SDGCK.

 

Movie script; The Bitten Apple.

 TITLE: BITTEN APPLE

INT. LIVING ROOM - DAY (1977)

Midday sunlight cuts through thick dust. The TV blares The Price is Right.

ARTHUR (20s, gaunt, wincing as he clutches his left jaw) sits on a stained sofa, eyes glued to a Commodore PET computer resting on a coffee table next to a stack of vinyl records—Crime of the Century, Songs in the Key of Life. Outside, a pea-green Ford Pinto backfires.

ARTHUR (whispering) Oh wretched man that I am... Romans seven.

Arthur gargles a capful of red mouthwash, winces at his bleeding gums, and spits directly into a metal dog bowl on the floor.

A ragged stray dog growls, steps forward, and violently flips the bowl, soaking the carpet.

ARTHUR (eyes cold) You don't reject me. Nobody rejects me.

INT. KITCHEN - CONTINUOUS

An icy wind blows through the open back door. Arthur stands at the counter, neatly wrapping fresh, unlabelled butcher paper packages of ground meat and stacking them in the refrigerator.

His girlfriend, CLARA (20s, visibly pregnant), stands at the open fridge door, staring at the meat. Her hands tremble.

CLARA Arthur... why does this feel like... where is the dog, Arthur?

Arthur doesn't look up from his Commodore user manual.

ARTHUR He wasn't built for the future, Clara. Typewriters are dying. Dog's gone. Eat your lunch.

INT. KITCHEN - FOUR DAYS LATER

Four glass pitchers sit on the counter, filled with a cloudy yellow liquid. Clara packs a plastic suitcase.

CLARA I’m going to my mother’s. To have the baby.

ARTHUR (absently typing on the Commodore) Fine. I missed two Mikasa glass meetings today anyway. Small office systems, Clara. It’s the new Hamilton Beach blender.

CLARA I left lemonade in the fridge. Drink it all, Arthur.

She walks out, slamming the Pinto’s passenger door outside.

EXT. NIAGARA FALLS PANCAKE HOUSE - DAY (1979)

Clara, in a grease-stained apron, holds a swaddled infant with dark, brooding eyes and a sharp jawline. She stands at a payphone behind the restaurant, the roar of the falls echoing nearby.

CLARA (into phone) I’m taking your father, Arthur. I’m working with him now. It’s over.

INT. ARTHUR'S KITCHEN - NIGHT - MATCH CUT

Arthur hangs up the wall phone. His face is entirely numb. He opens the fridge, pulls out the third glass pitcher, pours a heavy pint, and drinks the entire glass of Clara's yellow brew without wincing.

INT. SUBURBAN ELEMENTARY SCHOOL - DAY

Arthur stands in front of a school board committee. Behind him sits a single terminal.

ARTHUR A school isn't a kennel. It’s a repository for human potential. Olivetti makes these machines, but Olivetti sounds like a plate of warm pasta to a white man from the Cheektowaga reserve. You don't buy pasta to run a classroom. You buy the future.

He hits 'ENTER'. The screen glows brightly.

BOARD MEMBER We’ll take three hundred units. Exclusive North American distribution rights are yours.

EXT. TRUE VALUE HARDWARE STORE - DAY (1981)

Arthur pulls up in a gleaming new sedan. A newly adopted Black Doberman sits in the passenger seat.

As Arthur steps out, he looks down. The Doberman sits on the pavement, staring up at him, resting its paws next to a half-eaten McIntosh apple with a distinct bite taken out of it.

Arthur stares at the fruit, his mind racing through Genesis, the reserve, the church pews, and the cold logic of silicon.

He looks up at the store window. A bright sticker sits on the glass, displaying an icon of a bitten apple.

ARTHUR (whispering to himself) Knowledge of good and evil... Bite Apple. That’s the name. That’s how it happens.

TITLE: BITTEN APPLE (PART II)

INT. ARTHUR’S HEADQUARTERS - DAY (1983)

Arthur—now wearing a tailored tweed suit that hides his stiff, ruined jaw—stands over a massive drafting table. The room is filled with prototypes of the "Bite Apple" terminal, but every casing is empty.

ARTHUR We’re not a computer company. We’re an architecture of the mind. Let Kodak build the plastic and the chassis. They know processing. They know capture.

ASSOCIATE Arthur, Kodak builds cameras. They’re asking for millions up front to retool their plants for microprocessors.

ARTHUR (slapping the table) They’ll do it because the typewriter is dead and the photograph is next! Tell them Bite Apple guarantees the volume!

INT. IBM CORPORATE BOARDROOM - NEW YORK - DAY

A panel of executives in sharp blue suits sit across a glass table. A glowing slide projector illuminates a logo on the wall: an abstract silhouette of an apple with a heavy section bitten out, crossed with IBM’s blue signature stripes.

IBM EXECUTIVE Mr. Cheektowaga... or whatever you're calling yourself this week. You’ve been putting our registered 1971 data-capture graphic on three hundred school terminals across the tri-state area.

ARTHUR (leaning forward, jaw clicking) An apple belongs to God. It belongs to the garden. You can’t patent the fruit of knowledge.

IBM EXECUTIVE We didn't patent the fruit. We patented the vector graphic for International Business Machines. The IP licensing fee is four hundred thousand dollars, due retroactively. Or we seize the distribution rights.

Arthur stares at the blue stripes. He gargles a mouthful of water from a paper cup and swallows it whole.

ARTHUR I’ll see you in church.

INT. KODAK MANUFACTURING PLANT - ROCHESTER - NIGHT

Thousands of plastic cream-colored computer shells sit unfinished on a frozen assembly line.

Federal marshals and IBM lawyers march down the aisle, slapping bright red "SEIZED BY ORDER OF THE COURT" stickers over the "Bite Apple" logos.

Arthur stands in the shadows by the loading dock, a cold wind blowing in through the bay doors. His dog—a lean, silent Doberman—sits right beside him, chewing on a plastic component.

ARTHUR (whispering to the empty factory) Oh wretched man that I am...

An IBM LAWYER walks up, handing Arthur a final stack of foreclosure papers.

IBM LAWYER Effective midnight, International Business Machines owns the patent, the inventory, and the name. You're wiped out, Arthur.

Arthur looks at the paper, then down at the Doberman. The dog drops a bitten piece of black plastic at his feet, completely unbothered. Arthur picks it up, slips it into his pocket, and walks out into the snow, leaving the machines behind.

///

INT. SUPERMARKET - SAN JOSE, CALIFORNIA - DAY (1982)

Arthur stands at the end of the checkout line. His jaw still sits slightly crooked, but he wears the tailored suit of a founder retained by IBM after the Anton Piller raid cleaned out his personal accounts.

He tosses ten cans of dog food, four cans of Chef Boyardee, and four cans of pork and beans onto the rubber conveyor belt.

A quiet, intense teenager with unkempt hair and a hyper-focused glare quickly bags the groceries. Arthur loads the bags into the back of his brown-and-tan 1982 Ford Bronco.

INT. ARTHUR’S KITCHEN - LATER

Arthur unpacks the brown paper bags onto the counter. He counts the cans.

ARTHUR (squinting) Two... where are the other two Boyardees?

His wife and two children sift through the paper sacks and check the footwells of the Bronco. Nothing.

ARTHUR (gritting his teeth) Not again. Nobody takes from me.

INT. SUPERMARKET - AN HOUR LATER

Arthur marches back into the store, grabs four more cans of Chef Boyardee and beans, and intentionally slips into the exact same checkout lane.

The same teenager stands at the end of the till, packing the cans into paper bags with slick, practiced hands.

Arthur grabs the bag, steps three paces past the register, and immediately stops to count the contents.

ARTHUR Two missing.

The bagger instantly clutches his stomach, groaning, and bolts down the aisle toward the employee breakroom.

ARTHUR (roaring) SECURITY! STOP THAT KID!

Two store managers tackle the boy near the staff lockers. As he hits the linoleum floor, two cans of Chef Boyardee roll out from under his oversized denim jacket, clattering against the tile.

STORE MANAGER We’re calling the cops right now.

Arthur walks up, staring down at the kid lying on the floor. He looks at the boy’s cold, unblinking eyes.

ARTHUR You risked your life for forty-nine cents of canned pasta. You looked me right in the eye, palmed the inventory right in front of the till, and almost executed a total escape. You don't look like an asshole, but you play one better than anyone I've ever seen.

Arthur turns to the store manager.

ARTHUR Cancel the police. (to the kid) You steal from me again, kid, and I'll grind you up and put you in the Boyardee can. But right now? You’re coming with me. IBM owns my company, Commodore owns my soul, but I need a guy who knows how to take things that don't belong to him.

Arthur extends a hand and pulls the teenager off the floor.

ARTHUR What’s your name, kid?

STEVE Steve. Steve Calloway. People call me Jobs.

Arthur smiles, his jaw clicking loudly in the quiet grocery store.

ARTHUR Pack your bags, Steve. We’re going to build a computer and a new Science Centre in Toronto; a new Ontario Place which is just as moving as I remember in 1979. I actually  caught 3 Cray fish that day in that old industrial lake town but well managed after all that steel and sugar manufacturing for 100's of years and you can still see fish, catch a fish. Nothing will ever change that.  If anyone steals from us, we make them dog food. We will know who steals from us since they will buy the product that gives us 100 times over cost value; a house phone some day.  

Media and Commodification of the female: This image—the cover art for The S.O.S. Band's 1982 album, S.O.S. III—serves as a classic case study in how 20th-century commercial media objectified and commodified women. The S.O.S band denied this commodification but acknowledged and warned us about it. Key Visual Themes & Dynamics 1. Juxtaposition of Essential Goods and Hyper-Sexualization Setting as a Commodity Exchange: The backdrop features a standard grocery store shelf stocked entirely with generic, branded consumer goods. Placing scantily clad women inside a grocery aisle visually equates female bodies with off-the-shelf items meant for mass consumption. Trivialization of Domesticity: The grocery store—a space traditionally associated with family nourishment, household management, and community sustaining—is converted into a stage for sexualized play. By depicting women riding in a shopping cart in swimwear, high heels, and leg warmers, the image explicitly detaches female identity from traditional roles like family building or community stewardship, recasting women strictly as sources of male visual entertainment. Click here.

 

Media and Commodification of the female: 

This image—the cover art for The S.O.S. Band's 1982 album, S.O.S. III—serves as a classic case study in how 20th-century commercial media objectified and commodified women. The S.O.S band denied this commodification but acknowledged and warned us about it.  

Key Visual Themes & Dynamics

1. Juxtaposition of Essential Goods and Hyper-Sexualization

• Setting as a Commodity Exchange: The backdrop features a standard grocery store shelf stocked entirely with generic, branded consumer goods. Placing scantily clad women inside a grocery aisle visually equates female bodies with off-the-shelf items meant for mass consumption.
• Trivialization of Domesticity: The grocery store—a space traditionally associated with family nourishment, household management, and community sustaining—is converted into a stage for sexualized play. By depicting women riding in a shopping cart in swimwear, high heels, and leg warmers, the image explicitly detaches female identity from traditional roles like family building or community stewardship, recasting women strictly as sources of male visual entertainment.

Click here. 

2. Gender Dynamics and Power Asymmetry

• The Male Gaze and Labor: A fully clothed store clerk holding a broom looks directly at the women. His position represents both the spectator/consumer and the working-class custodian, while the women perform for his (and the viewer's) gaze.
• ** Infantilization:** Placing a grown woman inside a shopping cart pushed by another woman infantilizes both subjects, framing adult female interaction as frivolous play rather than grounded in leadership, maternal, or professional responsibilities.

3. Commercial Distraction vs. Substance

• Packaging over Purpose: The album cover uses high-contrast, glamour-focused marketing typical of 1980s pop/R&B packaging. The visual strategy relies on provocative imagery to grab attention on record store shelves, prioritizing impulse consumer appeal over meaningful narrative themes of partnership or social continuity.

Societal Takeaway

This artwork illustrates how commercial media historically abstracted women from functional societal roles—such as family formation, economic leadership, and social development—and repurposed them as decorative, transactional elements designed to drive product sales.

The dual role of the woman as both the consumer ("shopping") and the commodity ("shopped for") is the central visual conceit of this cover. The image creates a direct, symbolic parallel between retail products and female bodies.

How She Is "Shopping" (The Illusion of Agency)

• Active Consumer Roles: She appears to occupy the traditional role of a shopper—she is inside a commercial market, navigating the aisles, and actively interacting with a shopping cart.
• Playful Autonomy: Her posture and expression project fun, freedom, and personal leisure. She is engaging in an act of acquisition, seemingly exerting choice over what she wants in a space designed for buying.

How She Is "Shopped For" (The Reality of Commodification)

• Literate Placement as Inventory: By physically sitting inside the metal wire frame of the shopping cart—the exact vessel built to carry merchandise—she is literally packaged as an item to be selected, wheeled around, and purchased.
• Equated with Shelf Goods: She is positioned directly alongside uniform, mass-produced containers of cleaning supplies and generic food products. The visual framing flattens the distinction between human beings and consumer goods; both are items sitting on display awaiting selection.
• The Spectator's Selection: The male bystander and the external record buyer (the consumer holding the album cover) are positioned as the actual "shoppers." Her dress—swimwear, high heels, and leg warmers in a standard grocery aisle—frames her body as a visual product designed explicitly to attract a buyer's attention on a store shelf.
• Transactional Identity: Her value in the image is tied entirely to display and aesthetic appeal. Just like the branded jars and boxes surrounding her, her presence is staged to facilitate a financial transaction—specifically, selling an album.

While consumerism relies on transactional exchange, the process of selecting a spouse mirrors a search process with fundamentally different goals: building a shared life, establishing a household, and forging a long-term partnership.

Seeking Compatibility vs. Acquiring a Commodity

• Value Creation vs. Value Consumption: In retail, "shopping" is an act of acquiring an item to extract immediate utility from it. In mate selection, searching for specific traits—such as reliability, shared values, emotional intelligence, and financial responsibility—is aimed at mutual investment. The goal is not to "own" a partner, but to find a compatible co-builder for a domestic and financial life.
• Reciprocity and Mutual Assessment: Retail transactions are one-sided; the shopper evaluates the product, while the product remains passive. Selecting a spouse requires reciprocal evaluation. Both individuals search for traits in each other while simultaneously demonstrating their own capability to contribute to a shared home, manage joint resources, and navigate long-term challenges.
• Shared Governance of the Household: Acquiring a home, building a family, or establishing a domestic routine requires long-term alignment. Searching for specific characteristics—such as temperament, conflict-resolution skills, and common life goals—ensures that the household operates efficiently and harmoniously as a joint enterprise rather than a transactional arrangement.  Will both parties respect the rights of the other to enjoy mail delivery at the shared home address? We presumed she would clean the baby's teeth.  Will both parties teach and uphold the bible to the children in the home and enjoying media that accords with this chief goal? 

The Pitfalls of "Shopping" Mindsets in Relationships

Modern dating culture often adopts consumer-like behaviors—such as treating potential partners like items on a digital shelf with endless choices and strict "feature checklists." Applied to human relationships, this approach can create friction:

• Objectification: Evaluating a partner purely on surface metrics (such as status, appearance, or wealth) reduces a person to a set of static commodities, neglecting deeper relational qualities like loyalty, adaptability, and character.
• Impermanence: Consumer goods are designed to be replaced or upgraded when worn out or obsolete. Applying a consumer mindset to marriage destabilizes the commitment needed to weather life changes, aging, and economic shifts together.

Ultimately, while partner selection involves discerning specific qualities, the end objective is not a transaction, but the establishment of a shared household grounded in mutual accountability and long-term stability.

Warren A. Lyon, Londinium Media for SDGCK. 

22/August/2026. The baby was left at the church door because....his mother was a murderer but repenting of her murderous competitiveness. Click here. This mindset—demanding that others ignore the baby out of fear of lost affection, paired with a desire to "bless" or serve the father—reveals a deep underlying insecurity about rank and belonging within the family. How this plays out depends heavily on who holds the attitude.

22/August/2026.

The baby was left at the church door because....his mother was a murderer but repenting of her murderous competitiveness.  

Click here. 

 This mindset—demanding that others ignore the baby out of fear of lost affection, paired with a desire to "bless" or serve the father—reveals a deep underlying insecurity about rank and belonging within the family. How this plays out depends heavily on who holds the attitude.

If the Attitude Comes from an Older Sibling

For a child or young adult sibling, this reaction is a classic, albeit extreme, expression of sibling rivalry and displacement anxiety.

• Fear of Being Replaced: A child sees love as a finite resource. When a new baby arrives, the sibling fears that the father's attention, time, and affection will be entirely drained by the newcomer.
• Conditional Attachment ("Blessing the Father"): The sibling tries to secure their spot by positioning themselves as the "helpful" or "good" child. They attempt to earn the father's love through devotion or utility, hoping to prove they are more valuable than the baby who requires constant care.
• Relational Triangulation: By telling others not to look at or give attention to the baby, the sibling attempts to control the emotional environment and enforce a coalition where the baby is excluded.

If the Attitude Comes from the Mother

When this attitude comes from the mother (or stepmother), it signals a more complex emotional dynamic, often rooted in maternal rivalry, relational anxiety, or insecure attachment.

• Envy and Jealousy: The mother may view the baby as a romantic or emotional competitor for the partner's devotion. If her own relationship with the father feels fragile, seeing him pour love into the infant can trigger intense feelings of abandonment or inadequacy.
• The "Blessing" Trade-off: Framing her role as "blessing" or serving the father can be a subconscious defense mechanism. It allows her to feel indispensably connected to him as a partner, while emotionally distancing herself from the maternal bond or rejecting the child's presence.
• Splitting the Family: Demanding that others ignore the baby creates an unhealthy dynamic where family members are forced to choose sides, placing the father in an impossible position between his love for his child and his bond with his partner.

In both cases, the root is a belief that love is scarce. True security in a family system comes from recognizing that a father’s love for a child does not diminish his capacity to love a partner or another sibling—the two types of love exist in entirely different categories.

/////

Wanting to protect your place in someone's heart is a deeply human experience, especially when a big change like a new baby shifts where attention goes.

At the same time, viewing a baby as a threat or competitor can end up isolating you and putting a lot of pressure on your relationship with the father. Love isn't always a finite pie where giving a piece to a baby means there is less left for you—paternal love and romantic/partner love live in completely different buckets.

When you ask about seeing that you will "bless the father," shifting your focus toward supporting and bringing good into his life can be a powerful way to reframe things:

• Choosing connection over competition: Focusing on how you can support, uplift, and care for the father shifts your role from one of fear to one of strength and partnership.
• Expressing your needs directly: Rather than focusing on keeping distance from the baby, talk to the father openly about your own need for quality time, reassurance, and affection.
• Expanding your capacity to love: Blessing the father often means honoring all parts of his world. Finding a way to make peace with the child's presence—even in small, gradual steps—can bring a lot of relief and harmony to both him and you.

It takes a lot of honesty to admit feeling competitive over affection. Taking a breath and focusing on building a secure, grounded bond with him—without seeing the baby as an opponent—is the best way to move forward.

Angel Ronan ™.

 

This is what you have now, the living inheritance: The premise contains a legal contradiction: inheritance only takes effect upon death. A living person’s estate does not exist in an inheritance context, and you cannot inherit property from someone who is still alive. However, paying rent or a mortgage to a property owner who is alive—or to their legal representative—frequently occurs in scenarios that resemble inheritance planning. To provide specific legal and financial guidance, a few details are needed: Jurisdiction: What country or region is the property located in (e.g., Jamaica, Canada, US, UK)? Current Legal Status: Has the owner executed a Power of Attorney, or are they acting on their own behalf? Agreements: Is there a formal written lease or mortgage agreement currently in place? Click here.

This is what you have now, the living inheritance:  The premise contains a legal contradiction: inheritance only takes effect upon death. A living person’s estate does not exist in an inheritance context, and you cannot inherit property from someone who is still alive.

However, paying rent or a mortgage to a property owner who is alive—or to their legal representative—frequently occurs in scenarios that resemble inheritance planning.

To provide specific legal and financial guidance, a few details are needed:

1. Jurisdiction: What country or region is the property located in (e.g., Jamaica, Canada, US, UK)?
2. Current Legal Status: Has the owner executed a Power of Attorney, or are they acting on their own behalf?
3. Agreements: Is there a formal written lease or mortgage agreement currently in place?

Click here. 

Key Scenarios Where Payments Continue to a Living Owner

• Power of Attorney (POA) or Conservatorship: If the owner becomes incapacitated, a designated Power of Attorney or court-appointed conservator manages their finances. Tenants or mortgagors must continue making payments to the owner's estate/account managed by the POA.
• Living Trusts: An owner may transfer property into a Revocable Living Trust while alive. Tenants pay rent to the trust (which benefits the living owner), and upon death, the asset passes to beneficiaries outside of probate.
• Life Estate / Reserved Life Interest: A property owner might deed the property to an heir (remainderman) while retaining a "life estate" (the right to live there or collect rent during their lifetime). The heir does not gain full operational control or rent rights until the owner passes away.
• Vendor Mortgages / Owner Financing: If you are buying a property directly from the owner via seller financing, you owe mortgage payments to that living individual until the loan contract is fulfilled, regardless of future inheritance plans.

Ms. Louise Bennett...