David, thanks for your response. the real story here, like all music biz stories (and especially anything associated with Morris Levy) has to do with rights to songs. the film project that became “Why Do Fools Fall in Love” began when, after my piece came out, Harold decided it would be a great place for Rhino to start being in the film business, because they were just starting to get access to certain rights. We talked about it for a while, my understanding is that he talked to another screenwriter after me for a while, but Rhino, as a film company, had no funds, everything needed to be on spec. while you are correct that the success of “Waiting to Exhale” had an influence, I believe something well before that really made the difference — Rhino dramatically expanded its relationship with WB, had (if I recall) different access to the catalogue, and had Warner development money to try to make a movie. so they turned to the Frankie project again. You’d have to talk to Harold about the particulars, but that’s the way I remember it. I guess what I’m saying is that I believe an upgraded deal for a Rhino film funded partially by WB was in place before “Exhale.” I’m belaboring this point only because you’re piece very interestingly connects a bunch of dots, and I think there are a few more dots to be reckoned with. have you ever read my piece?