#Joseph Bancroft & Sons

[moonchildreads]

Comfort Movie Tag 🎥

Rules: post 10 of your favorite comfort movies and then tag 10 people!

I got tagged by the wonderfully funny and lovely @munsonology and as a film school alumni, I went bonkers on this one lmao I am so sorry I'm gonna add a breakline now before the list starts

School of Rock (2023) Dir. by Richard Linklater my fave movie of all time. no questions asked. saw it as a kid and it rewired my brain completely. my dad and i quote bits of the latin dub constantly ("porque soy sexy! y pachoncito!"). jack black my beloved 💙

Company (2008) Dir. by Lonny Price i am a sondheim stan through and through and company is my fave musical of all time. this specific revival is my fave musical of all time. do not question why i'm obsessed with it, i just am. raúl esparza gave the performance of a lifetime as bobby and i will never not be upset that he lost the tony!!!! 😡

Mulan (1998) Dir. by Tony Bancroft & Barry Cook mulan is the best disney princess, you cannot change my mind. best soundtrack, best characters, shang having a bisexual awakening, what more could you want? this one is also heavy on the quotes back at my burrow (get it? because i'm bunny? i'll see myself out) the original is great and the latin dub is fantastic too, every time i do something stupid my dad breaks out the "deshonor! deshonor sobre toda tu familia! deshonrada tú! deshonrada tu vaca!"

Whiplash (2014) Dir. by Damien Chazelle look. i recognise this soundtrack playing on the telly when i'm in a different room with headphones on. it's THAT embedded into my mind. this movie came at a time where i was really doubting if film school was the right choice for me and single-handedly reignited my passion for filmmaking. i owe everything to it.

Four Brothers (2005) Dir. by John Singleton no shame in admitting jack mercer was my eddie munson before eddie munson existed. is this movie problematic? yes. does it hold a special place in my heart because it was always playing on the telly when i came home from school? also yes.

Pride & Prejudice (2005) Dir. by Joe Wright if you see someone telling joseph quinn that he has bewitched them body and soul, and they love, they love, they love him, and wish from that day forth to never be parted from him, it's probably me. 🤷‍♀️

Accepted (2006) Dir. by Steve Pink tied with four brothers as the stupidest movie on this list, this one is also very nostalgia based. truthfully, when i got to film school i realised i was kinda attending south harmon institute of technology and that sealed the deal for me lol

The House Bunny (2008) Dir. by Fred Wolf so dumb! so charming! huge cast of wonderful women who learn to accept each other as they are! love love LOVE this one, i used to have it in my laptop while i was away at college (this one, 21 jump street, and maze runner, odd collection, i know) and i watched it a lot when i was sad and lonely and missed my home 💕

Back to the Future (1985) Dir. by Robert Zemeckis there is only one rule in my family regarding movies: if you catch this one, you leave it on. you drop everything you're doing and you sit and watch. my eldest cousin has already shown this one to his son multiple times, and he's barely 4 💀

Monsters Inc. (2001) Dir. by Pete Docter we scare because we care!!!! my dad says boo reminds him of me because i was always in pigtails as a kid (still am, you'll have to pry them from my cold dead hands) and my mum keeps calling sully "osito" instead of "gatito" so this is a running gag in my house, we love monsters inc!!!!

Honorable Mentions: Legally Blonde (1&2, and the musical), Kinky Boots: The Musical, Now You See Me 2, tick, tick... BOOM!, Homecoming: A Film by Beyoncé, The Devil Wears Prada, The Mummy (all) and the LOTR trilogy.

tagging: @so-inlove-with-the-wrongworld, @gutterratt, @justahappycloud and @duquesademiel (you do not have to explain why you like each movie, i'm just insane, you know this by now)

#tag games #about me #someone take away my keyboard

[stmichaeldeorleans]

Orphanages where Michael stayed: Oklahoma City Good Sheppard of Hope Catholic,  St Agnus of Dallas, twelve main orphanages with outlets in Dallas,.. Ellyson Home for Children Dallas, ...Dallas Child Development Center Analysis and Orphanage,..Catholic Orphanage in.Yukon, Ok., Taft School near Littlerock, Ark..., " Arbeque" with the clinical name, owned and managed by Dr Joseph Arbeque M.D. Psychiatrist,  Imagination Dragon of New York City,  plus 14 other places where children can stay in NYC., then The Spicer in Germany, ...then The Loughe of Paris, France. 14 places in Paris, France....12 in Germany.   Michael Duerksen is " The Black Rose " of Germany, Tuscany and France and " The Black Pearl" of France.  Also " The Only Gift Child according to Illuminati Wisdom", "The Edge of Nightshade", " The Dark Fairy of the Night", " The Sacred Red Rose of Infiniti ", " The Son of the Evil Wickerman", " Buttercup of Remembrance". " Karen " Mariah" " Taylor (?)" Siguer Taro Telo Rothchild", " Mariah Rothchild Montasort, Redi LaMont, Snafa Al Ghul, Tilly Ting Evertyting C. Grant,  Mara /Mario Silo Parmiese Devereaux,  Michael Alluese' Silo Parmiese Devereaux, Tuolo Paoli Marcheti Luchia Geyford, Tonie Gilbraltor Luchia, Rachel  " The Saint" Luchia, Rosalie Luchia, Michael Duerksen Steinem Vanderbilt Montrose, Mike Duerksen Huntford Carlton, Carry Cardin Carlton, Carlotta DeBakey, Patricia DeValley DeGeneres, Michael Duerksen Gurley, Michael Lauren Hatch Bacall,  Michael Duerksen Bancroft Castilano May,   Mary May Ham Rothchild, Cassandra Gilbert Der Rothchild,  MaryAnn Richardson Rickert Weiner Rothchild,  Marie Rothchild Harrington, Marie Rothchild, Marie Marianette, Marie Rothchild Hall, Arthur Michael Ann Rothchild Bach, Ms.LaGuardia, Ms. Costello, William Preston, Eric Dathan, Matilda ( Michael ) Avager Rothchild Ponti,  Arthur Michael John Commencia, Michael Arthur Ann Rothchild Snelson Streisand, Carolina Michal " Muriel" Hemingway Winters Rodgers,  Isabelle or Emilia Duarte Galveston Rothchild Darlington, " Emmanuel Bogotta Rothchild" ( donor), Maria Angelus Mata Hari Rothchild, ( donor), Michelle L. Rouchefourde Phillips DeSousa DeMentos,  Phillip Newman Morris, Michael Newman, Angelina Isabelle Rothchild Childress ( donor) , Michael Rothchild Burnett, Princess Rothchild Luchia Hampas, Princess Maria Diedra Lyons Windsor, Michael Jean Paul Getty, John Robert Robin Blake,  Princess Maria Guttenburg Furstenburg Oldenburg Mountbatten DeGeneres ( Lafite), " Prince of Tides ", Princess Marissa Oldenburg Hamburg, Jack Michael Bouvier' Kennedy, Michael Dean Duerksen Garland, Michael Duerksen Monroe, " Michael Briarcraft Hyatt", Michael Stouphlous, Michael Casa Linda, Michael Feingold, Michael Feinstein, Michael Forester Turner, Michael Dan Turner, Cicelia Rothchild Luchia Hampas, 

[countermmorg]

1977 jesus of nazareth movie

1977 JESUS OF NAZARETH MOVIE TV

Here, Zeffirelli assembles Anne Bancroft as Mary Magdalene, James Earl Jones as Balthazar, James Mason as Joseph of Arimathea, a young Ian McShane as Judas, an experienced Laurence Olivier as Nicodemus, Christopher Plummer as Herod Antipas, Anthony Quinn as Caiaphas, Ralph Richardson as Simeon, Rod Steiger as Pontius Pilate, Olivia Hussey as the Virgin Mary and Ian Holm as the fictitious Zerah (amongst others like Claudia Cardinale, whose cameo as the Adulteress goes relatively unnoticed). Their images are shown in placards over a dusty and dry Galilee while the camera cranes from one side of the landscape to the other. Jesus of Nazareth opens with a majestic list of its stars, as if Zeffirelli is purporting a kind of cinematic divinity, the closest a film can get to a sanctified status. From the onset, there is an understanding that the grandeur of the story can only be accomplished with the grandest of players, each of whom has a key part to play at different points in Jesus’ life and ministry. Zeffirelli’s Jesus of Nazareth is a comprehensive account of the Gospel narratives, which can be viewed either in its original four parts as a 382-minute miniseries or in two parts as it is more often broadcast. The director and the production team would also have to contend with thousands of angry letters that joined Jones III’s outcry, which would eventually lead to Zeffirelli adding a post-mortem scene after the revelation of the empty tomb, a moment that at first seems rushed but would ultimately become so poignant that it leaves a lasting effect a major reason this adaptation stands the test of time where others of that period failed. Ultimately, Jones III’s issues with the project were premature, as Zeffirelli perfectly straddles a gentle humaneness between the wonderful rendition of the Parable of the Prodigal Son and a forceful mysticism (which is beautifully depicted in an orchestral fashion when Christ raises Lazarus of Bethany from the dead). This was an ambitious project - co-written by Anthony Burgess, who was famous at the time for his controversial novel A Clockwork Orange - that caused for wild responses. Bob Jones III, a protestant fundamentalist, lambasted Zeffirelli for claiming his Jesus would be “an ordinary man” who is “gentle, fragile, simple.” He would go on to denounce the project as “blasphemy” despite not having seen a single frame of Jesus of Nazareth and knowing nothing more than what the filmmaker had said in interviews.

1977 JESUS OF NAZARETH MOVIE TV

In the build up to the 1977 epic Jesus of Nazareth - Franco Zeffirelli’s adaptation of Jesus Christ’s birth, ministry and death - there was controversy and public lament regarding how the director proposed to make the four-part TV film.

#1977 jesus of nazareth movie

[hagleyvault]

Today’s #WorkerWednesday shows employees of the Joseph Bancroft & Sons Co. etching designs on textile rollers at the company’s Print Works Division in Eddystone, Pennsylvania.

This circa 1937 photograph is part of the Hagley Library’s collection of Joseph Bancroft and Sons Company photographs (Accession 1969.025). Joseph Bancroft, an Englishman trained in textile weaving in Lancashire, established his own cotton mill on the Brandywine near Wilmington, Delaware in 1831. The firm was incorporated as the Joseph Bancroft & Sons Company in 1889.

To view more material from this collection online now, click here to visit its page in our Digital Archive.

#WorkerWednesday #Worker Wednesday #textile industry #textile workers #textile history #textile design #women in the trades #women at work #women workers #Joseph Bancroft & Sons #Joseph Bancroft #Delaware history #Eddystone PA

[books0977]

A Girl Reading (c.1906). William Chadwick (America, 1879-1962). Oil on canvas. Delaware Art Museum.

The subject of this painting is Pauline Bancroft Chadwick, the artist's wife. Her father was John Bancroft, who became president of Joseph Bancroft and Sons after the death in 1915 of his cousin, Samuel Bancroft, the Wilmington industrialist whose Pre-Raphaelite collection is now owned by the Museum. Pauline was also related to Howard Pyle, who gave her a painting, now in the Museum's collection, as a wedding gift.

#art #reading #Pauline Bancroft Chadwick #William Chadwick #American

[whatdoesshedotothem]

Monday 11 February 1839

8 ¼

12 5

finish but dull hazyish morning F42° inside at 9 ¼ and 37° outside at 9 25 – read 2 or 3pp. Murrays’ Pyrenees – breakfast at 9 35 in about ½ hour – then with Robert the joiner – began this morning he and Joseph pulling up the hall new staircase to lower it 6in. – looking about this and with A- planning housemaids’ closet to be taken off the green room – 1st time of this idea occurring to me – had Booth then at 11 ¾ off with A- and took B- with us and walked to the Travellers’ Inn to see about the windows etc. repairing SW. being said to have promised that sundry repairs should be done – then to Lane-ends quarry to set out a price for baring – measured off a piece 22ft. into 45ft. or thereabouts = about 105 yards flat – after leaving A- at Cliff hill met B- coming from Sun wood quarry and seeing that we ought to have taken a little more at Lane ends told him to add a couple of yards = 6ft. to the

SH:7/ML/E/22/0122

 22ft. side so as to make a piece reserved = about 150 yards flat – and told him to tell Mallinson A- would reserve this by memorandum at the back of the lease, but that it would not be touched at present – we would now bare off the corner already walled off – B- to see Robert Mann about it tomorrow – from the quarry to Hipperholme – we took B- with us to Langleys’ farm, and talked over the dividing the house – A- consented to do it, and told B- she would take £30 a year for the building allotted to the farm there being 11DW. – B- agreed the land was between them his, and the farm would be as cheap at £30 as his at £24 – his rated at about £22 per annum and Langleys’ farm with all the present pile of building rated at £42 per annum – it was the taxes not the rent that frightened people – before turning up Kirk lane to Hipperholme we had looked at A-‘s Lane ends Patchett cottages  - A- consented to reset Dentons’ fireplace and oven, but declined giving George Naylors’ daughter (widow Malllinson) a new lock for her door – B- seemed to have some hope of getting A- a tenant for Langleys’ farm – I proposed her keeping the Flashes till Langleys’ farm was let – left B- and A- and I walked along Bramley Bancrofts late lane to Cordinlgeys’ at Lightcliffe – Rufus Sunderland has carted all his manure (£20 worth) from his farm on to the fields he occupied under Captain and Mrs. Sutherland – bailiffs in the house for rent – and little or nothing to pay with – got all off the day before the rent day – had five carts leaving off the manure – says he will hold over and can keep the farm a year and a ½ and will mow it all next year – the farm promised to his son – Remember this – and let nothing without a written agreement – In passing Robert’s land, not looking well farmed, thought it would be best to get him to give it up – 11 1/4DW. this would do the best to go with Langleys’ farm – Rent  £22.10.0 + £30 = a vote – sometimes at Bancrofts’ – then along the intended new carriage road to Cliff hill – marked several young trees to come down – left A- (she very much tired) at Cliff hill (I did not go in) at 3 ¼, and walked slowly homewards – turned up to Sun wood quarry, and met Booth near the gate, and returned – (vide last line of last p.) sometime at Listerwick talking to Joseph Mann – he has taken his job of pulling up and getting out the materials of the flue up to the foot of the chimney at 5d. per yard B- may begin on Wednesday – sent Joseph to see if Mr. Rawson had any good bricks – then to the conery Robert Mann and his son David and Jack Green and William Lord and Joseph Sharpe began this morning walling off the upper Conery Ing just above where the old houses stood – my light cart and old bay jobbing there – carting the stone the few yards they had to be moved – will be almost if not quite [stand] [?] from the foundations of the old buildings – then with the gardener who came to ask me if I would let him go on Saturday – he had already sent off his wife who preferred going back into her own country – things had not gone well with Mr. Macaulay, and as I had not taken the gardener for the 2 days a week, he had cared less about the little farm, had given it up, and was going back and Mr. Davenport (of the Potteries) from whom I had his character! all very well – I had no objection to his going on Saturday – then walked round the garden and intended orchard – not ½ the apple and common fruit trees (currants and gooseberries) planted that he intended – said he had best make these up –g et and plant them, and settle with Thorp to take back the 3 bad trees he had sent me – all this to be settled, and crops to be put in (peas sown today I think he said) before Saturday – he is to have my old bay and light cart tomorrow morning to fetch the trees – a little while talking to John Booth – George to plough tomorrow if he can – if the field dry enough – came in at 6 ¼ - Robert had got the stairs moved to their new place but not fixed – dressed dinner at 6 ¾ A- read French – coffee – wrote all the above of today till 10 ½ - Letter tonight from Mr. Harper York – to say he had not made any arrangements – had written immediately to Mr. Fenton to say he should not want the engineer, and would put off his own coming till he heard again from me – met Womersby [Womersley] this morning before we had got to Charles Howarths – said I would go and look at his quarry some day soon, and that I thought his stone was dear – came upstairs at 10 40 at which hour F44 ½° inside – and 41° at 11 pm outside

[halfgclden]

Ten Things | Graves&Cleo

DATE: April 21st, 2020 SUMMARY: 1.sweet tea, 2.iced chai, 3.woods, 4.cabin, 5.wine, 6.movie night, 7.snacks, 8.masquerade, 9.discussion of love??, 10.to be continued ? 

Cleo stepped out of the bookstore, locked the door, turned, and blinked at Graves standing nears the storefront. She smiled at him, gave her Signature Wave™️, and stepped closer. "Fancy meeting you here. Were you looking to buy a book, because I'm afraid that's off the table now, since..." She held up the keys and then pocketed them.

Graves had been waiting outside the bookstore, sipping his iced tea when Cleo walked out. He grinned and shook the drink he’d grabbed for her in response to her wave™️ . The ice cubes clinked in the cup. “Iced chai for you ma’am.” He laughed, “No books for me, I’m here for you.”

Cleo grinned widely and took her drink. She sipped it and swayed from side to side. "Aw!" She pressed a hand to her cheek. "Cameron, you make me blush," she said as if they hadn't planned to hang out today already. She tilted her head as she smiled at him. "Good to go? Are you ready to watch probably the best movie you've ever seen in your life?"

He rolled his eyes , but the smile didn't leave his face. "Gods, Bancroft." Graves could feel his own cheeks getting hot but he ignored it and held out his arm. "Good to go! The best movie? That I've ever seen in my life? Well, that would be Mad Max: Fury Road - are we watching that?"

Cleo linked her arm around Graves's and walked with him as she snorted. "Okay, okay, I'll give you that that's a good movie, but it doesn't hold a candle to 10 Things I Hate About You. Modern Shakespeare adaptations? Um, yes please." She sipped her drink and looked up at him. "What did you do today?"

"You mean young Heath Ledger, yes please. Talk about a teen heartthrob." Graves grinned when Cleo snorted, then took a sip of his sweet tea. He let her lead the way as they walked. "Oh, you know. The usual. Broke some hearts, raised some hell. Managed to get up the climbing wall without getting burned by lava. How was work?"

"I know. He's the highlight of the movie. But, oh my gods, there's also young Joseph Gordon-Levitt in it and ugh. He's so cute!" Cleo grinned. "His name's Cameron, weird coincidence." She hummed as they walked, bobbing her head from side to side as she led them to and through the path through the woods to camp. "Ugh, amazing. I still can't get up that wall, it's a trap, I swear. Work was... slow, but nice. I got halfway through the book I'm working on."

Graves fanned himself dramatically. "What an attractive cast, honestly." Laughing, he shook his head. "Another Cameron? Huh, is that why you want me to watch this? What book are you working on! And next time you want to do the climbing wall, I can spot you?"

Cleo shook her head as she sipped her drink. “No, Cameron’s plot is secondary, I’m afraid, even though he’s so cute. I’m working on this one called Red, White, and Royal Blue, and it’s utterly adorable. It’s about the son of the president– a fictional president, obvi, and the prince of Wales and they’re bitter rivals but then... they fall in love!” She announced dramatically. “I love it.” She smiled at him. “I can’t say I’ve been on the wall lately or plan on going anytime soon, honestly, but that makes me consider it more.”

"Ugh, love. Gross, " Graves joked, sticking his tongue out at Cleo. "TBH that sounds...kinda cute. I'm really glad there are books with queer love stories in them now. It's pretty fuckin' cool." He returned her smile. "Just let me know if you do, I'll keep workin' out so I can catch you if you fall." He unlinked their arms to give his biceps an exaggerated flex. "These arms gotta be good for somethin'."

Cleo stuck her tongue out back at Graves. "Yeah, saying that gay love is gross is... a little homophobic, Cam," she joked and then bobbed her head. "Yeah, it'd be cute if it wasn't gay, but that's kind of why I started reading it." She turned so that she was facing him more and grinned, still walking. "Maybe I'll just throw myself off the wall, with an offer like that."

"Shut up, Bancroft." Graves laughed. "I am not homophobic, do you know how aggressively not-straight I am? I was sayi- you're teasing me, aren't you? Rude." He tripped immediately after Cleo spoke and took a second to regain his composure, laughing at himself. "My gods. Guess I'll just have to catch you then. Can't have you getting hurt, ma'am." He flexed again and bit his lip, before offering his arm to Cleo again.

Cleo laughed at how defensive he got and nodded. "I'm absolutely teasing you, but go on, please." She raised her eyebrows and held out an arm as Graves tripped, as though she might be able to stop any sort of fall, then exhaled a small chuckle as she tucked a strand of hair behind her ear. "What a gentleman." She giggled and took his hand this time, still sipping her drink as they walked. "Do you like the woods?"

Graves took a sip of his sweet tea before answering, a grin on his face. "Nah, nah, nah. I'm not lettin' you make fun of me anymore. I'm here, I'm queer, and that's all I got." He watched as Cleo tucked her hair behind her ear, and his eyes widened as she took his hand; her hand looked so small in his. "Bancroft," he practically hissed, looking around to see if anyone they knew had seen them. "Ma'am." He didn't pull his hand away because he didn't want to be rude, so he just took another sip of his tea, looking like a deer in headlights. He tried to answer her question, praying to the gods that she couldn't hear his heart pounding from embarrassment. "The woods? Yeah, sure, of course. I love hiking and finding abandoned places. Why?"

"Not letting me? I don't think you can stop me," Cleo teased. When he said her name, she frowned a bit and dropped his hand, taking her cup in the hand between them instead. She blushed lightly. "Just since we're passing through on the way to camp, it was on my mind."

"I-um." When Cleo dropped his hand, Graves immediately ran that hand through his hair, willing the blush on his cheeks to fade. He put on a bright smile and cocked his head at her. "Do you like the woods? We should explore them one day." He bumped her shoulder gently with his own, "I know a few cool spots we could go."

"I love the woods." Cleo chewed on her straw and nodded at Graves, smiling once more. "I know these woods better than anyone at camp, I'd like to bet, except for the nymphs. I can show you some haunted clearings." She bit her lip and looked down. "I guess in exchange for you showing me abandoned factories.”

Graves bit his lip and smiled. "Haunted clearings? Gods, Bancroft! I didn't know camp was haunted." He lowered his voice to a whisper at the end of his sentence, leaning in close. His eyes gleamed, "Don't tell me you've talked to any spirits! I will gladly show you all the abandoned places I know, but you have to keep them secret."

Cleo kept her head ducked as she let out a small, somewhat nervous laugh. She didn't know why she'd brought up haunted clearings in the first place, but if was the first thing that came to mind. She looked back up at him with a small smile. "I won't tell anyone!" She sipped her drink a bit more and reached up to touch a leaf as they passed under a tree. "Back to my cabin, right?"

He raised an eyebrow at her laugh but didn't press Cleo further. Graves had mixed feelings about ghosts and spirits himself. Personally, he found them interesting, but his mom and grandmother did not fuck with ghosts. He watched Cleo touch a leaf gently, it was such a simple gesture but it made him smile even more. "Your cabin, for sure. I'm uh-my room's a mess," Graves said lamely. He sipped his tea. "I've never actually been to your cabin, now that I think of it."

Cleo exhaled a small laugh. "My room is, luckily, very not not a mess." She skipped ahead of him a few feet and turned to face him again. She pointed at him and nodded. "You're going to like my cabin. Most of the decoration's mine, but Len has a few things around." She met his pace again. "We can have wine with our movie too, if you'd like." She smiled a bit.

“I’m excited to see it.” Graves could see the cabins in the distance, over Cleo’s shoulder. “Wine sounds great, if you want? I’ve got some snacks in my backpack too. Wait. Did you make it this wine? Because then I change my answer to absolutely yes.”

“Um, I always want wine.” Cleo laughed and raised her eyebrows. “And what kind of snacks, this is an important question, Cam.” She smiled widely, happy at the idea that he wanted to drink it if she’d made it. “If you could make wine, would you ever buy it?”

Holding his drink against his chest with his arm, Graves made a show of counting on his fingers as he listed his snack haul. "Well Bancroft, I've got some salt an' vinegar chips, Doritos, Oreos, some chocolate, and uh, red vines. You know, for variety." He winked at her, trademark grin on his face, dimples on his cheeks. "Not gonna lie, I don't buy wine now. But I've tried any that I've been offered and I don't mind it? I like sangria," he offered. "And I figure if you make fruit wines? That's probably fuckin' tasty. But no, I wouldn't buy wine if I could make it.”

Cleo put a hand on her chest at his list. “Ugh, sweet, a man after my own heart. Red vines are my favorite, but every single other snack is a close second.” She smiled and tucked her hair behind her ear. “I only really make fruit wine. I like things sweet, sweet, sweet. The peach wine’s still fermenting, but we can drink it if you don’t mind a weaker batch. It’ll still taste pretty good.” She finished off her drink. “Otherwise I have strawberry!”

"Red vines are your favorite?" He gasped dramatically. "No way!" Graves bit his lip, still half-smiling. He glanced at Cleo. "I am a very big fan of sweet things. Hmm, I think I'll wait on the peach, until you think it's perfect. I don't want to rush a masterpiece. Strawberry sounds real fuckin' good."

“Yeah! Have I mentioned that before?” Cleo laughed and grinned up at him, taking a step up onto her porch as she approached her cabin. “Is that why we’re friends, then?” She smiled and turned to open her door, glancing over her shoulder at him still. “Okay, then I’ll let you know when the peach is perfect and we can have a movie night then too.” She nodded once as she put her cup down on the counter and pulled a growler of wine from her fridge.

"Maybe you have, maybe I heard it through the grapevine," Graves joked, following Cleo inside. He met her gaze. "Yes, among other reasons. But I'll keep you guessin' there, Bancroft." As Cleo opened the fridge, he turned in a circle, taking in the cabin. His eyes followed some vines across the walls, looking at the artwork hung between their leaves. The Dionysus cabin had such a different energy than the Hermes frat house, that Graves was momentarily stunned. He pointed to a charcoal drawing on one of the walls, his tone full of awe. "Is that-is that your art?"

Cleo laughed quietly at his joke and set out two novelty mugs to pour the wine into. She tilted her head at him and leaned against the counter, hiding her smile by sipping her wine. "That one? Yeah. I really dig charcoal and pastels. Are you into art?" She nodded a bit.

Graves stepped closer to the drawing for a better view of all the details. "Bancroft, this is amazing." He looked over his shoulder at her, expression full of surprise. "How did I not know you did this? First the wine, then the artistic talents? Damn. I'm into art, yeah." He shrugged, still looking at her. "I am not an artist myself though. Can't draw a straight line to save my life."

Cleo blushed slightly and pressed her lips together as she swallowed her drink. A smile crawled across her face and she tucked a piece of hair behind her ear. "Thanks. I... really like art. It's nothing I'd do anything with, but, y'know, important to have hobbies, and some amount of skill for my designs." She walked over to meet him, holding out the other mug for him. She almost asked him how into art he was, but stopped herself. "I just use straightedges for half the time."

Graves accepted the mug with a nod. He still looked a bit awestruck. "I love this. I always like seeing what my friends are into. People bein' passionate about things they love is fuckin' sexy." He realized what he said and quickly took a sip of wine. "This?" He held out his mug for emphasis. "This shit is good. Wow, I'm going to drink this so fast." He took another big sip.

Cleo almost snorted into her wine as she laughed. Something about the intonation of how he said fuckin' sexy made it come off as way cuter than he probably wanted it to. "Glad I'm passionate and sexy, then." She grinned and then raised her eyebrows a bit. "Okay, then we should start the movie soon. I don't want you to black out before we even start. She went to grab the bottle from the counter and then led them to her room, where the door was already open.

Graves rolled his eyes. "Don't let it go to your head ma'am." He clutched his mug to his chest protectively, pretending to be offended. "Me? Blackout, never." He took another sip before following Cleo to her room. He stopped in the doorway, hesitant. He looked down at his shoes for a moment before asking, "On or off?"

"I would never." Cleo flashed a smile at Graves in lieu of pressing a hand to her chest because she was holding things. She tilting her head as she did and slipped her shoes off as they entered the room. "I've seen you close, I think, and you've never had my wine. Sweet but deadly." She set the wine and her mug down on her desk as she pulled up her laptop and took a seat on her bed, searching for the movie. "Off, please!"

Graves nodded in acknowledgement and sat down in the doorway to untie his Vans, setting his mug of wine next to him. "Sweet but deadly," he hummed. "I like that." He took a look around her room, his eyes catching on the little altar set up on her desk. He smiled. "I like your room. It's very you."

Cleo crossed her legs as she sat and put the laptop down next to her. She opened the bottle again and poured a small bit of the wine into the cup on her alter, where it promptly vanished. "Thanks." She smiled at him. Does that mean you like me? She'd probably start asking more of the questions that popped into her head after she finished a cup or two of the wine. "I'd stress out if it wasn't nice. I spend a bunch of time in here."

"Shit. Should I pour some out to?" Graves asked, pausing mid-sip to watch the wine vanish. He moved his shoes out of the way and stood up, walking over to Cleo. "That makes sense. I'm hardly in my room so it can be...a bit of a disaster area." That was an understatement; he couldn't remember the last time he made his bed or actually put his laundry away properly. "Movie time?" He took off his flannel and tied it around his waist, brushing a wrinkle out of his faded tee.

Cleo pressed her cheek into her shoulder as she shrugged. "I mean, if you want to. I normally just do a general pour out per bottle for the old man, but it couldn't hurt to add more." She smiled and leaned back against the wall. "Movie time," she agreed. "Come sit!" She patted the spot next to her and waited for him to take a seat before she pressed play. "Gods, this movie has the best soundtrack."

There was only a little bit of wine left in his mug so Graves didn't hesitate to pour it into the altar cup. He turned around and flashed Cleo a grin. "I need a refill if you please, ma'am." He sat on the bed, a respectful distance away from her and started humming as "One Week" by the Barenaked Ladies blared from Cleo's laptop. "Gods, is it bad I think I know all the words to this fuckin' song?"

Cleo picked up the bottle from her desk and held it out to Graves, scooting closer as she did. She sipped her own wine. “You’re going through it quick, so don’t blame me if you end up too drunk.” She raised her eyebrows and shook her head. “Um, absolutely not. It’s a great song.”

"Noted, I'll slow down. How strong is this stuff anyway?" Graves peered into his now-full mug. The wine was delicious and sweet, as promised. He edged a little closer to Cleo to get a better view of the screen, before leaning back against the wall to get comfortable. "Okay. Vital question right here." He paused for dramatic effect, eyebrows raised. "How many times have you seen this movie?"

Cleo shrugged on shoulder. “I’ve never tested how strong it is. Strong enough to get me pretty tipsy after a glass?” She was almost done with the mug, and her head was swimming a bit. She scooted over more until their arms brushed against each other, then looked at him expectantly. “Um... Looking for an actual answer? Because I haven’t kept track, but enough to know some of the lines perfectly?”

Graves cocked his head to the side, almost hitting Cleo's shoulder when she scooted closer. "Shit, I'll definitely slow down then. I'd prefer not to blackout and miss this movie that you insist is so good." He watched the screen for a few minutes before realizing she'd answered his question. "Oh damn, you know the lines? That's wild. Gods...look at their outfits. I'm gonna dress like that guy for a day, see where it gets me." He pointed to Joey Donner, laughing. "That hairdo and everything."

Cleo grinned at him. “I thought you didn’t black out. And, um, I insist it’s good because it is good.” She rolled her eyes playfully and then looked back at the screen. “Only a few of them, and paraphrasing. Don’t.” Cleo stuck her tongue out and shook her head. “I mean, it would look good, but he’s the worst character.”

“I don’t. Just hypothetically, you know?” He scrunched his nose. “Oh yeah, I can tell. He’s got real douchebag vibes.” Graves took a sip from his mug and used his free hand to absentmindedly mess with his hair.

Cleo smiled and finished her drink, then reached over for the bottle to refill it. She set the bottle down on the windowsill this time so it would be more within reach. "Yeah. But..." She bit her lip. "Yeah, dressing like him wouldn't be the worst." She shrugged and laughed. "Ugh!" She pointed at the screen. "He's the best character. I love Patrick. So cute."

Graves laughed, “We should have a 90s themed party. Give everyone an excuse to dress up.” He looked away from Cleo to watch the movie. “I’d hookup with Patrick Verona, I don’t care if he lit ten state troopers on fire. He’s hot af.”

"Oh my gods." Cleo grabbed Graves's arm. "We have to have a 90s themed party, please. It would be son fun! The playlist? Pure fire." She pressed her hand into her cheek as she watched the movie. "Ugh, same. The rumors just make him hotter."

When Cleo grabbed his arm, Graves fumbled his mug but managed not to spill a drop. He grinned at her, thanking the gods for his quick reflexes. “That playlist would be real decent, for sure. We should make it happen. What’s your favorite 90’s song?” He resumed his admiration of young Heath, biting his lip. “You’re right. The air of mystery adds to his sex appeal.”

“The playlist would be perfect. We have to do it. It can be in the rec room or something,” she decided, not wanting to clean up a mess. “I think it’s either No Scrubs or Baby One More Time.” She laughed a bit. “Weird array. What about you?” Cleo rested her cheek on Graves’s shoulder and sighed. “You’re so right. Everyone loves a bad boy.” She nearly squeaked when Cameron appeared on screen again. “But I love him too! Can they both be my boyfriends?”

Graves realized he’d just signed himself up to host a party with Cleo and wondered if Rosie would reconsider what she’d said about not kicking him out of the cabin yet. He laughed, a little delayed, before shrugging. “I love Flagpole Sitta but No Scrubs is another fave. Oh, No Diggity is good too.” He grinned when Cleo rested her head on his shoulder, adjusting his posture a bit so she could be comfortable. Her enthusiasm about the movie was contagious. “Two boyfriends?? Can’t I have one? I can’t date someone with the same name as me so I guess I have to date Verona.” He faked a pout.

Cleo curled her legs under her. "Yes to all of that. Like I said, absolute fire playlist." She cuddled a bit closer to him and sipped her drink, then tilted her head up so that she could pout back at him. "Um, I'm cute enough to have both. We can share on the days I'm feeling generous."

“Okay, I cant argue with that. I’ll wait for you to be in a generous mood, I guess.” He took a sip of his wine and snorted, almost sending his drink out his nose. “Did she just say ‘but it’s only 4:30’ about making people cry?” Graves asked, through laughter. “Gods, a badass.”

Cleo dropped her face again so that she could watch the movie more attentively. "Yes. She's the best character. I'm way more like Bianca, but I'd love to have Kat energy. Their dad's a full psycho though."

“Bancroft,” Graves laughed harder. “Your dad literally causes madness in mortals.” He covered his mouth with his hand to stifle his laughter and a hiccup. He was going to say more, but thought better of  calling Dionysus ‘psycho’. “Oh man, you definitely have Bianca energy, you’re right.”

Cleo scoffed. "Only really when they deserved it and then..." She frowned and shook her head. "Okay, I see what you mean, but careful what you say about the god of wine while drinking it, alright?" She exhaled a laugh. "Yes, I too have beer flavored..." She stopped herself from finishing the full quote, giggling too hard.

"I swear I'm not questioning his judgement. Is this..." Graves eyed his cup warily. "Still safe to drink? Or am I a dead man? I don't need any more curses." He gave Cleo a strange look when she burst out laughing, not understanding the reference. "Beer flavored...what?" He put his hand up to stop her. "Do I even want to know?"

Cleo snorted, glancing at Graves again. "Probably. What other curses do you have?" She shook her head and just pressed her lips together. "Nothing. It's a line later in the movie, it was dumb, just... forget about it." She laughed into her cup.

He looked at her and raised an eyebrow while he took another sip from his mug. "Forget I mentioned that," Graves said after swallowing. "If I tell you, they might get transferred and we don't want that." He smirked. When Cleo continued to laugh, his expression shifted to confusion again before he shrugged it off. "Do you even like beer? Or are you strictly a wine person?"

Cleo raised her eyebrows back at him, her attention split between him and the movie. “Forget? How can I ever? It’s so intriguing!” She pouted a bit. “I guess I wouldn’t want it myself, but is being this close to you going to make it jump from you to me? Is it obtained through osmosis?” She leaned back so that she wasn’t pressed up against him anymore and smiled, but shook her head. “Not much of a beer person, but definitely more than wine. I like ciders, and tequila, and rum.” She nodded. “Jack of all liquors, really.”

"You'll just have to try, Bancroft. Trust me. It's a nasty curse, I wouldn't want to burden you with my tragic fate." Graves' expression turned somber, but there was still a sparkle in his eyes. "No osmosis, no ma'am." He finished off the wine in his mug with a long swig. Resting the empty mug on his knee, he squinted at the laptop screen, trying to gauge his level of sobriety. "Jack of all liquors, sounds like something one of my siblings would say. All good beverage choices."

Cleo pressed a hand into her cheek, which was warm as the wine was hitting her. "Stop being so mysterious, Cam! You're gonna make me fall in love with you," she joked and looked down at how much she had in her own mug. "Okay, I feel like I need to catch up with you a bit." She took a few swigs and then tilted her head from side to side. "Probably don't compare me to your siblings too much, you might get in trouble. She laughed. "I love... Malibu." She nodded and scooted back to her original position and looked back at the screen. "Okay, we gotta watch."

“Wait, shit. You mean you’re not already madly in love with me?” Graves looked at Cleo in mock surprise. “You’re right, I need to kept my mouth shut. I don’t need any more trouble.” He winked at her before focusing back on the movie as instructed. “Malibu is good. I fuckin’ love Fireball,” he added, eyes glued to the screen.

Cleo bit her lip and glanced up at Graves. "Maybe a little." She laughed and leaned against him again, resting her head on his shoulder. She sipped her wine and exhaled a laugh as her chest grew warm. "I doubt you'll ever stop having trouble, what with your curse." She hummed in agreement. "Sourpuss," she added to the list, then laughed at the screen. "Ugh, when will someone get my sister to start dating so that they can date me? Alternatively, when will someone get paid to take me out because I'm so daunting, and then fall for me?"

Graves couldn’t help but smile, he enjoyed their banter. “I’ll keep that in mind.” He tilted his head to gently lean on hers. For a moment he frowned, misunderstanding, then realized Cleo had been adding to her list. He added another of his own, “Peach Schnapps.” He gave Cleo light nudge, laughing. “I didn’t know Lisette had sworn off dating. Shit, that’s tragic.” In a different voice, he added, “I don’t think you’re dauntin’. Who called you that?” He cracked his knuckles. “I’ll deal with them.”

“Mm, yes.” Cleo agreed with the addition to the list. “I mean, could be worse things, right?” She laughed. “I think if anyone called me daunting they’d have to get their eyes checked. That or they’re a foot tall.”

“Could be worse things, for sure.” He agreed. “They could call you a hippie, or a ridiculous flirt.” Graves hummed, grinning. “They’d have to pay someone to take me on a date, sure as hell. I’ve heard I’m a fuckin nightmare.”

Cleo laughed and nudged Graves’s arms. “Shut up.” She shook her head a bit. “Aw, is anyone offering a couple hundred to take you out? I could let you know about it and we’ll split it all 80-20.”

Graves shrugged, nudging Cleo right back. His eyes lit up. "Not as far as I know, but we'll split it for sure." He flicked his gaze over to her before looking back at the screen. "Okay, this Joey Donner guy? A total dickwad."

Cleo finished her drink and then put her mug on the windowsill. She moved to wrap her arms around his arm, still resting her head on his shoulder. “Yeah.” She scrunched her nose. “I can’t wait until... Just wait, it’s good.”

“What am I waiting for?” He shifted, pressing himself a little closer to Cleo, trying to be as comfortable of a headrest as possible. Graves’ lips twitched in a small smile as she encircled his arm with her own. “I have high hopes.”

“You should be!” Cleo didn’t want to spoil the ending for Graves, especially since it was so unexpected and satisfying to watch. She tapped his arm suddenly with a small gasp. “Oh! You brought snacks, right? Where are they?”

"I'll grab 'em, hang on." Graves untangled his arm from Cleo's and slid off the bed, walking over to the doorway to retrieve his backpack. "You want red vines?" He fished the package out of his bag before hopping back on the bed, crashing into her in the process. "Fuck, sorry, you okay?" He held out the candy as an apology and smiled.

Cleo was somehow disappointed when Graves untangled himself from her, despite knowing that he had to in order to get them snacks. She paused the movie and then moved over to pour them both more wine, and when Graves crashed into her, a bit sloshed onto her and  the bed. "Oops." She laughed and took the vines with her free hand, put her mug down on the windowsill, and stood to get a towel to wipe up the mess. "Before you freak out, this happens more than you'd think," she said as she patted her dress and tossed the towel down on top of her bedspread. "So don't worry about it."

His smile faltered as the wine spilled and Graves immediately untied his flannel from around his waist to try to sop up the mess, but Cleo beat him to it, grabbing a towel. "Shit, I'm sorry. There's wine on your dress too, fuck. You..." He paused. "This must happen often because you are so calm right now." He let out a hesitant laugh, running a hand through his hair. "Sorry again. Can I do anything else?"

Cleo waved her hand somewhat dismissively. “Not that often! I’m not a slob. I just know how to take care of stains that I get.” She stuck her tongue out, unclear if she was actually offended or not. “Absolutely not.” She pulled the towel from her bed and hung it up again before returning to her seat. She ripped open the red vines with her teeth, bit off both ends of one, and dropped it into her mug to use a straw. After settling back down, she held out the other mug to Graves. “Ready to go after our brief intermission?”

"Oh gods, I swear I was teasin'. I don't think you're a slob." Graves smiled sheepishly. He accepted his mug from Cleo and nodded, biting his lip. "Yeah, let's keep watching. Sorry again." He clambered back on the bed, careful not to crash into her this time. When Cleo was settled on the bed, he shifted a little closer to her, their arms just barely touching. "Cheers," he raised his mug towards hers.

Cleo laughed quietly at Graves and handed him his mug. She pressed play on the movie and cuddled up against him again. She hit her mug against his lightly. “Cheers!” She called out and then sipped through her red vine straw.

After taking a sip, Graves nodded appreciatively. "Straw game on point, 'Croft. I'm in the presence of a genius." He broke into a smile when Cleo cuddled up with him and he gladly leaned back into her, getting comfortable. He slouched down a little bit, leaning his head on her shoulder this time. "Movie night sh' be a weekly thing."

“Thanks.” Cleo grinned at the praise. “You should absolutely have the same straw if you feel bold enough.” She joked and sighed. “Ugh, absolutely. We can alternate weeks. You can pick your Mad Max for the next one.”

"You already know what I'll pick, look at you!" Graves chuckled. "You get me." He sighed, content, as he took another sip of wine. "I'd gladly accept a straw vine ma'am." He held out his mug for her to add the straw.

Cleo flashed a smile at Graves and bit her lip before looking back at the screen. She pulled a red vine from the package and then handed it to him. “Here you are, sir.”

Graves dropped the red vine into the cup and sipped wine through his makeshift straw. "Shit, this is awesome. Thank you ma'am." He grinned at Cleo, eyes flicking across her face before he turned back to the movie. He nudged her playfully but didn't say anything.

“Prevents the wine lip,” Cleo said quietly. She sipped her drink and watched the movie and then slapped his arm again. “Ugh, wait, this is it! This is the best scene!” She pressed one hand into her cheek and sipped her drink more. “The bleachers! Ugh, when will someone do this for me?”

Graves touched two fingers to his forehead. "Wine lip, I should have known." He chuckled, then made a startled sound when Cleo slapped his arm. "What!" He saw her excitement and obediently focused on the movie. His mouth widened into a surprised 'o'. "Stop, this is- fuck, this is awesome! I mean, I'd be mortified if someone did this for me but, shit that looks so fucking fun." Graves glanced at Cleo, "Maybe soon." He winked playfully and started softly humming the song.

"This is the best scene in the movie, honestly. No, in cinema, really." Cleo smiled and tucked a piece of hair behind her ear. "I fully expect this to happen at the amphitheatre now, thank you very much."

"You get me drunk enough, put me on stage for karaoke? Hell, I'm not makin' any promises but," Graves grinned. "I'm not sayin' it can't happen either."

Cleo giggled and sipped more from her candy straw. "I'll keep that in mind next karaoke. You better do the full performance."

"Bancroft, I need to warn you now. I cannot sing. If my life depended on it, I'd be in the Underworld already." He shuddered dramatically. "Can't dance either, but that's nothin' a little tequila can't fix."

Cleo rested her chin on his shoulder to look at Graves. "That just makes it better." She smiled at him for a moment before moving her head back to watch the movie again.

Graves scrunched his nose at Cleo. "If by 'better' you mean 'very embarrassing for Graves' then yeah, it's better. I'll never forgive you if you record my performance though. I do not want to go viral."

Cleo took a bite from her straw and smiled, still watching the movie. "But then I can't make it my alarm to wake up to in the morning, and then what's the point?"

"I promise you, the original song would make a much better alarm than my rendition. Fuck, that would be an awful alarm," Graves laughed, taking a sip of his wine.

Cleo hummed in agreement. “That would be a good alarm.” She wrapped one arm around his again as she drank, fully absorbed in the movie. When it got to the scene where Kat flashes the teacher to get Patrick out of detention, she tapped him excitedly again. “I love her!”

When Kat flashed her teacher, Graves’ eyebrows skyrocketed. “Damn, okay! She did that. I love her too.” As Cleo linked their arms, Graves grinned, leaning a little more of his weight on her. “Okay, please tell me they end up together because if not, I need to end up with one of them.”

Cleo laughed. “Well, I’m in love with her.” She didn’t know why she felt the need to one-up him, but she did. She pressed her lips together. “I’m sorry, that’s a spoiler.”

Graves raised his free hand in surrender. “Fine, fine. I take back my love for her.” He was about to take another sip from his mug but hiccuped suddenly. Graves made a face. “How do you-“ he hiccuped again, “know if you’re in love? I mean, the general ‘you’.”

Cleo chewed on her candy straw in thought. “I think...” She watched their date flicker on the screen and she squinted slowly. “I think I just know. It’s like... A fuzzy feeling you get, and you’re always warm. It’s like a little hug in your stomach, and a comfortable feeling in your chest. It feels...” She hummed. “Safe.” She pressed a hand into her cheek. “Different from the fuzzy crush feeling. That’s more like buzzing, and your cheeks hurting from smiling, you know?” She tilted her head slightly to glance at him. “Why?”

Graves kept his eyes fixed on the movie, chewing his lip. He thought about what she described, the feelings she pointed out. He shrugged, almost imperceptibly. His voice low, Graves answered without looking away from the movie, “I don’t think I’ve ever been in love, that’s why.”

Cleo blinked at Graves and took another sip of her drink. “Well, that’s not too surprising. You’re a gemini man. Have you ever even dated anyone?”

"A gemini man," Graves huffed. "Reducing me to my zodiac sign, I'm hurt, Bancroft." He could feel the walls that he'd unwittingly lowered start to slide back up. "Nah, nah. I don't date." He downed the rest of his mug in one large sip.

Cleo lifted her eyebrows at him. “Are you really offended?” She frowned slightly. “How do you expect to fall in love if you don’t date?”

"Oh, shit. No no, I was just- I was joking." He clarified. "Also I'm a cancer. Well, a cusp." Graves nudged her gently, a small smile on his face to show that he hadn't been upset. "I don't expect to, I was just..." He searched for the right word. "Curious, I guess. I sound like an idiot." He shook his head, wishing he hadn't downed his wine, but not wanting to ask for more. His cheeks felt warm, his head a little foggy.

Cleo pressed her lips together as she watched him. “You seem like a gemini.” She rested her chin on his shoulder again. “You don’t sound like an idiot.” She shrugged one shoulder. “You know, I think you can be in love with things that aren’t people. Like sounds or words or the way something feels.”

Graves tilted his head. "I've never felt particularly one way or the other, so I'll trust your judgement." He leaned on Cleo again, nudging his arm closer to hers. "I agree with that. Didn't the Greeks have, like, five different kinds of love or something?"

Cleo dropped her face again and looked back to the screen. “Six. Agape, eros, philia...” She squinted as she thought. “Ludus and pragma, and... One that means self-love. Have you ever read Symposium?”

"Have I read-nah, what is that?" He mimicked Cleo's earlier action, leaning on her shoulder. "I actually knew the first three on that list, surprised myself."

Cleo glanced down at Graves without moving her head. “Symposium, it’s Plato, and he just talks about love and the different forms of it. It’s really beautiful, actually.” She smiled, more for herself than anything, and her eyes grew almost misty. “They’re the most famous, I think. Do you know what the others are?”

Graves drummed his fingers on his thigh, thinking. "Ludus is...playful love? It's also one of the planets in Ready: Player One. And pragma, I don't know. Something practical, from context probably?" His eyes flickered to Cleo's face, watching her expression change as she talked about love. "You're a hopeless romantic, aren't you?"

Cleo moved her head in what could be considered a nod to confirm that ludus was playful, not wanting to move too much. She smiled a bit. “Yeah. I heard it described as when you stop falling in love and learn to stand in it. It’s practical, a growing sort of love.” She flushed as she met his eyes, wine-warm cheeks growing warmer. “Kinda. I also just took a course on love and Symposium was just... really pretty. I loved it. Except for the misogyny, but, you know, can’t have everything.” She laughed quietly, tracing her eyes over his features, and then turned back toward the screen suddenly, humming urgently as she did. “We’re gonna miss the prom! The best scenes! Besides all the other scenes.”

"Stand in it, I like that." Graves returned her smile, holding Cleo's gaze when her eyes met his. He chewed his lip. "I'll have to read it, maybe they have it at the bookstore?" He chuckled, "Are you telling me you didn't order a side of misogyny with your love?" He scrunched his nose before carding his fingers through his hair. He turned his gaze away from Cleo, almost reluctantly, and focused back on the movie. "Gods, who dresses up as Shakespeare for prom?"

“I can lend it to you,” Cleo said, gaze fixed on the screen. “Since you’re here already. I have it in the original Greek! But if you don’t like notes in the margins maybe don’t borrow it from me. Plus, actually, coming into the bookstore and buying it might be a good sales tactic, so let’s say I did that.” She exhaled a small laugh before slapping his arm lightly. “Hey! I know that everyone wants to grow up and become Kat, but some of us just end up her crazy friend obsessed with Shakespeare. And he dressed up all for her! That’s so cute!” She smiled despite her words and drained the last of her wine. “But, ugh, just, okay, just watch. This is the best part. I love Bianca.”

Graves' eyes stayed focused on the screen as he answered. "I don't mind notes in the margins, maybe I'll learn more from your insight." He almost pulled his arm away to dodge Cleo's slap, but didn't want to untangle their arms. "Hey! Okay, fine, that's fair. They can have their theater geek prom."  His expression turned to one of surprise. "Shit! Cameron down. Please tell me I take a punch better than that." Graves' nearly jumped in excitement when Bianca punched that guy, instead he tapped Cleo's leg with his hand. "Oh my gods! Damn! That's what I'm talkin' about!!"

Cleo pressed her cheek into the top of his head for a moment, watching the movie past his hair. “I’ll lend it to you, then. Don’t leave here without it.” She nodded. “We should have a theatre geek prom! Like, here. Or just a dance. A dance where people have to dress up,” she decided on, then untangled herself from Graves slightly to press a hand to her cheek. “Ugh, baby," she said when Cameron got hit. "I love this move, I love it.” She sighed dramatically. “When will Bianca marry me?”

Graves hummed, thinking. "A masquerade, Bancroft. A masquerade." When Cleo pulled away, he shifted, pulling his knees up to his chest and leaning on them. "He went down so hard," he laughed, watching the movie-Cameron. Graves turned to look at Cleo, catching her exaggerated sigh. He grinned and elbowed her gently, "This was a good movie. Good fuckin' choice. If you propose, I bet she'd say yes."

Cleo put her cup down on the windowsill and grabbed Graves's arm when he mentioned a masquerade. "Yes." She leaned in close to him and grinned, feeling as though the last sip of wine and last glass of wine hit her all at once. "We need to do that. A masquerade. Please! I'll mention it to people and help plan it and everything, I swear!" She leaned back again and looked at her computer. "He's just a boy!" She laughed, leaning back on a hand. "Thanks." She flashed a smile, but it faded as she pressed a hand to her cheek. "We're just getting to the sad part, though!" She frowned at the screen, chest growing tight as the music grew sad.

Graves leaned in, a conspiratorial look in his eyes and rested his forehead against Cleo's. He matched her grin. "Shit, I'm all in for a masquerade, Bancroft. But if you get me stuck on the plannin' committee, gods help you," he threatened, joking. When she leaned away, Graves made a face, before resting his folded arms on his knees again. "And you're just a girl, right?" He matched her tone, still grinning but feeling a little fuzzy. She hadn't been kidding when she warned how strong the wine was. Graves looked at Cleo when the music changed, studying her expression, "Please don't tell me someone dies or something. How sad does this get?" He pouted at her.

Cleo didn’t seem to see a problem with their proximity and just smiled, pressing her nose against his. “Cameron, sir, you are going to help me plan this by being the hype man, okay? Just tell every single person about it and I’ll get a group of people to actually plan it!” As she sat back, she smiled at him. “Unless you can handle putting up some twinkle lights with me?” She groaned and pressed her hand into her cheek somewhat harder, sticking out her lower lip. “No, just heartbreak.” She sniffled.

"You need hype? I'm an excellent hype man, swear." Graves winked, then started making a mental list of who to tell first to get the ball really rolling. He looked over at Cleo and returned her smile. "I guess I could handle some twinkle lights. I'd be a hot assistant, for sure." He patted her knee affectionately when she groaned. "There, there, sappy. I don't have any tissues but uh, I have a shoulder to cry on?" Graves' eyes darted between Cleo and the screen. "I love this teacher man, he's just roastin' the guy because he knows Joey had it comin'. I love it."

“Perfect.” Cleo grinned widely at her friend and nodded her head once in confirmation. “It’s a plan, then. I’ll let you know dates when we figure it out. And then you can be there to physically set it up with me!” Once Kat started reading her poem, she wiped at her face, which was now covered in tears as she was openly crying. “Yeah.” She said as she sniffled again. “He’s a good teacher.” She reached over to grab a few tissues from a box handy on her windowsill.

"It's a date- err, that's not what I meant." Graves laughed at his own mix up. "Yes, I'll be there, for all your twinkle-light-hanging needs," he amended. Just as Cleo started wiping away tears, Graves turned his head away so she wouldn't see that he'd gotten a little misty-eyed himself. He preferred not to show off his softer side but, damn, that poem had hit him. He used his shoulder to wipe a tear off his cheek, praying to the gods that Cleo didn't see. He turned back to the screen, his voice sounding a little strange as he spoke. "Wow, I-uh I liked her poem."

If she noticed Cameron crying, Cleo didn’t indicate that there was anything unusual about it. “Ugh, same.” She wiped her nose, smiling once again when there was a guitar found in the front seat of Kat’s car, though it only made her burst into tears once again. “I’m so sorry.” She laughed at herself and wiped at her face. “I would say I don’t normally do this, but I know the ending, and I’ve done it every single time. You should have seen me the first time I watched it. It’s like, I know how the play ends, I obviously know they end up together, and yet I’m still crying!” She looked over at him.

Graves grinned, thankful she hadn't said anything. He looked away from the screen when Cleo burst into tears again and passed her a tissue. "Gods, Bancroft." Graves let out a small laugh. "I love that you're so invested in this movie but uh, if you don't stop crying, there's gonna be a flood in here," he joked, nudging her shoulder. Looking back at the movie, he noted, "I don't even play guitar but I'd still swoon at a gesture like that."

Cleo took the tissue with a watery smile and wiped at her face again. She sighed, finally done with her crying. "Sorry, sorry! I'm a drunk pisces!" She laughed and sighed. "Me too. It's just the thought, and the fact that he used all the money that he got for taking her on dates. It gives them a fresh start."

"I'm a drunk...Gemini? Cancer? Cusp?" He responded, forgetting why he was listing his zodiac options even as he listed them. Graves nodded. "Yeah, it's-" he hiccuped and immediately scowled. "It's cute. This is cute," he said vaguely, laughing to himself.

"This is very cute." Cleo smiled and looked at Graves, resting her cheek on her hand.

Graves looked at Cleo and grinned. "Top 5 favorite movies. Rapid fire!" he said, leaning against her again.

"This one, Thirteen Going on Thirty, Romeo and Juliet, but the Leonardo Di Caprio version, Birds of Prey, and Enchanted." She flashed a smile as she listed her movies easily. "How about you?"

Graves' brow furrowed at Cleo's list. "I've only seen....Thirteen Going on Thirty, I think. My mom loves that movie." He paused for a moment, thinking of movies. "Okay, well Mad Max: Fury Road, obviously. And then The Goonies, Pacific Rim, Pirates of the Caribbean, and...oh! Ferris Bueller's Day Off! A fuckin' classic."

Cleo scoffed and turned towards him, still close. “Okay, well now we have a list of movies we have to watch. I can’t believe you’ve never seen Enchanted. You’re gonna love it, believe me.” She pressed her lips together. “Okay, I’ve seen all of those except for Pacific Rim. And I can kind of remember watching Mad Max? But I think I may have just watched pieces of it.”

He glanced at her, rolling his eyes dramatically. "You can't just watch pieces of Mad Max, Bancroft."

Cleo snorted as she laughed and took his face in her hands. “Well, I did, Cameron!” She dropped her hands as quickly as she raised them, and she tilted her head to rest her cheek on her own shoulder.

"That's unacceptable, Bancroft!" Graves laughed, looking down when Cleo put her hands on his face. He looked back up at her, biting his lip and half-smiling. "Seriously, we need to fuckin' fix that immediately, if not sooner."

Cleo pressed a hand to her cheek. “Are you suggesting a double feature? I don’t know if I can handle another movie, even if it’s your favorite one.”

"Nah, not tonight. I'd fall asleep right here." Graves pretended to snore for a second, before sitting back up. "We should watch it next week. My place."

Cleo giggled as he pretended to snore. “Sleep well sweet prince.” She rubbed her cheek. “Sure. Same time?”

Graves snorted when she said sweet prince. He thought for a second then nodded. "Same time, works for me." He chewed his lip. "I can even meet you at the bookstore again."

Cleo grinned at him. “Sure, it’s a date. Grab me another iced chai?”

"You didn't even have to ask," Graves smiled and ran a hand through his hair.

#this is absurdly long you can just skim it tbh #c: cleo #c: cleograves #why do cleo and graves only speak in italics???? #half of it is me n jess talking abt ten things i hate about u

[papermoonloveslucy]

Lucy the Bean Queen

S5;E3 ~ September 26, 1966

Synopsis

Mr. Mooney partners with an enterprising southern colonel to market canned baked beans offering a double your money back guarantee.  This gives Lucy an idea how to raise enough money to pay for her new furniture.

Regular Cast

Lucille Ball (Lucy Carmichael), Gale Gordon (Theodore J. Mooney), Mary Jane Croft (Mary Jane Lewis)

Guest Cast

Ed Begley (Colonel Beauregard Bailey, above right) was born in 1901 in Hartford, Connecticut. His first success was the 1947 Arthur Miller play All My Sons followed by Inherit the Wind (1955-57), which ran for 806 performances on Broadway and won Begley the 1956 Tony Award for Best Featured Actor in a Play.  In 1962 he won an Oscar for his supporting role in Sweet Bird of Youth. His son is the actor Ed Begley Jr. This is his only appearance opposite Lucille Ball.  He died in 1970.  

Richard Jury (Addison, Sales Manager, above left) was born Richard Satriano in 1926. He appeared occasionally on sitcoms of the time.  This is his only appearance on “The Lucy Show.”

Joseph Mell (Supermarket Manager #1) previously played Bailiffs in “Lucy the Meter Maid” (S3;E7) and “Lucy is Her Own Lawyer” (S2;E23). His first role on the series was as a Butcher in “Together for Christmas” (S1;E13). In 1964 he appeared in the TV special “Mr. and Mrs.” (aka “The Lucille Ball Comedy Hour”), which featured many of the Desilu regulars. Mell also appeared in a 1969 episode of “Here’s Lucy.” In 1971, he was a Taxi Driver on “Lucy and the Lecher,” a cross-over episode of Danny Thomas’s “Make Room for Granddaddy” in which Lucille Ball played Lucy Carter, her character from “Here’s Lucy.”

In the final credits, Mell is actually listed as 2nd Manager, but is the first supermarket manager on screen. 

John Perri (John Coke, Supermarket Manager #2) played the Man from Full-of-Pep Vitamins in “Lucy, the Superwoman” (S4;E26) and was previously seen as a Supermarket Checker in “Lucy and Joan” (S4;E4). He was seen on Broadway in The Boy Friend (1954), the musical that introduced Julie Andrews. This marks his final appearance on “The Lucy Show.”

In the final credits, Perri is listed as 3rd Manager, but is the second supermarket manager on screen.  The character name is not spoken or credited, but comes from the name badge on his chest.  The surname may also read 'Cole' or 'Cone.'

Sid Gould (Furniture Delivery Man #1, above right) made more than 45 appearances on “The Lucy Show,” all as background characters. He also did 40 episodes of “Here’s Lucy.” Gould (born Sydney Greenfader) was Lucille Ball’s cousin by marriage to Gary Morton.

Gould's furniture moving partner (above left) is uncredited.  

Bennett Green (Furniture Delivery Man #2) was Desi Arnaz’s stand-in during “I Love Lucy.” He does frequent background work on “The Lucy Show.”

Green's furniture moving partner goes uncredited.  This is the third time Gould and Green have played  delivery men. They delivered Major Fun Fun in “Lucy the Robot” (S4;E23) and the massive computer in “Lucy, the Superwoman” (S4;E26).  This time, however, they are teamed with different partners.

The voice of Perkins in the Bailey Beans sales department goes uncredited

This episode was filmed June 30, 1966, just before the production broke for summer hiatus.

Ed Begley (Colonel Bailey) is the first actor on “The Lucy Show” to have won a competitive acting Oscar at the time of his appearance. Four years earlier he had won Best Supporting Actor for Sweet Bird of Youth.  Earlier in 1966, Mickey Rooney made a guest appearance on “The Lucy Show” having won an honorary Juvenile Oscar in 1938 along with Deana Durbin. Joan Crawford, who won the Academy Award in 1945, would guest-star on “The Lucy Show” in 1968. Coincidentally, the year Begley won, Joan Crawford accepted the Best Actress Award for Anne Bancroft, who was appearing in a play. Begley, however, is the only one to appear on “The Lucy Show” playing a character, while the others played themselves.

The first (and only) actor to have won a competitive Oscar at the time of his appearance on “I Love Lucy” was William Holden, who won for Stalag-17 in 1954.  

This is the first and only “Lucy Show” episode written by Phil Leslie, who started his career on radio writing for “Fibber McGee and Molly” on which this “Lucy Show” plot is loosely based.  It was broadcast on the NBC Red Network on January 8, 1946 and was called “Bean Counting Contest.”  Jim and Marian Jordan played Fibber and his wife Molly. Leslie will also write four episodes of “Here's Lucy.”  

To prepare for this episode, Lucille Ball learned to drive a forklift and spent much rehearsal time working to ensure she could maneuver it on a dime.

Colonel Bailey and Mr. Mooney were formerly partners in Bailey's Pickles.

Lucy's pyramid scheme of rebates is based on the fact that Bailey's Barbecued Baked Beans cost 25 cents per can. Newspaper ads from mid-1966 (above) offer Heinz and Dundee beans (on sale) for 19 and 20 cents per can, so fictional Bailey's is right in line with the cost of their real-world competitors.

Lucy intends to buy new furniture from the Royal Furniture Company for $1,500 over three years, despite the fact that she has only paid back $100 of the $800 her furniture cost the year before!  

Lucy says her mother baked the best beans she ever ate.  In "Lucy with George Burns” (S5;E1) Lucy says her mother's noodles were the best she ever ate.

Recognizable character actor Ed Begley receives entrance applause from the studio audience.

Mr. Mooney notes that it costs five cents postage to send a letter. This rate went into effect in 1963, rising a penny, and went up again another penny in 1968.  Today the cost is 47 cents, down from an all-time high of 49 cents in 2014.

Lucille Ball frequently had episodes written around redecorating so that the show's visuals would not become stagnant. Lucy Carmichael has only had her California apartment furniture for a year.  Although aired in the fall, this episode was actually filmed before the production went on summer hiatus, giving the set designers and decorators time to make the changes.  Lucy's Danfield home (above) was redecorated in the hiatus between seasons 1 and 2.  

Colonel Bailey says the Bailey's Bean sales chart looks like a ride at Disneyland. The now-iconic theme park in Orange County, California first opened in 1955.  In late 1965 Disney announced plans to build a sister park in Orange County, Florida.  Walt Disney World opened in 1971.  

Bailey: “Rome wasn't built in a day, you know.”

Mooney: “We're not in the construction business!”

“Rome wasn't built in a day” was a plea for someone to be patient.  The phrase was a French proverb in the late 1100s but was not recorded in English until 1545. Ironically, Mr. Mooney was recently in the construction business, partnering with Winslow Construction Company in “Lucy and the Sleeping Beauty” (S4;E9) and “Lucy and Clint Walker” (S4;E24).  

Desilu saves a salary by having the voice of Perkins in Colonel Bailey's sales department come from the overhead intercom system instead of an onscreen actor.  

Lucy buys 3,000 cans of beans (in cases) and stores them in her (empty) apartment. When she turns the cases into a sofa and armchair, she calls the decorating style “early pork and beans.”  

Lucy gets a phone call from Frank Winslow, whom she dated in “Lucy and the Sleeping Beauty” (S4;E9) and “Lucy and Clint Walker” (S4;E24). Frank owns a construction company and is loaning Lucy the forklift.

Bailey's Barbecued Beans jingle:

Bailey's Beans, Bailey's Beans Priced for folks of every means. Fix a pot, cold or hot Good old Bailey's Beans. Don't delay, go today To your nearest store. Hurry up!  Hurry up!  Hurry up!  Woah! Buy Bailey's Beans!

Callbacks!

A 1949 episode of Lucille Ball’s radio show “My Favorite Husband” also dealt with beans: “OVER BUDGET - BEANS!” Liz (Lucille Ball) goes over her budget again by buying six cases of beans that were on special, so George cuts off her allowance. Soon they’re eating nothing but beans, and the electricity and telephone have been disconnected!

Baked beans were a point of contention when Lucy Carmichael and Mr. Mooney first met in “Lucy Gets Locked in the Vault” (S2;E24) where the only food they had was a can of beans (but no opener).  

In “Redecorating” (ILL S2;E8) Lucy Ricardo schemes to get new furniture by entering a drawing at the Home Show – 100 times!

Having an apartment full of baked beans is visually similar to Lucy Ricardo having an apartment full of Aunt Martha's Old Fashioned Salad Dressing in “The Million Dollar Idea” (ILL S2;E13).  

Mary Jane getting trapped by stacked cartons of baked beans is visually reminiscent of when Lucy Carmichael stacked recycled newspapers in her Danfield home to sell to salvage to pay for the new Fire Department dress uniforms.  Just as Lucy drives a forklift in this episode, “Lucy Drives a Dump Truck” (S1;E24) full of newspapers in 1963.  Both episodes featured Mary Jane Croft. 

When Lucy meets Colonel Beauregard Bailey, she turns on the southern charm.  Lucille Ball also tried to charm a southerner named Beauregard (Robert Preston) as Mame in the 1974 film of the same name.

Blooper Alerts

The safe in Mr. Mooney's office in the previous episode is now gone and the office has reverted to the way it looked at the start of season 5.  

Lucy says the two pinheads at the bottom of the supermarket map represent her and Mary Jane.  If that is so, they must be living in or around the San Pedro area, not Hollywood.  Also, if Mary Jane lives next door to Lucy in the same complex the two pin heads should be adjacent – or practically on top of one another.  

All three supermarkets were filmed on the same set, slightly rearranged. In supermarket #3, a shelf of bread has been moved in front of the soda machine.  

In supermarket #2 (top photo) you can see boxes of Kiddie Cookies, a fictional product first seen on “The Talent Discoverers Show” in “Lucy and the Plumber” (S3;E2), then in the Los Angeles supermarket during “Lucy and Joan” (S4;E4), and again on the the kitchen shelves of the inventor in “Lucy the Robot” (S4;E23).  

Mr. Mooney is investing his personal money in Bailey's Barbecued Beans, which might be a conflict of interest for a bank executive, especially having a meeting on bank time.

After Lucy and Mary Jane relax on their pork and bean box furniture, the camera pulls back far enough to see where the edge of the wall-to-wall carpet meets the gray cement of the studio floor.  This area had to remain uncarpeted to allow the heavy cameras to move freely during filming.  You can also see the actors' 'marks' – white tape denoting where the actors should stand to be in the camera shot.

“Lucy the Bean Queen” rates 5 Paper Hearts out of 5 

#The Lucy Show #Lucy the Bean Queen #Lucille Ball #Gale Gordon #Mary Jane Croft #Baked Beans #Ed Begley #Richard Jury #Joe Mell #Sid Gould #Bennett Green #John Perri #Phil Leslie #Fibber McGee and Molly #Clint Walker #Disneyland #Fork Lift #Supermarkets #Grocery Stores #1966 #CBS #TV #Redecorating #Mame #Furniture

[the-master-cylinder]

SUMMARY Jessica (Zohra Lampert) has been released from a mental institution to the care of her husband, Duncan (Barton Heyman), who has given up his job as string bassist for the New York Philharmonic and purchased a rundown farmhouse on an island in upstate New York. When Jessica, Duncan, and their hippie friend Woody (Kevin O’Connor) arrive, they are surprised to find a mysterious drifter, Emily (Mariclare Costello), already living there. When Emily offers to move on, Jessica invites her to dine with them and stay the night.

The following day, Jessica, seeing how attracted Woody is to Emily, asks Duncan to invite her to stay indefinitely. Jessica begins hearing voices and sees a mysterious young blonde woman (Gretchen Corbett) looking at her from a distance before disappearing. Later, Jessica is grabbed by someone under the water in the cove while she is swimming. Jessica is afraid to talk about these things with Duncan or Woody, for fear that they will think she is relapsing. She also becomes aware that Duncan seems to be attracted to Emily, and that the men in the nearby town, all of whom are bandaged in some way, are hostile towards them.

Duncan and Jessica decide to sell antiques found in the house at a local shop, one of which is a silver-framed portrait of the house’s former owners, the Bishop family—father, mother, and daughter Abigail. The antique dealer, Sam Dorker (Alan Manson), tells them the story of how Abigail drowned in 1880 just before her wedding day. Legend claims that she is still alive, roving the island as a vampire. Jessica finds the story fascinating, but Duncan, afraid that hearing about such things will upset his wife, cuts Dorker short. Later, as Jessica prepares to make a headstone rubbing on Abigail Bishop’s grave, she notices the blonde woman beckoning her to follow. The woman leads Jessica to a cliff, at the bottom of which lies Dorker’s bloodied body. By the time Jessica finds Duncan, however, the body is gone. Jessica and Duncan spot the woman standing on the cliff above them, causing Duncan to give chase. When the woman is caught and questioned by the couple, she remains silent and quickly flees when Emily approaches.

That night, Duncan tells Jessica that she needs to return to New York to resume her psychiatric treatment. Jessica forces him to sleep on the couch, where he is seduced by Emily. The next day, Jessica finds the portrait of the Bishop family, which she and Duncan had sold to Dorker the previous day, back in the attic; she observes that Abigail Bishop, as seen on the photo, bears a striking resemblance to Emily. Jessica agrees to go with Emily to swim in the cove. While swimming, Emily vanishes from sight; Jessica hears Emily’s voice in her head and watches as Emily emerges from the lake in a wedding gown. Emily attempts to bite her neck, but Jessica flees, locking herself in her bedroom in the house. Hours pass and Jessica leaves to hitch a ride into town. Woody, who has been working in the orchard, returns to the house, where Emily bites his neck.

When Jessica gets into town, she sees Duncan’s car and asks about his whereabouts, but no one will speak to her; she then encounters Sam Dorker, and terrified, runs back to the house. She collapses in the orchard and later is found by Duncan, who takes her home. In their bedroom, the couple go to lie down; Jessica notices a cut on Duncan’s neck, and Emily then enters the room brandishing a knife, with the townsmen following behind her. Jessica flees the house, knocking over Duncan’s bass case, which contains the corpse of the mute woman.

Jessica runs through the orchard and comes across Woody’s corpse, his throat slashed. At daybreak, Jessica makes it to the ferry and tries to board, but the ferryman refuses to let her on. She jumps into a nearby rowboat and paddles out into the lake. When a hand reaches into the boat from the water, she stabs the person in the back several times with a pole hook. As the body floats away, she sees that it is Duncan. From the shore, Emily and the townsmen watch her.

DEVELOPMENT/PRODUCTION It all began with a father-and-son team, Charles Moss Sr. and Jr., who owned the Criterion, one of the top movie houses in New York, along with a chain of other East Coast theaters. The Mosses wanted to make their own film, and hired Lee Kalcheim to script it. Kalcheim had been writing for television since 1965, working on the likes of The Alfred Hitchcock Hour, The Paper Chase, All in the Family and M*A*S*H. The original idea was to do a send up of horror films, which was a natural for Kalcheim given his comedy background, and the fact that he was not a fan of the genre—“I find them slightly silly,” he says.

Kalcheim, who wrote the script in the Moss offices, lived in Connecticut, not far from where Jessica eventually filmed, and he incorporated many locales that were close to him, including coves in front of his home and a ferry that was within walking distance. “The ferryboat was at the end of the road that I lived on, and the orchard was right up the street,” he recalls.

Jessica would undergo plenty of changes in the transition from horror/comedy to a genuine scare film, but as Kalcheim notes, “The situations stayed—the people showing up at the house, the kind of weirdness of the place.” In his original script, a monster lived in the coves. “It was during the Vietnam War, so you had all these hippies, which is still part of the film. And I believe the monster was killed when the lead character rode a motorcycle that had an American flag with a point on the end of it, and he rammed it through the monster.”

Then director John Hancock, and a more serious approach to the material, came in. Hancock, a native of Kansas City, was discovered by William Wyler’s daughter, a development executive for the legendary producer Joseph E. Levine. She saw an Academy Award-nominated short he made in 1970 called Sticky My Fingers…Fleet My Feet and got a number of people to see it including the Mosses, who immediately considered Hancock to direct their project. “The script I was given was kind of a parody of a horror film,” Hancock confirms, “and I tried to make it a genuinely scary movie. I attempted to make it as real as possible.”

Hancock grew up on a fruit farm, which he incorporated into the film, and applied the memories and equipment to horrific ends, like a crop sprayer whose poison kills humans as well as insects. “All that personal material, it’s like a child’s ghostly visit to a farm with a sprayer that poisons you,” Hancock says. “That must have been how I felt as a kid going to my grandparents’ farm, and that made Jessica unlike other scary movies. It was a very personal picture.”

His father was a bass player, and in the film one of the characters plays a huge upright bass. Hancock’s college roommate also felt that the film’s redheaded vampire, Emily (played by Mariclaire Costello), bore some family resemblance. Recalls the director, “He said, ‘If you don’t think that redhead is your mother, you’re crazy!’ I wasn’t conscious of it, but he claimed it was!”

Hancock, who had never shot a fright flick before, worked closely with the Mosses and incorporated their suggestions while he rewrote the script. “They wanted a seance. Why? ‘Well, because people like them.’ They wanted a little girl running around in a gauzy white (shroud), “because it will be scary.’ They had big input into this film, and a very strong sense of what audiences liked. They also had a good sense of what scenes make the audiences go get candy, and I tried to avoid those!”

As Hancock wrote the script, “I learned that indeed the things that scare you in writing them will scare an audience. Locations that scare you when you’re scouting them will scare an audience. I learned to trust in that sense. When I first looked at the mansion where we shot the film, there was a hallway upstairs with a lot of doors in it, and I got kind of a chill. I thought, ‘Well, this is a scary location,’ and indeed it was. All those doors, somebody could come out of any one of them.”

In one scene, Jessica flees into the house and locks herself in her room. As she cowers in fright, papers she posted on the wall flap loudly in the wind, and her inner voices whisper through the walls. “As I was writing that, I got chills, and I was pleased that it was scary to an audience too,” Hancock says.

This slideshow requires JavaScript.

Zohra Lampert, who plays Jessica, recalls meeting Hancock backstage when she was performing in Mother Courage with Anne Bancroft at Broadway’s Martin Beck Theater. He approached her about the role, “and I accepted, trusting his judgment,” she says. “I have great fondness for John Hancock, and enjoyed working with him very much.”

“I had seen Zohra in several plays and dated her briefly,” Hancock adds. “I thought she’d be good for the role and vulnerable, easily frightened. A good screamer. The ladies in these films have to be able to scream!” To prepare for the part, Lampert worked with her lifelong teacher, Mira Rostova, as did Costello; Rostova’s other students have included Alec Baldwin, Montgomery Clift and Roddy McDowall.

Practically everyone who worked on Let’s Scare Jessica to Death was a novice to the horror genre, and Hancock bought a 16mm projector and rented a number of Hitchcock films to prepare for the shoot. Jessica has often been compared to the cult chiller Carnival of Souls, which Hancock and Kalcheim both claim they haven’t seen. “I’m not even sure I’d seen Night of the Living Dead by then,” Kalcheim says, referring to another genre classic that Jessica has been compared to.

Let’s Scare Jessica to Death opens and closes with the same scene, which was filmed off a pier. Against a beautifully shot sunset, Jessica sits in a boat with her back to the camera as she slowly drifts out into a river and we hear her thoughts in voiceover: “I sit here and I can’t believe that it happened. And yet, I have to believe it. Dreams or nightmares, madness or sanity, I don’t know which is which.” Jessica has been in a mental hospital for six months, and her husband is hoping some time on a farm in upstate New York will do her some good.

“For the first time in months I’m free,” her narration tells us. “Forget the doctors. Forget that place. I’m OK now. We’ll start over.” But she starts seeing and hearing things she’s not sure are real. Voices echo in her head, asking, “Jessica, why have you come here?” But she tells herself, “Act normal,” so as not to alarm her husband.

Arriving at the farmhouse, they discover the hippie girl Emily, who was living there previously, thinking the house was abandoned-or so she says. Soon they learn the truth: Emily drowned in the cove in 1880. As the townsfolk tell the tale, her body was never recovered, and she’s now a vampire roaming the countryside.

Hancock wanted to make Let’s Scare Jessica to Death a variation on The Turn of the Screw where you’re not sure if the heroine is truly crazy or if the horror is really happening. Jessica’s husband certainly has his doubts as to whether his wife’s condition has improved, or if she’s relapsing. “Jess? I think we should go back to New York for a while.” he tells her. “You can see your doctor.” He pauses to consider what he’s saying. “If you want.” As she approached her performance, Lampert says, “I believe Jessica was more dubious about her husband’s fidelity, as well as his belief in her, than anything else.”

Let’s Scare Jessica to Death was shot in Old Saybrook and East Haddon, Connecticut. The main house where most of the central action takes place was called the Dickinson Mansion, located in the town of Essex. The first night the film company went to the house being used for exteriors, an incredible fog had rolled in which gave the area a spooky haze that was used throughout the movie. “We got lucky with that,” says Hancock. “It happened to be there when it was time to shoot.”

Primarily a stage director, Hancock was a bit uncertain once he started making his first feature. “I didn’t have any idea what I was doing!” he laughs. “I tended to work quite openly with actors in the theater. I tried to free them up, get them to be real, full and expressive, and limiting that to what a camera sees was something I found frustrating. It was a little hard to accept that indeed I did have to block them through the camera; I couldn’t just have the scene be good, then take a picture. Then I realized it wouldn’t kill off their spontaneity entirely, and accepted to some degree that you lose a little bit of that. A lot of good cameramen will free up actors from marks for that very reason.”

The director recalls that the first cinematographer on Let’s Scare Jessica to Death kept regarding him like he was incompetent. “So I fired him after the first week, and got one who didn’t look at me like that!” That cameraman was Bob Baldwin, who went on to shoot  I Drink Your Blood (1970) director David Durston, The Exterminator (1980) and The Soldier for James Glickenhaus and Frankenhooker and Basket Case 2 for Frank Henenlotter. Before Jessica, Baldwin had previously lensed a number of black-and-white stag films in 35mm. “I believe Jessica was one of the first pictures I shot that was not a nudie,” Baldwin says.

Unlike Hancock, the DP didn’t watch any horror films for inspiration before the shoot. As he recalls, they went up to Connecticut right away, and there wasn’t much time to prep. While the first cameraman on Jessica didn’t think Hancock knew what he was doing, Baldwin felt the situation was a big step up from his previous projects.

“The cameraman is really the director on those nudies, because you’re movin’ the camera and doin’ the shots, and all the director cares about is gettin’ the shot, and gettin’ out of there to return the equipment because they’ve only got it for the weekend,” Baldwin says. “Jessica was probably the first really good organization I worked with; it wasn’t like people grasping. When you start, you know when you have a director who knows what he’s doing. That to me was a revelation, I guess !”

Lampert especially enjoyed working with Baldwin, who was “very sensitive to the performer,” she says. “We understood each other and worked in tandem.” Baldwin replies, “I always sort of pride myself on that. I always had a habit of going into makeup and just sitting and schmoozing with the actors before the day started. I spent time with Zohra in the rehearsals, and I was always around. You get so you kind of hold their hand or whatever it takes for them to do their thing.

“Zohra was a good actress,” Baldwin continues. “I felt she had plenty of screen presence. She spent a lot of time developing that character. Some actors can finish a scene and then be back to their regular selves, joking around, then on take two they’re right back into the role. But she’d get into character and spend the day there.”

Let’s Scare Jessica to Death gave Baldwin the opportunity to experiment with camera tricks. One special effect he pulled off was making the ghostly apparition of Emily appear and disappear in the lake, which he accomplished with a Polaroid filter that worked like a Venetian blind. When the filter was rotated one way, you could see the actress floating underneath, but when it was turned another way, only the reflecting glare of the water was visible. “We did a lot of tricks that they do with computers today,” Baldwin notes. “Sometimes I think that the computer is what made everybody lazy. We did a hell of a job for the money we had.”

The one memory that stands out for those who worked on Let’s Scare Jessica to Death was the weather, which made it difficult to film in the lake. “I remember we shot in October, so for all those scenes in the water, they were freezin’ their asses off!” says Kalcheim. “If you look at the leaves on the trees, you’ll see it was not conducive to swimming!” Not only was the water frigid, “Our legs were being nibbled on by fish!” says Hancock.

“The water was cold, I remember that part!” adds Baldwin. “And poor Mariclaire, she had to swim in that white gown with that white makeup.”

Director John Hancock Interview

John D. Hancock

WHAT WAS THE BEGINNING OF YOUR INVOLVEMENT WITH LET’S SCARE JESSICA TO DEATH? John Hancock: I’d made a short film on a grant from the AFI called Sticky My Fingers, Fleet My Fest that was about businessmen who play touch football in Central Park. It had received an Oscar nomination and had also been shown by CBS during half-time of their big Thanksgiving football game. That secured me a lot of attention and William Wyler’s daughter Kathy, saw it…. She then recommended me to the producers of Jessica, who were looking for a director. There was a very important chain of exhibitors known as B.S. Moss Enterprises who were run by a father-and-son team who were both named Charlie Moss.

DID YOU EVER CONSIDER RETAINING KALCHEIM ‘S TITLE: IT DRINKS HIPPIE BLOOD? John Hancock: No! Kalcheim later wrote comedies like MA’S H and specialized more in humour than horror Naturally, he delivered a script that read like a parody of a scary movie. It was a playful send-up of the horror genre and didn’t take itself seriously at all. From what I remember, it had some hippies moving out to an isolated house in the country who encounter a blood-drinking monster that lives in the water. That was the nugget of a good idea but Kalcheim ‘s whole approach to the story, the characters – and the monster – did not interest me very much beyond that. The Mosses then asked me if I wanted to do it, and I said, “Sure, but only if I can rewrite the script.” I made it eminently clear to them that did not want to do a satire of a horror picture. wanted to do a movie that was legitimately terrifying

KALCHEIM ADOPTED THE PSEUDONYM “NORMAN JONAS” AS HIS CO-WRITING CREDIT AFTER YOU REVISED HIS DRAFT, BUT WHY DID YOU INSIST ON CALLING YOURSELF “RALPH ROSE”? John Hancock: I believe Kalcheim used his fathers’ first name for his credit as I did with mine but, in retrospect, I probably made a mistake in using the pseudonym. The producers wanted certain things in the script like a séance and this mysterious girl dressed in white who appears to Jessica. These additions didn’t make much sense to me, but the Mosses felt they would be particularly enjoyable and scary. I trusted their instincts because they had a concrete experience of audiences; they knew what people liked and what they didn’t like and in that regard they certainly had an advantage over most studio executives If you are a seasoned exhibitor, you know what kinds of sequences will make audiences get up and go buy candy and what sequences will keep them glued firmly to their seats. So I inserted the things they asked for into the screenplay, thinking, “Well, they are probably smart so I do as they ask.” … I didn’t want to be deemed responsible for these things as a writer, but I was certainly willing to be held accountable for them as a director

HOW DID YOU APPROACH REWORKING THE STORY? John Hancock: My initial approach to rewriting Jessica was to introduce as much personal and autobiographical material into the film as I possibly could. So the location of the fruit farm, an apple farm, and the image of the crop sprayer spewing pesticide is very much a scene out of my own childhood, have very strong memories of my father arriving back home coated white with poison and I did a lot of spraying myself so that cozy rural milieu was incredibly familiar to me. My father also played the double bass like Jessica’s husband does in the film. That big, black, coffin-like bass case was very much a fixture of my youth. It was something that traveled back and forth with us from our house in Chicago out to our farm in Indiana because, being a musician, Dad would take his bass along so he could practice.

WHY WERE YOU COMPELLED TO INVEST THE FILM WITH SO MANY ASPECTS OF YOUR LIFE? John Hancock: I probably wanted to appropriate it make it something unique to me. I do think the feeling of being alone on the farm as a child certainly filtered into both the script and the film. I don’t know to what extent I specifically set out to do that, but it did make its presence felt. Jessica is a little like a child’s view of moving out to a farm: that feeling of wonder, curiosity and fear. 1 was very fond of our farm, but the pesticides, the loneliness, the graves and the idea that a lot of other people had actually died in the house where we were living – all of those things crawled out from my conscious and subconscious mind, and informed the movie. In scouting the film, I found several spooky locations that certainly scared me-interiors as well as exteriors. … I used an upstairs hallway in the house where Jessica and her companions are staying that had so many doors there was something quite disturbing about it: the idea that someone – or something – could suddenly come lurching out of the shadows at any moment and grab you. It was very unsettling. I think a couple of the most effective scenes in Jessica are filmed in that hallway

SOME CRITICS FEEL JESSICA EXTRACTS FROM CARNIVAL OF SOULS AND NIGHT OF THE LIVING DEAD. WERE THOSE MOVIES IN ANY WAY INFLUENTIAL FOR YOU? John Hancock: It’s true that Carnival of Souls and Night of the Living Dead sometimes get mentioned in relation to Jessica, but I had not seen either film before making my picture. As a matter of fact, when I eventually saw Night of the Living Dead a few years later, I didn’t like it at all. Frankly, I found it crude and heavy-handed and I’m still not a fan of it. I don’t wish to offend or dismay anybody by saying that I certainly appreciate the fact that a lot of people consider that picture to be important and influential; I’m merely stating it was neither of those things for me. However, one film I did very much like and I had actually seen it before making Jessica – Was The Haunting. I thought that was a stunning movie and the idea of having a neurotic female as the lead character was an incredibly useful thing. It invited all kinds of underlying tenures, subtleties and developments to our story

SUCH AS THE USE OF AN UNRELIABLE NARRATOR John Hancock: Yes, and, of course, that was a literary device before it was a cinematic one. There is a recurring tradition in literature, in ghost stories and horror stories of the unreliable narrator. You don’t know if you can trust the observations and perceptions of the main protagonist and you begin to question everything you’ve come to learn about them. Is this really happening or is it all just a by-product of madness and delusion? loved The Turn of the Screw, the way that novel makes you question whether or not the supernatural events are actually occurring or if the heroine is crazy. I thought it would be interesting to have a central female character in Jessica that is recovering from the effects of a nervous breakdown. This fragile- and possibly dangerous – woman is struggling to hold it all together and her slack grip on reality is loosening further. So, there’s an apparent threat that she will relapse and be totally consumed by her illness and I thought that would be a fascinating element to play with.

This slideshow requires JavaScript.

WERE YOU AMBIVALENT ABOUT THE GENRE AT THIS EARLY JUNCTURE OF YOUR CAREER? John Hancock: No, I’ve always liked horror films. But I was motivated to make Jessica the kind of horror film that I wanted to see, something that spoke to my fears. I was alarmed by the notion that you can’t defuse or defeat evil – it forever lives inside and all around us – so I worked that fear into the story. I actually scared myself one night when I was writing the script and that experience was revelatory to me. I didn’t think it would ever be possible to scare myself during the act of writing and concentrating, but it did induce the shivers in me. I was writing the script at night and, at that time, I lived on the Hudson River in an old Tory place called Sneden’s Landing That house and the surrounding neighborhood had a peculiar atmosphere and the shadows always seemed very thick and threatening. The air was almost pungent with a Revolutionary War feeling and you really found it easy to believe that ghosts were wandering around that area at night. It was perfect, as I found that unnerving atmosphere assisted in getting me into the proper frame of mind to create a horror movie.

ONE OF THE FILM’S MOST REMARKABLE MOMENTS OCCURS WHEN EMILY SINKS BENEATH THE LAKE IN A CONTEMPORARY BATHING COSTUME ONLY TO SULLENLY RE-EMERGE IN A SODDEN 19TH-CENTURY WEDDING DRESS. John Hancock: God, I don’t know where that idea came from. I do know that over the years a lot of people have told me they find that scene incredibly unsettling. That image just came to me suddenly one night as I was writing. Actually, that was the same night I told you about earlier when I got scared working on the script. It was that very sequence, and the one that directly follows it where Jessica runs inside the house, barricades herself in the bedroom and hears the voices whispering to her in the darkness…. But the sight of Emily rising out of the water as this dripping apparition in a wedding dress seemed a disturbing one to me for some reason. It’s just so unexpected and weird and potent. I immediately knew it would be very scary if I executed it right

DO YOU RECALL ANYTHING ELSE ABOUT SHOOTING THAT SEQUENCE? John Hancock: I can distinctly remember feeling glad that I was safely on the shore with the camera shooting Mariclare Costello emerging from the lake. I’d spent a lot of time filming with the actors in the cold November water and, frankly. I was thankful to be out of there!  We also had to realize this creature that Jessica sees moving below the surface – and this was before animatronics and mechanical effects were common tools. We didn’t have the time or money to do anything complex. So, the morning before we shot that stuff, Charlie Moss and I worked this thing out in the swimming pool at our motel using a dummy with cement blocks at the bottom attached to various pulleys. We used the buoyancy of the puppet, pulling it up and down, and allowed the movement of the water to emphasise the swirling motion of the hair and the dress It was strangely disturbing to behold, actually.

ONE OF THE MOST QUIETLY DEVASTATING THINGS IN THE FILM IS THE USE OF WHISPERING VOICES ON THE SOUNDTRACK. CAN YOU TALK ABOUT THAT? John Hancock: I first had the idea for the whispering voices that Jessica hears when I was writing the script, but that approach became far more elaborate during post-production. Since this brittle woman has only just been released from an asylum, I felt there was always the possibility that she might hear voices that this veiled matiness could somehow be roused by her surroundings and the people she meets. Of course, it may all be happening to Jessica for real and this evil entity is indeed out to get her. The auditory elements helped to embellish that uncertainty. So, the whisperings and mutterings on the soundtrack gradually evolved and got thicker and denser. They became this cacophony that is always questioning and disturbing and pleading with Jessica. I can remember sitting down and writing dialogue for the voices whilst we were in the editing room cutting the film. I had to figure out exactly what they were going to say, when they should speak and how they could contribute to the character and the narrative. It was important that the voices gave the ambiguous impression that this woman may be losing her sanity again.

SOME OBSERVERS HAVE COMMENTED IN RETROSPECT THAT JESSICA SERVES AS AN ELEGY FOR THE “BITTER DISAPPOINTMENTS OF THE LOVE GENERATION.” IS THAT HOW YOU READ IT? John Hancock: I was a little too old to be a hippie. Well, I was a hippie in a way, I guess, but maybe I considered myself to be something of an observer rather than an active participant in the whole Love thing…. I knew a lot of hippies back then and I can remember thinking. This is all just a tad. It will eventually pass and be replaced by Cynicism, Suspicion and despair. Just you wait and see!” And that pretty much came to pass throughout the 1970s. … You could already feel that negativity brewing when we were making Jessica, that things weren’t working out the way some of us had hoped and dreamed they would. There was Vietnam, all the civil unrest, the assassinations of Martin Luther King and Bobby Kennedy, and the dream was over. So, was certainly aware that the ideals of the Love Generation were perishing. Maybe that was the significance of Jessica and her friends riding around in a hearse with the word “Love” painted on it. It may have symbolized that those hippie values were now dying or dead. But there was also something weirdly cosmic to me about the contrast present in that image, which spoke to the eternal mysteries of life and death.

FILMED WITHOUT A DISTRIBUTOR, JESSICA WAS THEN PICKED UP BY PARAMOUNT. John Hancock: Yeah, and Paramount demonstrated great faith in the film. They gave it a wide release – just a sensational release. That title, Let’s Scare Jessica to Death, was Paramount’s title as we originally simply called it Jessica Frank Yablans, who was running Paramount at that point, came in with his team and gave the movie a more commercial-sounding title. I think the studio was right to do that as they really knew how to sell it. They knew how to generate the right heat and it was fascinating to observe them working to create the moody ad campaign for my movie. They did a great poster for it and wanted to emphasize certain aspects more prominently. It was like, “Okay, this is a horror film, so let’s make that fact clear to the audience. Let’s not be hesitant about this. Let’s eagerly embrace it and see how they respond.”

AND HOW DID AUDIENCES RESPOND? John Hancock: When the picture was first screened at The Criterion, they used all the old kind of ballyhoo: outside the theatre they had a horse-drawn hearse and coffins, and really created this wonderful, celebratory atmosphere. That energy was then carried inside the theatre when the audience sat down to watch the movie and they really had a great time with it. Seeing the picture play as well as it did that night was terrific. It was a packed house with the most vocal crowd I’ve ever been a part of They were about 70 percent black and were constantly yelling at the screen. … It’s obvious that Jessica is a cult film as it touches the hearts and minds of a certain kind of horror movie fan, for somebody who prefers their horror films to be a little more patient and profound -horror that has some emotional resonance and psychological truth to it. But I’m always surprised and delighted by the various reactions to Jessica and the different kinds of people it seems to attract…. A screening was recently organized in Chicago and there was one guy there that actually had his teeth filed to points so that he looked like a vampire. Naturally, he just loved the movie!

LASTLY, HOW DO YOU FEEL ABOUT RUMORS OF A REMAKE? John Hancock: I’m not surprised there was talk of a remake. Nothing surprises me in this business anymore. There are so many remakes now it shows you the dearth of good ideas in Hollywood as studios just want to plunder their own past. I’d heard – and maybe this was ten years ago – that Robert Evans was making another picture using the same title. I don’t believe he was planning on doing a faithful remake with the same story and characters, but Let’s Scare Jessica to Death is clearly a good title. It’s a cult film so I imagine the attention would be somewhat modest. But it’s such a vivid title it would probably reawaken interest in my movie. I must confess, though, was delighted when Evans project didn’t happen. I mean, Jessica has aged so beautifully I liken the film to a fine wine: it’s actually gotten better in the barrel as the years have gone by.

CONCLUSION/RELEASE/DISTRIBUTION The Let’s Scare Jessica to Death shoot ran about 24-25 days, with a budget around $1 million. Filmed without a distributor, Jessica was picked up by Paramount Pictures as the previously moribund studio was starting to come back strong with Love Story, with a subsequent string of blockbusters like The Godfather to come. Former Paramount advertising executive Charles Glenn recalls, “I remember them bringing in the picture, we saw it and I liked it a lot. I felt it was extraordinarily scary. There was something raw about it that for me added to the suspense.

Hancock was incredibly pleased that Jessica was picked up by a major, and he felt the studio did a great job promoting the film. “They did a wonderful campaign, a wonderful poster, and they had a lot of the old ballyhoo outside the theater when they screened it, with a horse-drawn hearse and coffins. Paramount picking it up and that kind of major release was more than I could have hoped for.”

The studio also coined the movie’s final title; Hancock recalls that it had just been called Jessica, while Glenn remembers that it was then called The Satanists. The director confirms that the moniker change was Paramount’s idea, “and boy, were they right.” An advertising firm that worked with Paramount sent in a list of possible titles, and Let’s Scare Jessica to Death immediately leaped out at Glenn. Paramount wanted to change the title “to something more intimate, as though we were doing it, or someone could do it or someone has done it to you,” Glenn explains. “Like when you were a kid, ‘Let’s scare Mary when she comes around the corner.’ It was absolutely more in keeping with the screenplay and the arc of the picture. The title itself helped put it into the marketplace. It made the movie appealing to exhibitors.”

Yet with Let’s Scare Jessica to Death having strayed far from its initial comedic origins, Kalcheim was not thrilled with the finished product. “Honestly, when I saw it, I wasn’t crazy about it,” he says. “I took my name off and put my father’s name [Norman Jonas] on.” If the film had remained a comedy, “I believe it would have worked well. Obviously back in 1971 I didn’t like it much, but it seems to have improved with age. I saw it recently with my kids and some of it holds up very well. John (who also took a pseudonym, Ralph Rose, for his writing credit) created a real mood. It had a very good cast. I knew Zohra Lampert from Second City, and she was a terrific actress.”

Let’s Scare Jessica to Death ultimately turned out to be a modest success for Paramount, and everyone involved was pleased with the film and the experience of making it. Hancock went on to direct the sports drama Bang the Drum Slowly, which featured a breakthrough role for Robert De Niro, for Paramount, yet he says, “My father liked Jessica better!”

CAST/CREW Directed John Hancock Produced Charles B. Moss Jr. William Badalato Written John Hancock Lee Kalcheim

Starring Zohra Lampert Barton Heyman Kevin O’Connor Gretchen Corbett Mariclare Costello

Music Orville Stoeber

CREDITS/REFERENCES/SOURCES/BIBLIOGRAPHY Fangoria#241 Fangoria#334 Rue Morgue#173

Let’s Scare Jessica to Death (1971) Retrospective SUMMARY Jessica (Zohra Lampert) has been released from a mental institution to the care of her husband, Duncan (Barton Heyman), who has given up his job as string bassist for the New York Philharmonic and purchased a rundown farmhouse on an island in upstate New York.

#70sFilms

[helloshaggydogstory-blog]

The Elephant man, David Lynch

Londres, 1884. Les gens se bousculent pour découvrir avec effroi Elephant Man. Monsieur Bytes qui l'exhibe sans scrupule le prête à un chirurgien fasciné. Docteur Treves intègre le vulnérable homme éléphant dans l'hôpital où il officie et l'éloigne de son bourreau. Mais Bytes refuse qu'on lui retire sa bête de foire. Au fur et à mesure des visites médicales, docteur Treves va se lier d'amitié avec cet étonnant jeune homme nommé John Merrick.

S'inspirant de la vie réelle de Joseph Merrick, David Lynch livre une oeuvre poignante. Filmé en noir et blanc, Elephant Man se situe à la lisière du genre horrifique. La ville en pleine mutation industrielle est le théâtre d'une société bêtifiante où les trognes atypiques sont violemment marginalisées. Le monstre de Lynch ne se tient pas là où le spectateur l'attend. Il se dissimule dans l'ignorance d'une population dépourvue d'humanité. Et l'homme éléphant transcende ce reflet trompeur. La grâce de la mise en scène signe un chef-d'oeuvre fantastique porté par des acteurs habiles tels qu'Anthony Hopkins, John Hurt, disparu il y a peu et Anne Bancroft.

MOF

Tous droits réservés.

#cinema #elephantman #davidlynch #film #drame

[stmichaeldeorleans]

---------- Forwarded message ---------

From: Michael Duerksen <[email protected]>

Date: Thu, Oct 5, 2023, 5:58 AM

Subject: Names 2023

To: Michael Duerksen <[email protected]>

        Orphanages where Michael stayed: Oklahoma City Good Sheppard of Hope Catholic,  St Agnus of Dallas, twelve main orphanages with outlets in Dallas,.. Ellyson Home for Children Dallas, ...Dallas Child Development Center Analysis and Orphanage,..Catholic Orphanage in.Yukon, Ok., Taft School near Littlerock, Ark..., " Arbeque" with the clinical name, owned and managed by Dr Joseph Arbeque M.D. Psychiatrist,  Imagination Dragon of New York City,  plus 14 other places where children can stay in NYC., then The Spicer in Germany, ...then The Loughe of Paris, France. 14 places in Paris, France....12 in Germany.   Michael Duerksen is " The Black Rose " of Germany, Tuscany and France and " The Black Pearl" of France.  Also " The Only Gift Child according to Illuminati Wisdom", "The Edge of Nightshade", " The Dark Fairy of the Night", " The Sacred Red Rose of Infiniti ", " The Son of the Evil Wickerman", " Buttercup of Remembrance". " Karen " Mariah" " Taylor (?)" Siguer Taro Telo Rothchild", " Mariah Rothchild Montasort, Redi LaMont, Snafa Al Ghul, Tilly Ting Evertyting C. Grant,  Mara /Mario Silo Parmiese Devereaux,  Michael Alluese' Silo Parmiese Devereaux, Tuolo Paoli Marcheti Luchia Geyford, Tonie Gilbraltor Luchia, Rachel  " The Saint" Luchia, Rosalie Luchia, Michael Duerksen Steinem Vanderbilt Montrose, Mike Duerksen Huntford Carlton, Carry Cardin Carlton, Carlotta DeBakey, Patricia DeValley DeGeneres, Michael Duerksen Gurley, Michael Lauren Hatch Bacall,  Michael Duerksen Bancroft Castilano May,   Mary May Ham Rothchild, Cassandra Gilbert Der Rothchild,  MaryAnn Richardson Rickert Weiner Rothchild,  Marie Rothchild Harrington, Marie Rothchild, Marie Marianette, Marie Rothchild Hall, Arthur Michael Ann Rothchild Bach, Ms.LaGuardia, Ms. Costello, William Preston, Eric Dathan, Matilda ( Michael ) Avager Rothchild Ponti,  Arthur Michael John Commencia, Michael Arthur Ann Rothchild Snelson Streisand, Carolina Michal " Muriel" Hemingway Winters Rodgers,  Isabelle or Emilia Duarte Galveston Rothchild Darlington, " Emmanuel Bogotta Rothchild" ( donor), Maria Angelus Mata Hari Rothchild, ( donor), Michelle L. Rouchefourde Phillips DeSousa DeMentos,  Phillip Newman Morris, Michael Newman, Angelina Isabelle Rothchild Childress ( donor) , Michael Rothchild Burnett, Princess Rothchild Luchia Hampas, Princess Maria Diedra Lyons Windsor, Michael Jean Paul Getty, John Robert Robin Blake,  Princess Maria Guttenburg Furstenburg Oldenburg Mountbatten DeGeneres ( Lafite), " Prince of Tides ", Princess Marissa Oldenburg Hamburg, Jack Michael Bouvier' Kennedy, Michael Dean Duerksen Garland, Michael Duerksen Monroe, " Michael Briarcraft Hyatt", Michael Stouphlous, Michael Casa Linda, Michael Feingold, Michael Feinstein, Michael Forester Turner, Michael Dan Turner, Cicelia Rothchild Luchia Hampas, 

[tuseriesdetv]

Noticias de series de la semana: CBS está a punto de renovar 'TBBT' por dos temporadas

Tendremos The Big Bang Theory para rato

Según reporta Deadline, los protagonistas de The Big Bang Theory estaría ultimando una renovación de sus respectivos contratos por dos años más, lo que supondría que la serie podría renovar hasta la duodécima temporada. Por primera ver Simon Helberg y Kunal Nayyar participan en la negociación junto con Parsons, Galecki y Cuoco por lo que todos ellos cobrarían lo mismo. La última renovación del contrato tuvo lugar en 2013 y les supuso un incremento salarial de 1 millón de dólares por episodio, por lo que todo apunta a que con esta renovación cobrarían incluso más.

American Horror Story: Trump

Ryan Murphy ha contado en televisión que la séptima temporada de American Horror Story tratará sobre las pasadas elecciones americanas. ¿Será una ironía o se cumplirá?

Renovaciones de series

FOX ha renovado Lucifer por una tercera temporada

NBC ha renovado Superstore por una tercera temporada

Amazon ha renovado Goliath por una segunda temporada

go90 ha renovado Relationship Status por una segunda y tercera temporada

Incorporaciones y fichajes de series

Edgar Ramírez (The Girl on the Train, Carlos, The Bourne Ultimatum) y Darren Criss (Glee) protagonizarán Versace: American Crime Story. Serán Gianni Versace y Andrew Cunanan, su asesino.

Hayley Atwell (Agent Carter, Conviction), Matthew Macfadyen (Ripper Street) y Tracey Ullman (Tracey Ullman's Show) protagonizarán Howards End, la adaptación de la novela de Edward Morgan Forster escrita por Kenneth Lonnergan (Manchester by the Sea, Gangs of New York) y dirigida por Hettie Macdonald (Fortitude, Doctor Who).

Maulik Pancholy (30 Rock, Weeds), Terry Serpico (Sneaky Pete, Army Wives) y Sam Vartholomeos (The Following) se unen a Star Trek: Discovery.

Lili Simmons (Banshee, Hawaii Five-0), Adina Porter (The 100, True Blood) y Brian White (Scandal, Chicago Fire) se unen a la quinta temporada de Ray Donovan.

Edward James Olmos (Battlestar Galactica, Miami Vice) protagonizará Mayans MC, el spin-off de Sons of Anarchy que, de momento, solo tiene encargo de piloto.

Gina Gershon (Red Oaks, P.S. I Love You) participará en varios episodios de Brooklyn Nine-Nine. Será la sargento Melanie Hawkins.

Geoff Pierson (Unhappily Ever After, Dexter) será recurrente en Designated Survivor como Cornelius Moss, expresidente de Estados Unidos.

Santiago Cabrera (Heroes, The Musketeers) será el tecnólogo multimillonario que avisa al Pentágono de la llegada de un asteroide en Salvation. Ian Anthony Dale (Murder in the First, Hawaii Five-0) será el vicesecretario de Defensa, que debe liderar el plan secreto para destruirlo.

Sophina Brown (Numb3rs, Shark) será recurrente en la tercera temporada de Zoo como Leanne Ducovny, directora ejecutiva de una firma farmacéutica.

Brittany S. Hall (Satisfaction) será recurrente en la tercera temporada de Ballers como Amber, una mujer del pasado de Ricky (John David Washington).

Tamara Taylor (Bones) será recurrente en Altered Carbon como Oumou Prescott, la poderosa e inteligente abogada de Laurens Bancroft (James Purefoy).

Eion Bailey (Once Upon A Time) será recurrente en The Last Tycoon como Clint Frost, un actor guapo y seguro de sí mismo pero sin demasiado talento.

J.D. Evermore (Rectify, True Detective), Andrea Roth (Rescue Me), Gloria Reuben (ER, Mr. Robot), Miles Mussenden, James Saito y Carl Lundstedt se unen a Cloak and Dagger.

Ntare Mwine será Ronnie, un exmilitar que cuida a su madre, en The Chi.

Maya Erskine (Man Seeking Woman, Insecure) se une como recurrente a la tercera temporada de Casual.

Julia Ormond (Incorporated), Philippa Coulthard (The Catch), Joseph Quinn (Dickensian) y Alex Lawther (Black Mirror) se unen a Howards End.

Pósters de series

    Nuevas series

SundanceTV está desarrollando la miniserie Intuition, basada en la novela de Allegra Goodman, que trata la inequidad de género en el mundo de la investigación científica. Contará, desde el punto de vista de una mujer, un escándalo que desata rivalidades, celos y acusaciones de fraude en un laboratorio de la Costa Este.

Amazon ha adquirido la serie Electric Dreams, antología de Channel 4 protagonizada por Bryan Cranston (Breaking Bad, Sneaky Pete) y escrita por Ronald D. Moore (Battlestar Galactica, Outlander) que adaptará y modernizará diez historias cortas e independientes del novelista Philip K. Dick,

Starz coproducirá junto a BBC la miniserie Howards End, la adaptación de la novela de Edward Morgan Forster escrita por Kenneth Lonnergan (Manchester by the Sea, Gangs of New York) y dirigida por Hettie Macdonald (Fortitude, Doctor Who).

BBC Two emitirá Ill Behaviour, comedia de tres episodios escrita por Sam Bain (Peep Show, Fresh Meat), producida por los creadores de The Inbetweeners y dirigida por Steve Bendelack (Friday Night Dinner) sobre Charlie (Tom Riley, Da Vinci's Demons), un joven que decide tratarse un cáncer con remedios naturales, y dos amigos, Joel (Chris Geere; You're the Worst, Waterloo Road) y Tess (Jessica Regan, Doctors), que le secuestran para darle quimioterapia junto a Nadia (Lizzy Caplan; Masters of Sex, Mean Girls), una oncóloga inestable y alcohólica. Christina Chong (Line of Duty, The Wrong Mans) y John Gordon Sinclair completan el reparto.

IFC ha encargado ocho episodios de Living With Yourself, comedia de Tim Greenberg (The Daily Show) sobre un hombre muy quemado con su vida que decide someterse a un tratamiento para ser mejor persona y como resultado es reemplazado por una versión mejorada de él mismo.

J.J. Abrams producirá Castle Rock, la antología de Hulu escrita por Stephen King que mezclará personajes e historias de sus novelas

Fechas de series

Gap Year, antes conocida como Foreign Bodies, se estrena en E4 el 23 de febrero.

The Replacement se estrena en BBC One el 28 de febrero.

Prime Suspect 1973 se estrena en ITV el 2 de marzo.

La tercera y última temporada de Review se estrena en Comedy Central el 16 de marzo.

Las chicas del cable (Netflix) se estrena el 28 de abril.

La tercera temporada de Unbreakable Kimmy Schmidt (Netflix) se estrena el 19 de mayo.

La segunda temporada de Animal Kingdom se estrena el 30 de mayo.

Tráilers de series

Feud

Unbreakable Kimmy Schmidt - Temporada 3

Love - Temporada 2

Hand of God - Temporada 2

Archer - Temporada 8

The Sinner

We all have secrets. @jessicabiel and Bill Pullman star in @USA_Network's new crime thriller, #TheSinner. Coming soon. http://pic.twitter.com/AG8irTWgWj

— The Sinner (@TheSinnerUSA) 17 de febrero de 2017

Las chicas del cable

Silicon Valley - Temporada 4

The Leftovers - Tercera y última temporada

Otras imágenes

-En nuestro Facebook, nuevas imágenes de Feud-

-También en Facebook, imágenes de la segunda temporada de Stranger Things-

The Sinner

  Kristen Wiig en The Last Man on Earth

Trust Me

#series tv #television

[hagleyvault]

We’re getting a #FashionFriday visit today from Miss America 1954, Evelyn Ay, modeling a custom design by Ialongo in Herbert Meyers Everglaze cotton twill.

This 1954 image is part of a series of fashion photographs commissioned by the Joseph Bancroft and Sons Company. In the mid-1930s, the textile manufacturer had begun producing a line of rayon goods, marketed under the trade name of Ban-Lon, and a cotton finishing process, marketed as Everglaze.

Beginning in the mid-1940s, Bancroft entered into a cooperative agreement with the Miss America Pageant in which the company became the primary sponsor of the event, providing financing for the pageant itself and scholarship funds for pageant winners. In return, pageant contestants and winners became part of Bancroft’s marketing strategy and provided modeling services for their products. This cooperative agreement was maintained in one form or another up until around the year 1967.

The photograph is part of Hagley Library’s Joseph Bancroft and Sons Company, Miss America collection (Accession 1972.430) collection. More images from this collection can be found online in our Digital Archive by clicking here.

#FashionFriday #Fashion Friday #Miss America #Evelyn Ay #Everglaze #Ban-Lon #Joseph Bancroft & Sons #1950s #1950s fashion #1950s style #1950s women #1950s aesthetic #vintage fashion #textile industry #cotton fabric #textile history

[hagleyvault]

#WorkerWednesday is taking a summer vacation today to join the Joseph Bancroft & Sons Co. staff on the sandy beaches of Wildwood, New Jersey in 1930. The men and women seen here were employees of the company’s Print Works Division in Eddystone, Pennsylvania, which had recently been gradually acquired by Joseph Bancroft & Sons Co. from the Eddystone Manufacturing Company records between 1925 and 1929.

These photographs are part of the Hagley Library’s Joseph Bancroft & Sons Co. photographs (Accession 1969.025) collection. In addition to photographs documenting the company’s workplaces and workers, the collection consists of general advertising, fashion photography, and product information for synthetic fibers produced and marketed by Bancroft in the 20th century. In particular, the collection documents the Joseph Bancroft & Sons Company's sponsorship of the Miss America Pageant and the promotion of fabrics by Miss America from the years 1953 to 1967.

To view a selection of digitized material from this collection, click here to visit its page in our Digital Archive.

#WorkerWednesday #Worker Wednesday #summer #beach #beach holidays #summer vacation #textile workers #Joseph Bancroft & Sons #Wildwood #Wildwood NJ #Eddystone Manufacturing Company #textile industry #1930 #beachgoers #men's swimwear #women's swimwear #bathing suits #vintage bathing suits #women workers #1930s #1930s fashion

[hagleyvault]

It’s a beautiful day for a (socially-distanced) picnic here in the Wilmington, Delaware region. We’re celebrating this gorgeous weather with these photographs of the Joseph Bancroft & Sons Co. company picnic at Lenape Park near West Chester, Pennsylvania (now Brandywine Picnic Park), which happened on this day, June 16, in 1923. The group portrait above shows the picnic’s caterer “Mrs. Cooper” and her hardworking staff, who reportedly fed the 1,300 guests of the Joseph Bancroft & Sons Co. company within 25 minutes. The reverse of the photograph identifies this crew as Catherine McMahon, Alice Smith, Frank Supplee, Robert Jamison, William Berry, Harry Fisher, John Kanz, Mary Lee, Ella Green, Amelia Prigg, Mrs. Gerard, Samuel Williams, Rita Brown, John Grant, Frank Wright, James Balloch, Clarence Stradley, Nathaniel Smith, Louise Lynch, James Burt, Sadie Painter, Cora, Minnie Sheppard, Cath. Cathalina, Eliza Whiteman, Frank Scott, Donald Ashbrook, Irvin Welch, William Kane, W. B. Wood, Mrs. E. H. Cooper, Ella Hemphill, and William. The photograph below shows the crew in action, with what I hope were appropriately grateful picnickers in waiting. 

These photographs are from the Hagley Library’s Joseph Bancroft & Sons Co. Miss America photographs (Accession 1972.430) collection. More images from this collection can be found online in our Digital Archive by clicking here. 

#1920s #OTD #on this day #on this date #picnic #Joseph Bancroft & Sons #textile industry #West Chester Pennsylvania #parks #Brandywine Picnic Park #June 16 #picnics #caterers #catering staff #cooks #public parks

[hagleyvault]

Brrr! This past week’s big snowstorms didn’t reach the Hagley Museum & Library, but it sure is chilly out this morning. Fortunately, we’ve got the Joseph Bancroft and Sons Company, Miss America collection to keep us warm this #FashionFriday.

This cozy ensemble of a 1965 Ban-Lon bulky knit sweater from Edita Kertis is being modeled by Vonda Kay Van Dyke, the only contestant ever to win both the title of Miss America and Miss Congeniality (and the first to use ventriloquism in the talent competition).

This photo, as well as others from the Hagley Library’s Joseph Bancroft and Sons Company, Miss America collection (Accession 1972.430), can be accessed online at our Digital Archive by clicking here.

#FashionFriday #fashion friday #brr #sweater weather #cold weather #cold weather clothing #joseph bancroft #joseph bancroft & sons #synthetic fabrics #synthetic fibers #textiles #textile industry #miss america #miss congeniality #vonda kay van dyke #1960s style #1960s #1960s fashion #1960s women