7421
« on: February 21, 2015, 04:26:07 AM »
Good for Julia, confronting the skulker like that. I often wonder what it's like being smaller and slighter, surrounded by clearly more powerful people, looking far up just to see in their faces, especially in Nancy Barrett/ David Selby scenes...
I guess it does make perfect sense to expect Barnabas to reappear in the spot where he vanished. I wondered why she thought that in my notes.
Welcome, antique shop, and unaffected Megan and Phillip Todd. Tate's name and work pop up. I guess Julia instantly thought of using Tate to help Chris the moment his name came up... Carolyn is utterly flummoxed by her Tate interest. She's certainly seen much weirder stuff than that, but then again, she's probably forgotten it all....
[spoiler] Carolyn has never seen a picture of her father, I guess.[/spoiler]
Tense Cairn music is on an obviously scratchy record. It opens by itself, end.
From DL: "the lack of age crackling in the glaze; the subject is modern, but the canvas is not." I missed that. So Julia thinks it might be... not Q's portrait since it's too small. A piece of it? Or a trail of bread crumbs to follow? Did she even get caught up about Q's portrait in 1897?
As for Tate's talent, it's a confused issue right now. He had a painting career before ever meeting Petofi... he just wasn't great. The painting we see is not meant to strike us as great. Tate did lose the ability even to hold a brush steady when Petofi took his gift away, but that's Petofi being a vindictive sledge hammer. He overdid it.