover in the original filled in the blanks and provided viewers a glimpse into
what he was thinking. Scenes are less open to interpretation as he essentially tells viewers
what’s going on. Also, he fell for the femme fatale, a female character frequently in the
film noir genre, and still can’t let her go.
15
10. The outfit is similar to what Rachel wore in Blade Runner. She had the best looking
outfits out of all the characters in the film. Her clothes are not only common in film noirs,
but speak to her once high social status from living with Dr. Tyrell.
11. The eyes are what physically differentiate Replicants from humans. They look like
humans in every other way except for their diluted red pupils. The eyes tap into the sci-fi
film genre as they make the film seem like an alternate reality since people do not have
such eyes in the real world.
12. Director Scott utilized close up shot/reverse shots for dialogue between characters. There
was continuity editing as the 180° line was never crossed and the eyeline matches made
sense. As a result, conversations seemed seamless.
13. Deckard frequently approached the camera and the next shot would be him moving away
with his back to the camera for a match on action. The shots followed his direction.
14. Glass and animals are other motifs in the original. The former seemed to provide a
humanity test as anything that hit it and went through, breaking the glass in the process,
was a Replicant and those that only cracked it was human. For example, when Deckard
shot Zhora, a Nexus 6 Replicant, she crashed through layers of store windows. On the
other hand, when Deckard is thrown hard on a car windshield by Leon, he only cracks it.
The owl, with its Replicant eyes, was seen throughout the original and served as a
reminder that anything, even animals, may not be real.
15. Deckard was aggressive and did as he pleased. He wanted Rachel to want him and
needed a justification for his actions. He did not mind putting words into her mouth so he
could proceed.
16. People usually kiss with their eyes closed as they are in the passionate moment. Rachel
not closing her eyes taps into the fact that Replicants were not supposed to have feelings.
She could not understand what she was feeling.
17. Off-screen sounds provided characters an opportunity to look away for a smooth cut
transition for an eyeline match as well as creating space where there is none.
18. The non-diegetic music changes the tone of the scene completely and creates a
suspenseful mood. Just like in the original, it makes viewers pay even more attention due
to the stark change in sound.
19. Cigars are another motif of the film and part of film noir conventions. It seemed only
people with power smoked as Detective Holden smoked while questioning Leon at the
start of the film and everyone in the lavish snake viewing party in the middle.
16
20. Blue lighting is another motif of the film. It seemed to indicate if a person was an
antagonist as it was usually shown during shots with Replicants.
21. Bryant did not care for Replicants and wanted them gone. He called them “skinjobs”, a
derogatory term.
22. Bryant called those he perceived to be inferior, “little people”. Also, what he said showed
his arrogant personality and demeanor.
23. How Deckard says he’s retired from being a Blade Runner references how he spoke
about himself in the original. The verb choice of “quit” makes him stand out as it is not
something anyone else says.
24. The action alludes to the violent moments on women in the original. A couple of the
female characters got shot at which is quite an aggressive and hostile act.
25. The transition happened a couple times in the original. There would be a loud diegetic
sound before a sudden cut to a different shot. The sudden cut did not provide viewers
enough time to process what occurred and thus, created suspense.
26. Transitions from an establishing shot to close ups were common and startled viewers. To
go big and then small, is a giant change.
27. Shallow focus was common in a lot of the shots. It blurred out the background and
created focus entirely on a character. It directed what was important and what was not.
28. Deckard’s voiceover helped viewers know what’s going to happen.
29. Close ups of certain items usually meant they were important and would play a
significant role later on. For example, a close up of the snake skin found in Leon’s bath
tub turned out to be significant as the piece belonged to a snake another Replicant had.
30. The establishing shot shows that the future is a dystopia, a nod to the sci-film genre. The
world is dark with buildings shooting fires looking menacing.
31. Blue light foreshadows something bad is about to occur.
32. Just like the original, rooms are cramped and claustrophobic.
33. The lack of artificial lighting creates shadows, a common visual in film noirs.
34. Non-diegetic music sets and indicates a change in the tone.
17
35. There were a lot of close ups used in Blade Runner so viewers could see how characters
felt at certain moments. Additionally, they built suspense as viewers could not see around
the character, only their face.
36. The neon light not only foreshadows, but also creates silhouettes. The room feels closed
in with all the cabinets. The presence of a glass pane adds to the scene as it indicates
someone might go through it.
37. Wherever he went, Gaff always had his cane with him.
38. Gaff is like an assassin; he wears a detective outfit with black gloves as if fulfilling a
contract.
39. Director Scott utilized close up shot/reverse shots for dialogue between people. It allowed
viewers to see the emotions on characters’ faces.
40. Cityspeak was spoken by people in the slums and police officers. It consisted of a mix of
different languages. There would be no translation on screen leaving what characters say
open to interpretation and made viewers focus on how characters behaved to understand
the context.
41. Another transition from a diegetic sound to another shot.
42. Establishing shot of the Tyrell Corporation. The yellow sky indicates wealthy or
powerful. There was no rain in shots containing the company suggesting high status.
43. Unlike other locations in the original, the Tyrell Corporation was very spacious with
objects far from each other. The yellow light makes the entire place seem majestic and
royal.
44. Adds to the growing evidence that Bryant is the main antagonist.
45. Another conversation with shot/reverse shots employed.
46. The numerous cuts speeds up the pace of the action just like Blade Runner did. Action
sequences were more pronounced due to the quick cuts.
47. Match on actions were typical from gunshots to walking. Deckard would shoot and the
following shot was his target getting hit.
48. It did not break because Gaff was a real person. It’s a reference to Zhora going through
glass windows in the original.
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49. Similar to what Roy says to Deckard in the original. It further solidifies the film as a film
noir as the protagonist is not a goody two shoes.
50. His monologue says a lot of how events have affected him. He’s supposed to be a killing
machine and yet, he’s growing regretful for what he has done.
51. She finally can feel emotions as she can produce tears.
52. The choice is tough and challenges the protagonist. Does he take his life or someone
else’s?
53. More evidence of her emotions being developed. A stark change from the beginning
when she kept her eyes open.
54. The original defied film noir conventions as it had a happy ending with Gaff not killing
Rachel. This ending follows the convention and ends similar to how the 1992 Director’s
Cut did; the elevator wiped the screen to black.