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Messages - DarkLady

376
Current Talk '15 I / Re: Discuss - Ep #0929
« on: May 11, 2015, 02:13:50 PM »
Very interesting, Uncle Roger. Elizabeth (being the mother of the bride-to-be) would be right at the top of the pecking order. Who knows what rewards the Leviathans promised her for becoming the mother-in-law of Him Who Slimes. Maybe the cannery wasn't doing so well, or the Great House needed a new furnace.

377
Current Talk '15 I / Re: Discuss - Ep #0916
« on: May 11, 2015, 02:10:22 PM »
MB, many thanks as always for the wonderful frame grab. That is an unusual outfit for Barnabas, and JF looks great in it.

378
Current Talk '15 I / Re: Discuss - Ep #0929
« on: May 08, 2015, 06:53:28 PM »
Michael decides he doesn't want to grow up. Philip sends him up to his room, and we can hear Michael's angry breathing from outside.

Paul has wised up to Elizabeth and realized that his food has been drugged. Much more alert, he finds a pistol and makes sure it's loaded. Carolyn agrees to help him. When Paul returns to his room, he first sees a large cardboard box on the bed. When he turns on the light, Barnabas Collins is standing by the window.

Not knowing that he can't harm Barnabas but knowing that Barnabas is the source of all his troubles, Paul trains the gun on him. Barn says that the box contains some clothes (he's still in his jammies). Barn says he  wants to help Paul escape before anything else happens to him, but Paul is more worried about Carolyn. Paul agrees to Barn's plans, but after Barnabas leaves, Paul reflects, He believed me. That's good--because I don't believe him. I'll leave all right, but not before I am sure that Carolyn is out of danger. Not before I find out more about Barnabas and his friends at the antique shop.

Philip is still wearing his black safari suit as he installs a bolt on the outside of Michael's door. He and Megan head for Collinwood.

Elizabeth (wearing a dark dress and her serpent brooch--always a bad sign) opens a small bottle of liquid medicine and smells it. Apparently it smells right to her, because she covers it, takes a paper label out of her purse, and pastes it on the bottle. When Carolyn enters the room, Elizabeth tells her that the doctor has brought Paul’s new medicine. Let me take it to my father, Carolyn offers. I know I can get him to take it. I never thought of that, Elizabeth says with a devious smile. You can get him to do just about anything. Thank you. A moment later, the Todds arrive. Carolyn brings them to the drawing room, then goes upstairs.

Philip tells Elizabeth about Michael’s getting out of the room. Megan assures her that he’s back in the room and will stay there. Barnabas will be very pleased, Elizabeth says. Why don’t we have a drink to celebrate our little deception.

Paul is dressed in the clothes Barnabas brought--black trousers and a gray jacket with wingspread-wide lapels. Barnabas tells him to hurry, but then Carolyn knocks at the door. Barn tells him to get rid of her, then hides. Carolyn is glad her father is better, but dismayed when he says he has to go out. She agrees to meet him at the BW. You’re planning to leave Collinwood, Carolyn says in great distress. Paul hesitates, then asks, Do you think I’m going to run out on you again? You haven’t exactly been happy here since you came back, Carolyn points out sadly. Paul holds her close. I will never desert you again, he says fervently. I’ll take you with me, if it will make you feel better. I want to take care of you, Carolyn says, but asks him for half an hour so she can put in an appearance with the Todds. Paul is upset to learn that the owners of the antique shop are at Collinwood, but agrees to meet her on the terrace in half an hour.

After Carolyn leaves, Barnabas tells Paul, Give me ten minutes to keep everyone in the drawing room with the doors closed. The foyer will be clear for you to slip out of the house.

You are fortunate that you are are to be chosen to guide the child, Elizabeth tells the Todds. We’re proud of our responsibilities, Megan replies. Eventually the Leviathan people will come into their own. When the time is right, our people will converge in Collinsport from all parts of the world. Elizabeth says, Barnabas told me the Collins family money and prestige will help the cause, but that’s all I know. Barnabas enters the room and closes the doors as he engages in the conversation. We must be prepared to accept whatever is in store for us after he arrives, Megan declares. I feel I will be starting a new life, Elizabeth says, but part of the old life is very dear to me--Carolyn. Don’t worry about Carolyn, Barnabas tells her. Elizabeth says, I want most for Carolyn to share my experience, become one of us. Barnabas looks disturbed at this, and Megan notices with suspicion. She asks if he is feeling well. He says he’s fine as he walks toward the doors, but Megan is still concerned. Megan takes Carolyn’s entrance a moment later as her cue to start crying again over Michael. While Carolyn consoles her, Barnabas opens the doors slightly as Paul comes downstairs. Elizabeth calls to him, but he ignores her until Paul nods an okay. He closes the door and tells Elizabeth he was just checking the time.

Out in the foyer, Paul takes the keys from Megan’s purse and quickly leaves the house.

Carolyn invites the Todds to stay overnight at Collinwood, but Megan says they have to get back to the shop right after dinner.

Paul unlocks the door of the antique shop and lets himself in. He carefully looks around and searches the shop desk but finds nothing helpful, so he heads for the stairs.

Megan and Philip say their goodbyes and leave Collinwood.

Paul is in the upstairs corridor when he hears the sound of heavy breathing coming from one of the rooms. He notices the new deadbolt on one of the doors and pulls it free but is still unable to open the door. He finds the proper key and unlocks the door. As he opens it, we can hear the breathing become louder and louder. Paul enters the room and is horrified at what he sees. No! No! he screams as we seem to see him from “Michael”’s point of view. His face suffused with terror, Paul starts to back away.....




379
Current Talk '15 I / Re: Discuss - Ep #0928
« on: May 08, 2015, 04:12:00 PM »
Philip wears a black suit to Michael's wake. But he probably isn't very sorry, because it's a black safari suit.

Julia is late for her appointment with Stokes. He tells her that Professor Osmund is getting ready to do his tests on Tate's View of South Wales. He pours her a sherry, no doubt hoping to get her to talk. She asks him about Coleyville. It’s a dreary little place twenty miles down the coast, he observes. He notices that she’s pale, and she realizes that she hasn’t eaten since breakfast. Stokes goes into the kitchen to get some English biscuits. [He is by far the best host of anyone on the show!] What will I find in Coleyville? Julia wonders, her mind already on the next stage of one of her puzzles. A few moments later, Stokes emerges with a plate full of biscuits, but Julia is already gone.

Julia knocks on Mrs. Hutchins’s door, and a voice calls out to tell her to come in. Julia enters and steps past a birdcage with a live green parakeet inside! Mrs. Hutchins (played to a tipsy fare-thee-well by Camilla Ashland) emerges from a back room. I was lying down, she says, but she has obviously been drinking. Julia introduces herself and explains that Megan said Mrs. H. had cared for Michael. Mrs. Hutchins produces a handkerchief and proceeds to tell Julia, It wasn’t a shock to me, not the way that boy grieved when his parents.... She lets it trail off, then asks, How was the funeral? Julia tells her it was very nice. I had to give the boy up, Mrs. H. explains, because I’m not well enough to handle him. He was difficult--all of the Hacketts are “pretty spirited.” His father, Burt, for instance, was the most mischievous little boy! I knew the family for a long time, she sighs, but they are all gone and I’m still here. Julia thanks her and leaves. The moment Julia is out the door, Philip Todd emerges form the back room and tells Mrs. Hutchins, You’ve done very well. How did you find out about me? she asks. He replies, I know about a number of people who at the proper time could prove very useful--as you have. Thank you for your help, he adds, handing her an envelope. It’s full of cash, which she carefully counts. It’s enough for bottle after bottle, he assures her. Mrs. Hutchins starts to ask questions, but Philip says, Remember our agreement. The other part is that you’re to forget it all and forget me, Dr. Hoffman, and the boy. It is all something you dreamed after too much whiskey. Hesitantly, Mrs. Hutchins asks, Was there really a little boy who died? Or did you make the boy up too, like Burt and Evelyn? Forget it all, Philip tells her again. After he leaves, she is troubled for a moment, until she remembers the money and starts to count it again.

Of course Julia is lurking in the shrubbery and watches Philip leave.

At the antique shop, Megan is arranging some more stock in a desultory way. She pauses over a wooden Continental soldier identical to the “member of the regiment” from Barnabas’s boyhood collection, the soldier that Sarah used to protect David long ago. Philip returns and tells her, Dr. Hoffman was completely convinced. It is all over, they agree, but Megan adds, I will have to learn to stop looking for things that Michael would like.

Julia returns to Stokes's house, knowing she will have to pay for her rudeness, and she's right. He takes her to task and guesses that she went to Coleyville. Julia finally says, I need your help desperately. Something is going on. She tells him about Barnabas’s strange behavior; Paul Stoddard’s mental state; her conversation with Mrs. Hutchins-- And, she adds, the whole series of strange little boys coming to and going from the antique shop--all with blond hair and blue eyes, all with the same birthmark on the wrist. Today the last and oldest boy died, and it was his funeral I attended this morning. [This is very quick work, since he took ill and died, she signed the death certificate, Megan and Philip held the wake, and the funeral took place seemingly all on the same day!] It was a classic case, as if his symptoms had been read out of a book, but something about his death disturbs me, she continues. Ever since Barnabas returned, something evil has been threatening us all. We must try to stop it, Stokes immediately agrees. How do we begin? Julia tells him, I saw Philip Todd coming out of Mrs. Hutchins’s house, but why would Mrs. Hutchins lie? I’m sure Barnabas could answer all my questions--if he would. Stokes suggests, You could win Paul Stoddard’s confidence despite his fears. I will visit the antique shop that specializes in a succession of strange, disposable little boys.

At the shop, Megan is still working when Philip suggests they close. I miss Michael, Megan says plaintively. You have to stop thinking about him, Philip reminds her. The boy had to be gotten rid of. I think you were glad, Megan says spitefully, but whatever argument they were about to have is forgotten when Stokes enters the shop. He introduces himself, explaining, Carolyn Stoddard told me about your charming shop. He admires Megan’s Leviathan locket [which is unfortunately flipped to the back for its closeup] and actually buys a vase. Philip wraps it up, and when he hands it back to Stokes, the professor notices a Naga ring on Philip’s hand. After Stokes leaves, Megan and Philip discuss their visitor. He is intelligent, they agree, and dangerous. He’s outside, Megan says, watching the shop. I shouldn’t have worn the ring, Philip says, but Megan makes light of it. I wish we didn’t have to hide and pretend, she says impatiently. If we were like ordinary people, I couldn’t have given up Michael. Stop thinking about it! Philip says as he grabs her. After he lets her go, Megan closes the wooden window shutters. Goodbye for now, Professor Stokes! she comments sarcastically. Philip says it’s quite dark and goes to turn on the lights. Megan says not to, then hears footsteps. Philip hears them too, and a moment later, Michael, still wearing his dark funeral suit, comes down the stairs. With a really weird smile he says, I have decided not to go through with it........

[The closing credits feature a closeup of Mrs. Hutchins’s live budgie, hopping around on its perch.]

380
Current Talk '15 I / Re: Discuss - Ep #0927
« on: May 01, 2015, 07:40:20 PM »
Wow, Patti, wouldn't that have been a plot twist! But instead Maggie knocks out poor Philip, who only came to rescue her.

Maggie escapes and runs straight to Julia, thinking that Philip is dead. They go up to the storage room, unaware that Michael has been listening--and gloating. He gloats all the way to the antique shop, where he gloats to Megan that Philip is dead. She actually puts on her coat and goes to Collinwood, ignoring Michael's screams that she's ignoring him. Michael vents his anger on some innocent antiques.

Megan bursts into Collinwood and is practically hysterical when Julia says she can't see Philip--but doesn't explain why not.

Michael is actually picking up some of the antiques he threw around the store when someone comes into the shop. Without looking up, Michael says the shop is closed. A hand reaches down, grabs his shoulder, and turns him around. Michael gasps when he sees Philip, hale and well except for a bruise on his forehead. With utter contempt and fury, Philip reads Michael the riot act about terrorizing Maggie. Getting to his feet, Michael says, I didn’t mean it, I was only joking. I know you meant for Maggie to kill me, Philip tells him--but your strategy failed because Maggie wasn’t strong enough and the weapon wasn’t sharp enough. And now I am going to take care of you! he finishes. Michael shouts back defiantly, You can’t touch me! You know who I am! He has some idea of gaining the sanctuary of his room, where he is not just a little boy, but Philip grabs him and shouts, You are going to be sorry! Very sorry! Megan arrives and Michael runs to her arms. Even though he just tried to have her husband killed, she coos over him, then sends him off to her room. Megan and Philip wonder how they'll control him now, and Philip sadly remembers what their lives were like Before. But Megan instantly reverts to cult zombiehood.

Michael is gloating yet again while writing his name on the mirror in red lipstick. Megan comes in and tells him that although she doesn't even care what he did to Maggie, he's made himself too conspicuous. Something is about to happen to him that he won't like. Frightened, Michael covers his ears and refuses to listen. But Megan says, You must hear and accept as I must--no matter how lonely it makes me. This doesn’t make Michael feel any better.

Maggie arrives downstairs to check on Philip and is relieved to see that he didn't come to any real harm. Philip spins a tale that ever since Michael's parents died, he strikes out at anybody. I didn’t have any idea of this, Maggie says with compassion. You should talk to Dr. Hoffman. Philip smiles faintly at the idea that this might help.

Upstairs, Michael is throwing a Force 10 temper tantrum, screaming, Noooo! You can’t do this to me! I don’t want to, Megan tells him, but I must. You’re the only one who loves me, Michael says, and you’re the only one I love. Why don’t we run away? Then we won’t have to do what They want. We can’t run away, Megan says sadly, and we can’t be together--not anymore. You don’t love me! Michael rages. I do, Megan replies, and that’s why I’m willing to let you go. I don’t believe you, Michael says. I won’t love you anymore. I know, Megan replies--you will love Carolyn. As this thought occurs to Michael, he gets a lot calmer. He gets the lipstick, draws a giant heart around his name on the mirror, and writes in Carolyn’s name. This seems to confirm Megan’s theory, because she says with great decision, That proved it. There is no choice anymore. It must be done! Michael looks absolutely petrified.

Maggie and Philip are concluding their conversation and Maggie is thinking about going back to Collinwood when Megan runs down stairs and starts dialing the phone to call Julia. Something terrible has happened to Michael! she tells Maggie and Philip. Megan tells Julia, I found Michael unconscious, and I can’t bring him around! Julia promises to come right away. Philip consoles Megan as Maggie, now forgotten, slowly backs out of the shop, saddened by the news despite Michael’s tormenting of her.

Covered with the peripatetic brown afghan, Michael tosses and turns on Megan’s bed. I don’t want to be by myself, he raves. Julia finishes examining him and asks Megan what happened. He looked like something was coming on when he returned from Collinwood, Megan says, so I told him to lie down in my room. Then I found him lying unconscious on the floor. Philip comforts her, but she is nearly inconsolable. Julia says, Michael’s heartbeat is very irregular, and his vital signs are weak. She calls for an ambulance, but Michael, apparently in great pain, tosses and cries out, I don’t want to go, I am afraid! Megan comforts him, but suddenly he becomes quiet and very still. Megan calls Julia over, but Julia can’t get a pulse. He’s dying! Megan instantly screams. Julia says, Maybe I can shock him back to life. Don’t let him die! Megan implores her. Julia prepares to give Michael an injection.........



381
Current Talk '15 I / Re: Discuss - Ep #0926
« on: May 01, 2015, 07:29:29 PM »
The stairs at the antique shop have been the stairs at the Blue Whale and the stairs at Dr. Lang's house. A couple of story lines from now, they will have an even more important role.

For the first time, Barn seems to have doubts about the Leviathan cause--and about time, too. He figures it all started when he opened the box. He decides to stall for time while he figures out a way out of the cult.

Poor Maggie is still stuck in the storage room. Things only get worse when the heavy breathing starts up again. Michael tauntingly warns her not to fall asleep.

Maggie hears approaching footsteps and goes to a very high mantel shelf to retrieve a candlestick. It’s almost time, Michael’s irritating high-pitched voice tells her. Just a few more minutes, and then I will open the door and come in. Then you will know who I am, won’t you? Maggie runs to the door, brandishing the candlestick. She shouts, I don’t want to know who you are! Don’t come in here! If you come in here I swear I will kill you!

Philip returns to the two wall lamps from the opposite direction he set out. He turns onto a different passageway. Maggie hears his footsteps getting louder and louder as he approaches her prison, and prepares herself for what she has to do. Philip reaches the door. Maggie! he calls out. Answer if you can hear me! I’ve come to get you out of there. He fumbles with the latch. (Why couldn’t Maggie open it from the inside??) As the door opens, Maggie shuts her eyes and raises the candlestick high overhead to strike.......


382
Current Talk '15 I / Re: Discuss - Ep #0924
« on: April 30, 2015, 03:11:31 PM »
It's official, joey, my head is spinning! But I think you are right.

383
Current Talk '15 I / Re: Discuss - Ep #0924
« on: April 29, 2015, 03:24:52 PM »
Yes indeed!

David and Michael play a game called Wall Street. Hmmmm.....

Julia and Angelique are actually friendly as A. reluctantly agrees to part with her husband's wedding present, the notorious "View of South Wales."

384
Current Talk '15 I / Re: Discuss - Ep #0925
« on: April 29, 2015, 03:22:22 PM »
Well, Philip actually had the kid over his knee in order to give him a spanking, but Megan intervened. Too bad.

Meanwhile, Maggie is stuck in the secret passage after hearing the Leviathan heavy breathing.

385
Current Talk '15 I / Re: Discuss - Ep #0908
« on: April 27, 2015, 03:02:54 PM »
I suspect the Paul Stoddard story line would have unfolded at a more leisurely pace if [spoiler]Dennis Patrick hadn't been picked to be in the movie Joe. [/spoiler]

386
Current Talk '15 I / Re: Discuss - Ep #0908
« on: April 26, 2015, 04:54:39 PM »
Me neither, MB.

It's too bad the Paul-Elizabeth story couldn't have gone further.

387
Current Talk '15 I / Re: Discuss - Ep #0908
« on: April 24, 2015, 06:43:20 PM »
Yes, one of the greatest speeches in the whole series!  [snow_smiley]

388
Current Talk '15 I / Re: Discuss - Ep #0907
« on: April 23, 2015, 03:21:24 PM »
Really nice, all of them! Thanks, MB!

389
Current Talk '15 I / Re: Discuss - Ep #0923
« on: April 20, 2015, 03:04:27 PM »
Mine too!  [snow_smiley]

390
Current Talk '15 I / Re: Discuss - Ep #0923
« on: April 19, 2015, 10:06:38 PM »
DC borrows from "Death Takes a Holiday," as the dapper Mr. Best gives Amanda seven more days to get Quentin to remember her.

Meanwhile, Julia wonders why all the photos of Quentin have been removed from the family albums.

Carolyn is in the foyer when someone knocks at the door. She admits Sabrina Stewart, still in her oddly mismatched clothes, her hair still stark white. Her movements are awkward, as if she hasn’t had much physical activity in a long time. The moon, the moon! Sabrina says. You must come! Carolyn is inclined to phone the nursing home, but Sabrina begs Carolyn to come with her. You must _see_! she insists. Carolyn gets her coat and a flashlight, and Sabrina leads her away from the house.

Julia returns to Amanda, who says nothing about Mr. Best. Julia vows that they will make Quentin remember.

Somehow Sabrina and Carolyn are able to get into Charles Delaware Tate's house and stand in the living room. They hear the werewolf howling far away, and Sabrina freaks out. The door opens-- but it's Julia. Sabrina accuses her of protecting "him." Julia silently shakes her head, but Sabrina becomes hysterical, and Julia slaps her then hugs her. Carolyn is shocked, but Julia tells her to take Sabrina back to Collinwood. Sabrina is crying now, defeated, and Carolyn gently leads her away.

After the girls leave, Julia begins going through Charles Delaware Tate’s desk. Eventually she finds a letter typed on the inevitable yellow paper. She compares it with another that seems to be identical and reads it to herself: Dear Sir: For many years I have been trying to find a large Tate canvas which disappeared following a fire at the turn of the century. (Just before the fire in the studio, he painted over Quentin’s portrait, Julia recalls to herself, then continues reading.) The painting was titled “A View of South Wales.” It is of paramount importance that I find the painting. Would you took kindly check your records and see if your gallery has had the painting at any time. If so, would you kindly advise me of who the purchaser was. Money is no object. I must have the painting to complete my Charles Delaware Tate collection. Very truly yours, Harrison Monroe. Reading the letter inspires Julia to search even harder.

Back at Collinwood, Carolyn tells Sabrina, You warned me that Chris would kill me. Did he kill that man tonight? No, not Chris! Sabrina says with great difficulty. Tell me about Chris, Carolyn says gently. You love Chris, Sabrina says. Carolyn can now reply, No. I don't know that I ever did. I know now that I never will. Believe me. But you love him. Yes, I love him! Sabrina declares and starts crying all over again.

Julia has brought a bill of sale to show Amanda. On July 19, 1968, the Mannix Gallery in New York sold “A View of South Wales” to a Mr. Schuyler Rumson of Little Windward Island, Maine. Quentin’s portrait is only fifty miles away! Julia realizes. How do you know it’s Quentin’s painting? Amanda asks. It has to be, Julia replies. Why else would Tate have sent out all those form letters to all those galleries? Schuyler Rumson is in New York, Amanda says. He is a famous magazine publisher. I’ve already tried to call him, Julia replies. He and his wife will be at the island tomorrow, and I plan to be there too.

Schuyler Rumson’s house is a stately neoclassical affair, with large columns in front and a balcony above. In the comfortable, wood-paneled living room, Schuyler Rumson (welcome, Geoffrey Scott!) himself is on the phone while Julia waits nearby. When he hangs up, she apologizes for intruding. He thinks she is here on business, but she explains that she wants to see the painting. You drove fifty miles and hired a launch just to look at a painting, Schuyler marvels. It’s important, explains Julia. You must be a true art lover, Schuyler comments approvingly. He steps over to a painting in an ornate gold frame. (Strangely, this “View of South Wales” looks just like the one Julia bought at the Todds’ shop--did Tate paint the same scene twice?) Julia thinks to herself, It is the right size, but I can’t tell if there is anything beneath the landscape--I must get it to Professor Osmund. She and Schuyler talk about the painting for a moment and agree it isn’t one of Tate’s best, done late in life. May I borrow it for a show I’m arranging? Julia asks. You’ll have to speak to my wife about it, Schuyler replies. It is her favorite painting, lord knows why--she has exquisite taste in everything else. Julia asks if she can see Mrs. Rumson. You can, Schuyler replies--in seven and a half minutes, when she is due to arrive. Tonight is our six-month anniversary. He is hinting that Julia should leave, but he eventually caves in and lets her wait. Let me show you a portrait of my wife, he says graciously--the most beautiful painting, of course, he adds proudly. He leads her to a small gallery adjacent to the drawing room and turns up the lights. He stops in front of the portrait, which depicts a blond woman in a plain green gown. Julia can’t keep from with shock and recognition. That’s her, Schuyler says proudly. That is my Angelique.........