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Speaker 1: Still the Place with Laura Layton, Courtney Thorn Smith.

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Speaker 2: And daphnews Aniga and iHeartRadio Podcast.

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Speaker 1: Hi lady, Hi, those good to see you.

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Speaker 3: So excited about this recap today and we've all been

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Speaker 3: like texting ahead of this, going, oh my god, this

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Speaker 3: episode was.

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Speaker 1: So fun, last episode twenty nine.

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Speaker 2: It is like full on Melrose. I feel like we're

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Speaker 2: into it, We're into the we're getting into the show.

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Speaker 4: It's just so delicious.

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Speaker 3: Yeah. Well, because here we are at what episode twenty

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Speaker 3: nine of thirty two, I mean already it's twenty nine

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Speaker 3: episodes in one season of a television show, so a

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Speaker 3: lot's happened and it's totally evolved into what we are.

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Speaker 3: We're finally seeing like what we know and love or

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Speaker 3: like recall about Mailrose being Melrose.

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Speaker 1: Yeah, and normally this would be season two, but because

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Speaker 1: we went so long, we're still in season one. But

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Speaker 1: it is real heating up. I mean this was exciting

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Speaker 1: to beginning, the beginning, from beginning to end.

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Speaker 3: YEA.

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Speaker 1: Yeah, all right, well let's get started because there's so

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Speaker 1: much in this episode.

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Speaker 3: Because clearly we all watched the same one and this

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Speaker 3: is episode twenty nine for those who are following along

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Speaker 3: and it's called potatoa not just at but potaty, and

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Speaker 3: you will see why. There's you know, a couple threesomes

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Speaker 3: for better for worse in this episode. Charles Pratt, our

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Speaker 3: favorite recent guest, wrote it and Chalmers directed, and it

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Speaker 3: starts as we sweep into the courtyard over Scotty, our

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Speaker 3: prop guy, who's, yeah, finally I'm just once and finally

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Speaker 3: it's not Dog. It was never done.

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Speaker 5: It didn't look like.

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Speaker 1: Doug this time.

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Speaker 4: It didn't look like that, but this.

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Speaker 3: Was officially Scotty, Like I think we can. When it

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Speaker 3: turned when Scotty became the official pool guys, like he's

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Speaker 3: at work anyway doing props and they're like.

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Speaker 5: He always those cool guys on crew, and Scotty was

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Speaker 5: the cool guy.

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Speaker 4: He was definitely well, he was so cool.

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Speaker 3: And he's got his like regular work boots on whatever,

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Speaker 3: and like it was perfect, Hey, could you just pick

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Speaker 3: up this pool, you know, sweep and just be in

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Speaker 3: the shot. When I was watching the episode on Paramount Plus,

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Speaker 3: which is where you can stream it, I looked at

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Speaker 3: their little logline, like what how did they describe this episode?

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Speaker 3: And I was like I didn't really think it matched totally.

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Speaker 3: Oh so I sort of wrote my own it kind

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Speaker 3: of like based on what they said, but like I

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Speaker 3: thought it was more accurate, and so mine was. Joe

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Speaker 3: and Jake have a falling out over taxes, Michael and

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Speaker 3: Kimberly hard launched their affair, and Amanda tries her hardest

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Speaker 3: to get Billy back, but Billy resists and it's a

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Speaker 3: win for Allison.

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Speaker 1: Ah, that is.

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Speaker 5: Excellent, much better than whatever they wrote.

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Speaker 3: Now maybe it's maybe it's more of a spoiler than

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Speaker 3: the kind of logline that they like to write, like

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Speaker 3: they don't really reveal the end. But I've just revealed

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Speaker 3: the end because I'm so excited about it.

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Speaker 5: I love it.

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Speaker 1: That's a great that's a perfect introm awesome.

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Speaker 3: So you know where we're going, people, I did. This

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Speaker 3: episode starts with Joe and Jake and his apartment and

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Speaker 3: Jake is learning that he owes eighty four hundred dollars

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Speaker 3: in taxes.

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Speaker 1: And which, because this is my job here is twenty

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Speaker 1: thousand dollars in advance.

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Speaker 5: Yeah, I was dollars.

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Speaker 1: I was a lot of money.

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Speaker 2: I was all excited because hey, where are the pink

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Speaker 2: satin sheets and where's his bare chest, and they're not

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Speaker 2: rolling around in the sheets with this opening.

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Speaker 1: They are talk where's that they're talking to.

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Speaker 5: The sexy sexy taxes, that's.

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Speaker 3: Super sexy taxes. But they're they're kind of like in

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Speaker 3: different headspaces about this whole thing. And he ends up

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Speaker 3: Jakein's up sort of offending Joe, who's doing the finances

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Speaker 3: for the shop, and he's assuming that Joe must have

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Speaker 3: made a mistake when.

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Speaker 1: She yeah, and he says, if you didn't know what

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Speaker 1: you were doing, why didn't you just come out and

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Speaker 1: say it.

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Speaker 5: I should have hired a real accountant. That's so rude.

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Speaker 4: He wasn't really kind.

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Speaker 5: Of being rude.

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Speaker 4: He was being super uber rude.

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Speaker 5: We're rude, Yeah he was.

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Speaker 3: But in his also defense, Joe is being a little

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Speaker 3: nonchalant about the whole thing. Don't you think like she

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Speaker 3: was like, yeah, whatever, we owe all this money. That's

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Speaker 3: texes for you. Like, I'm like, wait, isn't doesn't she

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Speaker 3: have some stake in this, like some investment, And she

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Speaker 3: was a little bit like that's the way it is.

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Speaker 4: Did you think that?

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Speaker 2: Yeah?

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Speaker 1: Yeah she was.

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Speaker 2: She was very not feeling into his pain and fear

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Speaker 2: of owing eight hundred dollars.

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Speaker 3: And she was super offended by how he assumed it

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Speaker 3: was her mistake. So she leaves the scene in a

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Speaker 3: huff and she says, you know what, do your own books.

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Speaker 3: And then we go to D and D, where Amanda

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Speaker 3: is continuing to torment Allison. This time she's sort of

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Speaker 3: questioning with her Allison's doctor's appointment is a lie, and

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Speaker 3: she claims she's just kidding, and then they're both called

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Speaker 3: into Lucy's office.

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Speaker 5: Wait, hold on, hold the phone.

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Speaker 1: Did you guys notice that for some reason, I had

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Speaker 1: a bouffont? She noticed that my weed super high? Like

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Speaker 1: what happened? Did I say I want to be hive today?

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Speaker 3: That's so funny. I didn't notice it because I noticed

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Speaker 3: your hair later in the episode when it was kind

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Speaker 3: of like, come up, really, I don't know. I thought

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Speaker 3: it was really.

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Speaker 1: Kind of She's in every scene. It was pre smoothing

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Speaker 1: hair products, Like we didn't have smoothing hair products in

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Speaker 1: the nineties, so everything was sort of frizzy.

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Speaker 2: I feel like the whole episode you were a variation

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Speaker 2: of some up and some down like this, and you

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Speaker 2: had that Barrett, that classic Midwestern Barrett in the back

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Speaker 2: and so, but this the front was often like boufonted.

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Speaker 1: Yeah, I was trying to you, and I'm not a

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Speaker 1: fan of this whole hair period.

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Speaker 2: You had that Anne of green Gables some up. I

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Speaker 2: don't know, Corney.

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Speaker 3: I just feel like you're so hard on your on

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Speaker 3: your poor younger self on screen because I thought you were.

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Speaker 1: Doing I just think I made some bad choices. I

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Speaker 1: have tons of compassion for that young woman.

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Speaker 5: But what are you gonna do. You're only allowed yourself

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Speaker 5: an hour in the chair, so you're like, let me

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Speaker 5: get out of here. It's really true, rightwe we only

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Speaker 5: do it.

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Speaker 3: They could do it an hour, and you're gonna feel

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Speaker 3: so much better about yourself when Sydney comes on screen,

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Speaker 3: because Sydney is just so all over the place.

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Speaker 1: I have gorgeous, adorable, But I want to go back

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Speaker 1: to Lucy's off because Lucy tells them that she's engaged,

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Speaker 1: and Amanda asked about their sex life, and out of nowhere,

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Speaker 1: she says, with my last boyfriend Billy, one night in

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Speaker 1: bed with him, and I moved him right in unbelievable stamina.

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Speaker 1: You just don't let a guy like that get away.

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Speaker 5: Ever.

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Speaker 3: A lot like that was a lot, and it was

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Speaker 3: clearly for Alison's like, ire, you know, that.

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Speaker 5: Was a Meloe's moment.

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Speaker 2: There was I've counted them throughout and that was what

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Speaker 2: you did, like in front of somebody else going oh

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Speaker 2: this DaMina and you're just like cringing, you know, she's

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Speaker 2: going on them.

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Speaker 3: Yeah, well it was super cringey and like for her

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Speaker 3: to act like she's super besties with her boss Lucy, like,

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Speaker 3: oh look how close we are, we can talk about

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Speaker 3: our sex lives. It's like just all of it was

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Speaker 3: was cringing.

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Speaker 1: Really uncomfortable.

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Speaker 3: Yeah, but anyway, so yeah, she drops this thing about

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Speaker 3: her last boyfriend Billy and how he was so great

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Speaker 3: in bed, and Allison still apalled. So, speaking of appalling,

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Speaker 3: we go to the hospital where Michael and Kimberly see

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Speaker 3: each other in the hallway and they breathlessly sort of

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Speaker 3: agree that they can't stop thinking about each other. So

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Speaker 3: of course they hurry into the elevator and they wait

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Speaker 3: for the doors to close and hit the emergency stop

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Speaker 3: button and then they start ripping each other's close off

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Speaker 3: in the elevator. Yeah, I mean there is.

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Speaker 2: Another Melrose moment. The moment was what are we going

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Speaker 2: to do about this, look at him close up of her.

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Speaker 2: He slams the close up on the emergency stop and

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Speaker 2: that Melrose music bam, and then they look at each

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Speaker 2: other and they start going for it like that to

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Speaker 2: shut the stop, you know.

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Speaker 1: Yeah, no, this is a hospital elevator, like somebody could be.

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Speaker 3: Dying, somebody might need to get in there for an

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Speaker 3: actual emergency.

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Speaker 2: And now Melrose fact. I mean, you know, every real

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Speaker 2: life is out the window.

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Speaker 1: Yeah, yeah, it probably went pretty fast.

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Speaker 4: We're just doing a quickie un down.

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Speaker 3: That's all right, not the emergency will be fine.

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Speaker 4: You're fine.

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Speaker 3: So then when when we go back to the courtyard,

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Speaker 3: Billy is swimming laps and Allison is telling him all

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Speaker 3: about how Amanda's making it so hard for her work

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Speaker 3: ever since he had broken up with her, and he's

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Speaker 3: she's acting like Billy was the love of her life.

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Speaker 3: And Billy says, you know, there's nothing I can do

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Speaker 3: about it, that's it.

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Speaker 1: And then Allison says, well, at least you're not working

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Speaker 1: for Amanda the hunt.

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Speaker 5: Yeah, but I appreciated in my dress.

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Speaker 2: Yeah, but of course, like you're in this long you know,

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Speaker 2: peasant dresser, and he's like doing laps and then he

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Speaker 2: gets that out of the pool totally ripping wet, and

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Speaker 2: she doesn't notice.

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Speaker 6: She's like, he.

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Speaker 1: Spends very little time in a shirt this episode, and

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Speaker 1: Allison is just veryly beside herself.

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Speaker 5: Until finally she gets a message somewhere.

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Speaker 3: Well, she will get the it's pretty hard not to

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Speaker 3: get the message. We all noticed Billy getting out of

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Speaker 3: the pool, and but he tells he tells her not

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Speaker 3: to worry. You know, hey, some guys are attracted to

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Speaker 3: hold some types, like like you farmers for example.

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Speaker 4: Fourage clubs.

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Speaker 1: Yeah, they go in and they're sitting on the couch

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Speaker 1: and I and Alison keeps looking at his chest like

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Speaker 1: they're talking in Her eyes keep wandering her eyes like

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Speaker 1: if it was a guy, if it was a woman,

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Speaker 1: it was reversing. Hey, eyes up here, she's just like

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Speaker 1: her eyes wandering.

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Speaker 2: It's like she's looking like for the first time, she's

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Speaker 2: kind of like, wait, am I wait.

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Speaker 4: What's going on here?

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Speaker 3: Like I don't get she's so.

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Speaker 5: Closely hey, you know.

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Speaker 1: So it's really sweet though. I really do like seeing

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Speaker 1: her this vulnerable and sort of flustered. It's fun to

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Speaker 1: see her this way.

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Speaker 3: Yes, cool, Yeah, I just like that that that him

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Speaker 3: teasing her about the foreach and the like, you know.

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Speaker 2: And her last line was he teaches her and that

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Speaker 2: she's like, hey, I was president of my fourage club.

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Speaker 2: And then you hear this soft door shut chunk.

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Speaker 3: So then we're back in the courtyard where Jake stops

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Speaker 3: Joe and he asks her to look over the work

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Speaker 3: sheet that he's attempting to do by him self, and

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Speaker 3: she's like, you got this, you know, sorry about that movie.

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Speaker 1: I don't have time for you mind.

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Speaker 3: Item, but you know, by go to the movie see

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Speaker 3: yeah bye, Yeah, it's not working for you, right, helping

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Speaker 3: you stinkerinker.

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Speaker 2: Oh, and then she pulls she goes, let me see

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Speaker 2: ooh line by liners.

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Speaker 5: Oh those are a bit but you'll be fine.

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Speaker 4: Scares go look.

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Speaker 3: So then Billy decides to go visit D and D

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Speaker 3: to tell Amanda to stop punishing Allison because of him,

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Speaker 3: and Amanda says, it's not her, it's Alison. She's the

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Speaker 3: one who's so messed up and she's lyned both of them,

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Speaker 3: and you know, what she's telling Billy really isn't true.

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Speaker 3: And then Billy notices a very huge framed photo of

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Speaker 3: Amanda and himself.

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Speaker 1: Yeah, strange photo on your desk. Yeah, of the two

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Speaker 1: of them as if they were a couple. Still yeah, yeah,

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Speaker 1: super inappropriate.

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Speaker 5: Weird. Yeah, but if Amanda.

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Speaker 2: Weren't Amanda played by Heather, Well, can we be going like, okay,

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Speaker 2: this she's crazy, she's the cuckoo lady.

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Speaker 3: Well, this episode she was particularly like miss grace and

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Speaker 3: deceitful all of a sudden, like just completely deliberately stirring

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Speaker 3: it up and telling like h lies and stuff.

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Speaker 1: And just do we think that she really loves and

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Speaker 1: missus Billy or is it that she's just trying to

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Speaker 1: mess with Alison. I couldn't really get a handle on that.

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Speaker 4: I think it's both.

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Speaker 2: But I but I think what is interesting is that

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Speaker 2: usually someone in her position like clearly has one over

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Speaker 2: on Alison, like she's in the power seat, but she's not.

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Speaker 4: She's so desperate.

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Speaker 2: She's lying to Alison's face when Alison knows the real truth.

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Speaker 4: It makes her look so desperate.

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Speaker 2: But only because it's Amanda, who's so cool and so

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Speaker 2: you know, played by Heather You.

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Speaker 5: Go, oh, okay, oh, well she's.

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Speaker 2: You know, she's a little lonely, But anyone else playing

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Speaker 2: that part you go, you're crazy, You're crazy lady, But I.

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Speaker 3: Thought, yeah, she's She still does come off as like

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Speaker 3: super like threatening and like sexy and and charming even

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Speaker 3: though she's doing this manipulative stuff. But so we're back

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Speaker 3: at the hospital. Allison is leaving her doctor's appointment, and.

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Speaker 1: Do you notice quickly that Andrew had to have the line, Yes,

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Speaker 1: it's a check up from her surgery, like he had

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Speaker 1: to like get her check Like, yeah, she's going to

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Speaker 1: the doctor.

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Speaker 5: I know what she's doing doing that exposition, Andrew.

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Speaker 3: Well, but it also proves that she wasn't lying about

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Speaker 3: the doctor's appointment, you know, like like everything that Amanda

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Speaker 3: tries to say is just like not true, you know.

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Speaker 1: Yeah.

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Speaker 3: So I don't know about you guys, but when Alison

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Speaker 3: is leaving this doctor's appointment, I am positive that she's

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Speaker 3: about to step into the elevator and discover Michael and

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Speaker 3: Kimberly in that in this moment, were you guys thinking that, like,

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Speaker 3: like this is where she goes to the elevator and

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Speaker 3: the doors are gonna Oh that's how But instead that

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Speaker 3: doesn't happen. But instead she goes out to the parking

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Speaker 3: lot and discovers them. There they're making out behind a

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Speaker 3: parked van.

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Speaker 1: Apparently behind a park van, oh right outside of the

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Speaker 1: door like.

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Speaker 5: I have some of the production office.

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Speaker 1: Wasn't it crazy how he caught her eye and just

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Speaker 1: yeah it hearing her to say something and the evil

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Speaker 1: daring her.

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Speaker 3: He sees Alison catch him in the act of kissing

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Speaker 3: another woman and he looks right at her and it's

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Speaker 3: almost like this conniving, evil look that we're going to

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Speaker 3: come to associate him with later, but like in this circumstance,

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Speaker 3: it seems so wrong.

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Speaker 2: Well, it was very daring, like he's literally with those

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Speaker 2: eyes daring her, like, yeah, you're nothing to me, Like

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Speaker 2: i've he's committed and he's he's in another state, I think,

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Speaker 2: you know, Yeah, he was daring.

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Speaker 1: No embarrassed, No, it was that was shocking. That was

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Speaker 1: that was cool? Like that felt so creepy.

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Speaker 3: Yeah, super evil and like what a surprising turn because

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Speaker 3: you know, for Allison to just assume he's just Jane's

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Speaker 3: husband who manages the building and then all of a sudden,

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Speaker 3: this guy behind the van. That was like a lot.

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Speaker 3: So then back at the apartment, Billy agrees to go

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Speaker 3: to the engagement party with Alison, and then Allison sees

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Speaker 3: Michael going down to the laundry room with this toolbox,

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Speaker 3: so she follows him down there to confront him.

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Speaker 1: And again, didn't you think, why is she looking out

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Speaker 1: like I'm looking out in the distance. He's talking and

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Speaker 1: looking in the distance. I'm like, what is happening? And

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Speaker 1: then all of a sudden you realize I'm looking to

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Speaker 1: see Michael.

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Speaker 3: Yeah, you're distracted by this whole thing.

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Speaker 1: Luckily I have the laundry handy. Luckily the laundry is handy.

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Speaker 3: Well, I see him go to laundry like you didn't

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Speaker 3: need laundry anyway. You're just going down there to confront him, right, But.

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Speaker 5: That's my rouse though, Laura.

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Speaker 3: I appreciate it all. It was good prop acting everything,

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Speaker 3: and then but that Michael is just as smug and

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Speaker 3: defiant right to her face. Yes, when she confronts him,

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Speaker 3: he continues, yeah, and he says, I'm sure somebody wrote

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Speaker 3: this down. I didn't write it down. It entirely, but

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Speaker 3: he says that doctors who work in extreme circumstances become close.

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Speaker 3: And then he's super condescending. He says, well, I don't

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Speaker 3: expect you to understand that.

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Speaker 2: Yeah.

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Speaker 1: At first he said, Kimberly had a tough morning. I

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Speaker 1: was trying to comfort her. Then I wrote with your tongue, yeah,

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Speaker 1: like were full on making it.

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Speaker 2: Yeah, behind a van in the and then he says, men,

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Speaker 2: we need variety, we need to feel good about ourselves,

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Speaker 2: and maybe we can't just say no about temptation, temptation,

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Speaker 2: any questions.

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Speaker 3: It's so disgusting what he says. And then he's like,

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Speaker 3: and he compares it to the same thing, like, well,

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Speaker 3: that's what Keith did. You know, how does it? Yeah,

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Speaker 3: you know, what's any It's no different from what different

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Speaker 3: what you and Keith did?

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Speaker 1: Ye you were super smart, I thought, yeah.

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Speaker 2: And then Allison goes, that was different, and I'm going,

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Speaker 2: how exactly, Yeah, trying.

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Speaker 1: To make it different, I know, but it was.

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Speaker 2: It was.

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Speaker 3: It is different because of the way he's so entitled

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Speaker 3: to his like I get really do this.

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Speaker 5: Alison's not really different.

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Speaker 3: But what he's acting like though he's acting so entitled

357
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Speaker 3: to like I get to do this. This is what

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Speaker 3: men do. Get over it, I know.

359
00:16:02,720 --> 00:16:04,920
Speaker 2: But he's referring to the actual act and they both

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00:16:04,960 --> 00:16:06,200
Speaker 2: took place in the act.

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Speaker 3: Yeah, of course, but I'm just commenting on what he

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Speaker 3: is about it.

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Speaker 1: And then poor Allison says, kind of whines. But you're

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00:16:16,920 --> 00:16:20,280
Speaker 1: the only happy couple I know, he says, and will

365
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Speaker 1: stay happy if you don't say anything.

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Speaker 3: Yeah, Like threatens are like don't don't open your mouth,

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Speaker 3: like it'll be her fault if things get messed up.

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Speaker 2: It's so interesting how he's really committed to you know,

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Speaker 2: the character and also of course Thomas, but he's really

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Speaker 2: committed to this, you know, no apologies. I did who

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Speaker 2: I did, I did what I did and who I did,

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Speaker 2: and how I am't going to say anything because when

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Speaker 2: he leaves, he's like, oh and that watch it doesn't work.

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Speaker 4: You have to use the other one.

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Speaker 2: I'm out, like f off, you know. It's so challenging

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Speaker 2: and baldy. Yeah, so you're just going.

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Speaker 4: I think he just I'm just I don't know.

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Speaker 2: I'm trying to get in the psychology of it, you know,

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Speaker 2: like he just loves that secrecy he has with Kimberly.

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Speaker 1: And you know what's weird that I'm just noticing, Like

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Speaker 1: why isn't Alison talking about the possibility of telling Jane.

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Speaker 1: It hasn't even come up yet. No, I know Jane's

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Speaker 1: your friend.

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Speaker 3: Well, yeah, they don't interact at all in this episode,

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Speaker 3: and I wonder if it will, Like it seems like

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Speaker 3: that would be the next I mean, she obviously tells

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Speaker 3: somebody Alison you know, doesn't keep it to herself, but

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Speaker 3: it isn't she doesn't go straight to Jane.

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Speaker 5: Yeah, yeah, you're right.

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Speaker 3: Speaking of Jane. The next scene is Jane is in

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Speaker 3: her in the design shop and her boss, Kay Beacon

392
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Speaker 3: is back in this episode, and Gane is working really

393
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Speaker 3: hard on her new swimwear line, but her boss says

394
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Speaker 3: she's weird that Jane's going to burn out, and she

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Speaker 3: insists that Jane take a break for lunch with her husband.

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Speaker 4: Yeah.

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Speaker 3: So Jane tries to go to the hospital to meet Michael,

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Speaker 3: but she learns that Michael is already out to lunch

399
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Speaker 3: at a nearby restaurant, So we see where this is going.

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Speaker 3: We cut to Michael and Kimberly at a table they've

401
00:18:01,680 --> 00:18:04,600
Speaker 3: got wine. They're talking about their unbelievable attraction to each other,

402
00:18:05,200 --> 00:18:07,920
Speaker 3: but Kimberly's the one who spots Jane entering the restaurant,

403
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Speaker 3: and Michael doesn't even miss a beat. He hops up

404
00:18:10,920 --> 00:18:13,440
Speaker 3: like a good little liar, and he escorts Jane over

405
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Speaker 3: to join them, and Kimberly's absolutely horrified. But Michael is

406
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Speaker 3: completely comfortable being a total liar right to everybody's face.

407
00:18:21,320 --> 00:18:23,440
Speaker 3: And he's completely comfortable with this threesome.

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00:18:23,680 --> 00:18:26,840
Speaker 2: Yeah, And Jane is like, oh, wine at your lunch

409
00:18:26,880 --> 00:18:29,760
Speaker 2: in the middle of a shift of a workday, you know, oh,

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00:18:29,800 --> 00:18:30,680
Speaker 2: it seems.

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Speaker 5: Like you are celebrating something. And you just see him, Yeah,

412
00:18:34,119 --> 00:18:36,600
Speaker 5: pull up a chair. You know, he's just going with it.

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00:18:36,680 --> 00:18:38,480
Speaker 2: If I you know, there was this sum I don't

414
00:18:38,480 --> 00:18:40,439
Speaker 2: know if you guys knew about this or ever heard this,

415
00:18:40,560 --> 00:18:43,600
Speaker 2: but Charles Growden, years and years ago, I think, had

416
00:18:43,640 --> 00:18:47,840
Speaker 2: a joke, if you're ever caught in bed with another woman,

417
00:18:48,119 --> 00:18:51,480
Speaker 2: just say just say no, just deny it, no matter what.

418
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Speaker 2: So the wife walks in and he's in bed and going,

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00:18:53,800 --> 00:18:54,760
Speaker 2: what are you talking about?

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Speaker 4: You know, like the like the gas lighting. I guess, so.

421
00:18:57,320 --> 00:18:59,840
Speaker 5: That's what he's doing. He's like, yeah, there's no problem here.

422
00:19:00,119 --> 00:19:01,320
Speaker 5: Is so comfortable with that.

423
00:19:01,440 --> 00:19:07,320
Speaker 2: So even if Jane catches them, yeah, at our table

424
00:19:07,880 --> 00:19:08,920
Speaker 2: for work, like, you know.

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00:19:10,160 --> 00:19:12,600
Speaker 4: Just act like she's crazy. That's all you gotta do.

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00:19:13,040 --> 00:19:16,120
Speaker 1: Well, But he made a really great choice because he's

427
00:19:16,160 --> 00:19:19,359
Speaker 1: showing no guilt no more. He's just fully committed and

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Speaker 1: to it. Well.

429
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Speaker 3: I like that Kimberly at least has some sort of

430
00:19:24,520 --> 00:19:27,760
Speaker 3: icky feelings and you know, to go, I'm not into this,

431
00:19:27,840 --> 00:19:29,960
Speaker 3: and she gets up and goes and then she says

432
00:19:30,080 --> 00:19:32,159
Speaker 3: Jane can just eat her salad, which is already on

433
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Speaker 3: the table, which is really like.

434
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Speaker 1: Yeah, you can have my sloppy yeah, trimp secondand shrimp wow.

435
00:19:41,440 --> 00:19:44,680
Speaker 3: I think the moment of the scene where Jeane's like, oh,

436
00:19:44,840 --> 00:19:47,160
Speaker 3: I'm working on this new swimmer line, Kimberly, you look

437
00:19:47,280 --> 00:19:50,119
Speaker 3: great in my new you know one pieces. They have

438
00:19:50,200 --> 00:19:52,600
Speaker 3: this plunging back and whatever, and you just see Michael

439
00:19:52,760 --> 00:19:58,200
Speaker 3: like satisfied, like imagining swims and you're like, oh.

440
00:19:58,080 --> 00:20:02,399
Speaker 2: You And meanwhile Kimberly is like all but turning green

441
00:20:02,480 --> 00:20:05,159
Speaker 2: and throwing up. She's so sickened by here here's the

442
00:20:05,200 --> 00:20:07,160
Speaker 2: actual wife, and she's.

443
00:20:06,960 --> 00:20:09,560
Speaker 4: Offering her a bathing suit and she's just you.

444
00:20:09,520 --> 00:20:12,880
Speaker 2: Know, and they're so easy to gather, Jane and Michael,

445
00:20:13,000 --> 00:20:15,960
Speaker 2: and she's just like, whoa, you know, okay.

446
00:20:16,080 --> 00:20:18,080
Speaker 3: Kimberly seems to have a bit of a conscience, and

447
00:20:18,440 --> 00:20:24,320
Speaker 3: Michael clearly has none.

448
00:20:22,080 --> 00:20:26,000
Speaker 5: A conscience or just a little reality something. Yeah, we'll see.

449
00:20:25,600 --> 00:20:31,040
Speaker 3: Well, then at this very lavish engagement party of Lucy's,

450
00:20:31,119 --> 00:20:33,840
Speaker 3: we meet Lucy's fiance, Irving, who is, of course our

451
00:20:33,960 --> 00:20:38,120
Speaker 3: very own producers, her real life husband, her real life

452
00:20:38,160 --> 00:20:40,600
Speaker 3: husband at the time, and that he was a good

453
00:20:40,640 --> 00:20:43,680
Speaker 3: looking couple. They gave him some lines this time, and

454
00:20:43,800 --> 00:20:48,400
Speaker 3: I thought he'd delivered them brilliantly. And yeah. So then

455
00:20:48,480 --> 00:20:51,200
Speaker 3: Amanda appears at this engagement party. She doesn't have a date,

456
00:20:51,520 --> 00:20:53,399
Speaker 3: and after she turns down a guy who asks her

457
00:20:53,440 --> 00:20:55,800
Speaker 3: to dance, she then turns around and asks Billy to dance.

458
00:20:56,000 --> 00:20:59,040
Speaker 1: It was so funny because he goes later he was

459
00:20:59,119 --> 00:21:00,920
Speaker 1: such a toss amazing.

460
00:21:01,240 --> 00:21:03,560
Speaker 5: She that's a great delivery.

461
00:21:03,800 --> 00:21:08,679
Speaker 1: Yeah, and she's gorgeous like Alison's sort of a business

462
00:21:09,119 --> 00:21:14,760
Speaker 1: dress and Amanda's in sequence leaveless, skin tight sequence.

463
00:21:14,600 --> 00:21:16,439
Speaker 5: Darkly Yeah, of course.

464
00:21:17,200 --> 00:21:20,240
Speaker 3: So of course she's dancing with Billy and she comments

465
00:21:20,280 --> 00:21:24,240
Speaker 3: on how they just fit together and and uh. While

466
00:21:24,240 --> 00:21:28,280
Speaker 3: they're dancing, Lucy finds Alison alone with the champagne, I

467
00:21:28,359 --> 00:21:32,280
Speaker 3: might add, while Amanda is dancing, and Alison tries to

468
00:21:32,320 --> 00:21:34,520
Speaker 3: tell Lucy, you know it's not a big deal that he's,

469
00:21:34,600 --> 00:21:37,280
Speaker 3: you know, dancing with her and that she's dancing. No,

470
00:21:37,359 --> 00:21:40,960
Speaker 3: it's fine, you know. And Lucy's not so sure. She's like, oh,

471
00:21:41,040 --> 00:21:45,360
Speaker 3: that's seems a little curious. Your roommate is also the

472
00:21:45,680 --> 00:21:48,240
Speaker 3: ex boyfriend that Amanda's referring to, but.

473
00:21:48,320 --> 00:21:50,280
Speaker 4: She's dancing with him. I'm confused.

474
00:21:50,560 --> 00:21:53,440
Speaker 2: Yeah, And isn't that where Chip comes up and said,

475
00:21:53,480 --> 00:21:54,080
Speaker 2: mother's here.

476
00:21:54,359 --> 00:21:57,040
Speaker 5: Yes, and she has mother's here. He has a bit

477
00:21:57,080 --> 00:22:00,760
Speaker 5: of a mother mother issue. But he's perfect eyes perfect.

478
00:22:00,960 --> 00:22:03,479
Speaker 3: Yeah, he had a tough line to deliver and this

479
00:22:03,560 --> 00:22:07,399
Speaker 3: is what he delivered it brilliantly. But they've decided that

480
00:22:07,400 --> 00:22:09,199
Speaker 3: Irving is a little bit of an uptight guy with

481
00:22:09,240 --> 00:22:14,359
Speaker 3: a mother issue. I think it's hysterical. So yeah. So

482
00:22:14,440 --> 00:22:18,840
Speaker 3: then Amanda leads Billy after dancing. She leads him behind

483
00:22:18,920 --> 00:22:22,520
Speaker 3: some bushes and she tells him that she misses him,

484
00:22:22,600 --> 00:22:24,200
Speaker 3: but she doesn't want to lose the friendship.

485
00:22:24,760 --> 00:22:27,320
Speaker 1: Well, and then she says, first she says, it's really

486
00:22:27,359 --> 00:22:30,520
Speaker 1: not like me to be this forward. No, is it

487
00:22:30,560 --> 00:22:31,000
Speaker 1: really not?

488
00:22:31,400 --> 00:22:32,719
Speaker 4: Are you really? Are you sure?

489
00:22:32,960 --> 00:22:33,639
Speaker 5: Are you sure?

490
00:22:35,240 --> 00:22:38,800
Speaker 3: And then and then, in a gesture completely opposite of friendship,

491
00:22:38,880 --> 00:22:43,080
Speaker 3: she starts kissing him, and of course that's Allison appears

492
00:22:43,080 --> 00:22:46,560
Speaker 3: at this precise moment to witness that, and she's absolutely

493
00:22:46,560 --> 00:22:49,080
Speaker 3: disgusted and over it, and she turns to leave the party.

494
00:22:50,400 --> 00:22:52,439
Speaker 5: And she says, why does this keep happening to me?

495
00:22:52,720 --> 00:22:56,280
Speaker 2: She saw, you know, Michael kissing Kimberly, now she's seeing

496
00:22:56,520 --> 00:22:59,400
Speaker 2: Billy kissing Amanda, and.

497
00:22:59,480 --> 00:23:07,240
Speaker 3: Yeah, she's disgusted and rightfully so. And then we find

498
00:23:07,280 --> 00:23:09,880
Speaker 3: out in the courtyard that Billy has followed Alison home

499
00:23:09,920 --> 00:23:11,600
Speaker 3: as they're both arriving back in the courtyard, and he

500
00:23:11,640 --> 00:23:13,800
Speaker 3: says he didn't want to kiss Amanda, that she just

501
00:23:13,920 --> 00:23:16,320
Speaker 3: you know, kissed him, and Allison argues that he didn't

502
00:23:16,359 --> 00:23:18,080
Speaker 3: exactly fight her off, and they end.

503
00:23:18,119 --> 00:23:19,440
Speaker 5: Up the funny line.

504
00:23:19,480 --> 00:23:21,320
Speaker 1: She goes, oh, yeah, I saw you fighting off on

505
00:23:21,359 --> 00:23:23,479
Speaker 1: the dance floor, fighting off on the evil you were

506
00:23:23,520 --> 00:23:26,119
Speaker 1: resisting all over the places.

507
00:23:25,840 --> 00:23:26,560
Speaker 5: All over the place.

508
00:23:26,640 --> 00:23:31,000
Speaker 3: Yeah, not so much line, And but the whole conversation

509
00:23:31,119 --> 00:23:33,399
Speaker 3: ends up in a fight about whether Billy is the

510
00:23:33,480 --> 00:23:35,760
Speaker 3: kind of guy who can resist temptation or if he's

511
00:23:35,800 --> 00:23:40,320
Speaker 3: one who just wants sex. And this is where Allison

512
00:23:40,600 --> 00:23:43,240
Speaker 3: admits that she's really upset about Michael. She tells him

513
00:23:43,359 --> 00:23:46,280
Speaker 3: she tells Billy about the affair with Kimberly, and Billy

514
00:23:46,440 --> 00:23:49,040
Speaker 3: insists he's not Michael, but he does know how to

515
00:23:49,080 --> 00:23:51,240
Speaker 3: say no, yeah, because.

516
00:23:50,960 --> 00:23:53,960
Speaker 5: Don't you think I would have acted on my temptations?

517
00:23:54,359 --> 00:23:54,560
Speaker 1: Right?

518
00:23:54,600 --> 00:23:57,720
Speaker 3: So by now that's the critical moment because he gives

519
00:23:57,760 --> 00:24:01,800
Speaker 3: Alison the example, Hey, this example that Hey, all this time,

520
00:24:01,840 --> 00:24:03,679
Speaker 3: I've been living with you, and I'm like.

521
00:24:03,760 --> 00:24:05,320
Speaker 1: Being in the room next to you.

522
00:24:05,359 --> 00:24:07,560
Speaker 3: Yes, sleeping in the room next to you, and I

523
00:24:07,600 --> 00:24:10,280
Speaker 3: haven't given in to any of my temptations. And that's

524
00:24:10,320 --> 00:24:12,480
Speaker 3: where like there's this music cue and this has tilt

525
00:24:12,600 --> 00:24:13,560
Speaker 3: from Alison and.

526
00:24:13,560 --> 00:24:15,800
Speaker 4: He's like, what did I just say? Did I just admit?

527
00:24:16,080 --> 00:24:16,320
Speaker 1: Did she?

528
00:24:17,000 --> 00:24:17,280
Speaker 3: Did?

529
00:24:17,119 --> 00:24:17,840
Speaker 5: He just admit?

530
00:24:18,200 --> 00:24:22,359
Speaker 3: Yep? Yeah, very important you say you had temptations. But

531
00:24:22,560 --> 00:24:27,080
Speaker 3: instead of jumping on him in this moment, Alison like

532
00:24:27,240 --> 00:24:30,359
Speaker 3: challenges him saying, well, you know, if either one of

533
00:24:30,440 --> 00:24:33,480
Speaker 3: us had temptations, don't you think one of us would

534
00:24:33,520 --> 00:24:34,359
Speaker 3: have acted on it?

535
00:24:34,400 --> 00:24:34,800
Speaker 5: By now?

536
00:24:35,600 --> 00:24:36,040
Speaker 1: Yeah?

537
00:24:36,080 --> 00:24:37,600
Speaker 3: And he sort of like throws it back at her

538
00:24:37,680 --> 00:24:41,760
Speaker 3: court saying well you think so, right, But again she

539
00:24:41,960 --> 00:24:44,240
Speaker 3: like totally doesn't take the bait, and she's like, yeah,

540
00:24:44,240 --> 00:24:46,199
Speaker 3: all right, this is a stupid conversation and she just

541
00:24:46,240 --> 00:24:50,560
Speaker 3: turns on her harols and walks away. Super can't deal

542
00:24:50,680 --> 00:24:54,480
Speaker 3: in this moment. But I loved how like the tone.

543
00:24:54,520 --> 00:24:55,760
Speaker 3: I don't know if you guys noticed stuff like this,

544
00:24:55,800 --> 00:24:58,080
Speaker 3: but like the tone of the music totally changes through

545
00:24:58,080 --> 00:24:59,600
Speaker 3: the course of the scene. And by the end of

546
00:24:59,640 --> 00:25:01,560
Speaker 3: the scene when she goes off to her room and

547
00:25:01,600 --> 00:25:04,560
Speaker 3: he's left standing there, we're back to our like searing

548
00:25:04,600 --> 00:25:09,840
Speaker 3: electric guitargeting. Are you like, we're like super like high tension.

549
00:25:10,760 --> 00:25:13,600
Speaker 1: A great job building the tension in this episode. Yeah,

550
00:25:13,760 --> 00:25:17,760
Speaker 1: I like everywhere. All the stories are very exciting.

551
00:25:17,800 --> 00:25:21,360
Speaker 2: I love music, soundtrack and TV shows because they're so obvious.

552
00:25:21,440 --> 00:25:24,560
Speaker 2: Like movies are probably more subtle, unless it's like a sweeping,

553
00:25:24,680 --> 00:25:28,000
Speaker 2: you know, scene across the sand or something, but movies

554
00:25:28,040 --> 00:25:33,840
Speaker 2: are so off they help tell the story so obviously, right, Like, yeah, like.

555
00:25:37,720 --> 00:25:39,440
Speaker 5: I love it.

556
00:25:44,080 --> 00:25:47,879
Speaker 3: Back of the Hospital, Kimberly tells Michael that Jeane doesn't

557
00:25:47,880 --> 00:25:49,560
Speaker 3: deserve this, and well, but.

558
00:25:49,560 --> 00:25:52,840
Speaker 1: First of all, they're wrestling some out of control guys,

559
00:25:52,880 --> 00:25:54,960
Speaker 1: some out of control guys on a journey the patient.

560
00:25:55,119 --> 00:25:57,680
Speaker 1: Doctors are patient. They're trying to wrestle them down, and

561
00:25:57,680 --> 00:25:59,400
Speaker 1: all of a sudden she storms off.

562
00:26:00,080 --> 00:26:02,080
Speaker 3: Just abandons the she abandons it.

563
00:26:02,520 --> 00:26:05,439
Speaker 1: It's like proporate answer is, well, there's a crazy person

564
00:26:05,440 --> 00:26:07,200
Speaker 1: in the hallway, but instead.

565
00:26:07,200 --> 00:26:10,080
Speaker 5: Yah, yeah, one of the appropriate answers.

566
00:26:10,119 --> 00:26:11,000
Speaker 4: I'm sorry i didn't.

567
00:26:10,800 --> 00:26:13,960
Speaker 2: Help save the guy's life, but I'm just so preoccupied

568
00:26:13,960 --> 00:26:15,119
Speaker 2: with the affair I'm having.

569
00:26:15,359 --> 00:26:18,399
Speaker 3: It was like he walked into the scene. So yeah,

570
00:26:18,440 --> 00:26:21,480
Speaker 3: she was so distracted. She's like, yeah, forget this patient,

571
00:26:21,720 --> 00:26:24,240
Speaker 3: forget I need to talk to about our relationship to.

572
00:26:24,600 --> 00:26:27,960
Speaker 1: Nobody's mentioning the PCP guy at all anymore.

573
00:26:28,359 --> 00:26:35,880
Speaker 3: Yeah, the gurney in the outtakes, he's flapping on the.

574
00:26:35,840 --> 00:26:37,639
Speaker 2: Floor, and she's like, I just don't know what to

575
00:26:37,680 --> 00:26:40,920
Speaker 2: do because you have a one that's the show.

576
00:26:40,960 --> 00:26:46,560
Speaker 3: I want to do that stuff happening in the background,

577
00:26:47,280 --> 00:26:50,520
Speaker 3: sign me up and and uh. Anyway, so she's sort

578
00:26:50,560 --> 00:26:53,399
Speaker 3: of having her crisis of conscience and Michael says that

579
00:26:53,760 --> 00:26:56,639
Speaker 3: what they have is completely separate from Jane.

580
00:26:57,080 --> 00:27:00,520
Speaker 1: She has nothing to do with us, which would cold.

581
00:27:00,560 --> 00:27:01,479
Speaker 1: He's so cold.

582
00:27:01,680 --> 00:27:03,800
Speaker 3: It's so god that he's trying to talk her into

583
00:27:03,920 --> 00:27:04,880
Speaker 3: continuing this thing.

584
00:27:05,240 --> 00:27:09,360
Speaker 2: But guys are known for being able to compart, to mentalize.

585
00:27:10,040 --> 00:27:11,560
Speaker 5: They are I mean, haven't you heard.

586
00:27:11,440 --> 00:27:12,200
Speaker 4: This over the years.

587
00:27:12,200 --> 00:27:14,120
Speaker 5: This is like a kind of a stereotype.

588
00:27:14,119 --> 00:27:15,080
Speaker 4: But I think it's very interesting.

589
00:27:15,440 --> 00:27:17,760
Speaker 2: No, men in general, like they when they come home

590
00:27:17,800 --> 00:27:19,560
Speaker 2: for work, they're like done.

591
00:27:19,600 --> 00:27:20,760
Speaker 4: They don't want to talk about.

592
00:27:20,520 --> 00:27:22,919
Speaker 2: Work, of course some men, but I think that this

593
00:27:23,040 --> 00:27:26,520
Speaker 2: is kind of an overall stereotype, but a true one.

594
00:27:26,560 --> 00:27:31,160
Speaker 5: I mean, I don't know, whenever I bring up work after.

595
00:27:31,000 --> 00:27:33,119
Speaker 2: David's work or I have in the past, it's like,

596
00:27:33,160 --> 00:27:34,000
Speaker 2: I don't want to bring it home.

597
00:27:34,000 --> 00:27:35,520
Speaker 5: I don't want to talk about it. Like, what do

598
00:27:35,560 --> 00:27:36,480
Speaker 5: you mean, I haven't.

599
00:27:36,320 --> 00:27:38,879
Speaker 4: Seen you all day? You have to You can't shock that, you.

600
00:27:38,880 --> 00:27:39,320
Speaker 5: Know what I mean?

601
00:27:39,320 --> 00:27:43,480
Speaker 2: Like they can compartmentalize to hey, this isn't my affair

602
00:27:43,520 --> 00:27:44,920
Speaker 2: with you, doesn't have anything to do with.

603
00:27:44,840 --> 00:27:49,120
Speaker 3: My wife right conveniently. Michael is very good it's compartmentalizing. Yeah,

604
00:27:49,160 --> 00:27:52,880
Speaker 3: he's very very good at it here, and he says, well,

605
00:27:53,000 --> 00:27:55,359
Speaker 3: you know, now that we've started, you know, it's going

606
00:27:55,400 --> 00:27:57,480
Speaker 3: to be really hard to stop. Now that we've started.

607
00:27:58,920 --> 00:28:03,359
Speaker 3: It's like and Kimberly still just sort of like walks

608
00:28:03,400 --> 00:28:07,680
Speaker 3: away and walks out saying I just can't And and

609
00:28:08,040 --> 00:28:10,280
Speaker 3: I'm glad that she's at least attempting that.

610
00:28:11,640 --> 00:28:15,520
Speaker 6: But well, enjoy it, Laura, because I know we know it,

611
00:28:16,560 --> 00:28:19,040
Speaker 6: but like I'm glad there was some that color and

612
00:28:19,119 --> 00:28:23,439
Speaker 6: that Kim Kimberly was, you know, because clearly Michael is

613
00:28:23,440 --> 00:28:23,920
Speaker 6: not going to make.

614
00:28:23,880 --> 00:28:28,359
Speaker 3: Any attempt Yeah at a conscience. So back at D

615
00:28:28,440 --> 00:28:31,960
Speaker 3: and D, Alison tells Amanda that trying to manipulate Billy

616
00:28:32,040 --> 00:28:34,280
Speaker 3: is just not going to work, and Amanda says, yes,

617
00:28:34,320 --> 00:28:37,600
Speaker 3: it will because I understand men, and that she and

618
00:28:37,640 --> 00:28:40,480
Speaker 3: Billy had really great sex. Again, she needs to bring

619
00:28:40,480 --> 00:28:43,040
Speaker 3: that up for Alison to hear, suggesting that what Alison

620
00:28:43,320 --> 00:28:47,080
Speaker 3: really needs is some great sex herself. But Alison tries

621
00:28:47,120 --> 00:28:50,480
Speaker 3: to say, you know what, Billy is different and he's

622
00:28:50,560 --> 00:28:54,120
Speaker 3: you know, he's different, and Amanda's very condescendently says that

623
00:28:54,160 --> 00:28:56,920
Speaker 3: Billy is just like any other red blooded man and

624
00:28:56,920 --> 00:28:59,280
Speaker 3: that it's clear to her that Alison is in love

625
00:28:59,280 --> 00:29:02,840
Speaker 3: with him, and she says it in a way that's

626
00:29:02,840 --> 00:29:05,040
Speaker 3: got like sort of nasty subtexts.

627
00:29:05,080 --> 00:29:07,680
Speaker 5: So she has a great line. She says, you need

628
00:29:07,680 --> 00:29:09,640
Speaker 5: a good dose of something, but it isn't talk.

629
00:29:10,240 --> 00:29:11,440
Speaker 3: Yeah, and.

630
00:29:13,000 --> 00:29:15,400
Speaker 2: Then she goes and well, she says, well he came

631
00:29:15,400 --> 00:29:19,120
Speaker 2: home with me, Allison says, and then and then Amanda says, well,

632
00:29:19,120 --> 00:29:21,120
Speaker 2: what did you do when he got home to you?

633
00:29:21,680 --> 00:29:25,160
Speaker 5: And she's like, well talked, She was like.

634
00:29:25,320 --> 00:29:30,080
Speaker 2: Exactly, yeah, that was very Melrosey, Amanda digging into her.

635
00:29:30,400 --> 00:29:34,200
Speaker 3: Yeah, and again I noticed a music you here. There's

636
00:29:34,280 --> 00:29:37,440
Speaker 3: like a serious like b bass note dropping, you know,

637
00:29:37,520 --> 00:29:40,880
Speaker 3: which is like this is fighting music, Like now somebody's

638
00:29:40,920 --> 00:29:43,760
Speaker 3: being mean and there's a fight happening. Firm, we get it.

639
00:29:44,480 --> 00:29:47,720
Speaker 3: So Amanda leaves the scene, leaving Allison to think about

640
00:29:47,760 --> 00:29:51,040
Speaker 3: what she said. And then later at the apartment that night,

641
00:29:51,440 --> 00:29:54,400
Speaker 3: Alison is on the couch working. She sneaks a glance

642
00:29:54,440 --> 00:29:57,160
Speaker 3: at Billy, who here is working topless.

643
00:29:57,240 --> 00:30:02,600
Speaker 1: Billy is writing hertless and jeans, which is hello, right, hello,

644
00:30:02,760 --> 00:30:05,560
Speaker 1: throwing a cowboy hat and you we're all over you

645
00:30:05,680 --> 00:30:06,120
Speaker 1: want to.

646
00:30:06,080 --> 00:30:08,440
Speaker 5: Test those temptation lines you all just had?

647
00:30:08,560 --> 00:30:08,880
Speaker 3: Hello?

648
00:30:09,680 --> 00:30:12,920
Speaker 1: How did that happen? So Alison keeps looking over Yeah,

649
00:30:12,960 --> 00:30:14,520
Speaker 1: but I love like the camera work too.

650
00:30:14,720 --> 00:30:18,600
Speaker 3: Is the camera work was like her eye scanning and

651
00:30:19,200 --> 00:30:23,240
Speaker 3: across sandbody right after his chest, very extremely close up too.

652
00:30:23,320 --> 00:30:26,600
Speaker 5: Yeah again and it's like Allison's going, what is this?

653
00:30:26,760 --> 00:30:29,000
Speaker 4: Am I supposed to be attracted to that over there?

654
00:30:30,480 --> 00:30:31,960
Speaker 1: I think she knows at this point.

655
00:30:32,240 --> 00:30:34,600
Speaker 3: I think she knows very clearly how she feels about it,

656
00:30:34,640 --> 00:30:37,120
Speaker 3: but she's just trying to sneak her little glances and

657
00:30:37,160 --> 00:30:39,840
Speaker 3: there it's so cute. And then Billy you know, gets

658
00:30:39,880 --> 00:30:41,880
Speaker 3: up from his computer and says he's got to take

659
00:30:41,880 --> 00:30:45,240
Speaker 3: a break, invites her out with him to go to shooters,

660
00:30:45,480 --> 00:30:48,320
Speaker 3: and she turns him down oddly, and she stays home.

661
00:30:48,640 --> 00:30:55,000
Speaker 3: He goes out alone, and Alison is like, sort of, she.

662
00:30:53,200 --> 00:30:57,520
Speaker 1: Says under her breath, she is, She's she's fully aware

663
00:30:57,840 --> 00:31:03,240
Speaker 1: that she has the thoughts for him. Finally, super finally Yeah.

664
00:31:03,560 --> 00:31:08,560
Speaker 3: Then over at Michael and Jane's apartment, Michael turns down

665
00:31:08,920 --> 00:31:11,320
Speaker 3: Jane's suggestion that she finished up for work, and they

666
00:31:11,320 --> 00:31:14,360
Speaker 3: have dinner and wine together, and he abruptly says he's

667
00:31:14,360 --> 00:31:15,920
Speaker 3: going to go out and get some air.

668
00:31:16,480 --> 00:31:18,520
Speaker 1: Yeah, Like, if he's helping her, you need to get

669
00:31:18,520 --> 00:31:20,040
Speaker 1: your work done. So I'm going to be a good

670
00:31:20,040 --> 00:31:21,240
Speaker 1: guy and give you spear and.

671
00:31:21,240 --> 00:31:23,040
Speaker 3: Let me just be super vague and go I'm going

672
00:31:23,120 --> 00:31:26,280
Speaker 3: to get some air, yeah, and but I won't be long,

673
00:31:26,400 --> 00:31:29,160
Speaker 3: and leaves her alone in the apartment. I don't know,

674
00:31:29,320 --> 00:31:31,160
Speaker 3: did you guys, did you guys. Know, as speaking of

675
00:31:31,200 --> 00:31:34,520
Speaker 3: prop acting, did you see in this scene as this

676
00:31:34,560 --> 00:31:36,760
Speaker 3: exchange is happening, he's getting a bottle of wine out

677
00:31:37,480 --> 00:31:40,000
Speaker 3: and it's already been open because there's a broken cork

678
00:31:40,240 --> 00:31:42,680
Speaker 3: in it, like it's you know, like last night's bottle

679
00:31:42,760 --> 00:31:44,600
Speaker 3: or something like that. And he gets out of glass

680
00:31:45,080 --> 00:31:46,760
Speaker 3: and they have this conversation. But by the end of it,

681
00:31:46,800 --> 00:31:48,280
Speaker 3: he's like, you know, I'm going out to get some air,

682
00:31:48,280 --> 00:31:50,400
Speaker 3: and he puts it all back, so he never actually

683
00:31:50,440 --> 00:31:52,880
Speaker 3: pours it. It's like get it out. Did she says, hey,

684
00:31:52,960 --> 00:31:54,560
Speaker 3: let's have some wine and whatever. He goes, you know,

685
00:31:54,600 --> 00:31:56,120
Speaker 3: I'm going out and I'm going to get some air,

686
00:31:56,120 --> 00:31:58,440
Speaker 3: and he puts it all back. And I was so

687
00:31:58,520 --> 00:32:01,080
Speaker 3: consumed with like, we what do you? What were you

688
00:32:01,200 --> 00:32:03,600
Speaker 3: going to do? And then what made you?

689
00:32:03,600 --> 00:32:03,800
Speaker 1: You know?

690
00:32:03,840 --> 00:32:05,000
Speaker 3: It was like such a funny.

691
00:32:05,120 --> 00:32:07,760
Speaker 1: She starts coming on to him, and he doesn't want

692
00:32:07,800 --> 00:32:09,680
Speaker 1: to have sex right, wants to have sex with Kimberly,

693
00:32:09,720 --> 00:32:11,479
Speaker 1: so that's why he puts it all back to right.

694
00:32:12,240 --> 00:32:15,280
Speaker 3: But I it just I found it like part of

695
00:32:15,600 --> 00:32:18,400
Speaker 3: I found myself watching it as like the storytelling of it.

696
00:32:18,480 --> 00:32:19,880
Speaker 5: So anyway.

697
00:32:21,200 --> 00:32:23,640
Speaker 2: I thought you were going to say he pulled out

698
00:32:23,680 --> 00:32:25,400
Speaker 2: a bottle that was already open and you could see

699
00:32:25,400 --> 00:32:25,760
Speaker 2: the cork.

700
00:32:25,840 --> 00:32:27,440
Speaker 4: And he pulled out a cork opener.

701
00:32:27,480 --> 00:32:29,280
Speaker 2: You know what I mean, a wine opener, because that

702
00:32:29,320 --> 00:32:31,840
Speaker 2: would be something very kind of like overlooked.

703
00:32:32,280 --> 00:32:35,560
Speaker 3: This one he did, like, so this one had this

704
00:32:35,600 --> 00:32:37,560
Speaker 3: broken cork in it whatever, And I thought also he

705
00:32:37,600 --> 00:32:39,560
Speaker 3: went to try to open he couldn't quite get it out,

706
00:32:39,640 --> 00:32:42,240
Speaker 3: and so I the part of me wondered, I wonder

707
00:32:42,240 --> 00:32:44,760
Speaker 3: if you put it all back. He was supposed to

708
00:32:44,760 --> 00:32:46,320
Speaker 3: be able to pour it and the thing, but didn't

709
00:32:46,360 --> 00:32:47,480
Speaker 3: because he couldn't get the cork out.

710
00:32:47,480 --> 00:32:48,640
Speaker 5: He's like, forget it, I'll.

711
00:32:48,480 --> 00:32:49,840
Speaker 3: Do the same. I'm just gonna put it all back.

712
00:32:50,240 --> 00:32:52,080
Speaker 3: I don't know, but later we'll see him open a

713
00:32:52,080 --> 00:32:54,840
Speaker 3: bottle of wine, Like there's a fresh bottle of wine.

714
00:32:54,840 --> 00:32:58,080
Speaker 3: He is to like take the twist top off or something. Anyway,

715
00:32:58,120 --> 00:32:58,720
Speaker 3: I noticed.

716
00:32:58,840 --> 00:33:00,920
Speaker 2: I don't know about you, but I have bottles of

717
00:33:00,960 --> 00:33:03,560
Speaker 2: wine and my fridge with a cork, like several of them.

718
00:33:03,640 --> 00:33:06,560
Speaker 4: Is it a rosee night that I had a white knight?

719
00:33:06,680 --> 00:33:08,720
Speaker 4: Or do we want red? We just keep him in

720
00:33:08,760 --> 00:33:09,800
Speaker 4: there until they're done.

721
00:33:10,240 --> 00:33:12,480
Speaker 3: Well, I'm just feeling so sorry for Jane. At this

722
00:33:12,480 --> 00:33:17,240
Speaker 3: point because he's God. So then we find Billy who's

723
00:33:17,280 --> 00:33:20,360
Speaker 3: gone of shooters and apparently Michael has gone there too,

724
00:33:20,680 --> 00:33:22,600
Speaker 3: and because it's, you know, the only joint in LA,

725
00:33:23,000 --> 00:33:26,200
Speaker 3: and Billy scoots down the bar to talk to him,

726
00:33:26,400 --> 00:33:29,600
Speaker 3: and he first kind of tries to dance around it,

727
00:33:29,640 --> 00:33:32,200
Speaker 3: I think, but then eventually he tells Michael that he

728
00:33:32,240 --> 00:33:34,480
Speaker 3: really couldn't believe it when Alison told him about the

729
00:33:34,840 --> 00:33:39,160
Speaker 3: you know Michael and Kimberly and Michael here again is

730
00:33:39,200 --> 00:33:42,440
Speaker 3: the opposite of contrite. He sort of turns on his

731
00:33:42,480 --> 00:33:44,640
Speaker 3: tough guy act and he starts saying, you know, people

732
00:33:44,680 --> 00:33:46,840
Speaker 3: need to mind their own business, you know on the

733
00:33:46,880 --> 00:33:50,880
Speaker 3: apartment manager, Like what is that rent? Is that? Yeah? Like?

734
00:33:51,000 --> 00:33:53,640
Speaker 3: Is that a threat to Billy too? I collect your wrint?

735
00:33:54,720 --> 00:33:56,960
Speaker 3: What what are you doing?

736
00:33:58,480 --> 00:34:00,440
Speaker 5: He's acting like a man who's doing something thing wrong.

737
00:34:00,480 --> 00:34:01,160
Speaker 4: It's what he's doing.

738
00:34:01,240 --> 00:34:04,960
Speaker 3: It's super entitled about it, even to Billy, and it's yeah, piky.

739
00:34:05,560 --> 00:34:10,560
Speaker 3: So meanwhile, Allison is telling Joe how confused she is

740
00:34:10,719 --> 00:34:12,200
Speaker 3: about Billy. She's gone over to Joe's.

741
00:34:12,280 --> 00:34:14,400
Speaker 1: I love this scene so much. I think this is

742
00:34:14,440 --> 00:34:18,560
Speaker 1: such a sweet scene because we so look like friends

743
00:34:18,560 --> 00:34:22,479
Speaker 1: and Alison is all kerfuffle and Joe is so calm, Yeah,

744
00:34:22,560 --> 00:34:25,200
Speaker 1: just trying to calm her down, and Alison is just random.

745
00:34:25,239 --> 00:34:26,840
Speaker 1: We have this friendship, right, and it's a great friendship,

746
00:34:26,840 --> 00:34:28,399
Speaker 1: and I guess neither wants to jeopardize that, but I'm

747
00:34:28,400 --> 00:34:30,480
Speaker 1: thinking about doing something about it. But something Amanda said

748
00:34:30,560 --> 00:34:33,319
Speaker 1: is getting smack in the way. And then you just

749
00:34:33,360 --> 00:34:36,480
Speaker 1: so calmly say, well, you and Billy make a great couple.

750
00:34:36,760 --> 00:34:39,959
Speaker 3: And there's such an a cute and right down She'll

751
00:34:40,080 --> 00:34:41,640
Speaker 3: smile on Jo's face.

752
00:34:42,040 --> 00:34:44,719
Speaker 2: The whole point, you know, is that to hear that

753
00:34:45,400 --> 00:34:48,080
Speaker 2: for you like someone else said it, you know.

754
00:34:48,360 --> 00:34:50,400
Speaker 1: I know it was such a sweet moment between us.

755
00:34:50,440 --> 00:34:52,480
Speaker 3: I love the scene and it was like Joe was

756
00:34:52,520 --> 00:34:55,080
Speaker 3: waiting to hear her say that. She was so pleased

757
00:34:55,120 --> 00:34:56,920
Speaker 3: to go, oh, well, you know you would make it

758
00:34:57,000 --> 00:34:58,640
Speaker 3: like you know, it was very cute.

759
00:34:59,040 --> 00:34:59,920
Speaker 1: Yeah, it really was.

760
00:35:00,280 --> 00:35:02,600
Speaker 3: But she also like get Joe helps her, like get

761
00:35:02,640 --> 00:35:05,200
Speaker 3: up the nerve to take some initiative with Billy. And

762
00:35:05,280 --> 00:35:07,839
Speaker 3: so she leaves the scene like going, you know what,

763
00:35:07,960 --> 00:35:09,239
Speaker 3: I am going to do something, but I'm going to

764
00:35:09,320 --> 00:35:12,320
Speaker 3: stop being so timid, and and she leaves Joe's apartment

765
00:35:12,400 --> 00:35:16,080
Speaker 3: to go home, and and Joe's sort of encouraging her. Yeah,

766
00:35:16,200 --> 00:35:20,319
Speaker 3: go go be spontaneous, you know, go for it. And

767
00:35:20,360 --> 00:35:23,920
Speaker 3: it's super cute how she just like gives her some nerve.

768
00:35:24,360 --> 00:35:27,800
Speaker 3: Yeah so and also so. Then Alison in the scene

769
00:35:27,920 --> 00:35:30,279
Speaker 3: by the way, I noticed, has her cute jeans on,

770
00:35:30,520 --> 00:35:32,640
Speaker 3: who we know are their Corney's jeanes.

771
00:35:33,080 --> 00:35:35,799
Speaker 1: Very cute. I'm gonna go see if I still have them, so.

772
00:35:35,719 --> 00:35:39,799
Speaker 2: They're probably Andrews jeans mixed up that morning when they

773
00:35:39,880 --> 00:35:40,200
Speaker 2: left you.

774
00:35:42,080 --> 00:35:44,360
Speaker 3: But here. Alison goes back to her apartment and Billy

775
00:35:44,760 --> 00:35:47,400
Speaker 3: is on his way out. He brushes past her, telling

776
00:35:47,400 --> 00:35:50,520
Speaker 3: Alison he's going out, and Alison is sort of like, hmm.

777
00:35:51,280 --> 00:35:53,480
Speaker 3: She goes in and plays the answering machine because she

778
00:35:53,480 --> 00:35:55,400
Speaker 3: had seen that he was maybe listening to that. She

779
00:35:55,480 --> 00:35:57,880
Speaker 3: plays the answering machine and then she hears what Billy

780
00:35:57,920 --> 00:36:01,560
Speaker 3: had just listened to. Yeah, realize that Amanda has asked

781
00:36:01,600 --> 00:36:02,840
Speaker 3: Billy to come over tonight.

782
00:36:03,040 --> 00:36:05,800
Speaker 1: And it's really like I'm lonely, I need a friend.

783
00:36:06,040 --> 00:36:09,120
Speaker 2: Oh yeah, But you know, it's also like Billy's going

784
00:36:09,120 --> 00:36:11,120
Speaker 2: through a lot right now too, lots in his head.

785
00:36:11,160 --> 00:36:14,280
Speaker 2: It's not like this is a free let's go cozy

786
00:36:14,360 --> 00:36:16,080
Speaker 2: up to Amanda, you know, because he's starting to have

787
00:36:16,080 --> 00:36:16,960
Speaker 2: feelings for Alison.

788
00:36:17,000 --> 00:36:17,640
Speaker 4: I thought that was a.

789
00:36:17,600 --> 00:36:20,840
Speaker 2: Great shot before Alison actually comes in, when he's just

790
00:36:20,920 --> 00:36:24,320
Speaker 2: there and Andrew's like playing with the cord or something

791
00:36:24,360 --> 00:36:26,920
Speaker 2: of the phone and he's listening to Amanda saying, you know,

792
00:36:26,960 --> 00:36:28,919
Speaker 2: I guess I miss you and I just miss having

793
00:36:29,000 --> 00:36:30,719
Speaker 2: someone and.

794
00:36:30,920 --> 00:36:31,880
Speaker 4: Blah blah blah.

795
00:36:31,920 --> 00:36:34,840
Speaker 2: But it was very thoughtful, you know, it was very like,

796
00:36:34,920 --> 00:36:36,160
Speaker 2: it was very moody moment.

797
00:36:36,239 --> 00:36:41,040
Speaker 5: And then you come in and then expectations and he

798
00:36:41,239 --> 00:36:42,160
Speaker 5: leaves so.

799
00:36:42,160 --> 00:36:44,839
Speaker 2: We know where he's going, and you're just yeah, and

800
00:36:44,880 --> 00:36:47,440
Speaker 2: again Alison is thwarted and just when she got up

801
00:36:47,480 --> 00:36:47,840
Speaker 2: the nerve.

802
00:36:48,560 --> 00:36:53,120
Speaker 3: So that's super sad. And then Joe shows up to

803
00:36:53,239 --> 00:36:56,120
Speaker 3: Jake's apartment and she shows up with new tax documents

804
00:36:56,120 --> 00:36:59,240
Speaker 3: for him. She's very pleased with herself, and she reveals

805
00:36:59,239 --> 00:37:02,240
Speaker 3: to Jake the new bottom line that she's figured out

806
00:37:02,800 --> 00:37:06,399
Speaker 3: is zero taxes OEDE and she's very pleased and Jake

807
00:37:06,520 --> 00:37:10,399
Speaker 3: is rightfully suspicious and he's and then Joe reveals her

808
00:37:10,560 --> 00:37:13,759
Speaker 3: creative accounting that helped arrive at this new number, and

809
00:37:13,880 --> 00:37:17,840
Speaker 3: Jake is concerned about getting audited and justice, just just

810
00:37:17,880 --> 00:37:20,360
Speaker 3: sign off on the taxes. Everyone cheats on the taxes.

811
00:37:20,960 --> 00:37:23,239
Speaker 3: And they ended up, you know, sort of kissing, and

812
00:37:23,239 --> 00:37:24,840
Speaker 3: that's the out of the scene, is them kissing and

813
00:37:24,880 --> 00:37:26,120
Speaker 3: he's reaching for the pen.

814
00:37:26,000 --> 00:37:28,279
Speaker 5: And he's like, we'll get audited. She's like, not till

815
00:37:28,320 --> 00:37:29,480
Speaker 5: next Year's fine.

816
00:37:29,920 --> 00:37:32,000
Speaker 3: Push off on the line. It's fine, everyone doesn't it.

817
00:37:33,680 --> 00:37:36,680
Speaker 2: So she starts kissing him and distracting him and yeah,

818
00:37:36,800 --> 00:37:38,040
Speaker 2: he's like, oh okay.

819
00:37:38,200 --> 00:37:40,319
Speaker 3: It was a super scene out with him like just

820
00:37:40,440 --> 00:37:43,040
Speaker 3: grasping for this pen, like okay, I'm gonna sign but

821
00:37:43,160 --> 00:37:47,520
Speaker 3: first kiss. And then we see Billy. He shows up

822
00:37:47,520 --> 00:37:49,920
Speaker 3: at amandas of course, she's in a short, sexy.

823
00:37:49,800 --> 00:37:52,360
Speaker 1: Silk and really vulnerable.

824
00:37:52,400 --> 00:37:53,440
Speaker 5: I like, you played this.

825
00:37:53,560 --> 00:37:55,359
Speaker 1: She does seem really vulnerable and I was like, oh,

826
00:37:55,400 --> 00:37:56,560
Speaker 1: that's not what I expected.

827
00:37:57,080 --> 00:38:03,080
Speaker 3: Really soft and vulnerable and emotional, gorgeous yeah and sweet yeah,

828
00:38:03,120 --> 00:38:05,080
Speaker 3: And so you can see why he's like, oh, you know,

829
00:38:05,160 --> 00:38:08,560
Speaker 3: really sort of sympathetic and and of course, pretty soon

830
00:38:08,560 --> 00:38:12,000
Speaker 3: they're kissing and Amanda is inviting Billy to go to

831
00:38:12,040 --> 00:38:14,799
Speaker 3: bed with her, and let's go to bed, and we're

832
00:38:14,800 --> 00:38:18,440
Speaker 3: out without Billy knowing what's gonna happen next.

833
00:38:18,400 --> 00:38:20,920
Speaker 2: Well, you have her kissing, then she pulls away and

834
00:38:20,960 --> 00:38:23,879
Speaker 2: says that then you on his eyes looking off.

835
00:38:25,400 --> 00:38:26,960
Speaker 4: But he did. He played it so subtly.

836
00:38:27,000 --> 00:38:29,319
Speaker 2: It wasn't like, oh, I don't know, it was just

837
00:38:29,600 --> 00:38:32,799
Speaker 2: very subtly, like do I this is the moment that

838
00:38:32,840 --> 00:38:36,080
Speaker 2: Michael's always talking about, go for the temptation, la la la.

839
00:38:36,200 --> 00:38:38,960
Speaker 2: He's actually here in that moment, and Michael would obviously

840
00:38:39,000 --> 00:38:42,480
Speaker 2: do it, but what would I and Billy do you know?

841
00:38:42,880 --> 00:38:44,799
Speaker 2: And I like how they cut it before you know

842
00:38:44,840 --> 00:38:47,399
Speaker 2: what they're gonna do, right, But also the funny thing

843
00:38:47,480 --> 00:38:50,840
Speaker 2: is like the next cut is straight to a swat

844
00:38:50,840 --> 00:38:54,120
Speaker 2: team crashing through the courtyard.

845
00:38:53,800 --> 00:38:59,000
Speaker 1: Very exciting, all these plaicopters time they're banging on jeeks door,

846
00:38:59,480 --> 00:39:01,719
Speaker 1: demand that he comes out with his hands.

847
00:39:01,440 --> 00:39:04,560
Speaker 5: Up and we're crawling out yep.

848
00:39:04,680 --> 00:39:06,960
Speaker 1: But didn't you notice how sweet it was that he

849
00:39:07,239 --> 00:39:09,279
Speaker 1: scoops Joe up and protects her.

850
00:39:10,280 --> 00:39:13,080
Speaker 3: H and he's down on the floor and he's crawling

851
00:39:13,120 --> 00:39:14,640
Speaker 3: on the floor boxers, which is.

852
00:39:14,680 --> 00:39:17,440
Speaker 5: We're both crawling like he's like, let's get out here

853
00:39:17,520 --> 00:39:17,839
Speaker 5: or something.

854
00:39:17,920 --> 00:39:21,080
Speaker 3: Yeah, Hi, it's really funny and obviously we realize that

855
00:39:21,120 --> 00:39:23,360
Speaker 3: it's Jake's bad dream and he wakes up with a start,

856
00:39:23,760 --> 00:39:25,239
Speaker 3: and he's in bed with Joni, tells her, you know,

857
00:39:25,280 --> 00:39:27,560
Speaker 3: we have thirty minutes we got to go and we

858
00:39:27,600 --> 00:39:30,279
Speaker 3: had to take back these you know, fraudulent taxes that

859
00:39:30,320 --> 00:39:32,799
Speaker 3: we've put in the mailix whatever. So he's like, I

860
00:39:32,800 --> 00:39:35,520
Speaker 3: don't dream that's awful. We have thirty minutes to fix this.

861
00:39:35,760 --> 00:39:38,200
Speaker 1: Yeah, you guys are the comic relief in this episode

862
00:39:38,680 --> 00:39:39,440
Speaker 1: about taxes.

863
00:39:39,640 --> 00:39:41,920
Speaker 3: Yeah. So then but we cut first, We have to

864
00:39:41,920 --> 00:39:44,560
Speaker 3: cut to Billy waking Alison up in the middle of

865
00:39:44,600 --> 00:39:46,839
Speaker 3: the night. She's dead asleep, and he has to wake

866
00:39:46,880 --> 00:39:49,240
Speaker 3: her up to tell her that, hey, I just wanted

867
00:39:49,280 --> 00:39:51,000
Speaker 3: to tell you that I went over to Amanda's but

868
00:39:51,200 --> 00:39:55,520
Speaker 3: nothing happened. And Allison doesn't fully believe him, and she's like,

869
00:39:55,560 --> 00:39:57,600
Speaker 3: what that doesn't make sense And I know you were

870
00:39:57,640 --> 00:39:58,640
Speaker 3: there and you were gone forever.

871
00:39:59,000 --> 00:40:01,240
Speaker 5: She's clearly her and sad.

872
00:40:01,400 --> 00:40:03,719
Speaker 3: And it's and it's hard to go on. It's hard

873
00:40:03,719 --> 00:40:06,840
Speaker 3: to fully believe, you know, in an instant, and Billy

874
00:40:06,960 --> 00:40:13,560
Speaker 3: is she's seen Amanda, we know, but he's annoyed, saying

875
00:40:13,600 --> 00:40:17,560
Speaker 3: he's not like Michael. And actually here he also reveals

876
00:40:17,560 --> 00:40:19,879
Speaker 3: that he missed having Allison around to talk to when

877
00:40:19,880 --> 00:40:23,520
Speaker 3: she was in Seattle. But ultimately he leaves Alison's room

878
00:40:23,960 --> 00:40:26,400
Speaker 3: kind of you know, hurt and pissed, and he tells her,

879
00:40:26,440 --> 00:40:28,440
Speaker 3: you know what, believe whatever you want, and he leaves,

880
00:40:28,680 --> 00:40:30,520
Speaker 3: turns her line back off, and then we cut back

881
00:40:30,560 --> 00:40:32,480
Speaker 3: to Jake and Joe waiting by the mailbox in the street,

882
00:40:32,520 --> 00:40:33,560
Speaker 3: which is so cute.

883
00:40:33,560 --> 00:40:35,640
Speaker 5: Who's collecting mail at midnight?

884
00:40:35,840 --> 00:40:41,480
Speaker 3: Yeah, as the yeah man, not really do but yeah,

885
00:40:41,600 --> 00:40:43,360
Speaker 3: but they wait for him and he pulls up and

886
00:40:43,400 --> 00:40:45,600
Speaker 3: they end up, you know, having a plan to try

887
00:40:45,640 --> 00:40:49,240
Speaker 3: to convince him to give the mail back, which obviously

888
00:40:49,320 --> 00:40:53,560
Speaker 3: would be him to do, to pull out of the mailbox. Yeah,

889
00:40:53,640 --> 00:40:58,600
Speaker 3: but but Joe decides to really say the truth. You know, hey, listen,

890
00:40:58,960 --> 00:41:01,719
Speaker 3: we cheated like on our taxes and now we want

891
00:41:01,760 --> 00:41:04,719
Speaker 3: to do the right thing. And he's compelled by it.

892
00:41:04,800 --> 00:41:06,680
Speaker 3: He asks, all right, just show me your ID and

893
00:41:06,719 --> 00:41:08,759
Speaker 3: he gives him back the envelope. I thought that was

894
00:41:08,800 --> 00:41:10,560
Speaker 3: so funny. But I did you notice they got fully

895
00:41:10,640 --> 00:41:12,640
Speaker 3: dressed again to go back on the street, Like they

896
00:41:12,640 --> 00:41:14,320
Speaker 3: were wearing their clothes from the daytime. They didn't just

897
00:41:14,360 --> 00:41:16,880
Speaker 3: go out in their pj's or something like.

898
00:41:16,960 --> 00:41:20,320
Speaker 5: Nope, Well, maybe that mailbox was a few blocks away.

899
00:41:20,120 --> 00:41:21,000
Speaker 3: And maybe it was.

900
00:41:21,080 --> 00:41:23,040
Speaker 2: It's you over there, and Low's scale is down near

901
00:41:23,680 --> 00:41:24,920
Speaker 2: like we got to put something on.

902
00:41:26,080 --> 00:41:30,120
Speaker 3: I don't know. So then, speaking of dishonest, Jake calls

903
00:41:30,480 --> 00:41:34,520
Speaker 3: and Jane calls the hospital the next morning or that

904
00:41:34,760 --> 00:41:38,480
Speaker 3: the next morning, and learns that Michael isn't there. It's

905
00:41:38,520 --> 00:41:41,399
Speaker 3: his day off, she learns, and that you can see

906
00:41:41,440 --> 00:41:43,440
Speaker 3: on her face that clearly he has lied to her

907
00:41:43,760 --> 00:41:46,640
Speaker 3: yet again, like she called to expecting to find him

908
00:41:46,640 --> 00:41:50,000
Speaker 3: at work, but they say nope, it's his day off,

909
00:41:50,160 --> 00:41:52,319
Speaker 3: and her face just says it all. It's just devastating.

910
00:41:53,160 --> 00:41:55,400
Speaker 3: We then cut to find Michael and Kimberly on a

911
00:41:55,400 --> 00:41:58,120
Speaker 3: blanket at the beach, where Kimberly tells Michael that she

912
00:41:58,160 --> 00:42:02,439
Speaker 3: has made a decision. Michael is what she wants. Any

913
00:42:02,440 --> 00:42:05,919
Speaker 3: way she can have him, no strings attached, no commitments.

914
00:42:06,440 --> 00:42:09,399
Speaker 1: I know nowhere, anyway I can have you for as

915
00:42:09,440 --> 00:42:11,280
Speaker 1: long as I can have you. Wow.

916
00:42:11,760 --> 00:42:15,080
Speaker 3: Yeah, I'm like, what is the appeal? Like, what what

917
00:42:15,200 --> 00:42:17,399
Speaker 3: is it that you must have? What is this guy?

918
00:42:17,480 --> 00:42:19,920
Speaker 5: Michael? Yeah, he's good looking.

919
00:42:20,239 --> 00:42:24,000
Speaker 4: Tom No. I was like wow, yah, yeah totally.

920
00:42:24,280 --> 00:42:26,560
Speaker 1: They have really hot sex and I guess, So what

921
00:42:26,600 --> 00:42:27,200
Speaker 1: are you gonna do?

922
00:42:27,560 --> 00:42:29,120
Speaker 3: I guess. So she doesn't really care if he has

923
00:42:29,120 --> 00:42:32,840
Speaker 3: a conscience or not. I suppose, and he's thrilled, and

924
00:42:33,120 --> 00:42:37,239
Speaker 3: we're all screaming at the television and then yeah, at

925
00:42:37,640 --> 00:42:40,439
Speaker 3: back at D and D. Amanda starts the day trying

926
00:42:40,480 --> 00:42:43,399
Speaker 3: to taunt Alison again about like, oh, you know how

927
00:42:43,440 --> 00:42:44,800
Speaker 3: exhausted was Billy after.

928
00:42:44,640 --> 00:42:47,160
Speaker 1: Last It was Billy as exhausted as I was this morning,

929
00:42:47,200 --> 00:42:51,040
Speaker 1: And for some reason that shifts something for Alison. Did

930
00:42:51,040 --> 00:42:54,360
Speaker 1: you I don't know why Alison then thought she was lying?

931
00:42:54,560 --> 00:42:55,319
Speaker 1: Did you get that?

932
00:42:55,600 --> 00:42:57,839
Speaker 3: I just got the feeling that like Alison had come

933
00:42:57,880 --> 00:43:00,960
Speaker 3: to it on like it like a you know, she

934
00:43:01,040 --> 00:43:02,880
Speaker 3: wakes up with it going you know what, and just

935
00:43:03,000 --> 00:43:06,839
Speaker 3: you acting like you want to like twist this yes

936
00:43:07,200 --> 00:43:09,799
Speaker 3: thing tells me you know what you're full of? You

937
00:43:09,840 --> 00:43:13,000
Speaker 3: know like this now you know what? Now I really

938
00:43:13,040 --> 00:43:15,480
Speaker 3: know that Billy did tell the truth, because you're just

939
00:43:15,520 --> 00:43:17,960
Speaker 3: messing with me by trying to tell me. Yeah, she goes,

940
00:43:17,960 --> 00:43:20,359
Speaker 3: because I know Billy didn't stay with you last night.

941
00:43:20,440 --> 00:43:21,960
Speaker 5: Yeah, so this is this scene that.

942
00:43:21,960 --> 00:43:25,399
Speaker 2: Made me really go anyone but Heather playing this role,

943
00:43:25,719 --> 00:43:30,080
Speaker 2: any role but Amanda would look like Looney Tunes because

944
00:43:30,360 --> 00:43:34,600
Speaker 2: you see a shot of Amanda and right behind her

945
00:43:34,760 --> 00:43:37,280
Speaker 2: is that picture of her and Billy in a wooden

946
00:43:37,320 --> 00:43:41,000
Speaker 2: frame on her desk, and she's telling the woman that

947
00:43:41,040 --> 00:43:44,239
Speaker 2: Billy lives with ether last night, was he exhausted?

948
00:43:44,280 --> 00:43:47,280
Speaker 3: And she's like, no, he came home I know, thinking

949
00:43:47,320 --> 00:43:48,240
Speaker 3: that you did nothing.

950
00:43:48,360 --> 00:43:51,880
Speaker 2: What's wrong with you, crazy lady?

951
00:43:52,080 --> 00:43:54,120
Speaker 5: Anyone else she's crazy?

952
00:43:54,160 --> 00:43:56,480
Speaker 3: And Amanda tries to make her question, know you really

953
00:43:56,520 --> 00:43:59,040
Speaker 3: think he would tell you what really happened? Yes, she

954
00:43:59,120 --> 00:44:01,960
Speaker 3: keeps an yeah, she's sure. She says, so desperate, I

955
00:44:02,000 --> 00:44:04,520
Speaker 3: believe in it and I have said and she also

956
00:44:04,600 --> 00:44:08,280
Speaker 3: here she says, I have something with Billy that you, Amanda,

957
00:44:08,719 --> 00:44:13,160
Speaker 3: never will and Amanda retorts her best retort that she

958
00:44:13,160 --> 00:44:15,640
Speaker 3: can think of, is well, I think that your chances

959
00:44:15,719 --> 00:44:19,160
Speaker 3: with Billy are long gone. Like, oh, yeah, whatever, you

960
00:44:19,200 --> 00:44:21,920
Speaker 3: may have had something you'll never.

961
00:44:22,200 --> 00:44:26,359
Speaker 5: So Amanda's not psychic, we know that much. No, that

962
00:44:26,560 --> 00:44:28,080
Speaker 5: is not what happens.

963
00:44:28,520 --> 00:44:31,440
Speaker 3: And they were back to Jane, who's waiting up in

964
00:44:31,440 --> 00:44:34,000
Speaker 3: the dark at her apartment waiting for Michael to come home.

965
00:44:34,040 --> 00:44:36,719
Speaker 3: And he doesn't return home till late, and he blatantly

966
00:44:36,800 --> 00:44:39,040
Speaker 3: lies about what rough day he had to work and

967
00:44:39,080 --> 00:44:40,560
Speaker 3: she's just sitting there knowing that he's.

968
00:44:40,400 --> 00:44:42,880
Speaker 1: Just directly into the shower.

969
00:44:43,280 --> 00:44:49,560
Speaker 3: Red flag, red flag, super red flag, and her heart breaking.

970
00:44:50,800 --> 00:44:51,040
Speaker 1: Yeah.

971
00:44:51,080 --> 00:44:53,600
Speaker 3: So she checks his pockets for any other no cell.

972
00:44:53,400 --> 00:44:55,560
Speaker 1: Phones, you remember she can't check his phone.

973
00:44:55,640 --> 00:44:58,520
Speaker 3: Right, But the tell is when she sees that his

974
00:44:58,600 --> 00:45:00,720
Speaker 3: shoes are fun of sand.

975
00:45:00,840 --> 00:45:02,200
Speaker 1: It's full of sand, Like.

976
00:45:02,160 --> 00:45:05,960
Speaker 5: How old is he is? Full of sand, all wet.

977
00:45:06,320 --> 00:45:08,760
Speaker 3: Yeah, she pours it out on her own bedroom floor

978
00:45:08,960 --> 00:45:12,840
Speaker 3: just to show us all what she's found. Yeah. So,

979
00:45:12,920 --> 00:45:16,480
Speaker 3: then Billy is returning home from work to his apartment

980
00:45:16,680 --> 00:45:22,840
Speaker 3: to find Alison waiting for him, wearing no pants, no pants.

981
00:45:21,920 --> 00:45:24,719
Speaker 5: The biggest work shirt ever, but no.

982
00:45:24,680 --> 00:45:27,319
Speaker 1: Point, just how she remember that's how she approached him

983
00:45:27,320 --> 00:45:29,480
Speaker 1: when he was in his bedroom last time. She seems

984
00:45:29,520 --> 00:45:32,319
Speaker 1: to think this is her This is her oversize.

985
00:45:32,200 --> 00:45:36,000
Speaker 2: This oversized men's shirt, like she has a little section

986
00:45:36,080 --> 00:45:36,720
Speaker 2: of her closet.

987
00:45:36,760 --> 00:45:37,879
Speaker 5: This is my sexy wear.

988
00:45:38,239 --> 00:45:42,719
Speaker 1: It's a really subtle signal no pants, but but.

989
00:45:42,680 --> 00:45:44,560
Speaker 3: It's it's it's I think it's going to work for

990
00:45:44,600 --> 00:45:48,560
Speaker 3: her this time done very well. He's super cute in

991
00:45:48,560 --> 00:45:50,719
Speaker 3: this look. And here she's standing in the door of

992
00:45:50,760 --> 00:45:53,399
Speaker 3: the Hallway, and she apologizes for not believing him last night,

993
00:45:53,480 --> 00:45:56,960
Speaker 3: and she says she's been too self absorbed, and as

994
00:45:56,960 --> 00:45:59,320
Speaker 3: he makes her way over his way over to stand

995
00:45:59,360 --> 00:46:01,719
Speaker 3: close to her, she says, I've been too blind to

996
00:46:01,800 --> 00:46:04,680
Speaker 3: appreciate what's right in front of you. Me damn blind,

997
00:46:04,920 --> 00:46:09,120
Speaker 3: too damn blind, and she then grabs him buy the

998
00:46:09,120 --> 00:46:11,000
Speaker 3: shirt and pulls him in for a kiss.

999
00:46:11,680 --> 00:46:14,080
Speaker 1: It is a yummy kiss, too well played.

1000
00:46:14,360 --> 00:46:15,760
Speaker 5: Yeah, I kiss finally.

1001
00:46:16,440 --> 00:46:18,720
Speaker 4: We've been waiting for how many episodes?

1002
00:46:18,880 --> 00:46:21,440
Speaker 5: Twenty ninety nine? Is this your first kiss?

1003
00:46:22,360 --> 00:46:23,240
Speaker 4: Billy and Allison?

1004
00:46:23,560 --> 00:46:25,920
Speaker 1: It was Andrews and my first kiss, which was awkward

1005
00:46:25,920 --> 00:46:27,919
Speaker 1: because we've been dating for about a year at this point.

1006
00:46:28,120 --> 00:46:30,040
Speaker 1: It really I really held him at bad.

1007
00:46:30,160 --> 00:46:32,120
Speaker 3: Yeah, it was difficult to sort of figure out how to.

1008
00:46:32,200 --> 00:46:37,480
Speaker 1: Yeah, I can tell, but I mean Bison, But I

1009
00:46:37,520 --> 00:46:39,920
Speaker 1: thought it was really so sweet.

1010
00:46:40,719 --> 00:46:44,080
Speaker 3: Yeah, it was really gratifying, like this. It was a

1011
00:46:44,200 --> 00:46:47,560
Speaker 3: good scene. I love finally have gotten to what we've

1012
00:46:47,560 --> 00:46:48,160
Speaker 3: been waiting for.

1013
00:46:48,400 --> 00:46:51,759
Speaker 2: Andrew really like loses himself in it and then you're

1014
00:46:51,800 --> 00:46:53,839
Speaker 2: like you pull away and you're looking up and then

1015
00:46:53,880 --> 00:46:56,160
Speaker 2: you're like good night, Billy.

1016
00:46:56,040 --> 00:46:57,879
Speaker 5: And I'm like, wow, oh poor guy.

1017
00:46:58,560 --> 00:47:02,360
Speaker 3: Yeah, she just yeah, she just decides that's it gonna

1018
00:47:02,400 --> 00:47:05,200
Speaker 3: and literally standing there looking totally flam mixed.

1019
00:47:06,520 --> 00:47:09,680
Speaker 1: I know, I know, the next episode better start with

1020
00:47:09,760 --> 00:47:14,000
Speaker 1: him just barging into her room, because better what was that?

1021
00:47:14,560 --> 00:47:16,160
Speaker 3: Yeah, let's try that again.

1022
00:47:16,400 --> 00:47:17,600
Speaker 1: Yeah, that.

1023
00:47:19,080 --> 00:47:21,080
Speaker 3: Was a great way to end this episode, and it

1024
00:47:21,280 --> 00:47:25,759
Speaker 3: really felt like a super fun Melrosian right.

1025
00:47:25,840 --> 00:47:27,640
Speaker 1: Yeah, like if people are watching it in groups, are

1026
00:47:27,680 --> 00:47:31,200
Speaker 1: screaming at that moment, right because it's like, finally, Yeah,

1027
00:47:31,520 --> 00:47:35,200
Speaker 1: really sweetly done. I like that she made the first move. Yeah,

1028
00:47:35,400 --> 00:47:38,839
Speaker 1: I thought that was really really well done. Well done writers.

1029
00:47:39,120 --> 00:47:41,319
Speaker 3: Yeah, So if you're going to jump in and watch

1030
00:47:41,360 --> 00:47:45,640
Speaker 3: an episode on Paramount for twenty nine one.

1031
00:47:45,560 --> 00:47:46,359
Speaker 4: Really is there.

1032
00:47:46,719 --> 00:47:49,520
Speaker 5: You have your betrayal and your affair, and you have

1033
00:47:49,680 --> 00:47:50,319
Speaker 5: your you know.

1034
00:47:50,520 --> 00:47:53,280
Speaker 1: Yeah, it's got sex and taxes, got.

1035
00:47:52,960 --> 00:47:56,760
Speaker 3: And taxis always good balance.

1036
00:47:56,960 --> 00:47:59,160
Speaker 2: You got crime, you know, trying to get away on

1037
00:47:59,200 --> 00:48:02,880
Speaker 2: your taxes. You got you got action with the SWAT team.

1038
00:48:03,280 --> 00:48:05,360
Speaker 4: It's totally damn packed. Yeah.

1039
00:48:05,680 --> 00:48:08,840
Speaker 6: Shirtless, lots of shirtless, every lots of shirtless, lots of.

1040
00:48:08,920 --> 00:48:13,120
Speaker 1: Yeah we should start with that. We've got Andrew shirtless shirtless.

1041
00:48:12,680 --> 00:48:15,239
Speaker 3: More than we are more than once. Yeah, so good

1042
00:48:15,480 --> 00:48:17,320
Speaker 3: Grant shirtless crawling on the floor.

1043
00:48:18,040 --> 00:48:22,120
Speaker 1: Yeah, and your shirtless and jeans. Hello, So ladies, this

1044
00:48:22,160 --> 00:48:22,600
Speaker 1: is the place.

1045
00:48:22,680 --> 00:48:24,160
Speaker 4: Yeah, this is a good one to jump in.

1046
00:48:24,600 --> 00:48:28,799
Speaker 3: Be honest, did you guys click and watch the next episode?

1047
00:48:28,840 --> 00:48:29,600
Speaker 5: Did it make you?

1048
00:48:29,760 --> 00:48:33,919
Speaker 3: Okay? But what I think to be true is that

1049
00:48:34,120 --> 00:48:36,160
Speaker 3: this is an episode that makes you like, oh, no,

1050
00:48:36,239 --> 00:48:38,400
Speaker 3: I need to tune into the next one, you know, totally.

1051
00:48:38,600 --> 00:48:42,640
Speaker 3: And I think that that is where melrose got, like

1052
00:48:42,920 --> 00:48:47,680
Speaker 3: really Melrosie, is that every episode would end with something

1053
00:48:47,680 --> 00:48:49,440
Speaker 3: that made you go, oh, I need to watch the

1054
00:48:49,480 --> 00:48:49,879
Speaker 3: next show.

1055
00:48:49,960 --> 00:48:52,680
Speaker 1: Well, now I have Jane discovering that Michael's having an affair.

1056
00:48:52,880 --> 00:48:58,000
Speaker 1: We have Million Allison getting together, we have Daphne and Grant.

1057
00:48:58,200 --> 00:48:59,239
Speaker 1: They're pretty much set up.

1058
00:49:00,920 --> 00:49:02,520
Speaker 5: We want more trouble, more Jake.

1059
00:49:02,800 --> 00:49:04,560
Speaker 1: They've got that, They've got the taxes back, and it'll

1060
00:49:04,600 --> 00:49:05,760
Speaker 1: be more exciting next episode.

1061
00:49:05,840 --> 00:49:07,760
Speaker 3: Yeah. Kind of weird that a couple of our regular

1062
00:49:07,840 --> 00:49:10,719
Speaker 3: characters didn't even appear, Like Ronda wasn't in it at all,

1063
00:49:10,880 --> 00:49:12,640
Speaker 3: Matt wasn't in it at all. It's just sort of

1064
00:49:12,640 --> 00:49:15,160
Speaker 3: an indication like it was really hard to figure out

1065
00:49:15,640 --> 00:49:18,160
Speaker 3: that many storylines, and so they really were leaning into

1066
00:49:18,200 --> 00:49:21,319
Speaker 3: the ones that they could see how to do this

1067
00:49:21,480 --> 00:49:25,000
Speaker 3: juicy thing, and like have this kind of cliffhangary moment

1068
00:49:25,200 --> 00:49:28,280
Speaker 3: at the end of every episode. And I'm looking forward

1069
00:49:28,320 --> 00:49:32,359
Speaker 3: to watching episode thirty. Yes, because I didn't.

1070
00:49:32,640 --> 00:49:32,959
Speaker 4: I didn't.

1071
00:49:33,239 --> 00:49:35,879
Speaker 3: I resisted the temptation to watch it.

1072
00:49:36,040 --> 00:49:40,480
Speaker 1: Now, good look forward to impressively strongly.

1073
00:49:40,560 --> 00:49:42,040
Speaker 3: We're really good at resisting disucation.

1074
00:49:42,880 --> 00:49:46,279
Speaker 1: Oh yeah, all right, guys, well I can't wait.

1075
00:49:46,320 --> 00:49:46,839
Speaker 5: I can't wait.

1076
00:49:46,920 --> 00:49:51,280
Speaker 3: All right, we'll see you say okay, bye bye.