Scene 103-01. Stephan meets Clifford

While giving ADAM the highly sanitized version of his calling to monastic life, STEPHAN recalls the more explicitly erotic circumstances of meeting Fr. CLIFFORD in the cruisy Bird SANCTUARY by the river and convincing CLIFFORD to continue their conversation at the nearby MONASTERY where CLIFFORD is on retreat.


| Script | Setting | Characters | Themes & Symbolism | Notes & Miscellany |
< Scene 102-04. Stephan comes out to Adam | Episode 103 | Scene 103-02. Stephan’s monastery tour >


Working Script

Fade in on Stephan jogging in the BIRD SANCTUARY, looking luscious. Opening a scene with jogging echoes the opening of the whole story with Adam’s jogging at night. STEPHAN, however, is jogging in the full light of day – at least as much of the bright sun as can filter through the thick canopy of fall leaves.

In the SANCTUARY STEPHAN does the Goldilocks thing. He cruises/is cruised by 3 guys.

CRUISY GUY 1, he thinks is hot, but CG1 is not interested in STEPHAN and looks away.

CRUISY GUY 2, a skinny, older man with a handlebar moustache, leaning against a tree, grabs his crotch and licks his lips, but STEPHAN is not interested.

STEPHAN and CRUISY GUY 3 jog past each other. They exchange glances, they like what they see. They jog on a couple of paces (doing the standard cruisy thing which seems to be encoded in the genes of some of us) then turn and look at each other as if on cue. They smile. They make a pretense of continuing to jog away from each other, then stop. CG3 turns around towards S. S, eyes closed, peels off his tight, white tank top, revealing a strong chest and a Benedictine CRUCIFIX as CG3 watches in the distance.

STEPHAN spots CLIFF

BUT, when STEPHAN opens his eyes, close on S’s head and shoulders, he SEES something in the distance which leaves him transfixed, eyes almost popping out and mouth gaping open. Behind S, over the shoulder CG3 looks on from the background as STEPHAN focuses on CLIFF In the near distance, jogging towards him.

CLIFF spots S

Over STEPHAN’s shoulder CLIFF sees S, smiles and nods as he jogs by.

Standing there, STEPHAN smiles in return, absent-mindedly rubbing his flat belly. (He doesn’t need to have a six pack. His body is more naturally fit.) He turns to watch CLIFF go by.

STEPHAN & CLIFFORD meet.

CLIFF turns also, sees STEPHAN standing there, then slows to a stop.

STEPHAN walks towards CLIFF.

CLIFF’s smile grows bigger, even as, in the distance, CG3, disappointed, jogs off.

As STEPHAN and CLIFF approach each other, CLIFF’s gaze focuses on STEPHAN’s beautiful chest. S’s gaze falls noticeably to CLIFF’s growing crotch, his smile grows bigger as he looks CLIFF straight in the eye.

STEPHAN beckons CLIFF to follow him.

Silently, STEPHAN cocks his head and waves his hand indicating that he wants CLIFF to follow him along a path into the reeds.

Staring at S’s beautiful ass, CLIFF follows until STEPHAN makes a sharp left and disappears.

CLIFF stops, confused, wondering where STEPHAN went.

STEPHAN invites CLIFF to his secret spot.

STEPHAN reaches through the curtain of reeds, grabs CLIFF by the hand, and pulls him into a clearing of beaten-down reeds with a beat-up, dusty, Moroccan rug on the ground.

STEPHAN pulls CLIFF close and plants a kiss full on CLIFF’s lips.

They unlock from each other’s mouths, pull back and look at each other, so mutually smitten that they don’t notice CG2 looking in, hand on his crotch.

“God! You’re beautiful,” CLIFF sighs.

STEPHAN grins. You too.

STEPHAN takes CLIFF’s face in his hands and plants a kiss on the lips of an astonished CLIFF.

CLIFF’s hands tentatively clasp S’s waist.

CLIFF, astonished, pulls back a little, smiles, then engages in another kiss, a deeper kiss with S.

Pan down their bodies as STEPHAN runs his hands up CLIFF’s shirt and discovers CLIFF’s furry chest.

Tentatively, almost reticent, CLIFF’s hands venture down the smooth, muscled sides of S’s torso.

CLIFF’s hands find S’s perfect bubble butt. He sighs as he feels how firm and soft and warm it feels. CLIFF looks right into S’s eyes. “God you’re beautiful.”

Without a word, STEPHAN discovers CLIFF’s nipples and bends down to lick one. CLIFF sighs.

STEPHAN moves a hand down the front of CLIFF’s shorts and grabs his semi-hard cock.

“Easy, there.” CLIFF grabs S’s hand.

STEPHAN smiles. “Too much?”

CLIFF smiles. “You could say that.”

CLIFF kisses STEPHAN again with even more intensity.

A crowd gathers

CLIFF notices that

I’m not all that good with crowds, CLIFF confesses.

Do you have a place we can go?

The climax is when someone grabs CLIFF’s butt.

CLIFF objects, but the grabber – CG2 informs him that they’re in a public space.

CLIFF maintains he’s not part of the scenery.

“Let’s get out of here,” CLIFF says.

For the next scene, STEPHAN is looking in wonder at the monastery, saying, wow! I can’t believe this place actually exists!

End Plot. Back to Top.


Setting Notes

Time. Early September. Late afternoon. This has to take place within a week of the towers’ fall, so that puts us in early September 2001.

Place.

The BIRD SANCTUARY. A park on the Charles River in CAMBRIDGE which is a beautiful, leafy, secluded spot with walking paths perfectly conducive to cruising. It’s a sanctuary for birds – and the wilder sides of men.

Mood. Lust is in the air. Everybody in the park is checking each other out, trying to gauge who might be interested in them and trying to catch the eye of the men they find attractive. I’d like this to be a multi-ethnic experience. I’d like this to be diverse in other ways: young and old, fit and not, some smoking, some jogging, some walking, some just lounging around with their hands on their crotches.

Weather. The weather is bright, clear and just sticky enough that guys feel the need (or the justification) to strip off their shirts.

End Setting. Back to Top.


Characters

NARRATOR (STEPHAN)

Roles & Archetypes. Witness & Redactor.

Mood.

Appearance, Clothing & Props.

Conscious Goals. STEPHAN wants to recall what happens, but he only tells Adam parts of the story. What parts does he tell? The main point is that he wants to tell ADAM about a series of experiences at and around the MONASTERY, sparked by meeting Fr. CLIFFORD, which he believes has changed his life forever. First, we’ll deal with depicting what happened, and then we’ll deal with editing later. Write, first, then edit.

Unconscious Needs.

STEPHAN

Roles & Archetypes. STEPHAN is the protagonist in this scene.

Mood.

Appearance, Clothing & Props. STEPHAN is exceptionally scrumptious looking today, shirtless, and wearing short, clingy running shorts in a bright yellow which highlights and complements his strong, tanned thighs. I’m toying with the idea of compression pants, but maybe he is wearing white, clingy compression shorts under his yellow shorts. Scratch that. He’s commando under his shorts which are just long enough to keep him from poking out – unless he wants to. He is carrying a white tank top or it is tucked into his shorts, dangling at his side.

Conscious Goals. Stephan is looking for connection, but on the surface he feels like he is trying to accomplish several things: staying fit, attracting attention, getting laid. Stephan is also jogging because rhythmic motion makes him happy. It also reminds him of time with Adam when they used to jog. He’s also trying to attract the attention of men who want to ogle and admire his body. He’s quite proud of both his body and the effect it has on other men. He also likes to be aroused himself and usually finds one or two guys – of various “types” – he finds attractive (think dad types). Sometimes the feeling is mutual and they head over to the reeds to consummate their mutual admiration. If nobody he finds hot responds to him in an erotic or active way, he is not above allowing himself to be serviced and admired in a tangible way by the men he has incited to take action on their lusts. He’s pretty forward and conscious of the fact that he wants to get off, and is disappointed when that doesn’t happen.

Unconscious Needs. At root Stephan needs acceptance. Acceptance of his whole self – his body, his beauty, his mind and his spirit. He’s hungry for a father’s approving gaze and momentary substitutes for such take the edge off his hunger to be loved by a protective, nurturing man.

CLIFFORD – 1st appearance

Roles & Archetypes. CLIFFORD is the antagonist, whose interest in STEPHAN is meeting the resistance of his desire to be circumspect.

Mood.

Appearance, Clothing & Props. CLIFFORD is a classically-handsome, 60-something, mostly-straight, white British male with great posture, strong legs and a toned upper body. He doesn’t need to be a muscle daddy, but he’s quite fit from running and calisthenics. For his run in the park, he is wearing a pair of red-trimmed-with-white, 70’s-style running shorts which show off the copious salt-and-pepper hair on his legs, and a white, ribbed tank top which shows off his furry forearms and chest. His old-style sneakers are well worn and grayish when they used to be white. I think he’s wearing short socks.

Conscious Goals. CLIFFORD’s conscious agenda is to go out for a routine jog, and, perhaps, enjoy the perfect day and watch some of the beautiful men and boys doing the same. He is headed for the BIRD SANCTUARY on the recommendation of BENEDICT, Abbot of the MONASTERY where CLIFFORD is staying. BENEDICT said the views along the river are beautiful, but none so much as the BIRD SANCTUARY.

Unconscious Needs. CLIFFORD has a need to father and comfort–and touch. He needs to combine the spiritual and the erotic. He is completely unaware of this. He’s British. And so all the stuff I was just going to write about CLIFFORD’s being touchy-feely doesn’t apply. CLIFFORD needs to touch, but is afraid to touch too much. This need almost blocks the answer to that need which he perceives in STEPHAN.

CRUISY GUY 1 (CG1)

CG1 is an Asian grad school student who is quite fit. Chinese, perhaps, he is heavily built – almost a panda bear. STEPHAN takes an immediate interest in CG1, but he only gives STEPHAN a cursory look – quite aloof – and returns to his run. How’s he dressed? He looks hot, but is not really trying for that effect. Perhaps he’s wearing standard college shorts and a pink muscle tee which contrasts nicely with the greens of the place. Oh! I keep forgetting that this needs to be in the fall.

Roles & Archetypes.

Mood.

Appearance, Clothing & Props.

Conscious Goals.

Unconscious Needs.

CRUISY GUY 2 (CG2)

CG2 is interested in STEPHAN, but STEPHAN isn’t interested in him. He is wearing short jeans cut-offs displaying skinny, very hairy legs, and his T-shirt pulled up over his head, showing his furry belly and chest. He takes a very direct and abrupt approach to outdoors sex: he feels it’s sleazy – and he likes it that way. STEPHAN is into sleaze every once in a while, but not today.

Roles & Archetypes.

Mood.

Appearance, Clothing & Props.

Conscious Goals.

Unconscious Needs.

CRUISY GUY 3 (CG3)

CG3 is a cute, young, buff guy – like STEPHAN but with dark hair, and it looks like the feeling is mutual. STEPHAN finds him interesting enough to strip off his shirt for but forgets all about him when he sees CLIFF jogging into the park.

Roles & Archetypes.

Mood.

Appearance, Clothing & Props.

Conscious Goals.

Unconscious Needs.

The CROWD

Roles & Archetypes. The CROWD stands as witness to the meeting and near mating of STEPHAN and CLIFFORD. They add a reason for STEPHAN and CLIFFORD to leave the BIRD SANCTUARY.

Mood.

Appearance, Clothing & Props.

Conscious Goals.

Unconscious Needs.

End Characters. Back to Top.


Themes & Symbolism

Major Themes

The urge to connect

It is not good for ish to be alone. But I might be jumping the gun. In actuality, this is about lonely people looking for some connection. For each person it might be different. It may appear as lust seeking fulfillment, sadness seeking joy, loneliness seeking company, and many other situations where people act out the observation of the Creator that it is not good for ish to be alone.

Imagery

Garden of Eden imagery. A feel of lush greens in every shade with dark greens/blues predominant. Flashes of bright colors move in and out of the palette, calling attention to the action and movement of the scene.

End Themes & Symbolism. Back to Top.


General Notes & Miscellany

General Notes

Backstories

STEPHAN comes home from his boring afternoon class and finds a voice-mail message from NEWTON, his dad, giving STEPHAN grief or orders – or something STEPHAN finds demoralizing.

Angry to the point of frustration, STEPHAN decides to jog to the BIRD SANCTUARY and find someone to hook up with. Stephan strips off his T-shirt, tosses it onto the floor, strips out of his beat-up khaki cargo shorts, tosses them onto the floor, wriggles out of his white briefs, throws them over his shoulder, opens his top dresser drawer, slips into a jockstrap, pulls a pair of skimpy bright yellow shorts over his bubble butt, grabs his white muscle-T (which he doesn’t put on), and races out the door. He comes back in, opens his top drawer, fishes out two (three?) condoms (this is important for later – Stephan seduces Clifford) and slips them into a pocket in his shorts.

CLIFFORD is uncomfortable and hot, working on a writing project in his CELL at the MONASTERY. He sees (perhaps) guys running outside, so he changes into running clothes and takes to the trail along the river, heading to the right towards the bird SANCTUARY. He enjoys the sights he sees – he always likes to ogle cute guys, even though he usually tries to resist getting aroused to the point of doing anything with any of them. He figures that having the desire is not sinful: beautiful bodies are the gifts of God for the people of God. He does want to remain mostly faithful to his wife, Melanie, and two kids (a son STEPHAN’s age and an older daughter in grad school, herself).

Unsorted or Unincorporated Text

End Notes & Miscellany. Back to Top.


 

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