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Date: Sat, 24 Sep 94 09:58:00 MST
From: willers@trombone.sps.mot.com (Robert Willers)
To: lovinglist@uclink.berkeley.edu, rec-arts-tv-soaps@cs.utexas.edu
Subject: LOV: Update for Friday, September 23
Status: R

LOVING Update for Friday, September 23:

STORYLINE: AMC MINI-UPDATE
           (location: Jeremy's house)
* Gilbert enters the house.  As soon as he turns on the lights, Angie
 is at the door.  He asks how she is.  She says she is pretty much back
 to her old self quite yet.  She says that Charles and Frankie are
 having some problems with it, though: she hasn't allowed any pizza in
 the house in two weeks!
Angie says she has a "small bone to pick" with him: why didn't he call
 the people in Pine Valley that she asked him to call?
* Angie says she finally got ahold of them herself, but she didn't want
 them to have worried.  Gilbert says he called Ruth and Joe (?) but he
 never got an answer.  "Not even a machine?"  Maybe they forgot to turn
 them on, he offers.  He says he did send flowers to Erica with a note
 saying how sorry both of them were about Mona.  "That was nice."  He
 says he could call them now.  Angie says it's OK -- she knows how busy
 he is.  He says he sometimes feels like he is running the business by
 himself, with Tess' romantic troubles and Gwyneth having to deal with
 Curtis.  (He pours drinks.)  Angie sees a painting on an easel and says
 he must not be too busy to do some painting.  He says that with all the
 pressure at work, he has been having trouble falling asleep at night
 and that painting relaxes him.  He asks her what she thinks.  She says
 it is interesting -- she likes it but it is -- you know, different than
 his usual art.  "In what way?"  "It's darker, more somber.  There's
 something almost claustrophobic about it."  He says he knows what she
 means.  She asks if he was trying for that.  Gilbert, a bit nervous now
 as he realizes what Jeremy was trying to do, says he is able to paint
 but he has a hard time discussing the creative process.  Angie asks if
 he is kidding.  "Not at all."  "Well then, Professor Hunter, how did
 you ever manage to teach art?"  We get a close-up of Gilbert as he
 realizes he screwed up this time.
* He says he can talk about other painters' work, but he can't discuss
 his own.  Angie, more frustrated, says that is simply not true!  She
 reminds him that he used to have showings of his works at his gallery
 in Pine Valley, and that he was *wonderful* talking about it.  Gilbert
 says he doesn't want to talk about *this* painting.  Angie apologizes.
 Gilbert apologizes to her, but he has had a lot on his mind with the
 problems of Curtis and Dinah Lee.  She says speaking of DL, she has a
 favor to ask.  "Of course, anything you want."  Angie says that DL has
 already started her physical therapy, but she thought some art therapy
 would be good for her.  He says he'd love to help, but he just doesn't
 have the time now.  Angie is speechless.  He asks, "What?"  "Jeremy
 Hunter?  Turning down a friend in need?  This is a first."  Gilbert
 gives us an obvious <gulp>.
* He says that he doesn't have time to _talk about it_ tonight, because
 he has a presentation to do, but he would love to help Dinah Lee out.
 Angie apologizes again -- she doesn't know what she was thinking.  No
 matter what kind of pressure he is under, he is still Jeremy.  Gilbert
 laughs, "Whoever that may be."
A: "Don't you know?"
G: "Well, they say we're the last one to know ourselves."
A: "Just the sweetest, kindest -- well, you don't want to hear this."
G: "'Course I do.  Keep going."
A: "Flattery? You *hate* it."
G: "Well, I guess I'm not as perfect as you think I am."
A: "I'm sorry, my dear, but you are.  Live with it."
She hugs him.  She asks him to give her a call when he catches up.  He
 says he'll give her a call anyway, as they walk to the door.  When she
 is outside, just before he closes the door, he advises her to "let them
 have pizza tonight."  She says she'll *think* about it.  She leaves.
He closes and locks the door.  "Damn, Jeremy.  Why'd you have to be
 Mother Theresa?  It's not easy to impersonate a saint."  He lights up
 a cigarette and walks over to the painting.  "God, that's ugly."  He
 vows to sell the whole series when Jeremy finishes them.  "I guess when
 the right name's on them, they'll buy anything.  In the meantime, sleep
 tight."  He puts the painting in the closet.  While in there, Gilbert
 notices a locked box.  He takes it down.  "I *love* surprises."  He
 takes Jeremy's large key ring and finds the key right away.  [Right.]
 He pulls out stock certificates for IBM, General Motors ("Conservative
 but steady.  That's our Jeremy.")  Then, he notices a photo.  He pulls
 it out.  It is a black-and-white photo of twins, about five years old.
 On the back is written "Jeremy & Gilbert."  We hear spooky music while
 Gilbert just stares at the photo.

STORYLINE: LIKE FATHER, LIKE SON
           (location: Casey and Ally's house)
* Casey is speaking, trancelike, to the image of Giff in the mirror:
 "Dad, I'm not like you.  I'm nothing like you."  Ally bounds down the
 stairs and asks Casey who he was talking to.  Casey is just staring at
 his reflection in the morror.  "Casey?  Are you OK?"  He turns slowly.
* Casey snaps out of it.  "Yeah, I'm fine."  Ally says he looked strange
 and Casey says he was just thinking about his father.  She says she
 thought he was going to try not to do that.  He says he has tried, but
 when he looked into...  "Into what?"  Casey says never mind, he just
 remembered an incident with his father from before they got to Corinth:
 when he was released from a mental hospital for the third time, Casey
 had to go over there...
(Begin flashback.)
Giff is pacing around an office, saying he can't wait to get out of the
 hospital, and where *is* that nurse with the paperwork?  Casey says it
 has only been a few minutes.  Casey offers to take him out to dinner
 for tofu burgers.  Giff says Casey is a good kid.  Casey asks Giff to
 be good, too, and stay on his medication this time.  Giff says that it 
 doesn't do anything but mess him up!  Casey says that the reason he is
 there is because he wouldn't do what the doctor ordered.  Giff starts
 to get angry: he says the reason he's here is because he "let them put
 me in a hole like this in the first place."  Casey speaks calmly: he
 says he knows that his mom died when he was born.  Giff says yes, and
 that he (Giff) became pretty broken up about it -- does he think that
 is abnormal?  "No, but--"  Giff says everybody has somebody die, and
 that it is pretty bad, but they get on with their lives, but for him,
 it got "a hell of a lot worse thanks to these damn doctors."  He says
 that the medication and the testing is enough to drive anyone crazy.
 "You listen and learn, Casey.  If you have a problem, you work it out
 yourself, because once you get into a place like this, you never really
 get out.  Somebody comes in here, and yeah, maybe they're a little
 disturbed, a little frightened, and then you give 'em six months a year
 in this place and they're bouncing off the walls.  Don't you *ever* let
 that happen to you, Casey, because believe me it can happen to anyone!"
(End flashback.)
Casey says maybe Giff was right.  Ally says no, then there'd be no need
 for doctors or therapists.  Casey says maybe people should try a little
 harder to cure themselves.  Ally says some people *can't*.  Casey says,
 anyway, that's why he is a little bit afraid to go to a shrink.  Ally
 says he's not his father.  He says they *are* slightly related.  She
 says Giff was mentally ill, and that Casey is the furthest thing from
 it.  "Not yet, right?"  Ally sees that this is turning into an argument
 and backs off.  She goes out the front door.  After a moment, Casey
 follows.  "I'm sorry.  It's dropped."  Ally says she wasn't trying to
 suggest that he needed years of therapy; she just thought he might need
 to talk to somebody about it.  "Alex thought I could talk to you."
* None.
* Ally asks how he can say such a thing: *of course* he can talk to her.
 Casey says she has always helped him out in the past, why not now?
 She says she is in love with him, so she can't be totally objective.
 "Oh, but a therapist can?"  She asks him to stop talking about that
 as if it is the "kiss of death."  "To my father, it was."  After a long
 pause, Ally offers her "non-professional" opinion: it has nothing to do
 with his father.  He lost his job today.  Anybody would be upset.  "You
 can't confuse the two."  She says it is fine if he wants to talk to
 someone, and it's fine if he doesn't.  She says she is always, always
 here for him.  "Non-professional, non-objective you."  "Well, I can be
 objective about one thing: you are a wonderful, kind man, and I love
 you."  She kisses him.  She suggests that they go to bed, and says
 everything is going to seem wonderful in the morning.  Casey feels a
 lot better: if things don't work out for them, he will just get another
 job, and from now on, he is *always* going to do his own developing and
 printing.  He picks up the prints which cost him his job.  Ally asks,
 "Do I see a smile on that face?"  "I have this great therapist.  How
 much do I owe her?"  She grabs his hands.  "Why don't we take care of
 that upstairs?"  He smiles and says, "I think I like therapy."  He
 sends her upstairs and says he'll get the lights.  She goes up and
 he turns them off.  He walks by the mirror and sees only himself.  He
 forms his hands into a "gun" and "shoots" the mirror.  He smiles and
 goes upstairs.
 
STORYLINE: TROUBLESOME TESS
           (location: Belden Pond)
* Buck and Tess are in front of a small fire.  Buck brings some more
 wood for the fire to warm things up.  Tess says she's fine.  "Yeah,
 says the lady who just got four stitches in her hand."  He says that
 if she catches a chill, she should just let him know.  "Yes, doctor."
Tess notices that Buck feels at home in the woods.  He says he has had
 to be.  They discuss Stacey, saying that she was pretty much at home
 in the woods, too ("Grizzly Forbes").  Tess says she's a city girl:
 she wouldn't know the difference between a dandelion and poison ivy.
 Buck says she had better learn the difference.  She asks if he knows
 anyone who can teach her.  He suggests that she call Stacey.  Tess
 says she was looking for someone "a little more masculine."
* Buck says he's glad they came out there.  Tess says if that's so,
 she'll cut her hand more often.  She asks what has been keeping him
 away.  "Memories."  "Of Stacey?"  "Yeah."  He says she bruised his ego
 a bit.  He says they had some good times out there.  Tess says she had
 some good times out there herself.  "Cooper?"  "Yup."  Tess says that
 sitting out there talking about it is just a bit painful.  She finally
 admits that she and Cooper went skinny-dipping on his birthday there.
 Buck laughs and asks if she is a free spirit.  Tess says that she was
 anything but.  She says she told him a lot of things she hadn't told
 anyone else before.  "That was the night I realized that I was in love
 with him."  She was sitting right in that same spot when Cooper told
 her that he was going to give her the moon--  She apologizes to Buck
 for dumping this stuff on him.  Buck says she doesn't have to "be cool"
 with him.  She says that is why she didn't bother trying.  Tess says
 that she feels really comfortable with him.  [Cue sappy music.]  He
 says he takes that as a compliment, and she says he should.  They stare
 into each other's eyes for a moment.  He says maybe they should leave.
 She says she's not cold.  "I'm not talkin' about the weather."  She
 asks what he is talking about -- memories?  "Well..."  She asks if his
 offer to teach a city girl a few things about nature is still good.  He
 says sure.  "Class will now come to order."  He does something out of
 the shot (takes her bandaged hand?) and she says, "oh!"  He apologizes.
 [That last stuff almost looked spontaneous.]
* Buck asks where she wants to begin.  She says it doesn't matter: she
 has a lot to learn.  He asks if she knows anything about the stars.
 "No."  He finds Orion, the Hunter (constellation) and explains it to
 her.  "That's supposed to be a hunter?"  "You had better believe it."
 He goes to a more advanced constellation: Diana, the Huntress.  Tess
 politically-corrects him to "huntperson."  Tess asks what she hunted
 for.  He says she hunted bear, buffalo, you name it, and he says she
 always got everything she went after.  "Including men?"  No, she was
 so good, she scared the guys off.  Tess asks why she didn't let a man
 get a buffalo once in a while.  Buck says she tried, but it didn't
 work, because she already had a reputation, so she had to go up to the
 sky -- they didn't know her up there.  Tess asks if she got what she
 wanted.  "I guess not.  That's why she's still huntin'."  They stare
 up to the sky, then at each other for a few moments.  He asks if she
 is OK.  "Yeah, I'm good.  Really good."  Buck says the astronomy lesson
 is over.  "Look!"  They see a shooting star.  He says he bets that will
 be the last one of the summer.  He tells her to close her eyes and make
 a wish, and he does so.  She, eyes open, puts her head on his shoulder.
 He re-opens his eyes.  "Did you?"  "Yeah."  He says he hopes her wish
 comes true.  "You're a terrific person, Tess.  You deserve whatever you
 want."
* He stokes up the fire.  They hear a noise.  She asks what it was.  He
 says it is a buffalo.  She knows enough about the woods to know that he
 is pulling her leg.  He says it was probably just a field mouse.  She
 jumps straight up in the air: "a *mouse*?!"  She says she hates vermin
 and asks him to go get rid of it.  He gets up to do so.  She apologizes
 for being such a wimp.  "That's OK, city girl."  When he leaves, she
 sits back down.  She has brief flashbacks to sitting on the same log
 with Cooper.  She hears the brush rustle again.  She turns and sees
 a mouse!  She calmly picks it up and tells it to its face to "get out
 of here."  She sets it down on the ground and it scurries away.  Buck
 calls out, asking if she's OK.  She says yes, but hurry back, because
 she is scared.  "I will, just try and hang in there."  Softly, Tess
 says, "I'm not going anywhere."

-----
|   DAVID GORDON WILLERS, born at 23:50 on Wednesday, May 18, 1994.    |
|  Then: 4 lb, 12.5 oz; 17.5 inches.  Now: 13 lb, 13 oz; 24.5 inches.  |
| At ASU football: section 224, row 3, seat 13.  Come by and say "hi." |
+-- Bob Willers -- willers@trombone.sps.mot.com -- MY opinions only! --+

