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[stevenbasic]

“Dr. Jjjjjjj…” she called in, peeking around the corner of my half-open office door. Olivia had left several minutes ago and I was still sitting there, half in a state of shock, half just plain trying to stay awake. I’d just fucking come in my pants, by my own hand while being subjugated by my new ‘Clinical Director’ and now…oh no.

Melissa....

“Are you still innnn heeeeerre?” she sang, stepping in. I nearly groaned as I watched, assaulted by the fucking size of her. Tits, legs, hips, height.  Green, again, her sweater, making me recall Olivia’s emerald ring, necklace and eyes. I don’t know if it was fear I felt but it wasn’t too far off. Fear of what? Her seeing evidence of what I’d done? Fear of being strapped into doing it again? Just plain fear of women? Whatever it was, I don’t have words for it at the moment. I just knew I was a mess, and I was tired. “Olivia told me you had a good meeting,” she said, smiling warmly at me as she approached, “‘productive’ was the word she used.”

urrk. I felt my throat catch. Productive? Yikes. I had ‘produced’ what seemed like a pint, and it soaked my khakis from mid-thigh to my knee. Had Olivia known??

“Y-y-yea it was fine…” I began, eyes widening as I watched Melissa come closer and closer and I couldn’t have her see what had happened I had to think there’s the coffee mug half-full of milk I’ll just-

“Wh-whoops…!” I feigned, in my panic spastically pulling and tipping the cup to spill onto my lap, trying my best to make the whole thing look accidental.

Whether I was believable or not didn’t seem to matter, it brought Melissa running. “Oh no!” she laughed, grabbing the nearest box of tissues from the corner of my desk and - yikes! - coming quickly to my side, “Did someone here make a mess?”

“Uhhhhh….” I groaned in answer, only able to watch as she knelt and began pulling tissues out one by one, gathering a handful. I looked down into my lap and - yes, mommy - I’d made a mess. A mug full of wet milk, thankfully, had overwhelmed and seemed to camouflage the huge jizz-blotch on my thigh, maybe saving me from even worse humiliation than I was already feeling. It had pooled around me in wet puddles on my chair, and Melissa seemed intent on cleaning it up.

“W-w-wait, no..!” I stopped her, grabbing her wrist as she reached out and had nearly set upon me. She looked up at me, from where she knelt, and in her eyes was something I hadn’t seen before. Her mouth smiling, slightly agape, eyes wide and sparkling and all but possessed. She was breathing deeply, quickly. I knew it right away - she smelled me.

“I-I-I-I can do that…” I stammered, taking the box of Kleenex from her other hand, awkwardly, letting go of her wrist and scooting myself back under the desk. I pulled out tissue after tissue and hurriedly began dabbing and wiping, rubbing and soaking up the come-filthy milk from my lap and seat. As exhausted as I was, my heart raced and I’d flushed red. Melissa slowly stood, and watched.

“Y-you’re going to need some paper towels,” she said, gathering herself again, taking a step back. “I’ll send one of the girls in,” she continued, working to keep her voice even, controlled, “you should go home, though. You look tired.”

I…I probably should, I silently agreed, pulling out more tissues, still vainly trying to clean my mess with these meager Kleenex. I knew she’d give my patients to the nurses, Vida and Morgan, maybe Karen. As useless as it made me feel, it would probably be for the best.

“Go up home, relax, sweetie,” she said, stepping backwards slowly, smile growing on her face again, “have a nice weekend…Let me know if you need me…”

================================

more at my Patreon

[papermoonloveslucy]

GEORGE’S CHRISTMAS PRESENT

December 16, 1949

“George’s Christmas Present” (aka “The Christmas Present Switch”) is episode #67 of the radio series MY FAVORITE HUSBAND broadcast on December 16, 1949.

Synopsis ~ Liz vows to finish knitting George a sweater by Christmas. She finds George's Christmas presents for her and exchanges it too early.

This was the 16th episode of the second season of MY FAVORITE HUSBAND. There were 43 new episodes, with the season ending on June 25, 1950.

This episode has been fully animated using the original soundtrack.  The animation was created in 2010 by Wayne Wilson and is available to view on Vimeo. 

“My Favorite Husband” was based on the novels Mr. and Mrs. Cugat, the Record of a Happy Marriage (1940) and Outside Eden (1945) by Isabel Scott Rorick, which had previously been adapted into the film Are Husbands Necessary? (1942). “My Favorite Husband” was first broadcast as a one-time special on July 5, 1948. Lucille Ball and Lee Bowman played the characters of Liz and George Cugat, and a positive response to this broadcast convinced CBS to launch “My Favorite Husband” as a series. Bowman was not available Richard Denning was cast as George. On January 7, 1949, confusion with bandleader Xavier Cugat prompted a name change to Cooper. On this same episode Jell-O became its sponsor. A total of 124 episodes of the program aired from July 23, 1948 through March 31, 1951. After about ten episodes had been written, writers Fox and Davenport departed and three new writers took over – Bob Carroll, Jr., Madelyn Pugh, and head writer/producer Jess Oppenheimer. In March 1949 Gale Gordon took over the existing role of George’s boss, Rudolph Atterbury, and Bea Benaderet was added as his wife, Iris. CBS brought “My Favorite Husband” to television in 1953, starring Joan Caulfield and Barry Nelson as Liz and George Cooper. The television version ran two-and-a-half seasons, from September 1953 through December 1955, running concurrently with “I Love Lucy.” It was produced live at CBS Television City for most of its run, until switching to film for a truncated third season filmed (ironically) at Desilu and recasting Liz Cooper with Vanessa Brown.

MAIN CAST

Lucille Ball (Liz Cooper) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Richard Denning (George Cooper) was born Louis Albert Heindrich Denninger Jr., in Poughkeepsie, New York. When he was 18 months old, his family moved to Los Angeles. Plans called for him to take over his father’s garment manufacturing business, but he developed an interest in acting. Denning enlisted in the US Navy during World War II. He is best known for his  roles in various science fiction and horror films of the 1950s. Although he teamed with Lucille Ball on radio in “My Favorite Husband,” the two never acted together on screen. While “I Love Lucy” was on the air, he was seen on another CBS TV series, “Mr. & Mrs. North.” From 1968 to 1980 he played the Governor on “Hawaii 5-0″, his final role. He died in 1998 at age 84.

Ruth Perrott (Katie, the Maid) was also later seen on “I Love Lucy.” She first played Mrs. Pomerantz, a member of the surprise investigating committee for the Society Matrons League in “Pioneer Women” (ILL S1;E25), as one of the member of the Wednesday Afternoon Fine Arts League in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3), and also played a nurse when “Lucy Goes to the Hospital” (ILL S2;E16). She died in 1996 at the age of 96. 

Bob LeMond (Announcer) also served as the announcer for the pilot episode of “I Love Lucy”. When the long-lost pilot was finally discovered in 1990, a few moments of the opening narration were damaged and lost, so LeMond – fifty years later – recreated the narration for the CBS special and subsequent DVD release.

Gale Gordon (Rudolph Atterbury) and Bea Benadaret (Iris Atterbury), do not appear in this episode, although their characters are mentioned. 

GUEST CAST

Frank Nelson (Miller’s Exchange Counter Clerk) was born on May 6, 1911 (three months before Lucille Ball) in Colorado Springs, Colorado. He started working as a radio announcer at the age of 15. He later appeared on such popular radio shows as “The Great Gildersleeve,” “Burns and Allen,” and “Fibber McGee & Molly”.  Aside from Lucille Ball, Nelson is perhaps most associated with Jack Benny and was a fifteen-year regular on his radio and television programs. His trademark was playing clerks and other working stiffs, suddenly turning to Benny with a drawn out “Yeeeeeeeeees?” Nelson appeared in 11 episodes of “I Love Lucy”, including three as quiz master Freddy Fillmore, and two as Ralph Ramsey, plus appearance on “The Lucy-Desi Comedy Hour” - making him the only actor to play two different recurring roles on “I Love Lucy.” Nelson returned to the role of the frazzled Train Conductor for an episode of “The Lucy Show” in 1963. This marks his final appearance on a Lucille Ball sitcom.

Eleanor Audley (Mother Cooper) would later play Eleanor Spalding, owner of the Westport home the Ricardos buy in “Lucy Wants To Move to the Country” (ILL S6;E15) in 1957, as well as one of the Garden Club judges in “Lucy Raises Tulips” (ILL S6;E26).

EPISODE

ANNOUNCER: “As we look in on the Cooper’s it’s morning and there are seven shopping days left until Christmas.”

Liz is pressing Katie the Maid about what George may have bought her for Christmas. She is knitting George a sweater, but wants a fur coat from George. Liz sings “Jingle Bells” as George comes down to breakfast. 

“Jingle Bells” by James Lord Pierpont (1822–93) was sung in the “I Love Lucy” Christmas tag, the “I Love Lucy Christmas Special” (above, colorized), as well as in “Lucy Goes to Sun Valley,” a 1958 episode of “The Lucy-Desi Comedy Hour.” Lucy says that Ricky proposed to her at Christmastime, so their ‘song’ is “Jingle Bells,” or – as Ricky pronounces it - “Yingle Bells.” The song was also sung by Lucy Carmichael and Vivian Bagley in “Together for Christmas” (TLS S1;E13) in 1962.  

Liz is acting lovey-dovey, but George is on to her games - he won’t tell her what he is getting her for Christmas. 

LIZ: “Are you getting me a mink stole?” GEORGE: “If I got you a mink, it would have to be stole!”

George tells Liz he’s already bought it and that it is in the hall closet - but warns her to leave it alone!  After George leaves for work, Liz is tempted to take a peek. She reasons she might need to go into the closet for routine reasons, and ‘clumsily’ rips the paper off the box. It is empty, except for a note that says 

I THOUGHT I TOLD YOU TO STAY OUT OF HERE, NOSY! 

Liz is adamant that George is just getting a sweater and starts knitting. Katie doesn’t even recognize it as a sweater. It has two neck holes and a sock knitted to the sleeve!  Liz laments that she can’t knit like George’s mother, who Liz calls Nosy Rosy. Katie reminds Liz that Mother Cooper is coming over for a visit. 

Mother Cooper (Eleanor Audley) waltzes in without ringing the bell. She first thinks the sweater is a dust rag, then a dog sweater. Liz tells her that it is a sweater for George and Mother laughs. 

MOTHER (laughing): “I could die!” LIZ (grimly): “Yes, but you won’t.”

Mother has come over to tell Liz that she will be spending Christmas with Aunt Bessie, instead of with her and George. Before she goes, she bluntly tells Liz to give up on knitting; she hasn’t got the talent.  Mother turns to go. 

LIZ: “Are you driving, or shall I call the Yellow Broomstick Company?” 

Liz is essentially calling her mother-in-law a witch! The Yellow Cab was a taxicab company in Chicago founded in 1907 by John D. Hertz, who later began the Hertz Rent-A-Car Company. In early 1950, Red Skelton, a frequent co-star of Ball’s, released the MGM film The Yellow Cab Man. Although it had not yet premiered, shooting was completed by October 1949 and Lucille Ball may have been short-listed for the role played by Gloria De Haven. 

Before she departs, Mother Cooper tells Liz she has knit her son a beautiful cashmere sweater for Christmas, making Liz even more intent on making hers even better and more beautiful. 

In Part Two, Katie discovers Liz asleep with the knitting needles in her hands, exhausted. After an all-nighter, Katie still sees that the sweater still has three sleeves! 

At breakfast, Liz’s eyes are so bloodshot she mistakes milk for tomato juice!  When George discovers that she’s been knitting him a sweater, he laughs. After George goes to work, Katie discovers another wrapped box in the closet.  Liz opens it to reveal a bright red dress from Miller’s Department Store. Liz is upset because she cannot wear red with her hair coloring. 

LIZ: “If I put that dress on, I’ll look like an ad for Unguentine!” 

Unguentine is a commercially available topical skin ointment that helps alleviate minor burns and irritations. It was originally introduced in 1893. It was mentioned on “I Love Lucy” in “The Fashion Show” (ILL S4;E20) in 1955. 

Liz dashes off to Miller’s to try and exchange the red dress for one in green.  While waiting on line at the exchange counter, Liz busily knits. At the head of the line, the clerk (Frank Nelson) is confused as to why Liz is exchanging a present BEFORE Christmas!  He sarcastically tells her she should exchange the red dress for a black one and give it a henna rinse!  

Miller’s Department Store is mentioned in “Husbands Are Sloppy Dressers” (S3;E1) and “The Two Mrs. Coopers” (S3;E7). 

LIZ: “Oh, I’ll bet you’re a scream when you get out your chicken inspector badge.” 

Lucille Ball started coloring her hair with Henna Rinse (an Egyptian hair dye) in 1942 for the film Du Barry Was a Lady, to set herself apart in Technicolor movies. Irma Kusely, Ball’s hairstylist, later said that Ball had a safe of it in her garage!  In “Pioneer Women” (ILL S1;E25) in 1952, Fred Mertz struts around and proudly declares “I am the chicken inspector!” This is 1920s slang for a man who has an eye for young woman. He even wears a novelty badge!

Liz rushes home to tell Katie she exchanged the red dress for one in Kelly green. George calls to tell Liz that he is bringing his mother home to give her a Christmas present before she goes to Aunt Bessie’s!  Liz realizes that this is the dress that she just exchanged.  

Liz rushes back to Miller’s to be greeted by the same sarcastic clerk, who can’t understand why she wants yet another exchange.  

Back at home, Liz tells Katie she successfully re-exchanged the green dress for the red one. Katie tells Liz that she finished knitting the sweater for her and has tucked it into the desk drawer. 

George and his mother come home and Liz gives her the present - only to find out from George that the gift she handed Mother is for her, not Mother Cooper!  While George is getting his mother’s REAL present, Mother Cooper asks Liz how the sweater is coming along. Liz opens the desk drawer and Mother Cooper accuses her of buying the sweater not making it. 

As she’s getting into the taxi, George notices a piece of yarn leading from the taxi, up the sidewalk and into the desk!  Mother Cooper has secretly taken the sweater so as not to be upstaged by Liz. Now the sweater has unraveled, leaving only two inches on the needles!  

END OF EPISODE

Announcer Bob LeMond reminds listeners to watch for Lucille Ball in the Columbia Picture Miss Grant Takes Richmond. 

[beawhite]

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[tellmeastorycostumes-blog]

Wardrobe Notes December 5, 2019

Hi there and welcome to Tell Me A Story!

This blog will provide you with guidelines to look your absolute best for the scenes you were booked to work. It is our commitment to make sure the costume chosen is the most ideal choice for this show.

We will need your help but together, we can create magic!

This blog will be updated and inform you on exactly what to bring for your specific scenes. We will do our very best to be as informative and descriptive as possible. We will at times give you photos as a guideline.

Here is what you should always keep in mind when you are selecting garments and accessories to bring:

-Bring enough clothing and accessories to have 3-4 complete outfits. We will NEVER be upset at too many choices.

-Wear your best outfit into work.

-No visible logos or any patterns that might vibrate (moiré) on camera.

-No sandals or open-toed shoes and shorts unless the scripts calls for that specific look.

-Do your very best to have clothes clean, pressed, and stored properly (on hangers or nicely folded). If you care for your clothes, it means you care about this job.

-Please don’t be offended if we ask you to change. It is our job to carry out the vision of the costume designer and those of the writers/director/producers/etc.

-Bring all of your choices with you. Time is of the essence and of great importance. No leaving clothing in your cars. Be Prepared!

Most of all, have fun and do your best!

Please look under the character you were cast as for what to bring. We are using certain color palettes for scenes so please pay extra attention to the color palettes provided and bring only the colors that are listed under your character. Also feel free to bring a sweat shirt and comfort shoes for in between scenes or during lunch.

Thank you!

TMAS Costume Department

Tucker’s Room Nurses:(Please bring a long sleeve gray, white, black long sleeve shirt)

Long Sleeve T-shirt (Brown, Green, White, Gray)

Hoodie(Brown, Green, Black, Gray)

Sweater(Green, Brown Black, Gray)

Light Jackets (Green, Brown Black, Gray)

Purses (Green, Brown Black, Gray)

Croc like shoes, Tennis Shoes, Work Shoes(Gray or Black, White)

** If you have tattoos that can be seen in short sleeves please bring something to cover them. Such as a long sleeve shirt for clearance purposes.**

Cops:

White Crew Neck T-shirt

Black Socks

Black Work shoes/ Tennis Shoes

Blue World Nurses/ Emergency Room Nurses/ Wait Room Nurses/ Orderly:(Please bring a long sleeve gray, white, light blue, long sleeve shirt)

Long Sleeve T-shirt (Light Blue, White, Gray)

Hoodie(Light Blue,Blue, Black, Gray)

Sweater(Light Blue, Blue, Black, Gray)

Light Jackets (Light Blue, Blue, Black, Gray)

Purses (Blue, Black, Gray)

Croc like shoes, Tennis Shoes, Work Shoes(Gray or Black, White)

** If you have tattoos that can be seen in short sleeves please bring something to cover them. Such as a long sleeve shirt for clearance purposes.**

Paramedic:

White Crew Neck T-shirt

Black Pants and Black Cargo Pants 

Black Belt 

Black Socks

Black Work shoes/ Tennis Shoes

Doctors:

Women: (Please bring a long sleeve gray, white, light blue long sleeve shirt)

Blouse(Blue,Black,Gray)

Pencil Skirt/Slacks (Blue, Black,Gray)

Dresses(Blue, Black,Gray)

Black Dress Pants 

Flats, Comfortable Heels 

Jeans

Please bring layers such as sweaters, jackets in color palette (Blue, Black,Gray)

Men:  (Please bring a long sleeve gray, white, light blue long sleeve shirt)

Solid Long Sleeve Button Front Shirts(Blue, Black,Gray)

Solid Ties(Blue, Black, Gray)

Slacks(Blue, Black,Gray)

Black Dress Pants 

Belts, Dress Socks(Black, Gray)

Dress Shoes(Black, Gray)

Please bring layers sweaters, jackets in color palette (Blue, Black,Gray)

Patients:

Robes(Blue, Gray, White)

Comfort Shoes(Blue, Gray, White)

House Shoes(Blue, Gray, White)

Sweat pants(Blue,  Gray, White)

PJ Pants(Blue, Gray, White)

Sweat shirts(Blue,  Gray, White)

Things to wear under hospital gown( tank top, shorts)

Hospital Visitors:

Casual Street Clothes

Jeans((Blue, Black, Gray)

T-Shirts(Blue, Black, Gray, White)

Blouses(Blue,Black,Gray, White)

Sweaters(Blue, Black, Gray, White)

Light Jackets(Blue, Black, Gray)

Casual Dresses(Blue, Black, Gold)

Shoes such as Boots more Fall like(Gray, Black)

Slacks/Dress Pants(Blue, Black, Gray)

Purses(Black, Gray, Blue)

[chpinthestacks]

In the Stacks with Kathryn Savage: On Land

In the Volcano House movie theater, red lights pulsed beneath chairs. On screen, I watched ash and pumice slowly bury homes in the Westman Islands in 1973. Watched men and women in pale wool sweaters shovel ash off metal roofs.

Some days I drove, aimless, or read about tectonic and volcanic areas, rift zones, main lateral volcanic belts. Read about fracture zones, areas of transformed lineaments, grabens. “The mantle plume disappears under the new Iceland, the island grows and its oldest parts become eroded and disappear below sea level.” [1]

In the hospital when my father was dying, a tube inserted into his nose and throat gave him the pleasure of tasting water but kept the water from reaching his stomach, so he wouldn’t vomit. The day before he died he took big swigs of water, which wasn’t allowed. I’d asked him to stop when we were alone so he could refuse me privately. He wouldn’t give it up, always the rebel I knew. Both of us stubborn. I share his willfulness, his instinct to disobedience that can wound people. His exes called him reckless; mine have called me cruel.

He shrugged me off. “Makes no difference. I’m terminal.”

The water that sinks through pores, fissures and cavities into the abysses below Iceland acquires its own character. It interacts chemically with the volcanic soil and the volcanic bedrock, dissolving minerals and enriching the clay fraction of the soil. The water becomes low in calcium compounds (alias chalk) but relatively high in chlorine (a result of its marine origins) and has an underground pH-value of 9-10. It retains a small fraction of minerals and gases, making it pleasant tasting. [2]

I swam. Took on the scent of the water on my skin, a metallic, mineral smell. Sulphur, clay. After, I felt feral, less domesticated, far from my son, less recognizable to myself, smelling of the soil of an ecosystem to which I did not belong.

Chemotherapy changes the body’s smell too. Over time my father smelled like a different man. Metallic. The oldest parts of how we’d communicate—his hoisting me up in the air as a baby, or sitting silent on long drives in his truck smelling like cigarettes and gas station coffee, sweaty from jobsites—eroded and disappeared.

One day I took a mysterious photo of a page inside a now more mysterious book at the national library in Reykjavík. The page references a novel with characters named Josephine and Bethe and Count Sheridan. The snippet is of a scene after a volcano has erupted. There is a deafening clap of thunder as though the world had been blown in two. The night had vanished and after fiery fragments from the centre of the earth were flying through the sky and missiles like jagged lumps of fire, coming apart in their flight, as liquidy as sealing wax, fell dripping to the water, a crowd of dancers ran from the terraces that surrounded Count Sheridan’s house, ran for their lives.

To study a volcano, to predict large eruptions, geologists measure small earthquakes that happen inside and around the volcano. If pressure increases in a volcano, it produces little earthquakes, and the more pressure on a volcano, the more little earthquakes in that volcano. This slow breakdown of stability inside the volcano produces big eruptions. I learn this and think how human, how frustratingly human. [3]

All that year, my father’s stomach rupturing, holes in his GI tract leaching acid.

Here’s a memory: The day before he died, the last day he could speak, we had a fight about hospice. He was mean, and I was mean back. 

I don’t romanticize death as if it were a lesson in loving, as if he were, finally, a lesson in pain and relief, presence and absence, but I know this one hospice nurse who talks about the dying in a breathless giddy way. Everyone’s relationships are realer, she’s told me. All their shit rising up.

I read Ben Fama’s Fantasy in Iceland.

I’m not afraid of falling in love some die Claire did I thought I saw her today in the metro my heart went crazy [4]

My heart went crazy too. Delusional, from Latin deludere “to play false,” from de- “down” and ludere “to play.” [5] Shape-shifting—the concrete body as fantasy, as an unending unfurling of other bodies. He has not died; or, I catch my reflection and see his face inside my face. I am blown in two.

One day in Iceland, I watched a young couple pose for wedding photos on a volcanic beach, in mist, before the mouth of a cave. It was cold, and the bride’s arms were bare in her pale crepe dress. The bride’s body, simultaneously real and mythological. Like the dead.  

I don’t romanticize death.

Some die / I thought / I saw her today.

But maybe I romanticize the crowd of dancers running from the terrace of Count Sheridan’s imaginary house, romanticize them running, alive with want and terrified, full of their own life’s meaning, running fast for their lives.

Notes:

[1] Living Earth: Outline of the Geology of Iceland by Ari Trausti Guðmundsson, p. 90

[2] Living Earth: Outline of the Geology of Iceland by Ari Trausti Guðmundsson, p. 288  

[3] With thanks to Páll Einarsson at the Institute of Earth Sciences, University of Iceland, who researches volcanology, tectonism, and earthquake seismology, and who I interviewed on July 16, 2018.   

[4] Ben Fama, Fantasy, Ugly Duckling Press, 2015

[5] The etymology of “delusional” is taken from http://etymonline.com/.

[ovaleuphoria]

Day 41

Amara was sitting in the waiting room, her fingers absently fiddling with the hem of her soft beige jumper. Muffled chatter was carried from the nurses’ coffee room across the hall, where the Pokémorphs of various stages and species were animatedly discussing the news of yesterday. Sunlight filtered through the large window, creating a cozy mood in the houseplant-cluttered, spacious light green corridors.

“Amara!” A firm yet gentle voice called her name and she rose from the chair, smiling. Her nurse, a Noivern Pokémorph with mostly human features, was beckoning her to enter the office. She greeted her happily.

“Hello, Kaida. It’s good to see you again,” the Arcanine morph said softly. She passed through the doorway and settled into the small yet comfortable armchair. The door clicked shut behind her and Kaida sat behind the desk, opening the medical record on her monitor.

“It’s been a few weeks since we’ve last met. How have things gone?” Kaida asked, her soft white fur collar fluttering minutely with her speech. Although her piercing yellow eyes were framed with Noivern-typical black and yellow patterns and her bat-like ears swiveled to the direction of surrounding sounds, her demeanour was kind and friendly.

“Pretty okay, I would say. The pregnancy has been at least predictable, if not easy,” Amara joked, not thinking fondly of the first trimester. The nausea had passed after that, though. “My weight has gotten up quite a bit, so I think I might be carrying more than one egg.”

“We’ll take a look at that with the ultrasound, then,” Kaida replied, gathering some equipment from the top of the table into her white coat pockets. “First, though, let me ask: what kind of thoughts has attending this birthing group inspired in you?”

Amara looked into Kaida’s eyes as she spoke, her sharp canines flashing under her lips every now and then. “I think it’s good. My first egg laying felt kind of clinical and detached, as if it was just a mechanical procedure that needs to be taken care of and nothing else.” She paused briefly before continuing. “For me that sort of thinking doesn’t work. I think that eggs, when they happen, can be a really sensual experience even if they’re not fertilized.” A faint blush was creeping on her face, and she fiddled with her mane, embarrassed.

“It’s perfectly normal to think like that,” Kaida smiled. “That’s why we’re here. Some women think of cycle eggs as the necessary burden that comes with being a Pokémorph, and some appreciate and like the experience, even if it comes with a bit of pain. I’m no exception myself.” She winked and grinned briefly, but then resumed with a more professional tone of voice. “But it’s good that you’ve been pondering this. It’s a vastly different ordeal to give birth or lay an egg in a group of peers. It gives some women strength, for others, pleasure, and it’s not unusual to see life-long friendships or partnerships being formed in the group. If a birthing class is your thing, it can change the way you think and feel about your body and bring so much enjoyment to your life,” Kaida concluded, rising from her chair. “Let’s do a quick check-up, then. Do you want to remove your clothes behind the curtain? You can leave your underwear on.”

“No, I can do it here. There’s nothing you haven’t seen before anyway,” Amara smiled. The advantages of having a personal nurse was that you could actually get to know them and not just be taken from one person to another. She felt comfortable with the Noivern morph, and that was one big thing less to worry about with the pregnancy.

Amara pulled the sweater over her head and removed her pleated skirt, tights and shoes, leaving her in a white bra and panties. Kaida snapped on light blue nitrile gloves and sprayed them briefly with an antiseptic, giving Amara a quick once-over. “Everything’s looking fine as far as I can see. You have a clearly visible bump now, as it should be at this point of gestation. I’ll just feel your abdomen really quickly and then we’ll do the ultrasound, okay?”

Amara stood in place and looked as Kaida’s glove-covered fingers probed her belly here and there, and after she deemed things okay she grabbed an ultrasound gel bottle from the table. “Could you lay down on the examination table? Let’s see how many eggs you’re carrying in there.”

Kaida squirted some gel on her hand, warming it up while Amara climbed on the table, wiggling her hips to settle comfortably. The gel still felt a bit chilly on her fur-covered belly but it was soon forgotten as the machine hummed to life and the echograph appeared on the screen.

“There are two eggs in your womb. No wonder you feel like you’ve been picking up weight”, Kaida explained and continued shifting the transducer. “They seem average in size and shape. The shells are still soft at this point but they’re starting to harden during these last twenty days. Just before birth an egg will usually rotate so it comes out smaller end first. Do you remember which way your first egg was pointing?”

“I’m not sure. I think it had rotated,” Amara reminisced. A question occurred to her, something she had been thinking for a while. “Can I ask something? This might sound dumb, but I’m no biologist,” she admitted. “Isn’t it so that the shell of an egg protects the developing fetus once it’s out there in the world? And the womb does the same for species who deliver live young. How come Pokémorphs have this sort of ‘double protection’?” she asked, gesturing air quotes at the end.

“That’s a really good scientific question, and not a dumb one at all,” Kaida said carefully, her lips twisting slightly in a thoughtful slope. “We don’t know it yet. The biology of Pokémorphs is less known than those of humans or Pokémon. Plenty of mysteries still remain unsolved. Let’s take cycle eggs, for one. It’s not known what triggers a regular menstruation to produce a cycle egg instead. And why some Pokémorphs may sometimes give birth to live offspring instead of having an egg. The field is rich with little known research topics”, Kaida mused, more to herself than Amara. She had finished the ultrasound examination and walked absentmindedly around the office, placing equipment to their proper places. She shook her head, shifting her attention back to the Arcanine morph. “The answer to question is: I don’t know. I would love to find it out one day.” She looked around the room, slightly surprised to see everything in order. “I think we’ve finished the check-up. Do you have any more questions?”

“No, I don’t think so.”

“Good. The next thing our agenda is that we could go take a look at the birthing lounge to get you familiar with the space and the equipment. You don’t need to put your clothes on just yet,” she interrupted when Amara was about to tug her sweater back on. She saw the confused look on Amara’s face and continued, “You might want to try a couple of things in the lounge. Don’t worry, a private corridor leads there from every nurse office. You don’t have to walk naked in front of other patients,” Kaida smiled, the black skin around her eyes wrinkling slightly. “You can take your clothes with you if you want to, though.”

Amara gathered her things and followed Kaida into a plain white corridor. She unlocked a door at the end of the corridor, light suddenly spilling on their faces. Amara entered the lounge, taking a good look around her. The room was very spacious and airy, with large windows and everything decorated in light colors. A beautiful nature landscape was visible through curtain-framed windows. There were plenty of comfortable-looking spots in the lounge: chairs, pillows, blankets and beds. Then there was also more medical-like equipment, like a pool and a delivery bed. The most striking feature were, however, the glass display cabinets.

“What are those?” Amara spluttered, blushing. Kaida’s expression was colored with amusement.

“These,” she gestured to the various objects in the cabinets, “are for you. Don’t worry, they’re sterilized between uses. We want you to get familiar with your body, to find out what you like and what you don’t like. As you can see, there are some more traditional sex toys and then things that simulate egg laying more realistically. You don’t need to be embarrased, masturbation is a perfectly normal thing in life and giving birth takes place down there in your lady parts.” Kaida paused with her chin propped in her palm, gauging Amara’s reaction to her explanation. “You don’t have to use these if you’re not comfortable. We don’t force anyone to do things they find awkward. We merely encourage you to try some of these. As you might know, most of our patients want an unmedicated birth and knowing your body is critically important in that. We of course provide medical intervention if necessary, so no need for worries.”

Amara was hovering near the cabinets as she listened to Kaida. She felt half mortified and half interested. “I guess it wouldn’t do any harm to try,” she joked nervously. “If I may ask something... what is this?”

Kaida’s gaze followed the direction Amara was pointing to. “That is an inflatable egg simulator. You can place it in your vagina and then pump air into it via the air valve using the bulb to achieve the diameter you want to. It has a flexible, yet firm surface so it simulates an egg quite nicely. It’s meant for pelvic floor exercises and it can be also used to train bearing down. A more advanced feature is that by pressing a button, you can squirt some lubricant on the outer surface. There’s a thicker mucus-like lubricant and then a more thin one that has a consistency like amniotic fluid.”

Amara’s ears heated up while listening but she had to admit that she was more than a bit interesting to try the egg. “I don’t know if this is too much information for you but I have a feeling I could like this. There was a hint of something pleasurable there when I was pushing my first egg out.”

Kaida kept smiling kindly. “There’s no such thing as too much information. Again, we are here for you. I’m no stranger to the pleasure of birthing, and it is only natural. We encourage you to enjoy your body in whichever way you want to.” Amara grinned sheepishly as Kaida continued, “Would you like to try it now? It could do you good to try out the strength of your pelvic floor. Having long periods of time between laying can have a negative effect on the muscles.”

“Here? Now?” Amara blushed profusely. “But surely it must be awkward to you...”

“If you want me to leave, I can. If you don’t want to try, you don’t have to. But midwifes here are also trained for sexual assistance. This is a job of passion.”

“Oh. I didn’t know that. So... now?”

“If you want to, yes.” There was a mischievous twinkle in the lemon-colored eyes.

“Okay. Let’s do it.”

Amara proceeded to remove her panties while Kaida retrieved the egg from the cabinet. She felt a little tingle of excitement in her nether regions. She gave a cursory glance around the room, then sauntered towards a big pile of large, soft pillows. She landed on the pile with an oomph.

“This is really comfortable,” she remarked. Kaida appeared at her side, holding the egg simulator... whatever... thing. She offered the egg, waiting for Amara’s response.

“I’m really nervous,” she blurted when the silence was turning awkward. “I don’t know what to do.”

“Then I can give you instructions.” Kaida’s tone of voice was nothing but kind, and she was still patiently waiting for Amara to take the egg she was offering. “Again, if you don’t want to do this --”

“I do, I really do. I just don’t know how.” Amara’s ears and tail drooped slightly with her embarrassment.

“Alright, we can start slowly. If you’ll take the egg, you can feel the surface, the texture and the slight flexibility.” Amara accepted the egg, her fingers sliding along the smooth surface. “It’s uninflated so it’s easy to insert. Once it sits comfortably inside you, you can carefully give the bulb a few pumps.”

Amara tried her best to dissipate her nervousness and decided to just act. She turned the egg a few times in her palm, then grabbed it determinedly. She carefully parted her labia with her fingers, then used the other to slide the egg past her lips. She barely felt the object in her vagina, as the uninflated one inch diameter really was quite modest.

“Pump some air in? Like this?” Kaida watched calmly as Amara squeezed the bulb, the rush of air hissing in the valve. “Oh,” she exclaimed in surprise as she felt some pressure in her canal.

“Yes. You should go slowly so you don’t accidentally inflate it too much. You can of course remove the excess air with the small red button at the root of the bulb, but pumping too much air can cause some discomfort momentarily. So you should be careful.”

“What does the other button do?” Amara asked, indicating a small blue button next to the red one. Kaida’s piercing yellow gaze followed her fingers.

“That would be the lubricant. If you want to try it, first push of the button coats the egg with a more watery, fine surface. Second push results in a thicker, stickier one. It’s up to you if you want to try either of them.”

Amara pushed the button, giggling a bit. “Why not? This is absurd enough, so let’s make it feel good.” Kaida smirked, continuing to coach Amara and watching for any sign of discomfort.

But goddamn did it feel good. The lubricant dribbled around her labia, making the orange fur stick in damp tufts. The egg felt slippery and nice, the increasing size offering some resistance to her pelvic muscles. She tried to stifle her moans, her other hand hovering uncertainly at her hips.

“What do you say if we ramp this up a bit? It’s been a while from your first egg laying and I think you could work on your technique. Also, feel free to pleasure yourself if you want to, as it can relax your muscles further. Just trust me, there’s no shame in it and I’ve been in the same place. Laying eggs can really feel quite nice.”

“Okay-mpph”, Amara gasped mutely as she shifted her posture. The egg was now sitting comfortably in her canal and was exerting pressure deliciously.

“Let’s see. I think you could dilate the egg to two and a half inches, then try bearing down. Just keep everything relaxed and keep breathing. If you feel any discomfort, you can twist the end of the valve and release some air, but I recommend you try how it feels.”

Amara squeezed the bulb a few more times, then released it. She now felt the egg clearly in her vagina, lodged between the walls. She wiggled her hips a bit, then tentatively pushed.

“Aaah hah, mmph, ohmygod,” she panted at the sensation. The egg was pressing tightly at her G-spot, and she had just barely started. She swept her labia with her fingers briefly, collecting some of the lubricant that had collected there and started gently circling her clit with her forefinger. “This feels so good.”

“I know,” Kaida winked. “Keep pushing lightly.”

She bore down a few more times, then stopped to collect her breath. It felt really intense, quite unlike anything she had experienced before. On a whim, she pressed the blue button and a thicker coat of lubricant was squirted around the egg.

“Oh yeahh, just like that. Come on,” Amara coaxed.

“You’re doing great,” Kaida encouraged. “Actually, I have a hand mirror here that could be useful. I can give you some instructions while you see what’s happening down there,” she continued and procured a mirror from somewhere. Amara had no idea where that had come from, but then again she was somewhat preoccupied at the moment.

Amara glanced at the mirror, just barely seeing the surface of the egg peeking from between her lips. She bore down again and the pointed end of the egg slid forward.

“That’s actually quite hot. I’ve not thought of watching myself lay eggs before,” she confessed. She was captivated as she both felt and watched the egg.

“If you don’t mind, I’ll just quickly feel your genitalia to make sure there’s no damage from the first laying, then we can start the exercise. Okay?” She waited until Amara nodded, then gently touched her labia and perineum. Amara moaned, uninhibited at this point.

“Everything’s okay. Now, I want you to follow my instructions. If at any point you feel uncomfortable, please tell me. Ready?”

“Ready.” Amara was panting, waiting eagerly.

“Use your pelvic muscles and bear down until I tell you to stop. Keep pushing, keep pushing,” Kaida guided, her eyes squinting slightly in intense focus as she gauged Amara’s reactions. Amara moaned softly as the large egg pressed down on her opening. “That’s it. Keep breathing!”

“Hah ahh,” Amara panted, her brow starting to glisten with sweat. It felt really intense. She hooked her left hand behind her thigh, lifting her leg in a better position to gain leverage for pushing.

“Keep following me. Another push, come on, you can do it,” Kaida demanded. She was kind but she wasn’t afraid of pushing Amara to her limits.

The cycle repeated a few times. Amara kept pushing, then relaxed and tried to remember to breathe as Kaida kept instructing her.

“Ohmygod. Ahh. Mff, I don’t know how much longer I can take this. ‘M gonna come,” Amara gasped as she watched the egg from the mirror. Her labia were pink and stretched in a perfectly round shape around the pointed end of the egg. Lube was dripping from the surface, leaving wet, dark patches in her fur. With each push, the egg inched further, only to sink back as she took a breathing break.

“Good. Being turned on increases blood flow to your genitalia and helps them to stretch. Do you think you can last for a bit more?”

“I’ll try but hot damn does this feel good. Ohh.”

“Then let’s lay this little beauty. The next push will be very long. Keep going, keep going, come on, you’re doing very well!”

“Aaahh, haahhh, can’t do it’s, so big,” Amara babbled. Her finger stroked her clit enthusiastically. “Ohhh, it hurts so good.”

Kaida encouraged Amara as she felt her lips stretch to the limit. They were red and thin around the impossibly big diameter of the egg, yet it felt painful in just the right way. The egg was slowly approaching its widest point, pressing hard on her G-spot. She kept on pushing and watched the reflection on the mirror, transfixed. The egg was not receding back anymore. Her thighs were quivering with effort.

“A couple more pushes left. You can do it!” Kaida goaded as she briefly felt Amara’s labia with her fingers to ensure that she was not in danger of tearing. Amara moaned loudly at the feather-light sensation.

“Yeahh, hahh, damn right, let’s get this thing out. Ahhhh!” Face scrunched in pain and arousal and fingers still stroking her clit, Amara pushed as hard as she could. The egg lurched forward, lodging itself in her stretched passage and pressing on all the right places. A familiar heat curled on the bottom of her stomach, liquid warmth shooting up her veins. She felt the first contraction, a warning that she was on the edge. “Hhh, mmf, can’t take it. Kaida, I’m coming!”

Kaida’s next words were lost on Amara as her orgasm shook her suddenly and violently. The egg slid soundlessly past her tight lips, glistening with lube and landing near her ankle. She panted through the waves of pleasure rolling through her body, slowly coming down.

As Amara eventually regained her focus, she registered Kaida’s piercing yet mischievous gaze on her. Amara grinned lopsidedly. “Well that felt better than I expected.”

“I told you”, Kaida answered with a wink, grabbing Amara’s hand and squeezing it lightly. “I’m pleased to say that you are ready for your next egg laying in every sense. I hope that you’ll enjoy it.”

“Oh I will. I’m lucky to have you as my nurse. I can’t wait for the actual laying. I want you to teach me every trick you know before that”, she answered with a broad smile, matching the one on Kaida’s face.

[customknitfactory]

oem&odm para bebe de Manufacturing enterprise,cachemire knitwear for babies manufacturer

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THE ATTIC

September 23, 1949

"The Attic” (aka “Trapped in the Attic”) is episode #55 of the radio series MY FAVORITE HUSBAND broadcast on September 23, 1949.

This was the fourth episode of the second season of MY FAVORITE HUSBAND. There were 43 new episodes, with the season ending on June 25, 1950.  

Synopsis ~ One of George's old Glee Club friends is in town and George wants to find his old ukulele, so he and Liz search for it in the attic but get locked in.

“My Favorite Husband” was based on the novels Mr. and Mrs. Cugat, the Record of a Happy Marriage (1940) and Outside Eden (1945) by Isabel Scott Rorick, which had previously been adapted into the film Are Husbands Necessary? (1942). “My Favorite Husband” was first broadcast as a one-time special on July 5, 1948. Lucille Ball and Lee Bowman played the characters of Liz and George Cugat, and a positive response to this broadcast convinced CBS to launch “My Favorite Husband” as a series. Bowman was not available Richard Denning was cast as George. On January 7, 1949, confusion with bandleader Xavier Cugat prompted a name change to Cooper. On this same episode Jell-O became its sponsor. A total of 124 episodes of the program aired from July 23, 1948 through March 31, 1951. After about ten episodes had been written, writers Fox and Davenport departed and three new writers took over – Bob Carroll, Jr., Madelyn Pugh, and head writer/producer Jess Oppenheimer. In March 1949 Gale Gordon took over the existing role of George's boss, Rudolph Atterbury, and Bea Benaderet was added as his wife, Iris. CBS brought “My Favorite Husband” to television in 1953, starring Joan Caulfield and Barry Nelson as Liz and George Coope. The television version ran two-and-a-half seasons, from September 1953 through December 1955, running concurrently with “I Love Lucy.” It was produced live at CBS Television City for most of its run, until switching to film for a truncated third season filmed (ironically) at Desilu and recasting Liz Cooper with Vanessa Brown.

MAIN CAST

Lucille Ball (Liz Cooper) was born on August 6, 1911 in Jamestown, New York. She began her screen career in 1933 and was known in Hollywood as ‘Queen of the B’s’ due to her many appearances in ‘B’ movies. With Richard Denning, she starred in a radio program titled “My Favorite Husband” which eventually led to the creation of “I Love Lucy,” a television situation comedy in which she co-starred with her real-life husband, Latin bandleader Desi Arnaz. The program was phenomenally successful, allowing the couple to purchase what was once RKO Studios, re-naming it Desilu. When the show ended in 1960 (in an hour-long format known as “The Lucy-Desi Comedy Hour”) so did Lucy and Desi’s marriage. In 1962, hoping to keep Desilu financially solvent, Lucy returned to the sitcom format with “The Lucy Show,” which lasted six seasons. She followed that with a similar sitcom “Here’s Lucy” co-starring with her real-life children, Lucie and Desi Jr., as well as Gale Gordon, who had joined the cast of “The Lucy Show” during season two. Before her death in 1989, Lucy made one more attempt at a sitcom with “Life With Lucy,” also with Gordon.

Richard Denning (George Cooper) was born Louis Albert Heindrich Denninger Jr., in Poughkeepsie, New York. When he was 18 months old, his family moved to Los Angeles. Plans called for him to take over his father's garment manufacturing business, but he developed an interest in acting. Denning enlisted in the US Navy during World War II. He is best known for his  roles in various science fiction and horror films of the 1950s. Although he teamed with Lucille Ball on radio in “My Favorite Husband,” the two never acted together on screen. While “I Love Lucy” was on the air, he was seen on another CBS TV series, “Mr. & Mrs. North.” From 1968 to 1980 he played the Governor on “Hawaii 5-0″, his final role. He died in 1998 at age 84.

Ruth Perrott (Katie, the Maid) was also later seen on “I Love Lucy.” She first played Mrs. Pomerantz, a member of the surprise investigating committee for the Society Matrons League in “Pioneer Women” (ILL S1;E25), as one of the member of the Wednesday Afternoon Fine Arts League in “Lucy and Ethel Buy the Same Dress” (ILL S3;E3), and also played a nurse when “Lucy Goes to the Hospital” (ILL S2;E16). She died in 1996 at the age of 96.

Bob LeMond (Announcer) also served as the announcer for the pilot episode of “I Love Lucy”. When the long-lost pilot was finally discovered in 1990, a few moments of the opening narration were damaged and lost, so LeMond – fifty years later – recreated the narration for the CBS special and subsequent DVD release.

Bea Benadaret (Iris Atterbury) and Gale Gordon (Rudolph Atterbury) do not appear in this episode. 

GUEST CAST

Hans Conried (Mr. Benjamin Wood / Jimmy the Paper Boy) first co-starred with Lucille Ball in The Big Street (1942). He then appeared on “I Love Lucy” as used furniture man Dan Jenkins in “Redecorating” (ILL S2;E8) and later that same season as Percy Livermore in “Lucy Hires an English Tutor” (ILL S2;E13) – both in 1952. The following year he began an association with Disney by voicing Captain Hook in Peter Pan. On “The Lucy Show” he played Professor Gitterman in “Lucy’s Barbershop Quartet” (TLS S1;E19) and in “Lucy Plays Cleopatra” (TLS S2;E1). He was probably best known as Uncle Tonoose on “Make Room for Daddy” starring Danny Thomas, which was filmed on the Desilu lot. He joined Thomas on a season 6 episode of “Here’s Lucy” in 1973. He died in 1982 at age 64.

The character’s first name is not mentioned here, but it is in other episodes where Conried plays Mr. Wood.

THE EPISODE

ANNOUNCER: “Even in the happiest of marriages both the husband and wife have little habits that prove annoying over the years. With the Coopers it’s George’s habit of reading the newspaper at the breakfast table.  Well, unable to break him of this habit Liz is setting up a counter irritant. As we look in on them now she has just started a barrage of toast munching… It’s a war of nerves!”

The episode opens at breakfast, where Liz is upset that George has buried himself in the morning newspaper instead of paying attention to her. 

This was a common complaint on early episodes of “I Love Lucy” as well. Ricky often didn’t lift his eyes from behind the newspaper.  

LIZ: “I’ll speak to Katie and asks her to buy quieter bread. Or, I could puree the bread and eat it with a spoon.”

The phone rings. It is George’s old friend Charlie Nichols. Charlie is a Bullfrog, a member of their college Glee Club. Liz translates the slangy conversation between the old friends for Katie. George riffs a few notes of “Yes Sir, That’s My Baby” into the phone with Charlie. 

"Yes Sir, That’s My Baby” is a popular song from 1925 written by Gus Kahn and Walter Donaldson. A week before this episode aired, it was also the title of a Universal motion picture starring Donald O’Connor and Gloria DeHaven. In 1980 the film was referenced in “Lucy Moves To NBC” which featured O’Connor and DeHaven in a show-within-a-show sitcom called “The Music Mart”. 

Liz anticipates that George will want to find his old ukulele for his reunion with Charlie. Naturally, she’s right and naturally Liz has no idea where it is! George reminds her of the time she disposed of all his old clothes, a hint at a future episode titled “Husbands Are Sloppy Dressers” (E95) which would become “Changing The Boys’ Wardrobe” on “I Love Lucy”.  

GEORGE: “A man’s old clothes are filled with sentiment.” LIZ: “That’s sediment, not sentiment!” 

On “I Love Lucy” saxophone wasn’t the only instrument she was able to play. Lucy first plays the ukulele in “Ricky Loses His Voice” (ILL S2;E9), “Little Ricky Gets Stage Fright” (ILL S6;E4), and again in “Don Juan Is Shelved” (ILL S4;E22). Lucy Carmichael strummed the uke in “Lucy’s College Reunion” (TLS S2;E11). Fast forward to 1972 and Lucy and Kim Carter play the ukulele in “Lucy Goes Hawaiian: Part 2″ (HL S3;E24).

Liz denies having thrown away George’s prized ukulele. Liz asks George the last time he saw it and he says it was “just the other night at the alumni dinner” - in 1938!  Liz says it’s probably in the attic, and off they go to look for it. 

On “I Love Lucy,” Lucy Ricardo visited the attic to find a musical instrument, too - “The Saxophone” (ILL S2;E2). Of course, she finds other memories along the way. This was the series’ only visit to the attic of 623 East 68th Street. 

In the attic, George thinks he sees a prowler - but it is just Liz’s old dress dummy!  

Lucy Carter and her kids visits the attic for antiques and get a lesson in family history lesson in “Lucy Takes Over” (HL S2;E23). When first entering the darkened attic, Lucy screams when she runs into the dress dummy, just like George!

The box marked ‘ukulele’ is actually filled with ski boots!  Liz’s labeling system has resorted in confusion about what’s inside each box.  

This warped logic foreshadows Lucy Carmichael and Lucy Carter’s crazy filing system on “The Lucy Show” and “Here’s Lucy.”  It never failed to confound Mr. Mooney / Harry (Gale Gordon). 

Liz finds her corsage collection - dried flowers of corsages given to her by high school boys. George finds his old electric train. Liz wants to throw out the trains, while George wants to toss the corsages.  

"Lucy Goes To Sun Valley” (LDCH S1;E5) opens with Lucy searching the living room closet for Ricky’s guitar strings. While doing so, she runs across  a pressed corsage of violets that Ricky gave to her during their courtship.

Hours later, Liz and George still haven’t thrown away anything and still haven’t found the ukulele. They agree to try again after lunch - but the attic door is locked. George calls for Katie - but she’s gone downtown to take George’s Glee Club sweater to the cleaners and is then off for the afternoon.  

From the attic window, Liz yells to neighbor Mr. Wood (Hans Conried) but he is working on his motorcycle and can’t hear them. Jimmy the Paper Boy (also Conried) thinks they want their newspaper tossed through the attic window.  It hits George square in the face.

George decides to ram the door with his shoulder like they do in the movies, but to no avail. 

GEORGE: “They must use fake doors in pictures.” LIZ: “Maybe they use real men!”

George has landed on his ukulele, which emerges unharmed. He strums and sings a few more bars of “Yes Sir, That’s My Baby” - much to Liz’s chagrin.

More time passes and they are still locked in the attic. Liz notices the calendar on the attic wall says March. 

LIZ: “I wonder if it’s been a tough winter?”  

Liz starts to cry, but George wants her to laugh it off and think of it as an exciting adventure. Hunger starts to set in. Liz finds a piece of their ten year-old wedding cake. Petrified!. She spies a piece of cheese in a mousetrap!   

It is here the episode starts to foreshadow “Lucy in the Swiss Alps” (ILL S5;E21) in which the Ricardos and Mertz’s are trapped in an Alpine cabin due to an avalanche, where hunger is also an issue.  

Panic sets in - Liz is stir crazy and wants George to jump out of the window to get help. George gets the idea to make a rope ladder out of old drapes and lower Liz to the ground. 

The idea of escaping a high confinement by knotting sheets (or blankets or curtains) together to form a rope ladder is a familiar trope. It was later used in “The Star Upstairs” (ILL S4;E25) when Lucy Ricardo finds herself trapped in Cornel Wilde’s upstairs suite and chooses this method of escape. 

LIZ: “Just a moment.  Who’s lowering whom?” GEORGE: “I’m lowering you’m!” LIZ: “Over my’m dead body you’m are!” 

This exchange is very similar to “Vacation from Marriage” (ILL S2;E6) which finds Lucy and Ethel trapped on the roof when the door locks behind them. Lucy gets the idea to put a plank across the alleyway (five flights up) to the neighboring building, but naturally she wants Ethel to go first!  Ethel is reluctant to be the one to go first!

Practically speaking, Liz is not strong enough to hold George’s weight, so she has to be the one to be lowered. As Liz climbs onto the window ledge, Mr. Wood sees her and thinks she’s going to kill herself!  He rushes into the attic to save her.

MR. WOOD: “You have so much to live for. You’re young! You’re beautiful! You’re vibrant! Think of your husband!  Think of the children!” LIZ: “I don’t have any children.” MR. WOOD: “Well I have eleven children, you can have a couple of mine.”

Liz explains that she wasn’t suicidal but that they were locked in the attic. She demonstrates by shutting the door - accidentally locking them in again!  Katie arrive just in time and admits that she’s been home the whole time - asleep on her good ear!  Just as they are about to leave - the wind slams the door shut. Katie calmly announces that the firemen will let them out when they arrive after the explosion. 

LIZ: “What explosion?” KATIE: “I left the pressure cooker on the stove!” 

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