Deadwood
I Am Not the Fine Man You Take Me For

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I Am Not the Fine Man You Take Me For

Back at the hotel, Richardson is looking through E.B.'s secret peephole (not a euphemism). "Uh oh," he says. E.B. lurches up from his sickbed, annoyed that Richardson stopped there without explaining what the uh-oh was about. And here marks the spot where, for once, I relate, nay, strongly identify with E.B., because my husband is the king of this. THE KING. "Do you only feign stupidity," he rants, "while in fact plotting ways to madden me?!" Richardson turns: "Noooohh," he says, driving E.B. even further around the bend. "WHY did you say it?" he asks. "WHY DID YOU SAY 'UH-OH?" Siiiiiiiigh, E.B. I feel you. Please let this be the last time that ever happens. Finally, Richardson reveals that Bullock has entered the hotel, and Hearst has come down from above.

Hearst acknowledges Charlie and Bullock, who sit across the room from him in the restaurant as he enjoys (probably not) his seafood dinner. "Two of his men cut-throat," Charlie whispers, "and he picks the fuckin' fish." Bullock doesn't have time to get into it, however, as Ellsworth has arrived. "My wife would like to see you," he says, pointedly, and Bullock is up and out without another word.

Jane is still going on about Custer at the school. She's slaying them in the aisles, doing imitations of Custer's vanity and talking about how he didn't listen to anything anybody told him. "So," she says, wrapping it up, "I guess my lesson I got to teach you...listen and you won't get scalped. And don't look at yourself too much in the mirror." The kids contemplate this as Martha walks up to end the talk -- but Jane thinks of another one throws in yet more evidence of Custer's arrogance. "He traveled with a dozen caged animals like you'd see in some zoo in the East," she snarks. "Like we don't have enough wild animals around here, huh?" Good closer, Jane. Martha is very pleased: "Let us all thank Jane for her bravery here today." The children give her the classic unison "thaaaank you, Jaaaaane," and she can hardly contain her smile. "I know another brave person here, too," she says, indicating Sophia. "Several," she continues, nodding at Martha. Sweet, sweet Jane.

Dark business at the Ellsworth's. Doc is setting up his clinic using Trixie as a cervical model. She is on her back with her legs open as Doc has Ellsworth position the mirror just right for the procedure yet to come.

In the next room, Bullock stands at the foot of Alma's bed as she goes over the whole thing about how she wants things handled in the event of her death. "If my first husband's family attacks Sophia's title in court," she says, "Mr. Hearst might be approached as a purchaser. I'm sure he could buy the relevant authorities." Bullock, in his first true clench of the season, manages to get out an "all right." She goes on. "Given his history with Hearst," she says, "I'd spare Mr. Ellsworth that indignity." Bullock clenches that he understands. Alma pauses, all picturesque like a consumptive on the pillows. Bullock looks at her with echoes of the old smoldering, minus the intensity. "I regret nothing," she says, answering his unasked question. Apparently, there's nothing left to say, as far as Bullock is concerned, and he swiftly turns and goes out, meeting Ellsworth at the foot of the stairs. They don't speak, and Bullock, noting the medical goings-on being prepared, doesn't linger. Whereas the old Bullock would not have hesitated to go out and kick a few random asses to relieve his emotions, the new Bullock seems pretty okay with everything. Outside, Sol creeps around the window trying to get Trixie's attention. When he catches her eye, he gestures and whispers through the glass that he bought the house. He seems almost happy. "Doesn't mean we have to move in together," he says, assuring her that there is no pressure. Trixie smirks and walks away smiling.

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Deadwood

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