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| The Son Also Rises (26 September 86) | |
| It's the first episode of a new season, and the office has been closed during the summer. Maddie went to New York, David went to Mexico, Agnes went to Tibet, and the rest of the office staff has had the last several weeks off work. But now the season has started up again, and everybody's back to work. And we learn that while the office was closed, David's father -- named David Addison, Sr. -- has been trying to contact him. We learn that David's father is remarrying. Maddie and David are invited to a reception where they meet Stephanie, the fiancee, for the first time -- and suddenly David goes into a gut-wrenching panic. He hides in the bathroom, then drinks himself into a stupor in Maddie's BMW before she finally learns what it is that has David so upset. It turns out that David's father is marrying a younger woman, someone David has slept with. David has no idea what to do -- he feels that he can't tell his father, but he can't imagine keeping the story a secret either, not if she's going to become a permanent member of the family. Maddie pleads with him to keep the past in the past, and to keep what he knows to himself. He agrees to try, but by the time the wedding actually takes place, David realizes that he has to speak now, that he can't forever hold his peace. He takes Stephanie aside, tells her that they have to talk. They do -- I don't dare reveal what they talk about, because it's too classic, and I'd hate to spoil it -- but let it suffice to say that they get everything straightened out between them, and the wedding goes on as planned. | |
| The Man Who Cried Wife (30 September 86) | |
| Jim Bower and his wife Melissa have been fighting. In a rage, he strikes and kills her, and in a panic, he hides her body by burying it in a nearby forest. He figures that the story is over, but then she begins to call him on the phone -- "You weren't going to leave me out there, were you?" -- and to leave gift-wrapped packages of burial dirt in his home. Deeply confused, because he is certain that he killed her, Mr. Bower hires David and Maddie to find his wife. They trace the phone calls, and find a woman matching Melissa's description at a nearby motel -- but before they can talk to her, the woman drives off a cliff and her car explodes. Dental records prove that the body was Melissa's, leaving Mr. Bower even more confused than before. He is certain that he killed Melissa, so how can she have died twice? In my opinion, the story line is pretty straightforward stuff, and what is actually more interesting is the argument that goes on between David and Maddie about spontaneity. Office worker MacGilicuddy (whom we meet in this episode for the first time, but who appears as a recurring guest star from now through the end of the series) met and married a woman in the same weekend. Maddie will not celebrate his wedding, because she thinks he has been irresponsible, while David thinks being so spontaneous is a wonderfully romantic thing, and that the alternative -- carefully weighing pros and cons -- is just an excuse for not taking action, and for not living one's life. This dovetails nicely with Mr. Bower's case: Maddie will have nothing to do with a man who strikes his wife, while David recognizes that people sometimes do unjustifiable acts on spontaneous impulse. Maddie furiously asks if this means that David approves of Mr. Bower's act, and David must confess that he does not, but he wants to take the case anyway. In her fury, she strikes him -- and finds herself, somewhat contritely, sympathizing a little more with Mr. Bower, and returning to work with David on Mr. Bower's case. And so, as David confesses to Maddie that spontaneous impulse is not always a good thing, and as Maddie confesses to David that he may have been right and she may have been wrong ("about MacGilicuddy, about spontaneity, about a lot of things"), they come to see each other's point of view. And as they discuss this change of heart, we see in their fantasies their desire to kiss one another -- spontaneously and passionately. The fact that they each want to, and that they each elect not to do so, serves as a final, symbolic commentary on the question they've been debating. | |
| Symphony in Knocked Flat (21 Octobrer 86) | |
| Just the sort of silliness that Moonlighting does so well. David and Maddie argue about what makes an ideal date. She wants gowns, tuxedos, the symphony, the ballet. He can't imagine how this could be any fun. It quickly becomes clear that what she wants is nothing like what he wants from a night out. Moreover, each is convinced that the other is unable to produce the kind of evening they each have in mind. So they make a bet: a fun evening for a fine evening. David will take her to the symphony, complete with tuxedo and limousine, and in return, she will show him "how Maddie Hayes gets down." What David doesn't realize is that the symphony seats he has obtained are not in the same part of the concert hall. As David tries to apologize to Maddie, he falls off the balcony and she is profoundly embarrassed and swears never to speak to him again. What neither of them realize is that by sitting in those separate seats, they have inadvertently stepped into the middle of an international incident involving the assassination of a Russian boxer. Once they figure out what's going on, they rush to the boxing ring to prevent the assassination. The only way that David can get to the boxer to warn him that he's being targeted is to take the place of the American boxer in the ring. But unfortunately, David's no match for the Russian, who is taller and stronger than David, and he gets pounded in the ring. (At this point Maddie pleads with Don King to stop the fight, telling him that the Russian boxer is going to be killed. King responds, "I admire your confidence, but your boy has to hit him first!") Finally Maddie steps into the ring and knocks out the Russian who falls to the floor just as the assassin fires his rifle. The assassin has missed, and Maddie has saved the free world and prevented a potentially disastrous international incident. | |
| Yours, Very Deadly (28 Octobrer 86) | |
| Gayle Woodley has a problem. She has been receiving love letters from a stranger; a stranger who knows what she wears, what her perfume is called, what she does with her days. She returns the letters for a while, enjoying the sense of romance and the love from afar, but the letters have turned ugly recently, and she wants them to stop. The stranger has recently made threats to her and her husband, and she hires Blue Moon to find the stranger and put a stop to his postal services. David and Maddie take the case and set up a stakeout at the post office box the mysterious stranger uses as a return address. It takes a couple of long, boring days, but they do end up tailing their suspect; a shabbily dressed man who picks up the letter and hops on a bus to a run-down hotel David generously describes as a "hovel." Getting no response from the man inside, David kicks in the door and they find themselves face-to-face with a sad, deaf and mute man named Peter Macy. Macy doesn't seem to understand them until Maddie explains to him slowly (and somewhat cruelly) that "Gayle is frightened of you. She wants you to stop writing to her, and she will not be writing to you anymore." Unable to stand the heartbroken expression on the man's face, David and Maddie pay for the door and excuse themselves. Maddie says it all as she steps out of the hovel: "I hate this job." The next morning, in a very funny turnabout scene, David is sitting in his office when Maddie bursts in and exclaims, in rapid-fire banter, that she has an idea and that they should go to Mrs. Woodley and ask her to keep up the writing for the sake of this man's broken and harmless heart. David tries to dissuade her, pointing out Macy's apparent mental instability, but Maddie persists, and they drive over to the Woodley's together. They are greeted by police cars and emergency equipment. A dazed and grieving Mr. Woodley tells them that someone broke into the house and clubbed Gayle to death with a telephone. Angry, Maddie drags David to Macy's apartment to confront him about the murder. They find a typed suicide note and Macy's body on the street several floors below. David cracks the case, however, and summons Maddie to the post office for the confrontation with the real killer and a chase through the inner workings of the mail service. The episode ends with David and Maddie privately considering leaving an anonymous love letter for one another. In a side plot, Curtis Armstrong debuts as the object of Agnes' extreme affections, Herbert Viola. | |
| All Creatures Great...And Not So Great (11 November 86) | |
| Father McDonovan is a priest whose heart is in his work. Over the last several months of hearing confession, he has been especially concerned about one woman who talks of committing suicide. During one confessional she is especially despondent, and leaves abruptly as he attempts to pray for her. Father McDonovan doesn't know what she looks like, because he has never seen her face, but he is anxious to find her, to help her, so he hires Blue Moon. With few clues to go on, Dave and Maddie locate her at the home of Ray and Alicia Adamson, where she appears to be happily married -- until Alicia Adamson is found dead shortly thereafter. When Maddie suspects that Mrs. Adamson was murdered, she and David and Father McDonovan confront Ray Adamson, where they find him sharing a bedroom with Janine Dalton, whom McDonovan recognizes as the voice of the woman who visited him in distress. The truth comes out that Janine went to confessional posing as Mrs. Adamson, pretending to be distraught, while secretly planning with Ray to kill Mrs. Adamson, so that her death would look like suicide. Meanwhile, Agnes professes hatred for Bert and tries to have him removed from the office; he responds by leaving her a single red rose. | |
| Big Man on Mulberry Street (18 November 86) | |
| In their book, Cybill and Bruce: Moonlighting Magic (St. Martin's Press, 1987), authors Barbara Siegel and Scott Siegel write: This show, about David's return to New York for the funeral of his brother-in-law, is arguably not only the greatest Moonlighting episode of them all, but possibly the single best one-hour episode ever produced for a prime time television series. Forget the Emmy nominations and Director's Guild awards for other shows. This one beats them all. At the very beginning comes the shock (to Maddie) that David's been married before. He's off to New York. That night Maddie has a dream about David's previous married life and subsequent divorce. The dream is a technicolor movie musical that is utterly awe inspiring for its classy production values, magnificent dancing, and for its sheer creative brilliance. Performed to Billy Joel's "Big Man on Mulberry Street," and danced by Broadway musical star Sandahl Bergman, we see David's wife seduce him while he is working at a New York saloon.... Bergman did all the difficult steps, but Bruce held up his end with a natural dancer's grace.... "Big Man on Mulberry Street" literally has everything: music, dance, comedy, high drama, tenderness, pathos -- and all of it works. As in all of the very best [Moonlighting] episodes, there is no case, no mystery, no secondary plotline. The show is expressly about David and Maddie. Written with a deep understanding of its characters, never going for the cheap, easy laugh, this is the perfect, quintessential Moonlighting episode. | |
| Atomic Shakespeare (25 November 86) | |
| Of all sixty-five Moonlighting episodes, none is better remembered, more often asked about (you should read my email!), or more popular than this one. And there's a very good reason why this is true: this episode is, without question or contest, the most brilliant piece of comedy ever written for Moonlighting. It is consistently witty throughout -- every line, every scene, every plot development, every visual image is a work of comic genius. We begin with a scene of a mother and son. The son wants to watch television, but the mom reminds him that he has homework to do. "But it's Moonlighting!" he protests. "Sounds like trash to me," the mother responds. The son dejectedly returns to his room and opens a book of Shakespeare plays and begins reading The Taming of the Shrew. In this version of Shakespeare's play, Maddie Hayes is Katharina, David Addison is Petruchio, Bert Viola is Lucentio, and Agnes DiPesto is Bianca. As in Shakespeare's play, we learn that all the men in the town of Padua want to marry "the fair Bianca", but they can't because her father, Baptista, has declared that Bianca can not be married until her older sister, Katharina, is wed. And, says Baptista, "he who weds Katharina wins a dowery you could cry for." But even so, none of the men of Padua are anxious to take that offer because, as we soon learn, Katharina is a shrew. As in Shakespeare's play, Petruchio enters the scene and learns about the dowery and about Katharina, and is determined to woo her for his wife. She strenuously objects, but they are married against her will. Petruchio takes her back to his home and insists that now that she is his wife, that she is also his "property", that he is her "lord", and that she is bound to agree with whatever he says. She laughs at this and refuses to take part in it, and it's at this point that we begin to diverge from Shakespeare by putting a 1980's spin on his original story. "Am I not the man and you the woman?" he asks. "Be this not the time that men are men and women are property? I shall be the master of what is mine own, and thou art my goods, my property, my stuff!" She will have nothing to do with this, and she tells him so directly: "Stuff your stuff!" And he responds, "Well, we'll see about that, and starting this day!" "Then already thou seest wrong," she counters, opening the windowshades and revealing the night sky, "for it is plain to any fool that it be night and not day!" "Day it is if thy husband says it be so. I am thy liege and thy lord, that bringeth home the bacon and provideth thee with a roof over thy thick skull. And for that, by the gods, if I say the moon be the sun then to you, good wife, it shall be so." "Good wife I am in name only, good husband," she insists, dripping that last with deliberate sarcasm, "and thus it is the moon and 'tis the moon no matter what thee says!" The argument escalates from there, they slam their respective bedroom doors angrily at one another, and this issue remains unresolved for the time being. But with time, they soften toward one another. Petruchio showers her with kindness, and they move toward respecting and loving one another. In a tender moment she asks him, "Why me? What moved thee to woo me?" And he responds, "Thy life, thy spirit.... More to the point, I saw me in thee." "Husband," she says, "for all thy boorishness and bluster, thou art a good man." And he responds, "And for all thy shrillness and shrewishness, thou art quite a remarkable woman." This is a gently tender scene, in which we learn that they do love each other, and more interestingly, not just Kate but Petruchio as well have both been "tamed" by one another. Despite this, however, there is still one "taming" yet to occur. Kate and Petruchio arrive as guests at Bianca's and Lucentio's wedding, and the people of Padua are amazed that the shrew does appear to have been tamed. But a rumor begins to circulate among the crowd, that "Kate merely pretendeth to be tamed -- that she be talking of equality -- of thy marriage being fifty-fifty!" Petruchio is embarrassed at this. After all, he has a reputation to protect. Baptista comes to him and demands that it is his right to know, "Who hath in fact been tamed -- Kate ... or thee?" "If thou needest proof of the taming of Kate then proof it shall be!" he announces. "Fetch me my wife!" And with that, the townspeople are intensely interested. Petruchio swaggers. Kate arrives. "You calleth, Husband?" she asks. "Yes," he replies arrogantly, "and with a purpose. There is a duty thou must perform.". "You have but to ask, dear husband," she responds, "and I'll do my best to please thee." "That thou will," he proclaims, swaggering some more. "For thy husband is thy lord, thy life, thy keeper. And as thou art bound to serve and obey, thou art bound to agree whatever he saith be true above all else." Pointing to the sun in the sky, he announces, "Kate, I say 'tis the moon that shines so bright. And as my wife, wouldst thou not agree, 'tis indeed?" The tension in the crowd mounts as Kate joins him to take a look. "Husband, I believest thou art mistaken. And if thou takest another look, I'm quite sure thy error will be clear. 'Tis the sun, and not the moon, which shines so bright." The crowd holds its collective breath. "The sun you say?" he says to the crowd, as she gives him a look that says, "I dare you to contradict me in front of these people." And Petruchio continues, "If that be your final answer, I have but one choice -- to look again." He does so, and announces, "Why as I live and breathe, 'twas indeed a mistake -- my wife hath told it -- it is the sun, and not the moon at all." The townspeople gasp, and Petruchio goes on to announce that he was wrong, and that he has had a "revelation -- to myself too long in coming -- and it concerns the beauty of holding thy mate at thy side." He goes on to say to the whole town that he had struck a deal with Baptista, that "I might receive thy dowery if, and only if, I tamed thee. I now renounce this deal -- and wish for no other reward other than thy affection, and thy company for as long as thee shall live." And with that, she approaches him, she sweeps him off his feet, and she kisses him passionately. Our homework schoolboy shuts his book, runs downstairs to find that his mom has been watching Moonlighting. Breathlessly, he asks if it's still on. "Nope," she says, "it just ended." He's disappointed, and she says, with a delightful dose of ironic self-deprecation, "That's okay. It wasn't very good tonight anyway." | |
| The Straight Poop (6 January 87) | |
| "No new episode -- again!" Rona Barrett was a popular entertainment reporter at the time, although she retired from show business shortly thereafter. In this episode, she guest stars as herself and interviews Maddie and David. The national press, she says, has reported that Maddie and David have been feuding (when in fact, the reported rumors were that Shepherd and Willis had been clashing on the set), and this, combined with the fact that there has been no new episode of Moonlighting for several weeks, leads Rona to the Blue Moon offices to find out what's going on. Rona interviews David, asking him how he feels about Maddie, then interviews Agnes and Bert briefly, then interviews Maddie, asking her how she feels about David. As they answer her questions, we see flashbacks in the form of favorite scenes from prior episodes. From these, we are reminded that Maddie and David have fought with each other, but that they also care deeply about each other. We see the trademark Maddie-and-David simultaneous arguments, the familiar slammed doors, the quick-witted one-liners, but we also see tender moments, such as the famous kiss in the parking garage and Maddie's head on David's shoulder as they return from his brother-in-law's funeral in New York. We see David and Maddie throwing things at each other in a rage, debating, hugging, and making up. And we are reminded about what great episodes there have been in this series up to this point. Rona gets each of them to promise to talk to each other, and when they do, they tell each other that they are sorry, and they promise their audience a new episode next week. And with that, Rona Barrett signs off. | |
| Poltergeist III...Dipesto Nothing (13 January 87) | |
| Margaret Renbourn's home is in an uproar. For the past couple of months, the house she lives in with her husband, Jake, and her sister, Emily, has been plagued by strange occurences: noises coming from deserted rooms, anonymous screams in the middle of the night, mysterious music playing throughout the house, etc. Margaret and Emily are understandably alarmed, but Jake is skeptical. Even after Emily is committed to a psychiatric hospital due to the intensity of the disturbances, he sees no reason to leave. Margaret turns to Blue Moon in the hope that they can collect documented proof that her house is haunted. Meanwhile, Agnes has become disturbed by the news that, after a mere two and a half months of employment, Burt has been doing case work (or rather "fact-gathering") for Maddie and David. And when they turn down Mrs. Renbourn's case, Agnes launches into pursuit, with Burt not too far behind her. The two of them learn from Margaret that, through the seances with Emily, the ghost has identified herself as "Velma Boulet," a forty-some years deceased heiress, killed by a man named Barno. As the thunderstorm outside reaches its height, the electricity is knocked out in the house, pushing Margaret to her limits and causing her to shoot Jake accidentally. Agnes and Burt are questioned by the police and sent on their way. But the pair inevitably return to the house on the suspicion that the Renbourns' butler, Ludwig, whom they met earlier, knows more about the haunting of the house than he initially let on. There, they encounter Dr. Beddows, the Renbourns' family physician who aided in getting first Emily, and now Margaret committed to a sanitarium. Pushing their way into the house, Agnes and Burt find the bodies of Ludwig, and later Emily, both dead -- killed, they soon learn, by means of a fatal injection administered by Dr. Beddows. At gunpoint, the good doctor informs them that the "haunting" of the house was a scheme conjured between Emily and himself to eventually seize the assets from the emotionally distraught Margaret, particularly the house itself, which sits on a fertile oil well. As Beddows aims the gun at the would-be detectives, the lights go out once more and the two of them are able to apprehend their attacker. Puzzled over who could have aided them at that moment, Agnes and Burt listen, dumbfounded, as "The Black Bottom" -- the song that supposedly signals "Velma's" presence in the house -- begins to play. Some time later, they find themselves in front of a displeased Maddie who, while she admits being pleased with their initiative, tells them neither of them had better do anything like that again. Neither of them raise an argument, though they both leave the office smiling. | |
| Blonde on Blonde (3 February 87) | |
| Lots of people loved it, and lots of them hated it. Without question, this episode is a pivotal turning point for the Moonlighting television series. With this episode, Moonlighting takes a number of new directions. Among other things, it stops being episodic. Prior to this episode, each episode stood on its own, and it was possible to watch that episode without knowing much about what had happened during the series prior to that time. Beginning with this episode, that's no longer the case. Starting with this episode, and concluding with A Womb with a View, the relationship between David and Maddie becomes a continuing storyline, as well as becoming the principal focus of the series. From this point on, the cases that David and Maddie solve as Blue Moon investigators become supporting storylines, playing almost in the background, often mirroring the relationship in ironic ways, but always playing secondary to it. This episode is the first part of a four-episode storyline which introduces the more intimate relationship between Maddie and David, which continues with the episode Sam & Dave and concludes with the episode I Am Curious ... Maddie. Maddie is restless, and she is not herself. David can't help but notice, and he is concerned for her, and wants to know what's wrong. They talk, and although she is reluctant to open up to him, finally she tells him that she feels "restrained", "alone, and surrounded at the same time". Then she admits that she feels "reckless", and that she'd "like to go out there and find some man, not even ask his name -- and just go to a hotel or something and not even know his name, and just be bad!" This shocks David visibly, and his reaction makes her angry. In her anger, she storms out of the office, and David is frantic. With Bert, he follows her as she leaves, eventually following her into the Metropolis, a nightclub which Bert describes as "the hottest place in town. You can't walk in there without getting hit on. If you're ever in the mood to meet somebody just for a night, this is the place." Needless to say, this does nothing to calm David. While there, David loses track of Maddie, and mistakenly follows another blonde woman (played by Donna Dixon), all the while thinking he is following Maddie. It's now two in the morning. David follows her and another man into a hotel room, where David realizes his mistake -- too late. After a struggle with the man, David is struck unconscious, and wakes to find the man has been murdered and David is alone with him in the room. The police take him in for questioning, where he again meets the blonde woman, whose name is Joan Tenowitz. It turns out that the dead man was her husband. He committed armed robbery for $1,600,000, and she killed him for the money. While David and the woman talk, she convinces him that his concern for Maddie means that he loves her, and she urges him to find Maddie and tell her so. At first he denies that he loves her, but finally he agrees that the time has come to confess his love for Maddie. It's now four in the morning. In the rain, flowers in hand, he rushes boldly to Maddie's house, knocks on her door, eager to share his new-found revelation -- only to find that her door is answered, not by Maddie, but by another man (played by Mark Harmon). | |
| Sam and Dave (10 February 87) | |
| This episode is the second part of a four-episode storyline which began with the episode Blonde on Blonde and concludes with the episode I Am Curious ... Maddie. In last week's episode, David had made up his mind to rush over to Maddie's house and confess his love for her -- only to find that there's another man staying at her home. The next morning, as this episode begins, Maddie arrives several hours late for work, she is happy, and David is trying pry her for details. All she will admit is that she overslept because an old friend from college is in town and she and he were up late together. "I've known Sam since I was six," she tells him. Into this conversation walks Elaine Johnson, a client with a case. She explains that she is the "other woman" in a relationship which works well for her, but she's concerned that her boyfriend, Alan McClafferty, is falling back in love with his wife. Elaine wants Maddie and David to find out what's going on -- if McClafferty is recommitting himself to his marriage, Elaine doesn't want to be the last to know. What's ironic about this case is that David sees himself in Elaine. In the same way that Elaine is afraid of losing a satisfying but noncommitted relationship because her partner is possibly going to commit himself to someone else, David has the same fear about himself and his relationship with Maddie. While spying on McClafferty that evening (with Bert instead of Maddie, who is on a date with Sam), David's feeling that he is losing an important relationship in his life intensifies as he observes Mr. and Mrs. McClafferty enjoying a passionate night alone together. David realizes that he must do something, or he may lose Maddie to the same sort of intimate relationship. And so he walks out, right in the middle of the McClafferty surveillance, determined to find Maddie and once and for all confess his love for her. When he finds her together with Sam in a very nice restaurant, his chance to talk with her privately is too brief to get the words out and instead, he ends up crashing Maddie's date. During their dinner, we learn that Sam is not only very handsome, he's also an astronaut [which is why David refers to him subsequently as "Luke Skywalker"], a brilliant particle physicist with degrees from Yale, financially well-off, a perfect gentleman, and modest and gracious about his many accomplishments. Sam is seemingly a perfect fit for Maddie, and David knows it. Throughout the evening, David turns on his characteristic charm but, perhaps realizing that he's in danger of losing Maddie to Sam, David drinks too much wine and is in no condition to drive himself home. Sam offers to take David back to his [David's] apartment. As David falls asleep in his bed, his last words to Sam reveal the jealousy that he's been concealing until now. With that, Sam returns to Maddie's home. They dance, they sleep together, but after Sam has fallen asleep, the last thing we see is Maddie, wide awake, evidently perplexed and confused. Throughout this episde we've seen how David has reacted to Sam's involvement with Maddie. In this final image of Maddie, we see a hint that this isn't easy for her either. We'll see much more of her dilemma in next week's episode. | |
| Maddie's Turn to Cry (3 March 87) | |
| This episode is the third part of a four-episode storyline which began with the episode Blonde on Blonde and concludes with the episode I Am Curious ... Maddie. It is true that this episode is a continuation of the previous episode -- the McClafferty case and Maddie's relationship with Sam both escalate in this episode -- but it's also important to recognize that this episode is the feminine twin of the last episode. Sam's arrival into Maddie's life puts the relationship between Maddie and David out of balance. In the previous episode we saw Sam's intrusion and its effects primarily through David's eyes; in this episode we see the same effects from Maddie's point of view. Maddie wakes up in bed with Sam, and he asks her how she slept. But she doesn't answer. Instead she looks away. This is the beginning of an episode full of body language from Maddie that tells us in the audience that she is troubled. Watch where she stands when she's interacting with Sam and with David, watch when she smiles, and at whom, and when she doesn't smile, and watch her eyes. Her feelings are never more palpable than they are in this episode. As Maddie explains later on in this episode, Sam is "perfect" for her. We see that he is thoughtful, caring, talented, and devoted to her. But we also know that her relationship with David is important to her too. She tells Agnes that "they're both really terrific." In the office, she confronts David. Why did he interrupt her dinner with Sam the night before? We suspect that she knows that he wanted to confess his love for her, and she wants to hear it for herself. But David won't admit to it. Instead he invents a story -- he says he interrupted her dinner to talk about rewarding Herbert Viola for his hard work. But we don't believe him, and Maddie doesn't believe him. Meanwhile there's a case to be solved. Last night Bert took photos of Mr. and Mrs. McClafferty, fulfilling the job Elaine Johnson hired Blue Moon to perform. Maddie and David deliver the photos to Elaine, but she insists that she wants more: she had expected sound recordings, and she wants Maddie and David to provide them. Thus, the two of them return to the McClafferty home with surveillance equipment, only to witness Mrs. McClafferty apparently sobbing, typing a suicide note, and ending her own life with a handgun. Maddie returns to her home to find that Sam has been waiting for her, and has cooked her dinner. They talk, and he tells her how happy he is to know that she'd be coming home to him. And again she looks away, and we presume she's thinking of David. "I'm so confused," she says. "I just wish someone would tell me what to do." And Sam responds simply, "Do this: marry me." The very next thing you know, Maddie is knocking on David's apartment door, and it's the middle of the night. Evidently she waited only a little while until Sam was asleep, then snuck out to confront David again. She urgently wants to know what he wanted to tell her when he interrupted her date with Sam, and those are the first words out of her mouth when he lets her in. "What did you want to tell me?" Again he won't answer. She starts to explain how she feels, but breaks into tears, and he takes her in his arms and they kiss tenderly. In tears, she notices her mascara is running, and then remembers that Mrs. McClafferty's makeup was perfect when she died. "The woman we heard crying and the woman we saw being carried out were not the same woman." Maddie realizes that Elaine Johnson was the one who made sure the two of them were there to see the whole performance, and she suspects Johnson of murdering Mrs. McClafferty and setting up David and Maddie to make it look like a suicide. The two of them confront Elaine Johnson in her apartment -- it's now 4:30 in the morning -- and discover proof that yes indeed, Johnson and Mr. McClafferty conspired to murder his wife. A chase ensues, involving milk bottles thrown from the back of a truck and a run through a bowling alley. In the end, they apprehend the bad guys and walk out of the bowling alley into the sunrise. Maddie tells David that she feels great, and that she had a great time. And then she remembers Sam, remembers that she left him alone in bed, and she stops in her tracks. We see Sam wake up alone in her bed and call out her name, wondering where she is. And we wonder what Maddie is going to do now. | |
| I Am Curious...Maddie (31 March 87) | |
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| To Heiress Human (5 May 87) | |
| It is the morning after the night before. When Maddie and David awaken in her bed, he is delighted but she is mortified. More accurately, although she admits that she did enjoy it, she believes that it was a mistake that should never have happened, and she tries to get David to agree to what she calls a "pact" -- an agreement between them that it never did happen. If they agree that it never happened, she reasons, then it didn't happen, and no one else needs to know about it. Needless to say, David sees things very differently. It did happen, he insists, and it was great, and he wants there to be no secret about it. At this point, Margaret Kendall arrives at the Blue Moon offices and asks to hire Maddie and David to prove that her fiance loves her. Her father, she explains, is very wealthy, her fiance is not, and her father disapproves of their marriage because he feels that the fiance is only after his daughter's inheritance. Margaret believes that she and Robert were meant to be together, and hopes that if Maddie and David can find some proof that Robert genuinely loves her, then her father will approve. It is not without irony that David approaches this case by talking to the fiance, Robert Murphy, who convinces David that he and Margaret do belong together, while Maddie approaches the case by talking with Margaret's father, who convinces Maddie that their engagement is a mistake which should never have happened. As the episode progresses, Mr. Kendall is declared dead from a gas explosion in his home. Margaret and Robert each separately give themselves up to the police and confess to the crime. But as it turns out, Mr. Kendall is not dead -- he faked his death in an attempt to frame Robert and thereby protect his daughter from what he is sure is a treacherous fraud. But when he learns that both Margaret and Robert confessed to the murder in order to protect each other, he is finally convinced that they do love each other and do belong together, and he presents Maddie and David with a suicide note which proves their innocence. | |
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My name is Radostina Georgieva, "Roddy".I live in California.
I enjoy travelling, reading books, listening to music, going to the movies.
I am constantly looking for ways to challenge myself, learn, and grow.