AnnyJ said
I've neglected this piece a great deal lately, so I don't think I'll be making it in time. For what it's worth though I'm a tad bit faster now finding the positions for the higher notes.

I'm also really curious to see how the fifths double stops are done particularly with 3rd and 4th finger... the only way I've managed to do those is to flatten my finger out to get both strings which kind of ruins intonation on at least one of the notes.  

The major fifths, where one note on one string is right next to the note on the next string are done with one finger.  That includes third and fourth fingers.  You do have to kind of twist your hand around to get the intonation right on some positions that don't line your hand up just right, but it is possible to get the intonation right.

AnnyJ said
Oh, great Nov 1! That's means there are still two months for practice :-D. I thought I'd missed it. Things kind of got side tracked. @PopFiddle thank you for the tip!   

My pleasure.  If you want to tackle the articulated octave double stops, I've found that it is actually physically possible to manage shifts up and down the positions to play the octave double stops in Violin II at measure 11.  It's brutal, and you should have some experience doing octave double stops.  I can manage an octave double stop with either my first and third finger or my second and fourth finger.  

And so I play, for example, starting with D (double stopped to its octave) played with my second and third finger and then position shift to the G's with my first and third finger, then position shift again back to Bb with my first and third finger again .  Then holding the Bb's with the first and third finger, play the C's with my second and third finger and finally position shift again with the second and third finger to play the D's again.  Repeat.

A good way to start to get comfortable with this is try making the shifts with just one of the two fingers used in the double stop at a time.  For example play just the top notes with the first and second finger, making sure you do the shifts properly.  Then try the same thing with the third and fourth finger playing just the bottom notes, again using shifts only.

It is possible and if you watch really exotic solos that use double stops, (Sibelius, Ysaye), you see even tougher things going on. Sevcik's double stop exercises include tenth double stops.

I can go through the motions, but my intonation is still off.  I'm hoping it will clear up by November.

In the same Violin II part after the articulated octave double stops is another extremely complicated fingering to manage.  If you can decipher the fingering as I explained in the earlier post, that is kind of a clue as to how to handle that.