THE CHILDREN OF BLISS STREET

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WRITTEN BY SCOTT UTLEY

“STOOPS TO NUTS”

WOODSIDE-QUEENS-NEW YORK CITY

A WARM SPRING DAY IN APRIL,1972.

BLISS STREET IS A VERITABLE BEEHIVE OF ACTIVITY. STICK BALL PLAYERS OUT CUSS EACH OTHER FOR ATTENTION. A FIRE ENGINE IN FULL THROTTLE SCREECHES UP THE STREET WHILE VARIOUS NEIGHBORS CONVERSE FROM ONE APARTMENT WINDOW TO THE OTHER. THERE IS SINGING AND LAUGHTER MIXED IN WITH THE VIOLENT RACKET OF ARGUMENTS BETWEEN ALL SORTS OF PEOPLE; OLD, CHILDREN, EVEN ANIMALS CAN BE HEARD IN EACH DIRECTION OF BEAUTIFUL 46 STREET OR ‘BLISS STREET’ AS IT IS DESIGNATED UP AT THE ‘EL’ (ELEVATED) SUBWAY STATION ON QUEENS BOULEVARD.

EDITH PASSES IDA’S GROCERY STORE ON THE CORNER AND MAKES HER WAY UP THE BLOCK TO 48-25-46 STREET; THE THIRD COURT OF THE METROPOLITAN APARTMENT COMPLEX. A GREAT BEAUTY AGING BADLY, EDITH HAS FIERY RED HAIR TEASED UP IN THE FASHION OF THE DAY. HER PIERCING, ROYAL BLUE EYES CONTRAST BOLDLY WITH HER BRIGHT, RUBY RED PAINTED LIPS. SHE IS HUMMING A POPULAR UPBEAT TUNE FROM 1942. (DON’T SIT UNDER THE APPLE TREE) HER SONG IS INFECTIOUS. EVEN THE SPARROWS JOIN IN WITH HARMONY. OUR FOCUS SEAMLESSLY SHIFTS FROM BLISS TO THE PORTAL OF THE THIRD COURT’S GRIT. EDITH SURVEYS HER NEIGHBORHOOD WITH QUICK AND WEARIED GLANCES WHICH SHE ALTERNATELY PUNCTUATES WITH BURDENED SIGHS AND THEN CAREFREE GIGGLES. EDITH IS THE SOUL AND THE DREAMER OF A HOME COURT CONGREGATION OF THREE.

EVELYN AND LORETTA STROLL ONTO THE STOOP FROM INSIDE THE COURTYARD. BOTH WOMEN ARE DRESSED IN TICKY TACKY CAFTANS. EVELYN IS A SHORT ROTUND FIGURE OF A WOMAN. SHE HAS CHILD’S EYES. HER ESSENCE IS THE COMPOSITE OF A NAIVE STURDY FRAGILITY. SHE IS LOADED WITH IDIOSYNCRASIES. SHE SQUINTS HER EYES WHEN SHE TALKS. SHE PONDERS THINGS AS A BEWILDERED CHILD MIGHT. SHE IS A PARADOX. SHE IS THE SALT OF THE EARTH. EVERYTHING IS A MYSTERY TO HER BUT SHE SOMETIMES CUTS TO THE POINT LIKE A KNIFE. SHE IS THE HEART OF THIS TRINITY.

LORETTA POSSESSES THE SAME DEGREE OF KINDNESS AND COMPASSION EDITH AND EVELYN HAVE, BUT HER HEART IS NOT WORN ON HER SLEEVE AS IT IS WITH HER PARTNERS IN CRIME. SHE IS KEENLY PERCEPTIVE. SHE IS THE SENTINEL WHO GUARDS HER FLOCK. SHE POSSESSES A VAST INTELLECT WHICH  SEEMS QUITE OUT OF PLACE IN THE THIRD COURT. SHE IS A RATHER TALL WOMAN WITH TRUE RED HAIR AND THE FRECKLES AND OCEAN BLUE EYES OF AN IRISH LASS. SHE SEES THE FUTURE WITHOUT EFFORT BUT SHE STRUGGLES TO UNLEASH THE GHOSTS OF HER PAST. SHE IS THE PHILOSOPHER QUEEN OF THIS CABAL.

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EDITH

Hi, Evelyn. Hi, Loretta. Hot today, huh?

EVELYN

86 degrees. Unusual for April. Why don’t you take your coat off?

EDITH

I’m an idiot, that’s why. Why do you think why?

EVELYN

Why? I don’t know why. It’s hot. I don’t know why it’s so hot.

EDITH

Oh, shut up, will you? (Edith indicates to the women she is concealing something under her coat. They both nod in understanding.) Have you seen Scott?

LORETTA

A couple of hours ago. Him and Patty were heading up to the cemetery.

EDITH

Oh, for Christ’s sake. I told him stay away from her. She’s trouble. (Edith arranges items in her girdle).

EVELYN

But Edie, Scott is a good looking boy. He should be on TV. Why don’t you get him on TV, huh?

EDITH

What the hell has that got to do with Patty Ann?

LORETTA

She’s just saying, Edie.

EVELYN

I’m just saying.

EDITH

That and five cents will get you a cup a coffee. Where’s other one, whatshername, numb-nuts?

EVELYN

You mean April? Why don’t you say April? Why are you so strict with her? She’s very nice. She has a beautiful figure. She’s very popular with the boys on the corner.

EDITH

What do you mean, she’s popular on the corner? Get out of here. Have you seen her?

EVELYN

She’s cute. Don’t you think so, Loretta?

LORETTA

Very cute.

EVELYN

Nice figure. Especially for her age.

EDITH

I mean, have you seen her? What the hell are you on?

EVELYN

Say what you mean.

LORETTA

She was up on the corner with one of the Kelly boys about ten minutes ago. Another bad day, huh?

EDITH

So where is she now?

EVELYN

She’s around someplace. Jeeze. Definitely a bad day.

EDITH

Ass kicker. Foreman’s a friend of mine. Black fellow, real nice. Pulls me aside this morning tells me the jig is up. Someone’s blown the whistle. So I hide my stash in the men’s toilet bowl. Five minutes later security comes in and frisks the whole assembly line. Everyone was fired except me. I feel sorry for them. What are they going to do now?

LORETTA

What a damn shame. Those poor girls. What the hell they suppose to do for a living now?

EDITH

That’s what I ask?

LORETTA

What about all the orders I got? I have them up the yin yang.

EDITH

Yeah? (Hopefully.) There’s plenty. I can’t barely breathe with all the crap I swiped today. I took extra just in case. One never knows, do one? God Bless Elizabeth Arden.

EVELYN

God bless her.

[Edith retrieves her grocery bags and climbs the stoop.]

EVELYN

What should we tell April and Scott if we see them?

EDITH

Tell em to kiss my ass! (Edie laughs.)

EVELYN

Edie!

LORETTA

Edie, you should watch your mouth around here.

EDITH

Fuck you. (All three laugh.)

EDITH

You’re both Bozos. Bye-bye. If you see Scott and Johanna, April, Jo, April, if you see them tell them to get upstairs if they want to eat. I’m tired. I’ll see you all later. Hell’s bells, I’m tired.

[Edith disappears into the dilapidated courtyard leading to her fifth floor walk-up apartment.]

EVELYN

Have a nice day.

EDITH (O.S.)

Yeah, sure, you too.

EVELYN

What do you think, Loretta? Edie hasn’t mentioned Craig in what, how many? Three weeks? It’s not natural for him to get up and disappear. Not like him.

LORETTA

Can you blame him? He was holed up over in Manhattan at the VA. Six months? They drug everyone up there until they’re zombies doing the Thorazine shuffle. That alone would drive someone nuts. I don’t blame him walking off the ward. Still, where the hell is he? You’re right. Something isn’t right.

EVELYN

I thought he was over at Creedmoor?

LORETTA

That was Mickey.

EVELYN

Oh yeah, of course, Creedmoor. Had a cousin there. I was there. I had real problems then.

LORETTA

There wasn’t nothing the matter with Craig until he joined the Army. Nothing. I read those letters he sent back from boot camp. Paris Island? Paris my ass. Make it sound like a frigging resort. They beat the shit out of him down there. Those people are assholes. They send him to Viet Nam. Only seventeen.

EVELYN

It’s a shame.

LORETTA

It’s a damn shame.

EVELYN

Sure is.

[In the distance we hear the unmistakable chimes of an ice cream truck.]

EVELYN

Mister Softy, thank god. So late today, huh? Want something?

LORETTA

No, thanks. I’m on a diet…maybe a small vanilla…with chocolate sprinkles… (Loretta gives Evelyn change from her purse.)…and some nuts if he’s got any.

END OF SCENE ONE

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DISSOLVE TO: INT. HALLWAY-GREEN FRONT DOOR-APARTMENT 5B

Edith fumbles with keys. Door swings open revealing interior. There is a small built-in nook to the right with a domed adjustable lamp hanging over a white-washed built-in table. An iron gate spans the inside of a window leaving little visibility. There are several Snake plants scattered about vying for air with several formally stray cats. The fire escape beyond the window doubles as a convenient way for some of the occupants of 5B to access the roof as well as escape natural disasters. Overlooking this touching pastoral hangs a cheap Woolworth’s faux gold-framed replica of Da Vinci’s ‘The Last Supper’. Edith steps into a puddle as she enters apartment.

EDITH

Ah shit. Ginger! Did you pee on the floor again? Come out of that bathroom, you little… ah hell, it ain’t your fault, poor thing. It’s that bum’s fault, Scott.

[Edith sits down on bench in the nook. She begins removing Elizabeth Arden cosmetics from under her brazier and girdle. This task seems to go on forever.]

EDITH (CON’T)

What’s this? (She holds up an eye brow pencil for inspection.) Oh good, I forgot about that.

[Having finished with her inventory, shes sighs, removes her dentures, and then begins to sob for no apparent reason. From the direction of the street we hear the sound of April’s voice.]

APRIL (O.S.)

Teresa, you should talk, you’re the whore… (sounds of tin garbage cans crashing about).

[Edith races to the kitchen window next to the stove overlooking the alleyway below and shouts:]

EDITH

April, is that you? April? Answer me. April? Now! I’m going to come down there and knock the … April?

APRIL (O.S.)

Ow, that hurts!

EDITH

Hey Teresa, leave her alone, you hear me, Teresa?

TERESA (O.S.)

Yes, Mrs. Utley. I hear you, Mrs. Utley.

EDITH

Teresa, stop picking on her.

TERESA

Yes, Mrs. Utley.

EDITH

You little snot nose, how would you like it if I told your mother?

TERESA

I wouldn’t, Mrs. Utley.

EDITH

Get lost, Teresa.

TERESA

I will, Mrs. Utley. Have a nice night, Mrs. Utley.

EDITH

April, do you hear me?

APRIL (O.S.)

What?

EDITH

Get your ass up here. Right now!

APRIL

I’m coming, I’m coming.

[Edith moves away from the widow and grabs a few paper towels which she then uses to wipe up the puddle she had stepped into at the beginning of this scene. While stooping down to manage that task, April bursts through the front knocking Edith onto her butt.]

EDITH

Watch it, will you?

APRIL

Sorry.

EDITH

How you like me to throw you out the window?

APRIL

I said I‘m sorry. What’s that on the floor?

EDITH

Ginger peed again.

APRIL

Great, I guess I have to go walk her now?

EDITH

Why? She already peed.

[Edith gets up off the floor and forgets to finish the clean up.]

EDITH

And you’re not going anywhere. Where were you just now?

APRIL

I went to Ida’s to get a Yoo-Hoo.

EDITH

Evelyn said you were on the corner with the Kelly boys.

APRIL

She’s full of shit. She’s a liar.

EDITH

Why would she lie? And watch your dirty mouth, twinkle toes.

APRIL

She’s jealous.

EDITH

I’ll tell you one thing, if I catch you with that Marty Kelly one more time I’m going to send your ass back down to Mississippi.

APRIL

Why, you plan on having shingles again?

EDITH

You’re a pain in the ass. Where’s your dopey brother?

APRIL

How should I know? I haven’t seen him in weeks.

EDITH

Not that one, the other one.

APRIL

He’s having a nervous breakdown over at Bellevue.

EDITH

The other one.

APRIL

He’s down south someplace.

EDITH

You know damn well who I’m talking about, Mickey, Craig, Richard, whatever the hell his name is. Scott, where’s Scott?

APRIL

He went up to the Calvary to pick flowers with Patty Ann.

EDITH

He promised me he wasn’t going to do that anymore. Who in the hell would go pick flowers in the cemetery? What is he, a nut or something?

APRIL

Don’t ask me. You’re the one who had him.

EDITH

Smart ass. One of these days someone’s going to knock you on the head. I wish he wouldn’t go there. It’s so dangerous.

APRIL

Not any more dangerous than hanging out in the Village every weekend. You don’t say anything about that, do you? But me? Oh no, I can’t even go to the frigging corner store without that stupid mutt.

EDITH

He’s older than you.

APRIL

The dog?

EDITH

Your brother.

APRIL

Which one?

EDITH

Scott.

APRIL

He’s only 14.

EDITH

So what? You’re only 11. Now get out of here before I smack you.

APRIL

My pleasure.

[We hear the clamor of footsteps and inaudible voices coming from the direction of the stairwell. April races to the door and cracks it open.]

APRIL

Scott?

JOHANNA

It’s me. I got Mike with me.

APRIL

What?

JOHANNA

It’s me. Johanna. Come get these bags.

APRIL

I can’t. Ma won’t let me go out into the hallway after dark.

MIKE

Put a light bulb on, that will help the situation.

APRIL

What’s a light bulb?

JOHANNA

You think you’re funny?

APRIL

Ma think’s so.

MIKE

What’s that smell, Jo?

JOHANNA

You promised me, Michael.

MIKE

It’s killing me. I’m dying out here. Smells like something crawled up someone’s butt and died.

JOHANNA

Shush. (Johanna giggles.)

MIKE

Well, it does.

JOHANNA

You can go to hell for saying stuff like that.

MIKE

It’s got to smell better than this.

[Just before Johanna and Mike reach the landing April heads for the bathroom unbuttoning her pink blouse as she goes. Edith pulls out a compact from her brazier and deftly applies another layer of cake onto her face. Mike walks into 5B first. He is hauling several bags of groceries which he drops to the floor. He turns to Johanna and whispers:]

MIKE

Smell that?

EDITH

Hey Michael, what’s your problem?

JOHANNA

Here are some groceries for you and the kids. We left the car running. No place to park and Mike’s got bowling tonight so we have to go anyway.

EDITH

Hey Mike, what’s your problem?

JOHANNA

Nothing.

MIKE

How you doing, Mrs. Utley?

EDITH

Fine, Mike.

JOHANNA

Here, Ma.

EDITH

Jo, we don’t need your money. Keep it.

MIKE

Buy some disinfectant.

EDITH

What did you say?

MIKE

Something that smells nice.

JOHANNA

He didn’t say anything.

EDITH

What are you saying?

JOHANNA

He didn’t mean anything.

EDITH

You think this place stinks?

JOHANNA

Ma, take this twenty dollars, you can use it.

EDITH

I said I don’t want it.

JOHANNA

Have you seen that blouse of mine.

EDITH

No.

JOHANNA

The pink one.

EDITH

No, I told you.

JOHANNA

April?

APRIL

No.

JOHANNA

I love it. I want it.

EDITH

What’s it worth to you.

JOHANNA

Ma, don’t play with me. I’ll start crying.

EDITH

You’re a big baby. April, get that damn blouse, will you?

APRIL

Where?

EDITH

Right where you left it.

APRIL

I never even ever seen it.

Edith

You did.

APRIL

I did not.

EDITH

You did too

APRIL

Didn’t.

EDITH

Get it, please?

[April caves in and heads for the bathroom.]

MIKE

Let’s go, Jo, this place is making me sick.

EDITH

What did you just say?

JOHANNA

Nothing Ma, we’re going.

MIKE

This place is a dump.

JOHANNA

Michael!

EDITH

You have some nerve. You try raising six kids, you goombah!

JOHANNA

Ma, he didn’t mean anything.

MIKE

I didn’t mean anything.

EDITH

Who the hell do you think you are?

JOHANNA

Ma, please.

EDITH

Get the hell out of here, you rotten guinea.

[Edith begins throwing anything she can find at Michael.]

JOHANNA

Ma! Ma! Ma, stop!

EDITH

Get out! You hear me? Your nothing but a lousy wop!

[April comes running out from the bathroom with a balled up piece of cloth. She throws it at Johanna. Johanna catches the blouse and forgets for a moment her husband is about to be neutered. Johanna sniffs the blouse and screams out in horror.]

JOHANNA

What the hell did you do to it? You ruined it!

EDITH

(To Michael) Out! Get out! Get out of my house!

[Edith picks up a massive rococo style lamp from a table. April starts screaming. Michael heads for the door.]

JOHANNA

Ma, you’re going to hurt somebody.

APRIL

That’s the idea.

JOHANNA

April, why don’t you go cover yourself?

EDITH

Out of here. You hear me? You dumb dago!

APRIL

Yeah, you heard her, out.

JOHANNA

April, I’m going to smack your ass.

MIKE

Jo, I think Edie broke my arm.

EDITH

Good, you deserve it.

JOHANNA

This is a damn shame.

[The lamp Edith has been threatening Mike with, goes shooting through the air. It hits Michael in the back. All hell breaks loose. Johanna manages to help Michael to the door. There are words exchanged. Finally, Johanna and Mike are out the door and down the steps in a flash. Edith runs to the door. April follows after her. Edith shouts out into the void of the stairwell:]

EDITH

And don’t come back.

APRIL

You hear?

EDITH

You hear me?

APRIL

You hear her?

EDITH

Shush. Listen. Let me hear them.

[Total silence. You can hear a pin drop. After a few beats, Edith and April turn to face one another, and then they both break out in laughter.]

APRIL

What an idiot he is.

EDITH

I keep telling you.

APRIL

He’s a jerk.

EDITH

He’s stupid.

APRIL

He’s a danger to him and everything else.

EDITH

Look what he did to my lamp.

APRIL

He didn’t leave that twenty bucks either.

EDITH

He’s a cheap fuck.

APRIL

Tight ass.

EDITH

What do you want from a wop?

APRIL

Lower your voice, you don’t want Loretta hear you say that.

EDITH

Say what? Dago? Guinea?

APRIL

No, wop.

EDITH

Wop, wop, wop, wop.

APRIL

Ma, stop it.

EDITH

I’m singing. You don’t like my voice? Guinea, guinea, guinea, wop, wop, wop.

APRIL

Ma, stop with the wop, just stop. Loretta will hear.

EDITH

What are you talking about? She’s not Italian.

APRIL

Her son is.

EDITH

Who, PJ? He don’t know nothing.

APRIL

Any soda in the kitchen?

EDITH

Cool Aid.

[Scott comes running into the apartment carrying a few dozen gladiolas.]

APRIL

About time.

SCOTT

Look what I got you, Ma?

EDITH

So pretty.

APRIL

You stole them from dead people.

SCOTT

I don’t steal. They gave them to me.

[Scott goes into kitchen to find a vase.]

APRIL

Dead people gave you flowers?

SCOTT

The guards gave them to me.

APRIL

The guards are on strike.

SCOTT

So is your face.

EDITH

Don’t be funny, Scott.

APRIL

Banana face.

SCOTT

Bubble head.

EDITH

Be nice, you two.

APRIL

I know you are but what am I?

EDITH

You two aren’t funny.

SCOTT

Ma, you want to know what I heard about April today?

APRIL

Hey you.

EDITH

Hay is for horses.

[There is a hard curt knock at the front door.]

EDITH

Who is it?

VOICE

Mrs. Utley?

EDITH

Yes? Who is it?

POLICE OFFICER ONE

Police.

EDITH

Who?

POLICE OFFICER TWO

Police.

EDITH

Police?

POLICE OFFICER TWO

Police officers. We’re with the Long Island City station. Is this Mrs. Utley?

EDITH

This is she. How can I help you?

POLICE OFFICER ONE

Mrs. Utley, we need to speak with you. It’s about your son. Open the door.

EDITH

Wait, hold on.

[Edith crosses to the chair next to the couch. April and Scott sit motionless as they witness the rest of this scene unfold. Edith grabs an overcoat and fusses with her hair. She crosses back to the door. She unlocks it as she speaks.]

EDITH

Did Mrs. Writz call you about the yelling? It’s not my fault.

POLICE OFFICER ONE

No, Mrs. Utley, Mrs. Wirtz didn’t call us.

EDITH

It’s that bum’s fault, my son in law, Michael. He’s nuts.

POLICE OFFICER ONE

No, Mrs. Utley, this is about your son.

EDITH

My son? You mean Scott? What the hell has he got into now? I told him stay away from the cemetery.

[Scott moves closer to April. The two of them stare in dread as they watch their mother‘s countenance change from one degree of concern to the other.]

POLICE OFFICER ONE

No, Mrs. Utley, it’s about Craig Utley. Do you have a son named Craig?

EDITH

Yes I do, officer. He’s been missing. Is he alright? What happened to him? Did something happen to Craig?

POLICE OFFICER TWO

Yes, Mrs. Utley, something terrible has happened to your son.

EDITH

Oh no, what? Is he dead?

POLICE OFFIVER TWO

There is no easy way to tell you this. We found his body in the East River this morning. It looks as though he had been in the water a few weeks. If the weather hadn’t warmed up, we probably wouldn’t of found him. We’re sorry, Mrs. Utley.

EDITH

No, you’re mistaken.

POLICE OFFICER ONE

I’m afraid not, Mrs. Utley.

EDITH

You are. You are mistaken. He was fine a minute ago, just fine. He’s doing well. Ask his doctor, you’ll see. This must be some kind of a joke. It’s not funny.

POLICE OFFICER ONE

No, Mrs. Utley, this is not funny at all.

EDITH

My son is fine, I know he is. He’s going to call here any minute, you’ll see.

POLICE OFFICER ONE

I’m afraid that’s not going to happen. I wish it would, I really do.

EDITH

He is. He will. You don’t know what the hell you’re talking about.

[Edith runs to the phone on the wall in the kitchen and picks up the receiver.]

EDITH (CON’T)

Call damn it, call. Johanna, tell him to call.

APRIL

Johanna’s not here.

[Edith slams the receiver several times into the phone’s cradle. She finally sits on the bench in the kitchen nook and begins to sob. Scott and April rush over to her and cradle her in their arms.]

APRIL

The phone was disconnected, remember, Ma?

POLICE OFFICER TWO

April, do you have the telephone number to a relative, an adult who may be able to identify Craig’s body?

APRIL

My sister’s husband, Mike, he can do it. He is the best one to call. You want his number?

POLICE OFFICER TWO

That would be wonderful, thank you, April.

POLICE OFFICER ONE

Mrs. Utley, we’re sorry. We are very sorry. This is the saddest thing we ever have to do. God bless you and your family.

END OF SCENE TWO

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3 thoughts on “THE CHILDREN OF BLISS STREET

  1. Pingback: BLAME IT ON THE BOSSA NOVA DANCING SHOWER FOOL ADMITS TO LOVE AFFAIR WITH SCOTT UTLEY’S LIFE SIZED CARD BOARD CUT OUT | PLANET LOBSTER

  2. It’s late, and I’m not so much tired as I should be getting to bed so I can get up for work lol, but I wanted to share that I really enjoyed what I have read. Having very little knowledge of your past I have to admit, this further intrigues me, much more than if you were a random face, in a random crowd, writing a random story. This is meant with the utmost respect so I hope you receive it that way. Please do keep in touch, and update me on future readings, releases, et cetera. Thank you for allowing me to share and be a part of this with you. Becky

    Like

    • Becky, I am very touched by your beautiful note. It means a great deal to me to know you took some time, even though it was so late, and spent a while with my ‘Ladies of Bliss Street.’ (Hey! That’s a great title!:) I knew you were swell from the moment I met you. As far as THE CHILDREN OF BLISS STREET goes, it is actually a finished (as far as I am concerned) script. All I have to do is send it over to my agent but I don’t want to right now. I am more interested in seeing where I can take this new version I am creating, with your help, thank you. I think it is lovely, for in the end it strives-I strive to ennoble the human spirit, or at least try to be honest. Here on this word press blog, which is a great deal on fun, I am experimenting with different ideas and concepts and everything I am sticking here, including the baby and the bathwater, is some element I have in mind for a larger project. So this ‘Bliss Street’ is morphing into a whole new ‘teleplay’ that I have always thought about. That is a lot of fun for me. By the way, you asked me to keep you in mind when I release something or other, Becky, once in my mind, special people are always in my mind. XOXOX Thank you, dear Becky.

      Like

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