Well, here we are...our big love scene.  Our two leads have finally met and it is clearly love at first sight.  There are lots of ways we can go about this.  Do they throw each other around right out of the gate; or do we prolong it a little more?
Like, Sam and Diane...let's get them sparring and then watch the sparks fly?  My impulse is to do it now; but I think it really needs to happen after they bond both fighting and playing music together.  I've also been wondering about the tone of the scene.  Do we want like, hot and nasty Paul Verhoeven type sex?  Do we want a more comedic tone, where the sex is a kind of frenetic slapstick, so to speak?  Or, since the two men have never been with another man before, wouldn't it be awkward to some degree; and thus, inherently comedic?  I suppose you could direct the scene in various ways...I mean, as long as Adam and Domhnall were willing to give it a go...or two.  
So, we're really not quite to the big moment yet.

CUT TO:
INT. -GYM -DAWN
Paddy is working out in a small gym on the ground floor of his apartment building.  A brief montage: furiously jumping rope.  Furiously pummeling a speed bag.  Fiercely doing crunches.  Ferociously doing push-ups.  We can hear his GRUNTING.  Sweat flies!
CUT TO:
EXT. -STREET -MORNING
Paddy on a London street in a hoodie, running and jabbing while he does.  We hear his steady, measured BREATHING.
He slows down as he approaches his building.  He sees Ick come down the stairs and climb into the back of a Rolls Royce which then drives off.
CUT TO:
INT. PADDY AND KELLY'S APARTMENT -DAY
The door opens and Paddy comes in.  The place is a combination of a tough guy's minimalism and an artistic woman's slightly gothic sensibilities.  He passes through the living room and into the kitchen.
CUT TO:
INT. KITCHEN -DAY
Kelly is sitting at a kitchen island, sipping tea as she scrolls through her phone.  Paddy goes to the fridge and opens it.
KELLY
Morning, Pad.
PADDY
G'morning. 
He gets a glass for his chocolate milk and sits across from her.  She's humming Heart's "Magic Man."  He grabs a piece of her toast.
PADDY
You're in a good mood...
KELLY
You say that like I'm never in one.
PADDY
I mean, like, extra good. Like Singing in the Rain good.
KELLY
If you say so.
PADDY
I just ran into a friend of ours on the street.
KELLY
Who?
PADDY
A little birdie...
KELLY
(Looking up from phone; getting it.  She smiles)  Nothing happened.  He was elephants.
PADDY
Was he now?
KELLY
Beyond bevvied.  But I did see him naked...(She opens her eyes wide).
PADDY
So have I love.
She wads up a napkin and throws it at him.
PADDY
Are you going down to the pub tonight?
KELLY
I don't know...
PADDY
You should come out.  You can bear witness to my musical debut.
KELLY
Well then, I wouldn't miss it.  So tell me Paddy, what does that birthmark on Ick's bum resemble to you?
PADDY
A fife and drum, naturally.
KELLY
Oh, that's good!
Paddy chuckles and drains his glass.
CUT TO:
CLOSE-UP of Henry's phone screen.  We can see Donna in her dressing room at the Golden Banana.
DONNA
I'm so excited to see you!
HENRY
Me too.
DONNA 
Guess what?
HENRY
What?
DONNA
Stacey is coming with us!
HENRY
Really, why?
STACEY
(O/S) Don't sound so thrilled Hank.
On the screen we see the camera turn to where Stacey is doing her make-up.
HENRY
Hey Stacey.  No, I think it's great.  You and Donna can see the sights, 'cuz I'm gonna be working my ass off.
STACEY
Hey, I work my ass off too--
She starts twerking.
DONNA
Stacey! (Quickly turning the camera back to herself).  I talked her into it.  You know she's never even been out of Massachusetts?
HENRY
I believe it.  She's such a homey girl.
STACEY
(O/S) I can still hear you...
DONNA
Where are you right now?
HENRY
(Showing her his surroundings) I'm outside of a pub...
DONNA
Oh, cool, it's one of those red phone booths!  Why are there books in it?
HENRY
They've turned most of them into those little libraries--
Paddy, carrying his bodhran, comes into the shot.
PADDY
Hup ye boy ye!
HENRY
Donna, this is Paddy.  I'm gonna be working with him--
PADDY
Hello there Donna!
DONNA
Hi!
PADDY
I'll try not to bruise him too much!
DONNA
You better not!  Well, I should get going.  
HERNY
Okay.  Love you.
But Donna has already hung up.  Paddy opens the door.
PADDY
After you my good man.
They go into the pub.

CUT TO:
INT. WHITECROSS PUB -NIGHT
A section of the pub is now a make-shift musical area.  Paddy and Ick, with their drums and Henry with his Turkish shepherd's pipe are seated with other musicians.  Classical Celtic instruments abound.  Uilleann pipes, flute, tin whistle, fiddle, concertina, Irish harp, banjo...etc.  Sean, Cal, Danny and Kelly are in the audience.  John the bartender steps up to the mic.
JOHN
Welcome, everyone, to our Thursday night Celtic Classic open-mic.  If you'd like to sing, come and see me at the bar.  Most of these lads and lassies know most of the standard tunes, so you might want to stick with them.  We have some new musicians with us tonight, one of whom is a celebrity; you may know Mr. Paddy O'Riada world renowned mixed martial arts fighter!
He gestures to Paddy and the audience APPLAUDS.  Paddy shakes his hands, eschewing the attention.
JOHN
And this fellow here is Mr. Henry Notlad--(Danny claps and CHEERS from the audience)  Henry is playing what he tells me is a Turkish pipe, which sounds a bit suspicious to me; but I'm sure it's a delight.  So, I give you our first customer...(He looks at his note-pad)  What do you know?  Mr. Paddy O'Riada, singing, "The Black Velvet Band." 
Paddy stands and goes to the mic as the audience CLAPS and the band starts.
DANNY
He sings?
SEAN
News to me!
KELLY
You've never heard him sing, Sean?
SEAN
No. Never. Well, maybe humming along to the radio and certainly not at the top of his lungs.
KELLY
He does it all the time in the shower--
SEAN
Well the shower isn't a Public House!
KELLY
He's really good!
SEAN
You're having a bubble, Kel!

Paddy launches into the song with gusto and has a surprisingly operatic style.
KELLY
(Nudging Sean) See?  I told you!
SEAN
What's gotten into him lately?
KELLY
I think he's coming out of his shell...or in love...or maybe just coming out...
SEAN
(Looks at her, incredulously) What?  You're daft Kelly!
KELLY
Has he ever had a sweetheart?
SEAN
Well, sure.  Let's see...there was...no wait a minute, she was just a mate...Oh, I know!  Kate Sullivan!
KELLY
Roight, when he was in Year 3...
CAL
I think you're on to something Kelly...
SEAN
My brother is not gay!
CAL
So what if he is?
DANNY
(A little TMI for him) Uhhm, I need a refill...
He stands and heads for the bar.
PADDY
Everybody, you know the chorus...sing with me..."Her eyes, they shone like the diamonds. You'd think she was queen of the land, with her hair hung over her shoulder, tied up with a black velvet band!"
CUT TO:
INT. BAR -NIGHT
The band is now rocking a rousing rendition of The Timpan Reel. Danny is at the bar.  John approaches him.
JOHN
What can I get for you?
DANNY
A pint of Guinness and could you put me down for a song?
JOHN
Sure...(he picks up his pad).
DANNY
"The Unicorn."
JOHN
Good choice!
John goes to get the beer and Danny turns as a hand rests on his shoulder.  Sidling up to him is Roddy Shannon, decked out in pub-style; all from Harrod's, of course.
RODDY
Hey Danny.
DANNY
Roddy!  Nice to see you!  Can I buy you a drink?
RODDY
Sure.
DANNY
What'll you have?
RODDY
Pegu Club.
DANNY
Come again?
RODDY
John'll know.
John returns with Danny's beer.
DANNY
Mr. Shannon will be having--
John places the cocktail on the counter and tips his hat.
RODDY
Thanks John.
John tips his hat again and departs.
DANNY
I take it you're a regular here?
RODDY
Semi.  I come to watch my son.
DANNY
He's something!  Why do they call him Ick?
RODDY
​After Icarus, the boy who flew too close to the sun.
DANNY
That didn't work out so well for him, as I recall.
RODDY
I don't like the nickname; it's like tempting fate to me.
DANNY
​I tink he looks more like Cupid.  Tell you what...I'll start calling him Cupe. Sometimes you've got to flip one penny to hell and another to heaven.
RODDY
(Laughs)  I like that Danny!
John goes to the mic.
JOHN
All right...now, we have a Mr. Ick Shannon gracing our eardrums with "Goodbye Muirsheen Durkin."
Ick stands, goes to the mic and starts the song.  He catches eyes with Kelly and winks.  Kelly GIGGLES.  Sean gives her a look.
SEAN
And I suppose he's straight...
KELLY
Love the one you're with, Sean.
SEAN
You're really balmy Kel...
Kelly LAUGHS
CUT TO:
EXT. BACK ALLEY -NIGHT
Paddy steps out the door and lights a cigarette.  After a moment, Henry joins him.
HENRY
You know that'll stunt your growth, right?
PADDY
It's my one vice; but I have cut it down to only one or two a day.
HENRY
That's progress.
PADDY
Would you like to see my wee gym?
HENRY
Sure.  When?
PADDY
Now.  It's just a few streets over...
HENRY
I've gotta grab my flute--
PADDY
That's what she said--
HENRY
(LAUGHS)  Do you want me to grab your drum?
PADDY
Sure enough...
Henry goes back inside.  Paddy raises his cigarette for a puff and notices his hand is shaking.  He flicks the cig into the gutter.

CUT TO:
INT. PADDY'S GYM -NIGHT
The room is dark as door swings open and we see two figures silhouetted from the hall light.  Paddy reaches in and flips the light switch.  He enters the room and places his drum on the floor by the door.  He ushers in Henry who leans his pipe against the wall.  Paddy closes the door.
PADDY
So, this is it...
HENRY
Nice.  You live up stairs?
PADDY
Yeah, with Kelly.
HENRY
That's convenient.  So, are you and Kelly, ah--
PADDY
Oh God no.  We'd of divorced long ago.  She's a good friend.  You're really good with that pipe...
HENRY
That's what she said.
PADDY
Ya got me!
HENRY
(Provocatively?) It's a joy to watch you play that drum.  You have such a steady rhythm.
Paddy doesn't respond.  He doesn't seem to be in a joking mood.  He walks over to the window and looks out on the street.
PADDY
I bought the upstairs flat a few years ago, and when this one became available, I grabbed it.  I'm thinking of putting in a spiral staircase...
HENRY
That would be really cool.  Where are you from Paddy?
PADDY
Sean and I grew up in Dingle. (A pause)  What, are you not going to say it?
HENRY
Nah.  Three "that's what she saids" is just annoying.
PADDY
(CHUCKLES)  Well, that's me wee gym; but if you've seen one, you've seen 'em all...
HENRY
Yep.
PADDY
Should probably get some shut eye...
He moves past Henry to the door.  He puts his hand on the light switch and just stands, his head resting against the frame.
CUT TO:
CLOSE-UP of Paddy's hand on the switch.  Henry's hand comes into the frame and gently rests on Paddy's.  They both turn off the lights.  We hear the opening strains of Heart's "Magic Man"; portions of which will play over this scene.
CUT TO:
INT. GYM -NIGHT
The room is dimly illuminated from the street lights outside.  Rain trickles down the window panes and reflects on the walls. Paddy, still with his head against the door panel, freezes. Almost as though it's a replay of his experience with Ick, Henry leans in and kisses the nape of Paddy's neck as he gently strokes Paddy's face.
PADDY
(Almost a WHISPER) I've never done this before.
HENRY
Neither have I--
Henry turns Paddy to face him.
HENRY
Your eyes change colors...
PADDY
But it's dark in here--
Henry kisses Paddy like it's the first kiss in their lives.  And for Paddy it is.

You know when you meet someone and you're wildly attracted to them?  And they to you.  And when you first kiss it's kind of like, your heart explodes?  And you wish somehow your kisses could go beyond just the other's lips and into their soul.  Is that why it's called a "soul kiss"?  Kissing is strange when you think about it.  Two people grinding their lips and mouths and tongues together.  Why?  It's almost as though you're trying to get inside the other person via the mouth.  And when the passion rises, it's not so much about sex, is it?  It's about the kiss.  That's what I want this scene to be.​

Paddy throws Henry against the wall, and grabbing him by his wrists, raises his arms up and pins them.  He puts his mouth where Henry's shoulder and neck meet and runs his mouth up Henry's neck and finds Henry's lips.  They roll along the wall; going in and out of the dark and light of the street-lamp as they kiss; almost as though they are under water. Paddy pulls at Henry's tee shirt and Henry takes it off.  Paddy runs his hands over Henry's torso, delivering some kisses there too.
Now Henry raises Paddy's arms and pulls his sweatshirt off, leaving him in his kilt.  We see a reverse shot of Paddy's back, as Henry gathers up the kilt in one hand and with the other, moves his hands over Paddy's glutes.  Paddy emits a bit of a GASP.  We hear the sound of LAUGHTER from the street.  Now, as the pair are next to the window, Henry glances out.
HENRY
(Softly) I think your room-mate's home...
SEAN
(O/S) Paddy!
The two men scramble and put their shirts back on.
PADDY
Make like you're working out!
Henry picks up some dumb-bells and sits on a bench and starts doing curls.
Paddy goes to the light switch, turns them on, grabs a jump rope and starts jumping.  The door flies open and Sean pokes his head in.
SEAN
​There ye are!  Whydya disappear?
PADDY
I wanted to show Henry the gym.
Sean enters the room with Kelly behind him.
PADDY
Where's Cal?
KELLY
He went home.
SEAN
Are you jumping rope in a kilt?
PADDY
Sure; why not?
SEAN
Little weird Paddy, even for you...

​Hey, I just discoverd these guys!

KELLY
We were just going to head upstairs and watch a movie...Sean's never seen Sixteen Candles...care to join us?
PADDY
Sure.  Henry, you up for some of America's Red-Headed Sweetheart?
HENRY
As much as I love Miss Molly, I'm gonna have to pass.  I wanna be fresh for my big press conference tomorrow.
PADDY
Sean and I will be there as well.
HENRY
Great!  Well I guess I'll see you both tomorrow.  Thanks for the wee workout, Paddy.
He smiles and shakes Paddy's hand, nods to Sean and Kelly and slips out the door.
KELLY
I really like him.
SEAN
Why don't you marry him then?
KELLY
Oh, shut up Sean.  He's engaged anyway.  Come on Pad!
PADDY
Yeah, I'll be right up.
Sean and Kelly leave.  Paddy goes to the window.  The rain is really coming down now. He watches as Henry's figure recedes down the street.  He coils the jump rope, hangs it on a peg, goes to the door and turns out the light.  As he closes the door behind him, the camera PANS and TILTS down.  The shepherd's pipe slides and falls on top of the bodhran  with a soft drum beat.
CUT TO: 
​INT. HENRY AND DANNY'S APARTMENT -NIGHT
Danny is sitting in the single chair; his computer propped up on a suitcase where he's watching General Hospital.  Henry comes through the door.
HENRY
Hey!
DANNY
(Terse) Hey yourself.
HENRY
What's wrong?
DANNY
I'll tell you what's wrong.  You ditched me.
HENRY
I'm sorry...but I didn't "ditch" you...
DANNY
Well what would you call it then?  (Henry has no response).  I just thought it would be nice to sing while my brother played along with me.
HENRY
You can sing now.  I'll play--
DANNY
I am not singing the fooking Unicorn now.  Besides, where's your pipe?
HENRY
Oh, I guess I left it at...the bar.
DANNY
It's not at the ​pub because I made sure you didn't leave it.  Because I'm a good brother!
HENRY
Yes.  You are.
DANNY
So where is it?
HENRY
I don't want to talk about it now, I'm tired.
DANNY
Talk about what?  Your friggin' flute?  'Cuz I don't want to talk about it either.
Henry turns to leave but then stops himself.
HENRY
Danny, we tell each other everything, right?
DANNY
I'm not so sure!
HENRY
Please don't be mad.  This is something I need you to be calm about.  Like, the calmest you could possibly, ever in your life, be.
DANNY
I'm not promising you anything; but I'll try.
HENRY
Something happened...
DANNY
Something...bad?
HENRY
I'm not sure.

DANNY
What do you mean, you're not sure?  Tings happen all the time.  They're either good or bad or they just are.  Which is usually the case. 
SEAN
I kissed Paddy O'Riada.
DANNY
I assume you mean "kissed up" to him; which, if you ask me is a smart move.  Politics are just as important in--
SEAN
I made out with him.
DANNY
Like a bandit!  He's clearly taken a shine to you!
SEAN
Danny, I kissed him.  On the lips​--
DANNY
Well, you know Irish men can be quite affectionate--
SEAN
I French kissed him for a good ten minutes and had my hands under his kilt.
DANNY
(Nervous LAUGHTER) You're puttin' me on.
Henry shakes his head.
DANNY
I think I need a cup of tea for this. Someone left a kettle behind. You want one?
HENRY
I'd love one.
Danny goes to the kitchen area and Henry follows him.  Danny fills the kettle and puts it on the stove.  He SIGHS, takes a moment and turns and leans against the counter.
DANNY
I have to say, I'm not in shock.  Can I ask you why you kissed Paddy O'Riada, I mean, I'm assuming you had his consent.
HENRY
I couldn't stop myself Danny.
DANNY
I'm sure you probably could've.
HENRY
No.  I think I might be in love with him.
DANNY
How could you be?  You know nothing about the man.
HENRY
I can't explain it.  It was like...when worlds collide.
DANNY
Well, let's talk about the elephant...
HENRY
Okay.
DANNY
Did this urge to kiss another dude suddenly come upon you out of the blue?
HENRY
No.  I've had these feelings since I was a kid...I just never acted on them.
DANNY
But you've always dated girls.
HENRY
I know.  But I think I was just sort of going through the motions.
DANNY
Are you just sort of going through the motions with Donna?
HENRY
If I'm going to be honest, then, yes.  But I think she's just going through the motions with me.
DANNY
She's nuts over you!
HENRY
Then why hasn't she married me?  Why doesn't she wear her engagement ring?  I proposed to her two years ago.
The kettle starts to whistle.  Danny opens a drawer and pulls out a couple of tea bags.
DANNY
I have no idea how old these are...
He finds some worn out cups and starts preparing the tea.
DANNY
Well Henry, if I'm going to be honest, I always suspected you might be...
HENRY
You can say it Danny...
DANNY
Gay, then.  You know, one day I noticed your stack of Men's Health magazines was twice as high as your stack of Playboy's.
HENRY
I love Playboy!
DANNY
Sure, for the articles, apparently.
HENRY
Well yeah; but I love titties too.  Everybody loves titties!
DANNY
(LAUGHS) Oh Henry, what are we going to do with you?  And more importantly, what are we going to do with Donna.
HENRY
A lot you care...
DANNY
You seem to think I dislike Donna.  I don't.  Sure we don't get along; but she watches out for you.  She has your best interests at heart and to me, that's the most important ting.
HENRY
I love her.  I always will.  And I'll marry her if she still wants to--
DANNY
After all you just told me?  Now you're talking ragtime.
HENRY
Danny, cut me some slack.  I wasn't planning on this.
DANNY
You just told me you think you're in love with a total stranger.  So how does he feel about you?​
Henry doesn't answer as he and his brother quietly sip their tea.
DANNY
Ten minutes?
HENRY
Maybe more like five.
DANNY
He gave you a hickey.
HENRY
Really? (He touches his neck).
DANNY
Go on and get outta those wet clothes.  You'll catch your death.
​Henry goes into the bedroom as Danny SIGHS and shakes his head.

So, the other night, I called this phone number I came across...
I was reading from the Uncle John's EXTRA LARGE Bathroom Reader to my husband.  Yes, I read to my husband at night before he nods off.  It's very 19th century.  Aren't I a good husband!  I mean, it's really a win-win. It gets me reading; something I don't do enough.  And it sends him to LaLaLand.  Anyways, the "Uncle John" series are compendiums of, oh what's the word?  Miscellany, I guess.  You know, little articles about everything from the history of bicycles, to the history of SNL, to the origins of unusual words...that kind of thing.  The book is rather unwieldly.  I mean, I have trouble holding on to it lying down, let alone while sitting on the commode.  Not that I read on the commode; but let's not go there.
So, this one article was about the "Mojave Phone Booth."  I had never heard of this particular piece of weird Americana.  There was a phone booth out in the middle of the Mojave desert in California.  Apparently it was some 15 miles from the nearest road and was put in place for miners or something to have a line to the outside world.  Someone learned of it's existence in the early days of the internet and blogged about it, including the phone number.  It went viral and people went in search of the booth and would then answer the phone if and when it rang; thus, connecting with a total stranger.  Eventually, the booth became inundated with the curious.  Due to humans trekking through protected land and causing environmental damage, the phone booth was removed.  However, the phone number was not reassigned or cancelled or whatever it is that happens to old phone numbers.  The number was printed in the Uncle John book, so I decided to call it...

Let's face it.  Phones, as much as we love them, are kinda creepy.  That we can hear the voice of someone on the other side of the world through a little ear piece.  Back in the day, before caller ID and cel phones, when there were only landlines, they were even creepier (well, that they now eavesdrop on our conversations is probably creepier than that).  I remember watching that movie "When Michael Calls" on TV.  It was summer and it was hot, so I decided to sleep out in our trailer in the back yard, by myself.  Sometime in the dark of night, a distant phone started ringing in one of the houses.  No one picked up and it kept ringing and ringing.  I was terrified!  I finally got the courage to run back to the house...I was probably ten or eleven.  I think the urban legend of the baby-sitter and the phantom phone caller really seizes on the creepy element of the house phone.

That scene is still scary.
I think the thing about it, is that you can get into someone's house (and head) via telephone.
So we called the number (I'm not going to give it out here, but you can easily find it on line).
The call went through.  It was not a traditional ring signal; but more a series of electronic beeps.  Finally a recorded female voice came on the line.  It said something like: "This is a conference call; please select one through nine."  I'm not making this up.  I pressed the number one and it disconnected.  I called again.  I got the same message.  This time I pressed nine.  It clicked and then the same voice said: "There are no other callers on the line..."  Joseph immediately made me hang up.
Which was fine by me.  It was just too weird.  Beyond creepy.
The next day I got a text from the number.  The message was: "Do you want to find out how deep the rabbit hole goes?"
What the fuck?
I'm not making this up.  Maybe this was some kind of Blair Witch style publicity for the movie The Mojave Phone Booth.  Which is even weirder since that came out in 2006. I don't know and I don't want to know.  I most decidedly do not want to find out the answer to that question.  I blocked the number and deleted the text.
This was even weirder then the time I got an email asking me if I wanted to join that conspiratorial group that starts with an "I."  I declined that one, too.
Back in the 70's, getting a Ouija board as a gift was pretty common.  This "game" is still mass produced and sold.  Why?  I remember playing it when we were kids.  Thankfully, in our house, it always ended up with: "You're pushing it with your fingers!  This is stupid!  Nothing's happening!" and then it went back into it's box and into the closet.  Where it most decidedly belonged.
Now, you'll have to excuse me.  I've got to find a ten story building so I can go play the Elevator to Another Dimension game.
​Not!

Arrivederci! 
​CFR  44/28/23

CUT TO:
EXT. -DUNTULM CASTLE -DAY
Henry follows Claudio and Ozan to the rock circle.  Claudio and Ozan sit on two vacant spots.  The rest of the Duntulm crew are also there, in their matching clan O'Farrell kilts.  Seamus stands.
SEAMUS
Henry, will you please enter the circle...
Henry enters the circle and stands before Seamus.
SEAMUS
Brother Henry...today you leave us to continue your journey.  A journey of which I get ten percent of your first purse!
(LAUGHTER from the crowd).  In all seriousness, Henry, you leave here today a member of the family.  Clan O'Farrell...please kneel...
Henry kneels and Claudio stands.  He is holding a Scottish highland sword, which he ceremoniously passes to Seamus.
SEAMUS
I dub thee Dearthair Henry O'Farrell Notlad...
He taps Henry on each shoulder with the blade and then hands the sword back to Claudio.  The crowd stands and CHEERS.
SEAMUS
GROUP HUG!
The Duntulm folks rush Henry and surround him in a sort of scrum.  He is hoisted on to Kevin and Ozan's shoulders and paraded about as people throw highland flowers in the air, that proceed to rain down on Henry.
SMASH CUT TO:
Henry is standing in the empty living room of the London flat.  He sits on the only chair and puts the shepherd's pipe to his lips and plays "Danny Boy."  There is a loud toilet FLUSH and Danny comes out of the bathroom.
DANNY
(Singing along)...but come ye back, when summer's in the meadow or when the valley's hushed and white with snow...(Speaking voice)...so what do you think Hank?
HENRY
It needs some knick-knacks.
DANNY
Well, when Gran and Donna get here they'll have a grand old time fixing the place up...
HENRY
Donna?  Donna doesn't do fixer-uppers...
DANNY
She lives in a Spam can!
HENRY
She says it doesn't count. (He goes to the window and looks down at the street). There's a pub just up the block: The Whitecross tap.
DANNY
I could use a night cap.
HENRY
Danny, I'm dragging my ass here.
DANNY
Oh come on.  It'll be good for ya!
HENRY
If you say so...
DANNY
Atta boy!

CUT TO:
INT. -WHITECROSS PUB -NIGHT
Danny and Henry are at a table, pints in front of them.  Danny takes out his phone.
DANNY
Should we face time Gran?
HENRY
Sure.  What time is it there?
DANNY
Around five in the afternoon...(He taps out the number, it rings and Gran answers).
CUT TO:
CLOSE ON PHONE SCREEN: We see Gran's smiling face on the screen.
GRAN
Oh, deliria and excira!  Hello love!
DANNY
Guess who's here...
GRAN
Put him on the screen then, ya eejit!
Danny LAUGHS and hands the phone to Henry.
HENRY
Hi Gran!
GRAN
Hello beautiful!  My, you look so lithe!
HENRY
Fightin' shape Mrs. Murphy!
GRAN
That's grand, son.  It's so good to see your face!  Donna just left for work--she's dying to talk to you!
HENRY
So, when are you coming?
GRAN
Soon enough.  Now I'm going to hang up so you can call Donna.
HENRY
All right Gran.  Love you!
GRAN
I love you more. 'Bye!
The phone screen goes blank.
HENRY
I really should call Donna--
Sean O'Riada approaches the table, interrupting the conversation.
SEAN
Excuse me, I don't mean to be rude, but aren't you Henry Notlad?
HENRY
Yeah...
SEAN
I'm Sean O'Riada, I manage my brother Paddy.
DANNY
I'm his brother and I manage him! (Stands and thrusts out his hand) Danny Notlad!  Good to meet you!
Sean shakes Danny's hand, then Henry's.
SEAN
(To Henry) A little birdie told me that you're going to sign with Roddy Shannon and his world famous Lani-Batali squadron.
HENRY
Yes I am.  I sign the papers the day after tomorrow, as a matter of fact.
DANNY
Sean, can I ask you something?
SEAN
Of course.
DANNY
What the fook does "Lani-Batali" even mean?
SEAN
(LAUGHS) It means "sky-fighter" in Hawaiian, or some shite.
DANNY
Well, whadaya know...
SEAN
My friends and I are having a round of darts if you'd like to join us--
DANNY
I haven't played darts since Hector was a pup.  What do you say Hank?
HENRY
Sure...
CUT TO:
INT. PUB -NIGHT
The camera PANS a dart as it flies through the air and hits not the dartboard but a paneled wall several feet away.
KELLY
​(As she takes a dart away from Ick) All righty, that's enough for you my friend...
ICK
(A sheet and a half to the wind, getting close to two) How many points do I get for that one Kelly?
KELLY
How about I point you to bed?
CAL
Don't give him any ideas, Kel.
ICK
That's a great idea! (He smooches her cheek).
KELLY
Easy there Tiger--
Sean, Danny and Henry join the other three.
SEAN
Hey guys, I'd like you to meet the Notlad brothers!  This is Danny and this is Henry.  And these are my mates, Kelly, Cal and Frankie, but we all call him Ick.
Greetings are exchanged.  Ick's eyes light up when he recognizes Henry.
ICK
Mr. Notlad, I am a huge fan.  I remember where I was the night you took home the light middle-weight fight with...
DANNY
Saint Preux.
ICK
Yeah, him.
HENRY
So where were you?
ICK
I forget...(LAUGHS).  Do you sing?
HENRY
I don't know if you'd call it singing, exactly.
ICK
You should come out with us--they have Irish music here every Thursday...I play the bow...the bow...I play the drum!
There's an open..thingy...
HENRY
Microphone?
ICK
That's it!
KELLY
Okay, I think I'd better get you home.
ICK
But I haven't finished my drink...
KELLY
It was nice to meet you both.
HENRY
You too.
Kelly leads Ick out of the bar as he starts singing "A Mother's Love's A Blessing."
ICK
(Singing)...and you'll never miss your mother's love 'til she's buried beneath the clay!
DANNY
A boy after my own heart!
SEAN
That's Roddy Shannon's boy.
DANNY
You don't say.  He's a little heart-breaker.
SEAN
He tries.  Well isn't this fortuitous!  Cal and I can fill you in on the house style.
DANNY
That'd be great.
SEAN
Well what do you know?  Here comes my number one client right now!
Paddy saunters over.  He looks a bit wary, with the new people.
SEAN
Paddy, dis here is the Notlad brothers.  This one's Danny--
PADDY
Howdayado--(they shake hands).
DANNY
I'm a huge fan Paddy!
PADDY
Tanks.
SEAN
And this is Henry...
PADDY
Hello.
HENRY
Nice to meet you.
They shake hands.  
PADDY
Have we met before?
HENRY
I don't believe so.
PADDY
Because I really feel like we've met before...
Henry breaks out in a grin.  Paddy does the same.  Their hands are still clasped, as though neither wants to let go.
SEAN
Well, let me get a round of drinks.  What are you boys drinking?
DANNY
Couple of pints of San Miguel.
SEAN
Coming right up.  Cal the usual?
CAL
Sure Sean
SEAN
Paddy?
PADDY
(Unable to take his eyes off Henry) What?
SEAN
What are you drinking?
PADDY
Jameson's neat.
SEAN
Well, let me go see about Rosy Lee!
Sean heads off.  Paddy and Henry are still shaking hands.  Danny doesn't know quite what to do, so he looks at Cal.
Cal shrugs.  Paddy takes a sudden step back and changes the subject by picking up a dart.
PADDY
I suppose I'll just go for the cork...
He throws the dart.  What do you know?  It's a bullseye.

How many versions of The Great Gatsby have been filmed?  I'm thinking at least four by now.  I've seen two of them.  The one from 1974 and the Baz Lurhmann version.  Sorry Baz, but I never thought I was looking at Long Island for a split second.  You really can't disguise Australia.  Otherwise, your take was pretty good.  A little busy for my tastes, but good.  I love Mia Farrow; but she wasn't really right for Daisy.  
What I'm trying to say is that it is a book that is unfilmable.  I've read the book more than once.  It's a favorite. Why is it a favorite when the story--the plot--is just sort of...meh?  Because of the words, that's why.  It's the way Fitzgerald puts words together.  His word usage and sentence structure are the stars of that work...that's why when it's filmed, it just kind of lays there.
I sometimes fear that I live in the past.  People say: "The past is the past.  It's over and done.  That was then, this is now.  The only thing that matters is NOW!"  And so on and so forth.
But are we not in the NOW everything in our past has brought us to?  I think so.  And nowadays, I think the past really was better.  Better because we didn't have EVERYTHING spelled out to us by little hand-held devices.  I liked that you couldn't have instantaneous access to people: that you had to find a pay-phone or use a paper map that never folded back the right way.
So, here's something from my past that has come forward to the present, for whatever reason.

If you're following along at home, you will probably know that I've been writing a lot lately about 1997's Good Will Hunting.
As you may also know, I did not see the film until fairly recently.  However, back in 1997, when I was living on 13161/4 Westerly Terrace in Silverlake, I had a copy of this magazine.  Had I purchased it?  I certainly didn't have a subscription.  Did I get it from work, at Lakeshore Entertainment?  Did I find it at the dentist's office (probably not...I went to the U.S.C. school of dentistry for my dental needs.  They gave me some great gold work that still resides in my mouth to this day. I get lots of compliments from dentists and dental assistants and dental hygenisits; usually along the lines of: "Wow, that gold work is amazing.  They don't make 'em like that anymore!").  I probably bought it, as I occasionally would splurge on the "newsstand price."  I must've been drawn to that photo of Matt Damon.  His pixieish, yet masculine puss.  And the toothbrush.  Why is he brushing his teeth...during a photo shoot.  Why is he brushing his teeth in the bathtub?  It's kinda gross!  Does he have water in his ear?  What's going on Annie Leibovitz? I'm just assuming she took the picture.  Oh, wait...it says so right there on the magazine cover.
In any event, I was apparently so...intrigued...by this picture that I decided to draw it.  However; and this is lost to the mists of time as to why: I decided to draw just his mouth and nose. Here is the drawing:

I don't know...
I think I kinda nailed it!
Matt, if you're interested in owning the original, you know how to get in touch.  It's about three inches square and it's yours for only $250,000.00!
But wait!
THERE'S MORE!
I remember drawing this.  It was night.  I was at the table in my apartment at 1316 and 1/4 Westerly Terrace, as I mentioned.  I just looked it up.  Talk about a blast from the past!  I lived in the bottom unit, which was literally a pied-a-terre (if that, in fact, means an apartment on the ground floor from which you can step to the ground).  It was a three story building, built in the 1920's and it still had it's original plumbing and wiring.  Have you ever seen 1920's wiring?  It's scary!  Apparently, the place has had a top to bottom remodel.  Here's a view of my unit, as it looks now:

It definitely did not look like that when I lived there.  My private refurb had the kibosh applied when I moved back to Boston. 
​In the bedroom, I had the head of my bed against the opposite wall.  That's a door to the outside behind that bed.  It used to give me the creeps, as did that small window in the kitchen.  I always imagined someone breaking in through one of them as I was drifting off to sleep.  Otherwise, I loved my time there.  I had attempted a little unauthorized remodeling myself.  The living room, which you can see in the middle photo had horrible teal colored wall to wall carpeting, that I tore up without the owner's permission.  Once Tim saw the wood floor, he immediately had it redone, which was fine by me.  Tim was kind of a guardian angel.  He was extremely thin, to the point of emaciation.  Wondering if he was still with us, I looked him up.  Timothy Stirton is not exactly a common name, and sure enough, he was the first in the search.  He passed away in 2020.  I was a little shocked that he made it that long.  To be honest, I thought he was in the late stages of AIDS when I knew him.  He died in a traffic accident, riding a Vespa.  Not what I would've thought.  

Apparently, it was a pretty horrific accident and now I feel like crying.
​Here is the building from the back:

The other people involved in the accident survived, unscathed.  I would post pictures here, but it's just too grim.
God bless you Tim.  You were one of the good ones.

"...So we beat on, boats against the current, borne back ceaselessly into the past."

CFR  4/19/23

Okay, so I re-watched the movie and I'm going to go on with this flash-back sequence, at no one's insistence.  I've got a couple of problems.  I've put Skylar to work at the Ghirardelli chocolate factory in San Francisco.  One little problem...it hasn't been a functioning chocolate factory since...well, a long time.  The factory is actually 32 minutes away in San Leandro, so we just need a modicum of re-writing on that front.  I'd forgotten that Skylar's "California" plan was to do graduate work at Stanford, so, at least I picked the right city! Also, I'm not sure if an "organic" chemist would be hired to work in food chemistry; but I figure, close enough/artistic license.
And Dr. Maguire goes off to travel at the end of the movie, so he would quite realistically be out of reach for a couple of months, even if I've placed him Las Vegas.  Also, I said Will's car is a Chevy.  In the re-watch, it looked more like a Ford to me.  However, the interweb machine has suggested that the car is a 1971 Nova.

SKYLAR
Will, why are you here?
WILL
Why do you think?
SKYLAR
No.  No, you don't get the courtesy of asking affective questions; because you looked me straight in the eye and told me you didn't love me.  So why are you here?
WILL
Because I love you.
SKYLAR
So you looked me straight in the eye and lied to me.
WILL
Yes.  And I will never be more sorry for anything in my life.  I apologize and I hope you can forgive me.
SKYLAR
Will, I wasn't going to call you.  I didn't want to call you.  You really hurt me and now I'm not sure I can trust you again.
WILL
I understand.
SKYLAR
But I have no choice.  I have to see you.  When could you meet me?
WILL
Whenever you want.
SKYLAR
Saturday?
WILL
Yes.
SKYLAR
Meet me half way up the Greenwich steps at one o'clock on Saturday afternoon.
WILL
Where are the Greenwich steps?
SKYLAR
I'm sure you can find them.  I've got to go now.  Good night, Will.
WILL
Good night.
There is a CLICK on the other end of the line and Will hangs up.  He retrieves a set of rosary beads from the bedpost and kisses the crucifix.  He crosses himself, lies back and starts quietly praying.  

CUT TO:
INT. JAKE'S ROOM -DAY
There is a KNOCK on the door.  Jake stands, goes to the door and opens it.  Will is standing there.
JAKE
Hey man!
WILL
Hi.
JAKE
Come in.
Will enters the room, which is kind of a mess.  
JAKE
(Clearing a pile of clothes from a chair)  Have a seat.  As you can see, I'm not the best of housekeepers, which is why I haven't invited you over.
WILL
Hey, people who live in glass houses...I came over because I wanted to ask you a question.
JAKE
You're so serious.  Should I sit down?
WILL
Do you know where the Greenwich steps are?
JAKE
That's your question?  I thought you were going to ask me about the meaning of the Universe or something.
WILL
Maybe, in this case, they're the same thing.
JAKE
Okay, you're being weird.  So, the Greenwich steps, I believe are a stairway that leads up to Coit Tower...
(Jake goes to his desk and finds a city map, much used, and unfolds it.  He spreads it out on the bed) Yeah, here they are.  You can access them at Sansome.
WILL
Question answered.
JAKE
So, I got a job!
WILL
That's awesome. Where?
JAKE
City Lights Publishing!
WILL
What's that?
JAKE
You tell me...
WILL
Founded in 1953 by poet Lawrence Ferlinghetti and--
JAKE
I'm sure you know more about the place than Allen Ginsberg.  How does that head of yours work Mr. Hunting?  I mean, you're like an encyclopedia on some things and then, you can't tie your own shoes...
WILL
I've stopped trying to figure it out.  Some things interest me and I find out everything I can about them.  It's a curse and a blessing.
JAKE
You also seem to really enjoy dusty, cliched aphorisms.
WILL
What can I say?  I like the classics.
JAKE
I'll be moving out soon.  I got a lead on a fairly decent apartment.
WILL 
Well, I'm gonna miss you.
JAKE
Well, you don't have to miss me.  I'll be in the city.  Maybe we could be roomies...
WILL
I don't know if I'm staying.  I think my destiny is tied to the Greenwich steps.
JAKE
Would you stop being so cryptic?  You can talk to me about more than facts, Will.
WILL
Okay.  Fair enough.  So, who was that guy in your room last night?

JAKE
Well, goddamn.  Bring it on fellah!
WILL
You don't have to tell me.
JAKE
A lot of questions here, give me a second...(he retrieves a slip of paper from his desk and squints at it)..."Mike McCluskey. 415-233-7791"  You know him? (Will shakes his head).  How did you happen to know he was here last night?  And why are you asking?
WILL
My window faces your window (he points).
JAKE
Does it really?
WILL
You didn't know that?
JAKE
I don't spend a lot of time staring out my window and if I did, I wouldn't see much since I'm nearsighted.
WILL
Oh...
JAKE
What did you see?
WILL
I saw him kiss you...then he closed the curtains.
JAKE
Would you have continued to watch if he hadn't?
WILL
Not until it became an invasion of privacy.
JAKE
Okay...Will, have you ever been with a guy?  A man?  A person of the male gender?
WILL
Not of my own volition.  That is, my own free will.  Will's will, if you will.
JAKE
Let's stay in the first person.  Do you wanna talk about it?
WILL
There's not a whole lot to say.  I went through a half dozen foster homes.  I was in juvie.  Shit happens.  And happens.  And happens again.
JAKE
Will, I'm so sorry...
WILL
(Going into wise-ass mode) Yeah, well, you know what they say...
JAKE
No, I don't think I know what they say.
WILL
Thanks Jake.
JAKE
Okay...so I have an Enquiring mind.  What fate might await you at the Greenwich stairs?
WILL
Was he a good kisser?
JAKE
Who?
WILL
Mike McCloskey.
JAKE
Pretty good.  A little rough; but I kinda like it that way.  Now stop changing the subject.  
WILL
So, I came out here to see about a girl.  Her name is Skylar...and I'm meeting her tomorrow.  Half-way up those steps.
JAKE
Half way?
WILL
(Laughs) She's meeting me half way!  
FADE TO BLACK
FADE UP FROM BLACK
EXT. BOTTOM OF GREENWICH STEPS -DAY

Will looks up at the stairs, which are a little on the imposing side.
WILL
Every journey starts with a first--(LAUGHS) Oh my God, Jake is right...
He starts up the stairs.
CUT TO:
EXT. GREENWICH STEPS -DAY
Skyler is leaning against a rail where someone has put out fruit for the wild parrots.  She catches sight of Will and watches as he climbs towards her.  He waves and finally reaches the stair Skyler is on.
WILL
Hi Skyler...
SKYLER
Hello Will.
Will is beaming and yet tears begin to spill down his face.  He points to his cheek.
WILL
Don't mind this...it's been happening to me a wicked lot lately.  Is that a friggin' parrot?
SKYLER
Yeah...
WILL
​Wasn't expecting that​--
SKYLER
(Now with her own silent tears) I'm pregnant.
WILL
Kinda was expecting that.
SKYLER.
You were?
WILL
Yeah.  I had a feeling.  Can I hug you?
SKYLER
I suppose so.
​They embrace and then Skyler pulls back and retrieves a wad of napkins from her coat pocket. She hands some to Will. He blows his nose.  Skyler does the same.
SKYLER
Aren't we a pair.
WILL
( LAUGHS)  It's so great to see you!
SKYLER
I'm not ready to get chummy; so here's what I propose.
WILL
I'm all ears...shit!
SKYLER
What?
WILL
This friend of mine says I like trite phraseology and I think he's right.
SKYLER
Then you should really like what I'm about to say.  I asked you to meet me in the middle for a reason.  You have a choice.  You can walk back down the stairs, and metaphorically out of our lives; or you can head straight to the top, with us; because this is your child and I'm going to have him or her, with or without you.  And there are zero "take backs."
Will passes Skylar and takes a couple of steps up, turns and offers his hand.
WILL
​I know that's my child and I know that what's at the top of these stairs is what's supposed to happen.  And I also have to ask why a pregnant lady is consorting with parrots and traipsing up and down Telegraph Hill.
SKYLER
I'm not even showing yet...
WILL
Can I...touch...?
Skyler opens her coat, takes Will's hand and places it on her abdomen.  She looks at Will's face.
SKYLAR
I knew you were lying.
WILL
And I knew that.
SKYLAR
You're an idiot.
WILL
I know that too.
SKYLAR
Let's go then...
They head up the stairs, side by side.​​

To be continued?
Probably...
CFR 4/20/23

It does not cease to amaze me how these things work.  Or should that be work out?  Because I have no idea how this works.
Okay, so I had this idea for a scene, kind of like the swimming hole scene from A Room With A View. A wee bit too graphic to post here. It was one of the first modern movie scenes that unapologetically featured male nudity.  Several of the male leads strip naked and go swimming in a pond and clown around.  It's quite innocent; but also rather erotic.  No one saw that scene coming in a 1985 Merchant-Ivory arthouse picture!  In that spirit, I imagined the Lana-Batali crew having a celebratory cook-out in the English woods outside the headquarters.  Then I thought, "Gee, do they have cook-outs in Great Britain?  Don't they more, like, "picnic" on the grass?  I'm not sure.  But as the crew is mostly guys, I thought it would be nice to have a skinny dipping scene, where Ick (who is pansexual, natch) puts the moves on Paddy.  Then I researched British forests, parks, swimming holes, rivers, etc.  Pictures of Grantchester Meadows in Cambridge came up; and also a song of the same name by Pink Floyd.  Curious, I listened to it.  Not at all what I was expecting; but, it would work beautifully playing over the scene, as the men float lazily down the river.  The video is above, so you can listen as you read!

CUT TO:
EXT. GRANTCHESTER MEADOWS, CAMBRIDGE -DAY
It is picture perfect summer day.  The men from Lani-Batali are on the banks of the River Cam, having a day of R&R; which includes the more refined sports of badminton and croquet.  A cricket game is also in progress.  Sean and Cal are lazily swatting at shuttlecocks.  Ick and Paddy, along with Kelly O'Kelly are knocking about a croquet ball.  Roddy is lying on a blanket, looking at his laptop.
KELLY
I think we've found the one thing you suck at Paddy.
PADDY
Croquet?  Who plays croquet?  What is this, Heathers?
ICK
I love that movie!
RODDY
Paddy, have you ever heard of a fellah named Henry Notlad?
PADDY
Is he a Yank?
RODDY
Yes.
PADDY
Yeah.  He retired from UFC about five years ago, didn't he?
RODDY
That's him.  His brother's his manager.  Wants me to sign him...
PADDY
Are you gonna?
RODDY
I've got to meet him first; but yeah, I'm thinking about it.
He turns back to his screen.  Kelly swings her mallet, knocking Ick's ball out of play.
KELLY
Oh, I hit the peg!  How many points is that?
ICK
Two.  You win.  I'm hot.  Fancy  a swim?
PADDY
Yes! I'm sweatin' me cobblers off out here!
KELLY
You boys go ahead.  I don't do snapping turtles.
ICK
Race ya!
He drops his mallet and he's off.  Paddy hands his mallet to Kelly and walks slowly towards the river.
RODDY
(To Kelly) Oh, to be nineteen again...
KELLY
He's nineteen?  I thought he was much younger.
RODDY
He'll be twenty in November.
Kelly shades her eyes and watches as Paddy catches up with Ick and they plunge into the water.

CUT TO:
EXT. RIVER -DAY
Ick and Paddy swim to an old punt boat and climb into it.  They both pick up oars and start down the river.  Life is but a dream as the pair meander down the waterway, past trees and reeds and greenery so vivid, it doesn't seem real.  They drift to a more secluded part of the stream and Paddy loops the boat's rope around a low hanging tree branch.
​Ick stands and removes his bathing trunks.  Paddy seems more than a little surprised by this.
PADDY
Ick I don't think--
Ick LAUGHS and jumps into the water and swims away.  He dives under then comes up near the boat.
ICK
What are you waiting for?  It's glorious!
He swims off again and seems to disappear.  Paddy jumps in the water and does a lazy backstroke, then stops and wades.
PADDY
Ick?  Where'd you go.
We see Ick below the water, swim up to Paddy.  Paddy has a sudden start and then Ick breaks the surface, waving Paddy's bathing suit.
PADDY
Ick...Frankie...give that back...
ICK
You just got ICKED old man.
PADDY
Francis Shannon, give me back me drawers.  Now.
ICK
Make me.
He swims off down the river to a reeded area.  Paddy, who seems simultaneously confused, ticked off and amused, swims after him.
CUT TO:
EXT. REEDED AREA -DAY
Paddy swims into the the shaded area where stands of reeds and rushes are swaying in the breeze.  It is quiet, except for the lone song of a nightingale.  Paddy wades into water that is just to his navel.
PADDY
(Softly) Ick...?
Ick emerges from the water, just behind Paddy, as silent as an owl.  He puts his arms around Paddy's waist and kisses the back of his neck.
REVERSE ON PADDY
A prism of emotions play over Paddy's face.  He stands stock still.  Time seems suspended.
PADDY
Ick, what are you doing?
ICK
You're shaking...you've never done this before, have you?
Paddy turns and takes Ick by the shoulders and holds him at arm's length.
PADDY
Ick, what can I say?  You're beautiful. You're literally an angel.  But your dad is  my boss--
ICK
I won't tell him if you won't.
PADDY
Stop joking.  I'm serious.
ICK
Paddy, can't you feel the...flow...of energy...between us?  (He puts his hand below the water)  Because I can.
PADDY
(Taking Ick's hand away)  I'm old enough to be your father.
ICK
That doesn't matter to me!
PADDY
Well it does to me.  I can't be with you, son.  And I won't...
ICK
(SIGHS) Are you sure? (He attempts a kiss, Paddy gently holds him back).
PADDY
Quite sure.
ICK
(Considers for a moment)  Kelly's your flat-mate, isn't she? (Paddy nods) Is she single?
They look at each other for a moment, then Paddy shakes his head; but he's smiling.
ICK
Well, is she?
Paddy playfully pushes Ick under the water and a splash fight ensues.
PADDY
Now where the hell are me knickers?

CUT TO:
​INT. TENT -DAY
Henry is sitting on a cot with the uilleann pipes in his lap.  In a chair facing him is OZAN, a large, hirsute Turkish man, 30's.  Henry proceeds to "play" the pipes: "Mary Had A Little Lamb" maybe?  Ozan scrunches up his face and shakes his head.
OZAN
No Mr. Hank!
HENRY
Well, I'm sorry that I can't play it like you can.
OZAN
You can't play it no way!
He pulls the instrument away from Henry and then goes to a trunk, which he opens.  He rummages around and pulls out a zurna.  He considers, gives it a few toots, then shakes his head.  After a couple more horns, he extracts a long shepherd's flute: a kaval. He extends it to Henry.
OZAN
Maybe this better...
Henry shrugs and puts it to his lips.  This time "Mary Had A Little Lamb" is mellow and melodic and a bit haunting.
OZAN
Now we speaking!
Claudio comes through the tent flap and listens for a moment.
CLAUDIO
Not bad.  All right lad, are you ready?
HENRY
Ready.
He tucks the flute under his arm, grabs his backpack and follows Claudio and Ozan out of the tent.

Please see "Heartfight: A Screenplay Part 5" for the next installment.

​CFR 4/21/23

When I was making my coffee today, I looked out the kitchen window.  There was a Luna moth crammed into the corner on the other side of the glass.  It looked as though it had gotten smooshed in the sash when the window had been opened. Uh-oh.

Assuming it was dead, I opened the window to retrieve it for a more reverential final resting place.  It fell to the deck below the window.  I went out to get the moth and when I touched it, it was clearly still alive and kicking.  However, it's wing was twisted and it couldn't take flight; flopping around in circles.  Usually, when an insect loses the use of one of its wings, it's not a good thing.  But after a few flaps, the wing came untwisted and the moth was able to fly.  But it crashed again.  I picked it up and this time it got airborne and was successful.  It flew off into the woods.  I breathed a sigh of relief.  Was it a sign?  I often take these sorts of things as "signs."  And a Luna moth couldn't be more fraught with meanings and metaphors and symbolisms and signs.  One of those signs is that the Luna moth represents is perseverance.  And timing.
My OCD can consist of intrusive thoughts of different types.  But, and I think I prefer this, the OCD can manifest as one sort of all consuming thought.  Lately, I've been obsessed with A-I.  It's like, fuck.  I'm an artist and the first thing people did was create this thing that can already "out-Art" any artist.  Why?  Yeah, let's teach this super-intelligence how to replicate the most Human of endeavors: Art.  It was like the first thing.  Teach it science, sure.  Medicine.  Math: but why Art.  It has no business making Art.  That is for Humans.  And of course humans, to save a buck, will opt for the Insta-AI-Art.
Are we that stupid?  Can we not see where this is going?  It's already threatening to kill us all.  Asking Siri or Alexa or Hal 9000 to play our favorite song or tell us who was on the 1936 Olympic track team is one thing; having it create a sermon or a poem is another.  The first story about a super-computer, Hal from 2001 had him going off the deep end and murdering his colleagues; and that was a half century ago.  How many Star Trek episodes warned about omnipotent super-computers?  A lot.  Our first instincts about it were correct.  And yet, here we are.

I have to be honest.  This is what's going on in my head right now.  And why am I sharing this with you?  I don't know.  Maybe you're worried too.
But, I don't like to dwell on the negative (even if I can't help it).  I will still create ART.  My own ART.  And just maybe the Luna moth was trying to tell me (and you) that everything, for now, is going to be all right.
​Let's hope.

CFR  4/13/23

Artwork by ICanFeelTheEarthTurn

Okay, really now.  I've got my own stuff to be working on; but since I started playing around with this, it's gotten stuck in my head and I want to see where this part of Looking For Mr. Good Will is going.  The above artwork caught my eye and I think its style, animated, would look really cool.  However, I wasn't planning on having Robin Williams and his Oscar (TM/Reg./Pat.Pend) winning character of Dr. Sean Maguire in this project. Why? Well, he's not with us anymore and hiring anyone to attempt to recreate his one of a kind voice would be folly.  We could always have a flashback (or dream) within the flashback and use dialogue from the original. Or would that be cheesy?  But I really like this artwork (but what's up with the expression on Dr. Maguire's face?  Looks a bit sketchy to me...). 

FADE IN ON:
INT. -ALIOTO'S RESTAURANT/FISHERMAN'S WHARF -DAY
Will and Jake are seated at a table near the window, which looks out on the bay.  The waiter comes to the table with a tray and places seafood dishes in front of the two men.
WAITER
Will there be anything else?
WILL
Yeah, could I get some hot sauce?
WAITER
We have Texas Pete's, is that all right?
WILL
Sure, that'll work.
WAITER
I'll be right back--
WILL
Oh! And do you have Old Bay seasoning?
WAITER
I believe we do.
WILL
Thanks.
The waiter leaves.
JAKE
The man knows what he likes.
WILL
I actually prefer the green Tabasco. Shit I forgot to ask for extra lemons! (He starts looking around)
JAKE
Will, relax.  (He raises his glass of beer)  Here's to the City by the Bay.  And success therein.
WILL
(Raising his glass and clinking) Here here.  Okay, so let's see what ya got in the way of seafood, City by the Bay...
(He squeezes some lemon on his fish and takes a bite. Considers and nods his head).  Hmmm.  Not bad. Actually, it's pretty good. It's not Boston good; but it's good.  Have you ever been to Boston?

JAKE
I toured a couple schools there.  Saw a show at a club called the Channel--some local bands.  Enjoyed it immensely.
WILL 
So'd ya go to school there?
JAKE
No. I went to Carnegie Mellon.
WILL
For what?
JAKE
Graphic design.
WILL
Oh, like Andy Warhol.
JAKE
Yeah. How did you know that?
WILL
Everyone knows that.
JAKE
No Will. Most people don't know that...
WILL
Well, I know a little...about a lot of things.
The waiter returns with the hot sauce and Bay Seasoning.  Will, who has a mouth full of food, starts motioning.
JAKE
He'd like some extra lemons.
WAITER
Be right back.

JAKE
So, who's this person who might not want to see you?  If you don't mind my asking.
WILL
I don't mind...
JAKE
But you'd rather not talk about it.
WILL
Not right now Jake, I mean we just met. 
JAKE
I get it.  It's fine.  I'm nosey.  But can I ask you one thing?
WILL
You can ask.  I might not answer though.
JAKE
Is this person a girl...or a guy?
WILL
(Just short of incredulity) She's a woman.
JAKE
We're in Frisco.  I don't think seeking clarity on that is beyond the pale.
WILL
You're like, wicked smart.
JAKE
You wanna go see Fort Point after this?
WILL
Sure. (He picks up a lemon wedge and squirts Jake with it).
CUT TO:
INT. RESTAURANT -DAY
A short time later.  CLOSE-UP on the table cloth as the waiter places the check on the table.  Jake picks it up.
JAKE
I got this...what's fifteen percent of thirty-seven dollars?
WILL
Five dollars and fifty-five cents.
JAKE
Damn!  
WILL
I'm pretty good at math.  And no, I can't let you pay for me.  I doubt either of us can really afford this anyway.
JAKE
But I asked you...
WILL
I wouldn't want you to think this is a date or anything.
They both take out their wallets and put cash on the table.  Will immediately starts calculating amounts, pulling bills and stacking them.
JAKE
You're wicked smaaahhht.
Will CHUCKLES.
CUT TO:
EXT. FORT POINT/GOLDEN GATE -DAY
​Will is taking pictures with a disposable camera beneath the Golden Gate Bridge, which stretches past Alcatraz and across the bay: seemingly forever.  Jake is looking at a tourist guide.
JAKE
It says that the two main suspension cables use some eighty thousand miles of wire.  If you looped it as a single strand, it would circle the planet...wanna take a guess?
WILL
(Thinks a moment) Three times.
JAKE
Correct!  Did you just happen to know that?
Will, who is looking up at the bridge GASPS and drops his camera. He seems overwhelmed. His face goes white.
JAKE
Will, are you okay?
WILL
(GROANING and gulping for air)  I'm not sure.  I don't...I think maybe...
JAKE
What? What!
WILL
I think I'm having a goddamn heart attack--
He starts to pitch forward but Jake catches him.
JAKE
Can you walk?
WILL
I think so...but I'm having trouble breathing.
​Jake grabs the camera and starts walking Will towards the road.

CUT TO:
INT. ST. MARY'S MEDICAL CENTER EMERGENCY ROOM -DAY
Jake is sitting on a chair next to a bed, on which Will is reclined.  After a moment, a DOCTOR enters.  She sits on a stool and rolls over to the bed.
DOCTOR
Feeling okay now?
WILL
Yeah, I think.  What's wrong with me?
DOCTOR
You had a panic attack.
WILL
What?
DOCTOR
A panic attack. Have you ever had one before?
WILL
No.  What causes it?
DOCTOR
Lots of things can cause it.  Anxiety disorders.  Phobias. Post Traumatic stress.  Many of these things can overlap.  It's not that uncommon.
WILL
But I wasn't anxious...
DOCTOR
Sometimes it just comes on, for no apparent reason, like a ton of bricks.
WILL
What can I do about it?
DOCTOR
The best thing to do is talk to a therapist.
WILL
I have one.  But he's three-thousand miles away.
DOCTOR
You'll probably want someone that's a little closer.  
WILL
Do you know any?
DOCTOR
A few.  Let me get some numbers for you.  I'll be back in a minute.
She leaves.  Will SIGHS.
WILL
This is just friggin' awesome.
JAKE
If it makes you feel any better, I suffer from numerophobia.
WILL
Okay, that one I don't know.  Fear of what?
JAKE
Numbers.
WILL
(Not buying it) Get outta town...
JAKE
You mean "the city."
Will shakes his head but he can't subdue a smile.
FADE TO BLACK
FADE UP
​INT. WILL'S ROOM -NIGHT
Will is lying on the bed, talking on the phone.  The room now has a small TV and other items that indicate Will has been in the room for a while now. There's a small table-top Christmas tree on the desk. Will is speaking to his friend ​CHUCKIE SULLIVAN, 20'S, whose voice we can hear on the other end of the line, in Southie, natch.
CHUCKIE
(V/O throughout)...did you get a hold of Maguire?
WILL
Not yet.  He's at some kind of shrink's convention; in Las Vegas of all places.
CHUCKIE
Vegas baby!!!
WILL
You know, he really should have a shrink of his own.
CHUCKIE
Don't they like, self-shrink?
WILL
You know, I really don't know.
CHUCKIE
So, have you heard from Skylar yet?
WILL
Nope.
CHUCKIE
Did you call her?
WILL
I left her a note.
CHUCKIE
Where?
WILL
At Ghirardelli...
CHUCKIE
Isn't that like, a chocolate company?
WILL
Yeah.
CHUCKIE
She works at a chocolate factory?  I thought she was a chemist.  
WILL
She is.  Most food companies have chemists on the payroll, Chuck.
CHUCKIE
So, you're like, dating Willemina Wonka?  That's fucking awesome!
WILL
Well, I'm not dating her.  Do you think I should--
Will notices the light go on in Jake's room.  He watches as Jake passes the window and then sits on his bed.  After a moment, a second DARK HAIRED MAN, late 20's, comes into view and moves towards Jake.  He's wearing a leather motorcycle jacket.
CHUCKIE
What?  Do I think you should what?
WILL
Hey Chuckie, can I call you back?
CHUCKIE
Sure.  Hey, I just got a cell phone! You want the number?
WILL
Give it to me next time we talk.
CHUCKIE 
Sure.  Later man.
WILL
Yeah, bye.
He hangs up the phone and goes to the light switch and turns off the lights.  He moves to the window and hangs to the side, watching what is happening through Jake's window.

From Will's P.O.V., which is startlingly clear, we see the man pull Jake from the bed.  He pulls Jake's shirt up over his head and tosses it aside.  We can't quite see much below the belt; but it's pretty clear that Jake undoes his pants and takes them off.  Then, presumably, his underwear.  The man pulls Jake towards him and kisses him, indelicately then pushes him back down on to the bed.  The man notices the open curtains and steps forward.  Will pulls back and out of sight as the man closes the drapes.  Will moves back to the bed and sits.  He thinks a moment.  His face is set.  He reaches over to the TV and snaps it on.  It is The Tonight Show where Celine Dion is emoting her way through "My Heart Will Go On."  As Will watches, tears start falling from his eyes.  He starts to SOB and then flushes from his embarrassment of it.  He seems on the verge of losing control.  Then the phone RINGS.  Will ignores it; but it persists.  He composes himself and answers.
WILL
Hello?
There is a pause on the other end.  Then a FEMALE VOICE with a British accent.
SKYLAR
(V/O) ...Will?

​WILL
Yeah?
SKYLAR
It's Skylar.
WILL
I know.
SKYLAR
I wasn't sure it was you.  It didn't sound like you.
WILL
I was sleeping.
SKYLAR
Oh, I'm sorry!  I can--
WILL
God, it's so good to hear your voice.
SKYLAR
Will, why are you here?
WILL 
Why do you think?

​And here we'll have to stop for now, because in order for me to get the dynamics of this conversation right, I've got to re-watch the movie.  It may be a little while...
But in the meantime Ladies and Gentlemen: I invite you to return to the Scottish highlands for my continuing saga of HEARTFIGHT!
Ciao,
Chris
CFR  4/16/23
Please see "Looking For Mr. Good Will Pt. 4" for next installment!