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

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Speaker 2: And Daphne's Aniga an iHeartRadio podcast. So thanks for joining us. Everyone.

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Speaker 2: We're just discussing all the ins and outs and tech

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Speaker 2: of doing this podcast for the actors and how Lucy,

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Speaker 2: Laura's daughter, came on our press day and was like

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Speaker 2: whoo boom and like reels and stories and editinging and music.

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Speaker 2: It was amazing on her.

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Speaker 3: She can do all the things. And we're you know,

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Speaker 3: we're just figuring out as we go.

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Speaker 2: I get my pencil.

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Speaker 4: I mean, I've been asking Jack since he was eight

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Speaker 4: years old, how do I just handed my phone? Because

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Speaker 4: you know, when we were growing up, if you hit

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Speaker 4: the wrong button, everything went away. Yeah, right, like these

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Speaker 4: kids asked you, do you want to get rid of it?

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Speaker 4: Do you want to get rid of it? We didn't

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Speaker 4: have that. Do you remember hitting the wrong button and

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Speaker 4: everything you were writing was gone?

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Speaker 2: It was scary here. It was scary still is in

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Speaker 2: certain ways. I think we just it's just.

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Speaker 3: Well, we've just figured out zoom.

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Speaker 5: Although I'm realizing I need to keep my hands in

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Speaker 5: my lap because I still haven't turned off that setting

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Speaker 5: that makes me give you like fireworks and greens by accident.

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Speaker 5: So I'm just going to be here with the hands

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Speaker 5: of my lap today for this recap. Daphane's got our recap.

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Speaker 5: She's given us a rundown us. Heather Locklear's first appearance

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Speaker 5: in this episode we're recapping today.

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Speaker 2: Yeah. This is episode twenty one, season one, twenty.

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Speaker 3: One where Amanda Woodward appears.

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Speaker 2: It aired on January thirteenth, nineteen ninety three, and I

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Speaker 2: you know, we're having such a blast watching this. I

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Speaker 2: just want to encourage our listeners watch every single episode

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Speaker 2: on Paramount Plus and if you just want to watch

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Speaker 2: that and then listen to these comments. It's really fun

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Speaker 2: for us, isn't it.

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Speaker 3: It's a blast to watch the episode though.

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Speaker 4: It's fun, and this is a great time to join

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Speaker 4: in because the episodes are starting to pick up and

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Speaker 4: it's sort of becoming what Melro's Place became.

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Speaker 3: Let's good, right, can't wait?

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Speaker 2: You guys, thank you so picture imperfect. This is episodewe

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Speaker 2: one I'm trying to look here, directed by Nancy Malone.

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Speaker 2: So for those of you remember Nancy, she was a

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Speaker 2: child actress and a great director for us that came

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Speaker 2: on and did a few of.

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Speaker 1: These, and she kept everybody moving.

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Speaker 4: I know we'll get to usy go by ses, but

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Speaker 4: did you notice that, like sometimes it's just two people

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Speaker 4: sitting in a chair talking, there was movement in every scene.

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Speaker 1: We had props doing things we didn't normally do.

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Speaker 2: Oh so yeah, we were really encouraged to do that.

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Speaker 2: A lot of shows this, you know, our dramas just

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Speaker 2: kind of like really rely on the close up, the

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Speaker 2: close ups and over the shoulders and so you're acting

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Speaker 2: with kind of like your face. But she was very

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Speaker 2: used to I think you're right. I noticed that, you know,

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Speaker 2: encouraged like body movement and wider shots and things like that,

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Speaker 2: which was.

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Speaker 3: Yeah, use the room, cause the set.

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Speaker 2: And on that note, we started D and D advertising

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Speaker 2: and we are walking, Lucy and Allison are walking.

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Speaker 4: Did you notice I'm sorry to interject so quickly, but

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Speaker 4: I like there was a voice, a male voice over

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Speaker 4: it as we're coming into D and D and it says,

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Speaker 4: D and D may I help you?

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Speaker 1: And I was like, NW, why Alison at the receptionist desk?

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Speaker 1: And then we come into.

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Speaker 2: This scene and we figure out why she's pulled her

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Speaker 2: off the desk. So Lucy walks into office and Allison says,

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Speaker 2: is something wrong and Lucy says, nope, take a seat,

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Speaker 2: and she says that she had to let somebody go.

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Speaker 2: Toby callup. Allison's getting kind of worried, like, am I next?

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Speaker 2: And she says, I recommended you for the job assistant

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Speaker 2: account executive, which is a bit of a promotion. I guess, well, yes,

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Speaker 2: anything is from receptionist, right definitely. Lucy says, yeah, there's

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Speaker 2: room for opportunity. You won't be getting much more than

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Speaker 2: you're getting now, but it'll be really great. You're the

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Speaker 2: liaison between the creative and the client. And she's so

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Speaker 2: excited and she asks, oh boy, when do I start?

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Speaker 2: She goes right now, and she says, we've lost our

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Speaker 2: photographer for tomorrow's for the count of Maximum Advantage, which

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Speaker 2: is a men's underwear, and we need a replacement for

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Speaker 2: that photographer right now. So Lucy picks up the phone

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Speaker 2: and asks for Amanda Woodward, the director on the account.

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Speaker 1: You squeel when she said Amanda Woodward, I was.

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Speaker 2: Like, huh. I wasn't shocked because this is the most

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Speaker 2: casual entrance I think's.

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Speaker 5: Apparently already been at the company, right. We just haven't

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Speaker 5: met her yet, but she just in back office.

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Speaker 2: We didn't notice her. So it's like the most low

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Speaker 2: key entrance we've ever seen.

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Speaker 5: But Alison's like, yeah, I know who she is. All right,

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Speaker 5: yeah whatever here she comes.

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Speaker 2: Whatever weird. So she goes, I'll you know, Amanda, will

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Speaker 2: you come in, Amanda will fill you in on the

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Speaker 2: rest of the details. And Alison looks at Lucy, telling

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Speaker 2: Lucy that she's floored, and Allison says, I don't know

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Speaker 2: what to say, and Lucy says, don't let me down,

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Speaker 2: that's all.

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Speaker 4: But did you notice Like when when when I came

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Speaker 4: into the scene, I thought, God, that's kind of a

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Speaker 4: weird out. For like, I had this big white sweater

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Speaker 4: belted of her white skirt and it seemed kind of

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Speaker 4: frumpy and virginal. But then when Heather came in and

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Speaker 4: I was like, oh, she's got on a power suit, right,

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Speaker 4: I couldn't look more Midwest vulnerable And she comes in

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Speaker 4: in this like lavender power suit. I was like, oh,

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Speaker 4: with these big buttons, remember that, Like.

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Speaker 3: She they were setting that contrast.

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Speaker 4: They were setting that contrast because I thought Denise Wingetter

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Speaker 4: crossed and we didn't do anything without thinking about it,

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Speaker 4: and I was like, oh that's why.

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Speaker 3: Yeah, that was a great contrast.

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Speaker 2: So Amanda has come into the office. They've left Lucy's office,

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Speaker 2: and our next scene is they're walking in to the

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Speaker 2: offices where the general employees are and Alison is so

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Speaker 2: excited and she says, oh, I get my own office

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Speaker 2: and Amanda replies, yeah, it's more like your own veal

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Speaker 2: fattening pen. And she shows here her cube and she's like,

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Speaker 2: feel free to redecorate. I think she said. Alison go goes,

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Speaker 2: have you met this Rex Welden, this tennis star that

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Speaker 2: they're going to shoot for this campaign? And I've noticed

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Speaker 2: that there's pictures of him on the cubes there. I

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Speaker 2: guess she puts up whoever they're working on and he's

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Speaker 2: this cute guy and she goes, yeah, I've met him once.

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Speaker 2: And then Amanda says, you know, try not to dwell

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Speaker 2: on how adorable Rex is, because the last thing you

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Speaker 2: want to do is get with a client, and that

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Speaker 2: the account usually disappears when the relationship is over, which

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Speaker 2: is what happened to Toby Callow.

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Speaker 3: According to the R.

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Speaker 4: And do you remember, because I remembered that day I

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Speaker 4: was watching that scene and being really nervous about Heather

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Speaker 4: locked they were coming on.

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Speaker 1: She was a really big star.

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Speaker 4: And then I was looking at the first scenes and

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Speaker 4: just remembering how funny and humble and warm and lovely

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Speaker 4: she is.

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Speaker 1: Yes, how she immediately puts everybody at ease.

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Speaker 4: I just had that memory of, Oh, I remember her

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Speaker 4: coming and looking insanely gorgeous as always, but just so

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Speaker 4: down to earth and so lovely. And I had that

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Speaker 4: memory of, oh, how she put everybody at ease. Yeah,

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Speaker 4: her character joke, she's lovely to the crew.

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Speaker 1: I just had that memory of having her there the

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Speaker 1: first day and how wonderful it was.

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Speaker 5: Yeah, her character gets like more sort of powerful and

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Speaker 5: bossy as as it grows.

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Speaker 3: And as it goes on, but here her entrance, she's

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Speaker 3: just she.

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Speaker 5: Is so lovely and her smile just lights up her

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Speaker 5: face and she just comes off with so kind and

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Speaker 5: warm and appealing.

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Speaker 1: Yeah, it was fun to remember that day.

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Speaker 2: Yeah, nice, I totally agree. So before Amanda leaves, she

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Speaker 2: says she well, she's going to go look at some

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Speaker 2: more portfolios, but she says, you know, we got to

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Speaker 2: get on this thing. So she really introduces that there's

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Speaker 2: a time crunch that that Alison has her first gig.

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Speaker 2: It's like all this stuff, you're you're working now, you're

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Speaker 2: working on something that's happening tomorrow. And we have a

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Speaker 2: time crunch and here's Amanda and go and Alice's just like, well,

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Speaker 2: I'll be right here, you know, sitting at her desk.

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Speaker 2: She's so excited. She has a cubicle.

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Speaker 1: She loves it.

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Speaker 2: She loves it. So the next scene is that shooters

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Speaker 2: and we have a really cool high shot looking down

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Speaker 2: on the group. Yeah, were you thinking, I'm thinking, you know,

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Speaker 2: Nancy's you know, creativity. She's like, okay, how do you

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Speaker 2: get the message across At everyone's cheerings, they were all

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Speaker 2: cheerings of your promotion, toasting your promotion. So Billy says, well,

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Speaker 2: cheers on your brilliant new career. Dreams do come true

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Speaker 2: and he kisses you on the cheek and everyone else disappears,

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Speaker 2: and Alison and Billy sit together at the bar and

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Speaker 2: Billy's like, well, you won't need a roommate anymore now

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Speaker 2: that you're making the big box and she's like, yeah,

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Speaker 2: it's fifty dollars extra month. You want to calculate that.

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Speaker 2: Courtney in today's buddy. Let's just get it's probably the same.

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Speaker 1: It's just two hundred, right.

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Speaker 3: In any case, Billy's not going anywhere.

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Speaker 1: Yeah, Billy's not going anywhere.

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Speaker 2: So he says, well, I'm really proud of you. And

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Speaker 2: then Michael comes over and pulls Billy aside and to

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Speaker 2: go play pool. And then Joe comes in and takes

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Speaker 2: his seat and is prepared to chat with you. But

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Speaker 2: over at the pool table Michael and Billy, Michael asked, Billy,

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Speaker 2: are you seeing anyone? And Michael says, I think I

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Speaker 2: have someone to set you up with as he's playing pool,

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Speaker 2: and Billy's like, well, who is she? Well, her name

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Speaker 2: is Lydia Perkins and she's a nurse at the hospital.

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Speaker 2: Very sweet and he's like sweet, Well, which famous person

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Speaker 2: does she look like?

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Speaker 3: Yeah? He wants to know more. Sweet maybe not be

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Speaker 3: enough of a description.

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Speaker 4: I remember like blind, d you know you would always

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Speaker 4: get a picture of somebody right, like then you were

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Speaker 4: really blind, Like people didn't have a saywater, You couldn't

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Speaker 4: say let me take a picture for your date.

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Speaker 1: You just said to believe the person you were talking to, or.

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Speaker 2: You couldn't just say what's her name again? And then

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Speaker 2: look it up all ye, he's getting the name out

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Speaker 2: of his mind. He so, you know, who does he

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Speaker 2: look like? And he Michael says, oh, Cindy Crawford and

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Speaker 2: he's like really and he's like, no, she looks like

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Speaker 2: herself and she's great. And he goes, well, suspiciously, why

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Speaker 2: can't you get a real date? And he sinks the

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Speaker 2: ball and says, well why can't you? And he's like damn,

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Speaker 2: and which is a good question. Why can't he?

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Speaker 1: Because well, because he's in love with Alison. Are you

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Speaker 1: guys not watching the show?

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Speaker 3: He's trying everything to avoid the truth.

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Speaker 1: Yeah, yes, he can't yeh yes.

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Speaker 2: So we're back at the bar where Joe has come

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Speaker 2: in and she's sitting there drinking her white wine and

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Speaker 2: and moaning about unemployment. And Alison says, well, you know,

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Speaker 2: I was hoping that the receptions job would lead to something,

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Speaker 2: but you know, here it is, and you might want

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Speaker 2: to show me some of your photography. I might want

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Speaker 2: us because I could maybe help you. And she's like, really,

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Speaker 2: that would be amazing. You know, people are afraid of

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Speaker 2: trying something new. Everyone wants to do the same old thing.

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Speaker 2: Alison tells Joe that she would like to help her

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Speaker 2: if she can, and she goes, well, come on over,

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Speaker 2: look at my photographs. We cut right to the apartment.

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Speaker 2: So this is the one where the portfolio where we

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Speaker 2: start close and we pull back on these guys playing

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Speaker 2: volleyball on the beach, and then Alison's wow, your photography

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Speaker 2: is so cool. These are great. Did you get anyone

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Speaker 2: any of their numbers? And Joe's like, yeah, no, a few.

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Speaker 2: But then she's like, no, I'm not looking for numbers.

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Speaker 2: My hands are full with Jake and the last thing

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Speaker 2: I need is to pick up guys at the beach.

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Speaker 2: And Alison says, well, what's going on with you and Jake? Well,

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Speaker 2: and it's slow, you know, it's hard, but I know

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Speaker 2: it's best for me. And Allison's like, in this one take,

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Speaker 2: Jake is a really great guide, Joe, and you're good

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Speaker 2: for him. I can tell. And she's like really anyway,

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Speaker 2: Then she keeps looking at the photos and she sees

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Speaker 2: some very avant garde black and white ones. Wow, these

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Speaker 2: are cool, and there were ones that she took in

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Speaker 2: New York for some magazine and she's like, wow, I'm

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Speaker 2: going to bring these into the office. Because they're great.

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Speaker 2: Then we're in D and D advertising and now Amanda's

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Speaker 2: looking through Joe's portfolio and she's like, Wow, did you

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Speaker 2: guys think these photos were really great? Because like everyone

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Speaker 2: is bowled over and I'm just asking you as audience members,

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Speaker 2: were they really great? Like they didn't really stand out

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Speaker 2: to me?

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Speaker 5: I know, yeah, I think it's probably pretty hard to

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Speaker 5: get to the punchline of this story, right. The punchline

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Speaker 5: is that Joe's going to want to do something a

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Speaker 5: little different, And how do you say that in this

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Speaker 5: first part with just her photographs, Like this is how

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Speaker 5: Joe is artistic and different, right, I mean I think.

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Speaker 2: That's great, Like they're emphasizing how great these are.

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Speaker 3: She's fantastic.

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Speaker 5: Well, and also they're desperate they need to hire a

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Speaker 5: photographer immediately, and Alison has presented.

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Speaker 3: Them with their solution. Right, here's this woman.

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Speaker 5: She's available tomorrow and her photographs aren't true right there.

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Speaker 5: It's not that they're like greater than ten other people

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Speaker 5: that are options for tomorrow. It's like Joe is available

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Speaker 5: tomorrow and her photography is great.

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Speaker 2: Yeah yeah, yeah yeah. And also it's an advertising D

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Speaker 2: and D is for advertising so they're usually very basic,

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Speaker 2: straightforward commercials that are showing a product period, good lighting,

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Speaker 2: show the product, and you know, that's what they're used to,

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Speaker 2: and these are kind of different, some of them more creative.

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Speaker 2: So Amanda is going, wow, I love these. Who's her agent?

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Speaker 2: And she's like, well, you know, she doesn't have one

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Speaker 2: And Amanda's I thought that.

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Speaker 4: Was a good cover, Alison, she doesn't have one out

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Speaker 4: here yet.

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Speaker 1: Ah, yeah, pretty good in the moment qualifying it, Yeah,

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Speaker 1: uh huh.

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Speaker 2: He's an ally, She's very good, okay, And Amanda says, wow,

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Speaker 2: this might be the lucky break that we need. So

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Speaker 2: I'm going to show this stuff to Lucy. And then

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Speaker 2: Amanda asked her do you want to come along? And

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Speaker 2: she's like yes, And then we cut to Lucy walking

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Speaker 2: down the hallway and looking at Joe's photos and she's like, wow,

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Speaker 2: these are great. They're so dynamic. What do you think, Alison?

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Speaker 3: Did you see Alison is sort of like hurrying.

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Speaker 2: To keep up.

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Speaker 3: Did you notice the way you were walking?

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Speaker 5: Is like Lucy's walking very confidently striding down the hall

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Speaker 5: and here comes Amanda. She's very confidently striding, but like

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Speaker 5: Alison had this like little.

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Speaker 3: Scurry like she was hurrying to keep up.

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Speaker 2: It was very mud so creat So she but she's

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Speaker 2: a good mentor. She's asking you, you know, what do

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Speaker 2: you think? And Alison says, well, I think that we

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Speaker 2: should give her a shot. And Amanda reminds Lucy that

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Speaker 2: the clock is ticking, so boom, take her in my

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Speaker 2: office this afternoon.

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Speaker 1: What could possibly go wrong?

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Speaker 3: This is gonna be great.

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Speaker 2: It's gonna be great. We are in the kitchen of

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Speaker 2: a restaurant and Terrence and Ronda are there tasting pastries,

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Speaker 2: and Ronda's like, oh, these are better than sex?

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Speaker 1: Can you think? Oh? Tell you, at least it is

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Speaker 1: better than sex with you.

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Speaker 2: Well, then, Terrence, do you remember Terrence goes tastes it

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Speaker 2: and goes almost like correcting her.

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Speaker 1: Yeah.

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Speaker 2: Well, but then Terrence says that Nancy is a gifted

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Speaker 2: pastry chef and wants her to make the cake for

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Speaker 2: the wedding. So I thought this right when I saw this.

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Speaker 2: Do you remember the star celebrity chef of the nineties, Nancy.

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Speaker 2: Nancy Silverton was huge. She gave us the restaurants of

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Speaker 2: Campanilely and you know, most Son stuff. But she created

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Speaker 2: Ray Bakery.

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Speaker 5: Which they made this character Nancy the chef carrecs Nancy,

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Speaker 5: and I looked at it was an extra.

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Speaker 2: She didn't have a line or anything, but I looked

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Speaker 2: and she looked like Nancy Silverton. And you know, Darren

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Speaker 2: wrote this, and Darren's into all that stuff and food

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Speaker 2: and stuff, so I thought that was almost a cameo.

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Speaker 2: But it's a nod to yeah, yeah, yeah, to LA's

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Speaker 2: like new celebrity chef, and and that Terrence can afford

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Speaker 2: her and wants He's on the top of the pulse

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Speaker 2: of everything, you know, making this a great wedding. So

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Speaker 2: we're going to have her make the cake. And Ron

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Speaker 2: is like, well, my mom wanted to make the cake.

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Speaker 2: Is a part of her gift. And Terrence is like

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Speaker 2: for two hundred people.

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Speaker 3: He mocks her. He like laughs at that, like.

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Speaker 2: Guffaw, like yeah, yeah, no ways, little tremors are kind

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Speaker 2: of like and here's another one. Rond is like, two

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Speaker 2: hundred people, I wanted to have an intimate wedding.

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Speaker 4: Well, but last remember, I think episode before last, she's

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Speaker 4: talking to Matt and saying that it was a hundred

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Speaker 4: maybe we need one hundred and fifty. So then she

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Speaker 4: was getting into the big wedding member.

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Speaker 3: Yeah, now it's two hundred. It's even more than last week.

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Speaker 5: And she's like, wait, we wait, and like, wait, my

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Speaker 5: mom wanted to make the cake and yeah, yeah.

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Speaker 4: Even if her mom was making it for one hundred

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Speaker 4: and fifty, that's also a lot of people.

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Speaker 1: So a lot.

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Speaker 2: Yeah, that's a lot of we're seeing there. There's a

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Speaker 2: lot of different ideas, you know, and uh yeah, so

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Speaker 2: you know, she's like, and then he comes back with, well,

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Speaker 2: this is I want the wedding to be about us, ironically,

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Speaker 2: not what our parents think it should be. And that's

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Speaker 2: kind of like said with irony, I thought, because he's

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Speaker 2: controlling anyway, She's like, okay, you're right. It gives him

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Speaker 2: a big kiss. I don't know, we'll see what's happening there. Okay,

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Speaker 2: So now we're back in D and D and Lucy

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Speaker 2: walks into the office with Alison and Amanda.

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Speaker 4: Walking behind her like ducks, are you still in.

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Speaker 1: The back waddling along?

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Speaker 2: Well, Alison, keep up this new career. And he walks

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Speaker 2: in and he introduces them to Rex Weldon, our hotty

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Speaker 2: tennis star played by Mitchell Anderson, who did a lot

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Speaker 2: of stuff and I recently saw him a year or

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Speaker 2: two ago and one man played that he wrote and started.

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Speaker 4: Really he's I had this visceral reaction to him because

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Speaker 4: he was such a nice man. Yeah, he came like,

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Speaker 4: oh I remember him. I remember having really nice, long

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Speaker 4: conversations with him. What a nice man.

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Speaker 2: Yeah, and very smart and a real artist, you know.

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Speaker 2: And he was one of the people that Doug mentioned,

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Speaker 2: do you remember that, Laura?

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Speaker 5: And he went on to do another show in the

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Speaker 5: nineties called Party of Five, and yeah, he's done a

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Speaker 5: ton of stuff.

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Speaker 2: So he's there. Lucy pulls Arnold, his boss basically aside

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Speaker 2: and manager first clients. Yeah, we have a whole new

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Speaker 2: we have a hot new photographer and we're you know,

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Speaker 2: meeting them this afternoon and he's like, oh, what's the

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Speaker 2: name Joe Reynolds, And Arnold's like, oh, I think I've

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Speaker 2: heard of her.

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Speaker 3: That great line, just wanting to want to be I

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Speaker 3: know everything.

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Speaker 1: I've heard of him for sure.

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Speaker 2: Totally. He's the suit basically, and Rex in the meantime

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Speaker 2: is in the background if you notice, like totally hitting

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Speaker 2: hard on Alison, Like no moment there, he's on it.

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Speaker 2: They're talking and he's like, so you're the one scheduled

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Speaker 2: to babysit to shoot tomorrow. Huh. And he says, I'm

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Speaker 2: staying in this hotel in Century City and I'm just

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Speaker 2: going to die of boredom if you please don't show

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Speaker 2: me take me somewhere tonight. And she's like, I don't know,

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Speaker 2: and he's like, come on, name the place, Alison, I'm yours.

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Speaker 2: I mean, he's really showing who he is and making

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Speaker 2: her feel uncomfortable already. I mean, that was a little

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Speaker 2: I don't barking up the wrong tree with Alison. So

390
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Speaker 2: then we cut to Shooters and he's still hitting on Alison.

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Speaker 2: They're sitting at the table, agreed.

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Speaker 3: To take him out, and so Shooters, it is this is.

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Speaker 2: Her La, her home.

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Speaker 4: When you're making someone out a cool person out to

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Speaker 4: a night spot Shooters which.

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Speaker 1: Apparently the only bar in.

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Speaker 3: La Shooters, because everyone's going to be there.

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Speaker 2: You watched the only spot that Alison knows that this

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Speaker 2: gang knows. It's so funny. He was thinking like clubs

400
00:19:11,880 --> 00:19:13,280
Speaker 2: downtown and like this.

401
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Speaker 1: And that, and do you remember when the studio we

402
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Speaker 1: got Shooters glasses love those Shooters. So recently, wow, so recently.

403
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Speaker 2: You gave them away.

404
00:19:24,000 --> 00:19:27,639
Speaker 3: I think my sister in law has some somebody wanted him. Yeah,

405
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Speaker 3: they're cute, little drinking glass tumbler.

406
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Speaker 2: That was cute. So he's sitting there hitting on Alison

407
00:19:34,400 --> 00:19:37,440
Speaker 2: and you know, ha, did someone so young and beautiful

408
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Speaker 2: as her ended up end up as a high powered

409
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Speaker 2: at EXAC? Oh I'm not high powered, she says. Rex

410
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Speaker 2: tells Alison, well, you're the one who should be modeling

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Speaker 2: the underwear. I mean this would not go today.

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Speaker 1: Very flirty, very flirty with Alison.

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Speaker 2: Yeah, and she's like oh. She keeps looking off and

414
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Speaker 2: laughing at it off and he's like, well we could

415
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Speaker 2: do it together, and very inappropriate, annoying stuff. And then

416
00:20:06,480 --> 00:20:10,159
Speaker 2: she waves to the waitress and she puts the credit

417
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Speaker 2: card down. Look how official she is.

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Speaker 3: She knows that the calling it is supposed to pay.

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Speaker 2: I'll get this. So and he's like, what are you doing.

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Speaker 2: It's only seven thirty. Come on, let me take you

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Speaker 2: out to dinner. The guy's relentless.

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Speaker 4: And I got to say today, at this point in

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Speaker 4: my life, I'd like to be in my pajamas by

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Speaker 4: seven thirty. So I'm with Alison, I'm like, why am

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Speaker 4: I still dressed?

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Speaker 1: What is happening. Why am I in real pain?

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Speaker 5: Well, she was time to call it a night with

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Speaker 5: this guy, like, let's call this when at seven thirty.

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Speaker 2: But Courtney's I feel you at court It's like, anybody,

430
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Speaker 2: I'm glad I got that done when I was younger

431
00:20:47,800 --> 00:20:50,760
Speaker 2: in the eighties exactly, nothing happening now. He's like, it's

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Speaker 2: only seven thirty, and she's like, but you know, I

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Speaker 2: want to keep this professional, which is what Amanda advised.

434
00:20:55,840 --> 00:20:57,520
Speaker 2: He puts his hand on her and says, well, this

435
00:20:57,560 --> 00:20:59,879
Speaker 2: doesn't look like the office. I mean, this guy is.

436
00:21:00,240 --> 00:21:02,719
Speaker 2: It's so funny. It's always like the really nice actor

437
00:21:03,359 --> 00:21:06,320
Speaker 2: you know who's playing these these really Yeah. Yeah, So

438
00:21:06,359 --> 00:21:08,840
Speaker 2: we cut from there where you get out of that situation,

439
00:21:08,920 --> 00:21:11,320
Speaker 2: I guess, and we are right back in Billy and

440
00:21:11,320 --> 00:21:14,200
Speaker 2: Allison's apartment and you are laying in the same clothes

441
00:21:14,240 --> 00:21:15,320
Speaker 2: on the couch going on.

442
00:21:15,640 --> 00:21:17,560
Speaker 4: That's what I was talking about, like Nancy Malone, like

443
00:21:17,600 --> 00:21:19,800
Speaker 4: we're not just sitting at a table, like I'm laying

444
00:21:19,800 --> 00:21:22,119
Speaker 4: on the couch talking to the ceiling. He's moving around

445
00:21:22,119 --> 00:21:24,600
Speaker 4: the apartment. It really is so well directed.

446
00:21:24,760 --> 00:21:28,160
Speaker 3: Yeah, interesting staging and tells the story really well.

447
00:21:28,240 --> 00:21:31,000
Speaker 2: I love kind of you sort of paralleled like you're

448
00:21:31,040 --> 00:21:33,639
Speaker 2: at your therapist's office. I thought, like, you're all that's

449
00:21:33,680 --> 00:21:36,480
Speaker 2: good daring off and and of course Billy is your

450
00:21:36,640 --> 00:21:41,199
Speaker 2: your therapist. We've we've established the past. And you know,

451
00:21:41,520 --> 00:21:43,960
Speaker 2: you're going on and on not about what a jerky was,

452
00:21:44,000 --> 00:21:46,320
Speaker 2: but how you didn't go out. You're like complaining, like

453
00:21:46,359 --> 00:21:48,320
Speaker 2: why did I go out with him? Any woman would

454
00:21:48,400 --> 00:21:52,080
Speaker 2: go out with Rex Weldon? And he's getting ready and

455
00:21:52,160 --> 00:21:56,360
Speaker 2: she doesn't notice she's going on and on, and he's like, oh,

456
00:21:56,359 --> 00:21:59,640
Speaker 2: you're being over dramatic. Come on, no, women don't say

457
00:21:59,720 --> 00:22:04,920
Speaker 2: men don't say no to men like that. And he's like, well,

458
00:22:04,920 --> 00:22:06,920
Speaker 2: you showed no willpower and she's like, no, it was

459
00:22:06,960 --> 00:22:12,360
Speaker 2: a coward back and forth. At one point here he

460
00:22:12,520 --> 00:22:15,080
Speaker 2: chooses to pull the chair right up and puts his

461
00:22:15,119 --> 00:22:17,159
Speaker 2: foot up on right next to her head and starts

462
00:22:17,160 --> 00:22:21,720
Speaker 2: tying his shoe and uh, and he's saying, look, you know,

463
00:22:22,359 --> 00:22:25,159
Speaker 2: this is your first big chance at your job and

464
00:22:25,240 --> 00:22:26,880
Speaker 2: you just don't want to blow it, which I think

465
00:22:27,080 --> 00:22:31,320
Speaker 2: is obviously great advice. And then he gets up to

466
00:22:31,440 --> 00:22:34,080
Speaker 2: leave and she jumps up, where are you going? And

467
00:22:34,119 --> 00:22:36,840
Speaker 2: he goes on a blind date and I think then

468
00:22:36,880 --> 00:22:39,520
Speaker 2: she like moves in on him and she's all coquettish

469
00:22:39,560 --> 00:22:42,480
Speaker 2: and she starts adjusting his hair and his collar and like.

470
00:22:42,520 --> 00:22:47,680
Speaker 4: Oh, I didn't see coquettish. You didn't I saw, audience member,

471
00:22:47,880 --> 00:22:49,520
Speaker 4: I was like, shut up and kiss him. But I

472
00:22:49,640 --> 00:22:50,879
Speaker 4: think that as the character.

473
00:22:51,000 --> 00:22:52,359
Speaker 2: She just she's so close.

474
00:22:52,680 --> 00:22:54,440
Speaker 1: She's like, let me straighten your tie. How fun on

475
00:22:54,480 --> 00:22:54,800
Speaker 1: your date?

476
00:22:55,400 --> 00:22:57,520
Speaker 3: Plus, like he said to her in this scene that

477
00:22:57,880 --> 00:22:59,959
Speaker 3: you know, she says, why am I so right?

478
00:23:00,200 --> 00:23:02,639
Speaker 5: Just le principled, and Billy says, well, some of that

479
00:23:03,000 --> 00:23:06,119
Speaker 5: some of us like that about you, which is so sweet,

480
00:23:06,240 --> 00:23:09,480
Speaker 5: like oh sweet actually saying I like these qualities about you.

481
00:23:10,119 --> 00:23:12,880
Speaker 5: And then she's also returning it. When he's going out

482
00:23:12,920 --> 00:23:15,360
Speaker 5: on a date. She's like, go have fun, and she's

483
00:23:15,400 --> 00:23:20,000
Speaker 5: like they're supporting each other and they're like you know, Safey, yeah,

484
00:23:20,280 --> 00:23:22,440
Speaker 5: Like he's he's choosing to go on a date and

485
00:23:22,440 --> 00:23:24,600
Speaker 5: instead of going you shouldn't be doing that. She's like, Okay,

486
00:23:24,680 --> 00:23:27,560
Speaker 5: go have fun, you know, go for it, don't don't

487
00:23:27,600 --> 00:23:29,639
Speaker 5: make the mistake I did, you know, just go for

488
00:23:29,760 --> 00:23:30,240
Speaker 5: it or whatever.

489
00:23:30,320 --> 00:23:32,600
Speaker 2: Exactly. They're just being so.

490
00:23:32,880 --> 00:23:34,960
Speaker 3: Good to each other and the audience is going, just

491
00:23:35,480 --> 00:23:35,920
Speaker 3: look at.

492
00:23:35,800 --> 00:23:39,280
Speaker 1: Each other and see the love of God right there

493
00:23:39,480 --> 00:23:40,080
Speaker 1: in front of you.

494
00:23:41,359 --> 00:23:43,440
Speaker 2: But you know what I thought she heard last line.

495
00:23:43,560 --> 00:23:46,960
Speaker 2: I thought was kind of minimized what he was doing

496
00:23:47,080 --> 00:23:50,040
Speaker 2: because she's jealous, because she's also in love with him,

497
00:23:50,160 --> 00:23:51,119
Speaker 2: but won't admit it.

498
00:23:51,200 --> 00:23:54,440
Speaker 4: She'll tell me I play, I remember this exactly thirty

499
00:23:54,520 --> 00:23:56,400
Speaker 4: years ago, and I remember, No, I don't.

500
00:23:56,560 --> 00:23:57,080
Speaker 3: But I didn't.

501
00:23:59,359 --> 00:23:59,720
Speaker 2: I don't.

502
00:24:00,040 --> 00:24:02,800
Speaker 1: I had that complicated a thought at the well, the

503
00:24:02,920 --> 00:24:05,040
Speaker 1: line I love that you're putting that in there. That's good,

504
00:24:05,080 --> 00:24:05,320
Speaker 1: thank you.

505
00:24:06,000 --> 00:24:08,320
Speaker 2: Well the line was that you say to Billy is

506
00:24:08,880 --> 00:24:12,080
Speaker 2: look at you Billy's great adventure? Do you remember that?

507
00:24:14,240 --> 00:24:14,440
Speaker 1: Yes?

508
00:24:14,800 --> 00:24:18,080
Speaker 2: And he's like And to me, it just felt like

509
00:24:18,880 --> 00:24:21,359
Speaker 2: kind of Billy's great adventure, like that kind of like

510
00:24:21,480 --> 00:24:23,119
Speaker 2: minimize it, does it in a way that she can

511
00:24:23,200 --> 00:24:24,840
Speaker 2: handle it. I don't know. I just felt like it

512
00:24:25,000 --> 00:24:27,240
Speaker 2: was a little and minimizing.

513
00:24:27,560 --> 00:24:29,200
Speaker 1: Oh that's funny. I didn't read it that way. And

514
00:24:29,240 --> 00:24:31,040
Speaker 1: I thought she was saying, like, go for it, because

515
00:24:31,080 --> 00:24:31,480
Speaker 1: I didn't.

516
00:24:31,880 --> 00:24:34,000
Speaker 4: Yeah, right, I didn't go for it. With Rex Wolden's

517
00:24:34,000 --> 00:24:35,800
Speaker 4: great name, by the way, I didn't go.

518
00:24:35,800 --> 00:24:37,000
Speaker 1: For it, but you should go for it.

519
00:24:37,640 --> 00:24:39,800
Speaker 2: Yeah she did. And then she said that other one.

520
00:24:39,880 --> 00:24:42,359
Speaker 2: But at any rate, I'm very sensitive to these things.

521
00:24:43,600 --> 00:24:48,000
Speaker 2: So cut to exterior of a big high rise apartment

522
00:24:48,240 --> 00:24:51,040
Speaker 2: and then we cut into the apartment hallway and he's

523
00:24:51,080 --> 00:24:54,399
Speaker 2: looking for a door and then he knocks. Then Lydia

524
00:24:54,560 --> 00:24:57,600
Speaker 2: opens the door and waves him into her apartment.

525
00:24:57,840 --> 00:25:01,840
Speaker 4: And we're supposed to think something, but you know, it's

526
00:25:01,920 --> 00:25:04,240
Speaker 4: like this this moment they freeze on him, and I think,

527
00:25:04,680 --> 00:25:05,920
Speaker 4: I don't know what the moment is.

528
00:25:06,320 --> 00:25:09,000
Speaker 1: Well, I think he was like drammatically one way or another.

529
00:25:09,760 --> 00:25:12,159
Speaker 3: I think it was like this blind the blind element

530
00:25:12,320 --> 00:25:15,119
Speaker 3: right the door reveals what he's been waiting to seize.

531
00:25:15,160 --> 00:25:16,679
Speaker 3: What does she look like? Does she look like.

532
00:25:16,720 --> 00:25:19,160
Speaker 5: Cindy Crawford, whatever, And it's like what is he expecting?

533
00:25:19,240 --> 00:25:21,119
Speaker 5: And he sort of takes this moment to assess her.

534
00:25:21,440 --> 00:25:24,640
Speaker 5: She's cute and maybe just not what he was expecting

535
00:25:24,760 --> 00:25:27,119
Speaker 5: or whatever. But I think that that seemed to be

536
00:25:27,240 --> 00:25:31,320
Speaker 5: the look that I was noting. Is like he's seeing

537
00:25:31,359 --> 00:25:33,920
Speaker 5: her for the first time on this blind date and

538
00:25:34,280 --> 00:25:37,040
Speaker 5: decided that's maybe not what I was expecting or whatever,

539
00:25:37,160 --> 00:25:40,119
Speaker 5: but like she's perfectly cute and whatever, and she invites

540
00:25:40,200 --> 00:25:41,760
Speaker 5: him in and he's like, all right, we're doing this,

541
00:25:41,920 --> 00:25:45,080
Speaker 5: and he, you know, steps in going Okay, let's see

542
00:25:45,080 --> 00:25:45,760
Speaker 5: what this is going to be.

543
00:25:46,040 --> 00:25:48,040
Speaker 2: Yeah, I think that, but I think they did make

544
00:25:48,119 --> 00:25:51,960
Speaker 2: a definite decision because they put her on pearls. She

545
00:25:52,240 --> 00:25:54,800
Speaker 2: has short, curly hair with pearls and a lace collar.

546
00:25:55,359 --> 00:25:58,520
Speaker 2: And he was promised, even jokingly Cindy Crawford. So they

547
00:25:58,560 --> 00:26:01,600
Speaker 2: went totally opposite on per like you're supposed to. Yeah,

548
00:26:01,640 --> 00:26:04,840
Speaker 2: like you said, she's cute, but not Melrose plays high,

549
00:26:04,920 --> 00:26:05,439
Speaker 2: you know what I mean.

550
00:26:05,480 --> 00:26:08,199
Speaker 5: And it's his expectation, right, he doesn't know what it's

551
00:26:08,280 --> 00:26:10,200
Speaker 5: like what We don't know what he was expecting either,

552
00:26:10,280 --> 00:26:12,960
Speaker 5: because he's just entering something blind and so the door

553
00:26:13,000 --> 00:26:13,919
Speaker 5: opening is the reveal.

554
00:26:14,040 --> 00:26:16,800
Speaker 3: So like they just had this moment of like, this

555
00:26:16,960 --> 00:26:18,480
Speaker 3: is who you're dating tonight, you know.

556
00:26:18,760 --> 00:26:21,680
Speaker 2: Yeah, that whole blind date thing. Yeah, and the next

557
00:26:21,720 --> 00:26:23,440
Speaker 2: scene is really cute. I thought it was one of

558
00:26:23,520 --> 00:26:25,680
Speaker 2: those like a Nancy Malone it was. It was to me.

559
00:26:25,800 --> 00:26:28,760
Speaker 2: It seemed like a real comedy, a lot of physical

560
00:26:28,840 --> 00:26:31,040
Speaker 2: comedy in it. You see, we're in our Japanese restaurant.

561
00:26:31,119 --> 00:26:33,920
Speaker 2: Billy and Lydia are sitting side by side, so they're

562
00:26:33,960 --> 00:26:37,240
Speaker 2: facing the camera and they're eating dinner and he opens

563
00:26:37,320 --> 00:26:40,640
Speaker 2: up by him saying soccer and writing, you know, writing

564
00:26:40,720 --> 00:26:46,520
Speaker 2: in soccer, like the most unscintillating conversation into and she says, oh,

565
00:26:47,480 --> 00:26:49,119
Speaker 2: postmodern dance or something.

566
00:26:49,600 --> 00:26:51,800
Speaker 3: Watching it, yeah, yes, I don't do it.

567
00:26:51,840 --> 00:26:52,280
Speaker 1: I watched it.

568
00:26:52,359 --> 00:26:54,399
Speaker 4: And you notice she had chopsticks and she was you

569
00:26:54,440 --> 00:26:56,359
Speaker 4: had one any chance she was stabbing her food. It

570
00:26:56,400 --> 00:26:59,720
Speaker 4: was really cute, completely cool, really funny, really cute.

571
00:27:00,040 --> 00:27:02,480
Speaker 2: Yeah. I thought it was really great, Like I could

572
00:27:02,760 --> 00:27:05,919
Speaker 2: just the banter. It was just a really great scene.

573
00:27:06,560 --> 00:27:09,520
Speaker 2: And they are they played it so well, do me

574
00:27:09,640 --> 00:27:12,719
Speaker 2: not miserable, Like it didn't bring you down, like so uncomfortable.

575
00:27:12,840 --> 00:27:15,520
Speaker 2: But it was uncomfortable but funny at the same time.

576
00:27:15,600 --> 00:27:18,840
Speaker 5: Because they're not matching and he's you know, she's quirky,

577
00:27:19,040 --> 00:27:21,399
Speaker 5: and she's you know, just sort of funny, and the

578
00:27:21,720 --> 00:27:24,720
Speaker 5: funny physicality of the scene of the awkwardnesses, I.

579
00:27:24,760 --> 00:27:26,639
Speaker 2: Mean, and then they try it, but they're trying, right

580
00:27:26,760 --> 00:27:29,280
Speaker 2: then they're acknowledging that they're trying, like he's like, you know, well,

581
00:27:29,320 --> 00:27:31,320
Speaker 2: what else do you like to do? And then suddenly

582
00:27:32,040 --> 00:27:34,640
Speaker 2: and she's poking her food like you said, But then

583
00:27:34,720 --> 00:27:36,919
Speaker 2: she like can't even lift the damn thing. But then

584
00:27:37,000 --> 00:27:39,920
Speaker 2: two drinks come in, big fruity drinks right in front

585
00:27:39,960 --> 00:27:43,399
Speaker 2: of their faces, and they're like, oh okay, and they

586
00:27:43,520 --> 00:27:48,680
Speaker 2: toast that and say to blind dates, and Billy just

587
00:27:48,720 --> 00:27:49,480
Speaker 2: looks off camera.

588
00:27:49,640 --> 00:27:55,080
Speaker 3: He's like, okay, is this gonna be over? Yeah?

589
00:27:56,040 --> 00:27:58,760
Speaker 2: So maybe in Malro's minute, we'll talk about if anyone

590
00:27:58,840 --> 00:28:01,560
Speaker 2: had any bad blind days. Blind dates worked out.

591
00:28:01,440 --> 00:28:06,840
Speaker 3: Well for me, since that's so much to cover, But

592
00:28:06,920 --> 00:28:07,680
Speaker 3: we don't have time.

593
00:28:08,080 --> 00:28:09,760
Speaker 1: If you're writing, we don't have time right now. We

594
00:28:09,800 --> 00:28:10,600
Speaker 1: don't have to talk right now.

595
00:28:15,880 --> 00:28:19,080
Speaker 2: The next day, in Allison and Billy's apartment, Allison is

596
00:28:19,119 --> 00:28:22,399
Speaker 2: there and then Billy walks in and she's really nervous.

597
00:28:22,440 --> 00:28:24,320
Speaker 2: She's like, oh my god, I keep having these nightmares.

598
00:28:24,359 --> 00:28:26,200
Speaker 2: It's about this photo shoot. It's going wrong.

599
00:28:26,359 --> 00:28:28,520
Speaker 1: Allison is completely worked up.

600
00:28:28,680 --> 00:28:30,680
Speaker 4: I was just like, this is where you had a

601
00:28:30,720 --> 00:28:33,000
Speaker 4: couple of scenes like this. I go, I wish I'd

602
00:28:33,040 --> 00:28:35,639
Speaker 4: knew enough to find some layers. Like just from beginning

603
00:28:35,680 --> 00:28:39,120
Speaker 4: to end of this scene, it was like everything he

604
00:28:39,240 --> 00:28:42,480
Speaker 4: says upsets me, like one to ten, I'm at a

605
00:28:42,600 --> 00:28:44,000
Speaker 4: ninth the entire scene.

606
00:28:44,120 --> 00:28:48,240
Speaker 3: I stressed out about this new position, her promotion.

607
00:28:48,240 --> 00:28:50,360
Speaker 1: Because you thought you could be fine played the one note.

608
00:28:50,400 --> 00:28:52,400
Speaker 1: I'm like, here's my note in the scene stress you.

609
00:28:56,960 --> 00:29:01,240
Speaker 2: Excity, and Billy's like hellowing you out, Like what.

610
00:29:01,400 --> 00:29:03,840
Speaker 1: Was that movie about? Everybody played a different emotion. I

611
00:29:04,080 --> 00:29:10,800
Speaker 1: was just anxiety, inside out, outside, inside out, inside out. Yes, yes,

612
00:29:10,920 --> 00:29:12,560
Speaker 1: I was anxiety in this scene.

613
00:29:13,440 --> 00:29:18,200
Speaker 2: Yeah, I was eleven. The entire city's common sense for you.

614
00:29:18,640 --> 00:29:20,840
Speaker 2: You know, well, can I make you some No? No,

615
00:29:20,960 --> 00:29:22,720
Speaker 2: I can't. I can't eat. I can't eat. Then she's

616
00:29:22,800 --> 00:29:25,840
Speaker 2: like picking out his bagel and the coffee thing.

617
00:29:25,960 --> 00:29:28,600
Speaker 4: And my only thought when I'm eating the bagel is, oh,

618
00:29:28,680 --> 00:29:30,640
Speaker 4: I didn't know I couldn't eat gluten then, because it

619
00:29:30,680 --> 00:29:32,800
Speaker 4: gives me migraines. I was saying, I wonder if I

620
00:29:32,840 --> 00:29:35,080
Speaker 4: got a migraine after that scene, because I didn't know

621
00:29:35,360 --> 00:29:37,120
Speaker 4: then that that was one of the things that gave

622
00:29:37,160 --> 00:29:37,680
Speaker 4: me migraines.

623
00:29:37,840 --> 00:29:41,040
Speaker 5: Billy's wise line here he goes he warns Allison that

624
00:29:41,080 --> 00:29:43,560
Speaker 5: it's too early in her career to self destruct.

625
00:29:44,680 --> 00:29:48,720
Speaker 3: Yeah, that's just ready to say, calm yourself down. This

626
00:29:48,880 --> 00:29:50,360
Speaker 3: is really to do this.

627
00:29:51,040 --> 00:29:53,680
Speaker 2: Then he picks up the paper and and she's like,

628
00:29:53,720 --> 00:29:56,520
Speaker 2: I'm just afraid that Joe's gonna do something wrong and

629
00:29:56,640 --> 00:30:01,600
Speaker 2: he stops. He's like, what, well, Joe's doing it, O Jesus,

630
00:30:03,240 --> 00:30:03,880
Speaker 2: not helpful.

631
00:30:04,320 --> 00:30:06,840
Speaker 3: I wonder you're stressed out. She's a mess.

632
00:30:07,640 --> 00:30:09,960
Speaker 2: I just love how Billy is just held on to

633
00:30:10,080 --> 00:30:13,800
Speaker 2: this resentment because she calls him Bill. She thinks he

634
00:30:13,920 --> 00:30:15,280
Speaker 2: stinks when he goes on a date.

635
00:30:15,520 --> 00:30:16,200
Speaker 1: What's that smell?

636
00:30:16,800 --> 00:30:20,960
Speaker 2: And and she's always, you know, sending him away. And

637
00:30:21,080 --> 00:30:24,280
Speaker 2: he's like, oh, she's terrible. She's gonna wreck everything, doesn't

638
00:30:24,320 --> 00:30:27,880
Speaker 2: listen to the rules, she's difficult, she's going to cause

639
00:30:27,880 --> 00:30:31,080
Speaker 2: all kinds of problems. He says, way to unstress her.

640
00:30:31,200 --> 00:30:32,480
Speaker 1: Yeah, he's not helping at all.

641
00:30:32,720 --> 00:30:36,240
Speaker 5: No, so is a little right, just saying maybe a

642
00:30:36,280 --> 00:30:39,400
Speaker 5: little foreshadowing. Maybe he's an oracle.

643
00:30:40,520 --> 00:30:46,560
Speaker 2: Annoying, but maybe he's an oracle and anyway anyway, So

644
00:30:46,720 --> 00:30:49,560
Speaker 2: then she says, you know, how is the date? And

645
00:30:49,720 --> 00:30:53,560
Speaker 2: he goes, well, it was okay, that's it fine, And

646
00:30:55,360 --> 00:30:57,080
Speaker 2: I told her I would call her, but I won't,

647
00:30:57,480 --> 00:30:58,960
Speaker 2: like all in one sentence, and she's.

648
00:30:58,880 --> 00:31:01,720
Speaker 6: Like, what, oh, I hate that about it, because again

649
00:31:01,840 --> 00:31:05,720
Speaker 6: we're at eleven. So I know, right, I'm gonna stress

650
00:31:05,760 --> 00:31:10,520
Speaker 6: about you, about the jobs I am about Joe.

651
00:31:10,920 --> 00:31:16,080
Speaker 2: And now you're being Yeah, it's really funny. So he

652
00:31:17,240 --> 00:31:19,280
Speaker 2: she just gets upset. She's like, I hate it when

653
00:31:19,320 --> 00:31:20,920
Speaker 2: the guys don't call. You don't even like the guy,

654
00:31:21,000 --> 00:31:22,520
Speaker 2: but it's just the point that he doesn't call makes

655
00:31:22,520 --> 00:31:23,760
Speaker 2: you upset, which is true.

656
00:31:24,200 --> 00:31:25,840
Speaker 3: So you should call her. You should call it.

657
00:31:26,080 --> 00:31:27,920
Speaker 2: Yeah, you should call you should call you guys.

658
00:31:28,000 --> 00:31:31,040
Speaker 4: Remember like they did a thing on Mower's Place on

659
00:31:32,240 --> 00:31:35,320
Speaker 4: on Saturday Night Live, and then the Billy Allison thing.

660
00:31:35,520 --> 00:31:39,120
Speaker 4: Billy's saying Alison, Allison, I miss Allison, and I'm saying

661
00:31:39,280 --> 00:31:39,880
Speaker 4: I can't talk.

662
00:31:39,960 --> 00:31:41,520
Speaker 1: I've got a very important job at D and D.

663
00:31:41,600 --> 00:31:43,520
Speaker 1: I'm very busy at D and D. And this scene,

664
00:31:43,600 --> 00:31:46,840
Speaker 1: may you remember that very important job D and D?

665
00:31:47,360 --> 00:31:51,800
Speaker 2: Like that now it's now it's even more important, superciou,

666
00:31:51,800 --> 00:31:54,040
Speaker 2: It's like the most important. How about?

667
00:31:54,120 --> 00:31:57,000
Speaker 5: I thought the way this scene ended was so funny

668
00:31:57,040 --> 00:32:00,680
Speaker 5: and weird too, because we hear Joe yelling through the car, come.

669
00:32:00,560 --> 00:32:03,760
Speaker 3: On, Allison, let's go. Like she's coming down the stairs shouting.

670
00:32:04,120 --> 00:32:06,480
Speaker 5: Instead of like knocking on Alison's door or whatever on

671
00:32:06,520 --> 00:32:08,560
Speaker 5: the way by, she just shouts it through the courtyard,

672
00:32:08,920 --> 00:32:10,120
Speaker 5: come on, Allison, let's go.

673
00:32:12,920 --> 00:32:15,000
Speaker 1: She doesn't know that Allison's nerves are afraid.

674
00:32:16,800 --> 00:32:19,200
Speaker 2: Looking at her is not going to make things better.

675
00:32:19,560 --> 00:32:21,160
Speaker 2: I mean, it would have been great if they had

676
00:32:21,160 --> 00:32:24,920
Speaker 2: all known all of our thoughts going into this, if

677
00:32:24,920 --> 00:32:28,160
Speaker 2: you had gone like and Billy could go, told you,

678
00:32:31,560 --> 00:32:35,080
Speaker 2: but no, but no. Allison goes out into the courtyard

679
00:32:35,160 --> 00:32:37,880
Speaker 2: and Joe's coming down the stairs with all of her equipment,

680
00:32:38,160 --> 00:32:41,840
Speaker 2: and there's Jake going, oh, what's all this? And Joe says,

681
00:32:41,880 --> 00:32:43,960
Speaker 2: that's the job. Would they pay me actual money? And

682
00:32:44,040 --> 00:32:46,760
Speaker 2: Allison got it for me, starting to pay off to

683
00:32:46,840 --> 00:32:49,280
Speaker 2: live in this building, like the only payds so for

684
00:32:50,600 --> 00:32:53,920
Speaker 2: and Jake's like, oh, congratulation. Is there anything I can do?

685
00:32:55,560 --> 00:32:58,320
Speaker 2: Alison comes up and says, okay, let's go, so they

686
00:32:58,560 --> 00:32:59,000
Speaker 2: take off.

687
00:33:00,080 --> 00:33:01,920
Speaker 1: There's nothing you can do, have a very important day

688
00:33:01,920 --> 00:33:02,280
Speaker 1: of work.

689
00:33:02,560 --> 00:33:04,720
Speaker 3: I thought that was a strange line, is there anything

690
00:33:04,760 --> 00:33:05,120
Speaker 3: I can do?

691
00:33:05,400 --> 00:33:05,440
Speaker 1: Like?

692
00:33:05,560 --> 00:33:05,600
Speaker 3: What?

693
00:33:06,040 --> 00:33:07,560
Speaker 2: Why? I thought it was a strange scene.

694
00:33:07,920 --> 00:33:10,280
Speaker 3: Why didn't like why didn't he just sayengratinations?

695
00:33:10,400 --> 00:33:13,040
Speaker 2: And then out they go, yeah, what are they setting up?

696
00:33:13,080 --> 00:33:14,160
Speaker 2: Which it felt like such.

697
00:33:13,960 --> 00:33:16,080
Speaker 3: An unnecessary Is there anything I can Maybe we were

698
00:33:16,120 --> 00:33:16,800
Speaker 3: short on time.

699
00:33:16,960 --> 00:33:17,400
Speaker 1: I don't know.

700
00:33:18,160 --> 00:33:19,080
Speaker 3: I don't know what it was.

701
00:33:19,200 --> 00:33:23,440
Speaker 2: I know lunch was happening whatever, but.

702
00:33:23,520 --> 00:33:26,040
Speaker 5: The Cruxes, congratulations, you got a job that Elison helped

703
00:33:26,080 --> 00:33:27,240
Speaker 5: you get by I have a good day bye, and

704
00:33:27,320 --> 00:33:27,640
Speaker 5: they leave.

705
00:33:29,280 --> 00:33:31,840
Speaker 2: So and then we cut right into the middle of

706
00:33:31,920 --> 00:33:34,880
Speaker 2: this photo shoot and the music, some great nineties music

707
00:33:35,040 --> 00:33:38,000
Speaker 2: is pounding, and there.

708
00:33:38,160 --> 00:33:39,240
Speaker 1: Lamora Mitchell.

709
00:33:40,400 --> 00:33:43,120
Speaker 4: Underwear like having to remember, like, if you're not watching

710
00:33:43,160 --> 00:33:45,920
Speaker 4: the show, remember those scenes on like Charlie's Angels, but they're.

711
00:33:45,760 --> 00:33:48,160
Speaker 1: Doing photo shoots and everything. He's having to dance around

712
00:33:48,200 --> 00:33:52,840
Speaker 1: in his underwear. Oh, that's just guys milking it.

713
00:33:53,320 --> 00:33:55,120
Speaker 3: Like he He's like, if I'm going to do this,

714
00:33:55,240 --> 00:33:56,680
Speaker 3: I'm just gonna committed.

715
00:33:56,800 --> 00:34:00,320
Speaker 5: Yeah, all these poses he's in a tiny little like

716
00:34:01,760 --> 00:34:05,040
Speaker 5: colored like red or blue or whatever, but like super

717
00:34:05,200 --> 00:34:11,279
Speaker 5: tiny bikini underwear and posing like what he was like,

718
00:34:12,960 --> 00:34:16,600
Speaker 5: he just like hammed it up and committed.

719
00:34:16,920 --> 00:34:20,719
Speaker 2: Like stuff is hard him, it's really hard. But he

720
00:34:21,000 --> 00:34:24,360
Speaker 2: was really responding to his photographer if I might, because

721
00:34:24,480 --> 00:34:30,080
Speaker 2: Joe was like on the floor, oh yes, baby, oh god,

722
00:34:30,320 --> 00:34:33,200
Speaker 2: oh another one. And then she ends up by saying

723
00:34:33,239 --> 00:34:36,600
Speaker 2: You've done this before and he's like, nope, virgin. I

724
00:34:36,680 --> 00:34:40,920
Speaker 2: mean it was all a metaphor for sex. Obviously, She's like, Okay,

725
00:34:41,239 --> 00:34:43,680
Speaker 2: I need a break. Let's powder Rex and get me

726
00:34:43,760 --> 00:34:46,680
Speaker 2: a ladder. She's gonna set up some other yeah, and

727
00:34:46,760 --> 00:34:47,040
Speaker 2: a fan.

728
00:34:47,960 --> 00:34:48,200
Speaker 1: Yes.

729
00:34:48,640 --> 00:34:52,880
Speaker 2: Yes, And Alison walks over and by the way, we

730
00:34:52,960 --> 00:34:56,080
Speaker 2: might say that Lucy and the suits are really enjoying it.

731
00:34:56,160 --> 00:34:58,160
Speaker 2: I think we've got it. This is great. They're all

732
00:34:58,239 --> 00:35:00,720
Speaker 2: excited because they're all lined up in those rector chairs

733
00:35:00,800 --> 00:35:01,400
Speaker 2: cast chairs.

734
00:35:01,960 --> 00:35:04,480
Speaker 4: By the way, they never say I think we've got it.

735
00:35:04,640 --> 00:35:07,439
Speaker 4: It's finally the actor's rep comes in and says we're done,

736
00:35:07,520 --> 00:35:08,920
Speaker 4: because they always want more and more and more.

737
00:35:09,200 --> 00:35:09,279
Speaker 2: Right.

738
00:35:09,360 --> 00:35:10,640
Speaker 1: Have you ever had them say.

739
00:35:10,760 --> 00:35:14,120
Speaker 5: Yeah, we're good, you can go Yeah, No, right, never,

740
00:35:14,200 --> 00:35:16,759
Speaker 5: but they do say that it's wonderful and before they

741
00:35:16,800 --> 00:35:17,080
Speaker 5: get up.

742
00:35:17,239 --> 00:35:18,880
Speaker 3: Yeah, they have to get up to leave because like

743
00:35:19,000 --> 00:35:23,600
Speaker 3: maybe lunch for them or whatever. Yeah, they still getting it.

744
00:35:24,360 --> 00:35:26,680
Speaker 2: And Alison walks over to Joe and says, you know,

745
00:35:26,760 --> 00:35:30,839
Speaker 2: that was really wonderful. This is great. And then Joe,

746
00:35:31,680 --> 00:35:34,520
Speaker 2: who should, in my opinion, just go great, awesome, we

747
00:35:34,640 --> 00:35:37,479
Speaker 2: got it. That client's happy. She should just wrap things up.

748
00:35:37,560 --> 00:35:37,880
Speaker 5: But no.

749
00:35:38,760 --> 00:35:43,239
Speaker 2: She pulls Alison aside and she says, hey, I want

750
00:35:43,280 --> 00:35:45,640
Speaker 2: you to open your mind and I want to try

751
00:35:45,680 --> 00:35:50,720
Speaker 2: something a little bizarre, something different, call it extra credit Allison.

752
00:35:51,680 --> 00:35:53,880
Speaker 1: And then and Alison, I think she says I trust you,

753
00:35:54,120 --> 00:35:55,880
Speaker 1: which you know famous lost words.

754
00:35:56,120 --> 00:35:59,360
Speaker 2: Yeah, maybe she did say I go for it. And

755
00:35:59,440 --> 00:36:01,400
Speaker 2: then she makes mistake of saying go for it, and

756
00:36:01,440 --> 00:36:04,560
Speaker 2: then she leaves. And then we have Joe climbing the

757
00:36:04,680 --> 00:36:08,800
Speaker 2: ladder and she says to Rex, lose the braves.

758
00:36:09,520 --> 00:36:10,680
Speaker 1: Yeah, which you know.

759
00:36:12,760 --> 00:36:14,640
Speaker 3: Me happening nowadays.

760
00:36:15,080 --> 00:36:20,520
Speaker 2: Uh huh, yeah, I know how, but this was the

761
00:36:20,560 --> 00:36:21,360
Speaker 2: early nineties.

762
00:36:21,680 --> 00:36:24,160
Speaker 5: But he looked very pleased and like, oh yeah, right,

763
00:36:24,320 --> 00:36:27,120
Speaker 5: he came on and he drops his drawers.

764
00:36:27,840 --> 00:36:30,680
Speaker 2: Yeah, he's like, finally a girl who wants to play.

765
00:36:31,200 --> 00:36:31,880
Speaker 3: Let's do this.

766
00:36:35,200 --> 00:36:38,160
Speaker 2: So now we are in Shooters and it's nighttime, and

767
00:36:38,840 --> 00:36:41,160
Speaker 2: Billy and Jake are at the bar drinking.

768
00:36:40,920 --> 00:36:46,399
Speaker 5: Margarita's, and Billie's is a fruity strawberry margarita hysterical, which

769
00:36:46,640 --> 00:36:48,600
Speaker 5: I don't know if you've noticed. All through the scene,

770
00:36:48,640 --> 00:36:50,000
Speaker 5: he leaves it on the bar and if he needs

771
00:36:50,000 --> 00:36:51,600
Speaker 5: to take a drink, he leans towards it and he's

772
00:36:51,640 --> 00:36:56,600
Speaker 5: like looking for the straw and he's like drink like

773
00:36:56,680 --> 00:37:00,120
Speaker 5: that where Grant knows enough pick up the drink and

774
00:37:00,239 --> 00:37:01,520
Speaker 5: drink like a normal person.

775
00:37:02,160 --> 00:37:07,480
Speaker 3: But Andrew's like mind the strawn as red fruit is margarita.

776
00:37:07,960 --> 00:37:12,040
Speaker 2: Oh, acting is hard, like all these things. You got

777
00:37:12,160 --> 00:37:13,759
Speaker 2: to know how to do things exactly right.

778
00:37:13,800 --> 00:37:15,320
Speaker 1: Because funny.

779
00:37:17,120 --> 00:37:19,840
Speaker 2: So they're sitting there at the bar and Billy is

780
00:37:19,880 --> 00:37:23,160
Speaker 2: telling Jake that he called Lydia and she, you know,

781
00:37:23,239 --> 00:37:26,080
Speaker 2: after the first date, and she invited him over for dinner.

782
00:37:26,280 --> 00:37:28,719
Speaker 2: So now he's trapped, and Jake says to Billy, well,

783
00:37:28,800 --> 00:37:31,600
Speaker 2: your first mistake was saying that you would call, and

784
00:37:31,840 --> 00:37:35,759
Speaker 2: the second mistake was listening to Alison. So I guess

785
00:37:35,760 --> 00:37:38,200
Speaker 2: because she's a woman, she's in that position and of

786
00:37:38,239 --> 00:37:39,560
Speaker 2: course she's going to say that or something.

787
00:37:39,600 --> 00:37:39,920
Speaker 3: I don't know.

788
00:37:40,040 --> 00:37:44,160
Speaker 2: Anyway, Billy uh says, relationships are a mistake.

789
00:37:44,800 --> 00:37:47,400
Speaker 5: They're just doubling down like you know. Well, yeah, guys,

790
00:37:47,640 --> 00:37:52,560
Speaker 5: all relationships are a mistake. Yeah, yeah, Billy, I would.

791
00:37:55,200 --> 00:38:02,759
Speaker 2: Road talk at the bar with the relations good. I'm

792
00:38:03,760 --> 00:38:04,880
Speaker 2: never gonna a straw.

793
00:38:04,920 --> 00:38:08,880
Speaker 3: I don't use straws anywhere to self, Okay, take the

794
00:38:08,960 --> 00:38:09,480
Speaker 3: straw out.

795
00:38:13,719 --> 00:38:17,280
Speaker 2: Just behind them. We see Joe walking in with Rex

796
00:38:17,360 --> 00:38:18,680
Speaker 2: after that shoot.

797
00:38:18,760 --> 00:38:20,640
Speaker 3: Because everybody comes to shooters.

798
00:38:21,200 --> 00:38:24,840
Speaker 4: Because with a new guy, you want to go to

799
00:38:24,880 --> 00:38:27,080
Speaker 4: your ex boyfriend's bar. You want to go to the

800
00:38:27,160 --> 00:38:30,040
Speaker 4: current boyfriend's bar, because again, only bar in La.

801
00:38:30,080 --> 00:38:31,719
Speaker 5: And also the same bar you went to with a

802
00:38:31,760 --> 00:38:34,120
Speaker 5: different girl last night, and you're only in down for

803
00:38:34,160 --> 00:38:34,560
Speaker 5: a couple of.

804
00:38:34,560 --> 00:38:38,000
Speaker 2: Nights anyway, and what Rex is game? Man? I'm in La.

805
00:38:38,280 --> 00:38:42,359
Speaker 2: I don't even live here, a floridnis camp. I've been here.

806
00:38:44,760 --> 00:38:47,480
Speaker 1: She really should have said, why am I back at

807
00:38:47,520 --> 00:38:47,960
Speaker 1: this bar?

808
00:38:48,440 --> 00:38:53,839
Speaker 5: As Strawberry Margarita is a really good here.

809
00:39:00,520 --> 00:39:02,919
Speaker 2: She's all excited. She's like, I'm gonna make your butt

810
00:39:03,000 --> 00:39:05,840
Speaker 2: famous and he's like it already is, and he is

811
00:39:05,960 --> 00:39:09,719
Speaker 2: flirting and but she's she's kind of flirting, but she's saying,

812
00:39:09,760 --> 00:39:13,799
Speaker 2: no chance, it's not gonna happen, and he's like, oh yeah,

813
00:39:14,640 --> 00:39:16,759
Speaker 2: And then she says something about, you know, you can

814
00:39:16,800 --> 00:39:19,600
Speaker 2: play mozart with a mountpiece mouthpiece and it's still now.

815
00:39:19,760 --> 00:39:23,319
Speaker 2: So she's having very strong boundaries. But Jake, who sees them,

816
00:39:24,239 --> 00:39:26,399
Speaker 2: doesn't hear the boundaries being made and gets up from

817
00:39:26,400 --> 00:39:28,239
Speaker 2: the bar and he's all huffy and putting on a

818
00:39:28,719 --> 00:39:32,000
Speaker 2: jacket to leave, and Joe sees him and he's like, wait, Jake, Jake,

819
00:39:32,600 --> 00:39:35,080
Speaker 2: where are you going? And he just said, it's tough

820
00:39:35,120 --> 00:39:37,399
Speaker 2: to watch. You know, you're over there with this guy,

821
00:39:37,600 --> 00:39:46,680
Speaker 2: and I'm gonna leave, and Billy's look. Billy looks back. Joe, Joe,

822
00:39:46,880 --> 00:39:50,759
Speaker 2: She's trouble. She's causing trouble all the time. I love

823
00:39:50,800 --> 00:39:53,480
Speaker 2: the line that I say to Jake, like, what's like

824
00:39:53,600 --> 00:39:54,640
Speaker 2: you hang out with Rusty?

825
00:39:55,080 --> 00:39:57,600
Speaker 3: Rusty sounds like he's from the work of the But

826
00:39:57,680 --> 00:39:58,279
Speaker 3: it must be a.

827
00:39:58,320 --> 00:40:00,719
Speaker 1: Woman, right, otherwise why would you to make that point?

828
00:40:00,840 --> 00:40:04,160
Speaker 2: Yeah? Oh, like this tattered up with I don't know,

829
00:40:04,800 --> 00:40:08,719
Speaker 2: but I thought it was so funny. Rusty's never been

830
00:40:08,760 --> 00:40:13,240
Speaker 2: mentioned before. But anyway, so we leave this whole trouble

831
00:40:13,360 --> 00:40:16,360
Speaker 2: place and we come back to the courtyard and Allison

832
00:40:16,680 --> 00:40:19,600
Speaker 2: is looking up Joe's door and like, huh, she's not there.

833
00:40:20,480 --> 00:40:25,440
Speaker 2: Walks to Jake's apartment and says, you know, Joe disappeared

834
00:40:25,480 --> 00:40:28,560
Speaker 2: after the photo shoot and is Joe in there with you?

835
00:40:28,760 --> 00:40:32,040
Speaker 2: And Jake says no, that she was at Shooters with Rex,

836
00:40:32,480 --> 00:40:36,360
Speaker 2: and Allison is like, oh, no, she should be developing

837
00:40:36,400 --> 00:40:38,840
Speaker 2: the film. I need it tomorrow. We have a deadline.

838
00:40:39,640 --> 00:40:41,960
Speaker 2: And just then Joe and Rex walk in.

839
00:40:42,320 --> 00:40:46,200
Speaker 5: Rex the wonderstud as Jake refers to him as Rex

840
00:40:46,280 --> 00:40:47,600
Speaker 5: the wonderstud.

841
00:40:48,120 --> 00:40:52,880
Speaker 2: Rex the Wonderstood. They walk in, laughing and this is

842
00:40:52,960 --> 00:40:55,040
Speaker 2: not good for her boundaries and saying that it was

843
00:40:55,200 --> 00:40:59,120
Speaker 2: just a just a work good optics here, not good optics.

844
00:40:59,600 --> 00:41:02,080
Speaker 2: Rex to Alison, Wow, it's a small world. Are you

845
00:41:02,200 --> 00:41:04,840
Speaker 2: following us? And she's like, no, I live here. And

846
00:41:04,920 --> 00:41:06,800
Speaker 2: then she looks at Joe and she's like, you know,

847
00:41:07,480 --> 00:41:10,240
Speaker 2: should be working on the proofs of the photos tonight.

848
00:41:10,400 --> 00:41:14,520
Speaker 2: And then Joe's like, okay, get the message and says

849
00:41:14,560 --> 00:41:16,920
Speaker 2: you got to go and gives Rex, gives her a

850
00:41:17,000 --> 00:41:21,120
Speaker 2: kiss on the cheek and leaves. And then she says

851
00:41:21,160 --> 00:41:24,600
Speaker 2: good night and turns to her friends and says all

852
00:41:24,880 --> 00:41:30,040
Speaker 2: and she stomps upstairs, and Jake and Allison look after her.

853
00:41:30,560 --> 00:41:31,960
Speaker 2: So she's already a troublemaker.

854
00:41:33,440 --> 00:41:37,000
Speaker 5: Yeah, she seems annoyed that Alison and Jake are like

855
00:41:37,760 --> 00:41:40,480
Speaker 5: kind of irritated about the whole thing too, like what

856
00:41:40,719 --> 00:41:44,719
Speaker 5: totally and but Alison and Jake are you know, disappointed

857
00:41:44,800 --> 00:41:51,000
Speaker 5: and it's clearly not good optics. And and Jake even

858
00:41:51,080 --> 00:41:53,320
Speaker 5: tries to tell him, hey, buddy, you know, like beat it,

859
00:41:53,560 --> 00:41:56,560
Speaker 5: sort of like because Rex sort of tries to say, well, hey,

860
00:41:56,640 --> 00:41:57,200
Speaker 5: maybe we can.

861
00:41:57,520 --> 00:41:59,240
Speaker 3: And before he can even finish.

862
00:41:59,080 --> 00:42:01,000
Speaker 5: The sentence, Jake cut some off and he's like yeah

863
00:42:01,040 --> 00:42:04,160
Speaker 5: some other time, like yeah, Hike, get out of here.

864
00:42:04,880 --> 00:42:08,000
Speaker 5: And Joe's like, I'm mad about that, you know that,

865
00:42:08,160 --> 00:42:13,040
Speaker 5: Like Jake is whatever inserting himself in this situation.

866
00:42:13,920 --> 00:42:16,960
Speaker 2: And I'm imagining, because I Daphne am watching this going

867
00:42:17,200 --> 00:42:20,520
Speaker 2: she is so irresponsible. She is causing trouble. She is

868
00:42:20,600 --> 00:42:23,880
Speaker 2: putting her friend who gave her this first job, you know,

869
00:42:24,840 --> 00:42:26,680
Speaker 2: her job in Jeopardy. And I'm thinking, well, maybe this

870
00:42:26,880 --> 00:42:28,400
Speaker 2: is her New York. This is how they do it

871
00:42:28,400 --> 00:42:31,520
Speaker 2: in New York. You know they all they shoot photographs

872
00:42:31,560 --> 00:42:33,920
Speaker 2: and they you know, for magazines, and they go out

873
00:42:33,920 --> 00:42:35,880
Speaker 2: and have drinks and party all night. Maybe that's just

874
00:42:36,000 --> 00:42:39,000
Speaker 2: her a difference for her. It's not here. I don't know.

875
00:42:39,160 --> 00:42:41,239
Speaker 2: It does seem like I'm pissed at Joe right now.

876
00:42:41,280 --> 00:42:42,880
Speaker 2: I'm getting I love it.

877
00:42:43,040 --> 00:42:46,520
Speaker 5: Like when we watch these show, like we watch these episodes,

878
00:42:46,520 --> 00:42:48,719
Speaker 5: it's all such a different perspective to look at it

879
00:42:48,760 --> 00:42:49,880
Speaker 5: as an audience member.

880
00:42:49,760 --> 00:42:52,800
Speaker 3: And like you don't remember shooting it or like okay

881
00:42:53,040 --> 00:42:54,279
Speaker 3: that you know obviously.

882
00:42:53,960 --> 00:42:56,120
Speaker 5: It's in the script and so you have to play it,

883
00:42:56,760 --> 00:42:58,400
Speaker 5: you know, whatever the way you choose to play it

884
00:42:58,480 --> 00:43:00,239
Speaker 5: and whatever you're telling, the story that you've been has

885
00:43:00,280 --> 00:43:02,400
Speaker 5: to tell and stuff. But like watching it later as

886
00:43:02,400 --> 00:43:04,960
Speaker 5: an audience member, you're like, oh, what an annoying thing

887
00:43:05,040 --> 00:43:07,319
Speaker 5: that that character's doing right now, And you just see

888
00:43:07,360 --> 00:43:10,120
Speaker 5: it totally differently watching it back, like yes.

889
00:43:10,920 --> 00:43:12,919
Speaker 2: Yeah, because you can't when you're playing it. You can't

890
00:43:13,000 --> 00:43:15,239
Speaker 2: have these judgments or third eye about it or yeah,

891
00:43:15,320 --> 00:43:17,960
Speaker 2: you totally messed up from yeah, you can't mess yourself up,

892
00:43:18,560 --> 00:43:21,320
Speaker 2: that's true. Alison knocks on the door, says, we're the pictures.

893
00:43:21,680 --> 00:43:24,680
Speaker 2: She's like, Jesus, you're up early. And she comes in

894
00:43:25,000 --> 00:43:28,320
Speaker 2: and I need coffee and then she's like, look, I

895
00:43:28,440 --> 00:43:31,560
Speaker 2: was up all night doing the pictures. Allison says, look,

896
00:43:32,160 --> 00:43:34,800
Speaker 2: I hope it went well the rest of the shoot,

897
00:43:34,880 --> 00:43:37,239
Speaker 2: and she's like, yeah, Rex and I had a good time.

898
00:43:37,360 --> 00:43:41,000
Speaker 2: And then Allison's like, you know, he asked me out too,

899
00:43:41,760 --> 00:43:45,120
Speaker 2: this little jealousy thing, oh, Patty and Jake didn't appreciate

900
00:43:45,200 --> 00:43:46,719
Speaker 2: it and all this stuff, and she's like, what is

901
00:43:46,800 --> 00:43:50,399
Speaker 2: your problem between me and Jake? And then she goes,

902
00:43:50,440 --> 00:43:53,520
Speaker 2: you know, Amanda says that you don't socialize with the client.

903
00:43:55,120 --> 00:43:57,640
Speaker 2: She's like, who else, who's the hell's Amanda because it's

904
00:43:57,640 --> 00:44:03,040
Speaker 2: the first time Joe's heard of her post of advertising. Uh. Anyway,

905
00:44:03,160 --> 00:44:05,279
Speaker 2: so they have this thing and she's like, don't worry

906
00:44:05,320 --> 00:44:07,560
Speaker 2: about it. That's between me and Jake and you will.

907
00:44:08,040 --> 00:44:11,520
Speaker 2: You'll get the photos this afternoon. Then we are in

908
00:44:11,600 --> 00:44:15,640
Speaker 2: the suburbs at the very, very big house and Terrence

909
00:44:15,920 --> 00:44:18,840
Speaker 2: is bringing Ronda to this house in this neighborhood and

910
00:44:20,040 --> 00:44:21,920
Speaker 2: he she goes, oh, I'm not even dressed for this.

911
00:44:22,280 --> 00:44:24,120
Speaker 2: It looks so fancy, and he's like, you might be

912
00:44:24,239 --> 00:44:26,560
Speaker 2: dressed for this, and then he goes to unlock the

913
00:44:26,600 --> 00:44:28,960
Speaker 2: door and she's like, why are you unlocking the door

914
00:44:28,960 --> 00:44:32,479
Speaker 2: to this great, the strange, huge house. And Terrence tells

915
00:44:32,600 --> 00:44:36,719
Speaker 2: Ronda that you know, step in, it's yours, madam. What

916
00:44:37,680 --> 00:44:39,520
Speaker 2: she finds out that he wants to buy this house.

917
00:44:39,800 --> 00:44:41,880
Speaker 2: There's no rush, but he does want to hope to

918
00:44:42,040 --> 00:44:43,719
Speaker 2: sort of family here, but there's no rush.

919
00:44:44,640 --> 00:44:46,840
Speaker 4: So do we think, like as if they'd never talked

920
00:44:46,880 --> 00:44:48,960
Speaker 4: about it, like maybe we'll have a family with it,

921
00:44:49,120 --> 00:44:51,800
Speaker 4: Like aren't these conversations you have before you marry someone,

922
00:44:52,040 --> 00:44:53,160
Speaker 4: like do we want kids?

923
00:44:53,400 --> 00:44:54,360
Speaker 1: That's a big resight.

924
00:44:54,719 --> 00:44:58,000
Speaker 5: It really seemed to slam RNDA here like the reality

925
00:44:58,080 --> 00:45:00,680
Speaker 5: of what a future with this skuy I is going

926
00:45:00,760 --> 00:45:02,560
Speaker 5: to be and maybe look like and feel like, because

927
00:45:02,640 --> 00:45:04,279
Speaker 5: like just being in that big house and hearing him

928
00:45:04,280 --> 00:45:07,600
Speaker 5: talk about it, she was not liking that picture.

929
00:45:07,760 --> 00:45:11,520
Speaker 2: She was set, Yeah, totally rushed and everything was too.

930
00:45:11,520 --> 00:45:13,840
Speaker 3: Much, all that adding up to the uncomfortable for her.

931
00:45:14,200 --> 00:45:14,399
Speaker 4: Yeah.

932
00:45:16,160 --> 00:45:18,160
Speaker 2: So then we're in D and D and Amanda and

933
00:45:18,160 --> 00:45:23,080
Speaker 2: Allison are eating lunch takeout at the desk and Alice's like, well,

934
00:45:23,080 --> 00:45:24,920
Speaker 2: they should be here, they should be here the photos,

935
00:45:24,960 --> 00:45:27,120
Speaker 2: the photos should be here, and She's like, yeah, you've

936
00:45:27,120 --> 00:45:30,000
Speaker 2: been saying that for the last hour. And then this

937
00:45:30,200 --> 00:45:35,120
Speaker 2: messenger kid comes in with earphones on, bopping away and

938
00:45:35,239 --> 00:45:37,680
Speaker 2: I guess you can hear the music through his earphones

939
00:45:38,560 --> 00:45:41,960
Speaker 2: guns n' roses, which I think is funny about because

940
00:45:42,000 --> 00:45:44,160
Speaker 2: Heather takes it and it's kind of like Heather saying

941
00:45:44,200 --> 00:45:46,000
Speaker 2: it to him, you know, guns and roses will make

942
00:45:46,040 --> 00:45:46,560
Speaker 2: the impotent.

943
00:45:48,760 --> 00:45:50,839
Speaker 3: Yea, Amanda says it to him. He can't hear any

944
00:45:50,920 --> 00:45:54,720
Speaker 3: like nods Its fine cool packaged by.

945
00:45:56,440 --> 00:46:00,239
Speaker 2: Anyway. She pulls open this package of these slides Joe

946
00:46:00,320 --> 00:46:04,360
Speaker 2: has sent over and in every single one. Rex is

947
00:46:04,480 --> 00:46:09,759
Speaker 2: naked in every single photo, and Alison freaks, oh my god,

948
00:46:09,880 --> 00:46:11,839
Speaker 2: and then Amanda is looking at them and oh my god,

949
00:46:11,880 --> 00:46:14,200
Speaker 2: I'm going to kill her, so slam cut too. We

950
00:46:14,320 --> 00:46:18,239
Speaker 2: are now Alison as Joe's apartment and that's when we're

951
00:46:18,280 --> 00:46:22,279
Speaker 2: in the developing room and she's developing more photos and

952
00:46:22,440 --> 00:46:27,280
Speaker 2: she's like furious at her, at Joe, and Joe explains

953
00:46:27,320 --> 00:46:29,160
Speaker 2: that she didn't do it to embarrass you, but I

954
00:46:29,280 --> 00:46:31,879
Speaker 2: just made a professional judgment and we wanted something fresh

955
00:46:31,960 --> 00:46:35,760
Speaker 2: and original. And besides, he is holding the underwear they

956
00:46:35,880 --> 00:46:38,160
Speaker 2: read this hip, they're at his ankle, and she's like,

957
00:46:38,280 --> 00:46:42,480
Speaker 2: this is not funny, and which she has every right

958
00:46:42,600 --> 00:46:47,000
Speaker 2: to be furious. Obviously. Alison asked Joe, I want to

959
00:46:47,040 --> 00:46:49,840
Speaker 2: see the slides with her him actually wearing the underwear,

960
00:46:50,360 --> 00:46:52,800
Speaker 2: and she tries to convince her no.

961
00:46:53,160 --> 00:46:55,800
Speaker 4: Why she goes, I want to say, no, really no,

962
00:46:56,000 --> 00:46:59,040
Speaker 4: Why you're being so weird Ellison, so weird?

963
00:46:59,320 --> 00:47:04,759
Speaker 2: Yeah, you're gonna ring, She says, doesn't want a part

964
00:47:04,800 --> 00:47:08,160
Speaker 2: of you like the unexpected, and he's she says, this

965
00:47:08,320 --> 00:47:12,120
Speaker 2: is business. I'm new, Like, screw the unexpected. I want

966
00:47:12,120 --> 00:47:14,960
Speaker 2: the opposite of that. Do I have to point this

967
00:47:15,040 --> 00:47:19,960
Speaker 2: out to you? And she's like okay, and she goes

968
00:47:20,040 --> 00:47:21,759
Speaker 2: over and she gives him the slides and she goes,

969
00:47:21,760 --> 00:47:23,040
Speaker 2: all right, it's your choice.

970
00:47:24,280 --> 00:47:27,680
Speaker 3: Pretty passive aggressive for her to say, well, you admit it.

971
00:47:27,760 --> 00:47:28,520
Speaker 3: These are great.

972
00:47:28,719 --> 00:47:30,600
Speaker 5: Don't you think they would have grabbed you and maybe

973
00:47:30,600 --> 00:47:33,239
Speaker 5: even made you laugh if you weren't so panic about

974
00:47:33,320 --> 00:47:36,200
Speaker 5: breaking a rule? For instance, She's sort of like making

975
00:47:36,280 --> 00:47:40,799
Speaker 5: it about Alison being too conservative or straight or born.

976
00:47:40,920 --> 00:47:42,760
Speaker 1: It's very young, right, like what are you scared?

977
00:47:43,160 --> 00:47:46,480
Speaker 5: Yeah, like Kamara, you know these are better and and

978
00:47:47,120 --> 00:47:48,600
Speaker 5: and she just keeps trying to say, but it's not

979
00:47:48,680 --> 00:47:51,719
Speaker 5: what the client wanted, and Joe just keeps pushing like.

980
00:47:52,080 --> 00:47:52,880
Speaker 3: But they're better.

981
00:47:53,440 --> 00:47:56,760
Speaker 5: Is this about you being so you know, straight laced

982
00:47:56,880 --> 00:48:02,040
Speaker 5: and stuff, and just really challenging Alison to go, oh,

983
00:48:02,960 --> 00:48:06,000
Speaker 5: you know, yeah, my friend's gonna judge me if I,

984
00:48:06,360 --> 00:48:09,120
Speaker 5: you know, choose this route or whatever. You just kind

985
00:48:09,120 --> 00:48:14,800
Speaker 5: of like surprisingly like judge towards Alison and stuff, like

986
00:48:14,920 --> 00:48:18,560
Speaker 5: challenging her to choose the unexpected because it's cooler.

987
00:48:19,040 --> 00:48:19,960
Speaker 3: Everybody's doing it.

988
00:48:20,480 --> 00:48:24,759
Speaker 2: Yeah, yeah, which are real things. This is real things,

989
00:48:24,840 --> 00:48:26,840
Speaker 2: real topics, you know, I mean, they're just trying to

990
00:48:26,880 --> 00:48:29,680
Speaker 2: really show how edgy and out there Joe is and

991
00:48:29,840 --> 00:48:32,640
Speaker 2: we'll risks whatever and look at her life. It's pretty

992
00:48:32,800 --> 00:48:38,600
Speaker 2: like and not what Alison vibes. All right. So we

993
00:48:38,680 --> 00:48:43,399
Speaker 2: are now back in Lydia's apartment, remember her and Billy's there.

994
00:48:43,440 --> 00:48:47,279
Speaker 2: They're on their second date, another ill advised date.

995
00:48:47,239 --> 00:48:50,279
Speaker 4: You know how as we calls her to say, I

996
00:48:50,480 --> 00:48:51,960
Speaker 4: just it was great to meet you, but I'm not

997
00:48:52,000 --> 00:48:54,040
Speaker 4: going to take it further, and then ends up at

998
00:48:54,080 --> 00:48:55,800
Speaker 4: dinner talk about lack of boundaries.

999
00:48:56,000 --> 00:48:59,040
Speaker 5: They somehow both agreed to have another date. Yeah, we're

1000
00:48:59,040 --> 00:48:59,919
Speaker 5: not sure a dinner.

1001
00:49:00,120 --> 00:49:00,480
Speaker 4: I do not.

1002
00:49:00,680 --> 00:49:03,400
Speaker 1: I don't know. That was horrible, all right, Yeah, yeah.

1003
00:49:06,120 --> 00:49:09,600
Speaker 2: So funny. And he's serving, she's serving dinner, and she's like,

1004
00:49:09,960 --> 00:49:12,480
Speaker 2: oh yeah, Gilson's is great, isn't it. So she's right

1005
00:49:12,600 --> 00:49:15,080
Speaker 2: up front about I don't cook. This is all prepared food.

1006
00:49:15,440 --> 00:49:16,880
Speaker 1: Yeah, yeah, I do want to come over for some

1007
00:49:17,000 --> 00:49:17,680
Speaker 1: prepared food.

1008
00:49:18,040 --> 00:49:23,360
Speaker 2: Gilson's does have great prepared and uh and but Lydia

1009
00:49:23,520 --> 00:49:26,319
Speaker 2: observes that Billy's been stuffing his face for the last

1010
00:49:26,400 --> 00:49:28,439
Speaker 2: half hour and talking about the food, so you don't

1011
00:49:28,480 --> 00:49:29,920
Speaker 2: have to talk to me, and he's like, no, no,

1012
00:49:30,080 --> 00:49:33,759
Speaker 2: restaurant right at all. And she's like, look, I know

1013
00:49:33,920 --> 00:49:37,879
Speaker 2: that you're not my type. I prefer someone more substantial,

1014
00:49:38,040 --> 00:49:43,120
Speaker 2: she says, and he says, you mean fat. She's like, no,

1015
00:49:43,440 --> 00:49:46,400
Speaker 2: I mean someone who's more established and you know, older,

1016
00:49:46,600 --> 00:49:49,439
Speaker 2: and he's like, yeah, well you're not my type either.

1017
00:49:49,600 --> 00:49:54,040
Speaker 2: So they're starting to get really honest, and Lydia says, well,

1018
00:49:54,080 --> 00:49:55,120
Speaker 2: why did you ask me out?

1019
00:49:55,160 --> 00:49:57,600
Speaker 5: And Billy's like well, they both sort of agree, yeah,

1020
00:49:57,640 --> 00:49:59,359
Speaker 5: like well why did you ask me out? And he says, yeah,

1021
00:49:59,400 --> 00:50:00,960
Speaker 5: well why did you say yes? And they both sort

1022
00:50:00,960 --> 00:50:03,160
Speaker 5: of acknowledge they could have saved themselves all this trouble

1023
00:50:03,280 --> 00:50:07,080
Speaker 5: if they've just been avoiding, you know, trying to not avoid,

1024
00:50:07,120 --> 00:50:10,000
Speaker 5: you know, don't hurt anybody's feelings, feeling just like safe.

1025
00:50:10,080 --> 00:50:11,120
Speaker 4: Yeah. Yeah.

1026
00:50:11,560 --> 00:50:14,719
Speaker 2: Then she's like, well you're here. Helson makes great A Claire.

1027
00:50:14,880 --> 00:50:16,919
Speaker 2: So you want some dessert and he's like, oh, yeah, sure,

1028
00:50:17,040 --> 00:50:18,920
Speaker 2: and then she walks to get the Claes and he's

1029
00:50:19,000 --> 00:50:22,160
Speaker 2: like chocolate and she's like, vanilla.

1030
00:50:22,960 --> 00:50:25,560
Speaker 1: Are there Vanilla Claires? I've only heard of chocolate A claires.

1031
00:50:25,680 --> 00:50:28,799
Speaker 2: Me too. I don't know. I guess Lydia found them.

1032
00:50:28,840 --> 00:50:31,560
Speaker 3: I mean, I don't know. Yeah, I'm surprised Billy didn't

1033
00:50:31,600 --> 00:50:34,520
Speaker 3: ask for strawberry all the air.

1034
00:50:34,760 --> 00:50:36,759
Speaker 1: I mean they red fruit, trying to eat it without

1035
00:50:36,800 --> 00:50:37,200
Speaker 1: his hands.

1036
00:50:37,400 --> 00:50:41,759
Speaker 2: Yeah, I didn't say I have a fruity drink for you,

1037
00:50:41,840 --> 00:50:42,799
Speaker 2: because I would have done them.

1038
00:50:44,120 --> 00:50:46,520
Speaker 5: But we're to conclude here that there is just nothing

1039
00:50:46,719 --> 00:50:50,279
Speaker 5: that they They just have nothing in common, ready to

1040
00:50:50,360 --> 00:50:50,640
Speaker 5: say it.

1041
00:50:50,800 --> 00:50:53,920
Speaker 3: Their tastes are just completely opposite. So she offers to

1042
00:50:54,000 --> 00:50:56,040
Speaker 3: just walk him to his car. Can I see you out?

1043
00:50:56,800 --> 00:50:57,399
Speaker 3: Here's your hat?

1044
00:50:57,560 --> 00:51:06,000
Speaker 2: What's your hir And So now we're in the basement

1045
00:51:06,080 --> 00:51:09,280
Speaker 2: in the laundry room, and Matt is doing his laundry.

1046
00:51:09,360 --> 00:51:13,640
Speaker 1: He is here, he has to appear on enough's my problem.

1047
00:51:13,920 --> 00:51:15,480
Speaker 2: I mean I think they're paying him per week, so

1048
00:51:15,520 --> 00:51:17,879
Speaker 2: they got to put him in something, right, So yeah,

1049
00:51:17,920 --> 00:51:20,239
Speaker 2: he needs more to do that, but he's he's kind

1050
00:51:20,280 --> 00:51:22,840
Speaker 2: of down on Rondo. Ronda comes down and starts unloading

1051
00:51:22,960 --> 00:51:26,080
Speaker 2: and confiding that she's worried about you know, Terrence, and

1052
00:51:26,200 --> 00:51:28,800
Speaker 2: it's too much and I'm not ready and you know,

1053
00:51:30,000 --> 00:51:33,279
Speaker 2: she does this with Matt and and he's not into it.

1054
00:51:33,440 --> 00:51:36,680
Speaker 2: He's like, well, just you know, what about your other life?

1055
00:51:36,800 --> 00:51:39,319
Speaker 2: What about this new life? And She's like, what other life,

1056
00:51:39,400 --> 00:51:43,640
Speaker 2: you know, and you know you're volunteer and all that. Oh,

1057
00:51:43,719 --> 00:51:46,400
Speaker 2: I don't know, you know, I'll do that and this,

1058
00:51:46,760 --> 00:51:49,640
Speaker 2: And he just doesn't want to hear. You just don't

1059
00:51:49,680 --> 00:51:51,440
Speaker 2: want to hear from her. I feel like he was

1060
00:51:51,560 --> 00:51:53,800
Speaker 2: his feelings were hurt. Did you guys feel that that

1061
00:51:53,960 --> 00:51:55,960
Speaker 2: his feelings were hurt this time? But he's the one

1062
00:51:56,000 --> 00:51:57,000
Speaker 2: that said to go for it.

1063
00:51:57,440 --> 00:51:58,520
Speaker 3: I got in this scene.

1064
00:51:58,560 --> 00:52:01,239
Speaker 5: I got more that, Like, she wants to tell him

1065
00:52:01,280 --> 00:52:03,560
Speaker 5: the truth, and she starts by saying, Matt, I'm in trouble,

1066
00:52:03,600 --> 00:52:05,920
Speaker 5: and he's like, wait what, And she starts to tell

1067
00:52:06,000 --> 00:52:08,160
Speaker 5: him about the house and that it seemed too big

1068
00:52:08,320 --> 00:52:10,399
Speaker 5: and it just didn't seem right, and he says, well,

1069
00:52:10,400 --> 00:52:12,160
Speaker 5: maybe you can just tell him the house isn't right

1070
00:52:12,239 --> 00:52:15,800
Speaker 5: for you, and she then says, well, that's not just it.

1071
00:52:15,920 --> 00:52:18,640
Speaker 5: It's I think that two people about to start a

1072
00:52:18,680 --> 00:52:20,600
Speaker 5: life together would want the same things, and that the

1073
00:52:20,719 --> 00:52:23,239
Speaker 5: house was just not just a house. But it just

1074
00:52:23,280 --> 00:52:24,840
Speaker 5: felt like she was being swallowed by all that. And

1075
00:52:24,880 --> 00:52:27,600
Speaker 5: then he realizes the depth that what she's really saying

1076
00:52:27,880 --> 00:52:30,239
Speaker 5: like her much more than the house. And yeah, that's

1077
00:52:30,280 --> 00:52:31,920
Speaker 5: when he asks her, Yeah, well, do you love him?

1078
00:52:32,680 --> 00:52:34,399
Speaker 2: And she's like, well, this and that, and he goes, yeah,

1079
00:52:34,440 --> 00:52:36,040
Speaker 2: but do you He says it twice.

1080
00:52:35,800 --> 00:52:38,920
Speaker 5: And yeah, and she realizes maybe she doesn't know, and

1081
00:52:39,320 --> 00:52:41,960
Speaker 5: but you know, Matt's the person she confides these feelings in.

1082
00:52:42,440 --> 00:52:44,840
Speaker 2: Yeah, yeah, and yeah, that's.

1083
00:52:44,800 --> 00:52:48,320
Speaker 5: That's what I got that she was just like really

1084
00:52:48,400 --> 00:52:51,600
Speaker 5: admitting she doesn't even know if this is the right

1085
00:52:51,680 --> 00:52:52,680
Speaker 5: thing to be doing and she doesn't know.

1086
00:52:52,640 --> 00:52:56,680
Speaker 3: If she loves him. It's weeks, yeah, weeks.

1087
00:52:57,080 --> 00:52:59,440
Speaker 2: So now we are in Alice and Billy's apartment and

1088
00:52:59,520 --> 00:53:02,120
Speaker 2: it's morning and Allison is looking at the photo negatives

1089
00:53:02,160 --> 00:53:05,440
Speaker 2: at her desk while Billy comes in drinking his orange juice,

1090
00:53:06,040 --> 00:53:10,560
Speaker 2: and Billy tells Allison that he and Lydia mutually agree

1091
00:53:10,640 --> 00:53:15,319
Speaker 2: to never see each other again. That was so bad.

1092
00:53:15,440 --> 00:53:18,160
Speaker 3: Let's never play eyes on each other again.

1093
00:53:18,280 --> 00:53:20,200
Speaker 2: Like they shook hands on it. It was the agreement

1094
00:53:20,280 --> 00:53:25,000
Speaker 2: that's so funny. And so Allison says, well, don't worry.

1095
00:53:25,080 --> 00:53:25,840
Speaker 2: Someone will come.

1096
00:53:25,719 --> 00:53:29,800
Speaker 1: Along, might be someone right under your nose.

1097
00:53:32,200 --> 00:53:35,160
Speaker 2: So Allison asked Billy his opinion about the naked photos

1098
00:53:35,920 --> 00:53:39,520
Speaker 2: of Rex and asked Billy if he thinks it's too risky,

1099
00:53:39,840 --> 00:53:42,800
Speaker 2: and then He's so helpful by saying, look, you're an executive,

1100
00:53:42,880 --> 00:53:45,200
Speaker 2: now you'll figure it out. And I think he walks

1101
00:53:45,239 --> 00:53:47,160
Speaker 2: away great, and.

1102
00:53:47,200 --> 00:53:50,960
Speaker 5: He's like, well, I warned you, but anyway, you'll have

1103
00:53:51,040 --> 00:53:52,000
Speaker 5: to figure this one out.

1104
00:53:52,040 --> 00:53:56,320
Speaker 2: Alison the Oracle figured it out. So now we're in

1105
00:53:56,400 --> 00:53:59,040
Speaker 2: D and D advertising and Allison is showing a Manda

1106
00:53:59,080 --> 00:54:02,279
Speaker 2: the options for the names, and Alison tells Amanda that

1107
00:54:02,400 --> 00:54:06,800
Speaker 2: the naked sharts are better, and Amanda's like yes, but

1108
00:54:06,960 --> 00:54:11,960
Speaker 2: Amanda says, uh, this is a campaign for sports briefs

1109
00:54:12,160 --> 00:54:14,840
Speaker 2: and that the client will hate these photos. And Alison

1110
00:54:14,920 --> 00:54:17,520
Speaker 2: asks Amanda, so I should play it safe, and she's like,

1111
00:54:17,600 --> 00:54:21,880
Speaker 2: play it smart, Demi and walks away. So obviously she

1112
00:54:22,320 --> 00:54:25,320
Speaker 2: is saying, show the ones with the underwear on. And

1113
00:54:25,400 --> 00:54:27,720
Speaker 2: now we're in the conference room and there's a slide

1114
00:54:27,760 --> 00:54:31,000
Speaker 2: projector and we're seeing these huge photos on the wall

1115
00:54:31,160 --> 00:54:35,480
Speaker 2: on a projector screen. Alison is presenting the photos with

1116
00:54:35,560 --> 00:54:40,000
Speaker 2: the underwear and everyone's loving it. Their clients are smiling

1117
00:54:40,239 --> 00:54:43,520
Speaker 2: and great, yeah, these are wonderful and it's the ones

1118
00:54:43,560 --> 00:54:46,000
Speaker 2: that we saw her taking in the beginning of the

1119
00:54:46,080 --> 00:54:50,840
Speaker 2: shoot and then very excellent. Everyone's like, wow, we do

1120
00:54:51,040 --> 00:54:54,279
Speaker 2: we got it again. They're so happy, and Lucy says

1121
00:54:54,400 --> 00:54:57,120
Speaker 2: Alison because the screen is now white, and Lucy says,

1122
00:54:57,880 --> 00:55:01,799
Speaker 2: are there any more photos to show? And Alison thinks

1123
00:55:01,840 --> 00:55:04,200
Speaker 2: about it, and this is the big decision. Do I

1124
00:55:04,200 --> 00:55:07,200
Speaker 2: show him or not? And she says, yes, there are

1125
00:55:07,200 --> 00:55:11,719
Speaker 2: a few more, so she takes that risk and she

1126
00:55:11,920 --> 00:55:15,919
Speaker 2: shows the naked photos of Rex and they start getting

1127
00:55:15,960 --> 00:55:18,480
Speaker 2: all upset. They're like, this is not what we talked about.

1128
00:55:18,239 --> 00:55:19,800
Speaker 3: What They're immediately horrified.

1129
00:55:20,800 --> 00:55:24,560
Speaker 2: He's fuck naked? What are you doing? And then Lucy's like, okay,

1130
00:55:24,760 --> 00:55:27,280
Speaker 2: turns on the light. That was just a stab of humor,

1131
00:55:28,360 --> 00:55:33,239
Speaker 2: and then she says Allison, please stick around afterwards. And

1132
00:55:33,680 --> 00:55:34,560
Speaker 2: Amanda looks at her.

1133
00:55:34,520 --> 00:55:37,520
Speaker 1: And she's like, she does a finger across the throat.

1134
00:55:38,080 --> 00:55:38,600
Speaker 1: You're dead.

1135
00:55:39,040 --> 00:55:40,080
Speaker 2: You're dead, dummy.

1136
00:55:40,160 --> 00:55:41,760
Speaker 1: Yeah, that was good, dummy.

1137
00:55:43,200 --> 00:55:45,759
Speaker 2: And then we are back at the Rodeo Collection on

1138
00:55:45,920 --> 00:55:51,120
Speaker 2: Rodeo Drive. Ronda and Terrence are looking at invitations for

1139
00:55:51,200 --> 00:55:53,640
Speaker 2: their invites and they're looking at fancy stuff with real

1140
00:55:53,719 --> 00:55:55,880
Speaker 2: lavender in there. It smells that they're imported from the

1141
00:55:56,000 --> 00:56:02,840
Speaker 2: south of France, and Ronda's overwhelmed again even more so

1142
00:56:03,000 --> 00:56:05,279
Speaker 2: it's and Terrence is like what's the matter. You don't

1143
00:56:05,360 --> 00:56:07,040
Speaker 2: like it, Well, we can go for another kind of

1144
00:56:07,120 --> 00:56:11,480
Speaker 2: more simple invite, and rondes, look, I'm not ready for this.

1145
00:56:11,960 --> 00:56:14,480
Speaker 2: She realizes this is it's either now or never. They're

1146
00:56:14,480 --> 00:56:17,440
Speaker 2: doing the invites for the wedding and I can't go

1147
00:56:17,600 --> 00:56:21,200
Speaker 2: forward with this. And he's what. Terrence says, well, you

1148
00:56:21,320 --> 00:56:25,040
Speaker 2: just have cold feet, that's normal, and she apologizes that

1149
00:56:25,200 --> 00:56:28,160
Speaker 2: he wants her to be Yeah. She takes the ring

1150
00:56:28,239 --> 00:56:31,480
Speaker 2: off and it's so sad. It's a close up on

1151
00:56:31,560 --> 00:56:34,479
Speaker 2: her beautiful fingernail, but the ring is in the hand

1152
00:56:34,600 --> 00:56:37,000
Speaker 2: and yeah, and she leaves, You're making a mistake and

1153
00:56:37,080 --> 00:56:40,440
Speaker 2: she just has them there so hard. And then here

1154
00:56:40,520 --> 00:56:45,200
Speaker 2: we are Alison and Billie's apartment and Joe is at

1155
00:56:45,320 --> 00:56:50,280
Speaker 2: Allison's apartment and Alison is recounting her experience uh with Lucy,

1156
00:56:51,000 --> 00:56:53,320
Speaker 2: and Joe's like, oh my god, Oh my god, she

1157
00:56:53,440 --> 00:56:58,800
Speaker 2: fired you. She fired you. And She's like, no, Alison

1158
00:56:59,000 --> 00:57:02,600
Speaker 2: said that Lucy thinks that I have, you know, courage

1159
00:57:02,640 --> 00:57:07,360
Speaker 2: and imagination, but just lack judgment in that situation. But

1160
00:57:07,520 --> 00:57:09,279
Speaker 2: I still have my job. Oh thank god.

1161
00:57:09,520 --> 00:57:09,959
Speaker 1: She goes.

1162
00:57:10,440 --> 00:57:15,359
Speaker 2: Joe's like so happy, Great, what's our next job? Which

1163
00:57:15,440 --> 00:57:19,480
Speaker 2: is a great uh joke. Alison goes, yeah, my next

1164
00:57:19,520 --> 00:57:23,480
Speaker 2: assignment is okay, I'm not gonna include you. My next

1165
00:57:23,520 --> 00:57:27,280
Speaker 2: assignment is Oakum's Sausage Links and you're not getting near it.

1166
00:57:29,960 --> 00:57:33,120
Speaker 2: Good joke there, And then we're at Jake's apartment and

1167
00:57:33,240 --> 00:57:35,760
Speaker 2: Joe knocks on the door with a bag of Chinese food.

1168
00:57:35,680 --> 00:57:37,840
Speaker 1: And Jake's Joe's on her apology tour.

1169
00:57:38,080 --> 00:57:44,160
Speaker 5: Totally right, Apartment one, Dary, I almost got you fired

1170
00:57:44,200 --> 00:57:45,560
Speaker 5: and oh yeah, I'm sorry.

1171
00:57:45,600 --> 00:57:47,200
Speaker 2: I hurt your feelings, was being a jerk.

1172
00:57:47,320 --> 00:57:49,360
Speaker 3: Here's Chinese food, Here's Chinese food.

1173
00:57:49,400 --> 00:57:52,120
Speaker 2: And he's like, how come you always? How come you

1174
00:57:52,320 --> 00:57:53,640
Speaker 2: make me mad? And we get in a fight and

1175
00:57:53,640 --> 00:57:55,280
Speaker 2: then you always show up with food and she's like,

1176
00:57:55,360 --> 00:57:58,880
Speaker 2: I don't know. And they go in and she starts

1177
00:57:58,880 --> 00:58:01,440
Speaker 2: setting it up and he says to her, you just

1178
00:58:01,480 --> 00:58:03,600
Speaker 2: can't come in and out of my life like this,

1179
00:58:04,080 --> 00:58:06,200
Speaker 2: and she's like, look, and then she tells her truth,

1180
00:58:07,440 --> 00:58:10,080
Speaker 2: which is interesting, right like Billy and Allison did, then

1181
00:58:10,320 --> 00:58:13,560
Speaker 2: Rohnda did, now Joe is and it's I like you

1182
00:58:13,640 --> 00:58:15,880
Speaker 2: so much, it just scares me. That's my truth and

1183
00:58:16,000 --> 00:58:19,520
Speaker 2: my first instinct is to run to which he takes

1184
00:58:19,600 --> 00:58:22,360
Speaker 2: her face and kisses her passionately.

1185
00:58:22,320 --> 00:58:27,479
Speaker 1: Yummy yep, and she's like, Okay, why do I run?

1186
00:58:29,480 --> 00:58:30,840
Speaker 3: They seem to be back on track.

1187
00:58:30,960 --> 00:58:35,000
Speaker 2: They're back on track for now. And then we're at

1188
00:58:35,000 --> 00:58:39,200
Speaker 2: Alison and Billy's apartment and it's still nighttime and Billy's

1189
00:58:39,240 --> 00:58:42,240
Speaker 2: heating up the microwave and there's a knock on the door.

1190
00:58:42,400 --> 00:58:47,680
Speaker 2: Billy opens the door. Who's this Amanda in a red

1191
00:58:47,800 --> 00:58:52,800
Speaker 2: suit with her big, beautiful smile, And he's like, I

1192
00:58:52,920 --> 00:58:54,440
Speaker 2: just thought it was a great setup, Like this is

1193
00:58:54,480 --> 00:58:57,760
Speaker 2: a great scene because like it's a blind date ish esque,

1194
00:58:58,040 --> 00:59:01,640
Speaker 2: Oh strange woman just go up and opens the door

1195
00:59:01,720 --> 00:59:02,760
Speaker 2: and he opens it and.

1196
00:59:04,800 --> 00:59:06,320
Speaker 1: Maybe this is really well.

1197
00:59:06,840 --> 00:59:09,160
Speaker 5: He opens the door and he likes sweaty seas and

1198
00:59:09,320 --> 00:59:11,000
Speaker 5: you can just see it on both of their faces.

1199
00:59:11,040 --> 00:59:13,360
Speaker 3: It's like, oh, what a nice surprise.

1200
00:59:13,680 --> 00:59:16,480
Speaker 1: Who were you? But did you? Like I thought, oh,

1201
00:59:16,720 --> 00:59:20,200
Speaker 1: they started with this. I knew that that Amanda and

1202
00:59:20,280 --> 00:59:22,640
Speaker 1: Billy dated at some point, I didn't remember this is

1203
00:59:22,680 --> 00:59:23,520
Speaker 1: where it started.

1204
00:59:24,200 --> 00:59:27,640
Speaker 3: The Yeah, they established it's too soon for me, I'm

1205
00:59:27,680 --> 00:59:29,480
Speaker 3: not ready right, think.

1206
00:59:30,080 --> 00:59:33,880
Speaker 5: In the very episode where Billy is looking for someone

1207
00:59:34,000 --> 00:59:38,320
Speaker 5: to date, right, and then at the end, the woman appears.

1208
00:59:37,960 --> 00:59:42,000
Speaker 2: But he's like, yeah, Amanda arrived, but I thought they

1209
00:59:42,120 --> 00:59:46,200
Speaker 2: dated after you guys, Billy Allison for a while. Maybe

1210
00:59:46,240 --> 00:59:47,720
Speaker 2: he went around for sloppy seconds.

1211
00:59:48,040 --> 00:59:50,160
Speaker 4: No, because afterwards, I remember remember that scene I talked

1212
00:59:50,160 --> 00:59:53,320
Speaker 4: about when were Lake Staic and we were water that

1213
00:59:53,520 --> 00:59:55,360
Speaker 4: that was the end of the first season because we

1214
00:59:55,440 --> 00:59:56,200
Speaker 4: were all crying.

1215
00:59:55,960 --> 00:59:57,400
Speaker 1: Because we're getting picked up.

1216
00:59:58,080 --> 00:59:59,840
Speaker 3: Oh that was that scene.

1217
01:00:00,080 --> 01:00:04,080
Speaker 4: So yeah, because we're at episode twenty one, yeah, that

1218
01:00:04,320 --> 01:00:06,000
Speaker 4: was what it was, probably thirty thirty two.

1219
01:00:06,400 --> 01:00:10,080
Speaker 3: But this is a super cute, like cute for them, like.

1220
01:00:10,120 --> 01:00:12,560
Speaker 1: They're that's enough, Laura, that's free.

1221
01:00:13,320 --> 01:00:16,640
Speaker 2: It is the is the kind of haggard I think

1222
01:00:17,040 --> 01:00:18,600
Speaker 2: it's by Laura means.

1223
01:00:18,600 --> 01:00:24,200
Speaker 3: The obstacle in between Amanda Woodward. Here she is, she's arrived,

1224
01:00:24,320 --> 01:00:27,560
Speaker 3: and she's like, oh, Amna, Allison never mentioned you, and

1225
01:00:27,640 --> 01:00:29,880
Speaker 3: he's like, yeah, she never mentioned you either.

1226
01:00:31,120 --> 01:00:33,280
Speaker 2: Well she want to come in from us.

1227
01:00:33,440 --> 01:00:33,640
Speaker 1: Yeah.

1228
01:00:34,120 --> 01:00:37,800
Speaker 4: In Alison's defense, she's never mentioned Amanda till anyone, no

1229
01:00:37,920 --> 01:00:40,840
Speaker 4: one until this episode of Friend Amanda.

1230
01:00:42,400 --> 01:00:44,720
Speaker 3: She's been in D and D all the time, just

1231
01:00:44,840 --> 01:00:46,480
Speaker 3: in the other room. I don't need to mention her.

1232
01:00:46,520 --> 01:00:48,640
Speaker 2: But this is a great ending to an episode and

1233
01:00:48,720 --> 01:00:54,120
Speaker 2: it's a great ending to Heather's first you know, uh, first.

1234
01:00:53,960 --> 01:00:55,440
Speaker 1: Show with us, first episode.

1235
01:00:55,480 --> 01:00:57,840
Speaker 4: Yeah, they really like she's sort of snuck in as

1236
01:00:57,920 --> 01:01:00,840
Speaker 4: like Allison's friend in this nice tour and D and

1237
01:01:00,960 --> 01:01:02,600
Speaker 4: D and then this happened.

1238
01:01:02,640 --> 01:01:05,400
Speaker 1: This is the new Melrose though that it happens quickly.

1239
01:01:05,840 --> 01:01:09,320
Speaker 1: We go from one side together very quickly, like it's

1240
01:01:09,400 --> 01:01:10,000
Speaker 1: still fast.

1241
01:01:10,320 --> 01:01:12,800
Speaker 5: Yeah, because he even like, as she's there clearly to

1242
01:01:12,960 --> 01:01:16,400
Speaker 5: just deliver something to Alison, he invites her, Hey, well,

1243
01:01:16,440 --> 01:01:18,400
Speaker 5: why don't you come in for a drink, And she

1244
01:01:18,520 --> 01:01:21,200
Speaker 5: looks like she's tempted, like she would love to say us,

1245
01:01:21,280 --> 01:01:22,200
Speaker 5: but she's like, oh, I can't.

1246
01:01:22,360 --> 01:01:24,000
Speaker 3: I have so much work to do. And he's like,

1247
01:01:24,000 --> 01:01:24,720
Speaker 3: well how about dinner.

1248
01:01:24,800 --> 01:01:28,720
Speaker 5: It's like he's really establishing right away that there's this

1249
01:01:29,120 --> 01:01:31,080
Speaker 5: you know, interest from both of them, and she looks

1250
01:01:31,120 --> 01:01:34,520
Speaker 5: tempted every time he sort of pushes and yeah, and

1251
01:01:34,680 --> 01:01:36,960
Speaker 5: she finally says, well, I really have to go, and

1252
01:01:37,120 --> 01:01:39,480
Speaker 5: as she's leaving instead, she turns back and she's like, well,

1253
01:01:39,520 --> 01:01:40,520
Speaker 5: how about a rain check?

1254
01:01:40,680 --> 01:01:43,080
Speaker 3: You know, like there's the door is still open.

1255
01:01:43,200 --> 01:01:45,720
Speaker 2: He's like, yeah, anytime, thrill.

1256
01:01:45,920 --> 01:01:50,200
Speaker 5: Yeah, but did you know like when Yeah, So he's like, great, yeah,

1257
01:01:50,400 --> 01:01:52,800
Speaker 5: anytime on that rain check. And then as she's turning

1258
01:01:52,880 --> 01:01:55,960
Speaker 5: to go, she's walking towards the cameron, she says, very quietly,

1259
01:01:56,160 --> 01:01:56,840
Speaker 5: did you catch this?

1260
01:01:57,720 --> 01:01:58,880
Speaker 3: She's walking away, smiling.

1261
01:01:58,920 --> 01:02:01,080
Speaker 5: We can see him in the background watching her walk away,

1262
01:02:01,360 --> 01:02:04,600
Speaker 5: and she says very quietly, yeah, real soon.

1263
01:02:06,080 --> 01:02:07,840
Speaker 1: No you didn't hear that?

1264
01:02:08,280 --> 01:02:10,840
Speaker 5: Yeah, And I go back and hear it again, and

1265
01:02:10,960 --> 01:02:13,960
Speaker 5: I think that's what she says, and she says it

1266
01:02:14,040 --> 01:02:17,280
Speaker 5: to herself super quiet, but like the frame is both

1267
01:02:17,320 --> 01:02:19,680
Speaker 5: of them facing the camera and he's in the background

1268
01:02:19,760 --> 01:02:22,439
Speaker 5: watching her, and she's walking out going yeah really, yeah,

1269
01:02:23,360 --> 01:02:24,160
Speaker 5: that's so razing.

1270
01:02:24,200 --> 01:02:25,440
Speaker 1: And I don't remember.

1271
01:02:26,280 --> 01:02:28,600
Speaker 4: I think that she was booked for a number of

1272
01:02:28,720 --> 01:02:33,480
Speaker 4: episodes and then obviously the show exploded with her on it,

1273
01:02:35,000 --> 01:02:37,000
Speaker 4: but I don't remember if this was the arc, if

1274
01:02:37,080 --> 01:02:41,080
Speaker 4: like she was there to create something between Alison and Billy.

1275
01:02:41,480 --> 01:02:44,280
Speaker 5: I feel like you mentioned that from the beginning they

1276
01:02:44,400 --> 01:02:47,640
Speaker 5: wanted that to be Amanda, to be a problem between

1277
01:02:48,120 --> 01:02:51,000
Speaker 5: Billy and Alison, and that even though knowing that the

1278
01:02:51,040 --> 01:02:53,600
Speaker 5: audience all wanted the Billy and Allison thing, like the

1279
01:02:53,720 --> 01:02:57,640
Speaker 5: longer you prolong it and likes.

1280
01:02:56,320 --> 01:02:58,240
Speaker 3: Like you just pulling the audience in of like I

1281
01:02:58,320 --> 01:03:01,040
Speaker 3: want this, I want this and make it hard.

1282
01:03:01,080 --> 01:03:03,280
Speaker 2: I mean, I don't remember the next episode, but I'm

1283
01:03:03,280 --> 01:03:05,240
Speaker 2: wonder if Alice is gonna be all over Billy, you

1284
01:03:05,280 --> 01:03:07,080
Speaker 2: know what I mean, and very protective. It's like the

1285
01:03:07,160 --> 01:03:08,240
Speaker 2: tables are turned, you know.

1286
01:03:08,880 --> 01:03:12,760
Speaker 5: Yeah, well, I can't wait to see the next one. Guys,

1287
01:03:12,800 --> 01:03:15,919
Speaker 5: we have a you know, we'll have another recap soon.

1288
01:03:16,000 --> 01:03:17,160
Speaker 5: We're gonna have Heather.

1289
01:03:17,040 --> 01:03:18,400
Speaker 3: On very very soon.

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Speaker 2: Excited to see her.

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01:03:20,560 --> 01:03:24,360
Speaker 5: Everybody, Yeah, don't forget to subscribe and you'll get the

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01:03:24,440 --> 01:03:26,360
Speaker 5: Melrose minutes that we have at the end of the weeks,

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01:03:26,440 --> 01:03:29,600
Speaker 5: and you'll have every episode in your inbox, including our.

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01:03:29,640 --> 01:03:31,080
Speaker 3: Upcoming very exciting guests.

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01:03:31,800 --> 01:03:33,800
Speaker 2: Yeah, find out what happens.

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01:03:33,640 --> 01:03:36,040
Speaker 3: In the next episode with all show.

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01:03:36,160 --> 01:03:39,000
Speaker 4: Remember like sheow remember what she was signed for. I

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01:03:39,080 --> 01:03:42,400
Speaker 4: do remember that the second season when she was irregular,

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01:03:42,480 --> 01:03:45,360
Speaker 4: we all got better trailers. Like I remember she came,

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01:03:45,680 --> 01:03:47,960
Speaker 4: it got better for all of us because it was

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01:03:48,000 --> 01:03:48,800
Speaker 4: all favored nations.

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01:03:48,840 --> 01:03:50,280
Speaker 1: We all got the same and it's like that's a

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01:03:50,360 --> 01:03:51,000
Speaker 1: real upgrade.

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01:03:51,080 --> 01:03:55,240
Speaker 5: Thanks Heather Well, we can't wait to talk to her,

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01:03:55,480 --> 01:03:59,280
Speaker 5: and she'll be coming on very very soon, very soon.

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01:04:00,120 --> 01:04:03,640
Speaker 3: Thanks for listening again, and as always thanks for listening

1307
01:04:03,680 --> 01:04:04,400
Speaker 3: to Still the Place.

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Speaker 1: Bye guys, see you guys soon.

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Speaker 3: H