WEBVTT 00:00:00.000 --> 00:00:03.040 This submitted manuscript explores a lawyer's 00:00:03.040 --> 00:00:05.860 investigation into the sinister connection between 00:00:05.860 --> 00:00:09.339 his respectable friend and a brutal, mysterious 00:00:09.339 --> 00:00:12.800 stranger. Right, yeah. And the material here 00:00:12.800 --> 00:00:16.140 is exceptionally strong, highly atmospheric, 00:00:17.079 --> 00:00:19.559 and psychologically rich, meaning this critique 00:00:19.559 --> 00:00:22.260 will focus entirely on high -level structural 00:00:22.260 --> 00:00:25.199 and thematic polish. The narrative structure 00:00:25.199 --> 00:00:28.379 shifts abruptly from an active unfolding mystery 00:00:28.379 --> 00:00:32.000 into a series of static retrospective documents, 00:00:32.079 --> 00:00:34.420 which stalls the immediate dramatic momentum. 00:00:34.679 --> 00:00:37.380 It really is a jarring transition, isn't it? 00:00:37.740 --> 00:00:40.140 Up until that point, the pacing is just a master 00:00:40.140 --> 00:00:43.340 class intention. It totally is. Let's look closely 00:00:43.340 --> 00:00:45.679 at the section discussing the final chapters, 00:00:46.259 --> 00:00:49.460 specifically Dr. Lanyon's narrative and Henry 00:00:49.460 --> 00:00:52.170 Jekyll's full statement. Okay, yeah. Because 00:00:52.170 --> 00:00:55.270 for the vast majority of this manuscript, we're 00:00:55.270 --> 00:00:57.590 physically grounded with our protagonist, Mr. 00:00:57.750 --> 00:01:00.829 Otterson, like we are walking with him through 00:01:00.829 --> 00:01:04.329 these foggy, labyrinthine streets. Staking out 00:01:04.329 --> 00:01:07.829 the shadowy alleyways? Exactly. We are actively 00:01:07.829 --> 00:01:10.810 hunting for the truth in real time. And the momentum 00:01:10.810 --> 00:01:13.730 builds so methodically. I mean, it culminates 00:01:13.730 --> 00:01:16.670 in this incredibly visceral high point during 00:01:16.670 --> 00:01:19.430 the chapter titled The Last Night. Oh, that chapter 00:01:19.430 --> 00:01:22.170 is fantastic. Right? You have the biting wind 00:01:22.170 --> 00:01:24.730 outside. You have the terrified servants just 00:01:24.730 --> 00:01:27.189 huddled together in the hall like sheep. Yeah. 00:01:27.629 --> 00:01:30.730 And the sheer physical exertion of Utterson literally 00:01:30.730 --> 00:01:34.049 swinging an axe to shatter the wood of that cabinet 00:01:34.049 --> 00:01:37.010 door. Yes. And finally, that shocking discovery 00:01:37.010 --> 00:01:39.810 of Hyde's, you know, contorted, twitching body 00:01:39.810 --> 00:01:42.810 on the floor. It's so intense. The reader's pulse 00:01:42.810 --> 00:01:46.310 is just pounding. because we are entirely anchored 00:01:46.310 --> 00:01:49.090 in the present tense of the mystery. We're sharing 00:01:49.090 --> 00:01:52.469 the exact same sensory overload as the characters 00:01:52.469 --> 00:01:55.370 in that room. But, and this is the weakness here, 00:01:55.569 --> 00:01:58.810 right after this absolute peak, the active narrative 00:01:58.810 --> 00:02:01.450 just simply vanishes. Completely disappears. 00:02:01.629 --> 00:02:04.489 Yeah. The reader is essentially handed two massive 00:02:05.079 --> 00:02:07.640 sequential info dumps. We are pulled completely 00:02:07.640 --> 00:02:10.300 out of the immediate physical space. We lose 00:02:10.300 --> 00:02:12.860 all the urgency. Exactly. We lose the urgency 00:02:12.860 --> 00:02:15.500 of the shattered cabinet and the dead body. and 00:02:15.500 --> 00:02:18.000 were just dropped into these retrospective letters 00:02:18.000 --> 00:02:20.800 that explain everything after the fact. Right. 00:02:20.939 --> 00:02:24.199 It fundamentally changes the, um, the cognitive 00:02:24.199 --> 00:02:26.500 load on the reader. It feels a bit like watching 00:02:26.500 --> 00:02:29.280 a thrilling high -speed car chase that suddenly 00:02:29.280 --> 00:02:31.960 stops so the characters can, I don't know, sit 00:02:31.960 --> 00:02:34.020 down on the curb and read a Wikipedia article 00:02:34.020 --> 00:02:36.360 about why they were running. That is a brilliant 00:02:36.360 --> 00:02:40.080 way to put it. It just sacrifices all the visceral 00:02:40.080 --> 00:02:43.379 tension that was built up so masterfully in the 00:02:43.379 --> 00:02:46.229 preceding pages. Because when you transition 00:02:46.229 --> 00:02:50.129 from physical, present tense action to past tense 00:02:50.129 --> 00:02:54.110 summary, you insulate the audience. Right. Instead 00:02:54.110 --> 00:02:57.110 of experiencing the horror alongside the protagonist, 00:02:57.669 --> 00:03:00.189 we're suddenly safe. We know the events have 00:03:00.189 --> 00:03:02.169 already concluded because they're written down. 00:03:02.490 --> 00:03:05.150 Yeah, it's historical at that point. Exactly. 00:03:05.669 --> 00:03:08.550 Historically, the epistolary format, using letters 00:03:08.550 --> 00:03:11.469 and documents, was a great tool for 19th century 00:03:11.469 --> 00:03:13.889 writers to create a sense of, you know, legal 00:03:13.889 --> 00:03:17.340 realism. But in a modern thriller context, placing 00:03:17.340 --> 00:03:20.099 it at this specific structural position acts 00:03:20.099 --> 00:03:23.159 as a brick wall. The momentum hits it and just 00:03:23.159 --> 00:03:26.500 dies. Yeah. So the emotional payoff is essentially 00:03:26.500 --> 00:03:29.800 happening off screen. It turns an active experience 00:03:29.800 --> 00:03:32.319 into a passive one right when the stakes are 00:03:32.319 --> 00:03:35.539 at their absolute highest. Precisely. The revelation 00:03:35.539 --> 00:03:38.620 happens in a vacuum, separated from the characters 00:03:38.620 --> 00:03:41.680 doing the investigating. So... The suggestion 00:03:41.680 --> 00:03:44.360 to resolve this weakness is to integrate the 00:03:44.360 --> 00:03:47.159 revelations from the letters much more organically 00:03:47.159 --> 00:03:50.180 into the present action. Instead of relying entirely 00:03:50.180 --> 00:03:53.319 on those isolated documents. Right. Long after 00:03:53.319 --> 00:03:55.819 the physical climax has passed. We want to keep 00:03:55.819 --> 00:03:57.580 the reader in that heightened state of adrenaline 00:03:57.580 --> 00:03:59.939 while the truth is being unveiled. We really 00:03:59.939 --> 00:04:02.460 need to marry the internal psychological revelation 00:04:02.460 --> 00:04:05.259 with the external physical search. I mean, we 00:04:05.259 --> 00:04:07.539 have this wonderfully atmospheric laboratory 00:04:07.539 --> 00:04:10.280 space. The answers should be excavated from it, 00:04:10.379 --> 00:04:14.000 dynamically. Absolutely. And to give some concrete 00:04:14.000 --> 00:04:16.920 examples, and I must stress these are just a 00:04:16.920 --> 00:04:19.259 few out of all possible ways you could solve 00:04:19.259 --> 00:04:22.339 this, you could break Jekyll's sprawling confession 00:04:22.339 --> 00:04:26.000 into fragmented, frantic journal entries. Oh, 00:04:26.100 --> 00:04:28.839 I like that. Imagine Utterson actually finding 00:04:28.839 --> 00:04:31.819 and reading these torn pages while actively searching 00:04:31.819 --> 00:04:34.879 the laboratory. You could intercut the horrifying 00:04:34.879 --> 00:04:37.600 backstory of the potion with Utterson's immediate 00:04:37.600 --> 00:04:40.139 emotional shock. As he's standing over the self 00:04:40.139 --> 00:04:43.040 -destroyed body? Yes! Smelling the bitter almonds 00:04:43.040 --> 00:04:45.420 in the air. I love the kinetic energy of that 00:04:45.420 --> 00:04:47.360 approach. You keep the physical reality of the 00:04:47.360 --> 00:04:50.079 room alive. Alternatively, you could split the 00:04:50.079 --> 00:04:52.480 narrative function of the documents. How so? 00:04:52.699 --> 00:04:55.360 Well, Lanyon's letter could simply reveal the 00:04:55.360 --> 00:04:57.879 physical reality of the transformation, like 00:04:57.879 --> 00:05:01.220 the terrifying visual of Hyde drinking the potion 00:05:01.220 --> 00:05:04.220 and turning into Jekyll right there. That answers 00:05:04.220 --> 00:05:06.990 the immediate mechanical question. Which then 00:05:06.990 --> 00:05:09.310 leaves Jekyll's final document to be presented 00:05:09.310 --> 00:05:13.029 as something a bit more immediate. Exactly. Perhaps 00:05:13.029 --> 00:05:15.870 a partially burned diary that Utterson has to 00:05:15.870 --> 00:05:18.670 frantically piece together. Maybe we flashback 00:05:18.670 --> 00:05:21.310 slightly and Utterson is reading it while listening 00:05:21.310 --> 00:05:24.259 to Hyde pacing above him. Oh, before the door 00:05:24.259 --> 00:05:27.399 is broken down? Right! The overarching goal is 00:05:27.399 --> 00:05:29.800 simply to make the act of reading the confession 00:05:29.800 --> 00:05:33.379 a perilous, active event. But you know, finding 00:05:33.379 --> 00:05:35.439 these frantic journal entries in the cabinet 00:05:35.439 --> 00:05:38.519 only solves half the problem. Even if we fix 00:05:38.519 --> 00:05:40.699 the pacing of the reveal, we still have to look 00:05:40.699 --> 00:05:43.439 at what Utterson is actually reading about. The 00:05:43.439 --> 00:05:47.170 content of the horror itself. Right. The portrayal 00:05:47.170 --> 00:05:49.850 of Mr. Hyde relies heavily on other characters' 00:05:50.389 --> 00:05:53.209 inexplicable visceral reactions, rather than 00:05:53.209 --> 00:05:55.449 depicted actions that fully earn that degree 00:05:55.449 --> 00:05:58.129 of universal loathing. This is such a crucial 00:05:58.129 --> 00:06:01.230 distinction between implied terror and demonstrated 00:06:01.230 --> 00:06:04.769 terror. It really is. So, a key theme running 00:06:04.769 --> 00:06:07.329 through this material seems to be the motif of 00:06:07.329 --> 00:06:10.110 Hyde's unnameable deformity. From the very beginning, 00:06:10.509 --> 00:06:12.649 everyone who encounters him has the exact same 00:06:12.649 --> 00:06:15.670 reaction. Yeah. Utterson, Poole, the Apothecary. 00:06:15.889 --> 00:06:18.769 Exactly. They all feel this icy pang in their 00:06:18.769 --> 00:06:21.649 blood. They experience physical sickness and 00:06:21.649 --> 00:06:24.529 this sudden overwhelming desire to kill him just 00:06:24.529 --> 00:06:27.149 by standing near him. It's a striking atmospheric 00:06:27.149 --> 00:06:29.910 choice, for sure. It establishes him as something 00:06:29.910 --> 00:06:32.649 entirely unnatural. But the weakness is that 00:06:32.649 --> 00:06:34.870 aside from the initial trampling of the girl 00:06:34.870 --> 00:06:38.370 in the street and the later brutal murder of 00:06:38.370 --> 00:06:41.899 Sir Danvers Carew. Hyde's day -to -day undignified 00:06:41.899 --> 00:06:45.060 pleasures are left entirely off -page. Yeah, 00:06:45.300 --> 00:06:47.339 the text relies heavily on telling the reader 00:06:47.339 --> 00:06:50.779 he is purely evil. Comparing him to Satan constantly. 00:06:51.180 --> 00:06:54.259 Right, or a juggernaut. But rather than showing 00:06:54.259 --> 00:06:56.620 the specific depths of his everyday cruelty, 00:06:56.980 --> 00:06:59.660 we just get the supernatural reaction to his 00:06:59.660 --> 00:07:02.699 presence. We don't see the mundane, systematic 00:07:02.699 --> 00:07:05.480 malice that would make him a fully realized psychological 00:07:05.480 --> 00:07:08.060 monster. Okay, I can certainly see what you're 00:07:08.060 --> 00:07:10.220 pointing out there, but... Let me push back on 00:07:10.220 --> 00:07:13.540 this for a moment. Doesn't leaving Hyde's specific 00:07:13.540 --> 00:07:16.839 sins ambiguous actually work in the narrative's 00:07:16.839 --> 00:07:19.519 favor? You think so? Well, if we don't know exactly 00:07:19.519 --> 00:07:22.639 what he does out in the London fog, doesn't that 00:07:22.639 --> 00:07:24.920 allow the reader's imagination to fill in the 00:07:24.920 --> 00:07:28.259 blanks with their own worst fears? Isn't that 00:07:28.259 --> 00:07:31.480 ambiguity a hallmark of effective horror? That 00:07:31.480 --> 00:07:34.040 makes sense. But could the evidence also support 00:07:34.040 --> 00:07:37.089 a different conclusion? Like the idea that extreme 00:07:37.089 --> 00:07:39.810 ambiguity eventually dilutes the threat? Wait, 00:07:39.889 --> 00:07:42.810 how do you mean? Dilutes it how? Think of it 00:07:42.810 --> 00:07:45.730 like negative space in a painting. Ambiguity 00:07:45.730 --> 00:07:48.350 is a fantastic tool for generating atmospheric 00:07:48.350 --> 00:07:50.629 dread early on. When you don't know what's in 00:07:50.629 --> 00:07:53.089 the shadows, the shadow is terrifying. Right. 00:07:53.610 --> 00:07:56.170 But a villain made purely of negative space eventually 00:07:56.170 --> 00:07:58.910 loses their edge once they step into the light. 00:07:59.589 --> 00:08:02.160 If his violence is just... trampling a girl or 00:08:02.160 --> 00:08:04.800 clubbing Karoo in a fit of rage. It feels almost 00:08:04.800 --> 00:08:08.379 like a crime of momentum. Just blunt force. Exactly. 00:08:08.699 --> 00:08:12.259 Blunt force. But if he is the concentrated extraction 00:08:12.259 --> 00:08:15.420 of Henry Jekyll's repressed sins, we need to 00:08:15.420 --> 00:08:17.920 see how he operates when he isn't just swinging 00:08:17.920 --> 00:08:21.540 a heavy cane. We need the scalpel, not just the 00:08:21.540 --> 00:08:24.480 blunt instrument. I see your point. If he's the 00:08:24.480 --> 00:08:27.160 embodiment of everything Jekyll represses, the 00:08:27.160 --> 00:08:29.660 horror should reflect a deliberate dismantling 00:08:29.660 --> 00:08:33.250 of Jekyll's world. Precisely. Grounding his malice 00:08:33.250 --> 00:08:36.350 in at least one highly specific psychological 00:08:36.350 --> 00:08:39.450 cruelty would make the cosmic horror feel far 00:08:39.450 --> 00:08:42.149 more earned. So our suggestion here is to ground 00:08:42.149 --> 00:08:45.970 Hyde's malignance in specific, chilling, nonviolent 00:08:45.970 --> 00:08:48.730 actions. Actions that directly contrast with 00:08:48.730 --> 00:08:51.710 Juckle's respectable world. elevating the psychological 00:08:51.710 --> 00:08:54.509 stakes beyond mere physical brutality. We need 00:08:54.509 --> 00:08:58.029 to see the mind of the monster. Right. And to 00:08:58.029 --> 00:09:00.169 give some concrete examples, and again these 00:09:00.169 --> 00:09:02.690 are just a few out of all possible ways to tackle 00:09:02.690 --> 00:09:05.330 this, you could show a brief scene where Hyde 00:09:05.330 --> 00:09:07.850 systematically destroys something of deep sentimental 00:09:07.850 --> 00:09:10.980 or intellectual value to Jekyll's friends. Like 00:09:10.980 --> 00:09:14.440 defacing a specific portrait of Jekyll's father. 00:09:14.720 --> 00:09:17.159 The text actually mentions that briefly. Right. 00:09:17.179 --> 00:09:19.399 It's mentioned in passing in the letters. But 00:09:19.399 --> 00:09:21.659 if we could actually be in the room and witness 00:09:21.659 --> 00:09:24.659 him doing that, perhaps with a calculated mocking 00:09:24.659 --> 00:09:27.519 joy? It would be devastating. It takes him from 00:09:27.519 --> 00:09:29.820 being a blunt instrument to being a targeted 00:09:29.820 --> 00:09:32.980 sadist. Exactly. Or alternatively, you could 00:09:32.980 --> 00:09:35.259 have Utterson witness a minor but profoundly 00:09:35.259 --> 00:09:38.000 unsettling interaction between Hyde and a vulnerable 00:09:38.000 --> 00:09:40.379 citizen of London. Something that illustrates 00:09:40.379 --> 00:09:43.799 that calculated psychological cruelty. Yeah, 00:09:44.059 --> 00:09:46.539 maybe he manipulates someone into ruining their 00:09:46.539 --> 00:09:49.799 own reputation or casually destroys a person's 00:09:49.799 --> 00:09:52.620 livelihood with a lie. We need to see him inflict 00:09:52.620 --> 00:09:55.600 pain that doesn't leave physical bruises. That 00:09:55.600 --> 00:09:58.340 kind of localized intimate cruelty makes the 00:09:58.340 --> 00:10:01.440 larger philosophical concept of the divided man 00:10:01.440 --> 00:10:04.799 feel dangerously real. Which naturally leads 00:10:04.799 --> 00:10:07.919 us to the observer of all this, because understanding 00:10:07.919 --> 00:10:11.179 the exact nature of the evil hide in Flix forces 00:10:11.179 --> 00:10:13.639 us to examine the man tasked with unearthing 00:10:13.639 --> 00:10:17.259 it. Yes, Utterson. The protagonist's personal 00:10:17.259 --> 00:10:20.860 emotional stakes remain somewhat detached, leaving 00:10:20.860 --> 00:10:23.779 his final psychological state frustratingly unresolved 00:10:23.779 --> 00:10:27.440 after the climax. This is perhaps the most significant 00:10:27.440 --> 00:10:29.840 structural opportunity in the entire manuscript. 00:10:30.120 --> 00:10:33.409 Oh, absolutely. Because a story's thematic resonance 00:10:33.409 --> 00:10:36.149 is so often found in the protagonist's final 00:10:36.149 --> 00:10:38.889 state of being. We need to know how the journey 00:10:38.889 --> 00:10:41.669 changed the traveler. Utterson is our guiding 00:10:41.669 --> 00:10:44.929 lens for the vast majority of the text, and the 00:10:44.929 --> 00:10:48.509 opening painstakingly establishes his rigid worldview. 00:10:49.049 --> 00:10:52.409 He's incredibly austere. He drinks gin when he's 00:10:52.409 --> 00:10:55.070 alone, specifically to mortify his taste for 00:10:55.070 --> 00:10:58.120 fine vintages. He claims to let his brother go 00:10:58.120 --> 00:11:00.879 to the devil in his own way. He is the ultimate, 00:11:01.059 --> 00:11:04.179 objective, heavily repressed Victorian gentleman. 00:11:04.679 --> 00:11:07.519 And that meticulous characterization is exactly 00:11:07.519 --> 00:11:09.799 what makes him the perfect foil for the chaotic, 00:11:10.059 --> 00:11:12.299 unrestrained nature of Hyde. It's a brilliant 00:11:12.299 --> 00:11:14.759 juxtaposition. But the weakness here is that 00:11:14.759 --> 00:11:16.919 once Utterson takes the documents from the cabinet 00:11:16.919 --> 00:11:20.240 to read them in the safety of his home, he completely 00:11:20.240 --> 00:11:22.820 vanishes from the narrative. We just don't see 00:11:22.820 --> 00:11:25.659 him again. Right. The story ends with Jekyll's 00:11:25.659 --> 00:11:28.340 words, not Utterson's reaction. We never get 00:11:28.340 --> 00:11:31.179 to see how discovering the literal biological 00:11:31.179 --> 00:11:34.620 reality of the dual nature of man shatters or 00:11:34.620 --> 00:11:37.720 alters his own highly repressed mindset. It is 00:11:37.720 --> 00:11:41.659 a profound omission. The story sets up this incredible 00:11:41.659 --> 00:11:44.620 tension between Utterson's strict control and 00:11:44.620 --> 00:11:47.700 Jekyll's total abandonment of it. Yeah. But we 00:11:47.700 --> 00:11:50.700 don't get the emotional payoff. When you discover 00:11:50.700 --> 00:11:53.500 your closest friend is hiding a monster born 00:11:53.500 --> 00:11:56.620 of repressed desires, and you yourself are a 00:11:56.620 --> 00:11:58.980 man built entirely out of repressed desires, 00:11:59.240 --> 00:12:01.740 I mean, how does that not break you? Exactly. 00:12:02.179 --> 00:12:04.860 So the suggestion is to provide a concluding 00:12:04.860 --> 00:12:07.519 frame that returns to the primary point of view 00:12:07.519 --> 00:12:09.899 character to crystallize the thematic impact 00:12:09.899 --> 00:12:12.919 of the discoveries. If Utterson is our avatar, 00:12:13.139 --> 00:12:15.740 we need to see how the world has changed for 00:12:15.740 --> 00:12:19.139 him. Yes. And providing concrete examples, which 00:12:19.139 --> 00:12:21.080 are just a handful of potential solutions out 00:12:21.080 --> 00:12:23.840 of a massive spectrum of options, you could add 00:12:23.840 --> 00:12:26.200 a brief final scene showing Utterson finishing 00:12:26.200 --> 00:12:29.500 the manuscript by his hearth. He closes the pages. 00:12:29.860 --> 00:12:32.440 And he looks at his own austere face in the mirror 00:12:32.440 --> 00:12:35.019 and quietly questions the suppressed desires 00:12:35.019 --> 00:12:38.259 within himself. Does he feel that same duality 00:12:38.259 --> 00:12:41.179 lurking under his skin? Oh, knowing that Hyde 00:12:41.179 --> 00:12:44.139 lives inside every man. Does Utterson finally 00:12:44.139 --> 00:12:46.580 pour himself a glass of that vintage wine he's 00:12:46.580 --> 00:12:49.179 been denying himself for decades? Wow, that is 00:12:49.179 --> 00:12:51.620 a chilling image. It leaves the reader wondering 00:12:51.620 --> 00:12:53.860 if he's taking his first step down the exact 00:12:53.860 --> 00:12:57.340 same path. Definitely. Or, alternatively, you 00:12:57.340 --> 00:12:59.580 could end with Utterson making a deliberate, 00:12:59.840 --> 00:13:02.559 active choice to lock the documents in his safe. 00:13:02.860 --> 00:13:05.399 Protecting Jekyll's respectable reputation over 00:13:05.399 --> 00:13:08.059 telling the public the truth. Returning to his 00:13:08.059 --> 00:13:10.379 Kane's heresy. letting his brother go to the 00:13:10.379 --> 00:13:13.320 devil. Exactly. By choosing silence, Utterson 00:13:13.320 --> 00:13:16.039 proves that societal hypocrisy, the very thing 00:13:16.039 --> 00:13:18.240 that forced Jekyll to create Hyde in the first 00:13:18.240 --> 00:13:21.620 place, is still alive and well. Actively perpetuated 00:13:21.620 --> 00:13:24.460 by Utterson himself. It proves that the society 00:13:24.460 --> 00:13:26.899 that creates monsters hasn't learned a single 00:13:26.899 --> 00:13:30.139 thing. It confirms the tragedy wasn't an isolated 00:13:30.139 --> 00:13:32.899 incident, but a symptom of the environment Utterson 00:13:32.899 --> 00:13:35.860 is fiercely protecting. So just to briefly recap 00:13:35.860 --> 00:13:38.460 our main points for this critique. We discussed 00:13:38.460 --> 00:13:41.000 modernizing the epistolary structure for better 00:13:41.000 --> 00:13:44.460 pacing, grounding the antagonist's evil in specific 00:13:44.460 --> 00:13:47.870 psychological actions, and completing the protagonist's 00:13:47.870 --> 00:13:50.690 emotional arc to reinforce the themes. And to 00:13:50.690 --> 00:13:53.649 summarize the actionable suggestions, try integrating 00:13:53.649 --> 00:13:55.990 the final confessions into the active timeline 00:13:55.990 --> 00:13:58.629 of the search, show a scene of Hyde executing 00:13:58.629 --> 00:14:01.629 a calculated intellectual cruelty rather than 00:14:01.629 --> 00:14:04.149 just relying on bystander reactions, and bring 00:14:04.149 --> 00:14:06.730 the camera back to Utterson at the very end to 00:14:06.730 --> 00:14:09.590 show the thematic fallout. We warmly invite you 00:14:09.590 --> 00:14:11.730 to implement these high -level revisions and 00:14:11.730 --> 00:14:14.029 submit your material back in for another critique. 00:14:14.269 --> 00:14:16.679 Because at the end of the day, A story like this 00:14:16.679 --> 00:14:20.240 is just like a grand Victorian townhouse. We 00:14:20.240 --> 00:14:22.460 don't just want to stand outside admiring the 00:14:22.460 --> 00:14:24.740 polished brass on the front door. We want to 00:14:24.740 --> 00:14:27.600 be dragged down into the dark, crumbling cellar. 00:14:27.720 --> 00:14:29.759 And we want to see exactly what happens when 00:14:29.759 --> 00:14:31.159 the door locks behind us.