From: jgacker@neptune.gsfc.nasa.gov (James G. Acker)
Newsgroups: rec.arts.tv.soaps
Subject: B&B:  Smoldering update for Friday, August 14
Date: 18 Aug 92 18:13:09 GMT
Organization: Computer Science, Indiana University
Content-Type: text
X-Mailer: ELM [version 2.4dev PL73]
Content-Length: 7632


     Grrrr...

     Now that I've established the mood:

     Friday on "The Bold and the Beautiful"

     
     LOOKING FOR LOVE IN ALL THE WRONG PLACES

          Jack has a long conversation with Taylor about her
nixing his relationship with Stephanie.  He can't just put
his feelings on hold, he says.  Taylor says there are LOTS
of eligible women in L.A., and Jack says "not like Stephanie
Forrester!".  Still, to eliminate complications, Taylor
would prefer it that way.  Sighfully, Jack tells her O.K.
Taylor is wearing a slinky clingy robe and has the wine on
ice and a fire in the fireplace -- this is important later.
       Sally and Macy send a dolled-up Darla on her dream
date, and Jack comes to see them see her off.  Jack tells
Macy that Sally saved the company today.  Macy admiringly
says she always does!  (Saved it by rehiring Clarke, I guess
-- seems like I missed an epidose?)  Jack suggests that
Sally get out with him for dinner.  A shy and surprised
Sally takes him up on it.  Jack goes home to get into dinner
duds.  Macy is happy that Sally is getting out and trying to
get over Clarke.

     LOOKING FOR LOVE AT THE TAXI BAR

     Darla, scrumptious in black, comes in to the Taxi Bar
and spies a delighted Spence.  He seats her, they make
small talk.  Darla tells her that Sally would like to meet
him.  And what else does Sally say?  Jim asks.  I could tell
you, but it might end up on the cover of one of your
magazines.  True, Jim says, then says he admires her loyalty
and honesty.  They order drinks, she a martini and he a
tequila neat, and they realize that each would like the
other's drink, so they switch.  There is discussion about
the Bikini Bar not being Jim's image, and how he'd like to
drop the image.  He worries about being too old for her, and
Darla tells him that she'd love to show him off.  All in
all, a happy couple.

     
     LOOKING FOR GUN IN ALL THE RIGHT PLACES

     Zach fumbles around in the champagne bottles and pulls
out a gun.  He's planning on doing Dad tonight and steels
himself for the effort.
     Taylor wonders where the heck Ridge is keeping himself.
The phone rings and Taylor answers seductively.  Oops --
it's an anonymous caller, claiming to be a patient of
Taylor's, and won't give his name.  Taylor doesn't like it
and wants to hang up, says for him to make an appointment.
(It's Zach.)  He tells her that he's in trouble, he's going
to kill his father.  She decides to listen.  He explains the
situation, that if he doesn't kill Dad, "they're" going to
kill his girlfriend.  Taylor asks if he's told his
girlfriend or the cops.  Nope -- if he tells the cops, his
girlfriend is Purina worm chow.  He chokes out "I'm so
sorry, Taylor," and hangs up.  Taylor is concerned, but
didn't recognize the voice.
     Zach goes over to Jack's apartment and goes in, ready
to shoot to kill.  Dad's not home.  Zach tries the bathroom,
not yet.  He's talking to himself, nervous -- the room is
dark, the camera swaying like film noir -- pretty good
suspense.  He sits down, wondering if he can do it, if he
can kill his own flesh and blood.  He has to do it, his
mother didn't deserve to die, neither does Felicia.  He
realizes he has to cover his tracks, wipes off the bathroom
doorknob (I don't know if he did that for the outside
doorknob, BTW, but he's upset).  He hears someone at the
door, stands up, pulls out the gun and aims it at the
door... We see Jack fumbling for his keys outside the door.

     LOOKING FOR LOVE AND PLUNGING IN, BUT...

     Finally, after two phone calls, Ridge comes home.
Taylor greets him at the door and he's slightly distracted.
She tells him she had a disturbing phone call, a man who
says he's going to kill his father.  A prank?  Ridge asks.
No, I think he meant it and I'd call the police, but I don't
know what to tell them.  Ridge?  Ridge?  Calling Ridge, come
in please?  (Ridge is lost in thought.)  Snapping out of it,
Ridge says he'll get the wine, not noticing the already-
chilled Zinfandel, which Taylor pours.  I missed you, baby,
Taylor says, walking backwards and giving Ridge a glimpse of
cleavage and a white nightie.  Ridge reacts like a Pampas
bull in heat, grabbing Taylor and kissing her harder than
Jack Nicholson did Jessica Lange in "The Postman Always
Rings Twice".  Ridge roughly pulls off the robe, stretches
the straps and tears off the nightie (I suppose he can pick
up a spare at the office), picks up a semi-nude Taylor and
pins her up against the wall in a display of animalistic,
physical, undeniable, driving, throbbing, scorching, pant
pant pant lick slurp SCHWIING! passion.
** Fade to commercial. **
(See below for censor's notes on this scene, stolen from the
CBS safe.)

     Returning to this scene, Ridge is on top of Taylor's
back, and they are in the final throes of resolving passion,
sweaty and panting.  Taylor gasps "What was that?" and Ridge
says "That was what you do to me," and Taylor gasps out
"That was incredible," and Ridge says "That good, huh?"
Taylor flips him off her back onto his and says "Ever the
ego!"   They nakedly smooch more.  Taylor wants to know what
kept him - was he designing lingerie at Forrester, is that
why he was such an animal?  No.  Bad traffic?  No.  Stopped
off for groceries?  No.  (I forget all the questions.)
Finally, Ridge has had enough and asks why she's so
insistent.  She wants to KNOW.  Ridge, sipping wine,
reluctantly admits that he was at the hospital.  With who?
Brooke, she had an attack and had trouble breathing.  O.K.,
Taylor says, let me get this straight -- you spent the whole
afternoon with Brooke, then came home and made love to me
like NEVER BEFORE (you can say that again)?  What got into
you?  Were you (gasp!) thinking of Brooke?  Were you making
love to ME or BROOKE?  A dumb and dumbfounded Ridge doesn't
answer -- clearly, this afterplay is not going well.

END FRIDAY EPISODE

CBS Censor's Notes, Taylor-Ridge Encounter (exact
transcription):

     What a lousy day, f... what a lousy job, I used to be a
director now they make me look at nymphets and hunks
slobbering all over each other... let's make sure this B&B
scene conforms to network daytime standards...  Hmmm, I've
seen the guy with that blonde but not w/ this brunette
looker before
     She opens her robe, wow the babe is hootered to the
max... switch to a shot from over her shoulder, he pulls her
forward... aggressive, almost violent kissing -- should they
tone it, no it's O.K.
     He pulls the robe off, pulls her forward, lifts the
nightie straps, pulls 'em off, nightie drops to waist -- uh
oh, exposed side view of the hooter, she's a big girl, but
in shadow, against his shirt, that'll titillate the kiddies
on summer vacation.... he lifts her up, spins her to the
wall, more kiss, her leg comes up, that's kind of suggestive
hmmm let it slide but I'm worried about that spin move,
better check it out frame-by-frame
     Rewind and play it slow-mo
     As Ridge lifts her, for about three frames the left one
is hit by the top light... man, this is a close call...goes
by pretty quick at normal speed...  aw it's late and it's
bad on the budget to reshoot, I'll let this one go but I
better send a memo down to production to keep
that babe's hooters out of the spotlight next time -- man
this is a stupid job but sombudy's got to protect the moral
fiber of America
     I bet you never see something like this on the Disney
channel
     
     Got to remember to pick up that 9 1/2 Weeks tape on the
way home momma's in the mood


     Jim "If I ever meet Hunter Tylo I'm in big trouble"
Acker
     jgacker@neptune.gsfc.nasa.gov

     
Newsgroups: rec.arts.tv.soaps