Finally, The Finale

I need to finish this up. Poor Maggie. I left her at the crossroads. Joe sways her to go find supper with him instead of returning home. He convinces her to come to his mansion, though she doesn't know it's his (you'll have to watch the movie to see the clever way he fools her).



They proceed to "play house" which was a very, very innocent phrase back in the day:












Maggie knows the way to a mans heart:











Ah, yes. Though she buggles her first experience with being served, the boy remains enamored and all's well that ends well.

Sweet Mary, Cont'd

What a Dumb Boy Would Say, Even If He Is A Swell Fella

Maggie has justed given Joe the eye, meaning to convey that she would find ultimate fulfillment in being the one to cook up his supper and care for his children every night for the rest of her life. Joe's sensitive response to the lovestruck girl is:





But Maggie, loyal to her family first, says:

Joe, however, is a modern, turn-of-the century fella and convinces Maggie to phone home and tell her family she is staying out. Maggie dials the number and listens for the ring:

But then Maggie realizes that her family will want her to come straight home. And she realizes that she doesn't want to. So Maggie hangs the phone back up and off she goes with Joe. What is to become of this good girl making such a daring move?

Next: Conclusion

Difficult Romance

.

The men and women who, for good reasons and bad, revolt against the family, are, for good reasons and bad, simply revolting against mankind...This is, indeed, the sublime and special romance of the family. It is romantic because it is a toss-up. It is romantic because it is everything that its enemies call it. It is romantic because it is arbitrary. It is romantic because it is there. So long as you have groups of men chosen rationally, you have some special or sectarian atmosphere. It is when you have groups of men chosen irrationally that you have men. The element of adventure begins to exist; for an adventure is, by its nature, a thing that comes to us. It is a thing that chooses us, not a thing that we choose. Falling in love has been regarded as the supreme adventure, the supreme romantic accident. In so much as there is in it something outside ourselves, something of a sort of merry fatalism, this is very true. Love does take us and transfigure and torture us. It does break our hearts with an unbearable beauty, like the unbearable beauty of music. But in so far as we are in some sense prepared to fall in love and in some sense jump into it; in so far as we do to some extent choose and to some extent even judge - in all this falling in love is not truly romantic, is not truly adventurous at all. In this degree the supreme adventure is not falling in love. The supreme adventure is being born. There we do walk suddenly into a splendid and startling trap. Our father and mother do lie in wait for us and leap out on us, like brigands from the bush. Our uncle is a surprise. Our aunt is, in the beautiful common expression, a bolt from the blue. When we step into the family, by the act of being born, we do step into a world which is incalculable, into a world which has its own strange laws, into a world which could do without us, into a world that we have not made. In other words, when we step into the family we step into a fairy-tale.

G.K. Chesterton

Gas. Puke. Gone.

Strung-out Eddie:
The ancients could look at the heavens, which in their minds was inhabited by this thoughtful, meditative, you know,--maybe a trifle unpredictable and wrathful--but nevertheless, up there, this divine onlooker.
We've got anchorpersons and talking heads. We've got politicians who decide life and death issues on the basis of their media consultants. THAT'S what we've got!

Strung-out Bonnie:
Aw boy, Eddie! I think I'm gonna need a magnifying glass to find what's left of your good points! What is going on with you?

Eddie leans over the deck railing and vomits.

from Hurlyburly

head VI, francis bacon