Author Topic: Robservations 5/12/03 - Enter Jeb; Quentin Mourns - #934-935  (Read 1383 times)

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Offline ROBINV

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934 - Quentin pulls Amanda up and into his arms--oh, no, they've touched!  We've lost, says Amanda--what will we do?
We can get out of here, he says, and begins to walk. A loud, terrible rumbling surrounds them.  Amanda is immediately covered--and buried--in an avalanche of rocks.

Over the background of the woods, we hear Amanda's voice--"Quentin, where are you? I've lost you, I can't find you, lost, lost, Quentin, goodbye, goodbye." Quentin finds himself lying on the ground in the woods, alone. I wish I could awaken and find it was all a dream, with Amanda next door, the way she's been all these months. He covers his head with his hands--stop it, he orders himself--it won't do any good, it wasn't a dream--Amanda is gone, so is the cave, gone forever--only Quentin Collins is left, he says bitterly.

The sheriff covers Paul's body with a sheet and asks Julia, did you tell his family? No, says Julia, I wanted to wait until after I saw you--I didn't know what to say. I've seen him, says the sheriff--I've never seen anything like it, Paul died so horribly, I've never seen a room destroyed as that one was, or a corpse that looked like that--I haven't the faintest idea who or what did it.
There's a knock at the door. That's Sykes, says the sheriff--he's taking the coat to the chemist to see if we can identify the substance clinging to it. After he leaves, Julia asks Stokes--do you think he'll believe it? We must, says Stokes--I think we should tell him about Barnabas' involvement--the situation has deteriorated so much, it will be impossible for us to keep anything back. No, we can't tell about Barnabas, says Julia--he might have some plans we can spoil.  Very well, says Stokes, but I'm afraid we will both regret it. The sheriff returns to the room--Fisk is going to arrange an autopsy, he says--perhaps it will help us track down Paul's killer, suggest a direction to move in. Whatever killed Paul moved quickly and fiercely, says Julia--but not quite quickly enough.

Antique shop - Philip gazes nervously out the shop windows. Megan is a wreck, too.  When she starts to head upstairs, he asks, where are you going?  To see if he came back, she says. Triumphant with his night's work? taunts Philip. Stoddard had to be silenced, insists Megan, and he was the only one to do it.
Who is going to silence everyone else? demands Philip--tell me what happens when he's seen wandering around the countryside, start talking about him, when they start banding together and coming after him. He's faster and cleverer than they are, boards Megan, he'll get away from whoever is after him and get back here.  It's not him I'm worried about, says Philip it's ME!--he'll get back here, but someone will see him, come after him, go up to that room--and what do you think they'll find?--that THING as it really is, a killer living in a dark, boarded up room!  Stop it, says Megan, he only did what he had to do! All right, believe that, says Philip, but he's in trouble now--he can't say here anymore! You can't make him go, says Megan. Can't I? asks Philip, why not, he's the one who is strong, resourceful and ruthless, well, I'm none of those things--"I'm just plain scared!"  Megan, arms crossed, looks contemptuous. They hear the breathing of the Leviathan Lung Brat. Listen, he's come back, I knew he would, says a delighted Megan. You'd better pray that no one has seen him or is after him, warns Philip. Megan turns and looks at him.

A mother's love on her face, Megan smiles. Thank heavens he's back now, she says, it's all right. For this minute, says Philip, but we don't know what's happening out there, what they're planning to do--we don't even know if he killed Paul. We don't know very much, do we? asks Megan sarcastically. There's one thing I do know, says Philip, I meant what I said--he must leave this place. No, he'll stay here, she insists. He can't, we are still in danger, says Philip, and as long as we are, let him hide in the woods, stay out of sight--"Megan, you said he could take care of himself, let him do that now!"  He's right in her face. Were you always such a coward? she asks scathingly. Call me a coward, he says, but what I say makes sense--it's safer for both us and him--if someone comes here, we can't protect him, and someone still may come--any second. This gives Megan pause. She looks out the window, then plaintively at Philip.

Julia tells the sheriff, Paul left us with more than the state of his body or condition of his clothes--he left us his last words.  The sheriff reads from the list in his book--Monster, room upstairs, dark boards, basement room, breathing, always breathing--are you sure this is what you heard? Yes, she says. Why would he be talking about a monster? asks Sheriff Davenport. Because some sort of monster was after him, explains Julia. I go after killers in my business, not monsters, insists the sheriff. You yourself never saw a room like the one in which Paul was attacked, says Julia--burns like that, a substance, odors in the room and clinging to his jacket. Davenport wants to pass the monsters a moment, get back to the other words Paul said--room upstairs, dark boards--do you know where this room could be? I saw him leaving the Todds antique shop, says Julia. They wouldn't have anything to do with his death, says Davenport. He was coming from that shop, persists Julia. Funny, Mrs. Todd called asking about Paul earlier, says Davenport. I thought it was because of Carolyn. I must tell Carolyn, realizes Julia--but what will I say? Tell her he died of a heart attack, suggests the sheriff. Julia agrees--but what made it stop, what frightened him so much that he died--I've got to find out what happened! The phone rings. Stokes answers. He hands the phone to the sheriff, who asks, "Are you sure?" He hangs up and says, we're sending Paul's jacket to Bangor, where we have more complex equipment--he can't ID the substance on the jacket--except to say it's nothing he's ever seen before in his life. Julia grimaces. I wonder if you believe in monsters, she asks. I wondered why Mrs. Todd sounded as she did on the phone, says Davenport--something about her tone that jarred me--it was a little too frantic.

Philip waits down in the shop. Megan comes downstairs--he won't leave, she says--he won't go! Did she explain it was to his advantage? asks Philip--it would be safer. I explained exactly, and he was contemptuous, she says. Did you lock him in? asks Philip. No, she says, he doesn't like being locked anymore, besides, there's no point--no lock will hold him. She looks at Philip's face and says, "You ARE frightened of him, aren't you? Yes, admits Philip, frightened of him upstairs and of those who are hunting him--and I'm sick to death of the whole situation!--Megan, I don't know how we got into this, but do know now is the time to get out--if he won't go, we must, right now. Run and leave him? asks Megan, disconcerted. Leave him, everything, get out with our lives and consider ourselves fortunate, says Philip. Maybe I consider myself fortunate having what I have here, she says--maybe I can't leave him. Then that's your decision, says Philip, I'm going with or without you. Please don't walk out on me! begs Megan.  Philip is taking money from the cash box.  Think of what we've meant to each other, she says--we have so many plans, dreams. The phone rings; neither wants to answer it. Megan finally does. She's relieved at first, then demands WHAT?--are you sure?--oh, yes, yes!--thank you--it was Liz--they found Paul Stoddard--dead. Did he say anything? asks Philip. No, he didn't, says Megan triumphantly, he had a sudden heart attack, he never spoke. Grinning, she turns to her husband. "Stay, Philip," she says joyously, "there's no reason to run away anymore--everything is going to be all right, all our plans are going to be carried out after all."

Philip gazes at himself in a mirror on the desk.  He sits down, contemplating his situation. Megan comes down, hammer in hand--I fixed the window, she assures him--now no one would ever suspect he was out and back. How is he? asks Philip. Very calm now, says Megan, staring at the hammer, there was no reason for you to be frightened of him--you could have fixed the window, she says, obviously digging, he wouldn't have hurt you. It's done, says Philip, annoyed, that's all that matters. Yes, it's all done, says Megan with satisfaction--I hadn't realized what a beautiful night it is--I'm going to walk to Collinwood. Unnerved, Philip asks, should you, should, under the circumstances?  I'll look very sad and help console my good friend, Carolyn, says Megan--you stay here, she says, and stop looking so worried--there's nothing to be worried about anymore, certainly not him--he's very quiet now. Her tone is contemptuous. Besides, she adds, I told him not to hurt you. (Ouch!)

Stokes' house - Sheriff Davenport tells Julia all arrangements have been made--the search warrant will be ready in an hour. May I go with you? Julia asks.  Davenport says it could be dangerous, if we end up finding what we think we'll find. You still don't believe, guesses Julia. He shakes his head--I don't know what to believe, he says. Stokes enters the room and sits down on the sofa, looking disturbed.

Antique shop - Philip takes the hammer in hand, shoots a dirty look upstairs, then puts it down. He starts to go upstairs, but someone knocks at the door--the sheriff, followed by Julia.  Sorry for disturbing you, he says--but I had no choice--I have a warrant to search these premises. There must be some mistake, babbles Philip. No, no mistake, says Davenport--it seems someone mentioned what we believe to be the Todd's shop in his dying words. Who was that? queries Philip. Paul Stoddard, responds the sheriff. Carolyn's father? asks Philip--is he dead? Yes, very dead, says the sheriff. I'm sorry, says Philip, but you can't believe. . .he stops, looking at Julia, then continues--Mr. Stoddard was very disturbed--I wouldn't take anything he might say   seriously. You might be right, says Davenport, but let us look around.  "No," explodes Philip, "I don't want you wandering around this place, treating us like criminals." No one is doing that, says the sheriff, we just want to look around a little bit--unless, of course, you don't want me to. No, it's not that, says Philip hastily, holding the hammer--but we've suffered our own recent loss, and I'm being overly sensitive, and it's my nerves. I'll make it as short as possible, promises Davenport--can you just lead the way?  I'll lead the way, agrees Philip, and puts the hammer down. Julia follows the men. The camera focuses on the hammer lying on a table.

Upstairs, but Philip bypasses the Leviathan Lung Room, explaining, it belonged to the child that died--please don't go into that room, begs Philip, do me a favor--there's nothing there, just leave that room alone--don't defile it. Davenport points out--this is the room at the top of the stairs.  Yes, says Julia, nodding.
I very much want to check out this room, says Davenport. He tries the door, finds it locked, and takes out his gun, looking at Philip as he opens the door. Are we about to have another victim of the Leviathan Lung Brat?

NOTES: RIP, Amanda Harris. We lose two fairly major characters in two days. Sad to see Quentin finally have a chance to be with his love, only to lose her.

Megan's baiting of Philip, denouncing his very manhood this way, shows you how far she's strayed from her love for him. Even though she was terrified that he might leave her, she still continues to treat him like crap, taunting him about his well-founded fear of the Leviathan Lung Brat.

What is poor Carolyn going to say when she learns her father is dead?  She only recently found him, and that's surely going to hurt terribly.

Philip's fear of the sheriff was palpable; you could almost see the frantic little brain animals running around the wheel in his head. I think Megan left him alone on purpose, perhaps telling the creature to sic him. She really has gotten to be a rotten bitch mistress of death, hasn't she?

Julia is staying right on top of things. You've got to admire her courage, verve and tenacity. Go, Julia!


935 - Philip tries to talk the sheriff out of "defiling the room of the little boy who died," but Davenport draws his gun and goes in anyway. Standing inside is a young blond man, who grins down at the gun pointed at him and flippantly remarks, "Hey, this is going to be a pretty exciting place." A stunned Julia exchanges looks with Davenport.

Davenport curiously surveys the young man.  Julia and Philip enter the room, too.  What are you doing in here? the sheriff asks the young man.  "Why shouldn't I be in here--it's my own room", announces the young fellow He stands there arrogantly, hands tucked into the pockets of his brown leather jacket.  I thought you told me this was the little boy's room, says the sheriff. It's mine now, answers the young man before Philip can respond--Mrs. Todd rented it to me while Philip was out. Julia, incredulous, asks, did Mrs. Todd rent you this room, with the boarded up windows?  We boarded it up when Michael died, says Philip--we were never going to use the room again. I convinced Mrs. Todd to rent me the room, says the young man--I like the windows boarded up--I can use the place as a studio, darkroom--I'm a photographer. The sheriff asks his name, and, arms crossed over his chest, reminiscent of Michael, he answers, "Hawkes, Jeb Hawkes, short for Jabez--call me Jeb,
Sheriff." Let's get this straight, suggests Davenport, you say you came from out of town and are a photographer--how did you find this place?  Passing by, came in, asked Mrs. Todd if she knew of any rooms in town--she suggested I stay here--so here I am, he chuckles--I get the feeling I'm going to like it--pretty cool having a gun pointed at me my first day in town. I'm sorry, says Davenport, but I believed...there are some other places I'd like to see, Mr. Todd, if you don't mind. Yes, agrees a very relieved Philip, I'll be happy to show you anything you like. Jeb calls to Philip--sorry for frightening you, he says--if you don't go along with your wife--if for some reason you want me to split, I'll split--right now. No, no reason at all, Philip assures him. Do you have any idea how long you're going to stay? asks Julia. Depends on how things work out, says Jeb. With your photography? asks Julia. With that--and the chicks, smiles Jeb piggishly. Julia gazes sharply at him.  Is there something that bothers you? he asks.   No, she assures him. Then quit staring, he says. I'm not staring, she says. Yes you are, he says, and also asking a lot of questions. Julia apologizes, smiling--I was just trying to be friendly. "I'll find my own friends," says Jeb coolly (nasty, nasty boy)! Julia holds out her right hand--let's shake and call it quits, she suggests. You want to shake hands? Asks Jeb--all right, lady, they will.  When they clasp hands, she spots a moon shaped birthmark on his wrist. What's the matter now? he asks. Nothing, she says. Cold hands, warm heart, isn't that what they say? quips Jeb, smiling.

Philip leads Davenport out to the shop from another room--I hope that satisfies you, Sheriff, he says.  There was nothing in that room at all, acknowledges the sheriff, except a lot of antiques. The old silver tea strainer your wife wants is in the shop, says Philip--should I go and get it? (good toadying, Phil)  Sure, says Davenport.  Philip goes to get it.  Davenport finds something on the floor which he picks up and pockets.  Julia comes downstairs.  Did you get to know the new visitor? asks Davenport. Well enough to know he's a very rude young man, offers Julia--did you find anything in the basement? Nothing, says Davenport. Philip joins them and hands the sheriff the 17th century silver tea strainer--I'm sure your wife will like it. What do you want for it? asks Davenport.  Your wife is one of our best customers, says Philip--take it as a gift for her. I couldn't, protests the lawman, especially the way I barged in and upset you the way I did. Something you had to do, Philip assures him, I understand. Thank you--for the understanding and tea strainer, says the sheriff.  Dr. Hoffman, are you ready to go? Yes, she says. If there's ever anything you're looking for, just ask me, Philip tells Julia--you may save herself a lot of time, he says significantly. Thank you, I'll do that, she says, with equal significance. After they leave, Jeb comes downstairs, mocking Philip's words: "17th century--I think your wife will like it--take it as a gift."  We did it deliberately, retorts Philip, wanting them to be friendly, not suspicious, and that's exactly what we did. Jeb pronounces him and his tea strainer brilliant--but not so brilliant upstairs, gaping and staring at me, making me do all the explaining.  I had no idea, says Philip--how did I know how much you had grown, what you would look like?--did you think I'd let them come up and see me the way I really am? demands Jeb, his lip curling angrily--you are an idiot! Perhaps not so much of an idiot if you'd let us know what you planned to do, counters Philip. Maybe, says Jeb, I just didn't want to let you know--maybe I just wanted to see you sweat it out--and he smiles cruelly.

Outside the antique shop, Julia tells Davenport, I'm glad you got something for your pains--I hope you wife likes the present. What's wrong? he asks--weren't you satisfied? No, she admits, I don't care how cordial they were or how many questions they answered, I disagree with you--something is going on in that shop and I intend to find out what it is. The sheriff looks at her--who says I disagree with you?--I'm square on your side, he assures her--I smelled an odor in that room, a faint one, but the same one we found clinging to Paul's jacket, so I'm not really satisfied, and there are things I must do, right away. What else? she asks. That's not important now, he says, I'll have to do these things right away. (Does this dialogue make sense to anyone?)

Jeb admires himself in a round hand mirror in the antique shop. He orders Philip to answer the knock at the door. It's Barnabas. "Where is he?" he asks Philip. Right here, says Jeb, introducing himself to Barnabas. You shouldn't have done it, any of it! yells Barnabas.  What are you going to do this time--lock me in my room, arrange another funeral? taunts Jeb. Talk to you as an adult--I hope, says Barnabas. Go ahead, says Jeb, talk. Excuse us, Philip, says Barnabas. Go ahead, Jeb, go look for some more tea strainers. (that's some way for a boy to speak to his father!)  Philip leaves. I saw the sheriff leave here a while ago, says Barnabas. Oh, him, says Jeb--he left in a pretty good frame of mind. He wouldn't have come here at all if you hadn't done what you did, Barnabas reminds him. Jeb chuckles--what are you carrying on about? You had no right to break out of here to kill Paul Stoddard, insists Barnabas angrily. Don't give me that "no right" business anymore, says Jeb--I don't need it. But we do need Paul Stoddard, says Barnabas. "*I* didn't need him," says Jeb--I hated him, he had to go. "You arrogant young fool," says Barnabas, "not only did you give us trouble with your rash behavior, but killing Paul Stoddard..." Stop talking about him! shouts Jeb--I want to discuss Carolyn--"When can you bring her to me--I want her brought to me." (A real romantic, isn't he?) How can I bring her to you? demands Barnabas, she's at Collinwood, under heavy sedation, and trying to forget the loss YOU caused her. She'll forget him--and everyone else--when she meets me, predicts Jeb, grinning proudly--when can you bring her to me?--just remember, make it very fast--because I'm very unhappy. Unhappy or not, you are to behave yourself, orders Barnabas, and not leave your room in your natural state. No reason to, says Jeb, not when I look like this. He checks out his reflection in the mirror.  I like the way I look, says Jeb--but I like the way I really look much better. Like it--but keep it hidden, says Barnabas, and for heaven sakes, control your hatreds--and don't kill anyone! It felt good, killing Stoddard, says Jeb smugly. Perhaps, but it's given us a serious problem, warns Barn--it was Paul who sold Carolyn to us to be your bride (ah, so their mission suddenly becomes less murky--Carolyn is to marry Jeb and perhaps mother a race of new Leviathan creatures?)--according to the book, he had to give Carolyn away at the ceremony. Throw away the book, says Jeb peevishly--I am here now, and I do as I please. You can't! insists Barnabas. Try me, challenges Jeb--if you're so concerned about Carolyn, Mr. Barnabas Collins, why don't you give her away yourself. Me? asks Barn evasively, showing fear--the book says...  Tear up the book, commands Jeb. You cannot do that, says Barn. I can, and I will, Jeb assures him, smiling, I'm not Joseph, Michael or Alexander anymore--I'm an adult now, and I want Carolyn--fast!  Barnabas gazes with horror at this latest incarnation of the demanding, rude and self-centered Leviathan spawn.

Quentin, anguished and bereft, drinks in his hotel room. Julia enters--I heard you were back, she says--what happened--where's Amanda?  I found her in a place beyond life, explains Q, and was given the chance to bring her back--I failed, Julia. I'm sorry, she says.  And when I lost her, says Quentin, I found myself back here, there was no sign of Amanda, or the cave, and something even stranger--when I mentioned Olivia to the clerk downstairs, I was told Olivia never registered here. I suppose in some way, says Julia, Amanda was given a second chance at life, and when that chance failed, all trace of her life disappeared--I'm sure all records would show that she died in 1897. Yes, says Q, everything has disappeared--except my love for her. He laughs bitterly--I almost had her...almost doesn't count, does it? he asks, laughing mirthlessly--tell me, what DOES count in a long, unhappy life of Quentin Collins?--not much, not anymore. Looking down at the self-pitying man, Julia says, there is something that counts very much
--someone you know needs your help, desperately.  He looks up at her.

Julia outlines to Quentin how it's been since Barnabas got back--I think something happened to him in the past, something that forces him to act this way. Julia, says Q, I just lost the one woman I ever loved, finally found my portrait--I've SEEN myself. Quentin, she says, what you need is a new interest--the important thing is you're here, and the only one capable of doing what must be done. Sure, he says sarcastically, because my strength is the strength of 10 men, because my heart is pure--you and your unholy belief in the Collins family--well, here is one Collins that doesn't even have a name--just how is he going to explain himself--as Quentin Collins, born in the 19th century, once a ghost and tormentor of children? Quentin, there is a way, she says, if you'll help Barnabas. He puts a hand on her shoulder, his voice gentler. Julia, you have done many things for me, he says, and I appreciate it--do one more thing for me--LEAVE ME ALONE!-- just let me think about things--you don't worry--I won't go anywhere without telling you, I promise. He pours himself another drink.

The sheriff returns to the antique shop.  When Jeb opens the door, the bell falls to the floor between them (classic blooper alert). They both look down at it, but continue with aplomb, trying not to laugh. Where are the Todds? asks Davenport.  They went out for the evening, answers Jeb. Do you know where they went? asks Davenport. Is something the matter? queries Jeb. Just something that needs explaining, says Davenport. Well, I'm sure they can explain it, says Jeb. I wouldn't be so sure if I were you, advises the sheriff--are you sure you just met the Todds? Yup, says Jeb, he just wandered in. Maybe you'd better wander out the same way, suggests Davenport. Why? asks Jeb. Never mind the why, just take my advice for what it's worth, says Davenport--if I were you, I'd get another room--and other friends. The sheriff leaves.  Steaming-angry Jeb meets Philip, who exits from a door in the back. He thinks I should find another room, says Jeb. Why did the sheriff came here? asks Philip. Because you did something wrong, says Jeb. No, I didn't, I swear, says Philip. Stay cool, says Jeb, touching his "father's" shoulder--I saved you before, I'll save you again. Jeb grabs his jacket--I'm going out to take care of some things, he says--I'm going...no, he'd better not tell you anything--the less you know, the less you can mess up.

Barnabas enters Collinwood. Julia is coming downstairs.  How is Carolyn feeling? asks Barnabas. How do you think she's feeling? demands Julia--she'd feel much worse if she knew how her father really died. I begged you once before, and ask again, says Barnabas--don't concern yourself with things that are better left alone--please!  I must be concerned with the people I love, says Julia, who are being hurt by what's happening--Carolyn, for one, and yes, you Barnabas (only once more does she come this close to telling him how she feels about him.)  I know you're in some kind of trouble, I've known for a long time--"Let me be concerned, let me try to help you!" she implores. There's nothing you can do, he assures her. Perhaps, she says. Perhaps the situation is far worse than you imagined, he hints. Then you can do something about it, she says, if you want to, and I think you want to--"I'm going to take the chance in thinking that you do." He turns around to face her--what do you mean? he asks. This evening, says Julia, the sheriff and I searched the Todd's antique shop--I didn't think we'd found anything, but a little while ago, the sheriff called and said he'd found a burned cufflink that matched the one Paul was wearing when he died
--the sheriff doesn't know what to make of it, or what happened, but intends to find out--one way would be for you to go to the sheriff and tell him everything you know--I suppose you think it might be foolish of me to tell you all this, you might go to the Todds and reveal all, but I don't think you will--I think you will go to the sheriff...  Barnabas considers his friend's impassioned speech.

The sheriff picks up the cufflink he founds and stares at it. His phone rings. He tells "George" I'll be leaving right away, no point in your coming over tonight, but come early in the morning--it's going to be a big day. He hangs up, turns off the light, then goes into his desk.  The door opens.  "Yes?" he says, without looking up. We hear the God-awful sound of Heavy Leviathan Lung Breathing.  Davenport rises from his chair.  "Get away from me!" he orders, throwing books, a chair, and a coat rack at his attacker. No! he shouts.  Davenport covers his face and screams as the creature destroys him. As silence falls over the room, there's a knock at the door--it's Barnabas, who enters and finds Davenport dead on the floor. Jeb appears, looking quite pissed. "There's no need to ask what you've been doing here, it's all too obvious," Barnabas says.
There's a need to ask you what you're doing here, in the sheriff's office, Barnabas, says Jeb--you better tell me!"

NOTES: (So much for the tenet in the book that Leviathans aren't supposed to kill, huh? Jeb offed two people in two episodes! What about the ghosts of enemies are more dangerous than the enemies themselves?)

Is it Jeb's turn to discipline Barnabas?  Will he annihilate him as he did the sheriff and Paul, or do something worse?  Wasn't Julia's speech wonderful?  I loved every word of it.  She obviously convinced Barnabas to admit all, but Jeb must have sensed something bad was going to happen and headed it off at the pass by murdering the sheriff.  Is Barnabas going to make it out of this with his life?

What a creepy bastard Jeb is, although, to some, he is cute.  He wants Carolyn brought to him!  He obviously thinks she's going to love him at first sight!  You can't help but hope that his plans come to nothing, he's so arrogant.  But then again, didn't we expect that the latest would be as obnoxious as Michael and Alex?

Love, Robin

Offline Midnite

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Re:Robservations 5/12/03 - Enter Jeb; Quentin Mourns - #934-935
« Reply #1 on: May 12, 2003, 09:20:22 PM »
I suppose in some way, says Julia, Amanda was given a second chance at life, and when that chance failed, all trace of her life disappeared--I'm sure all records would show that she died in 1897.

There's a hysterical blooper when she delivers those lines.  You can very clearly hear Julia say, "When that chance failed, all trace of her lice disappeared." [lghy]

Offline ProfStokes

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Re:Robservations 5/12/03 - Enter Jeb; Quentin Mourns - #934-935
« Reply #2 on: May 13, 2003, 08:32:11 AM »
What happened to the coat that Quentin and Amanda were using as a connection?  I'm surprised they didn't have it on that rickety bridge.  Quentin might have used it as a rope or harness to help pull Amanda across.  Mind you, I'm not a bit sorry to see her go.  I just thought it was odd that they didn't take more precautions, especially since Amanda's safe retrieval was so important to Quentin.  Perhaps she should have enlisted John Edwards's help in crossing over. [wink2]

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Re: Robservations 5/12/03 - Enter Jeb; Quentin Mourns - #934-935
« Reply #3 on: June 19, 2015, 02:52:19 AM »
ProfStokes...'John Edwards - Crossing Over'...hahahaha!!!
What a Woman!