The Others
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We see a pleasant suburban house on a sunny afternoon; spooky music plays and a dog barks somewhere nearby. A woman kneels on the front walk, cutting roses, but something causes her to look frightened and stare up at a second-floor window of the house. In the window an apparition of a young boy appears; the woman stands and squeezes the roses tightly. She rushes into the house and enters the now-empty room where she saw the boy. The woman sobs and then notices a child's handprint on the window; she holds her hand up to the handprint and we see that her palm is cut and bleeding from the thorns on the roses. Next we see her in the living room of the house, speaking on the telephone. She's angrily telling to the police that she was supposed to have been kept abreast of the case and that her son, Adrian Muñoz, has been missing for three years. She asks to leave a message for the detective in charge of the case. As she speaks, she rubs her bloody palm on her shirt and the blood leaves a symbol on the fabric: a circle with a slash through it. Hey, isn't that the Oldsmobile symbol? The woman sits in her son's room and sobs. Behind her, an apparition of her son again appears in the window, watching her.

Satori is pursing her precious little lips and studying piles of materials on her desk by candlelight -- because that's what good psychics do, they always take the time to set the mood. She runs her hand over crime scene photos and a newspaper story about the disappearance of Adrian Muñoz. Suddenly she has a flash of impressions of the tunnel we saw Marian freak out in last week. In fact, Satori's vision of creepiness and evil in the tunnel is exactly the same footage that was used for Marian's vision, so I'm guessing the producers blew the whole special-effects budget on last week's fancy underwater dancing and had to recycle this scene to save money. For some reason at this point the closed captioning reads, "Man's voice: Buffy," although we don't hear any such thing on the soundtrack and I become very disoriented about which show I'm recapping at the moment. Trippy, dude. And I guarantee you, that’ll be the spookiest moment in this whole hour of so-called spooky TV. Satori opens her eyes after the vision, makes some notes, and sighs, looking very put upon.

At the Muñoz residence, Satori, wearing an ill-fitting blue suit with three-quarter sleeves that she can't pull off, rings the doorbell. Mrs. Muñoz answers the door and pointedly doesn't invite Satori in. She steps outside and says she recalls Satori as being the police psychic on her son's disappearance. Satori asks if there's any news about Adrian and Mrs. Muñoz grabs her elbow and begins steering her down the front walk while explaining that the police have given up on the case. Satori stops and starts some patented psychic-babble about how she's been feeling Adrian lately, strong presence, et cetera. She asks if Mrs. Muñoz has felt Adrian lately and then answers her own question in the affirmative. She begins to explain that Adrian is not in any pain, but Mrs. Muñoz has lost patience with her, and she angrily accuses Satori of coming to "sell [her] false hopes . . . for a consultation fee." Heh. I'm starting to really like Mrs. Muñoz. Anybody who calls Satori a little cheat can't be all bad. Mrs. Muñoz storms back towards her house and Satori attempts to stop her by saying that the man who took Adrian and killed two other children is still at large. Mrs. Muñoz slams the door, and Satori stares up at the window with the handprint.

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The Others

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