Days of our Lives 9-24-24 (24th September 2024) 9-24-2024 DOOL 24 September 2024
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00:00Honestly, I can't even believe the house is still standing.
00:06Yeah, everyone's okay.
00:09That's, that's the most important thing.
00:13Yeah, and, uh, tell Gabby that I hope she feels better soon.
00:22I love you too, Dad.
00:27How's he doing?
00:30Amazingly, my dad wasn't hurt.
00:34Gabby did sustain a few minor injuries, but, uh, she's gonna be okay.
00:40Well, thank God for that.
00:43And that Connie lady, she deserves to be in a straight jacket and a padded room.
00:47Definitely.
00:50Fortunately, the damage to this room was minimal.
00:55Well, on the surface, yeah, but are we really okay to be, like, standing here?
01:02I mean, the fire chief said they did a thorough inspection and that the house is habitable, but, uh...
01:09What?
01:11Well, we might have to do some restocking of the wine cellar.
01:14Unfortunately, my dad's vintage Chateau Margaux was lost.
01:19Yeah, well, I would be happy to help with that, but, you know, I am more of a $10 to $20 bottle of wine type of girl.
01:28You know, I beg to differ. Do you remember that, um, restaurant we ate at in Italy?
01:34La Fregola, I think it was called.
01:37On the night that we got married the first time?
01:41Yes, and if you recall the number on the check that the waiter dropped due to those very expensive bottles of wine that you ordered.
01:51Okay, yeah, well, that was a special occasion.
01:53On every occasion special with you.
01:56I am just so happy that we do not have to move out, because this girl right here, she can use some rest.
02:11Especially since tomorrow I am shooting my first scenes with Alex.
02:21This is exciting!
02:24Here we are, mother and said son, and we're shooting on the same show, and you're playing my son.
02:31Yeah.
02:32I mean, come on, we're like one of those old Hollywood families, like the Barrymores, or the Fondas, or the...
02:40Whatever.
02:42And you know, it's kind of funny.
02:44You are in my fake life playing my real son, and in my real life playing my fake son.
02:50Fake son?
02:51Fake son.
02:52Oh, no, no, no, that's a bad choice of words.
02:56Well, though, you're not really my real son, though.
03:00But come on, stop it.
03:02You know what I mean.
03:03I do, I do, and I admit it's a little strange that you're playing my mom, for sure.
03:08Let's just hope that life doesn't imitate art and your house falls through a sinkhole of good man's skin and body and soul.
03:14Sinkhole, shminkhole, it's all drama, baby.
03:19And since, actually, we're going to be working so hard on bringing these characters to life,
03:24I certainly hope your brother's negotiating your contract, too.
03:28Too?
03:29Oh, yeah.
03:30He's negotiating yours?
03:31Well, of course he is.
03:33You know, the studio, a.k.a. Kate Brady, was trying to lose on me,
03:39but my wonderful Justin is making sure that I get every penny I want.
03:48Well?
03:50One moment, please.
03:52Of course.
03:54So just to summarize, Bonnie is simply asking for an additional one-week vacation
03:59and to increase her rate to 25% over scale,
04:03which I think is a very reasonable counterproposal,
04:07given her talent, her work ethic, and most importantly, her breadth of life experience.
04:22So, do we have a deal?
04:28Who is it?
04:29It's Abe.
04:32Abe!
04:33Well, hello, Stephanie.
04:35Is this a bad time?
04:37Not at all. Come in.
04:39Oh, thank you, thank you.
04:41Yes!
04:42I was just working on the Body and Soul press release,
04:46announcing our first day of shooting tomorrow.
04:48Would you like to see the first draft?
04:49Oh, no, I'm sure it's perfectly fine.
04:51You know, I came by because I want to talk about something else.
04:56Something that has to be done tonight.
05:02Yes!
05:03Yes!
05:04Perfect!
05:05God, I love these characters.
05:07They are complex, intelligent, wise beyond their years, witty inner men, all thanks to me,
05:12and most importantly, their love transcends all of the mishegoss that is trying to tear them apart.
05:19Mishegoss?
05:20No, that's too New York.
05:22Producers won't get it.
05:24Their love transcends all of the obstacles that are conspiring to keep them apart.
05:32Hit your heart out, Willie Shakes.
05:33You may have coined the term star-crossed lovers for those four more teenyboppers, Romeo and Juliet,
05:38but I have taken that tired concept to a whole new level for Arrow and Faith.
05:47No, no, no, not while I'm in a flow state.
05:49Oh.
05:54How are you?
05:55Yes, yes.
05:56Shouldn't you be, like, learning your lines?
05:58Yes, I was home, and I was reading all these shows, and then it occurred to me that I needed to come over and talk to you.
06:06What's wrong? Is there a problem?
06:07Problem? There's a problem, yes.
06:09Leo, all these scripts have to be rewritten. Completely rewritten.
06:23Like sands through the hourglass, so are the days of our lives.
06:38I beg your pardon? You need me to do what?
06:43Look, I read all these scripts, and so what I did was I went ahead and I put frowny faces on the ones that I didn't like at all,
06:53and then I put smiley faces on the ones that I liked, you know, kind of a little bit.
06:58And then I got to thinking, oh my gosh, how am I going to memorize these things?
07:05Okay.
07:07So, then I thought, why worry about that, because they'll all be rewritten anyway. I won't have to memorize these particular shows.
07:15Okay, okay. And what, pray tell, is wrong with your scenes?
07:20Well, you know, it's about Cassandra and Charlemagne, because Cassandra has way too much of a storyline going on.
07:31Uh-huh. So?
07:33So, so, Charlemagne is the star of the show. You see, so it doesn't work.
07:42Charlotte needs to have most of the dialogue, because she is, you know, after all, the star.
07:48The audience understands that. And if you don't get that right, they will turn on you, they will really turn on you.
07:55In fact, what'll happen is the audience will turn off the television, and they'll go to the movies.
08:02Or, they will leave the television on, but they will change the channel.
08:08Or, they'll turn the television off, and they'll read it both.
08:13Okay, okay, okay, I get what you're saying. So you want me to rewrite all these scripts so that you have more dialogue?
08:23Exactly. And you can thank me for doing a favor for you.
08:30Because in addition to improving the show enormously, you'll be putting Bonnie in her place.
08:38I'm sensing a rivalry here, a la Joan Crawford and Benny Davis.
08:45Yes, a rivalry. Ever since my close personal friend became a super diva.
08:54So my dad is negotiating to get you a better deal, huh?
08:59Hell yeah. My husband is a crackerjack lawyer, let me tell you.
09:04In fact, I am guaranteeing he gets me 25% over scale, an extra week of in-k-pay, and an early out every other Friday.
09:14Now, Bonnie, have you ever heard of the phrase,
09:20Bonnie, have you ever heard of the phrase,
09:25Of course. What's that got to do with my contract?
09:29Everything. See, this show is on a very tight budget, from what I hear.
09:35Well, honey, this is a big production, you know. It's body and soul. That is a household name, a brand.
09:44We got plenty of money to spread around. In fact, so much so, Kate Brady, she's going to fall like a cheap lug chair.
09:56Mark my words.
09:59I think we have a deal.
10:02Fantastic.
10:04Okay, so, just put your John Hancock right there.
10:14And the deal is, you tell Bonnie she either accepts the original terms of the deal, or body and soul is more than happy to find a new Cassandra.
10:33So, what's so important that it has to be done tonight?
10:42Well, you suggested that we have a photo shoot of the cast for the relaunch.
10:49You know, this nice shoot across social media, magazines, et cetera, et cetera.
10:58Right, I did, but I remember you telling me that we didn't have enough money left in our budget for even a cappuccino, so we couldn't afford to do it.
11:09Well, that's no longer the case.
11:12Did you find another investor?
11:15I actually think this could be better.
11:18I happened to run into your cousin Eric today.
11:24Eric? I didn't even know that he was in town.
11:27Yeah, he's back here to support Brady.
11:29But while I was mentioning the relaunch of Body and Soul, he very kindly offered to do the shoot pro bono.
11:39Oh, you're kidding! That's great!
11:43Yes, so I have scheduled the shoot for tonight.
11:49Okay then. Well, I should help wrangle the actors.
11:52I know. I think that might be the operative word.
11:57Right, since our show has no shortage of larger-than-life personalities.
12:06Okay, how about this? In Act 2, Charlemagne is talking to her ex-husband, and she says something like,
12:13Really, Cassandra? That shrew has the charm of a dead houseplant.
12:19Huh?
12:21What?
12:23No, no. Too snarky. Charlemagne wouldn't stoop to that.
12:27Okay. Okay, look, Hattie, I want you to be happy with your part. Truly, I do.
12:32But I can't just be making changes willy-nilly.
12:35There's a chain of command, and all of these scripts have been approved by the producers.
12:38Any rewrites need to be submitted, and that really just slows everything down.
12:44Why don't you tell that to Bonnie?
12:47She's the one who's off the reservation with all these rewrites and rewrites and changes of hers.
12:52Really? She's been making changes?
12:55Nobody told me that, and why is anybody making changes? We haven't even started shooting yet.
13:00I know. I know. She's just gone off the rails.
13:04And she's writing like she's Greta Gerwig or somebody.
13:08Okay, look, Hattie, I am burning the midnight oil writing the next batch of scripts.
13:14I don't have time to make any changes to anything that's already been approved.
13:20Look, this is the first week of our relaunch, so we have to get it right, you know?
13:28We've got to reel the audience in like a rainbow trout.
13:33You mean our gay viewers?
13:36No, I actually meant Mike the fish.
13:39Oh.
13:41Okay, look, I will see what I can do, but I'm not making any promises.
13:46Okay, tell me what you think of this, okay?
13:49Okay.
13:56Relationships, I hear.
13:59They're not like some barefoot walk on the beach.
14:04They're hard work, sometimes full of heartache.
14:09And your whole world can fall away, collapse suddenly with that morning.
14:16I know about these things.
14:20Do you?
14:22I do.
14:27Wow.
14:29Hattie, that was like, that was like emotional.
14:32Really?
14:33That was really moving.
14:34Really?
14:35Because I changed a little bit of that speech because it was a little boring.
14:38Yeah, no, whatever.
14:39You're a great actress.
14:40Well, Alex, thank you.
14:43Can you believe I have all my lines memorized already?
14:46Good for you.
14:47I wish I could say the same thing about myself, but honestly, that's the least of my worries.
14:53Because I'm really worried about just working alongside my co-star.
14:57Shut up.
14:59Why?
15:01Well, as you may know, we're supposed to be playing this hot young couple, crazy in love, star-crossed.
15:09But in reality, there's a little bit more than just tension.
15:16That's what it is.
15:18So you really dread working with Alex, huh?
15:23Yeah, you already know that, Johnny.
15:27I mean, after what happened with him and Allie, he is the last person on Earth that I want to spend eight hours a day with.
15:32More like 12, actually.
15:34Oh, God.
15:37Look, what happened with Alex and Allie, that's all in the past.
15:41And everything worked out for the better, right?
15:43I mean, Allie seems very happy in her new life, and I don't know.
15:48You seem happy.
15:50What'd you tell me, anyway?
15:52Oh, of course I am, okay?
15:55I am married to the sweetest, sexiest man on the planet.
16:02And I am the luckiest guy on the planet, because I get to be married to my sexy, talented wife.
16:12And besides, isn't part of the reason you accepted this job so that you could spend every day with your, dare I say it, dashing director?
16:23Yeah, well, I guess if I am going to have to spend 12 hours in the studio, then I am grateful that I get to spend them with you.
16:34And I get to spend those said 12 hours not only in your presence, but also telling you what to do.
16:44Which is the opposite of our marriage, huh?
16:46Which is our marriage, huh?
16:51Oh, I hear you vibrating.
16:53Tell me about it.
16:55Oh, no, actually, me too.
17:01It is an email from the studio.
17:06Pink pages? What are pink pages?
17:09They're like last minute changes to the script. It looks like there's some more pages added for tomorrow.
17:16For you and Alex.
17:21Wait, what? Faith and Arrow have sex?
17:37No, no, no, no, no, no.
17:39I was under the impression that Faith and Arrow were star-crossed lovers longing for one another while everything gets in the way.
17:44I mean, isn't the whole point that they don't have sex?
17:48Yeah, I don't know. I mean, from what even Kate told me, yeah, I mean, Faith and Arrow weren't supposed to consummate their relationship for months.
17:57Well, now it is happening this week, and I just, oh, I cannot believe that I have to have a love scene with Alex this week. Like, right off the bat.
18:08Yeah, well, I have to direct it.
18:10So Chanel blames you for Ali and her breaking up and Ali moving out of town.
18:17Right, and I mean, it's not like she doesn't have a slight reason to.
18:21You and Ali, you, you know, a second time.
18:26Yeah.
18:28Was that after the threesome?
18:30Can we use our inside voices when we're talking about that, please?
18:33Please, honey, nobody's listening.
18:35Really? Nobody's listening? Sing them.
18:37Bye.
18:39Shh, I'll keep it down.
18:43And you know what, thank you.
18:45If you want my bison, you probably don't, but you're going to get it anyway.
18:49You should channel that emotion into your performance.
18:53You know, the tension with Chanel.
18:56See, I was reading, you know, the August respect for acting.
18:59She talks about using anger and nervousness and upset and really using it to spice up your performance.
19:07All right.
19:09But I mean, I don't think Faith should really want to, you know, knee Arrow in the groin.
19:16She loves him.
19:18But you can't be together, right? I mean, you're being kept apart by forces out of your control.
19:22I guess so.
19:24Okay, there it is. There's the tension.
19:26See, every time we see Arrow, we should see him longing for Faith.
19:31We should see him thinking that, oh, if only the stars could align, we could ride up into the sunset together.
19:38But you can't.
19:40So you, Alex, you as an actor, you've got to dig.
19:43You've got to dig down deep and you've got to channel that heartbreak.
19:50Wow, Mary, I've got to tell you, you've got like an innate sense for this whole acting thing.
19:56Well, no, credit where credit is due.
19:58Where credit is due.
20:00During my audition, John, he told me I shouldn't hold back.
20:03He actually said that, well, what I did to Adrian was actually hold mine to use to play Cassandra.
20:13So it worked?
20:15Oh, yeah, it worked.
20:18And I don't need to brag or anything, but you said it yourself.
20:23Turns out I am, Alex.
20:25And Justin is going to make sure Kate sees exactly that.
20:30And there he is, my agent, or my husband, who's acting as my agent.
20:36Hello.
20:38So how did it go?
20:40Did you have Kate begging for mercy?
20:44Not exactly.
20:48Hey, hello there.
20:50Hey, did you talk to Stephanie?
20:51I did, I did.
20:53And she's ready to step in and organize her whole photo shoot.
20:56That's wonderful.
20:58Except there won't be a photo shoot if Eric is an Osha.
21:01Oh, he texted me that long ago.
21:04He's going to gather his wit and he should be here soon.
21:07Ah, well, that's wonderful.
21:09Another problem solved.
21:12What's this?
21:14Justin was here earlier.
21:16He wanted to revise Bonnie's contract.
21:18He said she was owed a sweetheart deal.
21:19I made it perfectly clear.
21:21No sale.
21:25Scale?
21:27You promised me you'd get me a better deal.
21:29I'm sorry, sweetheart.
21:31I know that's what I promised you.
21:33But Kate was adamant that the original offer was final.
21:37So it was either accept the offer or walk.
21:41And I assume you don't want to do that.
21:44I hope.
21:46Of course I don't want to do that.
21:48Especially now I feel like Cassandra is part of me, you know?
21:52I mean, I couldn't abandon her.
21:55I'm not in good conscience.
21:57So I will take it in spite of it all.
22:00Because she'll miss going.
22:04And I will make Cassandra look good for all she's worth.
22:09Oh, good, you're here.
22:13What's all that?
22:14I think they're known as Pink Pages.
22:31What the heck?
22:33What are all these changes?
22:36Charlemagne pushes Cassandra into her own birthday cake.
22:39Cassandra's long lost daughter tells her she wishes Charlemagne were her real mother.
22:46When Cassandra loses her job, Charlemagne hires her as her unpaid intern.
22:53Who made these changes?
22:57Don't look at me, I didn't do it.
23:00Poe did.
23:02Well, I mean, who always does that, you know?
23:06The head writer does.
23:07If you're having a problem with anything, you should talk to Leo Stark.
23:12Somebody said my name?
23:18I gotta talk to Leo.
23:20I gotta tell him that it's way too soon for Faith and Arrow to be sleeping together.
23:27What's going on? More changes?
23:30No, it's a text from Stephanie.
23:33A text from Stephanie?
23:35Apparently there's a last minute photo shoot and they need the entire cast of Body and Soul.
23:40When?
23:41Now.
23:46Alright, so I sent a group message to the cast and almost everybody has replied that they're on the way to the studio.
23:52And if we have any stragglers, then I will track them down.
23:56Poe?
23:58Eric!
24:00I'm not at work.
24:02I...
24:05I cannot tell you how much we appreciate you doing this shoot for us.
24:09I know you're going to get exactly what we need to whet the viewers' appetite.
24:13And we don't let you wish that.
24:15We had enough money to pay you what you're worth.
24:18No, no, don't worry about it.
24:20I just, I'm just glad I'm able to help, you know?
24:23I just know how much Body and Soul means to you and to the audience.
24:26And everybody in Salem has been working on it.
24:29Just remember me in your Emmy speech.
24:32Well, I think you might be putting a card forward.
24:36Okay, of course we will.
24:38Alright, well, hey, all I need to do is set up.
24:41So, from what I've heard, it seems pretty straightforward.
24:47Leo, why would you do this?
24:49Why would you butcher the script just to make me look like a buffoon?
24:52A doormat!
24:53Well, you know, technically, it's not you, Body, it's Cassandra.
24:56Oh, oh, look.
24:58It's a text from the studio.
25:00Wait.
25:02I got one, too.
25:04Why didn't I get one?
25:06It's only for on-air talent.
25:08Something about a last-minute photo shoot.
25:11A photo shoot?
25:13I'm so ready for my close-up.
25:15Me, too.
25:17Break a leg?
25:19Oh, honey, I don't think you stay there for a photo shoot.
25:21Or do you?
25:23Oh, no, either is fine.
25:25Love you.
25:27Love you, too, honey, have fun.
25:31Hey, I'll give you a ride, Alex?
25:33Honey, you coming?
25:35Sure, I'll come along.
25:38Uh, not so fast.
25:40What?
25:42What's wrong?
25:44What's wrong?
25:46I did you a favor, several of them, actually, and you throw me under the bus?
25:49Oh, well, you know what they say.
25:51That showbiz, baby.
25:53Besides, it's always the writer who takes the blame.
26:10Damn it.
26:12Try and be helpful, and this is the thanks I get.
26:15Reminds me of that time I dated that gorgeous Chilean painter, Emiliano,
26:18with the neck that was slightly too long.
26:21So I go out and buy him several cashmere sweaters, and what do I get in return?
26:24Broken heart.
26:28Patty?
26:30Johnny.
26:33Well, if it isn't my favorite director.
26:35May I?
26:37Please.
26:41To what do I owe the pleasure?
26:43I was just reading those pink pages.
26:45The Faith and Arrow love scene?
26:46Pretty steamy, huh?
26:48If only the network allowed just a teeny bit of nudity.
26:51If only.
26:53So here's what I was thinking.
26:55We start on a close-up of the two of them making out.
26:57We slowly tilt down, cue the royalty-free jazz, cut to the fireplace, etc., etc.
27:03But I don't need to tell you how to do your job.
27:06I mean, even an amateur can make Alex Kyriakos look like he is en fuego,
27:11which means on fire, in case you're not familiar with Espanol.
27:14Am I right?
27:16Yeah, sure.
27:18Look, I was just thinking, maybe it's a little too soon for them to be having sex, right?
27:23When is it ever too soon to have sex?
27:26All of my favorite movies have wild sex scenes in the first six, seven minutes.
27:31And I don't think it's a coincidence that they're all French.
27:33Okay, look, I'm speaking in terms of this story, right, on this show.
27:39And if I may quote the late, great Agnes Nixon,
27:41you gotta make them laugh, you gotta make them cry,
27:45and most importantly, you have to make them wait.
27:48Hmm. Who cares what some former first lady says?
27:52I mean, unless we're talking about Jackie O, that wouldn't be a serious song.
27:55Listen, listen, Leo, I came here to ask you one question.
27:58Would you just, would you consider rewriting that scene?
28:01What? It is an important, pivotal scene.
28:04Leo, it's too soon.
28:05No, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
28:08No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no.
28:10Re-write!
28:12All right, looks like I got everyone checked in.
28:15So, with any luck, we will get done with our principal shot tonight.
28:18That would be great.
28:20Ah, there they are.
28:22Hi, Bonnie. Okay, you two, first, wardrobe is right down the corner.
28:27Oh, great. Um, before we start, could I have a word?
28:31With who?
28:33Your head writer.
28:35Oh, wait, wait, you know what, come on, she just said that we'll try to get the show on
28:42the road, so come on, chow, chow, we gotta move, gotta go, we gotta go.
28:45Let me take you to wardrobe.
28:47Okay.
28:48But, um, okay, it's just...
28:50Yeah.
28:51All right, all right, all right.
28:56Oh, Justin.
28:58Hey.
29:00Uh, I, um, I'm very sorry about the Bonnie contract situation.
29:07The thing is that Kate is, um, well, in charge of everything that goes into the budget, and
29:14she doesn't allow any woodwork.
29:19It's been a few years since you were on the force, right?
29:24Because you never forget how to do good cop, bad cop things.
29:31Well, I suppose that's right.
29:35You know, we would like to give everyone a big raise if we had the money, and I believe
29:47that we should pay everyone their worth.
29:52That's very good of you, Abe.
29:56If the show, or rather, when the show gets on the air, and it becomes a big hit, then
30:10we can revisit the Bonnie contract situation.
30:17Wow, you look amazing.
30:23There's our Cassandra.
30:25You look absolutely stunning.
30:27Oh, stop.
30:28Actually, keep going.
30:30You're a knockout, Cassandra.
30:33If you could just stand right over here, it would be great.
30:36Okay, so you want me like, um...
30:39I just want you to be yourself.
30:42Be a character.
30:43Oh, oh.
30:44Be Cassandra.
30:45That I can do.
30:46Awesome.
30:47You look great.
30:49You look fantastic.
30:51Yeah, oh, that's great.
30:53Oh, you look fantastic.
30:56Keep it going.
30:58Look at you.
31:00Yes.
31:01Come on, give it to me.
31:03Bonnie?
31:04Abe?
31:05What?
31:08What are you wearing?
31:10What are you wearing?
31:12Oh, this is ridiculous.
31:13We can't wear the same dress.
31:14You gotta go change.
31:15What?
31:16No.
31:17No, no, no, no, no.
31:18I am not changing.
31:20I am Charmaine Delacroix.
31:23So what?
31:25I'm Cassandra Lovegood.
31:29So what?
31:31I have never been pushed into a cake.
31:33I've never done an unpaid internship.
31:36And I certainly have never changed my attire for the likes of you.
31:42Well, that's where you're wrong, sister.
31:45Because you will not steal my thunder now.
31:49You take off that dress or I will take it off for you.
31:53Don't you dare watch me.
31:57No.
31:58Take off that dress.
32:00So, uh, what kind of angle do you think we've got here?
32:02No, no, no.
32:03Take it off.
32:05You take it off.
32:06You, you, you, you.
32:12Hello?
32:13What do you think?
32:14Wow.
32:15You are a vision, my dear.
32:16This is the perfect dress for our auction.
32:18I'm just glad it was still on the rack.
32:19It looked like someone was rolling around in the clothes.
32:20Mm-hmm.
32:21You don't say.
32:22Hmm.
32:23Chanel, why don't you come down over here?
32:24You look beautiful.
32:43All right, just be natural.
32:44That's great.
32:45Perfect.
32:46Alex, are you ready?
32:47Whoa, whoa.
32:48It's right this way.
32:49Oh, well, I will just get out of your way.
32:50No, no.
32:51No?
32:52No.
32:53But I don't mind if I lose my shoe?
32:54Uh, no.
32:55We still need you here.
32:56We need you.
32:57You are our hot young couple.
32:58We need you.
32:59We need you.
33:00We need you.
33:01We need you.
33:02We need you.
33:03We need you.
33:04We need you.
33:05We need you.
33:06We need you.
33:07We need you.
33:08We need you.
33:09We are the hot young couple.
33:10We need somebody choosing you together.
33:17Do I...
33:19Or do I not...
33:21order this glorious Stephon Pajama Onesie?
33:26Agh.
33:27Can I ever get a little wheat from it?
33:32I already told you, Johnny.
33:33No more rewrites.
33:35I don't care what you told Johnny!
33:36I know Hattie put you up to these things.
33:38No.
33:39No?
33:40No!
33:41I made those changes myself.
33:42I am the head writer after all.
33:45I have the power.
33:46I am very important, highly respected, and the book stops with me.
33:50Bonnie, I have the last word.
33:52I'll tell you what else stops with you, mister.
33:55The success of this show if you let that stuff up.
33:59Hattie Adams, bully you into ruining my character because if you do, I quit.
34:04What?
34:05Yes.
34:06You can't do that.
34:07Oh, really?
34:08Watch me.
34:09Unless.
34:10Unless?
34:11Unless you unpaint these pages right now.
34:18All right, that's good.
34:23Hey, um, Alex, look at Chanel.
34:26Open her eyes.
34:27All right, put your arm around her.
34:31Come on.
34:32There it is.
34:33That's it.
34:34King, King.
34:35You look great.
34:36Did you unpaint those pages?
34:37You know, like, faith in your office.
34:38Yes, I did.
34:39Don't you think it's a little, uh.
34:40Rushed.
34:41Yeah, rushed.
34:42Yeah, I do.
34:43Actually, I was thinking about maybe asking King maybe, maybe they can pull it back a
34:44little bit.
34:45Hey, Chanel, aren't you looking down in his eyes for a minute?
34:46No, I'm not.
34:47I'm not.
34:48I'm not.
34:49I'm not.
34:50I'm not.
34:51I'm not.
34:52I'm not.
34:53I'm not.
34:54I'm not.
34:55I'm not.
34:56I'm not.
34:57I'm not.
34:58I'm not.
34:59I'm not.
35:00I'm not.
35:01I'm not.
35:02I'm not.
35:03There it is. That's it. It's brilliant. Act like you want to hold it closely. You want
35:15him to be there. Turn you on. I see it. I have to say, Alex, I'm a bit surprised. Why?
35:30What, you think I'd leap at the chance to pretend jumpy bones? No, maybe. Okay, well,
35:36I may have been a player in real life, but this is acting, and whatever happens on the
35:42screen isn't real. All that matters is that the audience thinks that it is. Here we go.
35:48Here we go. I know these knees. Alex, lose the jacket.
36:02Annie, is everything all right? No, everything is not all right. You have to fire that Bonnie
36:12because that woman can't even act. You want me to fire Bonnie? Which one don't you understand?
36:23Abe, I'm telling you, it's her or me.
36:28Oh, my God. This is perfect. Yeah. Oh, my God. So sexy.
36:39I'm sexy enough, if you ask me.
36:42Um, why don't you put your hand on his chest? We need to see the heat between you.
36:48Awesome. Yes, that's it. Oh, my God. This is great. You guys are beautiful.
37:03Oh, yes. Touch her face. Yes, it's hot. You guys are sexy.