#I'm trying my best to keep an open mind about Porter and who he is as a character

[lucem-stellarum]

So I actually wanted to go through and listen to the video, "Your Vampire Boyfriend Explains His Turning". It doesn't exactly match up to the way they tell it in "The Vampire Boys Have It Out". I'd recommend you go watch both videos back to back because it's fascinating, and frustrating. Redacted is contradicting himself on some things to push hard on the idea that both Porter and Vincent are in the wrong. I'm not saying that Vincent is perfect, but the way Erik is going about framing the circumstances of their fight and changing previously established canon so "they both have their reasons" isn't the greatest. Details and receipts under the cut because of length, and because it gets critical.

When Vincent's talking about the circumstances of his turning to Lovely, he says at 5:00 that "all he's had is the clan, and they already knew the story. Will had told them." That the only person he's ever explained it all too was Sam, because William told everyone else on his behalf. Which, first of all, makes it sound like the clan was a lot more supportive overall and a lot more informed than ANYONE implied in the later video. Even if William edited out a lot of the details there's some things you just can't get around. Like the fact that William, who is old blood and promised to never turn another progeny, and so needed a damned good reason to break that vow. The fact that neither of them had ever met before that day. Vincent's refusal to discuss the exact circumstances of his turning to the rest of the clan, the fact that William had to list Vincent a missing person rather than letting the department handle the human authorities around his turning. The fact that Vincent was uninformed/unempowered before this and had to be introduced to the entire magical world from the ground up. He couldn't have known anything about who William was as a powerful political force, the advantage that being turned by old blood gives him, Vincent literally couldn't have arranged his turning for his own selfishness because he didn't even know that was an option, let alone the bonuses of having William specifically as a maker.

There's so much evidence that Vincent's turning was impulsive, any combination of the above facts implies that it wasn't a choice on Vincent's part, let alone something that he would try to "earn". Plus, William bought WonderWorld because of the lawsuits after the very public accident to be their home base. People saw Vincent get on the coaster, that he was riding it just before it crashed, and that's the same day the clan gets a brand new prince that matches the description of a "body that was never found"? Even if William didn't blatantly spell it out for the more oblivious members of the clan, it's SO obvious what happened from knowledge available to them. An "impulsive" turning isn't ever going to be a happy story.

Speaking of "publicly available knowledge"... we can argue about how much of the full truth is available throughout the general clan population (however many people that may be), but if Porter is close enough to William to be offered his last name, and close enough to know secrets that Vincent isn't aware of, shouldn't he have known William and been part of the clan long enough to have been around for the original explanation for Vincent's abrupt turning? Let alone, potentially, being closer to William and getting more personal details, at least from William's side of the story? Getting a new progeny isn't a decision to be made lightly. Porter very heavily implied that he's known William for longer than Vincent has; since Vincent's turning was the first time that William and Vincent had met, then Porter's been part of the clan longer than Vincent has.

Next, we know that both Porter and Adam were foundlings, but considering how fundamentally eternal and unchanging vampires are, it seems odd that there'd be such a population turnover in the clan that Vincent was tormented by "the rest of the clan" (per Sam, when he said it wasn't his place to tell other people's private stories at ~18:00 in the later video). Vincent was turned Feb 13, 2000. Sam is turned by Alexis in 2008 (per the timeline). That's not long enough for immortal vampires to forget Vincent's story. Even if there are a LOT of new vampires in the clan over time, Vincent is the golden boy, the prince. It's natural he'd be the subject of gossip, and the circumstances of his turning would be pretty good fodder for the rumor mill even if he doesn’t talk about it himself and not everyone is as principled as Sam is. If some of the newbies (or Porter) were getting prissy about Vincent never having to take his turn guarding WonderWorld, just the fact that he died there doesn't seem like it would be uncommon knowledge among the clan.

With how rare vampires are supposed to be, even without specific numbers and censuses it doesn't make sense. The Solaires are supposed to be the largest and most influential vampire clan in Dahlia, sure, but population-wise that still can't be that many people. Either the clan grows slowly enough that word about what actually happened to Vincent can get out and corrected, (and the minority of new people who don't know better perpetuating baseless rumors face charges of slander against the prince) or the clan should be large enough to effectively patrol WonderWorld without Vincent needing to take regular shifts. (which... wasn't Vincent on patrol the night he first met Lovely?) 'Duke' Sam has to patrol sometimes, but does Alexis take shifts too? If the clan doesn't have a large enough population to support even the "royalty" from skipping that duty (except for Vincent), then they can't have that many members. By that logic, the clan is small enough that "everyone knows each other's faces" and so why is Porter bitching about the unfairness of Vincent having the "perks" of the Solaire blood and name when he ought to know damn well why Vincent of all people generally avoids that particular duty?

Again, Porter was almost certainly around to watch Vincent join the clan. Why doesn't he know about the circumstances of Vincent being invoked for a single time? Vincent tried to starve himself to death because he refused to feed on humans. William couldn't convince Vincent to feed of his own volition, so he invoked him. That is a seriously drastic measure to take for someone who "wanted to be turned". Alexis' many invocations seem to be common knowledge among the upper echelons of the clan that we see in videos; if Porter is close enough to have the Solaire name and be part of the "family" and is close enough to William to know "more than could fill the city of Dahlia", why is he so out of the loop around Vincent? Porter is jealous, not stupid nor blind.

Porter's comments about the rumors that popped up when William 'brought home the new baby?' More proof that he HAD to have been with the clan at that point. How else would he have heard all those rumors? Porter was jealous of Vincent's circumstance immediately after his induction to the clan and didn't hesitate to start "tearing Vincent down" from the moment they met for the crime of "not being grateful enough" to William. Porter's accusations that Vincent wanted to be turned by William to get the associated power and prestige of being turned by "old blood" is proven to be a lie (again, ignoring the fact that he was uninformed before being turned) because Vincent avoided events (like the Summit) for years longer than most makers would have allowed their progeny. If Vincent wanted that prestige, what possible reason would he have to avoid events where he could flaunt it, and potentially acquire more?

I'll admit, we DON'T have a definitive date for when Porter joins the clan, or anything at all about Porter and William's relationship. The timeline website hasn't been updated with Porter's information yet. Even still, William offered Porter the Solaire name; that's supposed to be some great honor not offered lightly. That level of trust takes a LONG time to build. Porter had to have been part of the clan to see Vincent in the depths of his depressive and suicidal ideation, to criticize Vincent in the specific ways and faults that he does. The way the argument video is set up, though, it sounds like Porter was both there to torment Vincent at every turn from the beginning but also not there to miss every blatant fact of the situation around Vincent joining the clan.

Porter's claim that "all [Vincent] ever did was moan about how terrible it was to be you. As if we all didn't register in your mind as people with our own far worse problems" (15:00) is just so hypocritical considering his apparently willful blindness to Vincent's own deep seated issues. After having it pointed out to him, and being punched by Lovely, he sees it clearly enough to apologize and sound like he means it, but then why didn't he see ANY of the points from my first paragraph in the first place? Porter saying that "he didn't know" about how traumatic Vincent's turning was in the later video, while his voice sounds genuine, is either blatantly false or things are being retconned in order to make the feud between the two of them more dramatic.

Some of Porter's accusations do hold weight. I'm not going to lie and pretend that Vincent is some perfect angel in all of this. Vincent is arrogant, self centered, and blind to his own privilege. He used to be a manipulative ass. He's favored, powerful, and lucky in certain ways that Porter isn't, but that's not his doing nor his fault. But Porter's comment about Vincent's "egregious actions" is so vague as to be meaningless to me; if it's not worth elaborating on here why is it part of this 20+ year grudge match y'all have going on? Vincent couldn't choose his maker, he didn't know a single thing about William when they met and he was turned. The fact that Vincent has the self control to only "need" to be invoked once shouldn't be a criticism. There's years that they're skimming over for the sake of limiting it down to a 20 minute conversation for watchability. But I hate retconning, I hate this sort of character self-contradiction and hypocrisy especially to push "both of them are in the wrong", I hate that Sam is just being played as a mouthpiece to force this "grey morality" (12:38, 13:24) and defend both sides, and I'm not going to lie I expected Redacted to do better than this. Trying to equate Vincent's jealousy that Porter was well-adjusted to being a vampire with Porter's complaints that Vincent was traumatized and suicidal because of the circumstances of his turning is not okay.

14:30 Porter says: I said you were arrogant, and favored. That from the moment you were turned you've never wanted for anything. You'd never been invoked into doing something horrific for your maker's amusement. You've never been beaten within an inch of your life for the slightest transgression. You've never gotten so much as a slap on the wrist no matter how egregious your actions. You never had to guard WonderWorld. You'd never had to do anything. And still all you ever did was [look down on us]... You were turned by old blood... and didn't even have the tact to show a little gratitude for it.

19:30 Vincent says: I did look down on you. I hated that you seemed to enjoy being a vampire so much. I hated that you seemed so at peace with who you were. And what we had to do to survive. You made everything look so easy. And that made me feel broken. Even more than I already felt.

You can't have it both ways, Porter. Either you want Vincent to be just as broken and mistreated as you imply you were, or you want him to be happy and grateful about his "perfect" life. You can't complain that he never recognized that other people had far greater problems when you're the one who ignored that he's practically screaming with every action, every fact, every unsaid word that he's literally being forced against his will to stay alive, both by turning and by invocation until it literally hit you in the face. You don't have the right to tell Vincent, as a (formerly) uninformed unempowered human, that he shouldn't have manipulated something he didn't even know existed into getting the power you envy so badly. Porter was jealous of Vincent because of his circumstance first, and that jealousy made Vincent's every legitimate fault unforgivable and threw in a lot more illegitimate criticisms just for good measure.

I'm not going to pretend like I have the right answers for this, how it "should have gone". Everyone is going to have their own preferences, and at the end of the day this is Redacted's story. He makes the final decision. But I do have the right to point out flaws and criticize where I think he could have done better. Maybe he wanted Porter to be a hypocritical, jealous, contradictory character. Maybe he legitimately did just forget that the rest of the clan already knew (or easily could have put together) the messy details when he wrote that Porter didn't know better. He could have written it any way he wanted to, but he chose this way.

[quillsinkwell]

Sneak Peek for Chapter 14 of BTC!

Heya guys. It's been a while, huh?

Sorry this chapter took so long, life stuff came up. I was in a musical, final exams happened, and then I'm gonna be honest, I just forgot.

But with the power of Determination (and Secrets of the Machine reawakening my hyperfixation), I was able to finish the chapter!

Now, enjoy this sneak peek while I edit the chapter!

(Tom’s point of view)

Tom knew that he was being a coward. Al was hurt, Audrey was hurt, and here he was, brooding in the back room. He wasn’t worried about Al’s life. She knew how to deal with this sort of thing, he had faith she could instruct the others.

What he was worried about was what was gonna happen when it was done with.

The demon’s…outburst was unexpected, by all three of them. He talked about…them. The people no one in the studio spoke of.

Hardly anyone remembered their names, and those who did knew well not to speak them. But Tom remembered. He always did.

He considered that more of a curse than a blessing.

He knew that they were involved with the Demon, but he didn’t think it would cry for them. For Audrey. He thought it didn’t have a soul.

No, he knew it didn’t have a soul. It was concrete. It was soulless, heartless.

And yet it bawled like anyone would, seeing a loved one like that.

Yes, Tom was worried about what was happening next. He knew Al, and he knew after that, she wouldn’t let things continue like they used to be.

The reason she agreed to keep the Demon locked up was because they had no way of knowing if it could be trusted like Audrey, Porter, and Henry claimed. It wasn’t a human, it didn’t feel, it could snap and kill them all at any moment.

But it did feel, didn’t it? And not just grief like Al saw. The way it was trying to get them to the quickest route, resorting to forcing them, it wasn’t trying to lure them into a trap. It was desperate to save Audrey and Al.

It was also trying to save Al. Not just Audrey. It wanted to save all of them. Even Tom, who, like a fool, just had to go and see how many Lost Ones he could make pay for what they did.

Tom said that the Demon was a mindless monster. It said Tom was the mindless one, but it left out the monster part. That was a mistake.

What kind of monster left their partner to patch herself up when she just lost an arm? She was absolutely going to be furious at him. And he deserved it.

“She deserves better than someone like you.” A familiar voice called to him within the dredges of his mind.

He looked towards the mirror and saw her. An inky, pussing, mass loosely in the shape of Al. Its horns had more precedence than its halo. It crawled out of the mirror and made its way to him. Tom didn’t run. He knew she wasn’t real, that she was merely a figment of his mind made to torment him.

“She found you another arm. She does nothing but give her best to you, and you can’t be bothered to do the same. It’s a miracle she stays with you.”

I know.

“Why do you stay with her? You know she doesn’t remember anything, she can’t even be considered the real her anymore. That’s why you don’t treat her properly, and you barely agree on anything.”

I know

She was going to let the demon out because the only monster here was Tom.

“The only reason she stays with you is because she doesn’t know what a horrible person you are. How many people you’ve put into a grave. All for the sake of what? A paycheck? Science? ”

“Or maybe you just enjoy causing pain and suffering for other people. Is that it? Do you enjoy breaking people until there’s nothing left? ”

And she was right.

“There’s a reason the Machine turned you into a wolf. You’re a wild animal of a human being, sinking your teeth into your prey, ripping them limb from limb, just to get the taste of blood, the rush of destruction.”

Her mocking was interrupted by the sound of the door opening and a chair falling. Tom looked back to see what it was and it was…the tiny Ink Demon. He was flat on his face with the chair next to him.

Did he use the chair to open the door?

“BENDY!” Al yelled, coming after him. Pretend that didn’t happen! TOM! We need to talk! The- Bendy said, walking towards him.

“You’re in trouble now.”

####################################

Thank you to @preciouslittletoonette on Tumblr and @StarChaserN1, @AliventMaybe, and @EldritchBeingofInk for your lovely comments, and thank you to all my lovely readers for your patience and for liking and reading the fic and I hope you have a nice whatever time it is in your timezones!

[sylvies-chen]

Portwell + I don't want to dance if I'm not dancing with you✨

AHHH MORGAN I LOVE THIS ONE!! And I know you sent in two other requests but this is my first ever time writing for Portwell/getting a Portwell request so I had to do this one first. It was mandatory tbh‼️

•••

At first glance, being asked by Gina Porter herself to dance is a blessing.

EJ’s well aware of the fact that his girlfriend can quite literally dance circles around him, so when she asks him to help her work out some moves for the musical’s choreography, he foolishly agrees. Then, he remembers that agreeing to that means he won’t just get to watch her dance but he himself will have to actually dance, and then he feels really stupid.

It’s not that he’s a terrible dancer, per se. Caswells aren’t terrible at things. They’re either great at something, or they’re simply uninterested. No mediocre, no half-assing, and definitely no terrible. So he dances when he needs to for the musical, and can do basic choreo, but Gina Porter is a whole other level of amazing that he can’t match when it comes to dancing. And as stupid as it sounds, he’s a little worried that the success of their relationship, still new and exciting, is going to be determined by how well he can tango or salsa dance.

But lo and behold, when he does get to Ashlyn’s house and is yanked into the basement by Gina (where his aunt and uncle have created a pretty sweet rehearsal space for her), he thinks there might not be so much to worry about after all.

“Ok so, remember when we were watching Dirty Dancing the other day?”

“Yeah,” he nods in the affirmative.

“Right, well I wanted to add that lift from the final number into one of the songs. The only problem is, when I ran it by Miss Jen, she said it can only get in the musical if I know it can be done safely. That’s where you come in,” she explains with an excited wiggle of her brows.

“Wait,” he realizes, “that’s all we’re doing today? I just have to lift you in the air?”

“Yeah, pretty much,” Gina shrugs. “What, you thought I was going to put you through a whole merengue?”

“It may have crossed my mind, yeah,” he admits with a wince.

She holds a hand to her chest in mock indignation as she gasps dramatically. “What kind of girlfriend would I be if I did that?”

“Still the best kind of girlfriend. You always are,” he tells her with a smile, leaning in to give her a chaste kiss.

She’s blushing as she pulls away, letting out a content hum before shifting back into choreographer mode and clapping her hands together. “Ok, I laid out mats just in case, but basically I’m just going to run towards you head-on and then jump, and you’ll have to grab hold of my waist and hoist me straight above your head.”

“Got it,” he nods. “How long should I be keeping you up there for?”

“Just a few seconds, I think. And don’t make your arms straight, keep them a little bended to give you more support.”

“Yeah, yeah, cool,” he nods, trying to psych himself up. “Just keep my arms bended, hoist my girlfriend in the air and hope I don’t drop her or kill her. No big deal.”

His nerves make her giggle, but the laughter also calms him down. She gives him one last kiss on the cheek before she says, “You’ve got this, Eej. I trust you.”

And it’s the implicit trust in the end that convinces him. The look in her eye is hopeful and devoted and completely trusting. He literally (and depressingly) doesn’t know anyone else in his life who’s had so much inherent faith in him, so when she turns the music on and backs up to the other half of the room, for a split second he doesn’t feel scared at all. He just readies himself with open arms, keeping his eyes sharply focused on her as she counts down and begins running towards him.

So finally, when she reaches him, her arms stretched out sideways as he grabs her waist and hoists her over his head, he does it. He actually does it.

For a second they hang in suspense, frozen in position as they both laugh victoriously.

And then, just as quickly as it was manoeuvred… it all falls apart.

Gina’s weight shifts forward a little too much and he gets the feeling she’s going to fall forward, so in an attempt to keep her from falling, he overcorrects by moving her more backwards. Only that causes his elbows to buckle and lose control and soon, he’s falling too. He falls back on the mats and Gina falls right with him. She comes toppling down, landing flat on him with a hard thud!

And holy hell, does it hurt when she does.

They both let out pained grunts, but Gina’s grunt turns into laughter quickly. EJ’s pretty sure whatever impact she would have felt was cushioned by him. Suffice to say, being sandwiched between her and the floor is not the most comfortable thing. But it’s definitely… well, it’s something. Because they’re both sweaty, smiling, and flush against each other, something he really, really doesn’t mind.

“I’m so sorry,” she laughs, her arms on his chest propping herself up so she can meet his eye. “Did I totally squish you?”

“Only a little,” he grunts and winces, trying to hide the pain, which only makes her laugh even more. “Sorry about dropping you.”

“Are you serious? You caught me,” she assures him, her eyes twinkling with affection. “That’s what matters. You’re still a hero in my book, Caswell.”

“So you still want me as your dance partner?”

“Of course. I wouldn’t want anyone else,” Gina replies simply, and he thinks she genuinely means it. Her eyes are still twinkling, her arms still crossed neatly on his chest as she leans down and kisses him. He musters up the strength to lift his head off the mat and meet her in the middle, his lips pushing back softly as they both smile into the kiss.

It’s then that EJ is reminded that being a good dancer means nothing to their relationship. He’s good at the things that count. He sees that now, through her eyes. He catches her when she falls, and it’s just like she said: he wouldn’t want anyone else.

[timeless-hollywood-classics]

Gene Eliza Tierney (November 19, 1920 – November 6, 1991) was an American film and stage actress. Acclaimed as a great beauty, she became established as a leading lady. Tierney was best known for her portrayal of the title character in the film Laura (1944), and was nominated for an Academy Award for Best Actress for her performance as Ellen Berent Harland in Leave Her to Heaven (1945).

Tierney's other roles include Martha Strable Van Cleve in Heaven Can Wait (1943), Isabel Bradley Maturin in The Razor's Edge (1946), Lucy Muir in The Ghost and Mrs. Muir (1947), Ann Sutton in Whirlpool (1949), Maggie Carleton McNulty in The Mating Season (1951), and Anne Scott in The Left Hand of God (1955).

I Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, the daughter of Howard Sherwood Tierney and Belle Lavinia Taylor. She was named after a beloved uncle, who died young.[4][page needed] She had an elder brother, Howard Sherwood "Butch" Tierney Jr., and a younger sister, Patricia "Pat" Tierney. Their father was a successful insurance broker of Irish descent, their mother a former physical education instructor.[4][page needed]

Tierney was raised in Westport, Connecticut. She attended St. Margaret's School in Waterbury, Connecticut, and the Unquowa School in Fairfield. She published her first poem, entitled "Night", in the school magazine and wrote poetry occasionally throughout her life. Tierney played Jo in a student production of Little Women, based on the novel by Louisa May Alcott.

Tierney spent two years in Europe, attending Brillantmont International School in Lausanne, Switzerland, where she learned to speak fluent French. She returned to the US in 1938 and attended Miss Porter's School in Farmington, Connecticut. On a family trip to the West Coast, she visited Warner Bros. studios, where a cousin worked as a producer of historical short films. Director Anatole Litvak, taken by the 17-year-old's beauty, told Tierney that she should become an actress. Warner Bros. wanted to sign her to a contract, but her parents advised against it because of the relatively low salary; they also wanted her to take her position in society.

Tierney's society debut occurred on September 24, 1938, when she was 17 years old. page needed] Soon bored with society life, she decided to pursue an acting career. Her father said, "If Gene is to be an actress, it should be in the legitimate theatre." Tierney studied acting at a small Greenwich Village acting studio in New York with Yiddish and Broadway actor/director Benno Schneider. She became a protégée of Broadway producer-director George Abbott.

In Tierney's first role on Broadway, she carried a bucket of water across the stage in What a Life! (1938). A Variety magazine critic declared, "Miss Tierney is certainly the most beautiful water carrier I've ever seen!" She also worked as an understudy in The Primrose Path (1938).

The following year, she appeared in the role of Molly O'Day in the Broadway production Mrs. O'Brien Entertains (1939). The New York Times critic Brooks Atkinson wrote, "As an Irish maiden fresh from the old country, Gene Tierney in her first stage performance is very pretty and refreshingly modest." That same year, Tierney appeared as Peggy Carr in Ring Two (1939) to favorable reviews. Theater critic Richard Watts Jr. of the New York Herald Tribune wrote, "I see no reason why Miss Tierney should not have an interesting theatrical career – that is, if cinema does not kidnap her away."

Tierney's father set up a corporation, Belle-Tier, to fund and promote her acting career. Columbia Pictures signed her to a six-month contract in 1939. She met Howard Hughes, who tried unsuccessfully to seduce her. From a well-to-do family herself, she was not impressed by his wealth. Hughes eventually became a lifelong friend.

After a cameraman advised Tierney to lose a little weight, she wrote to Harper's Bazaar magazine for a diet, which she followed for the next 25 years. Tierney was initially offered the lead role in National Velvet, but production was delayed. page needed] When Columbia Pictures failed to find Tierney a project, she returned to Broadway and starred as Patricia Stanley to critical and commercial success in The Male Animal (1940). In The New York Times, Brooks Atkinson wrote, "Tierney blazes with animation in the best performance she has yet given". She was the toast of Broadway before her 20th birthday. The Male Animal was a hit, and Tierney was featured in Life magazine. She was also photographed by Harper's Bazaar, Vogue, and Collier's Weekly.

Two weeks after The Male Animal opened, Darryl F. Zanuck, the head of 20th Century Fox, was rumored to have been in the audience. During the performance, he told an assistant to note Tierney's name. Later that night, Zanuck dropped by the Stork Club, where he saw a young lady on the dance floor. He told his assistant, "Forget the girl from the play. See if you can sign that one." It was Tierney. At first, Zanuck did not think she was the actress he had seen. Tierney was quoted (after the fact), saying: "I always had several different 'looks', a quality that proved useful in my career."

Tierney signed with 20th Century-Fox[4][page needed] and her motion picture debut was in a supporting role as Eleanor Stone in Fritz Lang's western The Return of Frank James (1940), opposite Henry Fonda.

A small role as Barbara Hall followed in Hudson's Bay (1941) with Paul Muni and she co-starred as Ellie Mae Lester in John Ford's comedy Tobacco Road (also 1941), and played the title role in Belle Starr alongside co-star Randolph Scott, Zia in Sundown, and Victoria Charteris (Poppy Smith) in The Shanghai Gesture. She played Eve in Son of Fury: The Story of Benjamin Blake (1942), as well as the dual role of Susan Miller (Linda Worthington) in Rouben Mamoulian's screwball comedy Rings on Her Fingers, and roles as Kay Saunders in Thunder Birds, and Miss Young in China Girl (all 1942).

Receiving top billing in Ernst Lubitsch's comedy Heaven Can Wait (1943), as Martha Strable Van Cleve, signaled an upward turn in Tierney's career. Tierney recalled during the production of Heaven Can Wait:

Lubitsch was a tyrant on the set, the most demanding of directors. After one scene, which took from noon until five to get, I was almost in tears from listening to Lubitsch shout at me. The next day I sought him out, looked him in the eye, and said, 'Mr. Lubitsch, I'm willing to do my best but I just can't go on working on this picture if you're going to keep shouting at me.' 'I'm paid to shout at you', he bellowed. 'Yes', I said, 'and I'm paid to take it – but not enough.' After a tense pause, Lubitsch broke out laughing. From then on we got along famously.

Tierney starred in what became her best-remembered role: the title role in Otto Preminger's film noir Laura (1944), opposite Dana Andrews. After playing Tina Tomasino in A Bell for Adano (1945), she played the jealous, narcissistic femme fatale Ellen Berent Harland in Leave Her to Heaven (1945), adapted from a best selling novel by Ben Ames Williams. Appearing with Cornel Wilde, Tierney won an Academy Award nomination for Best Actress. This was 20th Century-Fox' most successful film of the 1940s. It was cited by director Martin Scorsese as one of his favorite films of all time, and he assessed Tierney as one of the most underrated actresses of the Golden Era.

Tierney then starred as Miranda Wells in Dragonwyck (1946), along with Walter Huston and Vincent Price. It was Joseph L. Mankiewicz' debut film as a director, In the same period, she starred as Isabel Bradley, opposite Tyrone Power, in The Razor's Edge (also 1946), an adaptation of W. Somerset Maugham's novel of the same name. Her performance was critically praised.

Tierney played Lucy Muir in Mankiewicz's The Ghost and Mrs. Muir (1947), opposite Rex Harrison. The following year, she co-starred again with Power, this time as Sara Farley in the successful screwball comedy That Wonderful Urge (1948). As the decade came to a close, Tierney reunited with Laura director Preminger to star as Ann Sutton in the classic film noir Whirlpool (1949), co-starring Richard Conte and José Ferrer. She appeared in two other film noirs: Jules Dassin's Night and the City, shot in London, and Otto Preminger's Where the Sidewalk Ends (both 1950), reunited with both Preminger and leading man Dana Andrews, who she appeared with in five movies total.

Tierney was loaned to Paramount Pictures, giving a comic turn as Maggie Carleton in Mitchell Leisen's ensemble farce, The Mating Season (1951), with John Lund, Thelma Ritter, and Miriam Hopkins. She gave a tender performance as Midge Sheridan in the Warner Bros. film, Close to My Heart (1951), with Ray Milland. The film is about a couple trying to adopt a child. Later in her career, she was reunited with Milland in Daughter of the Mind (1969).

After Tierney appeared opposite Rory Calhoun as Teresa in Way of a Gaucho (1952), her contract at 20th Century-Fox expired. That same year, she starred as Dorothy Bradford in Plymouth Adventure, opposite Spencer Tracy at MGM. She and Tracy had a brief affair during this time.[10] Tierney played Marya Lamarkina opposite Clark Gable in Never Let Me Go (1953), filmed in England.

In the course of the 1940s, she reached a pinnacle of fame as a beautiful leading lady, on a par with "fellow sirens Rita Hayworth, Lana Turner and Ava Gardner". She was "called the most beautiful woman in movie history" and many of her movies in the 1940s became classic films.

Tierney remained in Europe to play Kay Barlow in United Artists' Personal Affair (1953). While in Europe, she began a romance with Prince Aly Khan, but their marriage plans met with fierce opposition from his father Aga Khan III. Early in 1953, Tierney returned to the U.S. to co-star in the film noir Black Widow (1954) as Iris Denver, with Ginger Rogers and Van Heflin.

Tierney had reportedly started smoking after a screening of her first movie to lower her voice, because she felt, "I sound like an angry Minnie Mouse." She subsequently became a heavy smoker.

With difficult events in her personal life, Tierney struggled for years with episodes of manic depression. In 1943, she gave birth to a daughter, Daria, who was deaf and mentally disabled, the result of a fan breaking a rubella quarantine and infecting the pregnant Tierney while she volunteered at the Hollywood Canteen. In 1953, she suffered problems with concentration, which affected her film appearances. She dropped out of Mogambo and was replaced by Grace Kelly.[4][page needed] While playing Anne Scott in The Left Hand of God (1955), opposite Humphrey Bogart, Tierney became ill. Bogart's sister Frances (known as Pat) had suffered from mental illness, so he showed Tierney great sympathy, feeding her lines during the production and encouraging her to seek help.

Tierney consulted a psychiatrist and was admitted to Harkness Pavilion in New York. Later, she went to the Institute of Living in Hartford, Connecticut. After some 27 shock treatments, intended to alleviate severe depression, Tierney fled the facility, but was caught and returned. She later became an outspoken opponent of shock treatment therapy, claiming it had destroyed significant portions of her memory.

In late December 1957, Tierney, from her mother's apartment in Manhattan, stepped onto a ledge 14 stories above ground and remained for about 20 minutes in what was considered a suicide attempt. Police were called, and afterwards Tierney's family arranged for her to be admitted to the Menninger Clinic in Topeka, Kansas. The following year, after treatment for depression, she was discharged. Afterwards, she worked as a sales girl in a local dress shop with hopes of integrating back into society, but she was recognized by a customer, resulting in sensational newspaper headlines.

Later in 1958, 20th Century-Fox offered Tierney a lead role in Holiday for Lovers (1959), but the stress upon her proved too great, so only days into production, she dropped out of the film and returned to Menninger for a time.

Tierney made a screen comeback in Advise and Consent (1962), co-starring with Franchot Tone and reuniting with director Otto Preminger.[4][page needed] Soon afterwards, she played Albertine Prine in Toys in the Attic (1963), based on the play by Lillian Hellman. This was followed by the international production of Las cuatro noches de la luna llena, (Four Nights of the Full Moon - 1963), in which she starred with Dan Dailey. She received critical praise overall for her performances.

Tierney's career as a solid character actress seemed to be back on track as she played Jane Barton in The Pleasure Seekers (1964), but then she suddenly retired. She returned to star in the television movie Daughter of the Mind (1969) with Don Murray and Ray Milland. Her final performance was in the TV miniseries Scruples (1980).

Tierney married two men: the first was Oleg Cassini, a costume and fashion designer, on June 1, 1941, with whom she eloped. She was 20 years old. Her parents opposed the marriage, as he was from a Russian-Italian family and born in France. She had two daughters, Antoinette Daria Cassini (October 15, 1943 – September 11, 2010) and Christina "Tina" Cassini (November 19, 1948 – March 31, 2015).

In June 1943, while pregnant with Daria, Tierney contracted rubella (German measles), likely from a fan ill with the disease. Antoinette Daria Cassini was born prematurely in Washington, DC, weighing three pounds, two ounces (1.42 kg) and requiring a total blood transfusion. The rubella caused congenital damage: Daria was deaf, partially blind with cataracts, and severely mentally disabled. She was institutionalized for much of her life. This entire incident was inspiration for a plot point in the 1962 Agatha Christie novel The Mirror Crack'd from Side to Side.

It is claimed that she had an affair with Mohammad Reza Shah of Iran during the late 1940s.

Tierney's friend Howard Hughes paid for Daria's medical expenses, ensuring the girl received the best care. Tierney never forgot his acts of kindness. Daria Cassini died in 2010, at the age of 66.

Tierney and Cassini separated October 20, 1946, and entered into a property settlement agreement on November 10. Periodicals during this period record Tierney with Charles K. Feldman, including articles related to her "twosoming" with Feldman, her "current best beau". The divorce was to be finalized in March 1948, but they reconciled before then.

During their separation, Tierney met John F. Kennedy, a young World War II veteran, who was visiting the set of Dragonwyck in 1946. They began a romance that she ended the following year after Kennedy told her he could never marry her because of his political ambitions. In 1960, Tierney sent Kennedy a note of congratulations on his victory in the presidential election. During this time, newspapers documented Tierney's other romantic relationships, including Kirk Douglas.

While filming for Personal Affair in Europe, she began a romance with Prince Aly Khan. They became engaged in 1952, while Khan was going through a divorce from Rita Hayworth. Their marriage plans, however, met with fierce opposition from his father, Aga Khan III.

Cassini later bequeathed $500,000 in trust to Daria and $1,000,000 to Christina. Cassini and Tierney remained friends until her death in November 1991.

In 1958, Tierney met Texas oil baron W. Howard Lee, who had been married to actress Hedy Lamarr since 1953. Lee and Lamarr divorced in 1960 after a long battle over alimony, then Lee and Tierney married in Aspen, Colorado, on July 11, 1960. They lived quietly in Houston, Texas, and Delray Beach, Florida until his death in 1981.

Despite her self-imposed exile in Texas, Tierney received work offers from Hollywood, prompting her to a comeback. She appeared in a November 1960 broadcast of General Electric Theater, during which time she discovered that she was pregnant. Shortly after, 20th Century Fox announced Tierney would play the lead role in Return to Peyton Place, but she withdrew from the production after suffering a miscarriage.

Tierney's autobiography, Self-Portrait, in which she candidly discusses her life, career, and mental illness, was published in 1979.

Tierney's second husband, W. Howard Lee, died on February 17, 1981 after a long illness.[24]

In 1986, Tierney was honored alongside actor Gregory Peck with the first Donostia Lifetime Achievement Award at the San Sebastian Film Festival in Spain.

Tierney has a star on the Hollywood Walk of Fame at 6125 Hollywood Boulevard.

Tierney died of emphysema on November 6, 1991, in Houston, thirteen days before her 71st birthday. She is interred in Glenwood Cemetery in Houston.

Certain documents of Tierney's film-related material, personal papers, letters, etc., are held in the Wesleyan University Cinema Archives, though her papers are closed to the public.

[savage-rhi]

Ok so this one is pretty interesting, I would like to suggest :‘ no one in the history of torture has been tortured with the torture like the torture you’ll be tortured with. ’ for Higgs, you know I'm a sucker for whump Higgsy :') Thank you so very much Rhi, even the idea of your prompt excites me ! :)))

@argetlam007

FUCK YEAH HERE COME DAT ANGST BOYYYYYYY :D!

Higgs was writhing on a floor in a pool of his own blood, coughing and gagging. Weak moans and whimpers left his chapped lips as he arched his back in a useless attempt to get up to confront his attacker. He was met with another kick to the stomach as he yelled and tumbled onto his side. 

Higgs’s body shuddered as his vision blurred. There was no doubt in his mind he had a black eye now, maybe two. He could taste blood on his tongue, the copper flavor running through the tiny gaps of his teeth as he tried to face his opponent only to get hit in the face. He spat bile out this time around before feeling his body levitate off the ground, his attacker grabbing him by the collar of his cape as he winced. 

“No one in the history of torture has been tortured with the torture like the torture you’ll be tortured with.” The man said, his deep voice trickling with laughter as he canted his head, staring at Higgs like he was a bug that needed to be squashed after clipping its wings off one by one. 

“Some Particle of God you are now hm? Do you think you decide everyone’s fate now that you’re powerless? I don’t think so. God, you have no idea how long I’ve been waiting for this. To finally avenge my family and everyone you bombed up in Central Knot.”

“F-fuck you.” Higgs managed to croak out, pissing off his captor further on as he was given an onslaught of punches. Higgs lost track of how many hits he had taken, but the room was becoming darker by the second. He could feel his back slam into something metal before he was strapped down. Growling, Higgs tried to break free as his attacker removed a knife from his person and didn’t hesitate to jab the weapon into one of Higgs’s fingers. Higgs screamed so loud that his own voice drowned in his ears as he could feel his fingernail being slowly ripped off from the root of his skin. 

“You should have stayed in hiding, Higgs! Now you’re gonna suffer in silence like everyone you destroyed! No one’s coming to get you. No one’s gonna rescue a terrorist!” 

It didn’t matter how many times Higgs said he had changed, nor did it matter he saved his attacker's life before the man found out who Higgs truly was. For the first time in his life since living with his daddy, Higgs thought he wasn’t going to survive. He was going to die alone in filth, covered in his own sweat and blood, and all thanks to him letting his guard down for one second. The shame of his vulnerability in the situation outweighed the excruciating pain his body was undergoing. 

As he could feel the knife cutting into his palm, the pain suddenly came to a halt as Higgs’s attacker let out pained cries. There was a sound of something heavy meeting bone as squishy sounds could be heard followed by rough grunts and yells. Higgs at first thought his own limbs were being caved in, perhaps by someone else helping the attacker out, until it dawned on him, there was no way. He knew the attacker's voice so well that not even in this state Higgs would miss that distinctive yell. 

There was an echo of wheezes, like air trying to escape a balloon followed by a putrid sound that Higgs could only compare to slitting someone’s throat. A silence filled the room as Higgs blinked, desperate to try to make out what was going on. Was there another enemy? Was this person going to finish what his captor started? He had a million scenarios go through his head until he blinked and suddenly was met with a familiar face staring down at him. Blood covered most of her face and hair as she panted heavily and got to work freeing Higgs of his bindings. 

“Y-you--came for me?” Higgs couldn’t believe it. No, he couldn’t fucking believe it. After the huge fight Gene and he had, Higgs thought she’d be the last person who would be coming to the rescue. 

Gene didn’t say anything as she got Higgs onto his feet, having him lean on her for support as she led him out of the darkness of the warehouse and into the light of the outside world. Shortly after, Higgs blacked out. Not able to go on. 

When Higgs woke up hours later, he found himself wrapped in a blanket on top of a traveling mat. He felt filthy. His hair was matted in tangles, could feel grime and mud lodged into the crevices of his skin, his clothes torn and tattered, his skin blotched with bruises and other marks he didn’t want to acknowledge; Higgs was a mess. The weight of what happened fell upon his chest as he tried to rise, only to collapse back down from the pressure as he was once more met with Gene looking down at him.

“Hey, Sleeping Beauty! How are you feeling?” Gene asked. Higgs was surprised her tone wasn’t condescending but concerned. He licked his lips and shut his eyes, letting out a tired groan. 

“Like I got hit by a car. Then a guy tried curb stompin’ me after.” Higgs said weakly as Gene let out a laugh. 

“You--mock my pain?” Higgs tried to counter with a weak chuckle as Gene shrugged, looking over his face.

“I laugh at everyone’s pain but my own. It keeps me sane.” Gene joked.

“Bad bitch. You’re fucked up, you know that?”

“So you’ve told me many times. I’m gonna lean you up just a bit.” 

It’s not like Higgs could protest, so he allowed Gene to prop him up. He winced, feeling his lower chest tighten as she apologized in hushed murmurs then lied him down on her lap. Higgs’s eyes fluttered open and closed from time to time, torn between wanting to be awake and wanting to sleep off how horrible he felt. 

“It’s gonna sting so brace yourself.” Gene forewarned, getting a cloth with medicine on it ready to dab over his busted face.

“What are you gonna--ow! Shit! Ow! Fuck--!” Higgs exclaimed, feeling a pulsating sting over his eye and nose as Gene wiped him down. He whimpered lowly against the material, his face tensing from the burning sensation as his skin went numb. 

Higgs pried one eye open, staring up at Gene while she cleaned and tended to the injuries on his face. It seemed she had already gotten the others throughout his body. He could feel bandages and stitches all throughout his form. He hadn’t realized how skilled she was until looking downward at his left arm, seeing she performed a figure-eight stitch where the flesh had been cut wide open from his captor earlier on. 

“What are you--” His voice hitched as Gene started feeling through his dirty hair and scalp, getting rid of debris and other specks of grime before running a comb through. He couldn’t understand for the life of him why she was going above and beyond, considering the shit he said to her. That weighed on his mind more so than his body crying out for something to make it better.

“You don’t have to do this,” Higgs said as Gene continued on, not saying a word to him. “Look--about what I said--about your folks--about you being a stupid cunt--”

“Higgs I don’t want to hear it.” 

“But I--”

“Higgs.” Gene said firmly, stopping and staring him straight in the eyes. He almost lost all his resolve then. 

“I don’t want to think about the fight or the shitty things we said to one another. I just want you to be okay.”

“What about--the cargo, the BT Plague?” 

“That can wait. My first priority is you.” Gene said, the honesty and rawness in her voice taking Higgs by surprise. He went silent as Gene continued her ministrations, fixing him up the best she could with what little she had supply wise. Eventually, Higgs found himself settling into her touches, how she patched him up, how her fingers carded through his hair and scalp after all was said and done, trying to soothe him however she could.

“Did you kill the bastard?” Higgs asked, his voice hoarse as Gene simply nodded, tucking away a strand of hair from Higgs’s face. 

“You okay--?” Higgs couldn’t help but wonder. Gene had killed people before on the job--being a porter it could happen, but he knew it was a rarity for her. 

“You’re alive. So I’m okay.” 

If Higgs weren’t a coward, if he wasn’t hurt, he would have leaned up right then and there to capture her mouth against his for everything she had put aside just to save his sorry ass, but being able to stare up at Gene while she tended to him was close enough to satisfy Higgs. 

“This--probably won’t be the last time--someone tries to kill me for what I’ve done in the past.” Higgs confessed as Gene furrowed her brows. 

“I’m aware of that.”

“You’re alright with this?” 

Gene shrugged. 

“If anyone’s gonna kill you, it's me. I have to travel with your sorry ass. Last I checked we’re friends and we're stuck together. We owe it to each other.” Gene joked, smirking as she laughed. Higgs’s laugh turned into a drawn-out cough as Gene rested her palm on his forehead while Higgs’s body eased itself.

“Easy. Shh. I got you.” Gene murmured. “Get better. I can’t make this journey on my own. Not without you.”

**A link to my ko-fi account. If you enjoy my content and want to support me getting my monthly medication for fibromyalgia and arthritis, I would be eternally grateful. It is NOT a requirement however! All my work is free to read!**

[dylanradio]

Now Playing on DylanRadio.com: New Danville Girl by Bob Dylan from Genuine Bootleg Series Volume 1

I wish i could remember that movie just a little bit better All i remember about it was that it starred Gregory Peck He was shot down in the back by a hungry kid trying to make a name for himself The townspeople wanted to crush that kid down and string him up by the neck. Well the sheriff beat that boy to a bloody pulp As the dying gunfighter lay in the sun and gasped for his last breath "Turn him loose, let him go, let him say he outdrew me fair and square I want him to feel what it's like to every moment face his death.'' Well i keep seeing this stuff and it just comes a-rolling in And it blows right thru me like a ball and chain You know i can't believe we've lived so long and are still so far apart Your memory keeps callin' after me like a rollin' train. I can still see the day that you came to me on the painted desert In your busted-down Ford and your platform heels I could never figure out why you choose that particular place to meet Ah, but you were right it was perfect as i got in behind the wheel. We drove that car all night until San Antone And we slept near the Alamo, fell out under the stars Way down in Mexico he went out to see a doctor and you never came back I stayed there a while till the whole place it started feelin' like musk. Well, i'm driving this car and the sun is comin' up over the rockies Somethin' about it reminds me of you, like when she sings, "Baby, let the good times roll'' But i'm too over the edge to remember the things we used to talk about or do And she's the one to remind me, she knows this car would go out of control. Danville Girl with your Danville curl, Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. Well we crossed the Panhandle and then we headed out towards Amarillo Rushin' down where Henry Porter used to live, he owned the record line outside of town We could see Ruby in the window, as we came rolling up in a trail of dust She said "Henry's not here, he took off but you all can come in and stay awhile.'' Well she told us times were tough but we never knew how bad off she was You know she would change the subject every time money came up You know her eyes were filled with so much sadness, she was so disillusioned with everything She said "Even the swap meets around here are getting pretty corrupt.'' "How far are you all going?'' Ruby asked us with a sigh. "We're going all the way 'till the wheels fall off and burn Till the sun peels the paint and the seat covers fade and the water moccasin dies'' Ruby just smiled and said "Ah, you know, some babies never learn.'' I keep trying to remember that movie though, and it does keep comin' back But i can't remember what part i played or who i was supposed to be All i can remember about it is it's starring Gregory Peck and he was in it And everything he did in it reminded me of me. Yeah! Danville Girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. Well, they were looking for somebody with a pompadour I was crossing the street when they opened fire I didn't know whether to duck or to run so i ran Sounded to me like i was bein' chased by the midnight choir. Well, you saw my picture in the Corpus Christi Tribune, underneath it said "A man with no alibi'' You went out on a limb to testify and you said i was with you, ah yes you did And i watched you break down in front of the judge and cry It was the best acting i ever saw you do. I've always been the emotional person but this time it was asking too much If there's an original thought out there, Oh, i could use it right now Yeah, i feel pretty good, but you know i could feel a whole lot better, oh yes i could If you were just here by my side to show me how. Well i'm standing in line in the rain to see a movie starring Gregory Peck Oh yes i am, but it's not the one that i had in mind He's got a new one out now, you know it just don't look the same But i'll see him anyway and i stand in line. Danville Girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. You know, it's funny how people just want to believe what's convenient Nothing happens on purpose, it's an accident if it happens at all And everything that's happening to us seems like it's happening without our consent But we're busy talking back and forth to our shadows on an old stone wall. Oh, you got to talk to me now baby, tell me about the man that you used to love And tell me about your dreams, just before the time you passed out, oh, yeah! Tell me about the time that our engine broke down and it was the worst of times Tell me about all the things that i couldn't do nothin' about. There was a movie i seen one time, i think i sat through it twice I don't remember who i was or what part i played All I remember about it was it was starring Gregory Peck But that was a long time ago, and it was made in the shade. Danville girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love.

[lucem-stellarum]

MASSIVE Spoilers for the Summit Part II below the cut

I called it! William's the one who brought Porter back in town.

Tbh I doubt it actually was Christopher anyway. That wasn't justice, that was political theater. It went too well for William, as a xanatos gambit. Killing the King got revenge for the Inversion as an attack against Vincent and Lovely, whom William had extended his protection over after Adam. Porter set up Sweetheart to get evidence for official department action if the House of Bennett (as allies to Close Knit) managed to survive the night. Alexis was the only other who was truly considered as a possible suspect, and she was very quickly able to turn that suspicion away from herself. If she hadn't been able to convince the queen (assuming she actually did the murder), and I know exactly how ruthless this sounds, but William would have been short one "amoral hellion progeny who chronically dodges responsibility and can't follow orders without being invoked" (paraphrasing, but I'm happy to expand on those assumptions if you want). Painful, but not debilitating. Which, considering William is safely away and would have been out for blood against whoever hurt his family, would not be a good spot for the Queen's alliance with the Solaire clan. The best threats are the ones you don't have to say out loud.

The entire first video wasn't just a red herring, it was a whole school. I'm just happy that the pack was left out of suspicion. If the Baus (is there an official spelling yet? I don't trust the YT transcripts) are good enough allies to the Solaires, and tentatively extending that to the Shaws, I'd believe they were willing to leave them out of it. Part earning themselves a debt of gratitude, if David understood the undercurrents, part keeping the ignorant outsiders from meddling with the pretty story they wrote to wrap up all the loose ends. Really, the only potential thing against it being Alexis outright would be where she got the demon blood from, but we still know so little about her connections and history that's very easily explained with any number of throwaway lines (my brain jumped to "Sam turned her down so she got a new immortal demonic boytoy", but that's just a potential justification).

Poor Vincent. He was the perfect sheep for this. He was so stressed about keeping all the personalities in line during the leadup, it seems like he forgot that vampire politics is bloodthirsty and vicious. That others don't have the same aversion to dealing death that he does. The Queen tried to hint it for him at the end, but it's not her place or responsibility to point it out for him and he just didn't understand what happened in the shadows there at all. He was blindsided by it all, reacting instead of acting like Porter and Alexis were. He played the perfect genuine audience, which I'm supposing is the part William cast him for.

I'm sure I missed something in my analysis up there, but I'm hoping Porter spells most everything out for Vincent, Lovely, and us. I also hope we don't have to wait too long. I know I haven't been Porter's biggest supporter, but I'm trying to keep an open mind about his character and I want to let him try to convince me.

[dylanradio]

Now Playing on DylanRadio.com: New Danville Girl by Bob Dylan from Genuine Bootleg Series Volume 1

I wish i could remember that movie just a little bit better All i remember about it was that it starred Gregory Peck He was shot down in the back by a hungry kid trying to make a name for himself The townspeople wanted to crush that kid down and string him up by the neck. Well the sheriff beat that boy to a bloody pulp As the dying gunfighter lay in the sun and gasped for his last breath "Turn him loose, let him go, let him say he outdrew me fair and square I want him to feel what it's like to every moment face his death.'' Well i keep seeing this stuff and it just comes a-rolling in And it blows right thru me like a ball and chain You know i can't believe we've lived so long and are still so far apart Your memory keeps callin' after me like a rollin' train. I can still see the day that you came to me on the painted desert In your busted-down Ford and your platform heels I could never figure out why you choose that particular place to meet Ah, but you were right it was perfect as i got in behind the wheel. We drove that car all night until San Antone And we slept near the Alamo, fell out under the stars Way down in Mexico he went out to see a doctor and you never came back I stayed there a while till the whole place it started feelin' like musk. Well, i'm driving this car and the sun is comin' up over the rockies Somethin' about it reminds me of you, like when she sings, "Baby, let the good times roll'' But i'm too over the edge to remember the things we used to talk about or do And she's the one to remind me, she knows this car would go out of control. Danville Girl with your Danville curl, Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. Well we crossed the Panhandle and then we headed out towards Amarillo Rushin' down where Henry Porter used to live, he owned the record line outside of town We could see Ruby in the window, as we came rolling up in a trail of dust She said "Henry's not here, he took off but you all can come in and stay awhile.'' Well she told us times were tough but we never knew how bad off she was You know she would change the subject every time money came up You know her eyes were filled with so much sadness, she was so disillusioned with everything She said "Even the swap meets around here are getting pretty corrupt.'' "How far are you all going?'' Ruby asked us with a sigh. "We're going all the way 'till the wheels fall off and burn Till the sun peels the paint and the seat covers fade and the water moccasin dies'' Ruby just smiled and said "Ah, you know, some babies never learn.'' I keep trying to remember that movie though, and it does keep comin' back But i can't remember what part i played or who i was supposed to be All i can remember about it is it's starring Gregory Peck and he was in it And everything he did in it reminded me of me. Yeah! Danville Girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. Well, they were looking for somebody with a pompadour I was crossing the street when they opened fire I didn't know whether to duck or to run so i ran Sounded to me like i was bein' chased by the midnight choir. Well, you saw my picture in the Corpus Christi Tribune, underneath it said "A man with no alibi'' You went out on a limb to testify and you said i was with you, ah yes you did And i watched you break down in front of the judge and cry It was the best acting i ever saw you do. I've always been the emotional person but this time it was asking too much If there's an original thought out there, Oh, i could use it right now Yeah, i feel pretty good, but you know i could feel a whole lot better, oh yes i could If you were just here by my side to show me how. Well i'm standing in line in the rain to see a movie starring Gregory Peck Oh yes i am, but it's not the one that i had in mind He's got a new one out now, you know it just don't look the same But i'll see him anyway and i stand in line. Danville Girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. You know, it's funny how people just want to believe what's convenient Nothing happens on purpose, it's an accident if it happens at all And everything that's happening to us seems like it's happening without our consent But we're busy talking back and forth to our shadows on an old stone wall. Oh, you got to talk to me now baby, tell me about the man that you used to love And tell me about your dreams, just before the time you passed out, oh, yeah! Tell me about the time that our engine broke down and it was the worst of times Tell me about all the things that i couldn't do nothin' about. There was a movie i seen one time, i think i sat through it twice I don't remember who i was or what part i played All I remember about it was it was starring Gregory Peck But that was a long time ago, and it was made in the shade. Danville girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love.

[dylanradio]

Now Playing on DylanRadio.com: New Danville Girl by Bob Dylan from Genuine Bootleg Series Volume 1

I wish i could remember that movie just a little bit better All i remember about it was that it starred Gregory Peck He was shot down in the back by a hungry kid trying to make a name for himself The townspeople wanted to crush that kid down and string him up by the neck. Well the sheriff beat that boy to a bloody pulp As the dying gunfighter lay in the sun and gasped for his last breath "Turn him loose, let him go, let him say he outdrew me fair and square I want him to feel what it's like to every moment face his death.'' Well i keep seeing this stuff and it just comes a-rolling in And it blows right thru me like a ball and chain You know i can't believe we've lived so long and are still so far apart Your memory keeps callin' after me like a rollin' train. I can still see the day that you came to me on the painted desert In your busted-down Ford and your platform heels I could never figure out why you choose that particular place to meet Ah, but you were right it was perfect as i got in behind the wheel. We drove that car all night until San Antone And we slept near the Alamo, fell out under the stars Way down in Mexico he went out to see a doctor and you never came back I stayed there a while till the whole place it started feelin' like musk. Well, i'm driving this car and the sun is comin' up over the rockies Somethin' about it reminds me of you, like when she sings, "Baby, let the good times roll'' But i'm too over the edge to remember the things we used to talk about or do And she's the one to remind me, she knows this car would go out of control. Danville Girl with your Danville curl, Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. Well we crossed the Panhandle and then we headed out towards Amarillo Rushin' down where Henry Porter used to live, he owned the record line outside of town We could see Ruby in the window, as we came rolling up in a trail of dust She said "Henry's not here, he took off but you all can come in and stay awhile.'' Well she told us times were tough but we never knew how bad off she was You know she would change the subject every time money came up You know her eyes were filled with so much sadness, she was so disillusioned with everything She said "Even the swap meets around here are getting pretty corrupt.'' "How far are you all going?'' Ruby asked us with a sigh. "We're going all the way 'till the wheels fall off and burn Till the sun peels the paint and the seat covers fade and the water moccasin dies'' Ruby just smiled and said "Ah, you know, some babies never learn.'' I keep trying to remember that movie though, and it does keep comin' back But i can't remember what part i played or who i was supposed to be All i can remember about it is it's starring Gregory Peck and he was in it And everything he did in it reminded me of me. Yeah! Danville Girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. Well, they were looking for somebody with a pompadour I was crossing the street when they opened fire I didn't know whether to duck or to run so i ran Sounded to me like i was bein' chased by the midnight choir. Well, you saw my picture in the Corpus Christi Tribune, underneath it said "A man with no alibi'' You went out on a limb to testify and you said i was with you, ah yes you did And i watched you break down in front of the judge and cry It was the best acting i ever saw you do. I've always been the emotional person but this time it was asking too much If there's an original thought out there, Oh, i could use it right now Yeah, i feel pretty good, but you know i could feel a whole lot better, oh yes i could If you were just here by my side to show me how. Well i'm standing in line in the rain to see a movie starring Gregory Peck Oh yes i am, but it's not the one that i had in mind He's got a new one out now, you know it just don't look the same But i'll see him anyway and i stand in line. Danville Girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love. You know, it's funny how people just want to believe what's convenient Nothing happens on purpose, it's an accident if it happens at all And everything that's happening to us seems like it's happening without our consent But we're busy talking back and forth to our shadows on an old stone wall. Oh, you got to talk to me now baby, tell me about the man that you used to love And tell me about your dreams, just before the time you passed out, oh, yeah! Tell me about the time that our engine broke down and it was the worst of times Tell me about all the things that i couldn't do nothin' about. There was a movie i seen one time, i think i sat through it twice I don't remember who i was or what part i played All I remember about it was it was starring Gregory Peck But that was a long time ago, and it was made in the shade. Danville girl with your Danville curl Teeth like pearls shinin' like the moon above Danville Girl take me all around the world Danville Girl you're my honey love.