At this time you can only really guess at it.
I worked with a client last year where we went through and did the entire story by assigning PRCO and 1234. It was a very enlightening exercise for two reasons:
- complete overkill when it comes to writing
- fascinating how obvious the assignment of many events were
For the most part the PRCO aligned with 1234, but every now and then you could clearly tell that the order was mixed up.
It was a great exercise for the writer as this was only his second screenplay, and his scene structure lacked narrative oomph–a lot of the scenes lacked narrative drive.
But it was completely exhausting and quite possibly added to the lack of motivation in finishing that screenplay.
On his latest screenplay he completely skipped over the whole thing and stuck only to Signposts and Sequences. He finished his first Act in three days (after developing the story with me) and is cruising the second Act without much trouble.
And he’s not worrying at all about PRCO.
But I can tell you that the scene structure and narrative drive rocks and completely blows away his first efforts on the abandoned screenplay. So, the time spent wasn’t a waste within the context of his development as a writer, but as far as that specific story goes it most likely killed his enthusiasm for it.
Again–this was all intuition as the specific order is obscured and most likely not completely accurate. The farther you move down in subjectivity, the further away you get from objective reality and quite possibly the model breaks down.
The most powerful part of the exercise was actually classifying each event under Universe, Physics, Psychology, or Mind. You quickly ascertain what events are simply repeats and unnecessary, and where the holes in your scene structure lie.
I would spend more time on that than the specific instances of PRCO or 1234.