Seed Eddy

Chapter 24 (cont'd)
"Oh Sam, you're such a romantic. Is that what was hiding under all that anger for those many years. It scared the hell out of me, you know! I'm glad you're aiming it in the right direction these days," Simmy looked over her shoulder and smiled.
"Overcoming emotions that destroy," Sam murmured.
"Mmm, Simmy agreed, Dr. Johnson and Chip Ingram have a few good insights in that book. A lot of people would love to know, that, anger is not a bad emotion but it is a powerful one. So... if we're going to use it, aim it in the right direction," Simmy swirled another seed onto her painting.
"Which direction are the seeds you're painting aiming at?" Sam cocked his head to study the painting from different perspectives.
"What direction do they look like they're moving to you?"
"Well, they look like they're moving inward," Sam voiced slowly, weakly.
"Well, Darling, you know a painting has to represent your life philosophy so I'm painting them the way I see life."
"Complicated, then!" Sam grinned.
"Ooh," Simmy tried to hold her faux paint brush up in threatening poise but it just flopped over, the seed pod almost landing a red splotch on her hand before she twisted her wrist and it fell into mid-air and dangled there, harmlessly.
"You'll have to use a real paint brush if you wish to retaliate," Sam jangled.
"Oh, I'm using a word for word brush stroke. That's the meaning of the painting, smartie pants!"

Butterfly Dance of Joy

Chapter 23 (cont'd)
Sam and Simmy had strolled around the grounds of the Old Winery Inn looking at all the fresh growth and newly planted flowers.
"Look at the gazania, Sam. That's two South African plants I've spotted today. The 'ice plant' is the other one."
Sam was looking at a flowering bush and his mind was off in a different realm.
"Sam?" Simmy prodded him back into the present.
"Did you hear the conversation that was being filmed today?" Simmy waited for Sam to formulate his thoughts.
"Yes, I heard enough to give me 'food for thought,'" Sam slowly pitched.
"J.P. definitely desires to bring this film into 'Globe' status. He's aiming for a thoughtful, provocative and artistic masterpiece. I wonder who this film will appeal to?" Simmy was speaking her thoughts out loud.
Suddenly Sam recalled a sweet memory. "Have you heard from Polly lately?"
"Of course, darling! She's had a tumultuous life, poor girl!"
"After you gave her that gift, she was a different person. Do you remember the change in her? She never looked at us with judgmental-ism again. She became sweet and tender towards us. I've never seen anything like it!" Sam had a starry-eyed look about him.
"It is a difficult thing to know how to create level ground relationships. All I know, for sure, is that Polly needed a gift of freedom. Didn't she just fairly well dance after we gave her that? She felt honoured. There was visible sparkle in her eyes every time she saw us!" Simmy breathed a sweet fragrance, fresh air of justice filled sunshine.
Sam murmured, "She was doing the butterfly dance of joy after that!"

Mirror Writing

Chapter 22 (cont'd)
Scene continues on the wooden deck...

Richard and Carl sit in comfortable silence for a moment, sipping brandy and smoking cigarettes which had been strictly prohibited 'in house' by Lucy.
"Great evening for a smoke. Feels so much healthier outdoors. One could almost fool themselves into thinking that it's good for you," Richard grinned.
"So why do you think Da Vinci wrote in 'mirror writing?' Just a conspiracy theory, nothing too heavy tonight," Carl spoke with his eyes closed and his jaw in a relaxed state, head leaning back on the lounger.
"Most of the masters did everything deliberately, I think. You, of all people, know about the architectural wonders. Many people believe Da Vinci encoded many things, including his paintings. And..." Richard moved into a 'Rodin thinker' pose. "I just thought of another thing that has made us friends. We have a sense of humour that is not enjoyed or even understood by many. Leonardo may have been writing to..."
The garden door opened and Lucy and Ethel came bearing gifts of edible paradise. As they moved to stand over their husbands, Richard paused. Then as a tray of delectable food was held under his nose he continued, "entertain, amuse himself. For instance." Richard looked up at Lucy, smiled and said, "You, my heavenly moment of molecular captivity, thank you for sharing your essence."
Carl burst into laughter while the ladies furrowed their brows in annoyance.
"See?" Richard exchanged more encoded knowledge with his friend. "Now, let me demonstrate again." Richard reached for the tray of appetizers that Lucy held out for him. He placed the tray on the table next to his lounger, pulled Lucy down onto his lap. She squealed in surprise. Her eyebrows became a mirror image of annoyance as she landed on Richards' lap. Then Richard turned her face to his, nuzzled her neck and breathed into her ear, "You smell like fresh laundry on a sunny, wind swept slope. Oh," He smelled her neck again. "...and a bunch of wild flowers picked from the field you walked through as you hung the laundry on the line. The smell of crushed petals still lingers on your dainty feet."
Lucy lay in a limp heap of relaxed romance on Richards' chest.
Ethel stood, jaw and wrist slack, her tray of appetizers dangerously close to sliding onto Carls' lap. Carl looked up at his wife, slowly bringing the serving tray to balanced form and taking it from her and placing it on his side table. He watched her face closely as he too pulled her limp form onto his lap. She tingled as he moved his nose into her hair and whispered, "You are perfume."
She closed her eyes and relaxed in a soft sigh.
The two men looked at each other over the heads of their wives and shrugged.
"Sometimes, it's how you say it." Richard brandy toned his words.
"Cut!" There was applause and cheering from the whole film Crew.

Chaos Theory

Chapter 22 (cont'd)
J.P. called out with command, "All right, we're doing the forward backward algorithm of filming today. Let's film the gentlemen out on the deck. Weather is 'king' in our industry. We have been given the gift of a beautiful evening. Let's capitalize on it and shoot that scene.
Calvin and Bart had already set up their cameras and were ready to film. The Crew had all done a smashing job of setting the scene and J.P. stepped into a charmed position.
Carl and Richard are reclining and relaxing on the outdoor deck of this humble 1940's home in this scene.
"Ahh, how did the two of us ever come into friendship, Carl?"
"Although nature commences with reason and ends in experience it is necessary for us to do the opposite, that is, to commence with experience and from this to proceed to investigate the reason," Richard quoted.
"True! Good scientific approach. Is this a new wisdom quote for you Richard?"
"My friend, you give me credit for a masterful artistic disguise. No, no, Leonardo da Vinci said that."
"Da Vinci? You are in a very agreeable mood indeed when you quote a polymath. Of course, you have already found the connecting thread in our relationship with that example. No, we will have no debates tonight. You have found the balance. This is the measure of our relationship, my friend. An architect and a physicist- a Vitruvian symmetry. I shall not even try to match your example." Carl lifted his glass and toasted his colleague, "To Da Vinci! I applaud you, my friend."
"To the man who understood that art and science were a foregone conclusion," Richard toned.
"And," Carl continued the weighty measures interchange, "painted his way to heaven."

H.M.M. Butterfly Effect

Chapter 22 (cont'd)
Conversation scene with Lucy and Ethel in progress...
Lucy laughs. "Oh, I have always had great expectations. There are times that has really brought me trouble, especially if I desire greater things at the expense of the people I love but when 'the greater things' are incised beauty growing in the people around me, well... look out! That becomes holy movement moments."
"What did you think about the message the Rabbi gave yesterday?" Ethel fingered the velvet on the quilt.
"Tests, tests, tests! What does Payne say?" 'No one with a ministry worth having has escaped the testing of the Devil. Satan does not tempt us to do wrong things; he tempts us in order to make us lose what God has put into us by regeneration- the possibility of being of value to God!'"
Ethel shivered. "What irony that 'Payne' and 'Pain' are pronounced exactly the same but the one heals the other."
"Very good, Ethel. That was spoken with the knowledge of experience." Lucy applauded her best friend.
"Cut!"
J.P. stood and punched the air with jubilation. "That was great!" As he danced his 'success dance' he felt a small but firm hand on his arm. He turned to the 'Director' chair and looked into the face of Miss Eliza. She was smiling, no beaming!
"This is a worthy film, J.P. You can use my home for all the 'house scenes' if you wish. I can stay at Old Winery Inn for a while. I really don't mind. You must allow me to come on set some days though."
"Absolutely! We'll assign a driver to you. Thank you! Thank you very much!"
J.P. turned to give the crew instructions. "Let's move straight to another scene of conversation between Ethel and Lucy and while that is happening,... Richard and Carl, university colleagues, should get positioned out on the deck with a relaxed barefoot scene, cigarettes smoldering, science, physics conversation rolling off their tongues in a separate - yet - together wave cadence of multidisciplinary respect and comradery."
J.P. turned to Miss Eliza signaling the movie set crew 'off- camera' scene set work. Sabrina marched onto the set with stainless steel make- up suitcase in hand, dropped it onto the coffee table, opened it and proceeded to dab and powder the faces of Ethel and Lucy using her art medium.

Umbrella Shelter

Chapter 21 (cont'd)
J.P. had a very satisfied look on his face as they wrapped up the bridge scene. He sent Lucy and Richard for a wardrobe change.
Sam and Simmy watched the beehive crew activity from a safe, out-of-the-fray distance.
As Richard and Lucy came back on set, he gave a few scanty instructions.
"Lucy, Richard, do you have your lines? I want to see a relaxed, playful, nobody's watching kind of interchange. The camera will follow you up the hill to the gazebo. Richard, you are to hold the umbrella for Lucy as you snuggle and smooch your way along. Everybody got it?" J.P. looked to see if the camera crew were ready and then cued the scene.
An hour and a half later, J.P. had enough footage for a few smooch and snuggle scenes. He leaned back in the directors' chair and said, "That's a wrap for today. We'll see you all on set tomorrow for a gardening scene, if the weather holds."