on today I was going to see her and find out if our last and final attempt had stuck. But nothing about my cycle was giving me any hope. As a parting gesture, the never-say-die long shot, he left a "deposit" with Dr. Klein—for her liquid-nitrogen womb-in-waiting—enough for two final intrauterine inseminations. Later on today I was going to see her and find out if our last and final attempt had stuck. But nothing about my cycle was giving me any hope. In the meantime, though, I had a movie to finish. We were shooting an interview at a five-story condominium building in Greenwich Village belonging to a woman named Carly Grove, who'd recently adopted. Her story was intriguing, but now—with my own hopes of ever having a baby down to two outs in the bottom of the ninth—well, now I had more than one reason for wanting to meet her. . . . In the meantime, though, I had a movie to finish. We were shooting an interview at a five-story condominium building in Greenwich Village belonging to a woman named Carly Grove, who'd recently adopted. Her story was intriguing, but now—with my own hopes of ever having a baby down to two outs in the bottom of the ninth—well, now I had more than one reason for wanting to meet her. . . . When I arrived, I lucked into a parking space right in front. Our security guy, Lou Crenshaw, was off today getting some city paperwork sorted out, but my crew was already upstairs—as director I get to arrive at a decent hour, though later on I also get to do lonely postproduction work till midnight—leaving our three vans double-parked, with a New York City Film Board permit prominently displayed inside each windshield. The building, formerly a Hertz parking garage, was near the end of Barrow Street, facing the Hudson River, and was filled with artists and entrepreneurs. When I arrived, I lucked into a parking space right in front. Our security guy, Lou Crenshaw, was off today getting some city paperwork sorted out, but my crew was already upstairs—as director I get to arrive at a decent hour, though later on I also get to do lonely postproduction work till midnight—leaving our three vans double-parked, with a New York City Film Board permit prominently displayed inside each windshield. The building, formerly a Hertz parking garage, was near the end of Barrow Street, facing the Hudson River, and was filled with artists and entrepreneurs. The truth was, I wanted to get the interview on film as soon as possible. I was more than a little worried Carly might decide to get cold
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