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

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Speaker 2: And Daphne Zuniga an iHeartRadio podcast. Hey guys, Hey everyone,

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Speaker 2: hiy on ourselves together for this.

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Speaker 1: We have a very good recap episode this week.

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Speaker 2: Yeah, it's a good episode. It's funny because I'll lead

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Speaker 2: us in the recap and I found some cool trivia

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Speaker 2: right at the top.

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Speaker 1: Let's attributa tell us.

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Speaker 2: Well, okay, so this was directed This is episode thirty

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Speaker 2: Carpe DM. It aired on April twenty eighth, nineteen ninety three,

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Speaker 2: and it was directed by Richard Lang. And I knew

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Speaker 2: that Richard Lang did. He did seventeen Melrose episode.

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Speaker 3: Yet he get us out by lunch very recurring.

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Speaker 2: Yes. Well, what I learned about him was that his father,

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Speaker 2: Walter Lang, was very close friends with Clark Gable and

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Speaker 2: Carol Lombard. And in fact they were our Richard Lang's godparents. Wow,

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Speaker 2: And I mean I knew them on set. We're just

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Speaker 2: like these you don't know in that era who you're

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Speaker 2: working with.

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Speaker 3: Really, we couldn't we google anything?

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Speaker 2: You can't google? Yeah, and when is your time is running?

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Speaker 2: In between sets? And I just said, god, here we

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Speaker 2: could have sat down play a Gable you know dinners

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Speaker 2: and family dinners and stuff.

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Speaker 1: But what cool old Hollywood insight.

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Speaker 2: I wish we'd had that, I know, I know, it's

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Speaker 2: it's and especially that era where the people that we

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Speaker 2: were working with in TV had had film careers. And

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Speaker 2: then this Richard Lang's father, Walter Lang, was in the

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Speaker 2: silent era. I mean, the guy was born in like

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Speaker 2: eighteen ninety six, completely missed us. Yeah, they helped create

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Speaker 2: this whole business, and we had them at the in

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Speaker 2: the years when they were doing you know, directing and

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Speaker 2: TV and stuff.

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Speaker 1: And we were in our years where we were too

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Speaker 1: dumb to like we were starting. Yeah, we were just clue.

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Speaker 3: Yeah.

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Speaker 2: Yeah. So it's a really kind of cool crossover time

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Speaker 2: era back then. And I mentioned that to my husband,

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Speaker 2: who was like, none of your listeners are going to

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Speaker 2: even know. None of your listeners are gonna who Clark Gable.

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Speaker 1: Was and will Yes they will.

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Speaker 3: What do you think we our kids won't, But our

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Speaker 3: listeners do have a grown up audience. Yeah.

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Speaker 2: So anyway, kind of cool to bring us into this episode,

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Speaker 2: which was a very cool episode, but it opens up

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Speaker 2: with this wonderful, very melrosy uh montage of the Avenue,

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Speaker 2: you know, nineteen ninety three. We start on Snakeskin cowboy boots.

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Speaker 2: I'm sure you guys lit up.

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Speaker 1: I think those boots have walked the opening shots before, but.

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Speaker 3: I feel like they I think this is when we

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Speaker 3: started bringing in original music. I noticed a couple of

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Speaker 3: original songs, like when when artists wanted to be played

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Speaker 3: on Melroe's place, I was like, that's really, that's a

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Speaker 3: new song.

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Speaker 1: There's still there's still yeah, some some surprising music moments.

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Speaker 1: But I also think that a lot of the the

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Speaker 1: rights to the songs weren't available for this streaming version,

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Speaker 1: So I have a feeling some songs had to be changed,

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Speaker 1: like for the actual rights of those original now right.

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Speaker 1: But they're trying to match the tone of it with

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Speaker 1: interesting music that's like you know, stock and available.

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Speaker 2: Well, the music for the original Melrose was iconic, you know,

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Speaker 2: especially the title music for sure, the theme song for sure,

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Speaker 2: theme song for sure. But also it became a place

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Speaker 2: where lots of bands and artists, what what would want

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Speaker 2: their stuff, you know, like the Goo Goo Dolls or

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Speaker 2: whoever they they would I think come on and be

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Speaker 2: a part of the show. Not known for that, it's

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Speaker 2: music so, yeah, we were cool. And it's corny shoulder pads,

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Speaker 2: but those are the two things.

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Speaker 1: They were. They were like a costar. They a little

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Speaker 1: separate billing it.

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Speaker 2: So as the camera comes in on Billy and Allison's apartment,

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Speaker 2: and he's so excitedly cooking breakfast. I mean, he's just

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Speaker 2: got the spring of this stuff. He's so excited.

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Speaker 1: Well, remind us what had happened the night before.

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Speaker 2: Well, the night before I believe she was standing in

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Speaker 2: the doorway with a very oversized men's shirt with nothing underneath.

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Speaker 3: No pants. Alison's signature, look no pants.

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Speaker 1: It is Alison no pants previously maybe shoulder pads.

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Speaker 2: I'm not sure if he's seducing him at any rate.

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Speaker 2: They end up kissing, and right after they kissed, Billy's

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Speaker 2: like seeing stars and she's like, good night, Billy. He

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Speaker 2: goes into her room.

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Speaker 1: So they kissed for the first time. But that's it.

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Speaker 1: And so now this is the morning after last night.

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Speaker 2: This is the morning after, and as he's very excitedly

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Speaker 2: making breakfast, Alison enters and I want to know, Courtney,

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Speaker 2: if you had any comments on your beige skirt and jacket.

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Speaker 3: Said, this is a repeat. This jacket. All I'm screaming

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Speaker 3: at the TV as I'm watching it. It's tailor it,

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Speaker 3: tailor it. I just want things more fitted. Amanda walks

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Speaker 3: around in these beautifully tailored things, and it looks like

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Speaker 3: I'm borrowing things from a relative who's a completely different size.

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Speaker 1: Your's this sort of amazing. There was something about that

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Speaker 1: era that that was like a style that was an

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Speaker 1: acceptable style. Because I have photographs, like just personal photographs

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Speaker 1: of how I was dressing around this time, and I

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Speaker 1: had a huge oversized blazer for what reason. It was

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Speaker 1: like this men's boxy thing, Like why did I? I'm

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Speaker 1: a small person, why did I?

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Speaker 3: That's true. So I think there was a style that's

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Speaker 3: the seventies. No, you're right, it was. It was the style.

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Speaker 3: You shouldn't wear it on TV because everything looks bigger.

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Speaker 1: Anyway, Well, now we know, right, we learn, you know

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Speaker 1: many years later in now now we know, but we

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Speaker 1: probably still thought it was cool at the time when

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Speaker 1: we when we saw it on TV.

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Speaker 3: But anyway I noticed about this is how sweetly shy

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Speaker 3: they are. Like I really want them to just be

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Speaker 3: they finally had their first kiss. I want them to

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Speaker 3: be all over each other. But this entire scene, they're

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Speaker 3: acting like an old married couple.

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Speaker 2: No Alison. Alison is putting the brakes on Alison like,

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Speaker 2: You're like, we should talk about last night. We've talked enough. Well,

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Speaker 2: we've been living together a year. That's slow. It's already,

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Speaker 2: you know, ready to go. And he's like handing you

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Speaker 2: breakfast and wanting to kiss you, and you're like, I.

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Speaker 3: Know she's reading is disinterested, which I'm not a fan of.

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Speaker 1: Well, it was likers. It struck me as like nervous

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Speaker 1: and scared and a little bit like all of a

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Speaker 1: sudden self conscious about it, Like, okay, it came. It

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Speaker 1: became self conscious because before it was like she wanted

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Speaker 1: to be spontaneous, and then all of a sudden, now

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Speaker 1: that they've kissed and now that it's real thing, all

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Speaker 1: of a sudden, she's panicking and sort of self conscious

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Speaker 1: about it. And she's she's like, well, I hate you know.

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Speaker 1: When she's putting on the break she's suggesting they go

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Speaker 1: on a real date first. Yeah, He's like, we.

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Speaker 2: Haven't even been on a So he's like, well, great,

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Speaker 2: what are your plans tonight? I'm taking out to the

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Speaker 2: most romantic night Basically he says. So he's like, whatever

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Speaker 2: you want, let's just keep this thing going. It's so

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Speaker 2: cute cut. So I feel like they're it's so interesting

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Speaker 2: those two. They're always like stop and go, stop and go,

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Speaker 2: you know what I mean, Like it gets going, and

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Speaker 2: the breaks around they get going and the so but

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Speaker 2: they're very adorable in this one. And then we're gonna

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Speaker 2: after he says, Okay, I'm taking you out on romantic

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Speaker 2: night tonight, so you get ready for our first date.

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Speaker 2: Then we cut to the next scene is the devil

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Speaker 2: I mean, Michael shaving and his beautiful loving wife is

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Speaker 2: nuzzling up behind him in the mirror in the bathroom

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Speaker 2: and wanting to get frisky and saying I miss you, Michael,

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Speaker 2: And he says, well, tomorrow night's our anniversary, so you know,

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Speaker 2: let's wait till then, and she's like, I want you

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Speaker 2: and he's like.

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Speaker 3: Well, this is the second scene when he's shaving and

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Speaker 3: rejecting her. I'm like, this is a theme. I'm not

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Speaker 3: a fan of the theme.

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Speaker 2: Yes, right, oh, and I love our producer has put

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Speaker 2: out that reels that said red flag. He's shaving on

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Speaker 2: his day off.

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Speaker 1: Yeah, total red flag. And he's turning down his wife.

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Speaker 1: And he's standing in only a towel in this scene,

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Speaker 1: which I mean this is a little bit of foreshadowing.

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Speaker 1: We'll get to that later. He's just wearing a towel

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Speaker 1: in the well and turning down his beautiful wife.

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Speaker 2: And he's turning down this beautiful, sweet wife and they've

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Speaker 2: only been married a couple of years. So he scoots

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Speaker 2: her out of the bathroom now scoot, scoot, scoot, like

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Speaker 2: shuts the door, and she's like, uh okay. So you

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Speaker 2: start to see that she's unhappy, kind of like wheels

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Speaker 2: maybe turning in her well.

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Speaker 3: Remember in the last episode he said he was at

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Speaker 3: work all day and she found sand in his shoes.

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Speaker 3: So she's got this playing in the back of her

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Speaker 3: mind something.

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Speaker 1: Yeah, what's up with him? And is he always telling

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Speaker 1: me the pieces together?

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Speaker 2: Isn't she? Yeah? I think she's a little flow. But

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Speaker 2: then we are back at the rom com of the episode.

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Speaker 2: Billy and Allison are each in their own closets to

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Speaker 2: some of that great melose music. We were talking about

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Speaker 2: throwing things out of the on the bed, like what

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Speaker 2: should I wear? They're both like what should I wear?

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Speaker 2: What do I wear? It's a date. It's an actual

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Speaker 2: date with my roommate.

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Speaker 1: And they're literally across the hall from each other, and

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Speaker 1: they're so across but both getting ready.

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Speaker 2: Alison like goes, oh, and she walks out and she

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Speaker 2: knocks on his door. She goes, what are you wearing?

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Speaker 2: What should I wear for tonight's date?

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Speaker 1: Like?

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Speaker 2: Is this fancy? Is this cash? And he's like, well, sexy,

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Speaker 2: but demure, you know, he's very general and she's like, oh,

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Speaker 2: you're a lot of help. And he says, well, I

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Speaker 2: want to be surprised when I pick you up, and

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Speaker 2: she goes.

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Speaker 3: It sort of spoils a mystery when you have to

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Speaker 3: wait for a date to finish clipping his tonnails before

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Speaker 3: you can put your makeup on, which is so true.

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Speaker 1: I think it's such as it's disgusting and funny, very roommating.

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Speaker 1: The funny thing is that it goes on from there

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Speaker 1: where she's saying, well, how do we get this suspense?

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Speaker 1: You know, if I'm waiting for you to finish clipping

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Speaker 1: your tons it is like, speaking of makeup, you might

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Speaker 1: want to take it a little easy on the makeup

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Speaker 1: because you know it contend to get heavy when you

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Speaker 1: go out and I'm like, what what you yeah me

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Speaker 1: to like have their first date.

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Speaker 2: It's a weird moment because they've turned a corner and

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Speaker 2: so now they're just saying stuff, do you know to me? Like, well,

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Speaker 2: now that we're gonna be together, like you know you

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Speaker 2: by the way you wear too much makeup when you

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Speaker 2: go out?

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Speaker 1: Yes, excuse me, there may just being a date. Yeah.

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Speaker 3: Yeah, it's not looking good. They're not handling any of

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Speaker 3: this well.

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Speaker 2: So the cutest moment is when she goes, look, mister,

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Speaker 2: and she walks right up to him, where are you

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Speaker 2: taking me? And then he's like, to the park for

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Speaker 2: jazz Fest And then she turns and she goes, oh perfect.

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Speaker 2: So she goes, I'll grab some jeans out of the dryer,

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Speaker 2: and as she leaves, he goes, Okay, I'm picking you

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Speaker 2: up in fifteen minutes. He's gonna go outside and knock

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Speaker 2: on the door of their apartment or has to knock

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Speaker 2: on her bedroom door. I don't know, but it's hilarious.

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Speaker 2: They're trying to like play real grown ups on a

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Speaker 2: date with their roommates. So hurry up, I'm picking you

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Speaker 2: up in fifteen minutes. Very cute scene. And as we

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Speaker 2: said she's gonna go downstairs to the laundroom and get

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Speaker 2: some dryers out of the dryer. So who does she

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Speaker 2: run into there? Jane. She starts talking all of a

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Speaker 2: sudden to Alison. They're like, hey, hey, And of course

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Speaker 2: we know that Alison has seen Michael kissing Kimberly in

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Speaker 2: the last episode in the hospital parking lot, and all

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Speaker 2: of a sudden, Jane's like talking about marriage and she's

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Speaker 2: been thinking about it and you know how old couple

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Speaker 2: stay together and it's just supposed to be hard in

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Speaker 2: the first two years, which is what she's in. But

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Speaker 2: you know, we have our anniversary dinner and I'm excited

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Speaker 2: about that and she's like, okay, well, have a good

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Speaker 2: anniversary dinner.

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Speaker 1: Alison doesn't say anything, right, she has an opportunity and

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Speaker 1: she doesn't take it.

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Speaker 2: Here she doesn't take it.

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Speaker 1: And the other thing that like, by now we've seen

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Speaker 1: because Michael has gone to the hospital this day after

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Speaker 1: he's finished shaving whatever, and we've already seen the audience

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Speaker 1: has seen it, as is him arriving at the hospital

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Speaker 1: and Kimberly greeting him in the parking lot and giving

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Speaker 1: him a kiss. So by the time Jane and Alison

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Speaker 1: see each other in the parking lot or I mean

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Speaker 1: in the laundry room. They've seen each other in the

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Speaker 1: parking lot for the audience that we've already seen him

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Speaker 1: being deceitful again and like confirming that they're still doing this.

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Speaker 1: They're kissing in the parking lot. They're trying to, you know,

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Speaker 1: maybe make a plan when they can get together, and

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Speaker 1: and you know, Michael is revealing, well, hang on, it's,

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Speaker 1: you know, my anniversary, but maybe I can figure this

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Speaker 1: out because you know, and only my anniversary, my two

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Speaker 1: year anniversary. It wasn't it just the last episode where

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Speaker 1: she said I'll have you any way I can, like,

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Speaker 1: I don't care. I know that you're married, but I

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Speaker 1: just need to have you, like you need to.

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Speaker 2: Yeah.

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Speaker 1: So all of a sudden, now she's like, this is

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Speaker 1: not good. I don't want to sneak around and this

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Speaker 1: is not me and it's mad. So so when Jane

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Speaker 1: and Alison see each other in the room after that,

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Speaker 1: it's even more like, eh, that's right that Alison doesn't

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Speaker 1: say something because we're you know, we're definitely seeing that

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Speaker 1: this affair is on.

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Speaker 2: Yes, which leads us to this next scene where they're

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Speaker 2: actually Alison and Billy are on their date, and it's

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Speaker 2: really now weighing on Alison's She's so preoccupied with do

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Speaker 2: I tell because I just went into Jane and you're right,

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Speaker 2: I've seen them early. You know what. It's such a.

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Speaker 3: Cute scene, like they're sitting in this outside park, they've

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Speaker 3: got a picnic and there's it really is sweet and

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Speaker 3: romantic and I'm just screaming, shut up and kiss him

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Speaker 3: like what we are Michael, woh, just stop it, Alison,

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Speaker 3: And it's adorable.

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Speaker 2: Boy.

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Speaker 3: It's driving me because honestly, you guys know what it's

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Speaker 3: like to be in a new relationship. All you want

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Speaker 3: to do is make out. So the fact that she

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Speaker 3: can't like it would be so far out of her mind.

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Speaker 3: That's what's driving me crazy about this storyline. It's like

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Speaker 3: they have kissed. It was great. It was a sweet kiss.

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Speaker 3: We saw it. So I feel like in reality that

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Speaker 3: would supersede all of this stuff. The fact that you

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Speaker 3: or unless, as to Laura's point, she's picking fights because

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Speaker 3: she's scared. That's I'm gonna use that as a way

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Speaker 3: to make sense of it, because maybe she keeps bringing

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Speaker 3: this up because she's so scared about actually getting together

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Speaker 3: with Billy. Yeah, otherwise it's crazy time.

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Speaker 2: Well it is.

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Speaker 1: She's so preoccupied with it. She just can't get it

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Speaker 1: out of her mind, which seems crazy at this moment

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Speaker 1: for her relationship. But she does admit to Billy that

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Speaker 1: she couldn't bring herself to tell Jane in the lowndroom,

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Speaker 1: like she's honest about it, like that's bugging her that

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Speaker 1: she hasn't been able to, you know, come clean about it,

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Speaker 1: and she feels really responsible for that.

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Speaker 3: Yeah. And then Billy says, it's almost like you don't

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Speaker 3: want to move forward, and then she blames him and

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Speaker 3: picks a fight and storms off.

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Speaker 2: Well, he says, it's because I don't think you want

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Speaker 2: to sleep with me, meaning moving forward, and she's like, yes, thanks,

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Speaker 2: you like took out the romance of this.

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Speaker 3: Whole whole life coucher out the romance, excuse me right?

305
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Speaker 1: Well first, and he also says, you know, hey, some

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Speaker 1: some relationships can survive this kind of thing, and which

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Speaker 1: sort of rubs Alison wrong too, like wait a minute,

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Speaker 1: are him like is this are you defending him? And

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Speaker 1: they end up in this bickering that ruins their date

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Speaker 1: and they have to leave the park, like they just

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Speaker 1: can't enjoy what was right in front of them.

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Speaker 2: This was a chance for them to get close and

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Speaker 2: make out and feel like, you know, a date, and

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Speaker 2: then it was thwarted and they go off. They end

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Speaker 2: the scene fire.

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Speaker 3: Alison thwarts it, thwarts.

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Speaker 2: It, anything to prevent his tongue from entering her mouth.

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Speaker 2: He's so happy, it's so cute, and you're just I know, well,

319
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Speaker 2: so clearly not method acting there, right, and I think

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Speaker 2: I have here. The next morning, Allison comes into Billy's

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Speaker 2: room in her iconic blue bathrobe with the stars.

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Speaker 3: Yeah, because she wants to be sexy. So she picks

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Speaker 3: a big, huge love like how many times did you

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Speaker 3: walk into his room and a T shirt and underwear?

325
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Speaker 3: And now it's like, but you don't have today. It

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Speaker 3: really feels like she's trying to put distance. Maybe maybe

327
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Speaker 3: that's it. I'm going to give myself credit and say

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Speaker 3: that's what I was playing.

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Speaker 2: Well, you have to this character has I don't know

330
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Speaker 2: how long they end up staying together, but they can

331
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Speaker 2: grow into it. But yeah, I mean, yeah, if it

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Speaker 2: were me and I turned on my remain we started

333
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Speaker 2: something all the dolls would be gone from my shelf.

334
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Speaker 3: Exactly, the dolls. Remember Allison with Keith that episode, Like,

335
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Speaker 3: clearly she has a libido. They barely talked in that episode.

336
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Speaker 3: Every seat they were making out why is she hiding

337
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Speaker 3: that from Billy anyway?

338
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Speaker 1: Sorry, well, I think also it's an example of story

339
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Speaker 1: that you just like, Okay, that's what's in the script,

340
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Speaker 1: and that's what I have to play it for the

341
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Speaker 1: sake of story, right like, and.

342
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Speaker 2: I'm trying to.

343
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Speaker 3: They're trying to stretch it out, make it you need

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Speaker 3: as long as possible.

345
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Speaker 1: Yeah, they needed to get the conflict with Jane and Michael,

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Speaker 1: and this is that worked into like Alison not having

347
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Speaker 1: told and so it had to become stories. So all

348
00:17:04,840 --> 00:17:10,720
Speaker 1: of a sudden, you're playing something that's not necessarily you know, believable. Yeah,

349
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Speaker 1: like organic or what you what you think like this

350
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Speaker 1: other story points. So give your you know, give yourself

351
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Speaker 1: a break.

352
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Speaker 3: And it does, like the audience was probably yelling at

353
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Speaker 3: the TV. That is fun for the audience, right because

354
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Speaker 3: you're just like they're so close to get on with it.

355
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Speaker 2: Yeah, like he said, not supposed to be realistic, and

356
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Speaker 2: the writers know when they want you to you know,

357
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Speaker 2: they know they're manipulating the writers just like us.

358
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Speaker 1: We're all doing already, dragging it out, and they're.

359
00:17:36,400 --> 00:17:37,919
Speaker 2: Going to tune in next week to see if they

360
00:17:38,000 --> 00:17:39,280
Speaker 2: do it, and they're gonna turn the following week.

361
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Speaker 3: Yeah it's so true.

362
00:17:40,400 --> 00:17:42,840
Speaker 1: Okay, but the conversation the next morning after this date

363
00:17:42,960 --> 00:17:45,320
Speaker 1: was thwarted at right, And then she comes out in

364
00:17:45,320 --> 00:17:48,120
Speaker 1: her robe. The conversation in the kitchen is so fun.

365
00:17:48,160 --> 00:17:50,120
Speaker 3: In the bedroom in weldroom is.

366
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Speaker 2: It the bedroom?

367
00:17:50,560 --> 00:17:52,879
Speaker 1: Okay, we're oh yeah, yeah, yeah, And they're starting to

368
00:17:53,000 --> 00:17:54,720
Speaker 1: compare what they were dreaming about.

369
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Speaker 2: That's so cute.

370
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Speaker 1: Oh my god.

371
00:17:57,920 --> 00:17:59,600
Speaker 2: Yeah, flowers opening.

372
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Speaker 3: And Alice those crashing waves.

373
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Speaker 1: I was doing that, waves crashing on the floor on

374
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Speaker 1: the shore. And when Billy says flowers opening up, I'm like,

375
00:18:09,720 --> 00:18:14,080
Speaker 1: you know, oh that must have been those things for Andrews, Like,

376
00:18:14,200 --> 00:18:15,159
Speaker 1: I'm gonna say this.

377
00:18:17,720 --> 00:18:20,280
Speaker 2: But then you have Alison, who you know, has come

378
00:18:20,320 --> 00:18:22,680
Speaker 2: into apologize and she's like, well, let's give it another

379
00:18:22,760 --> 00:18:25,640
Speaker 2: try tonight. Let's stay in and have wine and pizza

380
00:18:26,200 --> 00:18:28,480
Speaker 2: and maybe sex. Do the deed.

381
00:18:28,800 --> 00:18:31,760
Speaker 3: I can't possibly do it. Now, both of us dig

382
00:18:31,840 --> 00:18:34,000
Speaker 3: my robot. That couldn't possibly happen.

383
00:18:34,200 --> 00:18:36,919
Speaker 1: Yeah, let's make a plan. Let's talk about it, and

384
00:18:37,000 --> 00:18:39,199
Speaker 1: let's make a plan, and let's let's take all the

385
00:18:39,240 --> 00:18:40,720
Speaker 1: sexiness out of the whole thing.

386
00:18:41,640 --> 00:18:43,720
Speaker 3: No, you know what, our sex life needs a plan.

387
00:18:45,000 --> 00:18:45,919
Speaker 1: Let's discuss it.

388
00:18:46,000 --> 00:18:49,440
Speaker 2: Well, but he's like, okay, take two.

389
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Speaker 1: But they agree that it will be no talk of

390
00:18:52,760 --> 00:18:56,439
Speaker 1: the neighbors this time. No talking about the neighbors.

391
00:18:56,000 --> 00:18:57,480
Speaker 2: Because I won't talk about the neighborhood.

392
00:18:57,520 --> 00:18:58,640
Speaker 1: College. Okay, good plan.

393
00:19:03,400 --> 00:19:07,760
Speaker 2: We're at the beach with a big bed of lingerie models, uh,

394
00:19:07,880 --> 00:19:10,720
Speaker 2: posing and lounging on the side.

395
00:19:10,760 --> 00:19:12,199
Speaker 3: Like did they have to like, did they have to

396
00:19:12,240 --> 00:19:13,120
Speaker 3: fill a beach day?

397
00:19:13,560 --> 00:19:15,160
Speaker 1: A four poster bed, four.

398
00:19:15,080 --> 00:19:18,679
Speaker 3: Poster wooden bed and a and a bedside table.

399
00:19:18,440 --> 00:19:22,200
Speaker 1: By dresser and two bedside tables, an entire bedroom set,

400
00:19:22,480 --> 00:19:24,760
Speaker 1: the entire front on the sand.

401
00:19:25,320 --> 00:19:29,040
Speaker 2: Yeah. I remember we did shoot this in Santa Monica, right,

402
00:19:29,160 --> 00:19:31,520
Speaker 2: I think near the pier. But no one questioned it.

403
00:19:31,640 --> 00:19:34,240
Speaker 2: I don't remember anyone going like is this a weird setup?

404
00:19:34,320 --> 00:19:38,359
Speaker 2: It was just ninety three like, lingerie models on a

405
00:19:38,400 --> 00:19:40,280
Speaker 2: four post bed on the beach.

406
00:19:40,440 --> 00:19:41,640
Speaker 1: It was just another Tuesday.

407
00:19:41,920 --> 00:19:46,080
Speaker 2: It's just a catalog shot. What's the issue? Whatever? There maybe,

408
00:19:46,160 --> 00:19:47,840
Speaker 2: you know, I think it was like a Victoria's Secret

409
00:19:47,880 --> 00:19:50,119
Speaker 2: type of thing or something. And we have one of

410
00:19:50,160 --> 00:19:53,240
Speaker 2: the lead the lead model is Karen, who's played by

411
00:19:53,359 --> 00:19:58,359
Speaker 2: Vanessa Angel, and she and Joe are doing this banter

412
00:19:58,560 --> 00:20:00,800
Speaker 2: and I washed this a couple of time, and I'm like, ah,

413
00:20:00,840 --> 00:20:03,879
Speaker 2: there's all of this sort of like double on tandras

414
00:20:03,960 --> 00:20:08,240
Speaker 2: teasing like with between the two women. You know. But

415
00:20:08,359 --> 00:20:11,960
Speaker 2: she's saying Joe's like being all very you know. I

416
00:20:11,960 --> 00:20:15,159
Speaker 2: guess I was doing what I thought photographers did, like

417
00:20:15,200 --> 00:20:20,600
Speaker 2: oh yeah you're hot baby, so good, yeah, beautiful, gorgeous, gorgeous.

418
00:20:20,720 --> 00:20:23,520
Speaker 3: I guess yeah, yeah.

419
00:20:23,320 --> 00:20:25,400
Speaker 2: I didn't do a ton of research. I just did

420
00:20:25,400 --> 00:20:27,320
Speaker 2: what I I.

421
00:20:27,359 --> 00:20:30,680
Speaker 3: Bought a photo shoots. They want you feel good about yourself.

422
00:20:30,680 --> 00:20:34,560
Speaker 3: There was crazy on music. Yeah you're saying beautiful, beautiful, great, yeah, great,

423
00:20:34,640 --> 00:20:36,399
Speaker 3: arch your back. I was like, yeah, I've heard all

424
00:20:36,480 --> 00:20:37,200
Speaker 3: those yeah.

425
00:20:37,440 --> 00:20:39,160
Speaker 2: Arch your back. That was yeah, archier back.

426
00:20:39,359 --> 00:20:40,240
Speaker 3: Yeah.

427
00:20:40,280 --> 00:20:41,680
Speaker 2: So that's what I'm saying, really.

428
00:20:41,520 --> 00:20:43,280
Speaker 3: Should say to Alison to get things moving.

429
00:20:44,520 --> 00:20:49,440
Speaker 1: You're beautiful, drop that robe off your shoulder, arch your back.

430
00:20:49,560 --> 00:20:53,680
Speaker 1: I think, shut your mouth, arch your back.

431
00:20:54,000 --> 00:20:58,119
Speaker 2: She's like, wait, what art your back? Alison? Stop talking

432
00:20:58,600 --> 00:21:01,359
Speaker 2: I'm listening to you. You're you're saying very important things

433
00:21:01,400 --> 00:21:07,679
Speaker 2: just hurt you back. But Vanessa, my model, goes yes, ma'am.

434
00:21:08,600 --> 00:21:10,800
Speaker 2: It works for her. So she's like, you should go

435
00:21:10,840 --> 00:21:13,359
Speaker 2: out with us tonight. So we're setting up that Joe's

436
00:21:13,359 --> 00:21:15,119
Speaker 2: going to hang out with these models in the whole

437
00:21:15,160 --> 00:21:21,399
Speaker 2: like fashion world gang that night, and uh yeah. So

438
00:21:21,440 --> 00:21:23,560
Speaker 2: the very last thing is, hey, we're not done here,

439
00:21:23,640 --> 00:21:25,879
Speaker 2: get back on that bed, and Karen says yes, ma'am.

440
00:21:26,720 --> 00:21:31,160
Speaker 2: H So little foreshadowing there, I think, little tease. Then

441
00:21:31,280 --> 00:21:33,800
Speaker 2: we're in the opposite of that energy in the hospital

442
00:21:33,920 --> 00:21:38,119
Speaker 2: changing room where Kimberly now apologizes for getting so upset

443
00:21:38,320 --> 00:21:41,960
Speaker 2: she did earlier, and he kind of I think this

444
00:21:42,000 --> 00:21:44,639
Speaker 2: is where he likes quietly says I have a plan

445
00:21:44,680 --> 00:21:47,840
Speaker 2: against the lockers because for some reason, like four people

446
00:21:47,880 --> 00:21:50,080
Speaker 2: come into the room in this small little room and he's.

447
00:21:50,080 --> 00:21:52,680
Speaker 1: Ye, and they're still going to have this conversation. Yeah.

448
00:21:53,240 --> 00:21:55,480
Speaker 2: Does this where he has the plan to want you

449
00:21:55,520 --> 00:21:57,439
Speaker 2: to beat me at my anniversary dinner?

450
00:21:57,640 --> 00:22:01,880
Speaker 1: Yeah, the pagrio it's.

451
00:22:01,680 --> 00:22:03,960
Speaker 2: Just anyway, Yeah, I had this anniversary dinner. I had

452
00:22:04,000 --> 00:22:06,239
Speaker 2: this plan, you know, wait for this certain time. They

453
00:22:06,280 --> 00:22:07,720
Speaker 2: plan a time and then I want you to beat

454
00:22:07,760 --> 00:22:09,280
Speaker 2: me and then I'm gonna have to come into the

455
00:22:09,280 --> 00:22:13,040
Speaker 2: hospital because I'm on call, and you know, and she's like,

456
00:22:13,080 --> 00:22:15,080
Speaker 2: I feel so guilty though you're at your dinner and

457
00:22:15,119 --> 00:22:17,679
Speaker 2: he's like, don't feel guilty. We're just being true to

458
00:22:17,720 --> 00:22:19,240
Speaker 2: our feelings. Yeah.

459
00:22:19,359 --> 00:22:22,480
Speaker 3: Yeah, she totally afflicted, like she's cold at first and

460
00:22:22,520 --> 00:22:24,800
Speaker 3: she feels conflicted, but then in the end she'll like

461
00:22:24,800 --> 00:22:26,800
Speaker 3: in this one, she said, all I've been thinking about

462
00:22:26,880 --> 00:22:29,160
Speaker 3: is you anniversary or not? Or He says that. He says,

463
00:22:29,480 --> 00:22:31,479
Speaker 3: all I've been thinking about is you anniversary or not?

464
00:22:31,520 --> 00:22:33,480
Speaker 3: And then that sort of opens the door for her again.

465
00:22:33,600 --> 00:22:36,800
Speaker 1: So yeah, he's he's so fine with it, like like

466
00:22:36,960 --> 00:22:41,679
Speaker 1: literally interrupting its anniversary dinner to go spend the evening

467
00:22:41,680 --> 00:22:43,720
Speaker 1: with her. And he says, there's nobody I'd rather spend

468
00:22:44,160 --> 00:22:48,160
Speaker 1: the night with than you. And just for people who

469
00:22:48,160 --> 00:22:53,240
Speaker 1: don't understand what beeping is, right, pagers, we wore these

470
00:22:53,240 --> 00:22:57,879
Speaker 1: little things that like you call the number and it

471
00:22:57,119 --> 00:23:00,119
Speaker 1: would it vibrates her beeps and that's your te so

472
00:23:00,240 --> 00:23:02,000
Speaker 1: you have to return the call to that phone number

473
00:23:02,040 --> 00:23:03,800
Speaker 1: or whatever, so you're getting beeped.

474
00:23:04,359 --> 00:23:07,440
Speaker 2: It's high tack by you had to at the time

475
00:23:07,560 --> 00:23:12,280
Speaker 2: A yep, we're a pager pager. Then we cut to

476
00:23:12,800 --> 00:23:16,159
Speaker 2: Alison and Amanda are arguing. Surprise, surprise, were d and

477
00:23:16,240 --> 00:23:20,240
Speaker 2: d Ad. They're arguing in the open workspace, and Lucy

478
00:23:20,280 --> 00:23:22,240
Speaker 2: walks up and says to Alison, I want you to

479
00:23:22,240 --> 00:23:24,520
Speaker 2: come into my office, and then she tells her, look,

480
00:23:24,560 --> 00:23:27,680
Speaker 2: you cannot keep arguing with Amanda in the workspace. You're

481
00:23:27,680 --> 00:23:30,639
Speaker 2: coming to our work retreat and we're leaving tonight, which I.

482
00:23:30,640 --> 00:23:33,439
Speaker 3: Thought was such an Alison starts to say in grand

483
00:23:33,480 --> 00:23:36,160
Speaker 3: Alice in faction, but I have a day, and then

484
00:23:36,240 --> 00:23:38,560
Speaker 3: thank god, she catches herself. I was like, could you

485
00:23:38,680 --> 00:23:40,360
Speaker 3: please shut.

486
00:23:40,200 --> 00:23:46,119
Speaker 1: Off your She goes so far as to almost say

487
00:23:46,880 --> 00:23:47,280
Speaker 1: and then.

488
00:23:48,680 --> 00:23:51,800
Speaker 2: Wait, oh my god, but Lucy. It's only because Lucy

489
00:23:51,800 --> 00:23:53,960
Speaker 2: gives her this look like are you really wanting to

490
00:23:54,000 --> 00:23:54,920
Speaker 2: finish the sentence?

491
00:23:55,160 --> 00:23:55,360
Speaker 3: Dumb?

492
00:23:55,400 --> 00:23:57,919
Speaker 2: After Lucy, do you know do you remember how many

493
00:23:57,960 --> 00:23:59,679
Speaker 2: times I had your back and you actually still have

494
00:23:59,680 --> 00:24:03,879
Speaker 2: a job. And then she goes, oh, yeah, no, tonight's perfect.

495
00:24:03,960 --> 00:24:06,359
Speaker 2: I'm fine. I can go out to Palm Springs and

496
00:24:06,520 --> 00:24:08,800
Speaker 2: start this work retreat, which she didn't know about a

497
00:24:08,840 --> 00:24:14,479
Speaker 2: second earlier. So so yes, So she agrees, you're going

498
00:24:14,520 --> 00:24:17,280
Speaker 2: to come out to this workspace, this work retreat, and

499
00:24:17,280 --> 00:24:20,480
Speaker 2: this is we're going to work on conflict in the workspace.

500
00:24:21,680 --> 00:24:25,280
Speaker 2: Then we cut to we are in shooters and Joe's

501
00:24:25,359 --> 00:24:28,199
Speaker 2: surrounded by a few models and she's smoking with the

502
00:24:28,280 --> 00:24:30,520
Speaker 2: models because again in the nineties, this is what all

503
00:24:30,520 --> 00:24:38,360
Speaker 2: the models did. Chane smoked at the inside inside Wild.

504
00:24:38,960 --> 00:24:41,879
Speaker 2: So anyway, Karen the lead model is saying, you know,

505
00:24:42,160 --> 00:24:43,960
Speaker 2: I loved working with you, and no one's going to

506
00:24:44,000 --> 00:24:47,280
Speaker 2: shoot me except for you here on out, and which

507
00:24:47,320 --> 00:24:49,480
Speaker 2: is you know, a great thing for Joe to hear.

508
00:24:49,520 --> 00:24:52,440
Speaker 2: And then Jake walks in and they're all so impressed.

509
00:24:52,520 --> 00:24:55,960
Speaker 3: Wow, are they super admiring of him. Well played Joe,

510
00:24:56,200 --> 00:24:56,640
Speaker 3: which is.

511
00:24:56,720 --> 00:25:01,240
Speaker 2: Very good coming from these very these beautiful models. So

512
00:25:01,240 --> 00:25:05,640
Speaker 2: he's got his arm around Joe and he's like, hey,

513
00:25:05,760 --> 00:25:09,240
Speaker 2: you have to come out with us tonight, and he's like, well,

514
00:25:09,400 --> 00:25:12,600
Speaker 2: I can't go. And he's like, Joe, you've been smoking.

515
00:25:12,440 --> 00:25:16,680
Speaker 3: Because he has a very realistic bike repair emergency. Yeah,

516
00:25:17,160 --> 00:25:19,520
Speaker 3: because there was an emergency bike repair that came in,

517
00:25:19,560 --> 00:25:25,000
Speaker 3: So I can't that couldn't women beautiful women, because you

518
00:25:25,040 --> 00:25:26,560
Speaker 3: know how that happens. It's the same thing as being

519
00:25:26,600 --> 00:25:29,119
Speaker 3: beeped as a doctor, except that it's a motorcycle that

520
00:25:29,119 --> 00:25:30,280
Speaker 3: needs an emergency repair.

521
00:25:30,320 --> 00:25:33,280
Speaker 2: Why do I know that Grant totally had this script

522
00:25:33,280 --> 00:25:34,639
Speaker 2: and went up to the rise of guard. Are you

523
00:25:34,640 --> 00:25:36,280
Speaker 2: an idiot? Why would I not go out with these

524
00:25:36,280 --> 00:25:40,800
Speaker 2: people models? You know? How do I say this with

525
00:25:40,840 --> 00:25:41,400
Speaker 2: the straight face?

526
00:25:41,440 --> 00:25:42,960
Speaker 1: Although I thought he did a good job in this

527
00:25:43,040 --> 00:25:45,159
Speaker 1: scene playing the part where he's supposed to be a

528
00:25:45,200 --> 00:25:48,840
Speaker 1: little bit wary of this sort of dynamic with these models,

529
00:25:48,880 --> 00:25:51,919
Speaker 1: who I am around them? Yeah, like that that seems

530
00:25:51,960 --> 00:25:54,560
Speaker 1: a little bit suspect about, like is this a good idea?

531
00:25:54,600 --> 00:25:56,199
Speaker 1: So I thought he did a good job playing that

532
00:25:56,320 --> 00:25:58,159
Speaker 1: note in this.

533
00:25:58,320 --> 00:26:00,600
Speaker 3: Scene that he did, And I think, you know, he

534
00:26:00,720 --> 00:26:02,840
Speaker 3: was sort of annoyed, Like I think he was like

535
00:26:03,080 --> 00:26:05,200
Speaker 3: he didn't want to hang out with Joe with those

536
00:26:05,200 --> 00:26:07,040
Speaker 3: people because he didn't like who Joe was with.

537
00:26:07,359 --> 00:26:10,640
Speaker 1: Yeah, well he didn't like what he saw necessarily.

538
00:26:10,840 --> 00:26:13,080
Speaker 3: Yeah right, And She's like me, are you saying it

539
00:26:13,240 --> 00:26:15,200
Speaker 3: wasn't an emergency bike repair.

540
00:26:15,040 --> 00:26:19,760
Speaker 1: Laura, I'm not going to go that far. I think

541
00:26:19,960 --> 00:26:22,919
Speaker 1: still an emergency bike repair is a very realistic thing

542
00:26:22,920 --> 00:26:23,840
Speaker 1: on the place.

543
00:26:25,520 --> 00:26:27,199
Speaker 2: And I and Jay was different. You can tell that

544
00:26:27,240 --> 00:26:29,600
Speaker 2: she's acting differently besides the smoking. She's all, you know,

545
00:26:29,640 --> 00:26:31,680
Speaker 2: she's like, we're going to this place called the black

546
00:26:31,720 --> 00:26:35,000
Speaker 2: Hole with heavy metal and singles.

547
00:26:34,359 --> 00:26:36,399
Speaker 3: And made along heavy metal. That was funny.

548
00:26:36,520 --> 00:26:39,960
Speaker 2: So Jake was like, Okay, I'm not going. Doesn't sound

549
00:26:40,000 --> 00:26:42,640
Speaker 2: appealing to him. But he's a supportive of her going

550
00:26:42,640 --> 00:26:44,840
Speaker 2: out with the girls, but he's a little bit like

551
00:26:44,880 --> 00:26:48,320
Speaker 2: who's that they leave? Right? And he's sitting there just

552
00:26:48,400 --> 00:26:52,639
Speaker 2: kind of going like okay, which you know, I think, Uh,

553
00:26:53,240 --> 00:26:56,320
Speaker 2: I don't know about you guys, but there is there's

554
00:26:56,359 --> 00:26:58,320
Speaker 2: another kind of interesting thing is like how much do

555
00:26:58,359 --> 00:27:00,000
Speaker 2: you have of your own social life when you're married

556
00:27:00,359 --> 00:27:02,880
Speaker 2: or when you're with someone and you live together, and

557
00:27:03,440 --> 00:27:06,040
Speaker 2: does each person go out and have their you know,

558
00:27:06,119 --> 00:27:08,440
Speaker 2: continue with these friendships that they each knew before they

559
00:27:08,440 --> 00:27:11,280
Speaker 2: got together. Absolutely do you kind of fold into this

560
00:27:11,480 --> 00:27:14,679
Speaker 2: like oh, you know, I mean, I would hope you

561
00:27:14,720 --> 00:27:15,359
Speaker 2: have permission.

562
00:27:15,400 --> 00:27:19,399
Speaker 1: You don't need permission, And Jake and Joe don't live together.

563
00:27:19,600 --> 00:27:21,679
Speaker 1: In fact, he even says, hey, you if it's not

564
00:27:21,720 --> 00:27:23,920
Speaker 1: too late, swing by my place when you get home,

565
00:27:23,920 --> 00:27:27,000
Speaker 1: if it's not too late, right right, Yeah, they have

566
00:27:27,040 --> 00:27:27,520
Speaker 1: a very.

567
00:27:27,400 --> 00:27:30,760
Speaker 2: Healthy you know, I mean comparatively speaking to the other

568
00:27:30,760 --> 00:27:33,200
Speaker 2: folks and not building they have a very healthy relationship.

569
00:27:33,280 --> 00:27:35,120
Speaker 3: I yeah, granted it's a very low bar.

570
00:27:35,480 --> 00:27:39,240
Speaker 2: Yeah, so very low bar. Yeah, so far. So we

571
00:27:39,320 --> 00:27:43,080
Speaker 2: leave the shooters and we are at the anniversary dinner

572
00:27:43,320 --> 00:27:46,159
Speaker 2: that we've been hearing so much about. They are there

573
00:27:46,200 --> 00:27:50,640
Speaker 2: and enjoying champagne, and we hear that appropriate music and

574
00:27:51,400 --> 00:27:54,000
Speaker 2: you're just wishing as you're watching this, going, oh, I

575
00:27:54,040 --> 00:27:56,040
Speaker 2: just wish this would last, you know, like, can we

576
00:27:56,119 --> 00:27:58,320
Speaker 2: just cut the lines that are coming and have the

577
00:27:58,320 --> 00:28:00,000
Speaker 2: two of them enjoy their anniversary dinner?

578
00:28:00,080 --> 00:28:03,359
Speaker 3: But no, Well, especially because Jane is so vulnerable and

579
00:28:03,400 --> 00:28:06,080
Speaker 3: she's saying, you know, she feels down because she misses him,

580
00:28:06,119 --> 00:28:08,960
Speaker 3: and we're just like, oh, yeah, yeah.

581
00:28:09,000 --> 00:28:09,840
Speaker 2: And it's weird.

582
00:28:09,920 --> 00:28:12,760
Speaker 1: It's like she's trying to get him to admit something

583
00:28:13,000 --> 00:28:15,760
Speaker 1: and she's not coming out and saying I feel like

584
00:28:16,160 --> 00:28:18,879
Speaker 1: something might be going on. She's still just she's really

585
00:28:18,960 --> 00:28:22,400
Speaker 1: just saying I feel lonely, and he doesn't take any.

586
00:28:22,359 --> 00:28:24,440
Speaker 2: Suspect at this point. To be honest, I.

587
00:28:24,400 --> 00:28:27,800
Speaker 1: Feel like she has questioned, like, why, you know, why

588
00:28:28,359 --> 00:28:29,800
Speaker 1: is he not at work when he says he's going

589
00:28:29,840 --> 00:28:31,639
Speaker 1: to be at work there's enough for her to feel

590
00:28:31,640 --> 00:28:37,520
Speaker 1: like insecure and questioning, but he is so confident and

591
00:28:38,000 --> 00:28:41,320
Speaker 1: good at lying. He just doesn't even blink about anybody.

592
00:28:41,320 --> 00:28:42,960
Speaker 1: He's like, oh no, honey, I love you, and like

593
00:28:43,080 --> 00:28:46,240
Speaker 1: all the stuff. He's so good at faking.

594
00:28:46,040 --> 00:28:48,560
Speaker 2: Well, she says, she said, you know, I feel like

595
00:28:48,560 --> 00:28:51,880
Speaker 2: the hospital seems to be taking you away from us,

596
00:28:51,920 --> 00:28:54,280
Speaker 2: and he's like, well, that's the price I pay, sweetie.

597
00:28:54,280 --> 00:28:56,080
Speaker 2: So it's like, this is what you signed up for.

598
00:28:56,200 --> 00:28:58,080
Speaker 2: I can't help it type of thing. Yeah, he's a

599
00:28:58,240 --> 00:29:02,480
Speaker 2: Primo Master gaslight, which we will see later. This is

600
00:29:02,600 --> 00:29:07,040
Speaker 2: just his go too for sure. But they're there and

601
00:29:07,120 --> 00:29:10,360
Speaker 2: then the guy comes up for dessert, and you know,

602
00:29:10,400 --> 00:29:12,160
Speaker 2: she's like, no, I just want coffee. He's like, for

603
00:29:12,200 --> 00:29:14,280
Speaker 2: some reason, he says, no, I have something fattening. You

604
00:29:14,360 --> 00:29:16,200
Speaker 2: deserve it. I didn't get that line. I didn't know

605
00:29:16,240 --> 00:29:18,560
Speaker 2: why that was placed there. But she's like, well, okay,

606
00:29:18,600 --> 00:29:23,040
Speaker 2: I guess I'll get chocolate. But then the beeper goes

607
00:29:23,080 --> 00:29:26,800
Speaker 2: off and you the audience are just like no, because

608
00:29:26,800 --> 00:29:30,520
Speaker 2: we know who it is. And so he leaves and

609
00:29:30,600 --> 00:29:34,480
Speaker 2: she gets the check. Yeah, he leaves.

610
00:29:34,240 --> 00:29:37,000
Speaker 1: The table to go return the call. I'm really sorry.

611
00:29:37,040 --> 00:29:38,240
Speaker 1: And he gets up and walks out.

612
00:29:38,800 --> 00:29:44,320
Speaker 2: She's like check please, yeah, very sad, yeah, very divorce,

613
00:29:44,560 --> 00:29:46,880
Speaker 2: divorce already. We don't even need to see anymore as

614
00:29:46,880 --> 00:29:51,760
Speaker 2: far as I'm concerned. Done. So we move off of her.

615
00:29:52,280 --> 00:29:55,680
Speaker 2: She's upset and sad, and then we come to Allison

616
00:29:56,560 --> 00:29:59,920
Speaker 2: is leaving the apartment and Billy's being such a sport

617
00:30:00,080 --> 00:30:02,480
Speaker 2: about it, you know, and she's like, I'm so sorry,

618
00:30:02,560 --> 00:30:04,600
Speaker 2: We're not We're not going to have our pizza date.

619
00:30:05,080 --> 00:30:08,480
Speaker 3: And this is one of this comes out in her

620
00:30:08,680 --> 00:30:12,800
Speaker 3: voluminous pleated pants, which are a favorite of mine.

621
00:30:13,640 --> 00:30:17,080
Speaker 1: We know you're not a fan of coster ball.

622
00:30:17,240 --> 00:30:20,440
Speaker 3: The luminous pants and the huge jacket, it looks like

623
00:30:20,480 --> 00:30:23,200
Speaker 3: I'm trying to hide a pregnancy. What is happening?

624
00:30:24,840 --> 00:30:25,520
Speaker 1: It was the style.

625
00:30:26,680 --> 00:30:28,640
Speaker 2: Oh I don't know, you're like, I mean, if you

626
00:30:28,680 --> 00:30:30,840
Speaker 2: had walked out in a tight black dress, that would

627
00:30:30,880 --> 00:30:33,400
Speaker 2: have been like such a bomber for him. So hi bye,

628
00:30:33,480 --> 00:30:36,560
Speaker 2: I'm leaving everyone else going to see anyway.

629
00:30:36,640 --> 00:30:39,440
Speaker 3: I just such a sport.

630
00:30:39,520 --> 00:30:41,640
Speaker 2: He's like, well, we've waited this long. We can wait

631
00:30:41,720 --> 00:30:45,640
Speaker 2: a little bit longer. So he leaves to go to

632
00:30:45,680 --> 00:30:46,320
Speaker 2: this retreat.

633
00:30:46,720 --> 00:30:49,280
Speaker 3: Well, but then there's this little like kiss on the forehead.

634
00:30:49,440 --> 00:30:51,920
Speaker 3: I'm like, yeah, where is the kiss? That's like the

635
00:30:52,000 --> 00:30:54,400
Speaker 3: promise of things to come right all of a sudden,

636
00:30:54,440 --> 00:30:56,520
Speaker 3: they really seem like cousins.

637
00:30:56,800 --> 00:30:59,880
Speaker 2: It's the weirdest thing to kissing and not even kissing cousins.

638
00:31:00,360 --> 00:31:04,240
Speaker 3: Yeah, cousins like a kiss on the like.

639
00:31:04,280 --> 00:31:08,280
Speaker 1: They really don't know how to transition from Jess being

640
00:31:08,360 --> 00:31:10,920
Speaker 1: I was gonna go, well, then don't kiss, then don't

641
00:31:11,000 --> 00:31:11,480
Speaker 1: kiss at all.

642
00:31:11,480 --> 00:31:14,080
Speaker 3: The kiss on the forehead is so chaste.

643
00:31:14,440 --> 00:31:18,440
Speaker 2: But Alison leaves and then she bumps into Jane in

644
00:31:18,480 --> 00:31:21,600
Speaker 2: the courtyard. In the courtyard who Jane's coming home from

645
00:31:21,640 --> 00:31:27,360
Speaker 2: her aborted anniversary dinner very down. It's at night, it's

646
00:31:27,400 --> 00:31:31,400
Speaker 2: after the dinner, and it's at night, and and you know,

647
00:31:31,720 --> 00:31:34,800
Speaker 2: she's so bummed, but she's again sort of making excuses

648
00:31:34,840 --> 00:31:39,160
Speaker 2: about it. Oh well, you know, it just hurts, that's all.

649
00:31:39,200 --> 00:31:41,880
Speaker 2: And then Alison finally says, Jane, I have to tell

650
00:31:41,880 --> 00:31:42,680
Speaker 2: you something.

651
00:31:42,840 --> 00:31:46,080
Speaker 3: And she decides she's racing off to a business dinner.

652
00:31:46,120 --> 00:31:50,480
Speaker 3: It's like talking about just hit and run. She tells her.

653
00:31:51,120 --> 00:31:55,320
Speaker 3: Jane has the horrible reaction we all dread, horrible immediately turns.

654
00:31:55,640 --> 00:31:57,920
Speaker 3: Then Alison goes, listen, I got it. Run here's the

655
00:31:57,960 --> 00:32:00,480
Speaker 3: hotel where I've say, what weird?

656
00:32:01,840 --> 00:32:03,880
Speaker 1: I don't know? It made sense to me though that

657
00:32:03,960 --> 00:32:07,520
Speaker 1: She's like, I have to get I can't not, I

658
00:32:07,560 --> 00:32:08,640
Speaker 1: can't hold this any longer.

659
00:32:08,680 --> 00:32:09,880
Speaker 2: I have to tell you makes sense.

660
00:32:09,880 --> 00:32:11,840
Speaker 1: This is awful, Like I need to tell you this.

661
00:32:11,920 --> 00:32:17,160
Speaker 1: But Jane is so immediately doubting the truth of what

662
00:32:17,200 --> 00:32:19,960
Speaker 1: Allison's saying. She's like, that can possibly be true. I'm

663
00:32:20,000 --> 00:32:22,200
Speaker 1: sure you must have misunderstood. You don't know what you

664
00:32:22,240 --> 00:32:25,240
Speaker 1: were seeing. She completely thinks everything that Allison is saying

665
00:32:25,280 --> 00:32:27,240
Speaker 1: is total crap, and she's angry.

666
00:32:27,480 --> 00:32:31,480
Speaker 2: She says, exactly what that's crap? Basically, you are lying,

667
00:32:31,800 --> 00:32:33,000
Speaker 2: not even like, are you sure?

668
00:32:33,680 --> 00:32:35,720
Speaker 1: Exactly what her own doubts.

669
00:32:35,360 --> 00:32:37,800
Speaker 2: In her head. With having the sand having come out

670
00:32:37,800 --> 00:32:41,440
Speaker 2: of the sneaker last episode, she still is like, I

671
00:32:41,480 --> 00:32:45,640
Speaker 2: was shocked. I was surprised at how vehemently she pushed

672
00:32:45,640 --> 00:32:46,840
Speaker 2: back and attacked.

673
00:32:46,480 --> 00:32:49,120
Speaker 1: Alice absolutely didn't want to believe it or here, even

674
00:32:49,160 --> 00:32:51,800
Speaker 1: though she's been like sort of kind of I think,

675
00:32:51,960 --> 00:32:54,120
Speaker 1: questioning it and doubting it herself, like when she actually

676
00:32:54,200 --> 00:32:57,840
Speaker 1: heard it, she immediately lashed out at Alison and I think.

677
00:32:57,680 --> 00:32:59,920
Speaker 3: That's what it is, Laura. When she actually heard it,

678
00:33:00,200 --> 00:33:03,560
Speaker 3: like heard her fears voiced, it was too scary to

679
00:33:03,600 --> 00:33:06,800
Speaker 3: process because I thought Josie did a great job of

680
00:33:06,840 --> 00:33:09,680
Speaker 3: like that shift of just immediately getting defensive and putting

681
00:33:09,720 --> 00:33:12,520
Speaker 3: it on Alison because she couldn't take it in even

682
00:33:12,560 --> 00:33:14,680
Speaker 3: though she's having her own doubts, she couldn't take it in.

683
00:33:15,400 --> 00:33:16,000
Speaker 1: Yeah.

684
00:33:16,360 --> 00:33:19,240
Speaker 2: So now we are in this is a funny scene.

685
00:33:19,600 --> 00:33:22,160
Speaker 2: We are in the hotel in the desert at the

686
00:33:22,360 --> 00:33:26,440
Speaker 2: work retreat, and now Alison and Amanda have to be roommates,

687
00:33:26,760 --> 00:33:30,080
Speaker 2: which is hilarious, and they're, you know, Amanda's like, I

688
00:33:30,080 --> 00:33:31,760
Speaker 2: can't believe it. You know, I was supposed to get

689
00:33:31,760 --> 00:33:34,680
Speaker 2: my own room, and they have this wonderful banter. You know,

690
00:33:35,160 --> 00:33:38,440
Speaker 2: Amanda's taken out all her clothes and Alice's like, oh

691
00:33:38,520 --> 00:33:40,280
Speaker 2: my god, where are you gonna wear all that? Aren't

692
00:33:40,320 --> 00:33:43,800
Speaker 2: they there's you know, and she's like, Amanda has some

693
00:33:43,840 --> 00:33:47,160
Speaker 2: great lines. So you know, she's like, well, I've never

694
00:33:47,680 --> 00:33:51,520
Speaker 2: believed in the virtue of packing lightly, or maybe I

695
00:33:51,640 --> 00:33:55,080
Speaker 2: just don't have your flair for making one outfit work

696
00:33:55,120 --> 00:33:55,920
Speaker 2: three different ways.

697
00:33:56,040 --> 00:33:58,120
Speaker 3: Do you remember those articles at the time that were

698
00:33:58,120 --> 00:34:01,720
Speaker 3: in every fashion magazine, like how to make this work

699
00:34:01,760 --> 00:34:04,520
Speaker 3: three different ways? That's that reminded me of I still

700
00:34:04,560 --> 00:34:07,760
Speaker 3: do that, but he's been every magazine. And then and

701
00:34:07,800 --> 00:34:10,240
Speaker 3: then Amanda puts her stuff away and she says to Allison,

702
00:34:10,560 --> 00:34:13,920
Speaker 3: feel free to borrow anything you can squeeze into. Yeah,

703
00:34:15,120 --> 00:34:17,560
Speaker 3: and feel free to borrow my voluminous pantaloons.

704
00:34:17,840 --> 00:34:22,239
Speaker 2: But that's shouldn't feel free to borrow these if you

705
00:34:22,280 --> 00:34:22,560
Speaker 2: want to.

706
00:34:22,880 --> 00:34:24,880
Speaker 3: You can make two dresses out of my pants.

707
00:34:25,520 --> 00:34:27,120
Speaker 1: Do you want to try my boxy jacket?

708
00:34:28,800 --> 00:34:31,640
Speaker 2: I have some shoulder pads for you on a retreat

709
00:34:31,640 --> 00:34:32,840
Speaker 2: in Palm Springs.

710
00:34:33,040 --> 00:34:35,840
Speaker 1: But it's also like just after they decided, you know

711
00:34:35,840 --> 00:34:38,640
Speaker 1: what this this cat for? This like fighting, and we

712
00:34:38,840 --> 00:34:40,400
Speaker 1: sound like a couple of high school girls that we

713
00:34:40,480 --> 00:34:41,959
Speaker 1: just need to figure out a way to get along. Okay,

714
00:34:41,960 --> 00:34:43,960
Speaker 1: can we just agree to bury the hatchet? And they agree,

715
00:34:44,000 --> 00:34:47,440
Speaker 1: and then is Amanda's lying, feel free to borrow anything

716
00:34:47,480 --> 00:34:48,520
Speaker 1: you can squeeze into.

717
00:34:49,840 --> 00:34:53,680
Speaker 2: So much so much. Yeah, but they agree to kind

718
00:34:53,680 --> 00:34:56,040
Speaker 2: of get along for this weekend. At least they're gonna try,

719
00:34:56,200 --> 00:34:59,120
Speaker 2: right anyway, She leaves as she throws out one liner

720
00:34:59,120 --> 00:35:03,319
Speaker 2: at you and then is like thanks, you know like

721
00:35:03,680 --> 00:35:06,080
Speaker 2: she's she knows she got one in on her and

722
00:35:06,080 --> 00:35:08,840
Speaker 2: this is not going to bury any hatchet anyway. Michael

723
00:35:08,880 --> 00:35:13,520
Speaker 2: comes home close to just before six am, and Jane

724
00:35:13,600 --> 00:35:16,279
Speaker 2: has been awake. She's sitting in her bed with you know,

725
00:35:16,360 --> 00:35:19,960
Speaker 2: tea or coffee and she's just awing herself waiting up.

726
00:35:21,480 --> 00:35:25,880
Speaker 2: And she comes out into the kitchen and it's like,

727
00:35:25,920 --> 00:35:30,520
Speaker 2: what you know it took so long and what's what happened?

728
00:35:30,560 --> 00:35:32,040
Speaker 2: And whoa you know, I'm only.

729
00:35:31,920 --> 00:35:35,200
Speaker 3: And he gives her this icky kiss. I didn't kiss

730
00:35:35,239 --> 00:35:37,680
Speaker 3: on her cheek? Did you notice that? Yes?

731
00:35:37,719 --> 00:35:39,480
Speaker 2: And I'm like, we know where your mouth has just

732
00:35:39,560 --> 00:35:40,759
Speaker 2: been you discussed.

733
00:35:40,920 --> 00:35:44,719
Speaker 1: Yes, horrible, And he's totally fine being that guy.

734
00:35:45,000 --> 00:35:46,040
Speaker 2: He's totally fine.

735
00:35:46,120 --> 00:35:46,440
Speaker 1: Yes.

736
00:35:46,840 --> 00:35:48,720
Speaker 2: And this is a scene where he becomes a master

737
00:35:48,960 --> 00:35:52,880
Speaker 2: gas lighter like the actual movie where a gaslight, that

738
00:35:52,920 --> 00:35:56,040
Speaker 2: black and white movie, where he just makes her think

739
00:35:56,120 --> 00:35:56,960
Speaker 2: like she's crazy.

740
00:35:57,400 --> 00:36:00,520
Speaker 1: Yeah yeah, because she says, I miss you. You seem

741
00:36:00,560 --> 00:36:02,879
Speaker 1: to have been in call awful lot and I really

742
00:36:02,920 --> 00:36:05,920
Speaker 1: miss you. And she comes right out and asks him, says,

743
00:36:06,160 --> 00:36:07,280
Speaker 1: are you having an affair?

744
00:36:08,280 --> 00:36:08,880
Speaker 3: And then he.

745
00:36:08,840 --> 00:36:13,160
Speaker 2: Laughs and he goes, what we're coming from, of course?

746
00:36:13,280 --> 00:36:16,000
Speaker 2: Not what would make you say that, yeah.

747
00:36:16,120 --> 00:36:17,040
Speaker 1: Yeah.

748
00:36:17,440 --> 00:36:20,040
Speaker 2: Immediately you turn it around and you make them feel

749
00:36:20,200 --> 00:36:24,360
Speaker 2: ridiculed and like they're idiots, and that's what he's doing.

750
00:36:24,960 --> 00:36:27,920
Speaker 2: He goes, what made you say this? So? I think

751
00:36:27,960 --> 00:36:32,279
Speaker 2: that's where Jane says, you know, well Alison told.

752
00:36:32,000 --> 00:36:35,799
Speaker 1: Me, yeah exactly. She gives the examples that, well, I

753
00:36:35,840 --> 00:36:37,840
Speaker 1: called the hospital, you were supposed to be there and

754
00:36:37,880 --> 00:36:40,040
Speaker 1: you weren't, and also the sand in your shoes, and

755
00:36:40,040 --> 00:36:41,440
Speaker 1: he laughs at that, like, oh that's.

756
00:36:41,280 --> 00:36:43,239
Speaker 2: Nothing, so kill me, so assume me.

757
00:36:44,640 --> 00:36:46,960
Speaker 1: So I've spent my lunch at the beach, sorry, you know.

758
00:36:47,719 --> 00:36:50,960
Speaker 1: And then that's when she starts to say that Alison,

759
00:36:51,960 --> 00:36:55,000
Speaker 1: you know, told her something that she saw and and

760
00:36:55,040 --> 00:36:59,360
Speaker 1: he finishes her sentence like blows her off and complete

761
00:36:59,400 --> 00:37:01,120
Speaker 1: the gas light, like you're saying.

762
00:37:01,080 --> 00:37:03,319
Speaker 2: And then goes to blame it on another person, which

763
00:37:03,320 --> 00:37:05,799
Speaker 2: would be Allison. She's like, well, why would she lie

764
00:37:05,840 --> 00:37:08,520
Speaker 2: to me? And he says, will you remember that I

765
00:37:08,840 --> 00:37:11,880
Speaker 2: her thing with that married man. Well, now she wants

766
00:37:11,920 --> 00:37:15,240
Speaker 2: to hurt you by breaking us up because she's telling

767
00:37:15,280 --> 00:37:19,080
Speaker 2: you I'm having an affair. He just deflects and blames

768
00:37:19,160 --> 00:37:24,040
Speaker 2: and she's so confused. You just watch her go, oh,

769
00:37:24,080 --> 00:37:26,799
Speaker 2: who do I believe and he goes, honey, you believe me,

770
00:37:26,960 --> 00:37:27,400
Speaker 2: don't you?

771
00:37:28,120 --> 00:37:29,439
Speaker 1: And he comes up and.

772
00:37:29,360 --> 00:37:32,160
Speaker 2: He'll see being so sweet, and of.

773
00:37:32,080 --> 00:37:34,719
Speaker 3: Course she wants to believe him so much. Of course

774
00:37:34,760 --> 00:37:35,120
Speaker 3: she does.

775
00:37:35,960 --> 00:37:38,560
Speaker 2: So then she takes him his head. He puts his

776
00:37:38,640 --> 00:37:42,040
Speaker 2: head down vulnerably right like I'm just a little boy,

777
00:37:42,080 --> 00:37:45,439
Speaker 2: don't you believe me, nuzzles his head into her neck,

778
00:37:45,880 --> 00:37:48,120
Speaker 2: so her arms go around his head as a tear

779
00:37:48,200 --> 00:37:50,799
Speaker 2: falls down her face, and you're just like, so not

780
00:37:50,840 --> 00:37:53,800
Speaker 2: only that gas lighting, then he becomes this vulnerable, wounded

781
00:37:53,840 --> 00:37:55,759
Speaker 2: animal and she's supposed to now take care of him,

782
00:37:55,800 --> 00:37:58,840
Speaker 2: and I just just drove me crazy. But he's the

783
00:37:58,880 --> 00:38:00,040
Speaker 2: writers are very good.

784
00:38:00,160 --> 00:38:03,440
Speaker 1: And Michaels yeah, but he definitely painted a picture that

785
00:38:03,640 --> 00:38:07,919
Speaker 1: Alison is just gossiping and she completely made this story up,

786
00:38:08,080 --> 00:38:11,719
Speaker 1: and there's just that's it's how horrible of her to

787
00:38:11,760 --> 00:38:14,920
Speaker 1: be such a bad friend. And so he just completely

788
00:38:15,280 --> 00:38:20,040
Speaker 1: wrote a different story for Jane and and made Alison

789
00:38:20,080 --> 00:38:20,680
Speaker 1: the bad guy.

790
00:38:20,920 --> 00:38:23,760
Speaker 2: Back of the retreat, Lucy's talking to everyone. The boss

791
00:38:23,760 --> 00:38:27,360
Speaker 2: of everyone. Lucy of course says we're gonna do some

792
00:38:27,440 --> 00:38:29,680
Speaker 2: role playing. So this is one of the exercises.

793
00:38:30,040 --> 00:38:33,120
Speaker 3: And so here in your heart, like of everything you've

794
00:38:33,160 --> 00:38:34,560
Speaker 3: ever been to like this and said we're going to

795
00:38:34,600 --> 00:38:36,800
Speaker 3: break into small groups. Didn't your heart just sink?

796
00:38:37,239 --> 00:38:37,439
Speaker 2: Well?

797
00:38:37,480 --> 00:38:40,720
Speaker 1: And role playing that moment, no playing of all things,

798
00:38:41,040 --> 00:38:43,040
Speaker 1: not like trust exercises or something.

799
00:38:43,080 --> 00:38:47,880
Speaker 2: But but immediately Amanda's reaction is like I'm going out

800
00:38:47,920 --> 00:38:49,839
Speaker 2: for a coffee or something. She goes to leave and

801
00:38:49,880 --> 00:38:52,200
Speaker 2: Alison's like, what do you mean? I think we should

802
00:38:52,239 --> 00:38:55,439
Speaker 2: play this? And Amanda's walking out to avoid the whole thing,

803
00:38:56,400 --> 00:39:00,840
Speaker 2: and Alison follows her and starts role playing. She's her acting,

804
00:39:00,880 --> 00:39:06,840
Speaker 2: saying things, yeah, Alison, this work is horrible. It's so slipshot.

805
00:39:06,920 --> 00:39:09,120
Speaker 2: You put no work and effort into it. And then

806
00:39:09,160 --> 00:39:12,080
Speaker 2: Amanda getses her. She turns around, she's got her attention

807
00:39:12,600 --> 00:39:16,000
Speaker 2: and she's like what oh, and they start going into it.

808
00:39:16,719 --> 00:39:21,600
Speaker 2: What was Alan? What was Amanda saying? As Alison, let's see,

809
00:39:21,880 --> 00:39:23,480
Speaker 2: I don't know if you guys remember, but it was

810
00:39:23,640 --> 00:39:25,960
Speaker 2: really wonderful back and forth. I thought you guys did that.

811
00:39:26,040 --> 00:39:26,640
Speaker 2: It was so fun.

812
00:39:26,680 --> 00:39:28,760
Speaker 1: It was just this yeah, I mean for role playing moment.

813
00:39:29,080 --> 00:39:31,319
Speaker 1: She was also like I am not that bad. I'm

814
00:39:31,360 --> 00:39:33,919
Speaker 1: not that hard on you, and Allison's like, oh, yes,

815
00:39:34,040 --> 00:39:38,560
Speaker 1: you are and and you know whatever they're they're trying

816
00:39:38,560 --> 00:39:38,759
Speaker 1: to be.

817
00:39:38,960 --> 00:39:42,160
Speaker 3: And then Amanda gets vulnerable and says, well, look what happened,

818
00:39:42,200 --> 00:39:43,960
Speaker 3: Like I asked you if I could date Billy. You

819
00:39:44,000 --> 00:39:45,720
Speaker 3: said yes, And just when I start to get attached

820
00:39:45,719 --> 00:39:48,440
Speaker 3: to him, we start having a relationship, you come back

821
00:39:48,560 --> 00:39:50,719
Speaker 3: and I, you know, i'd never Maybe it's my own

822
00:39:50,719 --> 00:39:52,279
Speaker 3: point of view, I should ask you, guys, because you're

823
00:39:52,280 --> 00:39:55,239
Speaker 3: a little more objective. I never really bought that it

824
00:39:55,280 --> 00:39:57,960
Speaker 3: was a real relationship, but maybe it was. Did you

825
00:39:58,080 --> 00:40:01,920
Speaker 3: feel like Amanda cared about Billy and was really hurt

826
00:40:02,680 --> 00:40:05,600
Speaker 3: when it ended? Because I never gave it any credence.

827
00:40:05,600 --> 00:40:08,200
Speaker 1: But again, I think I think that's a fair question,

828
00:40:08,239 --> 00:40:11,960
Speaker 1: and I think that this episode, to Heather's credit, like

829
00:40:12,280 --> 00:40:15,720
Speaker 1: I think she really sold that part of the story

830
00:40:15,760 --> 00:40:18,560
Speaker 1: that like we believe it, like oh, she really did

831
00:40:18,760 --> 00:40:21,759
Speaker 1: have feeling or I believe it here, like even if

832
00:40:21,760 --> 00:40:24,200
Speaker 1: it seemed like a fleeting moment at the time, like oh,

833
00:40:24,280 --> 00:40:26,520
Speaker 1: it's just a blip and it's over so far. She

834
00:40:26,800 --> 00:40:30,520
Speaker 1: actually is saying, listen, look at it. From my point

835
00:40:30,520 --> 00:40:34,040
Speaker 1: of view, I don't trust you, and you're so competitive

836
00:40:34,080 --> 00:40:34,399
Speaker 1: with me.

837
00:40:35,360 --> 00:40:38,160
Speaker 2: So excuse me, but I don't trust you at all. Yeah,

838
00:40:38,160 --> 00:40:40,000
Speaker 2: and I think you're right Courtney, like this is the

839
00:40:40,040 --> 00:40:43,280
Speaker 2: first time, and listen, this happens in episodes like maybe

840
00:40:43,320 --> 00:40:47,480
Speaker 2: that maybe the writers didn't do that relationship justice right,

841
00:40:47,560 --> 00:40:49,440
Speaker 2: like we it did seem sort of like about a

842
00:40:49,560 --> 00:40:51,160
Speaker 2: chair and they just didn't get on. There was humor

843
00:40:51,160 --> 00:40:53,040
Speaker 2: in it and it was short. It was just sure

844
00:40:53,440 --> 00:40:57,200
Speaker 2: seeing the the heart that Amanda really felt about it,

845
00:40:57,480 --> 00:40:59,719
Speaker 2: and I love this. I love that side of her.

846
00:41:00,480 --> 00:41:06,160
Speaker 2: And but before she gets all vulnerable and honest, she said, see,

847
00:41:07,120 --> 00:41:10,480
Speaker 2: I don't know. There's something that Allison says as Amanda,

848
00:41:10,520 --> 00:41:12,560
Speaker 2: I mean, look at those shoes. Who taught you to dress?

849
00:41:12,600 --> 00:41:17,200
Speaker 2: Barbara Bush? Sorry, I just had to get that because

850
00:41:17,719 --> 00:41:20,759
Speaker 2: Alison does have some pretty clunky shoes I've noticed, but

851
00:41:21,040 --> 00:41:24,080
Speaker 2: really clunky. It was the nineties, it was who knows.

852
00:41:24,560 --> 00:41:27,799
Speaker 2: And then we are at the park with Jake and

853
00:41:27,800 --> 00:41:32,600
Speaker 2: Billy kicking around a soccer ball and Billy's like going

854
00:41:32,640 --> 00:41:35,880
Speaker 2: on about how we were supposed to get together and

855
00:41:35,920 --> 00:41:38,240
Speaker 2: we're supposed to have a date but it didn't work, so.

856
00:41:38,120 --> 00:41:40,560
Speaker 3: We well, they're not really kicking the soccer ball because

857
00:41:40,640 --> 00:41:45,680
Speaker 3: Jake is walking in his jeans and Andrew's knees, head, neck.

858
00:41:45,560 --> 00:41:47,000
Speaker 1: Like, yeah, he's juggling.

859
00:41:48,080 --> 00:41:50,560
Speaker 3: It's like Jake brought his son to the park to.

860
00:41:50,600 --> 00:41:52,080
Speaker 2: Play with a soccer ball.

861
00:41:52,440 --> 00:41:54,920
Speaker 3: Yeah. It's a houlnerable, right, because it's a true skill

862
00:41:55,040 --> 00:41:57,520
Speaker 3: Andrew has. But I thought they wanted to like work

863
00:41:57,560 --> 00:41:58,160
Speaker 3: in the soccer.

864
00:41:58,600 --> 00:42:00,640
Speaker 1: I love when they worked it in because they're taking

865
00:42:00,680 --> 00:42:03,719
Speaker 1: advantage of something that Andrew can do and not not

866
00:42:03,800 --> 00:42:04,880
Speaker 1: anybody else on the show.

867
00:42:04,960 --> 00:42:06,640
Speaker 3: And it's like played professional soccer.

868
00:42:06,880 --> 00:42:08,759
Speaker 1: Yeah, and it also gives us the impression that like

869
00:42:08,840 --> 00:42:12,480
Speaker 1: Billy can't sit still, like he has to be like,

870
00:42:13,040 --> 00:42:15,000
Speaker 1: you know, bouncing around.

871
00:42:14,640 --> 00:42:15,719
Speaker 2: Which he's very much like.

872
00:42:15,800 --> 00:42:18,479
Speaker 4: Yeah, It's very good for his character and funny because

873
00:42:18,560 --> 00:42:20,480
Speaker 4: Jake is like, you haven't slept together, and it maybe

874
00:42:20,600 --> 00:42:23,040
Speaker 4: remember the beginning of Jake and Joe and you guys

875
00:42:23,080 --> 00:42:25,280
Speaker 4: were all over each other, which is what I want

876
00:42:25,680 --> 00:42:26,680
Speaker 4: for Billy and Allison.

877
00:42:26,800 --> 00:42:27,680
Speaker 2: So Jake is like, what do.

878
00:42:27,760 --> 00:42:28,479
Speaker 3: You just kiss?

879
00:42:28,640 --> 00:42:28,719
Speaker 2: Like?

880
00:42:28,760 --> 00:42:29,240
Speaker 3: You idiot?

881
00:42:29,320 --> 00:42:30,480
Speaker 2: What are you? What are you waiting for?

882
00:42:30,760 --> 00:42:34,279
Speaker 3: Is He's saying, you're gonna miss the window, right and

883
00:42:34,280 --> 00:42:36,160
Speaker 3: you guys are going to go right back into being friends.

884
00:42:36,200 --> 00:42:38,520
Speaker 3: And I'm so glad somebody is saying that to one

885
00:42:38,520 --> 00:42:38,839
Speaker 3: of them.

886
00:42:39,040 --> 00:42:41,720
Speaker 1: Yeah, don't don't make such plans.

887
00:42:44,480 --> 00:42:47,600
Speaker 2: We had second plans for tonight. And he's like, well,

888
00:42:47,600 --> 00:42:49,680
Speaker 2: what happened while she's out of a retreat in the desert?

889
00:42:49,760 --> 00:42:52,719
Speaker 2: And I think Jake is like, well, go get her. Yeah.

890
00:42:52,760 --> 00:42:54,160
Speaker 2: I don't want to think about too much because then

891
00:42:54,200 --> 00:42:56,080
Speaker 2: we'll both get scared. So he's like, well, can I

892
00:42:56,080 --> 00:43:00,360
Speaker 2: borrow your motorcycle? Absolutely not, I'll give you a until

893
00:43:00,760 --> 00:43:07,320
Speaker 2: I'll give you a used one from the shot. Yeah.

894
00:43:07,360 --> 00:43:11,640
Speaker 2: And then we're into Alison apologizing to Amanda, which was

895
00:43:11,760 --> 00:43:14,200
Speaker 2: really good. She met her there at that honesty and said,

896
00:43:14,280 --> 00:43:16,120
Speaker 2: you know, I'm really sorry for how all this happened.

897
00:43:16,160 --> 00:43:18,200
Speaker 2: I didn't plan it that way, but and can we

898
00:43:18,239 --> 00:43:19,680
Speaker 2: be friends at least for now?

899
00:43:19,760 --> 00:43:19,960
Speaker 1: Yeah.

900
00:43:20,000 --> 00:43:21,759
Speaker 3: It was a sweet moment. It felt like there could

901
00:43:21,800 --> 00:43:24,320
Speaker 3: be real progress in their friendship for a minute.

902
00:43:24,640 --> 00:43:25,280
Speaker 1: For a second.

903
00:43:26,200 --> 00:43:32,359
Speaker 2: So that friends is about to end because Billy comes

904
00:43:32,360 --> 00:43:35,760
Speaker 2: into the lobby. Nobody sees him yet, but he's like, oh,

905
00:43:36,200 --> 00:43:38,239
Speaker 2: you know, I need to talk to Alison.

906
00:43:38,520 --> 00:43:40,960
Speaker 1: They're in this retreat, but he's wearing his biker gear

907
00:43:40,960 --> 00:43:43,560
Speaker 1: because he's taken this motorcycle to the retreat, so he's

908
00:43:43,560 --> 00:43:45,480
Speaker 1: wearing biker gear when he comes up to the counter.

909
00:43:45,920 --> 00:43:49,680
Speaker 2: Yeah, and he puts his helmet down and says, well,

910
00:43:49,719 --> 00:43:51,840
Speaker 2: can I get a note in there? He writes this

911
00:43:51,960 --> 00:43:54,440
Speaker 2: note and he says, can you please someone please take

912
00:43:54,480 --> 00:43:56,720
Speaker 2: this into there since she can't come out.

913
00:43:56,719 --> 00:43:58,440
Speaker 3: Take it into beautiful blonde?

914
00:43:58,920 --> 00:43:59,760
Speaker 2: A beautiful blonde?

915
00:44:00,120 --> 00:44:00,359
Speaker 3: Wrong?

916
00:44:00,600 --> 00:44:04,920
Speaker 2: Yep, we know exactly, but there's got to be other

917
00:44:05,000 --> 00:44:06,400
Speaker 2: extras that were beautiful blonde.

918
00:44:06,760 --> 00:44:11,680
Speaker 3: I'm sure it's California. There's only two, yeah, Amanda.

919
00:44:11,280 --> 00:44:15,040
Speaker 2: And Allison, so, of course, so much for their friendship.

920
00:44:15,120 --> 00:44:18,320
Speaker 2: Amanda of course intercepts the note and.

921
00:44:18,320 --> 00:44:23,239
Speaker 1: Because the valet guy picks the wrong beautiful blonde, are

922
00:44:23,280 --> 00:44:24,640
Speaker 1: you Alison Parker?

923
00:44:24,880 --> 00:44:28,040
Speaker 2: No, but I can take this to her. Then reads

924
00:44:28,080 --> 00:44:31,560
Speaker 2: the note and it says an excellent handwriting. I might

925
00:44:31,680 --> 00:44:36,239
Speaker 2: add that Billy has Oh my god, I couldn't wait.

926
00:44:36,239 --> 00:44:41,080
Speaker 2: I'm in the lobby Billy, And so she goes out

927
00:44:41,120 --> 00:44:43,279
Speaker 2: to the bill. She goes out to find Billy and

928
00:44:43,520 --> 00:44:47,440
Speaker 2: says that you can't see her. Lucy's not letting her go.

929
00:44:47,560 --> 00:44:52,520
Speaker 2: She's on probation. She lies, That's why I'm totally lying.

930
00:44:52,520 --> 00:44:53,719
Speaker 2: That's why I'm going to make you.

931
00:44:53,680 --> 00:44:57,640
Speaker 3: Think of Animal House and super Secret Probation, Super secret

932
00:44:57,680 --> 00:44:59,440
Speaker 3: probation to make you think of that, that's what I

933
00:44:59,480 --> 00:44:59,799
Speaker 3: thought of.

934
00:45:00,280 --> 00:45:02,280
Speaker 1: I love it, I will now, but I didn't.

935
00:45:02,280 --> 00:45:07,879
Speaker 2: And then yeah, so so that's that. She makes sure

936
00:45:07,880 --> 00:45:09,840
Speaker 2: that Billie can't see Alison.

937
00:45:10,280 --> 00:45:13,240
Speaker 1: Yeah, but Lizon says that it was that. Allison says

938
00:45:13,280 --> 00:45:15,280
Speaker 1: she's too busy, like it's.

939
00:45:15,160 --> 00:45:18,240
Speaker 2: All a lie. Yeah, and just literally thirty seconds before

940
00:45:18,280 --> 00:45:20,920
Speaker 2: she's saying, yeah, let's be friends, like this honest moment.

941
00:45:21,040 --> 00:45:23,520
Speaker 2: So these people just can't be friends no matter what.

942
00:45:23,640 --> 00:45:26,399
Speaker 2: No one can keep up a let's bury the hatchet deal.

943
00:45:26,600 --> 00:45:30,680
Speaker 2: And then we are at Jake's and Joe comes flying

944
00:45:30,719 --> 00:45:33,239
Speaker 2: in the door. She's so excited about her night out

945
00:45:33,280 --> 00:45:37,560
Speaker 2: with the model girls last night and all the fashion people, and.

946
00:45:37,440 --> 00:45:39,719
Speaker 3: She says, and at first I thought it was the

947
00:45:39,880 --> 00:45:42,760
Speaker 3: night of the party because she seems sort of buzzed

948
00:45:42,760 --> 00:45:45,719
Speaker 3: because she's so excited, and I realized it's the next night.

949
00:45:45,760 --> 00:45:46,480
Speaker 2: It's the next ning.

950
00:45:46,840 --> 00:45:49,480
Speaker 3: Know, did Joe go the entire day without checking in?

951
00:45:49,640 --> 00:45:52,279
Speaker 3: She said come bye after the party, And I don't

952
00:45:52,360 --> 00:45:54,239
Speaker 3: think Joe not only didn't come buy after the party,

953
00:45:54,320 --> 00:45:59,400
Speaker 3: she didn't come buy until the next night. And excited energy.

954
00:45:59,160 --> 00:46:01,800
Speaker 1: Right like she's just now getting back from the whole.

955
00:46:02,880 --> 00:46:06,400
Speaker 3: You know, that's a lot of time to go between contact.

956
00:46:06,960 --> 00:46:09,480
Speaker 2: Yeah, well I'll tell you because I'll just tell you

957
00:46:09,560 --> 00:46:11,880
Speaker 2: what happened to Joe. She got in at five am,

958
00:46:12,400 --> 00:46:16,640
Speaker 2: and she just took her advil and Exceegrian PM and

959
00:46:16,719 --> 00:46:18,960
Speaker 2: slept all and then wanted to get out refreshed and

960
00:46:19,000 --> 00:46:20,960
Speaker 2: probably had brunch with the girls maybe, and then she

961
00:46:21,000 --> 00:46:21,840
Speaker 2: finally came up to you.

962
00:46:22,080 --> 00:46:25,040
Speaker 1: She Yeah, Jaffe has a lot of confidence about how

963
00:46:25,040 --> 00:46:27,560
Speaker 1: that might have gone exactly. I feel like that's a

964
00:46:27,640 --> 00:46:28,880
Speaker 1: very familiar scenario.

965
00:46:29,640 --> 00:46:31,680
Speaker 2: There was some research in the eighties. I must say,

966
00:46:32,080 --> 00:46:33,560
Speaker 2: I know exactly what Joe did.

967
00:46:33,880 --> 00:46:36,680
Speaker 3: I appreciate your Joe comes bounding in and goes and

968
00:46:36,719 --> 00:46:38,880
Speaker 3: takes it. I think the last beer out of the fridge.

969
00:46:39,440 --> 00:46:43,640
Speaker 2: Is not oblivious that it's that thing with when you

970
00:46:43,680 --> 00:46:46,000
Speaker 2: meet new people and you meet a whole vibe, and

971
00:46:46,080 --> 00:46:48,520
Speaker 2: hers is going to possibly lead to a whole career

972
00:46:48,560 --> 00:46:50,680
Speaker 2: in the fashion world, you know, So it's very exciting

973
00:46:50,719 --> 00:46:53,880
Speaker 2: to her. It doesn't have to do with, like, you know,

974
00:46:54,200 --> 00:46:57,399
Speaker 2: her boyfriend and the apartment and struggling and stuff. It's

975
00:46:57,440 --> 00:46:59,560
Speaker 2: just very exciting for her, So she does she's not

976
00:46:59,600 --> 00:47:03,400
Speaker 2: doesn't even notice that she takes the last beer, and

977
00:47:03,440 --> 00:47:04,000
Speaker 2: she wants.

978
00:47:03,840 --> 00:47:06,960
Speaker 1: To tell Jake all about like this opportunity she has,

979
00:47:07,320 --> 00:47:10,360
Speaker 1: like how she met this video editor who wants to

980
00:47:10,400 --> 00:47:12,600
Speaker 1: hire her too. Now she's gonna have all these job opportunities.

981
00:47:12,600 --> 00:47:15,040
Speaker 1: Is just so happy to share it with them, and

982
00:47:15,040 --> 00:47:17,520
Speaker 1: and she notices that he's not very excited to be

983
00:47:17,560 --> 00:47:19,400
Speaker 1: hearing about this, like whit, you don't look happy for me,

984
00:47:20,239 --> 00:47:20,840
Speaker 1: and he's.

985
00:47:20,719 --> 00:47:24,399
Speaker 2: Like, oh, well, yeah no, And then he'll come he'll

986
00:47:24,440 --> 00:47:27,840
Speaker 2: like better his response later because he'll realize that he

987
00:47:27,880 --> 00:47:30,160
Speaker 2: could have been a little more excited for me. Yeah.

988
00:47:30,239 --> 00:47:32,400
Speaker 3: Well, Jake isn't though, because he doesn't like the people.

989
00:47:32,520 --> 00:47:35,880
Speaker 1: And this is where he tells her that, well, maybe.

990
00:47:35,640 --> 00:47:39,000
Speaker 3: They're not as sophisticated as the grease monkeys you love that.

991
00:47:39,520 --> 00:47:42,880
Speaker 2: Ye whoa, Maybe they're not as sophisticated and well rounded

992
00:47:42,880 --> 00:47:44,080
Speaker 2: as the grease monkeys you were.

993
00:47:45,200 --> 00:47:45,399
Speaker 3: Yeah.

994
00:47:45,440 --> 00:47:48,080
Speaker 1: It turns into an argument that's like Joe is not

995
00:47:48,200 --> 00:47:50,960
Speaker 1: very nice and her like retaliation.

996
00:47:50,760 --> 00:47:53,440
Speaker 3: Carry on in another episode because it's just sort of

997
00:47:53,560 --> 00:47:57,040
Speaker 3: dropped and it does this carries on, Yeah, you.

998
00:47:57,000 --> 00:47:59,520
Speaker 2: Know again, we have this happy couple, but it's Melrose's place,

999
00:47:59,520 --> 00:48:01,440
Speaker 2: so we're gonna i'd to start the scene happy and

1000
00:48:01,560 --> 00:48:03,680
Speaker 2: end it with the fight. That's what we do. Yeah,

1001
00:48:04,600 --> 00:48:06,360
Speaker 2: She's like no, and then she turns it into all

1002
00:48:06,360 --> 00:48:08,480
Speaker 2: of a sudden, you're just not happy for my success

1003
00:48:08,560 --> 00:48:11,840
Speaker 2: and you know, so screw you. I'm out. He's like whoa, whoa, whoa. No,

1004
00:48:12,160 --> 00:48:14,520
Speaker 2: I'm gone, and she just leaves like she does so

1005
00:48:14,520 --> 00:48:19,640
Speaker 2: many times before. And then we are with in Jane

1006
00:48:19,680 --> 00:48:22,640
Speaker 2: and Michael's apartment and Jane comes into a dark apartment,

1007
00:48:23,200 --> 00:48:27,920
Speaker 2: nobody's there, and she's calling and it's just and she's like, Michael, Michael,

1008
00:48:28,320 --> 00:48:31,800
Speaker 2: of course she's not there. So she calls the hospital

1009
00:48:32,440 --> 00:48:35,880
Speaker 2: and she's expected, you know, to find him there, and

1010
00:48:36,000 --> 00:48:38,880
Speaker 2: the woman's the receptionist says, well, he's on break till eleven,

1011
00:48:39,480 --> 00:48:42,280
Speaker 2: and she immediately is like, well, it's in a family emergency.

1012
00:48:42,320 --> 00:48:46,000
Speaker 2: Can you please give me Kimberly Shaw's address or phone number?

1013
00:48:46,280 --> 00:48:47,960
Speaker 2: And she's like no, we can't give that out. And

1014
00:48:47,960 --> 00:48:50,560
Speaker 2: she's like, well, it's in a family emergency and I

1015
00:48:50,640 --> 00:48:52,640
Speaker 2: need to they're working on a project together and I

1016
00:48:52,719 --> 00:48:56,080
Speaker 2: need to speak with him. So she is like no more,

1017
00:48:56,160 --> 00:48:58,560
Speaker 2: miss nice guy. You know what I mean. She's just

1018
00:48:58,600 --> 00:49:01,040
Speaker 2: doing what she can and lying manipulating and she's going

1019
00:49:01,120 --> 00:49:02,560
Speaker 2: to get that address.

1020
00:49:02,800 --> 00:49:05,359
Speaker 1: Well, but doesn't the scene end where she just has

1021
00:49:05,400 --> 00:49:08,840
Speaker 1: to tell the nurse to just leave a message for

1022
00:49:08,920 --> 00:49:11,560
Speaker 1: the hospital to cage Michael, and that's how they leave it.

1023
00:49:11,480 --> 00:49:14,560
Speaker 3: Like, yeah, but she's got an address, Well, she hasn't

1024
00:49:14,560 --> 00:49:14,920
Speaker 3: gotten it.

1025
00:49:14,920 --> 00:49:18,919
Speaker 1: They has not gotten the address. That's what's confusing because.

1026
00:49:18,680 --> 00:49:20,239
Speaker 3: Because they say they can't give it to her.

1027
00:49:20,320 --> 00:49:22,360
Speaker 2: Back at the hotel in Palm Springs and Alison and

1028
00:49:22,360 --> 00:49:24,840
Speaker 2: Amanda are laughing and having a good time, which is

1029
00:49:24,840 --> 00:49:26,600
Speaker 2: also and Hader told.

1030
00:49:26,360 --> 00:49:30,520
Speaker 3: A story that I promise you she made up. She improvised,

1031
00:49:30,840 --> 00:49:32,520
Speaker 3: and then he threw up in the hot job.

1032
00:49:35,200 --> 00:49:38,680
Speaker 2: Story. That's another improv.

1033
00:49:38,600 --> 00:49:42,319
Speaker 1: That was Yeah, we have to to make nineteen ninety three.

1034
00:49:42,520 --> 00:49:47,600
Speaker 2: Yeah, that was that was Yeah, that's amazing that you're right,

1035
00:49:47,640 --> 00:49:49,480
Speaker 2: I remember that improv.

1036
00:49:53,400 --> 00:49:56,080
Speaker 1: But conveniently, Lucy comes to the table, is so happy

1037
00:49:56,080 --> 00:49:57,960
Speaker 1: to see them like laughing together, and she's like, I

1038
00:49:58,000 --> 00:50:01,360
Speaker 1: need throat lousages. Alison offers to go out to the

1039
00:50:01,400 --> 00:50:04,680
Speaker 1: parking lot to Lucy's car to get these throat lozenges

1040
00:50:04,960 --> 00:50:07,040
Speaker 1: for Lucy, which we all know where this is going

1041
00:50:07,120 --> 00:50:09,640
Speaker 1: to go, and sure enough, that's where she goes up

1042
00:50:09,640 --> 00:50:11,799
Speaker 1: to the parking lot and Billy is still in the

1043
00:50:11,840 --> 00:50:16,040
Speaker 1: parking lot getting ready to leave on the bike and.

1044
00:50:15,480 --> 00:50:18,480
Speaker 3: Which luckily has broken down. One wonders if it's the

1045
00:50:18,520 --> 00:50:22,640
Speaker 3: emergency bike repair, maybe this was the bike previous need.

1046
00:50:23,000 --> 00:50:25,000
Speaker 2: Well, what's interesting is that he's trying to do it

1047
00:50:25,040 --> 00:50:29,040
Speaker 2: with the kickstarter, but it's it's a he doesn't know

1048
00:50:29,239 --> 00:50:31,919
Speaker 2: that's a thing, so he's really just flooding the damn thing.

1049
00:50:32,000 --> 00:50:34,479
Speaker 2: But some bikes you start like that with your foot.

1050
00:50:34,560 --> 00:50:36,600
Speaker 3: Yeah, Lauren and I totally caught that. Lauren and I

1051
00:50:36,640 --> 00:50:38,239
Speaker 3: both totally caught that. So that was.

1052
00:50:39,719 --> 00:50:42,520
Speaker 2: So the valet guy Cod just comes and pushes the button.

1053
00:50:42,520 --> 00:50:46,520
Speaker 2: It's hilarious. It starts right away, but you're right, it's

1054
00:50:46,520 --> 00:50:50,160
Speaker 2: given us time to have Alison walk up and go, Billy,

1055
00:50:50,840 --> 00:50:54,440
Speaker 2: what are you doing here? What? She's happy? Which I

1056
00:50:54,480 --> 00:50:58,600
Speaker 2: was so happy that she was happy. Yeah, I'm leaving,

1057
00:50:58,640 --> 00:51:01,040
Speaker 2: and she's like, what do you mean what? Mess said, Well,

1058
00:51:01,080 --> 00:51:02,960
Speaker 2: you didn't want me here. I didn't even know you

1059
00:51:03,000 --> 00:51:09,640
Speaker 2: were here. Amanda. Oh that's right, Amanda. Amanda has always

1060
00:51:09,680 --> 00:51:11,880
Speaker 2: lies and always is in the middle of things. So

1061
00:51:12,480 --> 00:51:15,320
Speaker 2: they figured out and Billy goes, I have an idea,

1062
00:51:15,960 --> 00:51:17,600
Speaker 2: I'm going to get a room and then when you've

1063
00:51:17,600 --> 00:51:22,160
Speaker 2: done your retreat thing, you come join me when you

1064
00:51:22,320 --> 00:51:24,640
Speaker 2: finish your party, because there's going to be a cocktail

1065
00:51:24,680 --> 00:51:28,880
Speaker 2: party or something. And Alison goes, what party. She's finally

1066
00:51:28,920 --> 00:51:32,080
Speaker 2: excited to go. Yeah, spend the night with him in

1067
00:51:32,120 --> 00:51:33,480
Speaker 2: this hotel. So he's going to go.

1068
00:51:33,600 --> 00:51:35,400
Speaker 3: And then they kiss and I put in my notes

1069
00:51:35,560 --> 00:51:38,520
Speaker 3: way too chastely because I'm.

1070
00:51:38,760 --> 00:51:41,040
Speaker 1: Well again, they're still making a plan at this point,

1071
00:51:41,120 --> 00:51:44,000
Speaker 1: there's still in place. Yeah, they're at.

1072
00:51:43,920 --> 00:51:47,120
Speaker 2: A hotel making a plan on a hotel. Yes, the

1073
00:51:47,400 --> 00:51:49,160
Speaker 2: plan is, I'm going to go get a room.

1074
00:51:49,400 --> 00:51:50,120
Speaker 1: Here's a plan.

1075
00:51:50,480 --> 00:51:52,440
Speaker 2: Now, when has there ever been an extra room if

1076
00:51:52,440 --> 00:51:54,759
Speaker 2: there's a corporate retreat going on, I don't know. But

1077
00:51:54,840 --> 00:51:57,480
Speaker 2: in this little apartment, in this little hotel, we got a.

1078
00:51:57,400 --> 00:52:00,000
Speaker 1: Really nice room too. But first we have to find

1079
00:52:00,200 --> 00:52:02,840
Speaker 1: Jane walking through the hallway of Kimberly's apartment, which we

1080
00:52:02,840 --> 00:52:04,400
Speaker 1: have no idea how she got the address.

1081
00:52:04,480 --> 00:52:07,279
Speaker 2: Well, I think the lady gave it to her, but whatever, your.

1082
00:52:08,960 --> 00:52:10,120
Speaker 3: Yeah, she worked it out.

1083
00:52:10,200 --> 00:52:14,040
Speaker 2: So she's walking down this hallway and she she's just

1084
00:52:14,040 --> 00:52:16,719
Speaker 2: got this. She's nervous, but she knows where she's going,

1085
00:52:16,760 --> 00:52:19,319
Speaker 2: and she knocks, and you hear from inside, Yeah, who

1086
00:52:19,400 --> 00:52:22,839
Speaker 2: is it? And she says Jane. And then they cut

1087
00:52:22,840 --> 00:52:26,640
Speaker 2: to inside and it's Kimberly making dinner or salad or something.

1088
00:52:28,320 --> 00:52:31,600
Speaker 2: And she doesn't have a reaction like oh shit, you.

1089
00:52:31,560 --> 00:52:34,920
Speaker 1: Know, she sort of calmly answers the door, like, oh, hey, hey.

1090
00:52:34,840 --> 00:52:37,440
Speaker 2: Jane, what can I do for you? She's so calm,

1091
00:52:37,560 --> 00:52:40,000
Speaker 2: She's like she and Michael are made from the same cloth.

1092
00:52:40,640 --> 00:52:43,359
Speaker 2: She's like, oh, what can I do for you? She's like, well,

1093
00:52:43,440 --> 00:52:47,120
Speaker 2: is my husband here? No, of course not. Well he's

1094
00:52:47,120 --> 00:52:49,480
Speaker 2: supposed to be on break and he's not at the hospital,

1095
00:52:49,760 --> 00:52:53,040
Speaker 2: and oh, maybe it's that crappy coffee shop near the

1096
00:52:53,040 --> 00:52:55,799
Speaker 2: hospital that we all have to go to. And right

1097
00:52:55,880 --> 00:52:59,680
Speaker 2: then we hear and see Michael walk in behind her.

1098
00:53:00,440 --> 00:53:04,160
Speaker 1: Hey owl, only a towel, Yeah, and a towel for

1099
00:53:04,200 --> 00:53:05,759
Speaker 1: the second time this episode.

1100
00:53:06,000 --> 00:53:06,279
Speaker 2: Yeah, and.

1101
00:53:07,920 --> 00:53:10,760
Speaker 1: He just stops in his tracks and he sees Jane's

1102
00:53:10,760 --> 00:53:12,719
Speaker 1: face at the door, and everybody.

1103
00:53:12,320 --> 00:53:16,680
Speaker 2: Just is busted and we're finally thrilled.

1104
00:53:17,280 --> 00:53:21,239
Speaker 3: Finally Jane says, thank you, That's all I needed to know.

1105
00:53:21,920 --> 00:53:24,560
Speaker 3: But didn't you wonder like, can we talk about casual

1106
00:53:24,680 --> 00:53:28,360
Speaker 3: kimberlewis she could have said, Michael, it's Jane, stay hidden.

1107
00:53:29,080 --> 00:53:32,200
Speaker 3: I wonder the sort of Mockia Elliott. Or she could

1108
00:53:32,239 --> 00:53:34,239
Speaker 3: have come out of the hallway the door, because then

1109
00:53:34,280 --> 00:53:36,799
Speaker 3: they'd be found out. I think that maybe she meant

1110
00:53:36,840 --> 00:53:41,080
Speaker 3: to Kimberly meant that, No, I do, I think so.

1111
00:53:41,719 --> 00:53:45,120
Speaker 3: How could she not say Michael, Jane's It's not like

1112
00:53:45,160 --> 00:53:47,560
Speaker 3: there's an and she opens it. She knows it's Jane,

1113
00:53:47,560 --> 00:53:51,160
Speaker 3: but she doesn't say to him it's Jane Hyde. She

1114
00:53:51,400 --> 00:53:53,960
Speaker 3: opens the door, takes all the one thing.

1115
00:53:54,120 --> 00:53:56,200
Speaker 2: Yeah, I don't know why.

1116
00:53:56,080 --> 00:53:59,440
Speaker 3: She she wants to be found out so she can

1117
00:53:59,480 --> 00:54:01,640
Speaker 3: have Michael because that blows up their marriage.

1118
00:54:01,960 --> 00:54:05,680
Speaker 1: Well, it's definitely blowing up here, definitely blowing up. Jane

1119
00:54:05,760 --> 00:54:08,920
Speaker 1: leaves and he runs out after her in his towel,

1120
00:54:09,040 --> 00:54:11,239
Speaker 1: trying to keep it on as he's running, like we

1121
00:54:11,680 --> 00:54:14,560
Speaker 1: Michael or wait, Jane, Oh.

1122
00:54:14,440 --> 00:54:17,480
Speaker 3: It's just so, And Kimberly looks very annoyed that he

1123
00:54:17,600 --> 00:54:20,439
Speaker 3: ran after her. That was not in her master plan.

1124
00:54:22,840 --> 00:54:26,640
Speaker 1: But back at the hotel, where Brian Ellison's plan is

1125
00:54:26,680 --> 00:54:28,600
Speaker 1: finally coming to fruition.

1126
00:54:30,920 --> 00:54:35,439
Speaker 2: With beautifully romantic the plan to make another plan let's

1127
00:54:35,440 --> 00:54:40,560
Speaker 2: discuss this further romantic pink Rose on the bed, But they.

1128
00:54:40,440 --> 00:54:42,759
Speaker 3: Do discuss it a little further because Alison says, can

1129
00:54:42,800 --> 00:54:44,640
Speaker 3: I tell you something that's like, oh, for the love

1130
00:54:44,640 --> 00:54:45,840
Speaker 3: of God, can you shut?

1131
00:54:46,080 --> 00:54:46,279
Speaker 1: Yeah?

1132
00:54:46,400 --> 00:54:47,839
Speaker 2: Oh she did? What did she say?

1133
00:54:48,320 --> 00:54:51,160
Speaker 3: She says, I'm nervous, which is very sweet. And then

1134
00:54:51,200 --> 00:54:56,000
Speaker 3: he says she says, he said, I'm excited. That was adorable, and.

1135
00:54:55,960 --> 00:54:57,759
Speaker 2: Then he puts her purse on a chair.

1136
00:54:57,800 --> 00:54:59,680
Speaker 1: He still has to like take her purse off of

1137
00:54:59,719 --> 00:55:02,719
Speaker 1: herst like it's okay, like enter this room and let's

1138
00:55:03,160 --> 00:55:04,160
Speaker 1: it's very.

1139
00:55:03,880 --> 00:55:05,680
Speaker 2: Slow, very yeah.

1140
00:55:05,719 --> 00:55:08,399
Speaker 3: This is where I did think, because maybe this is,

1141
00:55:08,880 --> 00:55:12,319
Speaker 3: you know, being against Joe and Jake. We're so hot

1142
00:55:12,320 --> 00:55:14,520
Speaker 3: and sexy. Maybe the point is that this is sweet

1143
00:55:14,560 --> 00:55:18,319
Speaker 3: because it was so sweet and slow. And did you

1144
00:55:18,400 --> 00:55:21,680
Speaker 3: notice the music take me to an everlasting love? And

1145
00:55:21,800 --> 00:55:23,919
Speaker 3: I assume loaur it was the time but maybe right there,

1146
00:55:24,040 --> 00:55:27,279
Speaker 3: but it was so like endless lovey.

1147
00:55:27,200 --> 00:55:33,600
Speaker 1: The long well, it's maybe the longest love scene montage

1148
00:55:34,080 --> 00:55:38,320
Speaker 1: we will ever see in the history of long of Melrose.

1149
00:55:38,320 --> 00:55:40,080
Speaker 1: Because I thought it was really long. I thought it

1150
00:55:40,120 --> 00:55:41,680
Speaker 1: was lovely still long to me.

1151
00:55:41,840 --> 00:55:43,200
Speaker 3: I thought it was perfect length.

1152
00:55:43,520 --> 00:55:44,919
Speaker 1: I thought it was, guys.

1153
00:55:45,320 --> 00:55:46,400
Speaker 3: It was endless.

1154
00:55:48,200 --> 00:55:50,160
Speaker 2: It wasn't even you guys making out. It was like

1155
00:55:50,360 --> 00:55:52,719
Speaker 2: close up on the shoes, coming up, close up on

1156
00:55:52,800 --> 00:55:54,680
Speaker 2: this and we all know what love wanted to make

1157
00:55:54,719 --> 00:55:57,480
Speaker 2: it lest right, very like stop and go, and they

1158
00:55:57,520 --> 00:56:00,239
Speaker 2: want all these other shots and it's not as like

1159
00:56:00,280 --> 00:56:03,960
Speaker 2: this smooth, ongoing lovely thing that's fun to do. It's

1160
00:56:04,080 --> 00:56:04,920
Speaker 2: very stop and go.

1161
00:56:05,360 --> 00:56:07,839
Speaker 1: Yeah, it was the pieces of the clothing coming off,

1162
00:56:07,880 --> 00:56:09,920
Speaker 1: and then some more kissing and then another article of

1163
00:56:09,960 --> 00:56:13,239
Speaker 1: clothing and we're kissing. I thought it was lovely and

1164
00:56:13,280 --> 00:56:16,319
Speaker 1: like they made a really and that it was.

1165
00:56:16,719 --> 00:56:18,399
Speaker 3: And then at the end were lying on the bed

1166
00:56:18,480 --> 00:56:20,359
Speaker 3: and Andrew comes down on top of me and then

1167
00:56:20,400 --> 00:56:22,520
Speaker 3: I was like, oh, I stroked his back for America,

1168
00:56:22,800 --> 00:56:23,520
Speaker 3: like I always.

1169
00:56:23,280 --> 00:56:25,759
Speaker 1: Say, that was so nice.

1170
00:56:26,120 --> 00:56:26,920
Speaker 2: That was nice of you.

1171
00:56:27,040 --> 00:56:29,680
Speaker 3: It really was sweet. Yeah, you're welcome, very nice.

1172
00:56:29,719 --> 00:56:32,239
Speaker 2: Finally you made us like wait for it, but fine.

1173
00:56:32,040 --> 00:56:33,800
Speaker 3: Really I really made you wait for it. But I

1174
00:56:33,840 --> 00:56:36,680
Speaker 3: thought it was really sweet, like you felt like it

1175
00:56:36,719 --> 00:56:38,680
Speaker 3: was a real love scene, Like, yeah, it was.

1176
00:56:38,840 --> 00:56:40,839
Speaker 2: Very much a love scene. No, they put a lot

1177
00:56:40,880 --> 00:56:43,440
Speaker 2: of time and money into it, obviously, because the longer

1178
00:56:43,440 --> 00:56:45,520
Speaker 2: it is, the more of that shooting day. It took

1179
00:56:45,560 --> 00:56:47,040
Speaker 2: and it was important to those.

1180
00:56:47,120 --> 00:56:50,600
Speaker 3: Yeah, it was sweeter that the kiss was really sweet,

1181
00:56:50,680 --> 00:56:52,640
Speaker 3: like I thought. I thought. I didn't say it'd been

1182
00:56:52,640 --> 00:56:53,880
Speaker 3: a good payoff with the audience.

1183
00:56:54,280 --> 00:56:56,040
Speaker 2: Yeah for sure. I mean it would be such a

1184
00:56:56,120 --> 00:56:59,279
Speaker 2: drag for a short little and then pan out. Yeah,

1185
00:56:59,360 --> 00:57:01,080
Speaker 2: out of off for all of this that would have

1186
00:57:01,120 --> 00:57:03,680
Speaker 2: been the kids on the forehead and then fade to

1187
00:57:04,120 --> 00:57:05,200
Speaker 2: the audience waited.

1188
00:57:05,000 --> 00:57:07,919
Speaker 1: Thirty episodes for this, Yeah, like thirty episodes.

1189
00:57:08,000 --> 00:57:09,160
Speaker 2: Let's make a real.

1190
00:57:09,280 --> 00:57:11,000
Speaker 3: You know exactly it was and I did.

1191
00:57:11,440 --> 00:57:12,759
Speaker 2: I don't think I said this at the top, but

1192
00:57:12,840 --> 00:57:15,799
Speaker 2: this was written by Frank South and Darren Starr. Those

1193
00:57:15,840 --> 00:57:19,120
Speaker 2: are the guys that wrote this particular episode. So, and

1194
00:57:19,200 --> 00:57:21,120
Speaker 2: this was a big This is the main couple, you

1195
00:57:21,200 --> 00:57:24,000
Speaker 2: know what I mean that they lived together, Billy and Allison.

1196
00:57:24,160 --> 00:57:26,400
Speaker 2: Well they ever get together, and this is the episode

1197
00:57:26,400 --> 00:57:28,959
Speaker 2: where they finally do. We'll see how long it lasts,

1198
00:57:29,000 --> 00:57:31,120
Speaker 2: we see how we'll see how it goes. But this

1199
00:57:31,280 --> 00:57:34,680
Speaker 2: was it. And yeah it ends with the whole episode

1200
00:57:34,760 --> 00:57:37,160
Speaker 2: ends with the your my ever lasting love and.

1201
00:57:37,200 --> 00:57:39,720
Speaker 1: Yeah, lots of juicy stuff in this one.

1202
00:57:40,080 --> 00:57:44,600
Speaker 3: That's really fun, very satisfying ending to this episode yeah.

1203
00:57:44,480 --> 00:57:46,920
Speaker 1: It just ends and story begins.

1204
00:57:47,120 --> 00:57:50,600
Speaker 2: I love how one story is like building and beautiful

1205
00:57:50,720 --> 00:57:54,440
Speaker 2: and people yay, and the other one that's the demise

1206
00:57:54,600 --> 00:57:58,240
Speaker 2: of whatever they had, their marriage, their relationship. It's just

1207
00:57:58,720 --> 00:58:03,240
Speaker 2: ends so sickly, sickeningly where she just says, that's all

1208
00:58:03,280 --> 00:58:05,360
Speaker 2: I need to know. There was a great close up

1209
00:58:05,400 --> 00:58:07,120
Speaker 2: I thought there was a great close up of Michael

1210
00:58:07,160 --> 00:58:09,680
Speaker 2: there where you just see James. She's so open and

1211
00:58:09,760 --> 00:58:12,400
Speaker 2: Voldemore like, oh my god, and then you just see

1212
00:58:12,480 --> 00:58:15,200
Speaker 2: him like, oh god. There wasn't defense. I just thought

1213
00:58:15,240 --> 00:58:19,040
Speaker 2: it was really smart to be like, oh, Jane, you

1214
00:58:19,120 --> 00:58:20,640
Speaker 2: just see softness for a second.

1215
00:58:20,920 --> 00:58:23,640
Speaker 1: And only two more episodes left in this season of

1216
00:58:23,920 --> 00:58:25,560
Speaker 1: season one of Melroe's Place.

1217
00:58:26,080 --> 00:58:28,440
Speaker 2: Amazing, So we're gonna have a couple more episodes and

1218
00:58:28,480 --> 00:58:30,640
Speaker 2: also we have some cool guests coming up.

1219
00:58:30,800 --> 00:58:33,200
Speaker 3: Two more we do, Yeah, we do.

1220
00:58:33,720 --> 00:58:35,520
Speaker 2: All right, ladies, thank you.

1221
00:58:35,800 --> 00:58:37,320
Speaker 1: We'll see you on the next one.

1222
00:58:37,480 --> 00:58:40,160
Speaker 3: I know. We'll see you for Milrah's Minute and again

1223
00:58:40,240 --> 00:58:40,840
Speaker 3: next week.

1224
00:58:40,680 --> 00:58:41,440
Speaker 2: For the weekend.

1225
00:58:41,680 --> 00:58:45,600
Speaker 1: All right, Bye guy, by guys, Bye bye, super happy

1226
00:58:45,640 --> 00:58:45,960
Speaker 1: to peek.

1227
00:58:46,200 --> 00:58:46,760
Speaker 3: Okay, hold on