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

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Speaker 2: And Daphne's Aniga and iHeartRadio podcast.

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Speaker 1: Guys, this is the first time we've done like not

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Speaker 1: sitting in the same room and we have to wave

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Speaker 1: from a distance there a little.

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Speaker 3: I know, I got spoiled see you, guys, but this

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Speaker 3: is going to be very exciting as an adventuress.

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Speaker 1: We'll be in person again.

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Speaker 3: We will when we have a guest.

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Speaker 1: Hey, I have to ask, are you guys having a

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Speaker 1: lot of spiders at your house right now?

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Speaker 3: So many spiders.

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Speaker 2: Might have so much everything.

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Speaker 1: Okay, so it's not just my house.

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Speaker 3: No, there was an article recently it's an extra crazy

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Speaker 3: spider year this year for la Yeah, maybe all the rain.

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Speaker 2: I save them all. I put them all in a

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Speaker 2: glass with a little envelope and then and sometimes I

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Speaker 2: have to do two or three at a time and

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Speaker 2: like put it outside. Oh.

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Speaker 3: I was going to say, save their lives.

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Speaker 1: I don't deserve it, Spiker, Yeah, I don't save them.

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Speaker 2: Like for a project later or anything. So David, at

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Speaker 2: the end.

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Speaker 1: Of the day, did you say an ovelope? You put

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Speaker 1: them in an envelope?

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Speaker 2: No, I said, I put a glass over it and

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Speaker 2: I slide an envelope or piece of paper. I take

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Speaker 2: them out, but there are so many that I have

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Speaker 2: to do two or three at the time.

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Speaker 3: There are so many.

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Speaker 1: Yeah, I'm having the kind of like if I'm the

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Speaker 1: first person out the door in the morning, like I

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Speaker 1: really have to check the door frame so that there's

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Speaker 1: not one dangling right in front my face, like mouth

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Speaker 1: level that I'm going to walk right into it.

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Speaker 3: Right and there looking like like Georgie wanted. Georgie just

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Speaker 3: came in. She want to say this, sister. But I

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Speaker 3: took him out the other day and they walked through

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Speaker 3: a web and she had a huge spider on her head.

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Speaker 2: Oh my god.

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Speaker 1: Yeah, I'm not a fan, but I'm glad it's not

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Speaker 1: just my house because I was literally like this morning,

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Speaker 1: like you know, like clearing the doorways before fighter or everywhere.

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Speaker 1: I'm glad it's yeah, sorry.

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Speaker 3: It's not just you. I'll find the article and send

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Speaker 3: it to you guys.

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Speaker 1: Yeah, well, I hope the season passes soon because it's

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Speaker 1: a little disconcerting to walk, yeah, right into them.

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Speaker 2: It's fun to escape it all though the yard. It's

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Speaker 2: fun to escape it with our Melrose Place with our gig.

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Speaker 3: Yeah, so I gotta say, so, this is my second

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Speaker 3: time watching this episode because, as you guys know, I

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Speaker 3: watched the wrong episode last week because they switch it

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Speaker 3: on whatever I'm watching it on, they switch these two episodes.

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Speaker 3: It was even better on the second time. I watched

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Speaker 3: it again today, just you refresh.

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Speaker 2: This is a really solid episode. I totally agree. All

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Speaker 2: the stories were like intriguing and juicy, and the relationships

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Speaker 2: were really full, and I don't know, I really thought

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Speaker 2: it was a solid for everybody, for all the characters,

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Speaker 2: you know, real even.

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Speaker 3: Yeah, it feels like it's gelling and we're getting very

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Speaker 3: close to when you guys come.

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Speaker 2: On, very get in there. We're like enjoying it.

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Speaker 1: Halfway to Dashney. Things get left up, but we're still

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Speaker 1: in this sphace where the episodes are very self contained.

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Speaker 1: The storylines are self contained and sort of wrapped up

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Speaker 1: near the you know, at the end, the storylines come

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Speaker 1: to a little neat conclusion, which is an indication of

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Speaker 1: the early tone of the show. Sure so, yeah, so

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Speaker 1: we're on Melrose Place, episode number seven.

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Speaker 3: Dix. If you're on Amazon, you're very confused.

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Speaker 1: To confuse everybody. The title however, is called My Way,

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Speaker 1: And this episode opens on a wide open mouth screaming

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Speaker 1: a horror movie scream, and we pull out to find

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Speaker 1: that we are inside of Sandy's mouth as she's screaming

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Speaker 1: lovely teeth I mean, full commitment, and she is in

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Speaker 1: the middle of an audition for clearly some sort of

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Speaker 1: horror movie where she's required to scream, and there's a

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Speaker 1: bunch of people in room, the casting people and the producers,

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Speaker 1: and it's super awkward for Sandy.

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Speaker 3: And didn't that bring you back to that when they're

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Speaker 3: just so disinterested, like they really sued it, disinterested working.

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Speaker 1: It was so painful, and like just like that's how

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Speaker 1: auditions can be, right, I mean absolutely, And.

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Speaker 2: Then she goes, can I do the next scene? And

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Speaker 2: they're like, oh, we cut that scene. Yeah, I read it.

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Speaker 2: I thought I had a meaty part. No, we got that.

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Speaker 1: What they really just wanted is to see how good

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Speaker 1: her scream was. And we're going to find out that

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Speaker 1: pretty much, they just wanted her to scream well and

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Speaker 1: to look good because so blonde. Yeah, so, anyway, auditions

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Speaker 1: are humilie. Have you guys ever done a horror movie?

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Speaker 3: Oh?

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Speaker 2: Yeah, I started with a horror movie. And I have

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Speaker 2: a little bit of a story if you give me

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Speaker 2: a second. And my first horror film was Paramount, and

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Speaker 2: they flew me to Texas where we shot it. It was

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Speaker 2: called The Initiation. It took place in of course, a

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Speaker 2: sorority horror film. And I remember doing the scene. So

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Speaker 2: I was the lead of it. And I when there

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Speaker 2: was a shower scene, this like communal shower scene. I

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Speaker 2: put on a tube top. I put on like masking tape.

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Speaker 2: I wrapped the towel around it. I pretty much think, I,

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Speaker 2: you know, safety pinded and clamped it. I was just

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Speaker 2: like me in the shower post shower. And there were

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Speaker 2: the extras, and then there was this discussion about this

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Speaker 2: extra being topless in the back, and I went around

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Speaker 2: and I was telling all the girls, you know, you know,

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Speaker 2: you don't have to do this. If you don't want to,

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Speaker 2: you do not have to do this, like trying to

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Speaker 2: talk her out of doing this topless shower scene. I

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Speaker 2: wanted to save her dignity. I mean, if Sandy were there,

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Speaker 2: I would have been there going, Nope, you don't have

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Speaker 2: to do this is my first movie. I don't know

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Speaker 2: if she had to do it or not, but just

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Speaker 2: felt creepy. So she ended up doing it, I think,

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Speaker 2: and I was like, oh god, poor thing. And then

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Speaker 2: you know, but I was very protective in those early days. Anyway,

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Speaker 2: that was my That was one of my first experience

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Speaker 2: was that.

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Speaker 1: Horror film off of Sandy's Scream. We cut to Billy

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Speaker 1: and Allison in the apartment, and Billy is bummed out

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Speaker 1: because he tells Alison the paper has gone out of business.

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Speaker 1: He's now out of a job. He assumes perhaps lack

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Speaker 1: of advertising, and he says, why does the apartment look different.

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Speaker 1: Allison reveals that she's been cleaning the apartment, at which

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Speaker 1: time Billy panics and he thinks, wait, wait, I had

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Speaker 1: something important. Did you throw away a little napkin? And

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Speaker 1: she's like, well, yeah, I was cleaning. It looked like junk,

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Speaker 1: and he was writing the idea for a short story

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Speaker 1: down this cocktail napkin that has now been cleaned and

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Speaker 1: thrown away.

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Speaker 3: So yes, and Allison does that terrible thing where you

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Speaker 3: know I remember reading recently, Be careful of people who

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Speaker 3: blame you for a problem they create, like my threw

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Speaker 3: it away, and I'm like, well, you shouldn't have written

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Speaker 3: it so messily, like Alison, sorry, just say you're sorry.

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Speaker 1: Yeah, Well, he's upset and she's off to work, and

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Speaker 1: so as she leaves, the phone rings and it goes

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Speaker 1: to the answering machine and it is Billy's mother and

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Speaker 1: she's leaving a message saying we're expecting you and Allison

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Speaker 1: and Palm Springs, don't forget it's your father's birthday. We're

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Speaker 1: expecting as to be there. So from there we go

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Speaker 1: to Michael and Jean's apartment and we do sort of

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Speaker 1: bring this storyline back where we're they're starting to prepare

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Speaker 1: for the baby since Jane is pregnant, and Michael is

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Speaker 1: trying to move furniture, trying to measure and find out

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Speaker 1: where the best place for the crib might be.

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Speaker 3: And being very sweet, like I have to say, right,

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Speaker 3: like he's been sort of dismissive, but suddenly now that

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Speaker 3: she's pregnant, he's being very sweet and wanting to shape

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Speaker 3: very good care of her, which.

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Speaker 2: I really so excited and gung ho, Yeah, you're so sweet, so.

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Speaker 1: Happy and enthusiastic to figure out a little.

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Speaker 2: Overly, so she's not even showing she just found out

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Speaker 2: she's pregnant and he's moving furniture to fit the cribbon.

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Speaker 3: I know. It's really cute though.

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Speaker 1: And she's like, I'm not. I'm not that I can

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Speaker 1: move something. I can help. I can, and but he

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Speaker 1: goes to try to move the dresser and hurts himself.

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Speaker 1: I'm I gotta ask.

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Speaker 2: He's moving the.

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Speaker 1: Dresser with his hands on the dresser and with his

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Speaker 1: upper body, and yet he hurts his ankle and he

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Speaker 1: had to rewind it and go back because he hurts

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Speaker 1: his ankle so badly that he flings himself on the

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Speaker 1: bed and she's like, oh, no, oh, no, you know,

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Speaker 1: are you okay? We must go to the hospital. I thought, well,

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Speaker 1: that wow, that serious injury. They're off to the hospital

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Speaker 1: for this, and I had to rewind it and go

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Speaker 1: He didn't even touch.

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Speaker 3: His he must have missed step off camp angle.

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Speaker 1: I think, yeah, maybe the take where he hurt his

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Speaker 1: ankle maybe wasn't the take that they used. Maybe yeah, so,

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Speaker 1: but I thought that was pretty funny. He was very

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Speaker 1: hurt and she was very con and so off they

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Speaker 1: go to the hospital to handle this injury. And then

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Speaker 1: we cut back to D and D and Billy is

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Speaker 1: showing up at Allison's work to bring her flowers to apologize.

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Speaker 3: I have to say I was pretty impressed with Alison

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Speaker 3: on those phones, like that's so good. I'm not a

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Speaker 3: great prop actress, so I was pretty impressed with work

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Speaker 3: in this phone.

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Speaker 1: It's the apparently you are because you were. I was

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Speaker 1: impressed with the same thing you were answering your.

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Speaker 2: Talking to him for years you had that were you

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Speaker 2: did you get better at it? Was it awkward for you?

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Speaker 3: I don't even remember it? So I was like, oh,

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Speaker 3: look at me, prop act I was.

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Speaker 2: Really, oh, yeah, you like, I'm not as bad as I.

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Speaker 1: Thought, because because the hard thing is and people might

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Speaker 1: not realize, like nobody's actually talking on the other end

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Speaker 1: of the phone, and you as the actress need to

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Speaker 1: like fake this phone call like somebody's saying something to

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Speaker 1: you in your ear, which they're not. And then also

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Speaker 1: the person across the desk, which is Billy, he's talking

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Speaker 1: to you and he's presenting flowers. There's a lot going on,

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Speaker 1: and you were juggling.

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Speaker 2: Pushing the right button, all that whole thing.

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Speaker 3: Yeah, yes, which is why I like to not have

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Speaker 3: any props and just talk to people while I'm sitting

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Speaker 3: down and in this I had a lot going on.

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Speaker 1: It was a lot, and you sold it girls, great,

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Speaker 1: thank you. We all noticed the very same thing, and

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Speaker 1: this is what we sold it better than Michael sold

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Speaker 1: break in his ankle. Well, it's yeah, but all these

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Speaker 1: things are hard. It's hard to fake an injury too.

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Speaker 3: It is true, It's so true.

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Speaker 1: Those are tough things. Screaming is hard and so uh yeah.

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Speaker 1: So Billy is apologizing and he brings her He says,

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Speaker 1: I knew roses were your favorite. However, he's brought carnations

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Speaker 1: and but that's where he pops the question of hey,

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Speaker 1: you want to go to Palm Springs with me for

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Speaker 1: the weekend.

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Speaker 3: And he does say, they asked me to bring a friend,

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Speaker 3: and you're my friend. But even so, like going away

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Speaker 3: for a weekend, that's a big step.

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Speaker 2: Yeah, yeah, I love how you guys are again since

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Speaker 2: I wasn't there, but I love seeing how this whole

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Speaker 2: progression of you guys are still friends, you're still on

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Speaker 2: there for just the friends stage. And so he's saying,

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Speaker 2: I told him, you know you're a friend, and you're like, okay,

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Speaker 2: I'll go as a friend. And you know, this is

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Speaker 2: like you can see it all developing and what's going

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Speaker 2: on here, which is cool. It's kind of a it's

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Speaker 2: a very cool sort of setup for drama.

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Speaker 3: Yeah, it's very sweet, like I can I can see

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Speaker 3: the chemistry already.

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Speaker 1: It's very so, yeah, you can see where it's headed,

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Speaker 1: and it's you know, obviously Billie's said something to his

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Speaker 1: parents to have them say, oh, bring Alison, and yeah,

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Speaker 1: it's all very cute and we all are here for it.

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Speaker 1: We want to see it happen. So from there we

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Speaker 1: go to Shooters where Sandy is serving beers and Jake

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Speaker 1: wants to hear about the audition and she's like, not

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Speaker 1: optimistic about it at all. Ronda comes in and Sandy

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Speaker 1: wants to know if anybody has called, if she got

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Speaker 1: any messages, because she's waiting to hear about the audition,

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Speaker 1: and Ronda sort of teases he at first and says, no, no,

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Speaker 1: nobody called, and then she's like, no except for the

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Speaker 1: one message that says you got the bard And they're all.

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Speaker 3: Very excited for and don't you feel like Jake is

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Speaker 3: really turning it on Like that feels like really intense

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Speaker 3: flirting between the two of them.

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Speaker 2: To me, I get Yeah. I thought there was a

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Speaker 2: lot of juice between them in this episode all the

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Speaker 2: way through, which I liked. I like there, Yeah, we'll

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Speaker 2: see as we go on.

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Speaker 1: This is the relationship that maybe they're you know, headed towards.

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Speaker 3: So yeah, I mean I was wondering if it was

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Speaker 3: Grant and Amy making that choice, if it was in

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Speaker 3: the script, like did they choose to play this thing?

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Speaker 1: So shooters, uh, Jake and Sandy were noticing there's all

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Speaker 1: of a sudden a little flirty vibe with them. Maybe that's,

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Speaker 1: you know, a sign of things to come. But we

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Speaker 1: find out that Sandy's just gotten this job and that.

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Speaker 3: Was a sweet moment.

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Speaker 2: Yeah, because Ronda heard it on the voice message.

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Speaker 3: They remember answering the answering remember signs, Yes, like you

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Speaker 3: couldn't wait to get home to check the answering machine, you.

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Speaker 1: Know, Yeah, important news would be left on your tape.

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Speaker 3: Yeah, yeah, and you'd have to go home and wait

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Speaker 3: to see I remember that so clearly.

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Speaker 1: Yeah, or like if you the call, you know, like

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Speaker 1: it has to be that's the only way to know

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Speaker 1: that you missed the call is somebody has to choose

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Speaker 1: to leave the message. Yes, and so nice that she

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Speaker 1: heard it that way that they left them as a

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Speaker 1: john her machine for it. Then from there, Lily and

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Speaker 1: Alison are driving to Palm Springs and Billy informs her

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Speaker 1: upon arriving that, oh, by the way, it's just going

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Speaker 1: to be the two of us. I know it's my

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Speaker 1: dad's birthday weekend, and I told you it was a thing,

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Speaker 1: but it's just going to be the two of us.

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Speaker 1: And Alison is pissed, and she says she wouldn't missed.

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Speaker 3: However, I remember that outfit and I really liked it,

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Speaker 3: and had on the white shorts and that blue and

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Speaker 3: white top which I remember, and the boots. Did you

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Speaker 3: notice like those boots I had on with the shorts

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Speaker 3: and that I remember that outfit had that detail.

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Speaker 2: Don't you remember how big those were? That like little

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Speaker 2: flower kind of sewn in detail.

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Speaker 1: They'll applicate thing.

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Speaker 2: I did the application. Yeah, Oh, those were so big.

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Speaker 3: I love I remember the boots. I remember just loving

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Speaker 3: that outfit.

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Speaker 2: Well, you looked a door. Do you remember where you

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Speaker 2: shot it? Did you guys go out to Palm Springs?

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Speaker 2: Probably not somewhere.

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Speaker 3: In an apartment building in the probably Santa Cia. I

293
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Speaker 3: was going to say the Valley, but maybe Santa Crita.

294
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Speaker 1: Yeah, yeah, because it looked like a little like cul

295
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Speaker 1: de sac, you know, like complex, right right, you pull

296
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Speaker 1: a little condo complex. Yeah, yeah, so it could have

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Speaker 1: been lots of places. Probably wasn't. Actually, there's a lot

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Speaker 1: of those here in southern California, like all over there,

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Speaker 1: so many. Yeah, and so Allison's upset because she doesn't

300
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Speaker 1: want to send the wrong message, like, hey, wait, you

301
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Speaker 1: know you told me I was just coming as your friend,

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Speaker 1: and I wouldn't have come if it was just us. This

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00:14:40,480 --> 00:14:44,760
Speaker 1: is kind of awkward. And then sure enough when Billy's

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Speaker 1: parents come to the door, Uh, it's clear that. Oh,

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Speaker 1: by the way, I also told my parents that you're

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Speaker 1: my girlfriend in.

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Speaker 2: The door open. Yeah, but yeah, that was a brief,

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Speaker 2: little palm spring scene.

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Speaker 1: Yeah, so that's that's our That's where Alison learns that

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Speaker 1: Billy has told his parents that Alison is his girlfriend,

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Speaker 1: and again she's upset by that. So then we're back

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Speaker 1: in the apartment where Sandy is studying her lines and

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Speaker 1: Ronda's music is too loud for her, so she asks

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Speaker 1: Ronda to leave the apartment. That's annoying for Ronda. Sandy

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Speaker 1: reveals she has eight lines and three screams.

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Speaker 3: But I did notice that because there's no one there

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Speaker 3: to say to her. There are no small parts, only

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Speaker 3: small actors when they're going to tell her, you don't

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Speaker 3: count your line, Sweetene.

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Speaker 1: Yeah, and did you notice that by this episode, Sandy's

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Speaker 1: accent is completely gone?

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Speaker 2: Mm hmm.

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Speaker 3: And I thought I was paying attention. I thought it

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Speaker 3: was sort of fading. I thought she was sort of

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Speaker 3: fading it out. There's a hint gradually, but by the

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Speaker 3: next episode there's none.

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Speaker 1: Yeah, I felt like it was pretty pretty not present

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Speaker 1: in this one, which I think makes it just makes

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Speaker 1: it easier. It just felt more comfortable.

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Speaker 2: I feel like it came back a little when she

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Speaker 2: was with Jake seen later in the courtyard. It kind

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Speaker 2: of comes when she does this, you know, Damsel in

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00:16:07,320 --> 00:16:10,280
Speaker 2: distress or this kind of Hollywood stole that thing. She could, yeah,

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00:16:10,320 --> 00:16:13,600
Speaker 2: yet into it. But but I didn't even think about

335
00:16:13,600 --> 00:16:17,280
Speaker 2: it this time watching it. Yeah, I did notice. If

336
00:16:17,280 --> 00:16:21,920
Speaker 2: we can just go talk about the the the apartment itself,

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Speaker 2: you know, it's very Rhonda. There's a lot of sort

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Speaker 2: of like ethnic African fabric, and you know, of course

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00:16:28,400 --> 00:16:32,760
Speaker 2: her wardrobes kind of like that all funky, and but

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Speaker 2: I just overall noticed how everybody's apartment was very different

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Speaker 2: and full and colorful and distinctive, you know, like the

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Speaker 2: Michael and Jane they had all this stuff in the kitchen,

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Speaker 2: all foods and supplies, where these girls there was nothing

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Speaker 2: in the refrigerator really except for the cake that they're

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Speaker 2: gonna eat. But I just noticed like each apartment was

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Speaker 2: very distinctive, which I Yeah, our set designer was wonderful.

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Speaker 3: I'm going to remember her name. She decorated my first house.

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Speaker 1: Oh that's reallyazing.

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Speaker 3: Yeah, I was remembering that that first house I had

350
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Speaker 3: on North Nole, and like Callywood, I bought it because

351
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Speaker 3: it was up the street from the house rought Andrews

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Speaker 3: shared with his four roommates. And that's how I found.

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Speaker 3: I was driving home from his house one day and

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Speaker 3: I saw this house a quarter of a mile from

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Speaker 3: the house where he lived. And then she did the decorating.

356
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Speaker 3: To me, she was wonderful. I'm going to look up

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Speaker 3: her name.

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Speaker 2: As we said, Oh that's great. Did it look like

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00:17:28,480 --> 00:17:31,280
Speaker 2: any of the apartments.

360
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Speaker 3: Like no, but it really it felt very me so

361
00:17:33,359 --> 00:17:36,199
Speaker 3: what we're trying. She's really good at seeing a personality

362
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Speaker 3: and putting it together. Yeah, I loved that house. Yeah,

363
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Speaker 3: she did a great job.

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Speaker 1: Very cool. Well, that's the thing about the sets, because

365
00:17:42,960 --> 00:17:46,680
Speaker 1: they would just have like a one bedroom apartment as

366
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Speaker 1: like a blank slate, and then they would dress it

367
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Speaker 1: for whatever scenes they were shooting that day. They would

368
00:17:51,920 --> 00:17:55,680
Speaker 1: dress it for if it was Ronda's apartment or if

369
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Speaker 1: it was Matt's apartment, like whoever's apartment was a one bedroom,

370
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Speaker 1: they would redress. When when Sydney had an apartment, it

371
00:18:03,119 --> 00:18:07,119
Speaker 1: was not always that space was not always Sydney's. The

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00:18:07,240 --> 00:18:09,720
Speaker 1: interior of it r It's just according to what set

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Speaker 1: decorating was there. So it was really cool that they

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00:18:11,400 --> 00:18:15,199
Speaker 1: could really completely change a space with because if you.

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Speaker 2: Look if you're out in the courtyard and you look

376
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Speaker 2: at the exterior of all the apartments, all of them

377
00:18:19,800 --> 00:18:22,879
Speaker 2: are not full apartments like Joe's. When you're on the

378
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Speaker 2: courtyard and you look up to where I moved into

379
00:18:25,400 --> 00:18:29,000
Speaker 2: where Ronda and Sandy I believe live now, it's just

380
00:18:29,000 --> 00:18:31,200
Speaker 2: a facade, that's just a door. There's nothing behind there.

381
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Speaker 2: So they actually had to borrow another apartment that was

382
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Speaker 2: fully there, So they did that, and they had to

383
00:18:39,040 --> 00:18:40,600
Speaker 2: have a good memory of what goes.

384
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Speaker 3: Now, So which one were you? Because the first flour

385
00:18:42,680 --> 00:18:46,679
Speaker 3: apartments were all working apartments and upstairs were all just facades.

386
00:18:47,160 --> 00:18:50,040
Speaker 3: So when you were in your apartment, which downstairs apartment

387
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Speaker 3: did you use? Because it might have been because it

388
00:18:52,359 --> 00:18:55,080
Speaker 3: was right below. Yeah, but yours was full of makes sense.

389
00:18:55,280 --> 00:18:58,640
Speaker 2: Yeah, it might have been Jakes. I've never remember going

390
00:18:58,640 --> 00:19:01,480
Speaker 2: into what was you know, Michael and James and using

391
00:19:01,520 --> 00:19:04,359
Speaker 2: that as mine. Ever, it was a mind out that

392
00:19:04,520 --> 00:19:07,320
Speaker 2: was yours. Yeah, okay, of course you okay, we're not

393
00:19:07,359 --> 00:19:10,440
Speaker 2: going to go too far ahead, but yeah, but interesting

394
00:19:10,600 --> 00:19:12,880
Speaker 2: it's how they, you know, interchange these spaces that are

395
00:19:12,960 --> 00:19:14,800
Speaker 2: just sets that it's.

396
00:19:14,680 --> 00:19:18,680
Speaker 1: All in the decor, yeah, to make them individual. So yeah,

397
00:19:18,720 --> 00:19:22,200
Speaker 1: so Sandy's you know, she's trying to study, and she's anxious,

398
00:19:22,240 --> 00:19:24,680
Speaker 1: and she's asking Ronda to be quieter and actually maybe

399
00:19:24,720 --> 00:19:27,200
Speaker 1: you could just leave, And she doesn't even want Randa

400
00:19:27,240 --> 00:19:29,040
Speaker 1: to use her phone because she thinks she won't answer

401
00:19:29,080 --> 00:19:31,280
Speaker 1: the call waiting soon enough, and she's really anxious about

402
00:19:31,320 --> 00:19:33,159
Speaker 1: like making sure that she doesn't miss any calls or

403
00:19:33,160 --> 00:19:39,600
Speaker 1: messages from her new job. Then we go to Palm Springs,

404
00:19:39,640 --> 00:19:43,720
Speaker 1: where Billy's parents are excited to learn about Alison. And

405
00:19:44,680 --> 00:19:48,240
Speaker 1: they are at the table and Allison can see that

406
00:19:48,280 --> 00:19:51,080
Speaker 1: Billy has told his parents all sorts of things about

407
00:19:51,119 --> 00:19:55,359
Speaker 1: her that aren't exactly accurate, including like the nature of

408
00:19:55,400 --> 00:20:00,280
Speaker 1: their relationship, how they met. Billy tells Allison then that

409
00:20:00,640 --> 00:20:03,840
Speaker 1: his dad wants him to come to work at the

410
00:20:03,880 --> 00:20:04,760
Speaker 1: furniture store.

411
00:20:05,359 --> 00:20:07,800
Speaker 3: Yeah, and he picture as a literary agent. There's this

412
00:20:07,840 --> 00:20:11,359
Speaker 3: whole Personnelity's kind of fighting it but almost saying things

413
00:20:11,400 --> 00:20:14,000
Speaker 3: and then getting interrupted. There's a line where we go

414
00:20:14,080 --> 00:20:18,320
Speaker 3: outside and I'm so mad at him and I say,

415
00:20:18,760 --> 00:20:21,800
Speaker 3: you say, I am really going to kill you for this.

416
00:20:22,080 --> 00:20:24,520
Speaker 3: He was like, you're not thinking kill you? It was

417
00:20:24,640 --> 00:20:29,440
Speaker 3: so yeah, I am going to rip off you like you.

418
00:20:30,000 --> 00:20:33,040
Speaker 1: But what I want to say is you're in trouble

419
00:20:33,080 --> 00:20:33,320
Speaker 1: with me.

420
00:20:36,480 --> 00:20:36,760
Speaker 2: Yeah.

421
00:20:36,840 --> 00:20:39,960
Speaker 1: I love that subjects from nature. I love the whole

422
00:20:40,040 --> 00:20:43,520
Speaker 1: rom com nature of it. This is such a great situation,

423
00:20:43,680 --> 00:20:45,320
Speaker 1: you know, like, do.

424
00:20:45,280 --> 00:20:47,480
Speaker 2: You have a minute we can talk? And you walk

425
00:20:47,520 --> 00:20:50,200
Speaker 2: in the other room and you're like, come out, Hi,

426
00:20:50,760 --> 00:20:52,760
Speaker 2: Billy's parents, how are you?

427
00:20:52,760 --> 00:20:52,960
Speaker 3: You know?

428
00:20:53,200 --> 00:20:55,719
Speaker 2: It's I just love that. This is so not the

429
00:20:55,760 --> 00:20:57,840
Speaker 2: Melrose we came into Laura.

430
00:20:58,040 --> 00:21:01,840
Speaker 1: It's so great it's very cute and Billy Billy is

431
00:21:01,840 --> 00:21:04,119
Speaker 1: saying that because his dad wanted him to, you know,

432
00:21:04,280 --> 00:21:08,000
Speaker 1: inherit this furniture business if he wasn't successful as a

433
00:21:08,000 --> 00:21:10,440
Speaker 1: writer after one year. He really thought that at least

434
00:21:10,480 --> 00:21:13,760
Speaker 1: by presenting Alison as his girlfriend, that would please his

435
00:21:13,800 --> 00:21:16,600
Speaker 1: parents enough and maybe distract them from like sort of

436
00:21:16,840 --> 00:21:18,639
Speaker 1: laying down the gauntlet and saying he needed to come

437
00:21:18,680 --> 00:21:20,400
Speaker 1: be the furniture store manager.

438
00:21:20,520 --> 00:21:23,440
Speaker 3: Well, yeah, and his girlfriend the literary agent is all

439
00:21:23,560 --> 00:21:25,800
Speaker 3: sorts of then, yeah.

440
00:21:25,320 --> 00:21:29,879
Speaker 1: Twisting the truth a little bit. So that's that's Billy's agenda.

441
00:21:29,920 --> 00:21:33,680
Speaker 1: And so at the dinner table, we learned that Billy's sister, Stephanie,

442
00:21:34,359 --> 00:21:38,840
Speaker 1: you know, has the sauce thing down that his mom's

443
00:21:38,840 --> 00:21:42,080
Speaker 1: really good at. But Billy's dad says, well, Billy has

444
00:21:42,119 --> 00:21:45,200
Speaker 1: the salesman thing according to him.

445
00:21:45,840 --> 00:21:48,840
Speaker 3: Yeah, and it's so sweet, right because his dad is

446
00:21:48,880 --> 00:21:51,640
Speaker 3: coming from a really loving, sweet place, like we share this.

447
00:21:52,440 --> 00:21:57,320
Speaker 1: Yeah, And that's where he asked of her professional opinion

448
00:21:57,600 --> 00:22:00,720
Speaker 1: as a literary agent about what do you think? Yeah,

449
00:22:00,760 --> 00:22:02,679
Speaker 1: but sir on the spot about that and what is

450
00:22:02,680 --> 00:22:04,520
Speaker 1: the time frame for his success sort of thing.

451
00:22:05,720 --> 00:22:08,280
Speaker 2: In a couple of months.

452
00:22:07,520 --> 00:22:12,480
Speaker 1: Allison's really put on the spot. She's like, well, it depends,

453
00:22:12,640 --> 00:22:15,240
Speaker 1: you know. Poor Billy doesn't feel like it's quite enough

454
00:22:15,240 --> 00:22:18,560
Speaker 1: of a supportive answer. But Allison was kind of put

455
00:22:18,600 --> 00:22:22,199
Speaker 1: on the spot. Absolutely, And I feel like outside of

456
00:22:22,359 --> 00:22:25,040
Speaker 1: our business when he says a couple of years, like

457
00:22:25,080 --> 00:22:28,919
Speaker 1: that's almost unbelievable. In our business, that's not unbelievable. That

458
00:22:28,960 --> 00:22:30,600
Speaker 1: would be amazing if it happened.

459
00:22:30,320 --> 00:22:33,120
Speaker 2: In a couple of years. Well, you could support yourself

460
00:22:33,200 --> 00:22:35,840
Speaker 2: with this business. Yeah, But every other industry, I guess

461
00:22:35,840 --> 00:22:39,959
Speaker 2: moves faster because sometimes it takes forever to get your break.

462
00:22:40,640 --> 00:22:44,040
Speaker 3: Yeah, it's really hard. When Jake was talking to Sandy

463
00:22:44,040 --> 00:22:46,160
Speaker 3: about you know, there's a lot of rejection in that business,

464
00:22:46,280 --> 00:22:48,840
Speaker 3: it's I just went, oh, boy, is there right? And

465
00:22:48,960 --> 00:22:52,760
Speaker 3: in a successful career, there's so much rejection you have

466
00:22:52,840 --> 00:22:54,480
Speaker 3: to deal with. Like, say you get one out of

467
00:22:54,560 --> 00:22:58,160
Speaker 3: twenty jobs, that's a great average, and you've gotten rejected

468
00:22:58,280 --> 00:22:59,440
Speaker 3: nineteen times.

469
00:22:59,720 --> 00:23:00,000
Speaker 2: Yeah.

470
00:23:00,119 --> 00:23:00,760
Speaker 1: Yeah.

471
00:23:00,800 --> 00:23:03,119
Speaker 2: Well, like if you look at anyone's resume and you

472
00:23:03,240 --> 00:23:06,040
Speaker 2: know them from one or two or maybe three projects,

473
00:23:06,320 --> 00:23:08,280
Speaker 2: you don't see the other one hundred in there where

474
00:23:08,280 --> 00:23:10,639
Speaker 2: they had a one liner or a couple of you know,

475
00:23:10,840 --> 00:23:14,560
Speaker 2: episodes and just didn't get the job or didn't get it,

476
00:23:14,680 --> 00:23:17,760
Speaker 2: And that's not even counting those A.

477
00:23:17,560 --> 00:23:19,800
Speaker 3: Lot of the times when you get really really close

478
00:23:20,080 --> 00:23:22,040
Speaker 3: and then like you don't get at your heart. So

479
00:23:22,080 --> 00:23:24,760
Speaker 3: you've already planned what you're going to buy with the money,

480
00:23:24,880 --> 00:23:25,400
Speaker 3: make the.

481
00:23:25,480 --> 00:23:28,399
Speaker 2: Job, planned how your career is going to go.

482
00:23:29,840 --> 00:23:32,080
Speaker 3: You're twenty years in the future, like, wait, what this

483
00:23:32,200 --> 00:23:32,960
Speaker 3: is my first step?

484
00:23:33,359 --> 00:23:33,560
Speaker 1: No?

485
00:23:33,680 --> 00:23:36,560
Speaker 3: Yeah, she played that well to the vulnerability and the

486
00:23:36,560 --> 00:23:43,160
Speaker 3: heartbreak of that well.

487
00:23:43,160 --> 00:23:46,040
Speaker 1: Back with Sandy, she's getting ready for a Hollywood party

488
00:23:46,880 --> 00:23:50,240
Speaker 1: she's going to with the people that she's been hired,

489
00:23:50,240 --> 00:23:52,520
Speaker 1: you know, the producer, the casting person is going to

490
00:23:52,520 --> 00:23:55,800
Speaker 1: take her out to this party, and she's borrowed address

491
00:23:55,840 --> 00:23:59,720
Speaker 1: of Ronda's without asking, so Ronda's getting annoyed about, you know,

492
00:24:00,400 --> 00:24:04,080
Speaker 1: the way Sandy's all of a sudden, you know, prioritizing

493
00:24:04,119 --> 00:24:07,320
Speaker 1: her job over everything else. And there's a knock at

494
00:24:07,320 --> 00:24:11,280
Speaker 1: the door and Sandy assumes it's her person picking her

495
00:24:11,359 --> 00:24:13,199
Speaker 1: up for this party, but it turns out it's the

496
00:24:13,200 --> 00:24:17,119
Speaker 1: Melrose Place Gang, surprising Sandy getting the part, gradulating her

497
00:24:17,160 --> 00:24:18,800
Speaker 1: forgetting which was so sweet.

498
00:24:19,040 --> 00:24:20,400
Speaker 3: Yeah, so sweet, wasn't it?

499
00:24:20,440 --> 00:24:22,800
Speaker 2: With balloons and Yeah, bring.

500
00:24:23,440 --> 00:24:25,119
Speaker 3: The big hug. It's adorable.

501
00:24:25,840 --> 00:24:29,439
Speaker 1: And Sandy's so so distracted about, you know, wanting to

502
00:24:29,440 --> 00:24:32,320
Speaker 1: make the right impression for this Hollywood producer that she

503
00:24:32,600 --> 00:24:34,960
Speaker 1: tells them to hide the balloons. Sorry, I don't have

504
00:24:35,000 --> 00:24:37,560
Speaker 1: time for cake, and I gotta go to this party.

505
00:24:37,600 --> 00:24:41,639
Speaker 1: And it's sort of disappointing for everybody, especially for Ronda.

506
00:24:41,800 --> 00:24:42,639
Speaker 1: She's disappointed.

507
00:24:42,680 --> 00:24:45,399
Speaker 3: And I will say, the way Amy played it, I

508
00:24:45,440 --> 00:24:48,280
Speaker 3: really had compassion for her. Like she wasn't being dismissive

509
00:24:48,359 --> 00:24:51,240
Speaker 3: or braddy. She was just saying, I can't have this

510
00:24:51,359 --> 00:24:53,080
Speaker 3: right now. I'm trying to make a good impression and

511
00:24:53,119 --> 00:24:56,560
Speaker 3: this makes me seem needy or whatever her story was.

512
00:24:56,600 --> 00:25:00,280
Speaker 3: But I felt for her. I thought that, I know

513
00:25:00,359 --> 00:25:02,600
Speaker 3: Rond is reacting to her getting a big head, but

514
00:25:02,680 --> 00:25:04,520
Speaker 3: I didn't see that. I thought she played it so

515
00:25:04,680 --> 00:25:08,120
Speaker 3: vulnerably that I was thinking that Ronda was overreacting.

516
00:25:08,880 --> 00:25:12,439
Speaker 2: Yeah, I think I agree. I felt like it was

517
00:25:12,560 --> 00:25:15,600
Speaker 2: more in the story, in the writing that she was

518
00:25:15,600 --> 00:25:18,199
Speaker 2: getting a big head and that and this is a

519
00:25:18,240 --> 00:25:20,479
Speaker 2: crossroads that a lot of us go through when you

520
00:25:20,520 --> 00:25:24,720
Speaker 2: start to do well in your career and other people aren't.

521
00:25:24,760 --> 00:25:27,320
Speaker 2: I mean, as we were just saying how hard it is.

522
00:25:27,359 --> 00:25:29,400
Speaker 2: And we've all had roommates or something when we get

523
00:25:29,400 --> 00:25:31,880
Speaker 2: a job and you kind of and people will say

524
00:25:31,880 --> 00:25:33,600
Speaker 2: this to you, like, oh, you're getting a big head

525
00:25:33,680 --> 00:25:37,840
Speaker 2: or something. I think it's very relatable in our industry,

526
00:25:38,359 --> 00:25:40,280
Speaker 2: but I didn't see it happening. I felt like it

527
00:25:40,320 --> 00:25:42,240
Speaker 2: was more of a story point that the writer.

528
00:25:42,880 --> 00:25:44,720
Speaker 3: Maybe it's just trying to get launch it vulnerable.

529
00:25:44,960 --> 00:25:46,840
Speaker 1: Yeah, and for her it's a big deal and she

530
00:25:46,920 --> 00:25:50,040
Speaker 1: really just wants it to go well. And yeah. So

531
00:25:50,960 --> 00:25:55,879
Speaker 1: back at the Palm Springs drama unfolding, where Billy comes

532
00:25:55,960 --> 00:25:59,240
Speaker 1: out to the patio to talk to his father and

533
00:25:59,320 --> 00:26:03,520
Speaker 1: he wants to tell Immy he doesn't really you know, no,

534
00:26:03,600 --> 00:26:05,280
Speaker 1: if he wants to do this furniture thing, he really

535
00:26:05,280 --> 00:26:10,000
Speaker 1: wants to keep pursuing his writing thing. And his father

536
00:26:10,119 --> 00:26:13,000
Speaker 1: says he just wants Billy to come around and stop

537
00:26:13,040 --> 00:26:16,439
Speaker 1: indulging himself in the writing thing and asks Billy to

538
00:26:16,440 --> 00:26:22,320
Speaker 1: give the furniture store a shot, and then we cut

539
00:26:22,400 --> 00:26:25,080
Speaker 1: to the I think it's the basement where Billy's mom

540
00:26:25,160 --> 00:26:27,800
Speaker 1: is showing Alice in the place where she and Billy

541
00:26:27,880 --> 00:26:30,879
Speaker 1: are going to share the pull out couch and sleep

542
00:26:30,920 --> 00:26:35,320
Speaker 1: for the night. Billy's already in the bed. He seems unfazed.

543
00:26:35,359 --> 00:26:39,960
Speaker 3: He sless scene number twoss and not just shirtless, in

544
00:26:43,359 --> 00:26:45,639
Speaker 3: which Alison doesn't seem to notice. I'm like, are you

545
00:26:45,760 --> 00:26:47,480
Speaker 3: not seeing what we're seeing? Allison?

546
00:26:49,119 --> 00:26:52,760
Speaker 1: And I saw that you brought your your very thick robe.

547
00:26:52,840 --> 00:26:57,360
Speaker 1: That's apparently it was Chilli and Tom Springs. I need

548
00:26:57,400 --> 00:27:01,040
Speaker 1: a huge Jeffie rope? Did you? Did you notice it?

549
00:27:01,240 --> 00:27:01,800
Speaker 2: She says?

550
00:27:02,040 --> 00:27:04,920
Speaker 1: Sleeping in the same bed with and for the weekend

551
00:27:04,920 --> 00:27:08,520
Speaker 1: and whatever with Billy is Allison's worst nightmare. She go,

552
00:27:09,000 --> 00:27:11,920
Speaker 1: my worst nightmare. I'm like, honey, if that is your

553
00:27:11,960 --> 00:27:13,600
Speaker 1: worst nightmare, you.

554
00:27:13,640 --> 00:27:14,920
Speaker 3: Had a pretty charmed life.

555
00:27:14,960 --> 00:27:15,200
Speaker 1: Yeah.

556
00:27:15,240 --> 00:27:17,040
Speaker 3: If that's the worst thing that ever happy.

557
00:27:16,840 --> 00:27:21,480
Speaker 1: Wait, so what's your best no eyes?

558
00:27:21,600 --> 00:27:22,480
Speaker 3: What's wrong with you?

559
00:27:24,920 --> 00:27:27,320
Speaker 2: Yeah? And I and the and and the irony was

560
00:27:27,640 --> 00:27:30,119
Speaker 2: you know, a capture by the director, the wide shot

561
00:27:30,240 --> 00:27:32,960
Speaker 2: and he's naked and good looking. It's this little bed,

562
00:27:33,000 --> 00:27:35,680
Speaker 2: this little privacy, and you're like in your robe and

563
00:27:35,720 --> 00:27:36,960
Speaker 2: like the nightmare.

564
00:27:37,119 --> 00:27:39,240
Speaker 1: I mean, it was just this is my worst nightmare.

565
00:27:39,400 --> 00:27:41,400
Speaker 2: It was great. Pull it up high to my neck.

566
00:27:41,400 --> 00:27:43,560
Speaker 3: I'm lying next from all stiff, it all pulled up

567
00:27:43,640 --> 00:27:44,400
Speaker 3: hide to my neck.

568
00:27:45,080 --> 00:27:46,760
Speaker 1: It or Alison.

569
00:27:46,960 --> 00:27:49,680
Speaker 3: Maybe she needs contact. Maybe the storyline we don't know.

570
00:27:49,800 --> 00:27:50,919
Speaker 3: She really can't see anything.

571
00:27:51,040 --> 00:27:53,960
Speaker 1: I think it was just a sign that Courtney the

572
00:27:54,040 --> 00:27:56,520
Speaker 1: actress was acting her pants off.

573
00:27:56,400 --> 00:27:59,800
Speaker 3: Because the camera we were making out like crazy.

574
00:28:01,920 --> 00:28:07,880
Speaker 1: For you guys, like he love it totally, So I, yeah,

575
00:28:08,080 --> 00:28:11,560
Speaker 1: I have to act really incensed by this. And Billy's

576
00:28:11,560 --> 00:28:14,120
Speaker 1: bummed and tells Alison he's bummed that she didn't really

577
00:28:14,160 --> 00:28:17,639
Speaker 1: come to his defense at dinner and admits that he

578
00:28:17,720 --> 00:28:20,400
Speaker 1: really doesn't want to break his dad's heart, but.

579
00:28:21,080 --> 00:28:21,959
Speaker 2: Which is so sweet.

580
00:28:22,320 --> 00:28:25,360
Speaker 1: Yeah. So then Sandy's coming home from her party. She's

581
00:28:25,400 --> 00:28:27,040
Speaker 1: coming through the courtyard.

582
00:28:28,320 --> 00:28:29,679
Speaker 2: Is she drunk?

583
00:28:30,560 --> 00:28:34,000
Speaker 1: Is she just acting drunk? She seems it's I wasn't sure,

584
00:28:36,000 --> 00:28:39,600
Speaker 1: but she was seemed like she really wanted to exude.

585
00:28:39,760 --> 00:28:42,440
Speaker 1: I had such a great time, it was amazing.

586
00:28:44,920 --> 00:28:48,520
Speaker 3: Confused, I think she was that was playing drunk.

587
00:28:48,560 --> 00:28:50,480
Speaker 1: Yeah he actually was coming home drunk.

588
00:28:51,400 --> 00:28:53,040
Speaker 3: Yeah, didn't you think that's what she was playing?

589
00:28:54,160 --> 00:28:54,400
Speaker 2: Well?

590
00:28:54,760 --> 00:29:00,520
Speaker 1: It was confusing. I definitely when she turned to she

591
00:29:00,600 --> 00:29:04,200
Speaker 1: definitely wanted him to know she had a great Hollywood night,

592
00:29:04,800 --> 00:29:06,320
Speaker 1: you know, like I'm on my way.

593
00:29:06,600 --> 00:29:09,080
Speaker 2: That's what I felt like. She was like talking all that.

594
00:29:09,160 --> 00:29:13,320
Speaker 1: Up, right, But I my question was, like, I know

595
00:29:13,440 --> 00:29:15,800
Speaker 1: she wanted him to think that, and so you could

596
00:29:15,800 --> 00:29:18,120
Speaker 1: see that she was like really pushing so that he

597
00:29:18,160 --> 00:29:20,600
Speaker 1: would see that it was great, I had a great time.

598
00:29:20,720 --> 00:29:22,480
Speaker 1: She was almost throwing it in his face a little bit,

599
00:29:23,160 --> 00:29:26,120
Speaker 1: like weaponizing it a little bit. But I guess my

600
00:29:27,280 --> 00:29:30,200
Speaker 1: I wondered because like she even exits the scene and

601
00:29:30,200 --> 00:29:31,960
Speaker 1: she sort of like laughs at him and saying, well,

602
00:29:32,760 --> 00:29:35,440
Speaker 1: you know, he invites her to midnight swim and she says, no,

603
00:29:35,800 --> 00:29:37,680
Speaker 1: you know, you had your chance, ha ha ha, and

604
00:29:37,720 --> 00:29:40,080
Speaker 1: she sort of like leaves and she leaves the scene

605
00:29:40,120 --> 00:29:42,960
Speaker 1: with kind of a laughing at him and whatever. And

606
00:29:43,000 --> 00:29:47,600
Speaker 1: I was like, what it is is that her just

607
00:29:47,680 --> 00:29:50,440
Speaker 1: wanting to show Jake that she had a great time?

608
00:29:51,000 --> 00:29:53,040
Speaker 1: Did she actually have a great time when she didn't

609
00:29:53,080 --> 00:29:53,320
Speaker 1: see it?

610
00:29:53,440 --> 00:29:55,959
Speaker 3: And when she came in, he didn't know he was there,

611
00:29:56,000 --> 00:29:57,640
Speaker 3: So I don't think she was doing it for him.

612
00:29:57,920 --> 00:30:00,760
Speaker 1: Right, He came out after right, But then like once

613
00:30:00,840 --> 00:30:04,080
Speaker 1: that conversation started, that's why I started going, are you

614
00:30:04,120 --> 00:30:07,040
Speaker 1: actually drunk or are you like just wanting him to

615
00:30:07,040 --> 00:30:09,840
Speaker 1: see a certain thing, like wanting to present a certain way.

616
00:30:10,080 --> 00:30:14,840
Speaker 2: Anyway, it was a little confusing, but I do think

617
00:30:14,840 --> 00:30:18,800
Speaker 2: that it's on that point. Throughout this whole script, I

618
00:30:18,840 --> 00:30:21,480
Speaker 2: was waiting for some more definition with her experience with

619
00:30:21,560 --> 00:30:24,640
Speaker 2: the Hollywood group, you know, like, I know that there

620
00:30:24,720 --> 00:30:28,960
Speaker 2: was mixed and probably most of it wasn't good, but

621
00:30:30,520 --> 00:30:33,880
Speaker 2: you tell yourself it was a great night and he

622
00:30:33,880 --> 00:30:35,880
Speaker 2: felt really out of it anyway, So I think you're

623
00:30:35,920 --> 00:30:40,120
Speaker 2: always gonna it wasn't really clear. We actually never saw

624
00:30:40,160 --> 00:30:42,720
Speaker 2: anyone else. We never saw a guy, a producer or

625
00:30:42,720 --> 00:30:45,280
Speaker 2: anyone else, so who knows what it was like.

626
00:30:45,720 --> 00:30:49,840
Speaker 1: Yeah, But then we're back with Alison and Billy, and

627
00:30:50,000 --> 00:30:55,480
Speaker 1: Alison is watching Billy as he is preparing to go

628
00:30:55,520 --> 00:30:58,320
Speaker 1: to the furniture store, and Billy still feels like he's

629
00:30:58,360 --> 00:31:00,720
Speaker 1: owing it to his dad, and you know, says, what

630
00:31:00,720 --> 00:31:02,640
Speaker 1: would you do if it if it was your dad?

631
00:31:02,760 --> 00:31:06,320
Speaker 1: And Allison's response is sort of interesting here. She says, well, Verry,

632
00:31:06,880 --> 00:31:10,520
Speaker 1: I guess we've had different experiences, very crazy.

633
00:31:10,560 --> 00:31:13,920
Speaker 3: Yeah, And I didn't realize I know, Lady Allison had

634
00:31:13,960 --> 00:31:16,800
Speaker 3: a very complicated relationship with her dad. I didn't realize

635
00:31:16,840 --> 00:31:19,440
Speaker 3: that we knew this at this point. I was like, oh,

636
00:31:19,600 --> 00:31:20,400
Speaker 3: that's really.

637
00:31:20,480 --> 00:31:22,240
Speaker 1: Well, yeah, I mean, you must not have known these

638
00:31:22,240 --> 00:31:25,200
Speaker 1: details yet as an actor, even like what that story

639
00:31:25,240 --> 00:31:26,240
Speaker 1: was going to be because.

640
00:31:26,080 --> 00:31:28,440
Speaker 3: Right, no, yeah, I wonder if they told me. I

641
00:31:28,480 --> 00:31:30,920
Speaker 3: wonder if I did know, because that was very loaded

642
00:31:30,960 --> 00:31:31,360
Speaker 3: the way I.

643
00:31:31,720 --> 00:31:33,240
Speaker 1: Would say, definitely loaded.

644
00:31:33,320 --> 00:31:36,080
Speaker 2: Yeah, I would say I would guess I don't know, Court,

645
00:31:36,080 --> 00:31:40,320
Speaker 2: but I would guess not because I think writers, they

646
00:31:40,400 --> 00:31:43,320
Speaker 2: will draw it an outline for the whole season, you know,

647
00:31:43,480 --> 00:31:45,840
Speaker 2: but they don't. I don't think we find out about

648
00:31:45,880 --> 00:31:49,560
Speaker 2: your father and what really went down this even season

649
00:31:50,520 --> 00:31:54,720
Speaker 2: it's way down in the future, so you know, they're

650
00:31:54,760 --> 00:31:56,760
Speaker 2: just trying to like hint at things were different, and

651
00:31:57,120 --> 00:31:59,800
Speaker 2: as writers, my guess is we'll flesh it in later

652
00:32:00,080 --> 00:32:00,920
Speaker 2: what really happens.

653
00:32:01,240 --> 00:32:05,040
Speaker 3: Yeah, it's good writing though, to drop that pebble there. Yeah, right,

654
00:32:05,080 --> 00:32:05,680
Speaker 3: and you get.

655
00:32:05,560 --> 00:32:08,040
Speaker 1: You get you get a sense of like her in

656
00:32:08,040 --> 00:32:10,560
Speaker 1: her life and how she's you know, sort of witnessing

657
00:32:10,560 --> 00:32:14,720
Speaker 1: what Billy's choices are and just how she can't sort

658
00:32:14,720 --> 00:32:18,960
Speaker 1: of understand his choices based on her own experience, that

659
00:32:19,000 --> 00:32:21,000
Speaker 1: it's just been very, very different from her.

660
00:32:20,960 --> 00:32:22,720
Speaker 3: Yeah, and why she feels alone in it, like why

661
00:32:22,720 --> 00:32:24,840
Speaker 3: when she couldn't make the rent, she didn't call her parents,

662
00:32:24,920 --> 00:32:27,760
Speaker 3: like she feels alone in the world for some reason.

663
00:32:28,520 --> 00:32:30,800
Speaker 1: So we're learning, we're learning about both of them through

664
00:32:30,800 --> 00:32:33,440
Speaker 1: this storyline. And then we're at the furniture store where

665
00:32:33,480 --> 00:32:36,600
Speaker 1: Billy is trying to sell a couple on a sofa

666
00:32:36,640 --> 00:32:39,320
Speaker 1: and he's suggesting the floral Chintz and he's got a

667
00:32:39,480 --> 00:32:42,600
Speaker 1: giant blazer on with huge shoulders and he marches off

668
00:32:42,600 --> 00:32:45,960
Speaker 1: to go pull down this fabric and his dad is

669
00:32:45,960 --> 00:32:48,520
Speaker 1: watching him and he thinks Billy's doing great, and Billy

670
00:32:48,640 --> 00:32:51,480
Speaker 1: just feels uncomfortable selling the couple on any of it.

671
00:32:51,560 --> 00:32:53,720
Speaker 3: He's like, but he's saying, chintz and pine. Do you

672
00:32:53,720 --> 00:32:55,080
Speaker 3: remember chintz and pine?

673
00:32:55,240 --> 00:32:55,880
Speaker 1: Absolutely?

674
00:32:56,000 --> 00:32:57,560
Speaker 3: I had so much of that. Do you remember on

675
00:32:57,680 --> 00:33:01,840
Speaker 3: Venice Boulevard there were all those stories sold this pine furniture.

676
00:33:01,920 --> 00:33:04,920
Speaker 3: I had so much of it that was that time.

677
00:33:05,240 --> 00:33:08,040
Speaker 1: Yeah, shabby chic and all that light pine.

678
00:33:08,160 --> 00:33:08,440
Speaker 3: Yeah.

679
00:33:08,920 --> 00:33:09,720
Speaker 2: I actually French.

680
00:33:09,760 --> 00:33:13,680
Speaker 1: She was French country, an Irish country. Yes, I had that.

681
00:33:14,880 --> 00:33:17,440
Speaker 1: The fabric store that they were shooting in it looked

682
00:33:17,440 --> 00:33:19,280
Speaker 1: Did it look like an actual fabric store to you

683
00:33:19,320 --> 00:33:22,480
Speaker 1: guys or a set furniture store like furniture store, yeah, right,

684
00:33:22,520 --> 00:33:24,120
Speaker 1: because it had all the walls of fabric. Did you

685
00:33:24,160 --> 00:33:26,840
Speaker 1: think it was like, I wonder where that was. At first,

686
00:33:26,840 --> 00:33:29,880
Speaker 1: I was thinking of Calico Corners. Do you remember that place? No,

687
00:33:30,000 --> 00:33:33,600
Speaker 1: that's right, I think that's just so. It was maybe

688
00:33:33,640 --> 00:33:35,000
Speaker 1: just like a sofa you love or something.

689
00:33:35,000 --> 00:33:38,960
Speaker 2: You wouldn't know the cal for all these years, Laura, I.

690
00:33:39,040 --> 00:33:42,440
Speaker 1: Remember the names of stores for sure, you know them

691
00:33:42,440 --> 00:33:50,200
Speaker 1: all so so then that then he's he's uncomfortable. Billy's

692
00:33:50,240 --> 00:33:52,160
Speaker 1: uncomfortable with it, and he's talking to his dad, and

693
00:33:52,480 --> 00:33:55,920
Speaker 1: his dad is defending it. And here's where he said.

694
00:33:55,960 --> 00:33:58,400
Speaker 1: His Billy's father says to him, there's nothing wrong with

695
00:33:58,480 --> 00:34:02,160
Speaker 1: being a furniture salesman. That isn't wrong with being anyone else.

696
00:34:02,920 --> 00:34:04,760
Speaker 1: And I had to rewind that one again and go

697
00:34:05,040 --> 00:34:08,560
Speaker 1: play that back. What did he just say? Yeah, let

698
00:34:08,560 --> 00:34:11,120
Speaker 1: me repeat it for you. There's nothing wrong with being

699
00:34:11,120 --> 00:34:14,720
Speaker 1: a furniture salesman. That isn't wrong with being anyone else.

700
00:34:15,160 --> 00:34:16,920
Speaker 2: Yeah, he just says it twice.

701
00:34:17,320 --> 00:34:19,560
Speaker 3: He does words to live by it.

702
00:34:20,200 --> 00:34:23,239
Speaker 1: It was tough. I mean, I think I think just

703
00:34:23,239 --> 00:34:27,400
Speaker 1: as an actor, even like memorizing that line would be hard, like,

704
00:34:28,560 --> 00:34:31,200
Speaker 1: but yeah, it did. It was sort of a head tilting.

705
00:34:31,880 --> 00:34:34,040
Speaker 3: He probably came in and said, can I reword this,

706
00:34:34,120 --> 00:34:34,800
Speaker 3: and we're.

707
00:34:34,560 --> 00:34:38,400
Speaker 1: Like, oh, no, you can't, No, no, you can't do

708
00:34:38,480 --> 00:34:40,960
Speaker 1: that here, No say it like, say it just the

709
00:34:41,000 --> 00:34:41,680
Speaker 1: way it's written.

710
00:34:41,960 --> 00:34:43,920
Speaker 2: You know, a lot of things make sense on paper

711
00:34:44,000 --> 00:34:46,319
Speaker 2: that never makes sense coming out of somebody's mouth. That's

712
00:34:46,360 --> 00:34:49,040
Speaker 2: a big kind of like a big thing about this

713
00:34:49,920 --> 00:34:53,720
Speaker 2: about this industry that you know, we all know because

714
00:34:53,760 --> 00:34:56,360
Speaker 2: we have to sell something that looked great on paper,

715
00:34:56,520 --> 00:35:01,120
Speaker 2: and sometimes it just doesn't work coming out of somebody's mouth, doesn't.

716
00:35:00,920 --> 00:35:03,880
Speaker 3: I one time I had an audition and I didn't

717
00:35:03,880 --> 00:35:06,160
Speaker 3: get the job partly because I said this line and

718
00:35:06,200 --> 00:35:09,440
Speaker 3: started laughing, and it was I'm not cannon fodder in

719
00:35:09,480 --> 00:35:12,520
Speaker 3: your fight with your father? Oh And I just said

720
00:35:12,520 --> 00:35:14,560
Speaker 3: and I just still laughing. I was like, can't you

721
00:35:14,600 --> 00:35:17,320
Speaker 3: fight with your fadder? And there was a writer director

722
00:35:17,440 --> 00:35:19,480
Speaker 3: and he was like, and you're done here.

723
00:35:19,680 --> 00:35:24,680
Speaker 2: And imagine how many people he fired that day.

724
00:35:26,560 --> 00:35:28,239
Speaker 3: You think he would hear it and go, yes, I

725
00:35:28,320 --> 00:35:31,880
Speaker 3: need to change that. I think he blamed me. It's like,

726
00:35:31,920 --> 00:35:32,719
Speaker 3: that's not on me.

727
00:35:34,000 --> 00:35:37,839
Speaker 1: It's very different in writing and actually saying it. Yeah,

728
00:35:37,920 --> 00:35:40,319
Speaker 1: I loud, it can be, yes, ye can be.

729
00:35:41,239 --> 00:35:41,359
Speaker 3: So.

730
00:35:41,800 --> 00:35:45,240
Speaker 1: Then Jane and Michael we find them in their apartment

731
00:35:45,239 --> 00:35:48,239
Speaker 1: where Michael is attempting to cook for Jane and he's

732
00:35:48,280 --> 00:35:49,960
Speaker 1: got one foot in the air and he's standing at

733
00:35:50,000 --> 00:35:52,080
Speaker 1: the stove, doesn't want any help from Jane. Must to

734
00:35:52,080 --> 00:35:56,640
Speaker 1: do it all. Don't you hurt yourself, don't you strain yourself?

735
00:35:56,680 --> 00:36:00,000
Speaker 1: And then he ends up dropping the pan, hiding himself

736
00:36:00,120 --> 00:36:03,920
Speaker 1: on fire, and Keane is like what She pulls the

737
00:36:04,200 --> 00:36:07,360
Speaker 1: sink host she douses him and he's sopping wet and

738
00:36:07,400 --> 00:36:10,080
Speaker 1: he goes full Jerry Lewis and crumples on the floor.

739
00:36:10,400 --> 00:36:14,439
Speaker 3: Yeah, that and that was quite a stunt, and throw

740
00:36:14,480 --> 00:36:17,080
Speaker 3: it in the sink, throw it in the sink, holding

741
00:36:17,120 --> 00:36:19,560
Speaker 3: it up, and she spray She sprays him.

742
00:36:19,480 --> 00:36:20,880
Speaker 1: The whole kitchen everything.

743
00:36:21,000 --> 00:36:23,720
Speaker 3: He goes like the camera, did you notice the camera?

744
00:36:25,800 --> 00:36:28,799
Speaker 2: The water is right on the camera. The cut right

745
00:36:28,840 --> 00:36:31,400
Speaker 2: away from it exactly, They cut back to the pyrotechnics.

746
00:36:31,440 --> 00:36:33,640
Speaker 2: I'm like, this was a whole stunt, afternoon, you could

747
00:36:33,640 --> 00:36:35,360
Speaker 2: tell it took the stunt.

748
00:36:36,000 --> 00:36:39,520
Speaker 1: A lot happened to just say, here's what we want

749
00:36:39,560 --> 00:36:41,440
Speaker 1: to say is that Michael is trying to do something

750
00:36:41,520 --> 00:36:44,359
Speaker 1: nice for Dana and really lights himself and the whole

751
00:36:44,360 --> 00:36:44,680
Speaker 1: place on.

752
00:36:44,719 --> 00:36:47,120
Speaker 3: Fire, and he's trying to make her the super healthy

753
00:36:47,200 --> 00:36:49,880
Speaker 3: veggie dish, and she says she just wants a quarter pounder.

754
00:36:50,160 --> 00:36:53,960
Speaker 2: Yeah, yes, surprised he didn't run after her. No, you

755
00:36:54,000 --> 00:36:55,640
Speaker 2: can't put that in your body.

756
00:36:55,920 --> 00:36:57,640
Speaker 3: We're growing the child.

757
00:36:59,520 --> 00:37:04,480
Speaker 1: So but luckily they put the fire out and all's well.

758
00:37:04,520 --> 00:37:05,560
Speaker 1: That ends well and.

759
00:37:05,760 --> 00:37:07,879
Speaker 3: Jies go to get a quarter pounder, which was great,

760
00:37:07,920 --> 00:37:08,480
Speaker 3: good for her.

761
00:37:08,640 --> 00:37:13,520
Speaker 2: Yep, but you're noticing in this, you're noticing screen script wise,

762
00:37:14,040 --> 00:37:17,680
Speaker 2: Michael's trying too hard. Everything. He's just you know, with

763
00:37:17,719 --> 00:37:20,960
Speaker 2: the with he breaks his he twists his ankle, moving

764
00:37:20,960 --> 00:37:24,440
Speaker 2: the furniture, he's over eager with the cooking. He's just

765
00:37:24,560 --> 00:37:25,760
Speaker 2: trying so hard.

766
00:37:26,040 --> 00:37:30,400
Speaker 1: He's been a total from two episodes ago where he's like, no,

767
00:37:31,280 --> 00:37:33,120
Speaker 1: I don't want a kid. I'm not ready for a kid.

768
00:37:33,239 --> 00:37:36,160
Speaker 1: Now he doesn't even want to see her, and like,

769
00:37:36,480 --> 00:37:42,160
Speaker 1: you know, So then Billy is coming home and he

770
00:37:42,160 --> 00:37:45,520
Speaker 1: he actually has to repeat the line to Alison there's

771
00:37:45,600 --> 00:37:50,600
Speaker 1: nothing wrong with being a furniture salesman. That isn't isn't

772
00:37:50,600 --> 00:37:57,560
Speaker 1: wrong anybody. Allison is saying, huh, but yeah, so that

773
00:37:57,719 --> 00:38:00,560
Speaker 1: was He's just repeating that to himself and to talk

774
00:38:00,640 --> 00:38:06,120
Speaker 1: himself into that and the reference that Allison says, congratulations, Billy,

775
00:38:06,120 --> 00:38:10,320
Speaker 1: you've just won a million dollars, because Ed McMahon says, so, yes,

776
00:38:10,920 --> 00:38:11,440
Speaker 1: it's sweet.

777
00:38:11,480 --> 00:38:12,359
Speaker 2: That's still going on.

778
00:38:13,000 --> 00:38:14,439
Speaker 1: That takes things that would come in the mail.

779
00:38:15,280 --> 00:38:17,919
Speaker 3: I don't know, but I remember my mom was so

780
00:38:18,040 --> 00:38:21,480
Speaker 3: convinced that she had actually won. That would just so

781
00:38:21,600 --> 00:38:23,560
Speaker 3: not like her. But I just really feel good that

782
00:38:24,080 --> 00:38:26,480
Speaker 3: we Like, she brought a TV to our vacation house,

783
00:38:26,520 --> 00:38:29,200
Speaker 3: which didn't have a TV, because she just this is

784
00:38:29,239 --> 00:38:32,640
Speaker 3: the year anyway, sadly did not. Yeah, but didn't you

785
00:38:32,680 --> 00:38:34,279
Speaker 3: kind of every time you open it you thought, why

786
00:38:34,320 --> 00:38:34,640
Speaker 3: not me?

787
00:38:35,120 --> 00:38:36,680
Speaker 1: It's an exciting possibility?

788
00:38:36,840 --> 00:38:41,000
Speaker 2: Sure, yeah, big check seepstakes?

789
00:38:41,320 --> 00:38:45,400
Speaker 1: Does that you come knocking on the door, Yes, with

790
00:38:45,440 --> 00:38:50,520
Speaker 1: this giant check. So then we're back with Rhonda and

791
00:38:50,719 --> 00:38:54,920
Speaker 1: Sandy and they are fighting and Sandy says, fine, you know,

792
00:38:55,000 --> 00:38:57,399
Speaker 1: I'll just move out. I'm you know, whatever, This isn't

793
00:38:57,400 --> 00:39:00,239
Speaker 1: working anyway, and and Ronda's upset. She's like, I just

794
00:39:00,280 --> 00:39:02,360
Speaker 1: feel like everybody's, you know, fed up with you.

795
00:39:02,440 --> 00:39:02,800
Speaker 2: Sandy.

796
00:39:02,840 --> 00:39:06,480
Speaker 1: You're blowing off your friends and and you know you're

797
00:39:06,520 --> 00:39:08,319
Speaker 1: you're just getting a big head. And this is where

798
00:39:08,360 --> 00:39:12,239
Speaker 1: it all comes to they're fighting about it, and Sandy says, well,

799
00:39:12,280 --> 00:39:14,279
Speaker 1: you know, I just think everyone's jealous and you're not

800
00:39:14,320 --> 00:39:17,200
Speaker 1: supportive because I'm making my dreams happen, and you know,

801
00:39:17,320 --> 00:39:19,200
Speaker 1: just because you don't have anything going on, you know,

802
00:39:19,760 --> 00:39:22,680
Speaker 1: And didn't you cringe? And she said talking about it,

803
00:39:22,719 --> 00:39:25,200
Speaker 1: I was like, Oh, that's so sixth grade.

804
00:39:25,239 --> 00:39:27,080
Speaker 3: Everyone's talking about how horrible you are.

805
00:39:27,120 --> 00:39:30,279
Speaker 1: It's like, oh yeah, and it was, and both of

806
00:39:30,320 --> 00:39:32,680
Speaker 1: their both their cringing.

807
00:39:32,760 --> 00:39:35,080
Speaker 2: Yeah yeah, And I loved how I loved that before

808
00:39:35,120 --> 00:39:38,520
Speaker 2: that blow up though, them rehearsing the the lines and

809
00:39:38,560 --> 00:39:39,600
Speaker 2: the way that Ronda.

810
00:39:39,360 --> 00:39:41,280
Speaker 3: Is running them so disinterested.

811
00:39:41,480 --> 00:39:44,000
Speaker 2: Yeah yeah. And then like Sandy's like it doesn't say that,

812
00:39:44,080 --> 00:39:46,080
Speaker 2: she goes, oh, I guess I got carried away. They

813
00:39:46,480 --> 00:39:47,040
Speaker 2: did her.

814
00:39:46,880 --> 00:39:49,240
Speaker 3: Own edit toil rolling her eyes.

815
00:39:49,800 --> 00:39:53,880
Speaker 2: Yeah. I mean it's really it's really, uh the struggle

816
00:39:53,920 --> 00:39:54,919
Speaker 2: of the actor.

817
00:39:56,440 --> 00:39:56,840
Speaker 1: Partner.

818
00:39:57,440 --> 00:39:59,440
Speaker 2: You have to like make all this stuff real in

819
00:39:59,480 --> 00:40:02,359
Speaker 2: your mind, and you're surrounded by people who don't get it,

820
00:40:02,480 --> 00:40:07,319
Speaker 2: and they like do really bad line readings. But she's

821
00:40:07,360 --> 00:40:09,840
Speaker 2: trying to help Ron, just trying to be supportive.

822
00:40:09,880 --> 00:40:13,719
Speaker 1: Except she is sort of trying to real issue. She's

823
00:40:13,760 --> 00:40:15,759
Speaker 1: helping to run her lines but it's also an opportunity

824
00:40:15,800 --> 00:40:17,919
Speaker 1: to tell her what she really thinks, like really yeah,

825
00:40:18,600 --> 00:40:20,680
Speaker 1: and then sure enough ends in a fight that that

826
00:40:20,800 --> 00:40:22,960
Speaker 1: leaves Sandy saying, fine, I'm moving out. I've wanted to

827
00:40:23,000 --> 00:40:29,520
Speaker 1: live alone anyway. So they end on that, and then

828
00:40:29,840 --> 00:40:33,120
Speaker 1: we cut to the set where Sandy is filming, and

829
00:40:33,160 --> 00:40:35,960
Speaker 1: she is screaming her way through we're in the forest,

830
00:40:36,440 --> 00:40:41,919
Speaker 1: this movie set forest, Yeah, and she's doing that big

831
00:40:41,960 --> 00:40:47,000
Speaker 1: scream again, and the female director asks for another take

832
00:40:48,160 --> 00:40:52,640
Speaker 1: and she pulls the male actors, the monster guy who's

833
00:40:52,680 --> 00:40:56,600
Speaker 1: the bad guy, and says, on this one, I want

834
00:40:56,640 --> 00:41:01,240
Speaker 1: you to rip Sandy's blouse open, one button at a time.

835
00:41:02,360 --> 00:41:05,719
Speaker 1: And Sandy overhears this direction and this clearly was not

836
00:41:05,920 --> 00:41:09,040
Speaker 1: direction that was in the script, and Sandy's face totally falls,

837
00:41:09,960 --> 00:41:12,359
Speaker 1: but to her credit, she asked the director like why

838
00:41:12,440 --> 00:41:16,000
Speaker 1: this wasn't in the script and why do we have

839
00:41:16,040 --> 00:41:17,879
Speaker 1: to do it that way? Why is that a thing?

840
00:41:18,640 --> 00:41:20,360
Speaker 1: And the director says, well, if you don't want to

841
00:41:20,360 --> 00:41:23,160
Speaker 1: do it, I'll just recast it, because basically there's a

842
00:41:23,200 --> 00:41:25,239
Speaker 1: million other blondes who would be happy to do it.

843
00:41:25,680 --> 00:41:28,320
Speaker 1: So what's it going to be? Are you going to

844
00:41:28,360 --> 00:41:28,560
Speaker 1: do it?

845
00:41:28,560 --> 00:41:32,120
Speaker 3: This way or yeah, And this scene brought me right

846
00:41:32,160 --> 00:41:37,839
Speaker 3: back one of my first movie. I was seventeen years

847
00:41:37,880 --> 00:41:40,480
Speaker 3: old and I was in Tahoe, and the storyline was

848
00:41:40,520 --> 00:41:42,799
Speaker 3: I was seventeen and I was playing against this guy

849
00:41:42,840 --> 00:41:48,040
Speaker 3: who was in his late thirties. The script. We did

850
00:41:48,160 --> 00:41:50,359
Speaker 3: sleep together in the script, and I wore his one

851
00:41:50,400 --> 00:41:53,799
Speaker 3: of his button down shirts afterwards, and I got to

852
00:41:53,880 --> 00:41:56,080
Speaker 3: set that day. I'm in Tahoe and I got to

853
00:41:56,080 --> 00:41:59,080
Speaker 3: set that date and there's this really sexy negligee in

854
00:41:59,120 --> 00:42:02,920
Speaker 3: my room. Again I'm seventeen, and I went to the

855
00:42:02,920 --> 00:42:05,160
Speaker 3: director and I said, this isn't what was written. And

856
00:42:05,160 --> 00:42:07,360
Speaker 3: he said, well, it doesn't matter. It doesn't matter. I

857
00:42:07,400 --> 00:42:09,600
Speaker 3: had no nudity clause, which we had, right, you have

858
00:42:09,680 --> 00:42:11,920
Speaker 3: no nudity clauses in your contract now, which you're probably

859
00:42:11,960 --> 00:42:13,960
Speaker 3: harder to get now that everybody's naked and everything. But

860
00:42:14,719 --> 00:42:16,359
Speaker 3: and he goes, you know, I said, but the way

861
00:42:16,400 --> 00:42:19,560
Speaker 3: it was cut, like I was very busty. Then I said,

862
00:42:19,560 --> 00:42:22,000
Speaker 3: the way it's cut, something will show. And I also

863
00:42:22,080 --> 00:42:26,560
Speaker 3: had this mindset of I'm seventeen of an almost year old,

864
00:42:26,960 --> 00:42:28,759
Speaker 3: Like I knew it was kind of off, but the

865
00:42:28,800 --> 00:42:31,480
Speaker 3: shirt made it feel right and this came up. I

866
00:42:31,520 --> 00:42:34,799
Speaker 3: remembered this when all the Weinstein stuff was happening and

867
00:42:34,960 --> 00:42:37,160
Speaker 3: women were talking about how their agent sent them to

868
00:42:37,160 --> 00:42:40,800
Speaker 3: this hotel room, and I called my agent. My agent

869
00:42:41,120 --> 00:42:44,480
Speaker 3: flew or drove up to Lake Tahoe to support me,

870
00:42:44,640 --> 00:42:46,680
Speaker 3: and they said, don't do it. If you're not comfortable,

871
00:42:46,680 --> 00:42:49,600
Speaker 3: don't do it. And like this scene, the producer came

872
00:42:49,680 --> 00:42:52,320
Speaker 3: into my room and said, the whole crew is talking

873
00:42:52,320 --> 00:42:54,680
Speaker 3: about what a baby you're being. Oh, they all think

874
00:42:54,680 --> 00:42:56,160
Speaker 3: you're being such a baby.

875
00:42:57,160 --> 00:43:01,320
Speaker 2: And I am, well, yeah, I had.

876
00:43:01,239 --> 00:43:04,000
Speaker 3: Enough of a somehow, And I think it's because I

877
00:43:04,080 --> 00:43:07,279
Speaker 3: was so supported Alisa Adler. God bless, I'm still with

878
00:43:07,320 --> 00:43:12,360
Speaker 3: that agency today. They so had my back. They didn't

879
00:43:12,400 --> 00:43:14,760
Speaker 3: say just do it, they said hold on. They came

880
00:43:15,080 --> 00:43:18,120
Speaker 3: to support me, And I feel reading this, I feel

881
00:43:18,160 --> 00:43:20,320
Speaker 3: so grateful that I had that kind of support because

882
00:43:20,560 --> 00:43:23,160
Speaker 3: the pressure they put on me. It was a young

883
00:43:23,400 --> 00:43:27,200
Speaker 3: young woman and I'm so grateful. And they were furious,

884
00:43:27,200 --> 00:43:29,160
Speaker 3: and there was and I ended up wearing his button

885
00:43:29,200 --> 00:43:30,759
Speaker 3: down shirt and.

886
00:43:30,760 --> 00:43:31,400
Speaker 1: I scripped it.

887
00:43:31,400 --> 00:43:33,759
Speaker 3: Grateful because they just trapped me. I walked into my

888
00:43:33,880 --> 00:43:37,880
Speaker 3: room and there was this really sexy lingerie.

889
00:43:37,640 --> 00:43:40,960
Speaker 2: So coordinated, how did they wait while they drive up

890
00:43:41,000 --> 00:43:43,319
Speaker 2: to Tahoe or did it happen? Did you put a

891
00:43:43,360 --> 00:43:45,560
Speaker 2: poda on us Stapen.

892
00:43:45,960 --> 00:43:48,359
Speaker 3: Like that's what I'm thinking, like it must have. First

893
00:43:48,360 --> 00:43:50,600
Speaker 3: of all, they said, don't do anything. You're not comfortable

894
00:43:50,600 --> 00:43:53,239
Speaker 3: with my agent right, one hundred percent on my side,

895
00:43:54,160 --> 00:43:58,040
Speaker 3: and they either backed down, but I remember they were

896
00:43:58,080 --> 00:43:59,920
Speaker 3: really annoyed with me and I and the crew. But

897
00:44:00,040 --> 00:44:03,960
Speaker 3: I will say this, it lied about the crew. Every

898
00:44:03,960 --> 00:44:05,640
Speaker 3: single member of the crew came up and he said,

899
00:44:05,680 --> 00:44:08,840
Speaker 3: good for you, good for you. They were so cruise

900
00:44:09,200 --> 00:44:12,680
Speaker 3: are amazing, as you guys know right, Cruise are amazing.

901
00:44:13,000 --> 00:44:13,800
Speaker 2: Yeah, and they.

902
00:44:13,680 --> 00:44:16,680
Speaker 3: Really had my back. But I know I just got

903
00:44:16,680 --> 00:44:20,320
Speaker 3: the connection right. Why I was so annoyed when Ronda said,

904
00:44:20,360 --> 00:44:23,000
Speaker 3: everybody's annoyed with you, because that's what happened to me

905
00:44:23,040 --> 00:44:26,200
Speaker 3: on that set. The crew thinks you being a baby. Yeah,

906
00:44:26,560 --> 00:44:29,959
Speaker 3: and it wasn't true. And thank god they had my back.

907
00:44:30,040 --> 00:44:36,600
Speaker 3: So good support is so hugely important because they tried

908
00:44:36,640 --> 00:44:38,600
Speaker 3: to brushure me into doing it. And here's part of

909
00:44:38,600 --> 00:44:40,680
Speaker 3: it too. They said there won't be nudity, But what

910
00:44:40,719 --> 00:44:42,480
Speaker 3: I was I was like, something's going to fall out,

911
00:44:42,520 --> 00:44:44,239
Speaker 3: and I thought in my mind to thought and you're

912
00:44:44,280 --> 00:44:47,600
Speaker 3: gonna film whether you use it here or not. I

913
00:44:47,600 --> 00:44:50,480
Speaker 3: don't want to not have it. Yeah, I'm so grateful

914
00:44:50,520 --> 00:44:53,319
Speaker 3: I had that ability to stand up for myself at

915
00:44:53,320 --> 00:44:56,719
Speaker 3: that age. I'm amazed at I had that ability at

916
00:44:56,719 --> 00:44:57,600
Speaker 3: that age. Yeah.

917
00:44:57,680 --> 00:45:00,680
Speaker 2: I had an experience like that too. I had wasn't

918
00:45:00,680 --> 00:45:02,799
Speaker 2: in the script, and I had a We were out

919
00:45:02,840 --> 00:45:05,400
Speaker 2: of the country and the director came in into my

920
00:45:05,520 --> 00:45:09,560
Speaker 2: trailer and tried to convince me to shoot a nude

921
00:45:09,760 --> 00:45:12,759
Speaker 2: and uh, I was like no. And I had a

922
00:45:12,760 --> 00:45:16,440
Speaker 2: big agency, but I felt very trapped because this is

923
00:45:16,480 --> 00:45:19,680
Speaker 2: way back when there were no cell phones. You're in

924
00:45:19,719 --> 00:45:23,040
Speaker 2: a trailer in another country and there's this big producer

925
00:45:23,120 --> 00:45:26,719
Speaker 2: director and you think everyone's you know. In hindsight, I

926
00:45:26,760 --> 00:45:29,080
Speaker 2: look back and I see, oh, you know he was

927
00:45:29,120 --> 00:45:32,560
Speaker 2: told to come in and once they have you away

928
00:45:32,600 --> 00:45:36,279
Speaker 2: from the protection of your big agents. So I love

929
00:45:36,360 --> 00:45:38,960
Speaker 2: that you know your agents protected you. I ended up

930
00:45:39,160 --> 00:45:44,760
Speaker 2: not doing it, and I somehow reached somebody. But again,

931
00:45:44,840 --> 00:45:49,320
Speaker 2: you're so young and you feel that pressure from someone

932
00:45:49,320 --> 00:45:51,560
Speaker 2: who's supposed to trust you know, And here we are

933
00:45:51,719 --> 00:45:55,239
Speaker 2: post me too, and we're we're seeing this way back then,

934
00:45:55,280 --> 00:45:57,839
Speaker 2: and you're you're talking about a time that happened even

935
00:45:57,880 --> 00:46:01,720
Speaker 2: before that, and it happened before this rose play scene,

936
00:46:01,760 --> 00:46:05,960
Speaker 2: and I experienced it back in the eighties. And what

937
00:46:06,000 --> 00:46:08,080
Speaker 2: I didn't like about what I thought was so odd

938
00:46:08,120 --> 00:46:11,040
Speaker 2: about this script is why did they make the director

939
00:46:11,480 --> 00:46:13,240
Speaker 2: a woman an Asian?

940
00:46:14,520 --> 00:46:17,040
Speaker 3: We consciously did because.

941
00:46:16,560 --> 00:46:18,879
Speaker 1: I felt like it was, you know, like to try

942
00:46:18,920 --> 00:46:20,080
Speaker 1: to it was.

943
00:46:20,680 --> 00:46:21,640
Speaker 2: I didn't like it.

944
00:46:21,640 --> 00:46:23,840
Speaker 1: It seemed it seemed like the saying this is not

945
00:46:24,160 --> 00:46:28,000
Speaker 1: just a male thing, this is a Hollywood thing, but

946
00:46:28,040 --> 00:46:31,560
Speaker 1: it's saying this was a female director asked a girl.

947
00:46:31,760 --> 00:46:35,640
Speaker 2: Was yeah, because I've never been pressured by a female director,

948
00:46:35,719 --> 00:46:39,759
Speaker 2: and it's certainly never been a woman of color. I mean,

949
00:46:39,800 --> 00:46:41,680
Speaker 2: that's just not who does it well.

950
00:46:41,760 --> 00:46:44,920
Speaker 3: No, But there was something recently on that show The

951
00:46:45,000 --> 00:46:50,040
Speaker 3: Affair and that extraordinary Actreacy start on that she she

952
00:46:50,239 --> 00:46:54,759
Speaker 3: had problems with the female user, who she said was

953
00:46:54,840 --> 00:46:57,799
Speaker 3: writing gratuitous sex scenes. And there were a ton of

954
00:46:57,800 --> 00:46:59,719
Speaker 3: gratuitous in you like they would. She'd be having a

955
00:46:59,719 --> 00:47:03,000
Speaker 3: conversation scene, she's talking, we don't need to see her breasts,

956
00:47:03,360 --> 00:47:06,600
Speaker 3: so it does happen. I think they were rarely. I

957
00:47:06,640 --> 00:47:09,640
Speaker 3: agree with Laura that they were trying to say, it's

958
00:47:09,640 --> 00:47:13,719
Speaker 3: not about this man being creepy. It's about her being pressured.

959
00:47:13,239 --> 00:47:16,280
Speaker 1: By by Hollywood and the and the demands of Hollywood.

960
00:47:16,280 --> 00:47:18,920
Speaker 3: By Hollywood, I think it was a really conscious choice

961
00:47:18,920 --> 00:47:20,440
Speaker 3: to make her be a woman. But I agree with you,

962
00:47:20,480 --> 00:47:23,640
Speaker 3: it's more rare, right, I think it's more rare. I

963
00:47:23,719 --> 00:47:26,319
Speaker 3: think for the most part, female directors are much more

964
00:47:26,320 --> 00:47:28,000
Speaker 3: conscious of being respectful of women.

965
00:47:28,160 --> 00:47:31,160
Speaker 2: Yeah, I feel like I felt like it was a

966
00:47:31,280 --> 00:47:34,879
Speaker 2: cheap shot. I didn't interesting because here's a woman, an

967
00:47:34,880 --> 00:47:38,080
Speaker 2: Asian actress who how many offers does she get anyway?

968
00:47:38,320 --> 00:47:40,719
Speaker 2: And then she plays like the bad guy director who

969
00:47:40,760 --> 00:47:43,080
Speaker 2: talks tries to talk a young actress and to taken

970
00:47:43,120 --> 00:47:45,399
Speaker 2: off our top. So I just thought it was.

971
00:47:47,120 --> 00:47:47,600
Speaker 3: Sneaky.

972
00:47:47,800 --> 00:47:50,720
Speaker 2: I just didn't like it. And this writer is a woman,

973
00:47:51,040 --> 00:47:53,439
Speaker 2: you know, Darren co write it. Co wrote it maybe

974
00:47:53,520 --> 00:47:56,320
Speaker 2: or oversaw it, but it was a woman ton Tony Graff,

975
00:47:57,760 --> 00:47:59,600
Speaker 2: who does outlineder. She's done a ton of stuff. But

976
00:47:59,600 --> 00:48:02,160
Speaker 2: I noticed that. I don't know, I just didn't know

977
00:48:02,160 --> 00:48:04,200
Speaker 2: where that direction came from or that casting.

978
00:48:04,320 --> 00:48:06,840
Speaker 3: But interesting, Yeah, it is interesting.

979
00:48:08,239 --> 00:48:10,640
Speaker 1: So and you know, Sandy at the time didn't have

980
00:48:10,640 --> 00:48:12,239
Speaker 1: any support. She had to make the decision in the

981
00:48:12,280 --> 00:48:13,399
Speaker 1: moment right are you here?

982
00:48:13,480 --> 00:48:13,759
Speaker 2: Are you?

983
00:48:13,800 --> 00:48:16,680
Speaker 1: Interview out? It's basically what the director asks her and

984
00:48:16,760 --> 00:48:18,439
Speaker 1: she has to make a choice. And so we see

985
00:48:18,440 --> 00:48:21,640
Speaker 1: her begin the scene and she's obviously doing it with

986
00:48:21,680 --> 00:48:26,120
Speaker 1: a lot of trepidation and she's you know, not happy,

987
00:48:26,160 --> 00:48:26,959
Speaker 1: but she has she.

988
00:48:26,880 --> 00:48:27,440
Speaker 2: Goes through with it.

989
00:48:27,440 --> 00:48:29,399
Speaker 1: She feels really pressured. She didn't want to lose a job.

990
00:48:29,600 --> 00:48:31,160
Speaker 2: Well, we don't know if she cut through with it,

991
00:48:31,200 --> 00:48:32,960
Speaker 2: because they cut the scene right.

992
00:48:33,040 --> 00:48:37,160
Speaker 1: Well, you see that, you see the knife right then

993
00:48:37,200 --> 00:48:39,560
Speaker 1: the scene like opening up the thing and the director

994
00:48:39,680 --> 00:48:42,480
Speaker 1: encouraging her to go ahead and let the tears, go

995
00:48:42,520 --> 00:48:44,799
Speaker 1: ahead and cry and then it kindly want to see

996
00:48:44,840 --> 00:48:45,560
Speaker 1: her as a victim.

997
00:48:45,640 --> 00:48:48,840
Speaker 3: Yeah, Well, based on her reaction after though, you assumed

998
00:48:48,840 --> 00:48:50,640
Speaker 3: she went through with it, because.

999
00:48:50,360 --> 00:48:53,319
Speaker 2: She's well no, she I mean, okay, we haven't gotten

1000
00:48:53,320 --> 00:48:54,880
Speaker 2: there yet, But she didn't go through with it.

1001
00:48:55,000 --> 00:48:57,920
Speaker 3: We know that she didn't me not keeping up okay,

1002
00:48:58,880 --> 00:48:59,479
Speaker 3: but what she.

1003
00:48:59,360 --> 00:49:01,160
Speaker 2: Tells Jake, So she didn't go through with it.

1004
00:49:01,200 --> 00:49:03,759
Speaker 1: But at any rate, you think she's did at this

1005
00:49:03,840 --> 00:49:06,200
Speaker 1: but she you know, she she was willing to do

1006
00:49:06,280 --> 00:49:09,200
Speaker 1: the next take, and because we do see her do that,

1007
00:49:09,320 --> 00:49:11,520
Speaker 1: she was willing to go, Okay, I'm going to try.

1008
00:49:11,520 --> 00:49:13,520
Speaker 1: And so she goes to do the next take and

1009
00:49:13,560 --> 00:49:15,960
Speaker 1: she's going through the wood. She does the scream, and

1010
00:49:16,000 --> 00:49:18,239
Speaker 1: then the guy comes and does cut the top. But

1011
00:49:18,400 --> 00:49:19,759
Speaker 1: I don't really see what happens after that.

1012
00:49:19,840 --> 00:49:22,000
Speaker 2: Yeah, I don't see if she went like that or

1013
00:49:22,120 --> 00:49:23,200
Speaker 2: whatever exactly.

1014
00:49:24,280 --> 00:49:26,760
Speaker 1: So, but then the next morning, she's upset. She's packing

1015
00:49:26,800 --> 00:49:31,040
Speaker 1: her things to move out, and Ronda says to her,

1016
00:49:31,320 --> 00:49:34,040
Speaker 1: you know, she sort of apologizes and she didn't mean that, Sandy, didn't.

1017
00:49:34,280 --> 00:49:36,880
Speaker 1: You know, she didn't need to leave right away. And

1018
00:49:38,160 --> 00:49:40,800
Speaker 1: Sandy says, that's okay. I've got this great guest house

1019
00:49:40,880 --> 00:49:43,799
Speaker 1: waiting for me, and you know, somebody from this movie

1020
00:49:43,840 --> 00:49:45,959
Speaker 1: I've got. She's sort of telling lies about how great

1021
00:49:46,080 --> 00:49:48,880
Speaker 1: her opportunities are and she's going to move into the

1022
00:49:48,880 --> 00:49:51,960
Speaker 1: guest house. Things seem to be moving really fast. I

1023
00:49:52,040 --> 00:49:54,400
Speaker 1: guess it went okay on the set, Miranda and Sandy

1024
00:49:54,440 --> 00:49:58,759
Speaker 1: lies says it was great, and yeah, so yeah, so

1025
00:49:58,840 --> 00:50:00,720
Speaker 1: she's lying to herself, flying to Ronda.

1026
00:50:01,400 --> 00:50:05,160
Speaker 2: She's bounced. Man, she's she's had her Hollywood moment. I mean,

1027
00:50:05,239 --> 00:50:08,080
Speaker 2: this is a real down. This happens to so many

1028
00:50:09,160 --> 00:50:12,600
Speaker 2: realities and yeah, in different ways to actors too.

1029
00:50:13,640 --> 00:50:16,320
Speaker 3: A lot of people quit after something like this. Exactly

1030
00:50:16,360 --> 00:50:18,520
Speaker 3: doing this again, exactly so true.

1031
00:50:18,719 --> 00:50:20,920
Speaker 1: So yeah. So back at the furniture store, there is

1032
00:50:20,960 --> 00:50:24,000
Speaker 1: a lady bouncing on a couch and tagonizing Billy for

1033
00:50:24,080 --> 00:50:27,279
Speaker 1: the pricing at the store, and Billy is annoyed. He

1034
00:50:27,680 --> 00:50:29,799
Speaker 1: finally just sort of loses his patience with the lady

1035
00:50:29,800 --> 00:50:31,799
Speaker 1: and offends her a little bit. And his dad has

1036
00:50:31,800 --> 00:50:33,839
Speaker 1: witnessed this and he has to come over and try

1037
00:50:33,840 --> 00:50:35,880
Speaker 1: to fix it and apologize to the lady.

1038
00:50:35,960 --> 00:50:41,040
Speaker 3: And and the lady is Liz Sheridan, who played Beld's mom,

1039
00:50:41,040 --> 00:50:44,160
Speaker 3: which oh so much fun to see her so crazy.

1040
00:50:43,880 --> 00:50:47,320
Speaker 1: Right, yes, yep, And that scene just opens it.

1041
00:50:47,440 --> 00:50:50,960
Speaker 3: She's yeah funny in this She's funny and everything.

1042
00:50:51,120 --> 00:50:54,719
Speaker 1: Yeah, it's awesome. And Billy's dad says, how are you

1043
00:50:54,719 --> 00:50:58,560
Speaker 1: ever going to the discipline to last one week at

1044
00:50:58,560 --> 00:51:03,520
Speaker 1: this job and apologizes and said that working here was

1045
00:51:03,560 --> 00:51:08,520
Speaker 1: just a bad idea and he leaves. Billy leaves. So

1046
00:51:08,600 --> 00:51:11,400
Speaker 1: then Jake catches Sandy as she's leaving the building in

1047
00:51:11,440 --> 00:51:14,480
Speaker 1: the courtyard. She's got all her stuff and he misinterprets

1048
00:51:14,480 --> 00:51:17,040
Speaker 1: her leaving is like sort of leaving everyone in the dust.

1049
00:51:17,160 --> 00:51:19,239
Speaker 1: He's like, you're just leaving everyone in the dust, and

1050
00:51:19,280 --> 00:51:25,080
Speaker 1: he's angry with her, and Sandy's like, no, that's you.

1051
00:51:25,280 --> 00:51:27,560
Speaker 1: You don't understand. Here's what happened. And she ends up

1052
00:51:27,600 --> 00:51:31,080
Speaker 1: telling him the whole story and she's very emotional telling it.

1053
00:51:31,680 --> 00:51:35,600
Speaker 1: She's honest. Instead of the lies that she was telling Arona,

1054
00:51:35,640 --> 00:51:39,919
Speaker 1: she's actually telling Jake what did happen? And she said

1055
00:51:39,960 --> 00:51:42,680
Speaker 1: she's feeling exploited. She feels exploited every day and she

1056
00:51:42,719 --> 00:51:44,440
Speaker 1: doesn't really know who she is and how to just

1057
00:51:44,480 --> 00:51:45,200
Speaker 1: be herself.

1058
00:51:46,400 --> 00:51:48,160
Speaker 2: But she just said I couldn't go through with it.

1059
00:51:48,200 --> 00:51:49,799
Speaker 2: That's where she says I couldn't go through with it,

1060
00:51:49,840 --> 00:51:51,800
Speaker 2: and he goes, well, what's wrong with that? That's great,

1061
00:51:51,880 --> 00:51:54,080
Speaker 2: and she's like, I know, but that's but that's when

1062
00:51:54,080 --> 00:51:56,040
Speaker 2: she says, I exploit myself every day and I don't

1063
00:51:56,040 --> 00:51:58,000
Speaker 2: know who I am and maybe that's why I'm an actor.

1064
00:51:58,400 --> 00:52:00,800
Speaker 2: I just want to start over. It's funny because the

1065
00:52:01,160 --> 00:52:03,560
Speaker 2: business and the acting itself gets into your head and

1066
00:52:03,600 --> 00:52:05,480
Speaker 2: messes with you. Who am I? You know? Who am

1067
00:52:05,520 --> 00:52:07,319
Speaker 2: I supposed to be? Who do they want me to be? Who?

1068
00:52:07,680 --> 00:52:09,440
Speaker 2: So she's like, I just got to leave and start

1069
00:52:09,440 --> 00:52:10,359
Speaker 2: over fresh.

1070
00:52:10,400 --> 00:52:12,479
Speaker 1: And can I do this here? Like is this even

1071
00:52:12,560 --> 00:52:15,759
Speaker 1: possible to be myself and to be you know, true

1072
00:52:15,760 --> 00:52:18,960
Speaker 1: to myself? And is this all it's ever going to be?

1073
00:52:19,000 --> 00:52:20,839
Speaker 1: But she says, you know, she thinks maybe she needs

1074
00:52:20,960 --> 00:52:24,680
Speaker 1: new friends and a new life and that's why she's leaving.

1075
00:52:24,719 --> 00:52:26,960
Speaker 1: And so Jake is angry and says, if you know,

1076
00:52:27,160 --> 00:52:28,560
Speaker 1: if you think you can just walk out of here

1077
00:52:28,560 --> 00:52:33,279
Speaker 1: and no one will miss you, you're wrong. So so

1078
00:52:33,360 --> 00:52:35,880
Speaker 1: she leaves, and then we're back at D and D.

1079
00:52:36,000 --> 00:52:38,200
Speaker 1: Billy's showing up at D and D and telling Alice

1080
00:52:38,719 --> 00:52:43,439
Speaker 1: quit the furniture store, and he's just watched a movie

1081
00:52:43,440 --> 00:52:44,719
Speaker 1: in the middle of the day time. Do you remember

1082
00:52:44,760 --> 00:52:45,439
Speaker 1: what movie he watched?

1083
00:52:46,080 --> 00:52:47,200
Speaker 3: Did he say what movie?

1084
00:52:47,320 --> 00:52:48,600
Speaker 1: The Beautiful and the Damned?

1085
00:52:50,080 --> 00:52:52,319
Speaker 3: No, no, no, he said, you know this is because

1086
00:52:52,320 --> 00:52:53,879
Speaker 3: that was my favorite line. He said, you know who's

1087
00:52:53,920 --> 00:52:56,320
Speaker 3: in movie theaters during the day The beautyful?

1088
00:52:56,320 --> 00:53:00,360
Speaker 1: Okay, So I thought, oh, all right, yeah, I'm a.

1089
00:53:00,640 --> 00:53:03,080
Speaker 3: Great movie title though it is Young.

1090
00:53:02,920 --> 00:53:03,760
Speaker 2: New Bile Women.

1091
00:53:04,200 --> 00:53:07,440
Speaker 1: Why is that not Billy's next movie? You know, I

1092
00:53:07,520 --> 00:53:10,120
Speaker 1: used to go to matinees all the time.

1093
00:53:10,200 --> 00:53:11,239
Speaker 3: I love matinees.

1094
00:53:11,600 --> 00:53:14,239
Speaker 2: I never saw I noticed maybe I was one of

1095
00:53:14,239 --> 00:53:15,480
Speaker 2: those young new boths.

1096
00:53:15,680 --> 00:53:18,000
Speaker 1: But like coming out of the movie theater in the day,

1097
00:53:18,080 --> 00:53:20,200
Speaker 1: like when it's still light outside sort of disorienting. It's

1098
00:53:20,239 --> 00:53:21,759
Speaker 1: been dark inside and you come out and you're like.

1099
00:53:23,000 --> 00:53:26,040
Speaker 3: Especially in La there are so many creative people who

1100
00:53:26,080 --> 00:53:29,319
Speaker 3: don't work all the time, so a lot of people

1101
00:53:29,360 --> 00:53:31,239
Speaker 3: are out during the day, right, And.

1102
00:53:31,200 --> 00:53:32,880
Speaker 2: There are a lot of theaters here. I used to

1103
00:53:32,920 --> 00:53:35,239
Speaker 2: go to like the you know, the art houses, the

1104
00:53:35,280 --> 00:53:38,480
Speaker 2: little indies, and I would see like double features sometimes

1105
00:53:38,480 --> 00:53:40,680
Speaker 2: because you know, yeah, and of course you'd check your

1106
00:53:40,680 --> 00:53:42,200
Speaker 2: phone in between.

1107
00:53:43,000 --> 00:53:49,640
Speaker 1: Just in case, check your answering machine, and so yeah,

1108
00:53:49,680 --> 00:53:51,600
Speaker 1: Allison says, you know, I knew that wasn't right for you,

1109
00:53:51,680 --> 00:53:54,120
Speaker 1: and and Billy's like, well, why didn't Why didn't you

1110
00:53:54,120 --> 00:53:56,680
Speaker 1: tell me that in the first place, And she's like, what,

1111
00:53:56,960 --> 00:53:57,719
Speaker 1: I don't think I did.

1112
00:53:57,800 --> 00:54:01,359
Speaker 3: But anyway, she says, and I thought this was really

1113
00:54:01,360 --> 00:54:03,200
Speaker 3: good boundaries. She basically said, it's not for me to

1114
00:54:03,239 --> 00:54:05,759
Speaker 3: tell you what to do. Yeah, were you seeking out

1115
00:54:05,760 --> 00:54:09,680
Speaker 3: co codependin Anada's meetings? Like that's a pretty good that's

1116
00:54:09,719 --> 00:54:12,239
Speaker 3: a really good message, which is, you know, it's your life.

1117
00:54:12,360 --> 00:54:13,640
Speaker 3: You get to live your life.

1118
00:54:13,640 --> 00:54:15,160
Speaker 1: And he sort of knew it too, like he just

1119
00:54:15,280 --> 00:54:17,239
Speaker 1: wasn't being honest with himself about it.

1120
00:54:17,560 --> 00:54:19,640
Speaker 3: But he had to learn it in himself right, And

1121
00:54:19,680 --> 00:54:21,919
Speaker 3: even if she'd said he would have been, it would

1122
00:54:21,920 --> 00:54:23,879
Speaker 3: have been a fight, like, yeah, we have to learn

1123
00:54:23,920 --> 00:54:29,800
Speaker 3: our own lesson. That is a truism.

1124
00:54:30,080 --> 00:54:31,920
Speaker 2: As I said before, I'm trying to see all the

1125
00:54:32,040 --> 00:54:35,440
Speaker 2: writing aspects of this, and so that scene to me

1126
00:54:35,840 --> 00:54:38,680
Speaker 2: was like the first time someone he says, why didn't

1127
00:54:38,760 --> 00:54:40,680
Speaker 2: you say? And you say, what am I the all

1128
00:54:40,680 --> 00:54:45,520
Speaker 2: wise person? Like so she is, but she supports him

1129
00:54:45,560 --> 00:54:46,880
Speaker 2: and like, you know, you know, you don't have to

1130
00:54:46,920 --> 00:54:48,960
Speaker 2: do it, and then we're going to see you know,

1131
00:54:49,000 --> 00:54:51,440
Speaker 2: this starts the tie up, the tie you know, the

1132
00:54:51,480 --> 00:54:54,879
Speaker 2: neatly tiedbos where someone bestows some wisdom on the other

1133
00:54:55,000 --> 00:54:57,560
Speaker 2: character in the scene. And that's coming up with Sandy

1134
00:54:57,600 --> 00:54:58,080
Speaker 2: and Rohnda.

1135
00:54:58,560 --> 00:55:00,799
Speaker 1: Yeah, so that one, that one's pretty well wrapped up.

1136
00:55:00,880 --> 00:55:04,600
Speaker 1: And then Jane is back at the apartment and now

1137
00:55:04,680 --> 00:55:07,880
Speaker 1: she is cooking for Mumble, who's on the couch recovering

1138
00:55:07,880 --> 00:55:11,040
Speaker 1: his foot is up and he's telling Jane.

1139
00:55:10,719 --> 00:55:12,200
Speaker 2: He's not really very hungry.

1140
00:55:12,239 --> 00:55:15,000
Speaker 1: Don't make very much food. I'm not really hungry and

1141
00:55:15,080 --> 00:55:18,080
Speaker 1: he reveals that he's having some anxiety over having this baby.

1142
00:55:18,120 --> 00:55:20,239
Speaker 1: What if he doesn't know what to say to him,

1143
00:55:20,640 --> 00:55:23,720
Speaker 1: what if he doesn't know who he is? And Jane

1144
00:55:23,760 --> 00:55:26,080
Speaker 1: is awfully sweet and saying, you're going to be great,

1145
00:55:26,200 --> 00:55:30,359
Speaker 1: You're going to be a great dad, and so they're

1146
00:55:30,440 --> 00:55:33,520
Speaker 1: sort of coming to terms with their little struggles.

1147
00:55:33,480 --> 00:55:35,439
Speaker 3: And then he says to her, it's such a sweet moment.

1148
00:55:35,520 --> 00:55:37,279
Speaker 3: He says, how are you so wise? And she says,

1149
00:55:37,320 --> 00:55:39,240
Speaker 3: I have to be I'm going to be someone's mom.

1150
00:55:39,920 --> 00:55:42,439
Speaker 3: And the way she delivered it, I just want oh,

1151
00:55:42,600 --> 00:55:47,719
Speaker 3: it was so sweet. She's so good at those moments.

1152
00:55:47,840 --> 00:55:50,080
Speaker 3: I was just like, oh, that was beautifully delivered.

1153
00:55:50,520 --> 00:55:53,640
Speaker 2: And again there's that word, the wise thing. I love that.

1154
00:55:54,000 --> 00:55:56,120
Speaker 2: I love that now that I'm thinking about it, like

1155
00:55:56,840 --> 00:56:00,240
Speaker 2: these are as you've always said, Court, like young people

1156
00:56:00,320 --> 00:56:01,920
Speaker 2: trying to make it, give it a go, Like what

1157
00:56:02,000 --> 00:56:04,279
Speaker 2: do they know? It's mostly you fall into potholes and

1158
00:56:04,320 --> 00:56:08,520
Speaker 2: you're freaking out. But there is wisdom in them, you know.

1159
00:56:08,680 --> 00:56:10,319
Speaker 2: We saw it with the with the Billy and the

1160
00:56:10,360 --> 00:56:12,319
Speaker 2: Alison just now, and now we see it with Jane

1161
00:56:12,360 --> 00:56:14,759
Speaker 2: and Michael. They don't know what's coming, but there is

1162
00:56:14,800 --> 00:56:17,839
Speaker 2: that wisdom, which I really I think that's the whole

1163
00:56:17,880 --> 00:56:20,000
Speaker 2: theme of the show so far.

1164
00:56:21,440 --> 00:56:23,960
Speaker 1: Yeah, what lessons can we learn from this? And there's

1165
00:56:24,040 --> 00:56:25,000
Speaker 1: always a good lesson.

1166
00:56:25,320 --> 00:56:28,080
Speaker 2: Yeah, there's always support and the wisdom comes from the

1167
00:56:28,120 --> 00:56:30,080
Speaker 2: supporting each other and being there for each other.

1168
00:56:30,640 --> 00:56:33,279
Speaker 1: Speaking of which sand Ln Sandy comes back to the

1169
00:56:33,320 --> 00:56:36,240
Speaker 1: apartment and asks Ronda if she will take her back.

1170
00:56:37,000 --> 00:56:40,400
Speaker 1: They both apologize for their fight, and they decide to

1171
00:56:40,440 --> 00:56:45,040
Speaker 1: celebrate by eating their celebration cake that had come the

1172
00:56:45,120 --> 00:56:48,319
Speaker 1: night that they were trying to congratulate Sandy. Sandy apologizes again,

1173
00:56:48,440 --> 00:56:51,560
Speaker 1: saying I am an unbalanced personality, aren't I?

1174
00:56:53,480 --> 00:56:56,279
Speaker 3: But again, she doesn't seem super imbalanced. She handled it

1175
00:56:56,320 --> 00:56:57,320
Speaker 3: pretty well, actually.

1176
00:56:57,080 --> 00:57:00,000
Speaker 1: Yeah yeah, And then Ronda says, yeah, but we balance

1177
00:57:00,200 --> 00:57:02,640
Speaker 1: each other out. But they're back to being roommates and

1178
00:57:02,640 --> 00:57:07,240
Speaker 1: friends again. And then Billy needs to resolve his stuff

1179
00:57:07,280 --> 00:57:09,360
Speaker 1: with his dad. He goes back to his dad's office

1180
00:57:09,440 --> 00:57:11,880
Speaker 1: late at night and the store is closed and his

1181
00:57:11,880 --> 00:57:13,920
Speaker 1: father's m glad you're back. Buill, didn't think you were

1182
00:57:13,920 --> 00:57:16,400
Speaker 1: that kind of a quitter, and but Billy says that

1183
00:57:16,440 --> 00:57:18,080
Speaker 1: he didn't come back to ask for the job back,

1184
00:57:18,280 --> 00:57:22,080
Speaker 1: and he tells them that he wants to start doing

1185
00:57:22,120 --> 00:57:25,520
Speaker 1: things his own way, and that even though he knows

1186
00:57:25,520 --> 00:57:28,240
Speaker 1: his dad wanted him to follow in his footsteps, it

1187
00:57:28,240 --> 00:57:32,320
Speaker 1: doesn't seem like the right thing for himself. So, you know,

1188
00:57:32,360 --> 00:57:34,760
Speaker 1: his dad reveals, well, you know, I guess I expected

1189
00:57:34,760 --> 00:57:36,040
Speaker 1: you to get the same thrill out of the store

1190
00:57:36,040 --> 00:57:39,800
Speaker 1: that I got was handed down to me for my father.

1191
00:57:40,280 --> 00:57:42,120
Speaker 1: But he accepts the fact that maybe it's just not

1192
00:57:42,160 --> 00:57:45,400
Speaker 1: for Billy. So they hug it out and he seems

1193
00:57:45,440 --> 00:57:48,880
Speaker 1: to be okay with Billy's decision, and they're back to

1194
00:57:48,960 --> 00:57:49,960
Speaker 1: being okay with each other.

1195
00:57:50,840 --> 00:57:53,240
Speaker 2: Yeah, very sweet, very sweet, seeing very sweet. And I

1196
00:57:53,240 --> 00:57:56,520
Speaker 2: think this is a real universal theme, don't you, about

1197
00:57:56,560 --> 00:58:01,080
Speaker 2: parents wanting really letting their child be who they are.

1198
00:58:01,200 --> 00:58:05,880
Speaker 2: I hear stories of, like, you know, a person trying

1199
00:58:05,880 --> 00:58:07,600
Speaker 2: to live up to at least for a while til

1200
00:58:07,640 --> 00:58:09,240
Speaker 2: they get older, maybe, but trying to live up to

1201
00:58:09,280 --> 00:58:12,360
Speaker 2: their parents' expectations, or like their parents just want them

1202
00:58:12,400 --> 00:58:15,160
Speaker 2: to be safe. Holly wants them to be safe and secure,

1203
00:58:16,160 --> 00:58:20,200
Speaker 2: you know. And it's so scary to be a writer,

1204
00:58:20,560 --> 00:58:23,560
Speaker 2: you know, in Hollywood. So but it seems like a

1205
00:58:23,600 --> 00:58:26,320
Speaker 2: real universal theme to me, standing up to your parents

1206
00:58:26,320 --> 00:58:29,320
Speaker 2: saying I'm me, I love you. Isn't that enough? Yeah?

1207
00:58:29,680 --> 00:58:32,000
Speaker 3: Well, and it works so well for him, right, His father,

1208
00:58:33,000 --> 00:58:35,920
Speaker 3: Billy's father's father, gave it to him and he thought, well,

1209
00:58:35,960 --> 00:58:37,440
Speaker 3: this is great. I have this thing to give you.

1210
00:58:37,480 --> 00:58:40,760
Speaker 3: I remember my dad. My dad had a market research

1211
00:58:40,800 --> 00:58:44,480
Speaker 3: and consulting company for the computer industry. And before he

1212
00:58:44,520 --> 00:58:46,920
Speaker 3: sold it, he said, and I was a working actor,

1213
00:58:46,960 --> 00:58:48,840
Speaker 3: like I was in my thirties, and he said, do

1214
00:58:48,880 --> 00:58:52,320
Speaker 3: you want the company? Like? And it was he said,

1215
00:58:52,320 --> 00:58:54,680
Speaker 3: I know the answer is probably no. But he had

1216
00:58:54,720 --> 00:58:57,320
Speaker 3: built this thing and he would love, would have loved

1217
00:58:57,320 --> 00:58:59,680
Speaker 3: to give it to me or my sister, but neither

1218
00:58:59,720 --> 00:59:02,640
Speaker 3: of us wanted it. And it was. He ended up

1219
00:59:02,640 --> 00:59:03,680
Speaker 3: selling it quite well.

1220
00:59:03,680 --> 00:59:04,560
Speaker 2: But I had that.

1221
00:59:04,680 --> 00:59:08,400
Speaker 3: I was the oh what a sweet moment, Like what

1222
00:59:08,480 --> 00:59:11,120
Speaker 3: if I was an actor? But I dreamed of working

1223
00:59:11,160 --> 00:59:14,640
Speaker 3: in the market research community. Right, Maybe that was my secret?

1224
00:59:15,240 --> 00:59:17,360
Speaker 1: Could have been Yeah, you couldn't And.

1225
00:59:19,120 --> 00:59:21,200
Speaker 2: Reminds me, I realized I have my own story. My

1226
00:59:21,320 --> 00:59:25,080
Speaker 2: dad was a professor and he said, I dropped out

1227
00:59:25,800 --> 00:59:28,440
Speaker 2: of UCLA just do my first that horror film I

1228
00:59:28,480 --> 00:59:29,960
Speaker 2: told you about where I was going to go and

1229
00:59:30,000 --> 00:59:33,160
Speaker 2: start it. I was a junior and I had uh

1230
00:59:33,320 --> 00:59:36,800
Speaker 2: and my father said to me years later, I was

1231
00:59:36,840 --> 00:59:41,200
Speaker 2: working with Lucille Ball mel Brooks, like on my way

1232
00:59:41,320 --> 00:59:44,760
Speaker 2: getting paid, I think maybe maybe about my first house, like,

1233
00:59:45,040 --> 00:59:47,440
Speaker 2: and he said, don't you want to go back and

1234
00:59:47,480 --> 00:59:48,240
Speaker 2: get your degree?

1235
00:59:49,360 --> 00:59:51,320
Speaker 1: Don't you want to go finish your degree and get

1236
00:59:51,400 --> 00:59:53,320
Speaker 1: just so you're a graduate of college.

1237
00:59:53,360 --> 00:59:57,240
Speaker 2: And I tried twice just to please him, thinking like

1238
00:59:57,280 --> 00:59:59,440
Speaker 2: what am I going to do with these extra you know,

1239
00:59:59,440 --> 01:00:00,920
Speaker 2: what am I going to do with that degree? But

1240
01:00:00,920 --> 01:00:03,320
Speaker 2: he just wanted me to be safe and I never

1241
01:00:03,360 --> 01:00:05,600
Speaker 2: got it. And then one of the directors I was

1242
01:00:05,640 --> 01:00:10,600
Speaker 2: working with with the Lucille Ball movie was the dean

1243
01:00:10,720 --> 01:00:13,040
Speaker 2: of the School of Arts at UCLA for a year.

1244
01:00:13,760 --> 01:00:16,760
Speaker 2: Can't you ask him for an honorary degree? And I

1245
01:00:16,840 --> 01:00:19,600
Speaker 2: was like, I'll get back to you. I'm just let

1246
01:00:19,640 --> 01:00:22,080
Speaker 2: me get my lines down and working with like the

1247
01:00:22,080 --> 01:00:25,520
Speaker 2: greatest comedian of all and you know, and I never

1248
01:00:25,560 --> 01:00:28,120
Speaker 2: asked George for an honorary degree, and so I'm still

1249
01:00:28,160 --> 01:00:32,160
Speaker 2: a dropout. But you know, it's that parent thing wanting Laura,

1250
01:00:32,200 --> 01:00:34,560
Speaker 2: do you have a story like that from your parents? Well?

1251
01:00:34,840 --> 01:00:37,360
Speaker 1: I do think like as parents, we all want something

1252
01:00:37,400 --> 01:00:40,400
Speaker 1: for our children, and it's not always what they want

1253
01:00:40,400 --> 01:00:44,680
Speaker 1: for themselves or like, you know, I think even when

1254
01:00:44,720 --> 01:00:46,920
Speaker 1: I was deciding to be an actor, I think it

1255
01:00:47,000 --> 01:00:50,760
Speaker 1: was my mom's probably worst nightmare, like what you know,

1256
01:00:50,840 --> 01:00:56,520
Speaker 1: like just such a such an unstable and unknown thing

1257
01:00:56,560 --> 01:01:00,440
Speaker 1: to do, like no guarantees at all anything that was

1258
01:01:00,640 --> 01:01:03,480
Speaker 1: sort of horrifying because I had I had left Iowa

1259
01:01:03,520 --> 01:01:06,880
Speaker 1: and moved out to California and you know, sort of

1260
01:01:06,880 --> 01:01:10,040
Speaker 1: decided to also drop out of college and like pursue

1261
01:01:10,200 --> 01:01:12,440
Speaker 1: what I was pursuing. And it was like, oh, you know,

1262
01:01:12,600 --> 01:01:17,080
Speaker 1: like just not having something stable to rely on or

1263
01:01:17,360 --> 01:01:20,080
Speaker 1: feel like is more reliable. I think it's really scary

1264
01:01:20,120 --> 01:01:23,840
Speaker 1: for a parent. But and you know, I feel like

1265
01:01:25,000 --> 01:01:27,760
Speaker 1: we're all like the success stories, like we're lucky, like

1266
01:01:27,920 --> 01:01:30,480
Speaker 1: we're you know, it's a very difficult business, and like

1267
01:01:30,640 --> 01:01:34,560
Speaker 1: I think I think everybody has quite a bit of

1268
01:01:34,640 --> 01:01:36,560
Speaker 1: luck to have it all work out, you know. I

1269
01:01:36,600 --> 01:01:39,840
Speaker 1: just I feel really lucky. It could have gone a

1270
01:01:39,840 --> 01:01:42,520
Speaker 1: million ways, and I lucky. But also I was told

1271
01:01:42,560 --> 01:01:45,120
Speaker 1: early on from a manager I had. He said, you

1272
01:01:45,200 --> 01:01:48,320
Speaker 1: have to have tenacity, period.

1273
01:01:48,560 --> 01:01:52,200
Speaker 2: And I had a friend of mine who said to

1274
01:01:52,240 --> 01:01:55,480
Speaker 2: me he was a producer, and he said, there are

1275
01:01:55,560 --> 01:02:00,360
Speaker 2: no failures, just quitters. So whenever I had down times

1276
01:02:00,440 --> 01:02:03,040
Speaker 2: or I wasn't working and I was worrying about stuff,

1277
01:02:03,080 --> 01:02:05,520
Speaker 2: it was like I just had these things in my mind,

1278
01:02:05,600 --> 01:02:11,040
Speaker 2: like I just can't quit period, you know, And I

1279
01:02:11,080 --> 01:02:14,240
Speaker 2: have to have be tenacious, I have to have that persistence,

1280
01:02:14,320 --> 01:02:19,080
Speaker 2: just keep on going. And it's true, it's true always.

1281
01:02:19,120 --> 01:02:20,880
Speaker 2: I think you know so well.

1282
01:02:21,040 --> 01:02:23,600
Speaker 1: And we talked about at the beginning, like the amount

1283
01:02:23,680 --> 01:02:28,640
Speaker 1: of rejection in this business, Like you have to want

1284
01:02:28,680 --> 01:02:31,560
Speaker 1: to do it so badly that you can't be talked

1285
01:02:31,560 --> 01:02:34,520
Speaker 1: out of it, you know. And I think that's that's

1286
01:02:34,920 --> 01:02:37,000
Speaker 1: something we always try to tell people who say, oh,

1287
01:02:37,040 --> 01:02:38,640
Speaker 1: I I you know, I think I might want to

1288
01:02:38,640 --> 01:02:41,320
Speaker 1: be an actor, and like and Doug and I always

1289
01:02:41,320 --> 01:02:43,760
Speaker 1: tell people like or our kids or whatever, like you

1290
01:02:43,880 --> 01:02:46,840
Speaker 1: have to want to do it so badly that I'm

1291
01:02:46,880 --> 01:02:48,520
Speaker 1: going to I'm going to talk you out of it

1292
01:02:48,560 --> 01:02:50,800
Speaker 1: and tell you all the reasons you shouldn't and you

1293
01:02:50,840 --> 01:02:52,840
Speaker 1: should still want to do it. And then that's the

1294
01:02:52,880 --> 01:02:56,480
Speaker 1: indication that like you have the fortitude and the desire

1295
01:02:56,640 --> 01:02:59,600
Speaker 1: and the passion to do it, because it's brutally.

1296
01:02:59,440 --> 01:02:59,840
Speaker 2: To do it.

1297
01:03:00,680 --> 01:03:04,000
Speaker 1: Yeah, it's just hard. A lot of rejection more than

1298
01:03:04,000 --> 01:03:05,520
Speaker 1: anything and you have to want to be able to

1299
01:03:05,520 --> 01:03:06,720
Speaker 1: fight through that and want to do it.

1300
01:03:06,720 --> 01:03:07,960
Speaker 2: And I feel like you have to want to do

1301
01:03:07,960 --> 01:03:10,000
Speaker 2: it because you love the doing of it, Like I

1302
01:03:10,040 --> 01:03:13,320
Speaker 2: always tell I've always told younger people like you have

1303
01:03:13,400 --> 01:03:15,960
Speaker 2: to want to do it, whether it's on a local

1304
01:03:16,000 --> 01:03:21,280
Speaker 2: community stage or geeing it, or it's summer stock or

1305
01:03:21,440 --> 01:03:23,360
Speaker 2: and then if the break comes and you get to

1306
01:03:23,400 --> 01:03:26,440
Speaker 2: do it on Broadway or in front of a camera, awesome.

1307
01:03:26,520 --> 01:03:29,280
Speaker 2: But if you got to love to make these movies

1308
01:03:29,320 --> 01:03:31,720
Speaker 2: and make your own little movies, especially now with phones,

1309
01:03:31,760 --> 01:03:34,280
Speaker 2: you can, but you have to love the doing of

1310
01:03:34,320 --> 01:03:36,200
Speaker 2: it because we don't know what the result is going

1311
01:03:36,280 --> 01:03:36,480
Speaker 2: to be.

1312
01:03:37,000 --> 01:03:40,320
Speaker 1: Yeah, And I think that is the story that Billy

1313
01:03:40,360 --> 01:03:43,200
Speaker 1: and his dad are having. You know. His dad is like, yes,

1314
01:03:43,520 --> 01:03:46,160
Speaker 1: just this great reliable thing, this furniture store. And so

1315
01:03:46,640 --> 01:03:50,800
Speaker 1: actually that our last scene, Allison is in the courtyard,

1316
01:03:50,800 --> 01:03:52,520
Speaker 1: she's grilling, and Billy comes home and says, you know,

1317
01:03:52,600 --> 01:03:54,280
Speaker 1: I told my dad and it went really well, and

1318
01:03:54,760 --> 01:03:57,280
Speaker 1: thank you for the encouragement. And I'm telling him the truth.

1319
01:03:57,280 --> 01:04:00,200
Speaker 1: This is my truth. Yes, right, a writing career going

1320
01:04:00,240 --> 01:04:03,360
Speaker 1: to be hard, But I didn't want the furniture business.

1321
01:04:03,600 --> 01:04:07,960
Speaker 1: And and so that was great, and he told his

1322
01:04:08,000 --> 01:04:11,280
Speaker 1: parents the truth about that. But then he reveals to Alison.

1323
01:04:11,640 --> 01:04:15,240
Speaker 2: But oh, actually, she asks him, did I tell him

1324
01:04:15,280 --> 01:04:16,840
Speaker 2: about the truth about us?

1325
01:04:17,160 --> 01:04:17,360
Speaker 3: Yeah?

1326
01:04:17,400 --> 01:04:19,480
Speaker 1: Did you clear up the bit about like I'm not

1327
01:04:19,560 --> 01:04:21,960
Speaker 1: your girlfriend? He's like, oh, yeah, no about that. No,

1328
01:04:22,040 --> 01:04:23,760
Speaker 1: I didn't tell them that. We can. We can tell

1329
01:04:23,800 --> 01:04:25,760
Speaker 1: them that the next time we take a trip with him,

1330
01:04:25,760 --> 01:04:29,120
Speaker 1: which is by the way, like Powell for this family trip,

1331
01:04:29,160 --> 01:04:31,880
Speaker 1: and we'll tell him then Houseboat, we're all getting on

1332
01:04:31,960 --> 01:04:35,000
Speaker 1: a hospital and she's like, what, there's a very cute

1333
01:04:35,040 --> 01:04:38,439
Speaker 1: episode out where we it's a very like you said,

1334
01:04:38,520 --> 01:04:43,200
Speaker 1: rom com ending where they go bickering about So give

1335
01:04:43,240 --> 01:04:45,440
Speaker 1: me the I'm gonna call him and tell him myself.

1336
01:04:45,600 --> 01:04:48,920
Speaker 2: And she leaves. She goes in and he's She's like,

1337
01:04:49,040 --> 01:04:51,400
Speaker 2: what's the phone number? I'm telling them now? And he's

1338
01:04:51,440 --> 01:04:53,520
Speaker 2: like no, and he follows her, and you hear it.

1339
01:04:53,640 --> 01:04:56,240
Speaker 2: I love it. The camera pulls out cue you just

1340
01:04:56,280 --> 01:04:59,760
Speaker 2: hear them so super cute number. What's the you know,

1341
01:05:00,360 --> 01:05:03,320
Speaker 2: very funny? Yeah, give me the phone, give me the number,

1342
01:05:03,360 --> 01:05:05,160
Speaker 2: Give me the phone, give me the number. And you

1343
01:05:05,200 --> 01:05:07,680
Speaker 2: know those two are going to get together any deal.

1344
01:05:07,800 --> 01:05:13,520
Speaker 1: Well, we can only hope And yeah, so that's that.

1345
01:05:13,520 --> 01:05:17,040
Speaker 1: That's episode number seven. That's a rep on another Still

1346
01:05:17,080 --> 01:05:20,440
Speaker 1: the Place recap. We're halfway to Daphne, we're turning the core.

1347
01:05:20,360 --> 01:05:24,560
Speaker 3: With then a third of the way to Laura and.

1348
01:05:25,120 --> 01:05:27,600
Speaker 2: On the way to it becoming a totally different show.

1349
01:05:28,680 --> 01:05:29,200
Speaker 2: We're only a.

1350
01:05:29,200 --> 01:05:33,680
Speaker 1: Few episodes away from Sweeps, which is where like the

1351
01:05:33,720 --> 01:05:37,080
Speaker 1: first order of thirteen episodes, right if we're on seven now,

1352
01:05:37,520 --> 01:05:40,640
Speaker 1: around twelve and thirteen, they were hitting those episodes around

1353
01:05:40,680 --> 01:05:43,640
Speaker 1: Sweeps week and trying to get like really good ratings

1354
01:05:43,640 --> 01:05:46,000
Speaker 1: for this section of time and also to find out

1355
01:05:46,000 --> 01:05:47,400
Speaker 1: if they were going to get picked up for their

1356
01:05:47,560 --> 01:05:48,680
Speaker 1: back nine order.

1357
01:05:49,360 --> 01:05:51,640
Speaker 3: Yeah, and what I see, Like we talked about this

1358
01:05:51,720 --> 01:05:54,080
Speaker 3: episode gelling in the last one, like it's kind of

1359
01:05:54,200 --> 01:05:56,640
Speaker 3: so nice that we were under the radar for so long,

1360
01:05:56,680 --> 01:05:59,400
Speaker 3: we were getting to know each other because then we really

1361
01:05:59,440 --> 01:06:02,840
Speaker 3: were friends when it took off. That's really lucky, right,

1362
01:06:02,840 --> 01:06:05,000
Speaker 3: if it had taken off right away, might have fractured.

1363
01:06:05,320 --> 01:06:07,320
Speaker 1: But at this point you must not have been so

1364
01:06:07,400 --> 01:06:09,760
Speaker 1: sure because the ratings weren't great, and you know you're

1365
01:06:09,760 --> 01:06:10,440
Speaker 1: approaching that.

1366
01:06:10,800 --> 01:06:12,880
Speaker 3: Rattings weren't great and getting towards.

1367
01:06:12,600 --> 01:06:15,040
Speaker 1: Us, Yeah, getting towards the end of thirteen. You don't

1368
01:06:15,040 --> 01:06:17,400
Speaker 1: know if you have any more episodes after that. It

1369
01:06:17,480 --> 01:06:19,840
Speaker 1: might just end up thirteen, unless all righty, we'll pick

1370
01:06:19,880 --> 01:06:22,840
Speaker 1: you up, so tune in next week. I'm still the

1371
01:06:22,880 --> 01:06:26,040
Speaker 1: place to find out, all right, See you next week.