Classics: Early Edition 1:20 - Phantom at the Opera

Plot Synopsis:

When Gary foils an art heist at the museum, he attracts the attention of art restorer Emma Shaw, who has just moved to Chicago to pursue her passion. Desperate to thank Gary for saving her life, Emma calls every G. Hobson she finds in the phone book; on Gary's machine, she leaves a message thanking him for his help and asking him if he would like to go out for dinner. As soon as Gary hears this message, he heads over to the museum and shyly accepts the invitation.

Unfortunately, on the night of the date, Gary is sidetracked. The paper, you see, reports that a grieving widow is planning to throw herself off a building downtown. Gary goes to the building in question and does manage to talk the elderly woman out of committing suicide, but this involves providing a listening ear for several hours as the woman shares with Gary her fond memories of her late husband. By the time Gary makes it to the restaurant, Emma has already left.

When Emma arrives at the museum the next morning, she finds Gary sleeping on a bench outside. Gary apologizes profusely for standing her up, explaining that he had to take care of an emergency. Emma seems to accept this excuse, but when Gary asks her if she'd like to cash in her rain check on their dinner, she begs off, saying she would like to get settled in an apartment first. Gary promptly goes out and finds an apartment for Emma, and Emma, who is infinitely grateful, agrees to a second try that Friday.

Come Friday, however, the paper once again throws a wrench in the works; this time, there are three minor disasters that conflict with Gary's scheduled date. Chuck, determined to help his friend, lays out a map and plots out the locations of the paper's three stories and concludes triumphantly that in order for Gary to go on his date and handle the paper simultaneously, he need only take Emma to dinner somewhere within the "Hobson Triangle." Hilariously, despite Gary's insistence that he wants to take Emma somewhere nice, the location Chuck selects is a Greek dive complete with wobbly tables. The date, as you've probably guessed, is a total disaster. Not only is the food horrendous, but Gary also has to keep popping up to handle the paper's emergencies. Upset, Emma finally asks Gary to take her home. Gary knows he's in trouble, but he manages to salvage the whole night by taking Emma to an urban mural. Touched that he apparently listened as she talked about her love of art, Emma kisses Gary.

The next morning, though, Emma tells Gary she wants to break it off. Gary doesn't understand this sudden change in attitude and asks why. Emma then admits that she's never completely gotten over Marco, an old flame who was killed overseas years ago. Gary declares that he doesn't care - he's willing to take the risk of getting hurt. For the next few weeks, they pursue their new relationship in earnest. Eventually, Gary tells Chuck he's going to tell Emma about the paper, as he doesn't want to keep lying to her. He plans to tell Emma when they go to the opera the following night.

But Gary's big plan is not to be. The next day, Gary reads in the paper that Emma will run into Marco at the opera house. Marissa tells Gary he doesn't need to go, and for a moment, he seriously considers spiriting Emma away before the fateful meeting takes place. But when he hears Emma talking about the wonderful experience she had at the opera in Paris with Marco, he changes his mind and allows Emma to be reunited with her former love.

Overall: 8.8

This episode is so cute that you could just die. Emma is definitely my favorite of Gary's one-shot girlfriends.

Writing: 8.5

Okay - I admit that in watching this episode, you run the risk of descending into a diabetic coma. It is very Hollywood - but not modern-day Hollywood. Instead, it is a throw back to the heyday of the Golden Age when whirlwind screen romances - even the ones doomed to end - were pursued honor, genuine ardor, and innocent excitement. If this were an episode in any other series, I think I would take it to task for laying it on a little bit thick - but in Early Edition's gentle, optimistic, and old fashioned ethos, it works.

Acting: 9.0

Adrienne Shelley is an absolute charmer; her chaste passion perfectly matches Kyle Chandler's Jimmy Stewart-style innocence. Watching them both stumble and stammer as they attempt to express their characters' feelings for each other breaks my heart in that good, giggly way. Just thinking about it now makes me a little puddly, in fact.

Message: 9.0

This would be the part of the review where I confess my undying love for Gary and my deep desire that I be courted by him. OH MY GOD, GARY, MARRY ME!

In all seriousness, this episode represents, for me, the absolute dating ideal. Gary listens to what Emma has to say and responds to it by giving her what she desires. He defends Emma in public in front of his friends and is determined to always be truthful with her. He doesn't go right for the sex; instead, he simply enjoys Emma's company. And when he realizes that Emma would be happiest with her former love, he's willing to let her go. Men, take note: THIS is how you should behave - honorably and ever mindful of your girlfriend's human dignity.

The Benevolent Hand:

Me thinks the paper's constant obstructions were a warning from God - a warning that Emma's heart truly lies elsewhere.

Highlights:

GARY: So, uh, how did you get interested in art?
EMMA: Well, it's... it's kind of a... well, it's kind of a silly story, actually. We lived in this tiny apartment, and my parents had this painting hanging in their bedroom. I don't know where it came from, but it was of this... group of schoolgirls in front of a beautiful garden. I used to stare at that painting for hours. I would imagine that I was one of the school girls and the other ones were my friends. I think restoring art is my way of still trying to crawl into the paintings and make myself part of their world. At least, that's what Marco always said.
GARY: Who's Marco?
EMMA: Old friend.

GARY: I'm really sorry! I-I know it's been a lousy date, but if you could just take a minute - just one minute - to look at something with me. I, uh - please.
(Emma and Gary are now in front of a giant mural which has been painted on the side of a building.)
EMMA: It's beautiful!
GARY: It's part of an urban art project. Gives people who might not step into a museum a chance to see something beautiful.
(Gary takes Emma's hand and leads her to the fire escape.)
GARY: And you said your work was your way of crawling inside your paintings, and that's what made me think of this, so I, uh -
EMMA: (laughing) Can I?
GARY: Yes!
(Emma starts to climb up the fire escape. Gary follows.)
EMMA: (marveling at the play of colors on her hand) It's like we're a part of the painting!
GARY: Yeah. Listen, tonight... it wasn't what I expected it to be. I -
(Emma puts her finger over Gary's mouth, smiling at him fondly.)
EMMA: What am I going to do with you, Gary Hobson?
(They kiss - and my heart explodes from all the cuteness.)

GARY: This doesn't make sense. Why would you want to stop something before it even gets started?
EMMA: I'm sorry, Gary.
GARY: All right, well, what about last night when you kissed me last night? What was that? That meant nothing, or was that -?
EMMA: No, no. That meant... You're special, Gary. I-I don't even think you know how special you are. And I'm not ready for that, okay? I'm not ready for someone I could fall in love with.
GARY: (after a long pause) Do you mind my asking why you're not ready?
EMMA: Marco.
GARY: Marco? (He stops.) I-I'm sorry, I thought you said Marco was just a friend.
EMMA: Yeah, he was just a friend I was hopelessly in love with. (She starts to tear up.) He was killed overseas. It's been a long time, but... you remind me so much of him... the things you say... the way you make me feel when you look at me. I tried, Gary... but I'm sorry. I can't do it. I... I hope you understand.
GARY: I don't. I-I mean, I don't understand. But I do know I don't want to stop seeing you. And-and I think it's as simple as this: Look, I don't care if it hurts. I don't care because I think you're worth it, and... I think that you, Emma Shaw, are worth the risk to me. So the question is, am I worth it to you? (My heart be meltoring!)

CHUCK: I think she's great. I don't know what she sees in you.
GARY: I don't know, but I'm not gonna question it.
CHUCK: You're a lucky guy.
GARY: I think I'm ready.
CHUCK: Don't push it. You've only known her a few weeks.
GARY: I'm not gonna put it off any longer.
CHUCK: You sure? What if she says no?
GARY: Huh?
CHUCK: To your proposal.
GARY: I'm not talking about a proposal, I'm... I'm talking about telling her about the paper.
CHUCK: Now why would you want to do a crazy thing like that?
GARY: Because I have to.
CHUCK: Why?
GARY: Because I can't keep dodging simple questions like where do I work or why am I living in a hotel. She deserves better than that.
CHUCK: Well. There goes that relationship.
GARY: What do you mean, there goes that relationship? This is the most decent, honest girl I've ever met. She's been completely truthful with me, and I'm not gonna be any less with her.
CHUCK: Yeah, but the paper's different.
GARY: I'm gonna tell her.
CHUCK: When?
GARY: Tomorrow night at the opera.
CHUCK: The opera? Isn't that a little pricey? Didn't know that was in your budget.
GARY: We're sitting in the cheap seats up in the second balcony.
CHUCK: Oh, the balcony.
GARY: It's where she wants.
CHUCK: Forget the paper. You should marry her. (Heh.)

GARY: Can I ask you something? Is the reason you wanted to sit in the balcony because you sat in the balcony with Marco?
EMMA: Maybe. But I wanted you to feel that - to experience that with me. I wanted you to buy the tickets in the balcony so that we could be a little closer to heaven.
GARY: (takes a deep breath and decides to let Emma go) Thank you. You ready?
(Gary takes her by the hand and starts to lead her back to the opera house.)
EMMA: Wait. Where are we going?
GARY: You deserve to be a little bit closer to heaven. (*dies and is dead*)