Line Edit: “The Social Network”
By: Mitchell Ferrin
Tags: Screenplay, Writing, Editing, Film, Screenwriting

The Social Network tells the true(-ish) story of computer programmer and social-media mogul Mark Zuckerberg as he navigates the situations, relationships, and lawsuits that were the founding of Facebook. The script was written by Aaron Sorkin, based on The Accidental Billionaires by Ben Mezrich.

💬 Original lines appear as code blocks , edited lines appear as “quote blocks,” changes appear as boldface, and commentary appears as regular text. Original lines that do not require editing are run into the same code blocks as original lines that follow them and do.

Original Text

FROM THE BLACK WE HEAR-- MARK (V.O.)

Did you know there are more people with genius IQ’s living in China than there are people of any kind living in the United States? ERICA (V.O.)

That can’t possibly be true. MARK (V.O.)

It is. ERICA (V.O.)

What would account for that? MARK (V.O.)

Well, first, an awful lot of people live in China. But here’s my question: FADE IN: INT. CAMPUS BAR - NIGHT MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger. He has trouble making eye contact and sometimes it’s hard to tell if he’s talking to you or to himself. ERICA, also 19, is Mark’s date. She has a girl-next-door face that makes her easy to fall for. At this point in the conversation she already knows that she’d rather not be there and her politeness is about to be tested. The scene is stark and simple. MARK

How do you distinguish yourself in a population of people who all got 1600 on their SAT’s? ERICA

I didn’t know they take SAT’s in China. MARK

They don’t. I wasn’t talking about China anymore, I was talking about me. ERICA

You got 1600? MARK

Yes. I could sing in an a Capella group, but I can’t sing. ERICA

Does that mean you actually got nothing wrong? MARK

I can row crew or invent a 25 dollar PC. ERICA

Or you can get into a final club. MARK

Or I can get into a final club.

Line Edit

FROM THE BLACK WE HEAR--

If a script opens on nothing, then nothing is sufficient to indicate as much. So let’s remove this line.

MARK (V.O.) Did you know there are more people with genius IQ’s living in China than there are people of any kind living in the United States?

Apostrophes are used to indicate possession or form contractions. Since the plural of IQ is neither a possessive nor a contraction, let’s remove the apostrophe from IQ’s.

Did you know there are more people with genius IQs living in China than there are people of any kind living in the United States?

ERICA (V.O.) That can’t possibly be true.

If something can’t be true, then it is not possible for the thing to be true — meaning, can’t possibly is redundant. And although I would typically remove this redundancy, here I will leave it, and for two reasons: first, because the language is true to both life and the character; and second, because possibly is a relatively long word, and removing it may alter the rhythm of the sentence and interfere with the pacing of the scene.

MARK (V.O.) It is. ERICA (V.O.) What would account for that? MARK (V.O.) Well, first, an awful lot of people live in China. But here’s my question: FADE IN: INT. CAMPUS BAR — NIGHT

Unless withholding information from the reader is important for the experience of the story, it is best to orient the reader from the outset, lest they become frustrated or distracted by questions unanswered. For example, in the next scene, we learn that the events of this scene take place at Harvard University, but there’s no reason why we couldn’t learn this now. So let’s specify the location of this scene by adding it to the scene heading.

INT. HARVARD UNIVERSITY — CAMPUS BAR — NIGHT

Since we’ve now specified that the scene takes place at Harvard, the CAMPUS in CAMPUS BAR is implied, so let’s remove it.

INT. HARVARD UNIVERSITY — BAR — NIGHT

MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger.

If Mark lacks physically intimidating attributes, then he lacks any physically intimidating attributes — meaning, qualifying physically intimidating attributes with any is redundant. So let’s remove any. Also, complicated is (generally) an absolute term, so qualifying it with very is meaningless. So let’s remove very too. And while we’re at it, let’s improve the mechanics of the sentence by adding hyphens to sweet looking and 19 year old, and spelling out 19.¹

MARK ZUCKERBERG is a sweet-looking nineteen-year-old whose lack of physically intimidating attributes masks a complicated and dangerous anger.

¹ There are two reasons for using words instead of numerals here: the first is that I edit using the Chicago Manual of Style, which suggests to spell out numbers up to 100; and the second is that I prefer using words to tell stories, and numerals to present data.

He has trouble making eye contact and sometimes it’s hard to tell if he’s talking to you or to himself.

This sentence contains two independent clauses joined by a coordinating conjunction (and), so let’s separate them with a comma.

He has trouble making eye contact, and sometimes it’s hard to tell if he’s talking to you or to himself.

ERICA, also 19, is Mark’s date.

Erica’s last name is Albright, so let’s include this in the sentence, given that this is her introduction in the script. And let’s also spell out her age.

ERICA ALBRIGHT, also nineteen, is Mark’s date.

She has a girl-next-door face that makes her easy to fall for. At this point in the conversation she already knows that she’d rather not be there and her politeness is about to be tested.

Since the reader is wherever the characters are, let’s replace there, which refers to the bar, with here. And let’s also improve the mechanics of the sentence by inserting a comma after the introductory clause (At this point in the conversation) and a comma between the two subsequent independent clauses.

At this point in the conversation, she already knows that she’d rather not be here, and her politeness is about to be tested.

The scene is stark and simple.

This sentence is vague, as what does it mean for a scene to be stark and simple? Does this description refer to the lighting? the architecture? the design? Does it refer to the characters? If so, then how are these stark and simple? Since this description fails to add to the reader’s imagination of the scene, and since the author’s meaning is unclear such that we cannot revise the description, let’s remove it.

MARK

Since Mark’s next line is a continuation of his previous line, let’s indicate as much by adding a CONT’D extension to his character name.

MARK (CONT’D)

How do you distinguish yourself in a population of people who all got 1600 on their SAT’s?

Although it is possible to have a population of, say, animals or bacteria, and thus it would be necessary to distinguish the population that Mark is referring to as one of people, the context of this line suggests that Mark is talking about people, so specifying the population as one of people is unnecessary. But we need the syllables of people to maintain the rhythm of the sentence. So instead of removing people, let’s replace it with students. Also, since numerals cannot be spoken, and since it’s not clear whether Mark is saying “sixteen hundred” or “one thousand six hundred,” let’s spell out 1600. And since the plural of SAT is neither a possessive nor a contraction, let’s remove the apostrophe in SAT’s.

How do you distinguish yourself in a population of students who all got sixteen hundred on their SATs?

If a population of students got 1600 on their SATs, then all students in the population got 1600 on their SATs — meaning, all is redundant in this sentence. However, I believe that the author is using all here for emphasis, which justifies the redundancy, so let’s keep it.

ERICA I didn’t know they take SAT’s in China.

Since the plural of SAT is neither a possessive nor a contraction, let’s remove the apostrophe in SAT’s.

I didn’t know they take SATs in China.

MARK They don’t. I wasn’t talking about China anymore, I was talking about me.

The way these sentences are punctuated is fine; the sentences are understandable, and the comma splice in the second sentence is justified by the “closeness” of the independent clauses. However, it’s not obvious that these sentences are related, so let’s clarify this by connecting them with a semicolon.

They don’t; I wasn’t talking about China anymore, I was talking about me.

ERICA You got 1600?

Since numerals cannot be spoken, and since it’s not clear whether Erica is saying “sixteen hundred” or “one thousand six hundred,” let’s spell out 1600.

You got sixteen hundred?

MARK Yes. I could sing in an a Capella group, but I can’t sing.

Let’s correct the spelling of a Capella, and lowercase Capella.

I could sing in an a cappella group, but I can’t sing.

ERICA Does that mean you actually got nothing wrong? MARK

Since Mark is essentially ignoring Erica in his next line, let’s indicate as much by adding a CONT’D extension to his character name.

MARK (CONT’D)

I can row crew or invent a 25 dollar PC.

In his previous line, Mark says that he could sing in an a cappella group were it not that he can’t sing. In this line, he says that, because of his SAT score, he can row crew or invent a twenty-five-dollar PC. But, as he states in a few lines, he can’t row crew, and given that the previous line is conditional, I think this one should be too. So let’s replace can with could, to maintain consistency across Mark’s lines. Also, since numerals cannot be spoken, let’s spell out 25. And while we’re at it, let’s add a hyphen to 25 dollar, to indicate it as a compound modifier.

I could row crew or invent a twenty-five-dollar PC.

ERICA Or you can get into a final club.

To maintain consistency across Mark and Erica’s lines, let’s replace can with could.

Or you could get into a final club.

MARK Or I can get into a final club.

And again, can with could.

Or I could get into a final club.

Edited Text