Category:

Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 91-95

by Diane Duane April 19, 2011

(back to pp 83-90)

[scrippet]INT. COMPUTER SHOW — DAY

The sales stand. Harry looks frazzled, scribbles in a notebook: a POCKET P.A. sits nearby. Boyce stops by.

BOYCE
You okay, Harry? Looking stressed.

HARRY
Nothing worth mentioning. How’re we doing today?

BOYCE
Three hundred so far.

HARRY
Good. You see what’s his face around here this morning? Carlyle?

BOYCE
No, I think he went back up country.

HARRY
Okay. Just curious.

Boyce pats him on the shoulder and goes off.

POCKET P.A. “VOICE”
I’ve got a message for you.

HARRY
(sotto: uneasy)
Yeah. I know.
[/scrippet]

April 19, 2011

Film and TV

Game of Thrones, episode 1

by Diane Duane April 18, 2011

Well, it’s gorgeous.

Everything’s very handsomely art-directed and designed; the money (as they say) is on the screen where you can see it. Always a good sign. Though there’s no point in overstating the importance of the size of the budget. Our Dark Kingdom: The Dragon King, for example, hour for hour, cost more ($24 million for four hours). What matters is what you do with the money.

The point here is that the producers have plainly spent their budget carefully, and gotten good value for it — spending time and care on design, and in taking the cameras to places not so often used for shooting fantasy film. (P. and I immediately started analyzing what we saw to try to work out which scenes might have been shot in Northern Ireland.)

As for the story, my main interest is in experiencing it without having any other background info except what’s been apparent from the months-long hype that’s preceded the first episode over here via Sky. (No, I haven’t read the books, even though George is an old buddy from way-back-when East Coast SF fandom. Much as I might like to have read all the books of all the writers I know, if I tried it I’d never get anything done around here. …But I’ll probably start reading George’s series after the miniseries is finished).

So far it looks like fun. I think I’m seeing signs of things that are going to start happening: we’ll see if I’m right. This is where not having read the books pays off. Now I can just kick back and have fun watching the plot unfold, while amusing myself with the eternally fascinating game of trying to second-guess a fellow writer and the people who adapted his books.

April 18, 2011

Europe Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 83-90

by Diane Duane April 18, 2011

(back to pp 77-82)

[scrippet]INT. ORMONDE HOTEL BREAKFAST ROOM — MORNING

The aftermath of breakfast. Tables are pulled together. Joy and Harry sit over cups of tea with Gunter, Lorna and Pario. Joy’s cellphone and room key lie on the table. Doris moves by in b.g., carrying breakfast things, looking distressed. Joy looks after her sympathetically.

JOY
Still no George.

GUNTER
We must assume they have him.

LORNA
This is so horrible. Think of it — our people being snatched off the streets and stuffed into the chips that go into these.

HARRY
No wonder we manage to pack so much processing power into the things. We’re stuffing whole human minds into the electronics.

PARIO
I for one do not want to spend eternity running somebody’s apps!

JOY
Or in a landfill when the rest of the hardware wears out.

HARRY
(guilty)
No landfills. The chip’s recyclable.

LORNA
But what can we do?[/scrippet]

April 18, 2011

Europe Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 77-82

by Diane Duane April 17, 2011

(back to pp 71-76)

[scrippet]EXT. LONDON STREETS — NIGHT

Chase scene. Gunter veers along like the worst kind of student driver, narrowly avoiding crashing into things and people… sometimes very narrowly.

INT. LONDON BUS — NIGHT

Gunter is scared, but also laughing, as exhilarated as a young hotshot pilot who’s been given a new and difficult plane in which he can’t possibly get killed. Sarah hangs on with an excited look on her face. Joy, though, is actively afraid for her life as Gunter just misses another car.

JOY
Oh, look out!

GUNTER
It’s all right! It handles just like a J U Eighty-eight!

JOY
No wonder we won the war.

They have a close scrape with another bus, SHOOT PAST. In a cross street, a POLICE CAR notices, swings into PURSUIT.

JOY
Oh God, we’re all going to be thrown in jail forever. Not that you care!

Another NEAR MISS in the traffic as Gunter CORNERS insanely.

JOY
Will you take it easy?! Some of us here aren’t dead yet and we like it that way!

GUNTER
(cheerful)
Chickennnn.[/scrippet]

April 17, 2011

Europe Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 71-76

by Diane Duane April 16, 2011

(Back to pages 65-70)

[scrippet]INT. ERICKSON COMPUTERS — NIGHT

Gunter makes his way THROUGH THE BUILDING cautiously. Before entering a given space, he puts just enough of his FACE THROUGH A WALL to see in without being seen himself — a humorous but spooky effect. In this way he PASSES THROUGH several dark and unoccupied OFFICES: then PUTS HIS FACE THROUGH A GIRLIE CALENDAR on the wall of the downstairs security office and sees that it’s OCCUPIED. Gunter PULLS BACK quickly. NB: These through-matter passages make a tiny soft SOUND like an intake of breath, which can alert someone to them in a quiet place.

The GUARD in the office HEARS this little sound, GLANCES UP, sees nothing: goes back to his work. Note that most of the people working in this building have no knowledge of their company’s traffic in “residuals”, and so will be as frightened by ghosts as anyone normally would.

Gunter BACKS OFF and tries another way, heading toward the side of the building where the vans were entering. He passes through more OFFICES, a CLOSET full of janitorial equipment, a LADIES’ ROOM (with slight embarrassment): comes into a stairwell: listens — hears nothing in the stairwell itself, but downstairs, the sound of VOICES, faint.

Gunter goes down the stairs, then has to throw himself hastily through a wall to avoid being seen/run into by two TECHS throwing the “basement level” stairwell door open and going up the stairs.

TECH 3
Nah, it doesn’t bother me, it’s just the shapes they had when they were alive. They’re just sort of an ectoplasmic tape recording that plays itself over and over where they used to hang out. They can’t think, or feel anything.

TECH 4
I guess you’re right. It’s just the way they look, sometimes. That little girl…

TECH 3
I know…you hear them yelling, you feel bad at first. But it’s like lobsters when you drop ’em in boiling water, they can’t really feel pain as such…

Gunter’s head appears from the wall on hearing the line about the “little girl”. He looks angry. His face vanishes again.[/scrippet]

April 16, 2011

Computer stuff Technogeekery Toys Writing Young Wizards

For those who were asking: the WizPod

by Diane Duane April 15, 2011

Gee, I thought everybody had seen this by now. … Of this indispensable piece of kit for the more tech-oriented wizard, the Errantry Concordance says:

“An instance or implementation of the Wizard’s Manual installed in a suitably adapted iPod. Such devices, when running in Manual mode, routinely display the Apple Without a Bite. WizPods may be assumed to be part of the same digital wizardry initiative that Tom Swale alludes to in HW.

“In everyday use WizPods mimic the look-and-feel of the unmodified devices and support all their usual functions. However, since each WizPod also contains an inbuilt “stand-alone” temporospatial claudication, the devices are able to unfold to many times their apparent external size to display data, and are especially useful for working with spell diagrams which are better rendered in 3D format. Data storage is also managed through the claudication via intuitive on-demand streaming swap-in / swap-out to a closed-continuum “hotvoid” space, theoretically implying near-infinite storage for a WizPod’s total contents. Onboard storage is handled by an Alterf Technology-sourced SentientManagement quark-trap lattice solid rated at 120 yottabytes (though theoretically capable of much more if you ask it nicely).

“Wizardly implementations of the iPod began appearing simultaneously with the debut of the so-called 4G models. There is speculation as to why rollout was delayed this long, but the consensus seems to be that the Powers that Be were waiting for the hardware to become sufficiently widespread that it no longer provoked much comment. Since then a regular progression of new WizPods have appeared in tandem with their less wizardly cousins, but none with quite the ballyhoo of the new 6G WizPod, or WizPod Touch, which appears above / to the left. This model introduced the new touch interface as well as numerous new software features…”

More data at the full Concordance entry, naturally.

April 15, 2011

Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 65-70

by Diane Duane April 15, 2011

(back to pages 57-64)

[scrippet]INT. ORMONDE HOTEL LOUNGE — NIGHT

Doris, George and Joy meet Gunter as he ENTERS.

GUNTER
I am sorry… I did not find her.

DORIS
Oh, dear!

GUNTER
But look what I did find.

He sits down, hands Joy the manual. She and the others sit with him, look at it in confusion.

JOY
(bewildered)
“Erickson Paralepsis Services Harvesting Routines Manual”?

GUNTER
It is very technical. A lot of instructions for their van drivers: no smoking around the equipment, no liquids, no ferrous materials, no all kinds of things. But look at these pages here.

GEORGE
“Sweep protocols.” “Storage strategies for large sweeps.” “Decanting residuals.”

Gunter points to the diagram which shows a ghostly, human-like shape being decanted from the portable pentagram, the “holding pattern”, into a larger pentagram, a big one set into the floor somewhere.

GUNTER
This is what I saw in the van: a small one. It pulled me to it. If it had pulled much more strongly, I would have had to go right into it. This must be a larger one, into which what the small one catches is decanted.
(a look at George)
“Residuals.” That is us.
(grim)
Human souls. We are a residue, to these people. Like coffee grounds in the bottom of the pot. They collect us together, apparently in large numbers. See, there are references here to sweeps of four, five hundred residuals.

DORIS
But whatever do they do it for?

JOY
We have to find out.[/scrippet]

April 15, 2011

Administrivia Computer stuff Online life Young Wizards

Down time at all YoungWizards.com websites tonight

by Diane Duane April 14, 2011

Per a notification from Lee the Tech Lady:

“Just a quick note to let everyone know: our ISP is going to be upgrading the software underlying all the YW.com sites tonight, some time between 11 PM EDT Thursday evening and 4 AM EDT Friday morning. (For the techies among you: the servers have been running MySQL 5.0.x, and are being upgraded to v.5.1 overnight).

“The various servers supporting our sites will be shut down for at least ten minutes at some point during this period: then the databases will remain inaccessible for a while as they’re updated to MySQL 5.1. The total outages should not be more than 40 minutes but ideally should be less. We have backups of all the databases just in case anything gets squirrely, but are hoping they won’t be needed.”

This outage will affect YoungWizards.com, the Young Wizards Discussion Forums,, and the Errantry Concordance encyclopedia / wiki site.

April 14, 2011

Europe Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 57-64

by Diane Duane April 14, 2011

(back to pages 48-56)

[scrippet]INT. NEARBY OLD LONDON PUB — NIGHT

A quiet place, leaded-glass windows, dark wood paneling, worn plank floor, empty: “fruit machine” video-gambling console DINGING forlornly in b.g. Harry and Carlyle sit at the empty bar. Each has a half-finished pint, empty glasses of the previous round off to one side. Harry takes a drink.

HARRY
It’s really not bad for warm beer.

CARLYLE
Barbarian.

HARRY
That’s “mister” barbarian to you. You were really his tutor?

CARLYLE
Every great university has some bloom of ancient students about it, degreed and undegree’d people who can’t bear to leave, but stay on to learn, and damn the sheepskin. I was one. Like many others of my kind, I took on younger students of other schools for pay and coached them for exams.

HARRY
And you coached Erickson.

CARLYLE
(mild)
I wish I’d slammed the door in his earnest spotty face the first day I saw him. He was no mathematician, though before God I tried to make him one. A gift for engineering he did have. But none at all for languages.
(grim beat)
And therein lay my downfall.[/scrippet]

April 14, 2011

Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 48-56

by Diane Duane April 13, 2011

(back to pp 43-47)

[scrippet]INT. RESTAURANT — EVENING

A nice restaurant. Joy and Harry are in the middle of the meal. An empty bottle of wine is taken away and a new one is brought. Both of them seem edgy.

HARRY
And on top of it all, you forgot to leave the key at the hotel again. I couldn’t get a clean shirt.

Joy starts going through her “secret pockets” with much VELCRO-RIPPING, hunting for the key in an abstracted way.

JOY
Oh, honey, I’m sorry. It’s just been — a weird day, that’s all.

HARRY
At least I was able to thank George. That was one heck of a tip he gave me.

JOY
Was it?

HARRY
It won me six hundred quid. I wish I’d bet more.

JOY
Oh, honey, that’s terrific! See what I mean about it being such a nice place.
(ready to tell him)
Harry — there’s something unusual about the people there.[/scrippet]

April 13, 2011

Film and TV ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 43-47

by Diane Duane April 12, 2011

(back to pp 38-42)

[scrippet]EXT. PICCADILLY — DAY

Joy and Gunter have finished lunch. They EXIT the cafe, walking down Piccadilly toward the Circus.

GUNTER
No, we don’t have to eat or drink. But it does make us feel more… alive? So most of us do.

JOY
It’s just — I don’t get it. Why are you here, when other dead people aren’t?

GUNTER
I don’t know. Any more than George does, or Sarah.

They pause near the Circus. Gunter looks across the street at what is now a Burger King.

GUNTER
August 15, 1940: that was my last mission, mine and four others’. Right there, it ended. They all went on. At least I have never seen them again, and were they still here, I surely would have. We cannot go far from where we die. It is too painful.

JOY
But look, isn’t there supposed to be a tunnel of light or something?

GUNTER
(slight, sad humor)
Ah yes, the light.
(beat)
It is very easy to be a bomber pilot, you know? Not the flying, I mean. The bombing. Everything is so far down, so far away. You drop the bombs, you go home… it’s nothing personal.

They cross the street. Gunter finds it painful to be here: after that first look, he does not look at the Burger King again. They walk to the statue of Eros, and around it, slowly.

GUNTER
I dropped them again and again. Nothing personal. Then that last day, a Hurricane fighter shot us down. We crashed just there —
(indicates the spot)
I got out of the plane, I thought, and tried to find my crew. All I could see was the fires, so terrible: everything burning all around me, the people screaming… That was personal, when I was in the midst of it. That was my doing.
(beat)
There was a light. I saw it. But the fires were so much brighter. I got lost among them. When they died down, and I wasn’t lost any more, that light was gone. I have not seen it since.

JOY
How awful!

GUNTER
Oh, it wasn’t so bad. I was confused, the way a lot of us are who don’t go on. I thought I was downed in an enemy city, so I hid in bombed-out buildings, starved a little — Then one night came more bombs. They fell right on top of me, and didn’t kill me. Then I knew.

They cross the street, away from Eros and down toward Regent Street. For once, the splendid buildings and the bustle of London do nothing for Joy.

JOY
And all this time you’ve been here…

GUNTER
While the world just keeps going. You move among the living, and for them, life goes on. But you can change nothing, do nothing really new. Everything is the same… always.
(shrugs)
It’s not so bad. Lots of live people go through their days the same way, changing nothing, doing nothing new… They never even notice.

JOY
Are there a lot of you? I mean, more than just here?

GUNTER
Many. Some have a thing they want to do: they wait till they can do it, and then go. Some love this place too much to leave, and won’t go on. Great ones, some of them.

JOY
When do you see them? Where?

GUNTER
We have places where we meet sometimes. The society of our own kind is a comfort.
(shrugs)
We keep up with the news. Who is here, who has moved on.

JOY
(a little sad)
I guess you must really want to.

GUNTER
Oh, sometimes. But I also think of the war… and I say to myself, “So many things I destroyed, ‘only following orders.'” I would like to make it up. To say, “I am sorry.” But I can never think of something. Or anyone to say it to.
(sad but putting an amiable face on it)
Maybe someday. For the time being, best to leave things the way they are.

They turn the corner at the bottom of Regent Street, pausing there a moment to look down toward Trafalgar Square.

JOY
It’s really so sad, though. George, and Doris… they can’t even touch.

GUNTER
One must learn to be intimate in other ways.

A look between them. Joy glances away, embarrassed. They start walking again toward the Square.

JOY
You say you can only touch dead things, like your clothes. But you go through walls. Why don’t you just go through your clothes, too?

GUNTER
We can choose what to touch, with some practice. To keep something, so that it moves through things with you, takes time to learn. And each new object, you must get used to, first. It takes an hour or so.
(grins)
This is why we need betting shops for our upkeep. I know some who have suggested taking money from cash machines. But one has to stand with one’s arm in the machine for an hour. People notice. And anyway, I would not like to steal.

JOY
(laughs: rueful)
It sounds like hard work. I always thought being a ghost would be easy. You just jump out and say “boo” to people.

GUNTER
Not if you want them to have lunch with you afterwards.

A smile between them. Then Joy looks shocked.

JOY
God, look at the time. I have to go meet Harry.

GUNTER
Perhaps I will see you later, then.

JOY
I guess so —

GUNTER
(off her flustered look)
Joy. What are you going to tell him?

JOY
I don’t know.

She hurries away through Trafalgar Square, plainly troubled: no Mary Tyler Moore stuff this time. Gunter watches her go.

INT. HOTEL NEAR COMPUTER SHOW — LATE AFTERNOON

A cross between a seminar and a cocktail party. At the first part, the seminar, it’s being “explained” to the WIVES, as a PowerPoint presentation, what their husbands are doing. Almost all of the Wives are rapt in the presentation. Joy, however, is terminally bored, and looks horrified to find herself the odd woman out. Anyway, she’s still distracted by what’s on her mind at the moment. Harry notices this and looks distressed by her obvious disinterest.

At the cocktail party, most of the SALESGUYS congregate, chatting: the women, off by themselves, do the same. Joy listens to their chat for as long as she can, but her mind is elsewhere. She’s relieved when Harry comes to get her.

HARRY
Dinner?

JOY
Please. I didn’t know the Stepford Wives had an English branch.

[/scrippet]

(to be continued…)

April 12, 2011

ScriptFrenzy Writing

ScriptFrenzy 2011: "Dead and Breakfast", pages 38-42

by Diane Duane April 11, 2011

(back to pp 32-37)

[scrippet]INT. EARL’S COURT COMPUTER SHOW — DAY

A big convention-center space, full of crazed computer people selling things to each other as fast as they can. An incredible ROARING DIN of voices from salesfolk, attendees, and loud sound systems.

The Erickson stand is one of the largest in the show — a small seating area with big screen, and numerous smaller stands, sales areas for the staff (including Harry) to see buyers and take their orders, a small bar, cardboard cutouts of Robert Erickson, etc etc.

To one side, near one of the cutouts, a TV REPORTER from the London 24-hour news channel, is taping the lead-in for the interview she’s about to do with Erickson. In B.G. of this shot we see Joy go by, craning her neck to see past, looking for Harry, then EXITING SHOT.

TV REPORTER
Three, two, one… By far the best-known face at ACAPS this year is Robert Erickson, self-made billionaire and one of the ten richest men in the United Kingdom. From his humble and unlikely beginnings as an maverick inventor working in a shed in the London suburb of Islington, Erickson has seen the company he founded grow to

TV INTERVIEWER
dominate the markets of three continents. But he’s never lost the personal touch, so it’s no surprise to see him here at ACAPS for the world product launch of Erickson Computers’ hottest new item, the epsCetera Pocket P.A., a WiFi-, 4G- and Web 2.0-friendly “smart” personal assistant device that fans and critics alike have labeled the “BlackBerry Killer”.

The Erickson stand has a sales area — tables, chairs, a soft drink dispenser, surrounded by posters and displays — where the sales staff are talking to retailers and taking orders from them. Harry sits at one table, writing in a looseleaf notebook with one hand, working with one of the abovementioned Pocket P.A.’s otherwise.

POCKET P.A. “VOICE”
Harry, I’ve got a message for you.

Harry TOUCHES AN ICON on the little touchscreen.

POCKET P.A. “VOICE”
Call incoming from Nigel at oh nine thirty.

HARRY
Put him on hold for three minutes. If he can’t hold, call back then.

POCKET P.A. “VOICE”
All right.

JOY
Harry!

He looks up, his expression annoyed. Joy comes rushing up to him, flustered. She puts her carry-all bag down on the table and starts rummaging through it, trying to find her badge for the show: can’t find it.

HARRY
Where’ve you been?

JOY
I’m sorry I’m late! I got lost on the subway.

HARRY
The Underground. But it’s okay. They’ve rescheduled the husband-and-wife seminar. It’s not till four.

JOY
Oh, good!

She stops going through the bag in search of the badge, starts going through her secret pockets instead. Underground tickets, scribbled notes, and Heaven knows what else pile up on Harry’s work surface. He pushes them out of the way of his work.

HARRY
But I went back to the hotel to get some things, and I couldn’t get into the room. You had the key!

JOY
Didn’t they have another one?

HARRY
(one more irritation)
Little family hotels here don’t usually. When you go out, you leave the key with them, okay?

JOY
Okay. Sorry. How’re you doing here?

Joy finds her badge, sits down by Harry to pin it on. Harry PEERS over her shoulder, alert for approaching clients.

HARRY
Like a house afire. Everybody wants our new baby here. I haven’t stopped writing orders since I got in.
(sees someone past her)
And here come some more. Listen, hon, I can’t stop to socialize right now. Got plans for today?

JOY
Yes. Gunter and I are having lunch.
(wants to tell him, doesn’t know how)
Hon, the hotel —

HARRY
I know. I promise I’ll get us out of there as soon as I can.

JOY
No! I don’t want to go. The hotel’s fine.

HARRY
(taken aback)
It is?

JOY
Yes. The people there are nice.

Harry looks at her suspiciously, wondering what this means. As he’s about to ask, his immediate superior in sales, BOYCE, mid-thirties with a too-slick look and feel, walks by. He pauses, a hand on each of their shoulders, friendly, but with a get-a-move-on feel to the interaction.

BOYCE
And you must be Mrs. Collins! I’m just delighted to meet you. I’ll be seeing you at the husband-and-wife function later on, yes? Super. Harry, those people from Electronic Arts are on their way over, and we can sell them about a hundred units on the spot if we have enough people to concentrate on them. So nice to see you, Mrs. Collins —

He’s off. Harry and Joy look after him with expressions of annoyance. Harry gives Joy a hurried smooch.

HARRY
Go on, hon. We’ll talk later. Have a nice lunch with Gunter.

Joy nods, GETS UP and EXITS. As Harry is surrounded by a bunch of other sales people and prospective clients, he looks after her as if hearing what he’s just said.

HARRY
Gunter…

On her way out, Joy STOPS, intrigued, and with many others rubbernecks as the reporter from L!ve TV interviews Robert Erickson. Erickson stands there with his hands in his suit pockets, exuding accessibility and charm. He is upbeat and pleasant, even while rattling off buzzwords.

TV REPORTER
Many of your competitors have claimed that you must be using substandard materials or manufacturing processes to keep your prices so low.

ERICKSON
You mean, so low that we routinely undercut theirs by more than forty percent.
(chuckles)
All we’re doing is using British manufacturing skill and know-how to run a lean, effective organization. With our employee-friendly work structure, we can afford to take lower profits than our competitors, without resorting to ethically questionable practices like mass outsourcing. Erickson produces a world-class product while also creating jobs in the British workplace and plowing the benefits back into the local community.

There’s a brief interruption as a group of POWER-RANGER CLONES in flashy costumes walk by behind Erickson with signs advertising a videogame. He reacts with amusement, turns back to the interviewer.

TV REPORTER
The exact source of that know-how has been a bone of contention for some time, hasn’t it?

ERICKSON
If you mean, would our competitors like us to tell them exactly how we cram five hundred percent more performance into our components than they can, of course they would! The Erickson chipset is the standard for performance and durability all over the world: our components are guaranteed to keep the memory burnt into them forever, or until the silicon and plastic wear out — whichever comes first. That kind of reliability, anyone would want in their hardware! Especially our competition. But they can’t match it. I understand how frustrated that must make them. I was frustrated too, a lot of those late nights in the shed, until I found the secret.
(beat)
Maybe I should rent them the shed.

LAUGHTER from some of the assembled crowd.

TV REPORTER
Is it true that only three senior executives of your company know all the details of the production process?

ERICKSON
Sorry, no. Only one man knows them all: me. The data can only be released to my successor after the courts declare me dead.
(grins)
Pity I’ll miss the sideshow when it kicks off. Sometimes I think it’d be fun to fake my death at least once to get a preview.

More LAUGHTER: the interview continues. Joy, unconvinced by the charm offensive, wanders off to one side and has a last look at Harry. He is with a client, all animation and laughter: he makes his sale. It’s the kind of animation he does not have with her. Thoughtful, Joy EXITS.
[/scrippet] (to be continued…)

April 11, 2011

Newer Posts

Older Posts