Eric: 0:18

Hey, Steele watchers. This is the Steele watching podcast. I am Eric, and I'm sorry. I just won't die.

Sara: 0:29

That's interesting. I am Sarah, and I'm the season 5 apologist on record.

Eric: 0:37

Well, you're gonna die on that hill, aren't you?

Sara: 0:39

Yeah. I am really. Somebody had to do it. Okay?

Eric: 0:44

Well, this is it. The season you've all been waiting for and just joyously anticipating season 5. Starting out with the Steele that wouldn't die part 1. Before we

Sara: 0:56

do anything, do we have any emails and whatnot? Because I thought

Eric: 0:59

We got stuff.

Sara: 1:01

We got stuff.

Eric: 1:01

Okay. We got stuff. Yes. We had a fan mail that got lost in amongst the junk email for performance enhancements, extended car warranties for cars that

Sara: 1:17

I get sent those all the time, and I'm wondering why. What what weird turn did the algorithm take to send me those emails?

Eric: 1:28

Yes. He would not believe some of the junk mail we get in our email box. But there was that, and it was just a request for the season 3 fan orders. So I apologize to our listener that sent that. We will have a link showing back up again for that in the notes for this episode. But there was that. And then also, we had somebody purchase a couple of our t shirts

Sara: 1:56

Woo hoo.

Eric: 1:56

Which gives us a small commission to help cover our costs, so we appreciate that. We wish we knew who you were so we could send you a thank you email, but we don't, so this will have to suffice.

Sara: 2:07

Thank you.

Eric: 2:09

Yes. And then we did have another fan mail, which is that little text message thing that you can send us that it it comes from you as a text message. It says, just discovered your podcast. I have been rewatching Remington Steele on Hallmark. And they ask, is your 1st podcast episode of Steele Watching? Do I need to start there? Or I was listening to Steele Running. Love the hug on the beach too. You don't have to start at the beginning.

Sara: 2:34

Start wherever you

Eric: 2:35

like. Absolutely. Yes.

Sara: 2:37

Yeah.

Eric: 2:37

Now, if you want to follow in series order, go all the way back to the the very 1st episode, which is most people's podcast players, they're gonna default to the newest episode on

Sara: 2:51

top Yeah.

Eric: 2:52

The oldest episode at the bottom. So you gotta scroll all the way down to the bottom to get to the 1st 1.

Sara: 2:57

It's the ultimate 1st world problem.

Eric: 2:59

Yes. And and ideally, if you have a real podcast player, not Spotify Oh. You can change you can change the order that those appear in and therefore, the order in which they play. So when you start episode 1, it'll automatically place episode 2 next and so on and so forth. But if you don't, then it'll start at the current 1 and then go back in time 1 episode at a time. So there you go. And then we also had another email. Did you wanna do the email?

Sara: 3:30

I don't have it up on my screen. Like, don't you? I just, I know. I'm terrible. Oh. Is there anybody out

Eric: 3:39

there who wants to be a cohost that's gonna jump You

Sara: 3:43

know what? Shush.

Eric: 3:46

Alright. So I will do the email then. I was trying to involve you, but no. Alright. The email included a link to an LA Times interview dated 05/10/1985, which was at the end of season 3, and I will put that link in our show notes. And it says, 1st, Gleeson says, the show is about 2 people who are very attracted to each other, but this is this is from the the article. The show is about 2 people who are very attracted to each other but who won't give up an inch in what they want. If they give that inch, we'll be doing a different series. We'll be doing mister and missus North or Nick and Nora or Heart to Heart, which is what we set out not to do. And then a little bit later, he says, it's a fade out once they get together. Otherwise, it becomes very mundane as they get up in the morning and say, how would you like your test? If you lose sight of the show that you're doing, I think the audience will get confused and say, they don't know what they're doing and will go elsewhere. Now, from the email itself, the email reads, on the DVD commentary for Bonds of Steele, Gleeson admits that he was going to marry Steele and Laura for real to allow the show a fresher set of story ideas. I think we've been saying that. Yeah. But Yeah. But Brosnan and Zemblis absolutely refused. Brosnan initially agreed then revoked his consent. Zemblis demurred immediately. He must have meant it as he also describes going to MTM to exercise some authority over the stars. But Arthur Price, the head of production at MTM, declined to get involved. And Jeff Melvoyne writes that they were all getting kind of bored with keeping them apart, which is all to say, you and Sarah may not be so far from what the producers were feeling on the subject.

Sara: 5:35

Yeah. Yes. That it's a shame. I I mean, I I honestly don't know what the reasons would be for for Pierce and Stephanie not to want that to happen other than maybe they just don't wanna be doing the series anymore, and they're happy to do other things, which is fair. Like, that's their

Eric: 5:50

And leave it where

Sara: 5:51

it was. You know, whatnot. You know, that's totally valid for them to have those opinions on it. As in terms of the fans, I think that most of the fans were kinda like, I I disagree that you can't make a show. And we've said this before that you can't make a show interesting and have the characters be in a relationship. Those 2 are not mutually exclusive. If you're if you're good at what you do, you can write conflicts and you can write obstacles and you can write things to happen to these characters that are still going to make their relationship interesting and not have it become boring. And and I think that if they were willing to try to take that leap, that's kind of a shame that we didn't get to see it.

Eric: 6:29

Well, I, you know, I wonder just as you were saying that, and I was listening to you say it, a couple things came to mind. Of course, we we know that the networks have always had that attitude at least during that that time period, and it didn't change until, like, a decade or so later.

Sara: 6:47

Yeah.

Eric: 6:47

But there's 2 things about that that that bother me. 1 being that it's kind of an admission by the writers that they don't know how to write Yeah. That kind of a show.

Sara: 7:02

It really is. And I

Eric: 7:03

I I can't believe that they're they're really intending to say that. But that's, if you think about it, that's kinda what they're saying is, well, it becomes boring. Well, it's only boring if you write it boring.

Sara: 7:16

It's either an admission of that or it's or it's kind of like not giving the audience enough credit

Eric: 7:21

Well, that

Sara: 7:21

to assume that we wouldn't be able to follow along with these characters if you change 1 thing that somehow we're going to throw out everything whole cloth and and not wanna watch these characters anymore. Whereas, in in reality, we're watching them for growth. We wanna see growth. We want Mhmm. Yes. It's fun seeing them do the will they won't they thing, but you can only do that for so long. Then finally, you're just like, you know what? I don't care anymore. Do whatever.

Eric: 7:46

Well, and and the other thing that occurs to me is that perhaps this is indicative of the attitude of Hollywood people in life.

Sara: 7:55

Yeah. It could be.

Eric: 7:57

That would be a scary thing to say. Okay. You if you're having an affair with this person, it's exciting. It's interesting. Yeah. Once you marry him, that relationship is just trash. Okay. Well, maybe that's why there's so many divorces in Hollywood.

Sara: 8:10

Well and it's funny because if you look at now, some of the most exciting shows involve long term couples. Outlander, for example. Mhmm. Probably haven't Outlander is based off of a novel series that has gone for 10 books now, and they're all, like, thousand page plus books. They're huge. And it's a story about a woman who travels back through time to 1743 Scotland, and she ends up getting married to a Scottish highlander named Jamie Fraser, who was based off a Doctor Who character, which is kind of funny. And the series has gone for 8 seasons now, and the characters are in their fifties, sixties. Like, they've they've spanned decades, literal decades with these 2 characters married and in love. And, yes, there's, like, all kinds of crazy stuff that happens to them with the time travel and the, you know, whatever else. But Mhmm. Like, the forefront of these characters, and and the same with the books too, has always been their relationship. The whole point was, this is the characters' lives. We get to see their kids' lives, their kids' marriages, like, all that stuff, and nobody's bored. In fact, it's the driving factor of the series. We mentioned Bones as well. Bones was a show that that went 12 seasons, and half of those seasons were them together. Mhmm. So it just seems really bizarre to me that they would, like you said, willingly admit, well, we can't make that interesting enough, so we're just not going to try.

Eric: 9:30

Yeah. That's 1 of those things where you look at it and you hear it and you think about it and you you think, did you really think about what you said and did you really think about what it means because it ain't flattering to you.

Sara: 9:43

It's yeah. It's not what you said.

Eric: 9:44

Did you really mean to say that?

Sara: 9:46

That's not the flex you think it is. No. You know? Like

Eric: 9:50

No. Anyway, and then we also had a review, a new 5 star rating and review. Whoo. And it reads, I'm so glad I found this podcast. It was quite a number of episodes in when I discovered it. I knew I loved it right away. I really enjoyed the deep dive Eric and Sarah take on each episode. They give you an honest discussion about the show. And yes, they may have opinions.

Sara: 10:14

Notice

Eric: 10:14

I did not say unnecessary opinions.

Sara: 10:16

But your shirt does. Yes. Yes, it does.

Eric: 10:20

But those opinions still always reflect the love for the show. At 1st, I thought, these episodes are long. The 1st ones were a little over an hour, Then some were over 2 hours.

Sara: 10:31

Now there are some

Eric: 10:32

that are getting nearly 4 hours.

Sara: 10:33

But I

Eric: 10:34

love it. The episodes fly by. Trust me. They fly by for us as well. It's like the 1st time I I think I mentioned this before. 1st time we had a really long episode, I looked at the clock and seriously? Wait. What?

Sara: 10:48

How did that happen? Yeah.

Eric: 10:50

Anyway, back to the review. I especially love to listen to them at work. Now they are nearing the last few episodes to dissect, so I found myself already going back to start listening all

Sara: 11:00

over again. Apparently,

Eric: 11:02

I can listen over and over and still hear something new. Oh, that's nice to say. We

Sara: 11:07

appreciate As a teacher, it's nice to know somebody's listening to me.

Eric: 11:12

Yeah. Because nobody else does any other time. Right?

Sara: 11:14

Nope. They just don't.

Eric: 11:15

I've enjoyed rewatching the series along with each podcast episode. Thanks, Eric and Sarah, for such a fun listening experience for a show that I've loved since age 12. Really took me back in a good way.

Sara: 11:27

Thank you. That's so nice.

Eric: 11:30

It is.

Sara: 11:31

I'm not crying. You're crying.

Eric: 11:35

No. I'm coughing. Ignore me while I I've got something in my eye here.

Sara: 11:44

Yeah. He's crying. He's crying. See? He's got something in his eye.

Eric: 11:48

Alright. Well Sure. Let's get to the Steele that wouldn't die. Now, there's a I'm not sure what to make of this. In Judith's book, it says it 1st aired 01/05/1987. And so you kinda get the impression that it was a single 2 hour episode Yeah. Which I I can't remember. I to be honest with you, I can't remember what I did last week, never mind, you know, 20 some odd years ago. But here's the thing. The episode has 2 separate scripts with 2 separate production numbers

Sara: 12:28

I noticed that. For part

Eric: 12:29

1 and part 2. Yeah. Also, the next episode, still hanging in there, part 1, did not air until a month later. So what I'm thinking what I'm thinking is it was originally showed shown as a 2 part episode, and January 5 was the date of the 1st 1, and then maybe 2 weeks later, part 2 was shown. Don't know. I I I don't have the resources to to go back and check that,

Sara: 13:01

but I don't either, but that leads me to a question that I had,

Eric: 13:04

and Okay.

Sara: 13:05

This is something I've If this has been answered in the past and I've forgotten it, I apologize. But we know, like, we know what happened at the end of season 4. We know that they were canceled, and then the Bond rumors started circulating, and that led NBC to renew, which, of course, led the Bond people to say, nope, you gotta do 1 or the other, and he lost out on Bond. She lost out on Robocop. We know all of that stuff that happened. I'm curious about is because we, obviously, we didn't get a full season 5. We got 3 2 part, whatever you wanna call them. And and if the 1st 1 aired in January, that would typically be, like, mid season replacement territory. So did they at any point ever intend to do a full season 5 or was renewing it like because that would be a real jerk move if they had only ever intended on doing these 3 2 part episodes to renew their contracts to screw over both of their chances at big movie roles Mhmm. Only to say, yeah, we never intended on a full season. We're just gonna do 3 2 part mini, you know, whatever you wanna I don't even know. I can't even call them a miniseries, but you know what I'm I mean. Yeah. Was that always the intention? Because that's a real jerk move, or did they renew the series intending on doing a full season 5? And then for whatever reason, the interest dropped probably because he lost the role as Bond and, you know Yeah. People were like, okay. We're that was what started boosting the ratings in the 1st place. Did they change their minds last minute? Did they get cold feet and say, okay. No. We gotta do something because now that we've got them on contract, Okay. So we'll do 3 2 part miniseries and just like wrap it up like that. I how did that happen? How did it happen where this aired in January, and they just didn't give us the full season? I'd really I'm curious to know what the background was in the middle there because I don't think I've ever seen if someone says has said it, please tell me.

Eric: 15:07

Yeah. I I haven't seen anything that details that. I just always presumed that they renewed it as a partial season from the get go when they when they decided to re renew it. But your your argument there, your reasoning makes sense because, yeah, it doesn't make sense that they would

Sara: 15:29

Yeah. Well, from a money standpoint alone because you're gonna have especially when they're going to Ireland for the last 2 episodes, they're in England for and Mexico. Like, that's a lot of money you're spending on 6 episodes. Mhmm. So it feels weird. Not to mention, like I said, if it's a partial season, typically, that's about 13 episodes ish. Mhmm. Because you're looking at 22 as your typical full season. 11, 12 episodes, that's usually what you're, you know, maybe 13 if you're lucky. But 6 is a weird number. It's a weird number, especially for the eighties because nowadays, we get smaller shows that have a 6 episode run, that's the show, and that's fine because now we're kinda used to that. But when you air something in

Eric: 16:08

Those are also streaming focused.

Sara: 16:10

Yes. Exactly. And when you air something in January to March, those are typically shows that you're airing as, like I said, mid season replacements, meaning something else has been canceled. They need to fill the slot. So what was happening in that September to December spot? Yeah. Good question. Like, what went there? Right? Like, I'm I'm so confused.

Eric: 16:33

And that kinda leads into another question I had. The Steele that wouldn't die. Well, if you watch the episode, it's hard to make a connection between that title and the episode. And I'm wondering, was that kind of a flying fickle finger of fate to the network by Michael?

Sara: 16:51

It might have been. It's funny because my husband and I, like I said, we've been rewatching all the Bond movies, and we finished the Brosnan Bonds. We're now on Daniel Craig. And we got to Quantum of Solace, and Quantum of Solace is 1 of these movies where after I've seen it, I immediately forget everything that happened in the movie because it's that it's that forgettable. And the title is 1 of those things where it's like, it makes kind of no sense. Like, it's a revenge movie, so you can kind of like squeak some meaning out of it, but it's very very small.

Eric: 17:21

Thin. Yes.

Sara: 17:22

So I'm guessing this is maybe the same thing where it's kind of like, we're just gonna give it this title as a a

Eric: 17:28

Upgurus to the network.

Sara: 17:29

Powers to be. And I would you know what? I would support that.

Eric: 17:35

I So anyway, the episode 1st aired on 01/05/1987. As I said, it was written by Brad Kern and directed by Kevin Inch.

Sara: 17:45

Give him an inch. They'll walk all over you.

Eric: 17:47

Yes. Sorry. Well, I'm going with the DVD liner notes because it's it's

Sara: 17:56

Was the TV Guide synopsis too long?

Eric: 17:59

Yeah. That was really basically it. Yeah.

Sara: 18:02

Yeah. It was pretty I I was surprised that TV Guide would put in such a lengthy synopsis. Usually, it's like you know what I Usually, it's Yeah. Like 1

Eric: 18:13

Yeah. So DVD liner notes. Remington and Laura honeymoon in Mexico to convince US immigration officials that they are married he won't get deported. But the plan backfires when Remington is implicated in the murder of an immigration agent. That'll take exception to because Keys is not an immigration agent.

Sara: 18:33

No. He he he's an insurance. He's an insurance. Yes.

Eric: 18:38

Anyway, notes from Judith's book, Steele Loved After All These Years. It was filmed on location in and around Las Jardas, Mexico. Laura came up the aisle to Mendelssohn's Wedding March, which I will have a comment about this when we get to it.

Sara: 18:53

Is it about the wedding dress? Well figured that would be a

Eric: 18:59

Yeah. No. I I got a good comment about the music. And then Jack Scalia joined the cast for the remainder of season 5. The episode okay. Actually, forget some of the things I said earlier. Judas, note, it was right there in front of me. I just hadn't gotten to it yet. This episode was shown as a 2 hour movie, it says. That is 2 hours of TV time actually actual running time. No. I'm sorry. I think this was my note. No. It's the okay. Hang on. Reference time. Judah's book no. This was this was me. This was me. Okay. The episode seems to have been shown as a 2 hour movie. That is 2 hours of TV time. Actual running time about 1 and a half hours. Yeah. But from the script and technical information, it was apparently intended to be a 2 parter with each part being shown separately. So there. Yes. Now, I'm confused. I I don't know. Yes.

Sara: 19:59

I'll have some It's weird.

Eric: 20:01

It's weird.

Sara: 20:02

Okay. Quick question about the actor who plays Tony. I've always said in my head Scalia. Is it Scalia or Scalia? Does anybody know about the proper pronunciation of his last name? Because I I I could be I have no idea. It's just in my head, it was always Scalia. Well You just said Scalia, so you're I don't know who's right or who's wrong. Does anybody know Well, how to pronounce his

Eric: 20:27

I just pulled that up because that was the I think the same spelling of a name, yeah, for former supreme court justice Anto Antoine Scalia.

Sara: 20:40

Okay. So is it it is Scalia?

Eric: 20:42

That's how I've always heard it pronounced. So I'm presuming it's the same for our intruder here.

Sara: 20:51

Our good friend, Tony? But

Eric: 20:55

I don't know. I I mean, it could be Scalia. I I don't know.

Sara: 21:02

Unless Good question. Spoken otherwise, I will take your I will take your word on it here because

Eric: 21:06

Well, that'll be the 1st time.

Sara: 21:09

Well, you know, I'm giving you this. It will ease in.

Eric: 21:15

Now, interestingly enough, 1st of all, we don't have any version of the theme or opening titles. All we get None. Is black Yeah. And white text or black white text on a black background. It's very bland. I'm not sure if that was because they were trying to be classy or just be different or what.

Sara: 21:38

We had opening titles for the for the other episodes. Correct? For the the Steele hanging in there and Steele with a kiss?

Eric: 21:47

I haven't looked that far ahead, actually.

Sara: 21:50

Because I I'm pretty sure we did. But if we didn't, I would say maybe it's because they were too cheap to refilm them because they only meant to do 6, but maybe I don't know. Maybe they maybe it was a it it was a mad scramble because they hadn't anticipated airing it that quickly. Who knows? This is all kinds of questions. Only someone Yeah. Could answer

Eric: 22:14

You know, it could have been that well, I mean, they had practically a year to put this episode well, no. Probably, what, 5 months to put this episode together? So I would have thought that they could have put a title sequence together. My my guess my guess is that they were approaching it more like a movie, and so they didn't want a regular TV series titles.

Sara: 22:42

I just meant that if they weren't sure whether they were going to do a full season 5 versus what we ended up getting, Usually, with season credits, they put clips from episodes that go almost all throughout the entire season. Right? So I'm wondering if they were just not sure because they didn't have the clips to put in there because they were like, are we gonna just do this movie? Are we gonna do a whole scene? Who knows? We'll just see what happens. We're winging it. I don't know.

Eric: 23:06

I'm I'm my guess, and this is just a guess, is that they were treating it more like movie openings, movie titles.

Sara: 23:13

Fair enough.

Eric: 23:13

So so anyway, let's see. Where where are we here? Yes. We are at the very beginning, and the 1st thing we see and hear are church bells ringing. And from the script, church bells dance excitedly from side to side from the highest of belfries. Titles begin as the bells joyously boast of a marriage to end all marriages.

Sara: 23:37

Wow. And then we

Eric: 23:39

see exterior cathedral day, an awe inspiring cathedral to rival the likes of Notre Dame or Saint Patrick's, monuments where dream weddings are born. I have no idea what church this is, and a handwritten note on the script indicates that this was to be stock shots. So Yeah. If anybody knows what this is, let us know. I looked. I couldn't find anything on IMDb or anywhere else, but I don't have the paid professional version that might have told me. So

Sara: 24:10

For my notes, I because I I didn't know where this was either. So for my notes, I just said, the scene opens with a huge old bell ringing outside a massive Cathedral. The wedding march can be heard, which apparently is the Mendelssohn's 1. And inside, we see a huge church. It's empty. The organ is still playing. And then I have a bride can be seen walking slowly up the aisle of the church. We can't see her face, but her train is longer than princess Diana's.

Eric: 24:34

Yeah. I think that was from from the script as well. Oh, no. I I'm coming to that. You're you're jumping ahead again. Sorry. Next, we are inside the cathedral. We see a huge array of pipe organs pipes as the sound of a, as the script says, grand pipe organ fills the air with a majestic rendition of the wedding march. From high above and behind, the camera follows a young bride wearing a stunning wedding dress with a train longer than Fergie's as she moves down the center aisle. Okay.

Sara: 25:05

I said Princess Diana's, but that's that's fine.

Eric: 25:08

Well, Fergie had just gotten married

Sara: 25:10

Yeah.

Eric: 25:10

A short while before this. True. So, yes, wearing a stunning dress, a wedding dress with a long with a train longer than Fergie's as she moves down the center aisle savoring each and every step. She continues down the long exquisite path toward the altar, passing incongruously empty pews along the way.

Sara: 25:33

As someone who has gotten married and worn a wedding dress, those trains are a pain in the butt. Like, no thing. I like mine wasn't nowhere near that long. And I had 1 of those little, like, hooks that you could just hook it to your finger, so you could, like, walk around. Mhmm. If I'd had that thing, how would no. No. It would know.

Eric: 25:55

Nope. I'm I was gonna say something, but I'm not going to. Now, in the script, the reference to Fergie is spelled with instead of I e, but I do believe this was intended to be a reference to Sarah Ferguson who

Sara: 26:08

married Yes.

Eric: 26:09

Yeah. Prince Andrew, duke of York, 2nd son of queen Elizabeth 2nd on 07/23/1986. So it was between the last season 4 episode and the 1st season 5 episode, and they were married at Westminster Abbey. And a notable feature of Sarah Ferguson's 17 foot, 5.2 meter long train Wow. Was the intertwined initials a and s sewn in silver beads.

Sara: 26:38

And That just feels unnecessary.

Eric: 26:41

This is my note. The use of Mendelson's wedding march is curious, and it's specifically called out as Mendelssohn's Wedding March in the script because traditionally, Mendelssohn's Wedding March is the recessional music for the newly married couple with the bridal chorus from Lohengrind by Wagner being the traditional bridal processional music.

Sara: 27:02

Right.

Eric: 27:03

So I'm curious as to why Brad Kern called out the wrong music. Brad, we love you, but you screwed up, buddy.

Sara: 27:16

If that's the only complaint we have about season 5, it would be lovely.

Eric: 27:20

Yes. Well, next, we have Angle, The Bride. Close on Laura Holt. Absolutely hot. I mean, absolutely radiant as she steps up to the altar

Sara: 27:32

on the happiest

Eric: 27:33

day of her life.

Sara: 27:34

She looks gorgeous. They did the makeup perfectly, and that is understated because that dress is let's face it. That dress is a layer cake. If you, you know, if you had added more to that, it would have just been a mess. But she's wearing makeup. It's very obvious she's wearing makeup, but it is it's light. It's It accents her face, her features, her natural beauty. It doesn't overwhelm. Mhmm. She looks gorgeous. It's a shame that this is like a dream because she looks beautiful.

Eric: 28:05

Yeah. And her you know, usually, they would have put a real bright, harsh lipstick on. Yeah. They did.

Sara: 28:13

Or like really heavy eye shadow and stuff like that, but there isn't really. It's just Yeah. She she looks gorgeous.

Eric: 28:18

Yeah. Now but this shot has always bothered me. I mean, I I love the look of her in this shot, but overall, the shot doesn't work for me. It looks faked. It's it's like they took a shot of her Yeah. And a shot of the church as 2 separate elements that they've been that have been composited together in some some way because it's just

Sara: 28:41

Yeah. Know, that right. I didn't think about that.

Eric: 28:44

It's that pop out effect when you try to put 1 image on top of the other and you don't do it right. That's to me what it looks like. Now I I I will give them credit because, I mean, this for all I know, this could be a forced perspective thing because

Sara: 29:00

That's true.

Eric: 29:01

The focus does change on the background. If if you watch the what are those white thingies down the down the aisle that are hanging from the candles candlesticks, the focus on those does change slightly as they come along, so it could be a forced perspective thing. I don't know, but it just Yeah. It looks wrong to me. Anyway, always has. And so anyway, as she arrives to the platform, she looks glowingly up at, and the script says Yeah. The groom, clothes on remnant Steele. Absolutely breathtaking.

Sara: 29:38

He looks good. This I I like, I've said this before that tuxes and suits for me are kind of like meh because they they eventually, there's not much you can do with them. Like, they unless you're gonna go something really crazy, they kinda all look the same, but this is something new. This slate gray tux that he's wearing here is is different for him. It looks really good on him. It highlights sort of like his facial features as well. Like, they it's a shame this marriage isn't real because they both look incredible. It's not fair.

Eric: 30:11

Well, yes. Steele looks absolutely breathtaking, and the note says, do you say that about a guy?

Sara: 30:16

Yeah. You do.

Eric: 30:18

As he he looks in his cutaway, as he looks down at his cherished bride to be captivated by the moment at hand.

Sara: 30:25

I'm gonna say though, every man there's for every straight man out there, there's at least 1 hall pass. I believe that. You know? Like, my husband, my my brother, I don't wanna call him out here, but, like, there's a Star Trek character. He's like, I'm straight, but yeah. Ryan Reynolds is a lot of men's hell pass. I'm just saying.

Eric: 30:48

The organ finishes playing giving way to the muted ringing church bells. The minister wearing his clerical vestments begins. Dearly beloved, we are gathered here today to join in holy matrimony these 2, of course, as the minister is speaking, the shot reverts to Laura looking adoringly at Steele as we hear the minister continue. Except it's not the minister we hear, and it's not the continuation of the marriage invocation from the solemnization of matrimony from the Anglican Book of Common Prayer. It's the voice of Norman Keyes angrily hollering, frauds. And Laura jerks her head around, and then we see Keyes wearing the clerical vestments. He lets out a maniacal laugh, and then gesturing with his cigar declares that the whole thing stinks. The only reason you're marrying Steele is to keep him from being deported. The marriage is a sham. The groom's a phony, and I'm gonna prove it. Distressed and confused, Laura puts her head in her hand and then looks at Steele, except the groom has been replaced by

Sara: 31:52

a giant fish dressed in Steele's suit. And this, I I really like this choice, the fish, because it really shows I mean, if people didn't realize it was a dream all at this point, okay. A, that's gonna show it. But also, it it's a really good visual reminder of how the episode ended, how the how Bonsa Steele ended with them on the fishing boat, as well as a a sort of insight into Laura's psyche at this point, because she has gone through this shows a few different things. The fact that she was dreaming about a beautiful wedding in a gorgeous gown with Steele looking the way that he looked and everything kind of perfect tells us that in our heart of hearts, that's what she wanted. Mhmm. But not for immigration, not for any other reason other than, hey, will you marry me? Yes. I'll marry you kind of thing. So the intrusion of Keyes yelling fraud, and then the fact that he morphs into a fish, that's her that's her that's her psyche going, nope. That's you you wanted this, but you got that. And it's it's it's great. It's it's awful. Thank you, writers. But it's also great that we can see where her brain is because it kinda tells us that, yes, she does want to be with him.

Eric: 33:08

Mhmm.

Sara: 33:09

But now she's with a fish.

Eric: 33:11

Yeah. Well, shocked at the fish, Laura turns back to the minister or Keys or whoever it is.

Sara: 33:18

Yeah.

Eric: 33:19

And they've begun to sing

Sara: 33:20

feelings with a definite Spanish accent

Eric: 33:24

accompanied by the concertina. And of course, it's Juan from the fishing boat who presided over their fake wedding now wearing the vestments as the minister. Feelings. And we jump back to the scenes from Bonds of Steele on the tuna boat. Mildred is crying, asking Estelle Becker, don't you just love weddings? Estelle Becker saying she just hopes she can get this 1 to stand up in her report. Juan continuing to sing, feeling. Laura demanding of Steele, how are we supposed to keep this up for 2 years? Steele responding, by being the happiest married couple in America. Laura angrily protesting that they're not really married, calling Steele a conniving conman. And Juan continues to sing, stealing. Laura desperately saying, this is the worst day of my life. Steele gently calling her name, calling her name again. Yep. And then we cut to Laura. Hair still in rat's nest.

Sara: 34:20

She still looks awful. Yeah.

Eric: 34:23

Not having been brushed out after her prior encounter with the wind tunnel, and she's in the front seat of a car blankly staring out the window. So I have another question here. Okay.

Sara: 34:31

Because later on in this in the episode, we see that she now has bangs, like, when they're on the flight to Mexico. So I'm guessing that the hair that she's got right now

Eric: 34:42

Was a wig.

Sara: 34:43

Is a wig. It would have to be because if she's

Eric: 34:45

Probably was even in season 4.

Sara: 34:47

And this also kinda gives us the the impression that a lot of time has passed because you don't just randomly get bangs. You have to grow those out. And and Stephanie had obviously changed her hair enough that she now has bangs. And so, again, what did they what was the original plan for season 5? Anyway, I'm taking this as a wig.

Eric: 35:08

Well, Steele again calls her name, only this time sharply and with volume to cut through her mental fog. She startles, takes a deep breath, and looks over at Steele who's looking at her. He asks, where were you? And she gives a slow shake of her head saying, closer to hell than I've ever been. Ouch.

Sara: 35:28

Well, I mean, given what we saw

Eric: 35:30

of her dream and everything. She raises her head to her her hand to her head then startles again as she hears Juan singing. She turns around to look into the back seat. Juan is sitting there between his 2 friends from the boat as he sings.

Sara: 35:48

Why? Why are they still in the car? Okay. I well Okay.

Eric: 35:53

Do they come back to car? This. She turns back around and Asteel smiles at her. She says in resignation, I spoke too soon. Okay. You brought it up. Are you gonna make me say it right here, right now?

Sara: 36:03

Okay.

Eric: 36:03

This bit and the bit that follows. Yeah. It it makes no sense that Juan and his friends are there.

Sara: 36:10

It makes no sense. I think they could've made

Eric: 36:14

it make sense in keeping with the 1st scenes of this episode. If they had every time they filmed Laura as the focus, they had 1 and his friends there and 1 scene, feeling. But anytime the camera was on anybody else, they weren't there.

Sara: 36:32

Oh, yeah. That would have been really interesting because then it would just be have been in her mind.

Eric: 36:36

Her hallucination. Yeah.

Sara: 36:41

Oh, that would have That would have

Eric: 36:42

been the perfect way to do that.

Sara: 36:45

It would've been because, yeah, he's kind of the embodiment at the moment of everything that's gone wrong.

Eric: 36:50

Yes. Yeah. And so it would make sense for her to to especially in light of her dream about the wedding that she just had. If Yeah. For this to continue and her just keeps hearing it in her head. He's still here. He's still singing. I can't get

Sara: 37:06

him out of my head. Even better if he follows her throughout the episode. You know? She's in the jungle of feelings. No. Get out of my head.

Eric: 37:16

Oh. Well, now we're at Steel's apartment. We see the door open and Steele carries Laura in, doing the traditional carry her across the threshold bit.

Sara: 37:24

Yep.

Eric: 37:24

He's followed by Mildred, Estelle Becker, and of course, Juan who continues to sing the wings and his 2 fishing boat buddies.

Sara: 37:32

Yep. So weird.

Eric: 37:34

Now, I did a quick search carrying the woman across threshold. Now according to Google AI, and of course, we know that Google AI is about as trustworthy as Wikipedia. The tradition has several points of origin or possible points of origin. Ancient Roman capture, tracing back to the myth of the Sabine women, brides were often captured or abducted by force. The groom physically carrying the bride into the home symbolizes the initial forced removal from her parents' home and resistance to the union. Then there's medieval modesty. In the middle ages, women were expected to appear reluctant and unenthusiastic about consummating the marriage. Wow. Carrying the bride prevented

Sara: 38:18

Talk about lowering expectations.

Eric: 38:22

Ladies And in some cases, that might be a rise to the expectations.

Sara: 38:26

Don't get too excited, ladies. Trust me. It's gonna be a letdown.

Eric: 38:31

Carrying the bride prevented her from looking scandalously eager to enter the bedchamber. Ouch. Warding off evil spirits. Ancient peoples and early Europeans believed the bride was highly vulnerable to evil spirits entering through the soles of her feet. I don't know about through the soles of her feet, but certainly evil spirits. Yeah. It was believed that these spirits lingered on the threshold of a new home. Why? Don't know. Apparently, it's a great place to hang out. Carrying her across the barrier was believed to protect her from negative energy. I guess that's a vampire thing. Right? You can't you can't come into your host house unless they're invited? Yeah. And then, of course, there's there's the good old avoiding bad luck. Folklore dictating that tripping while entering the home would bring lifelong bad luck. And a groom would carry his new wife to ensure that she entered safely because after all, men never trip.

Sara: 39:27

No. Of course not. Actually, it's funny that you looked that up because I did as well, and and I I found the same stuff that you did, but I Mhmm. The article that I looked at had a a little bit extra that I think is kind of interesting to where Laura is

Eric: 39:42

These are the DVD extras, folks?

Sara: 39:45

In her because like, it mentions the same thing, the the ancient Rome tradition, as well as the medieval England in which grooms who carry the bride into the door to avoid evil spirits cursing the marriage. It also mentions the 1st tradition, like you said, is from the rape of the Sabine woman in Roman mythology. And then the 2nd tradition, being the 1 that mentioned the tradition was to indicate the bride wasn't too eager to consummate the marriage. The 2nd tradition from England says there may be evil spirits that remain in the threshold of the door that could ruin the bride's fertility and marriage. If the groom carries her above the threshold, he can create a protective boundary for the new bride. The groom carries a bride in order to bring her into their new home together and mark the beginning of their married household. In earlier times, the tradition was to mark that the bride was demure and not too eager to begin life as a wife. So that's kind of interesting because Laura is not eager to begin this particular arrangement. They're not mean, they're not really married, but Mhmm. It it it actually does kind of fit in the sense that I'm not saying she's not eager to consummate the relationship, but let's face it. It's been 4 years, and they still haven't, you know, gotten to

Eric: 40:50

that Yes.

Sara: 40:52

That does show some reluctance as well as the fact that this isn't a wedding that she really like, she didn't agree to it this way. So carrying her over the threshold to avoid evil spirits cursing the marriage even further. Hey, you take I mean, is that possible? Yeah. It's a good point. But like, it's just symbolically, this makes sense to I I don't again, don't know if the writers were even aware of that or if they were just going with, hey, this is tradition, But so he should do it is kind of interesting to read that and then to look at what's happening with their relationship and go, Yeah. She's not really all that eager at the moment, so it kinda fits. Anyway Well,

Eric: 41:32

Mildreds tells Steele that she'll see what she can wrestle up in the kitchen, and Juan suggests, she had her vases, which is beer. Yep. Estelle Becker looks around the apartment, finding it lovely, and then she asks if this is where Steele and Laura are planning to live. And, of course, Steele and Laura, having totally prepared their plans, give contradictory answers with Steele saying yes and Laura saying no. Well, Estelle's smile falters, and Steele and Laura 1st exchange glances, and then they exchange answers. Steele saying no and Laura saying yes.

Sara: 42:03

Yes. Well, Laura glances away as if thinking, oh,

Eric: 42:08

this is never gonna work, but not wanting to let her frustration show on her face lest she reveal her thoughts to a Steele Becker. Steele tries to cover their contrary responses by saying, yes and no. They're going to live here, but they're gonna redo the place. You know? And he puts his arm around Laura, pulls her to his side Uh-huh. And explains that now that Laura's the little woman, she's got definite ideas about decor. He kisses her on the forehead as she gives him a very annoyed look. Yeah. And I get that Steele was trying to lighten the mood, play a role, divert Steele's attention from her task. But still, calling Laura the little woman was not a good choice, and I guarantee you, you ain't getting it tonight.

Sara: 42:54

So, okay. This is you you've already kind of touched on what I was gonna say, but this is kind of, I think, where this season where some of the problems of the season come from because we've talked about this before. I mentioned to put a pin in something in Suburban Steele where he was basically kind of parroting these old school traditional roles within the household, even though he's a better cook than she is. He was the 1 that said, oh, can't confuse the kitties. Mom makes dinner. Dad takes out the trash. This is him playing a role. Again, he has no idea what what an actual marriage looks like. He has no he has no role models or examples of that. All he has are are t well, film.

Eric: 43:36

TV shows.

Sara: 43:37

And all of those movies show very traditional gender roles and very traditional sort of behaviors from the man and the woman. And so he's not treating Laura like a wife. He's treating her like a housewife, which is fine if if that's what she wanted to be. But she isn't. And he's kind of just going by the script of what he thinks a wife how he thinks a wife is talked about. How he thinks

Eric: 44:06

He's he's treating her as the stereotypical housewife.

Sara: 44:11

Yes. Yeah. And and and that's Not

Eric: 44:13

a real not a real life No. I'm not real world housewife.

Sara: 44:16

I'm not I know. That's what I meant when I said, like, a housewife. Like, I meant, like, your stereotypical in the movies Mhmm.

Eric: 44:22

Right.

Sara: 44:22

Type of housewife, and, obviously, that's not real life. That's not how real life works. And some women might not mind being called the little woman. I would personally throat punch you, but, hey, whatever. You do you. But Yeah. You know

Eric: 44:37

what I want. Yeah. The color of the little woman, and it's just it's never been the same since.

Sara: 44:42

This is all he knows. He's just sort of going by the cliches and the tropes that he's seen in film because that's literally all he's got to reach for. Mhmm. And obviously, it drives her nuts, but I don't think he's genuinely trying to irritate her here. I think he's this is the best he can do with the information he's got.

Eric: 45:03

Yeah. He's not deliberately trying to irritate her, but yeah, you're right. It's all he's playing a role based on on the points of reference that he has, which are wrong. Yeah. And definitely, I mean, he should know that

Sara: 45:16

they don't apply to Laura. No. But he's also thinking that immigration wants to see that. Yeah. Because their relationship is unconventional to begin with. Right? Their relationship Right. Even in the eighties, it was very common for women at least to take some time off to if they're having children to look after the kids or Mhmm. Maybe not even go back to their jobs. Like, housewives were still very common in terms of family structures. So for you to have 2 working professionals that don't intend to follow that formula, and I really think that they wouldn't follow that formula, I think they would find some way of both continuing the agency, doing it safely, maybe, you know, lightening their responsibilities a little bit, but still working. It would look weird to he's trying to avoid looking any weirder to immigration than they already do.

Eric: 45:59

Mhmm.

Sara: 46:00

So he's falling back on things like, oh, she's got opinions about the decor because lord knows that man doesn't have any opinions about his decor.

Eric: 46:08

And and and the household is the woman's domain.

Sara: 46:11

Exactly. So

Eric: 46:12

that's what he's happy falling life.

Sara: 46:14

That's what he's falling back on. And never mind the fact that he obviously has his own sense of style because he's decorated his apartment. Mhmm. And he obviously can cook his gourmet meals, so he has those skills. But that again looks kinda weird to immigration if he says, well, we're gonna live here together. We're gonna keep working. I'm gonna cook. She'll maybe take out the trash. Like, it just he's trying to make it look as conventional to immigration as possible in order to not sign up any red flags. But unfortunately, it just looks forced.

Eric: 46:47

It sends out more red flags.

Sara: 46:48

It sends out more red flags, and it pisses Laura off, which is not helping because my God, will nobody let that woman shower? She has been through literal hell, and they wanna have a wedding party. She looks like she just rolled she did just roll in a mud puddle. Let the woman go and clean herself up. They just invite themselves in. Like Yes. I would be so angry if I were her right now, not just because of the wedding, but because they're not leaving. Like, go away.

Eric: 47:13

Yes. Go away.

Sara: 47:14

You know?

Eric: 47:15

Well, after Steele's comment about the little woman having definite ideas about the decor, Estelle says that she's very partial to Scotch Plaid.

Sara: 47:23

Oh, god.

Eric: 47:24

And who gives a flying fig what you think, Estelle?

Sara: 47:28

I mean I think she's hoping to, like, swap decor ideas with Laura, and Laura's just not having it. And also, can

Eric: 47:37

you imagine It's totally inappropriate, though. It's inappropriate for her to say anything like that.

Sara: 47:42

Oh, for sure. But can you imagine that apartment decorated in Scotch Plaid? No. Thank you.

Eric: 47:48

Well, Steele is clearly stunned both by her lack of shares to at thinking that she has any place to make any sort of decorating recommendations to people who not only didn't ask but whom she doesn't even know as well as her apparent lack of taste. Scotch clad may be fine for a kilt, but it's not a theme for a home. And I mean, no offense to our Scottish friends, but I mean, really, there's gotta be a limit.

Sara: 48:10

Was she thinking of, like, putting that as the wallpaper or something? Because the only types of rooms you see with Scotch Platte as the wallpaper often have, like, a giant buck mounted on the wall, and I don't see Steele living in a in in something like that. Well

Eric: 48:27

yeah. Anyway, not wishing to offend, but clearly not willing to give any serious consideration to the suggestion of Scotch Plaid. No. Steele insincerely calls it a wonderful suggestion to add a bit of color to the drab old bachelor digs. Yeah. And of course, Laura rolls her eyes Yeah. At the absurdity of the exchange. And Steele turns to Laura and asks, well, what do you think, my love? And she stares at him hard for a moment and then says, she thinks she'll go freshen up a bit.

Sara: 49:01

Yeah. Let the woman shower. My god.

Eric: 49:05

And as she's leaving the room, Steele says,

Sara: 49:07

oh, good idea.

Eric: 49:09

Steele, Estelle, and Juan are still Steele, Estelle, and Juan are left standing, so Juan breaks into a song. Laura is the face in the misty night. Juan begins invading Steele's personal space, forcing him to step back. And then Juan begins gesturing with his head for Steele to follow Laura, and then makes Making kissy noises. Before he continues to sing. And Juan keeps moving Steele back toward the bedroom as he sings and plays the dossier.

Sara: 49:41

Do you expect him to do here? Go in the bedroom and, like, listen as they consummate things? Like, I realize, again, if we're going back to medieval times, that's what actually used to happen. In fact, fun fact, this is completely women used to keep chicken blood under the bed Mhmm. Because not every woman bleeds their 1st time. Mhmm. There's that whole myth about the hymen that can be broken very early on in childhood. It can stretch. It can be not. Some people don't even have them, but it was expected. So women would often keep or their housekeepers would tell them before they got married like, here's some chick like, keep it out of the bed and they would like sprinkle it on the sheets if they didn't actually bleed so that they wouldn't be thought of as not a virgin. And then they would hang the sheet out outside the door.

Eric: 50:26

Yeah. For outside so people Yeah.

Sara: 50:29

Exactly. Yeah. So, like, is this what is happening? Do they wanna, like, put their ear up to make sure that they're, you know Well Like, what's going on here?

Eric: 50:36

Well, you know, in Bones, the house that Temperance eventually bought had a whole wall of glass in their bedroom. I wondered about that.

Sara: 50:45

I was like, that is a choice. Wait. I hope you've got curtains.

Eric: 50:50

Yes. Anyway, so Steele finally arrives at the bedroom door and then hesitates until Juan finishes singing. Steele pats Juan on the arm and then enters the room. He enters to find Laura back to the door, arms crossed, head down, cross look on her face, and definitely not freshening up. No. At the sound of the door opening and Steele entering, she turns her head to the side but doesn't look at him, and she turns her head back, staring straight ahead again. Steele stands, clears his throat, but Laura doesn't respond. So he lightly asks, thinking about Scotch Plaid. Oh, dude.

Sara: 51:29

Dude.

Eric: 51:29

Except that is often is the case, his default of trying to lighten the mood with a witty comment is terribly ill timed.

Sara: 51:37

He oh, come on, guy. Like, at this point, I don't know if he's just genuinely clueless about what she's going through at the moment because it's not just that she was forced into this fake marriage. It's that she's filthy. She's tired. She was literally attacked only a few hours ago. She's having to keep up this conversation in front of these people. Like, all of this stuff, it it would be a lot for anybody. So You know? Say, are you okay? Do you need something? Can I get you anything?

Eric: 52:12

You know, if you're in a ship and you alter the course just 1 degree, nobody's gonna notice.

Sara: 52:22

Right.

Eric: 52:22

Then you alter it another degree, nobody's gonna notice. Yeah. You alter it another degree, nobody's gonna notice until eventually people notice, hey, we're going the wrong direction. Yeah. And this is the 1st degree. This this I mean, whole sequence yeah. This is the 1st degree of the destruction of Laura Holt and Remington Steele's characters.

Sara: 52:42

Well and I I I'm gonna

Eric: 52:44

Because try to

Sara: 52:45

salvage the characters.

Eric: 52:46

Up to up up up up up to the end of season 4, Steele would not have been so oblivious. He would have been a little more sensitive.

Sara: 52:58

Sensitive Steele? He would have been sensitive Steele? No. I would argue that, I don't know, Bonzo Steele, he was pretty freaking oblivious when she was being strangled, and he was just sitting there like, boo

Eric: 53:09

boo boo. Okay. So maybe it started back in let let's say it started back in Bonds of Steele, but I mean, it's it's just another degree another degree another degree. And in the the context of the sequence of the episodes, you don't really notice it, but I mean, it's it's at the point where we're now noticing the destruction of their their characters.

Sara: 53:27

I'm gonna okay. So because I'm the

Eric: 53:29

cispunk power disagree test and argue with me.

Sara: 53:31

Go ahead. No. No. No. I don't I don't disagree. I They definitely they definitely take their characters in some pretty unfortunate directions and and have them doing and saying things that they really in terms of the character growth they've undergone, shouldn't be doing and saying. I'm going to try to find justifications for it because

Eric: 53:51

Of course, you are. Because I

Sara: 53:53

I Well, because I I wanna at least somewhat enjoy these episodes, and I do because this was this These 2 episodes were the 1st episodes I ever saw. Mhmm. I I turned it on. I remember exactly the scene that I turned it on. Ironically, it was when she's in the jungle, and she gets attacked by what the and Tony saves her by swinging down the vine. That was literally the 1st scene in the show I ever saw. Ironically, Pierce was not even in that scene.

Eric: 54:17

No. In fact, they are totally separated in this episode for Yeah. Huge amount of

Sara: 54:24

that scene, I was just like, oh, this looks fun. I'm enjoying this. I obviously didn't know about the background of the show or their characters or, you know, any of that stuff. But it was enough to keep me interested and to have me keep watching the show. So, I I do enjoy There is some entertainment value in these episodes. I'm gonna try to find it. I'm gonna try to justify some of it. I do think he should have just said, hey, are you okay? Can I get you something? That should have been his opener, not thinking about Scotch Plaid.

Eric: 54:53

You are forgiven, my child. Anyway, Laura drops her arms to her side, turns to face Steele, and with controlled anger tells him to never call her the little woman again. And Steele shrugs, apparently not seeing the big deal, and calls it just a mere figure of speech. Oh. She stalks toward him and intensely informs him that she is not his little woman. She is not anybody's little woman.

Sara: 55:22

And honestly, again, you have to wonder how he doesn't see why this phrase is bothering her, not just in terms of what's going on right now, but just in general. Mhmm. Little woman is very, very demeaning. Yeah. It's it's not in any way, like, the the British have, or I don't know if it's the British. Maybe it's just the Scottish, but they have their own sort of equivalent. They refer to the wife as her indoors. And, again

Eric: 55:48

Woah. What?

Sara: 55:49

Yeah. Her indoors.

Eric: 55:50

The the wife is called her indoors?

Sara: 55:52

Yeah. In other words, she doesn't leave the house. Yeah. Isn't that 1

Eric: 55:58

fun? So,

Sara: 56:01

I mean, like, it it's it's basically not that much different from ball and chain. You know? It's not Yeah. Really it's not complementary in any way, shape, or form. So, again, you have to want but, again, he's operating from this. This is what they say in the movies. This is what marriages look like in the films. It's just a figure of speech. Why is she so angry? I I personally think this cluelessness is, like you said, a character assassination.

Eric: 56:28

Yes.

Sara: 56:29

Because anybody with half a brain should be able to see that when she's that filthy and after they've all they've been through, that she's not gonna have much of a sense of humor.

Eric: 56:38

No. But

Sara: 56:41

No. We'll go with it.

Eric: 56:43

Anyway, his own temper starting to simmer just a bit. Steele responds back that if they're going to look married, they have to act married, which apparently includes fighting like they're married.

Sara: 56:52

Well, yeah. But this is the problem. He only has 1 idea of what marriage looks like.

Eric: 56:57

Yeah. I I know. I know. Yeah. You can get off that horse now. It's dead. Alright. Indignantly, Laura retorts that if acting like they're married means making goo goo sounds and mooning over Scotch Plaid every time someone's around, forget it. And Steele, trying to mollify her, but coming off more condescending and dismissive than anything else, tells her that she's tired. And if she's and he gives her a quick look over, filthy, and and then he leans over toward her and sniffs and sniffs again, tells her that she smells like crab salad. Dude. Dude. Oh, you know? Stop. Maybe he has a problem that it smells like fish.

Sara: 57:38

Just stop opening your mouth at this point. You know? Like, there's a just just stop.

Eric: 57:46

Well, he points to the bathroom and then tells her to take a bath, and she'll feel much better. Just don't use his razor on her legs. He picks the blades.

Sara: 57:54

Again, translation what he could have said. Hey, I see that you're upset. I understand it's been a really long day. Why don't you stretch out in the bathtub? Have a bath. Relax. I'll get rid of everybody. We'll talk about this later.

Eric: 58:10

Well, you know, and my my note there is kind of along the same lines, but I took a kind of different approach to it. I I I my note say, up to the razor comment, what he was trying to say was fine, but the way he presented it was all wrong. Then he went and added the razor blade comment. Yeah.

Sara: 58:27

That how would they make what are her is her leg hair made of Steele?

Eric: 58:32

It's 1st of all, I'm reading my notes here. 1st of all, I don't understand how a woman shaving her legs is any harder razor blade than a man shaving his face.

Sara: 58:40

I mean

Eric: 58:42

But then aside, mean, does he only have 1 razor blade? No way to replace it? I mean, come on. Blades are cheap or at least traditional blades are.

Sara: 58:49

Well, that too. And and at the same and and, again, like, if if that happens, you replace it. Like, you can replace it.

Eric: 58:56

Yeah. Yeah. And and if you have the the double edged blades, the traditional blade, not the new, you know, 75 blades on a cartridge and, you you know? Each 1 costs $75. Those those double edged blades are, you know, pennies a piece. So yeah. I mean, that was just yeah. And why I've never understood that. I've heard that before. You know, a woman's a woman's gotta have her own razor because it will nick the blades on the man's razor. How?

Sara: 59:26

How? So I'd googled this.

Eric: 59:30

And and also, you know, the the marketing people, well, this razor is designed for women. Why? Because it's made out of pink plastic? Because the the the shaving head is exactly the same as, you know, those multi blade whatever they are, the ATRAS or Ultras or whatever. I mean, it's the same I

Sara: 59:49

googled this because I was curious Mhmm. Now that this is this is a thing we're talking about.

Eric: 59:55

And basically We're we're in pretty bad shape that we're talking about razor blades on a Remedy Seal podcast. But anyway, okay.

Sara: 1:00:01

Okay. So this base and this is not by any stretch of the imagination the only final word on this, but this article says, firstly, let's put this to bed. As far as razor blades themselves are concerned, there's no difference. The cutting edge of the razors are the same regardless of gender. Where the blades do differ is the angle they cut at. Men's razors cut closer to the skin, while women's razors have a less aggressive angle. The position of the razor head on the handle also differs. Men tend to shave looking at themselves in the mirror, while women look downwards at their legs. Some female razors have a handle with a higher angle to allow for a better view while shaving the legs. Female razors also tend to have a wider head and more lubricating or anti friction strips for moving smoothly over the larger areas of skin with more ease. But by far, the most controversial differences between male and female razors are color and price. Women's razors often being pink and costing an average of 11% more than their male equivalent, the pink tax. This goes for the razors themselves along with things like shaving gel and creams, making the female shaving experience more expensive all around. The reality is that there's no difference between men's and females razors, but is this a difference where we're spending 11% more for the same result? Well So yeah. It's just the angle is a bit different, but it's not gonna hurt your blades. Like, that's Yeah. Ridiculous. So

Eric: 1:01:11

Well, I and I didn't realize that they charge more for that,

Sara: 1:01:13

which actually is is kind

Eric: 1:01:16

of falls in line with something I've noticed.

Sara: 1:01:18

Deodorant too. Deodorant. Like, anything that you can get where they just make it pink, they make it smaller, and then they charge us more for it. It's fun.

Eric: 1:01:25

Well, I've I've noticed something similar with a lot of paper products like paper towels and

Sara: 1:01:31

Yep.

Eric: 1:01:32

And napkins and such. If you get the unbleached versions Yep. They're like 10, 15, 20% more than the bleached versions even though Yeah. The unbleached literally removes a huge step of the manufacturing process, making them less expensive to make, but you pay more for them because you're going to because you wanna feel good about yourself saving the environment.

Sara: 1:01:57

Pretty much. Yeah. I started buying men's razors a while ago because I was like, why am I spending more for these? They're the same thing. One's pink and one's black. I'll take the black 1. Sure.

Eric: 1:02:11

So anyway, getting back into the episode after all this wonderful razor talk. After Steele's comment about going to take a bath and relaxing, Steele gives him or Laura gives Steele an intense look and says, good idea, and then turns toward the bedroom door. And Steele helpfully informs her that she's going the wrong way.

Sara: 1:02:30

As if she

Eric: 1:02:31

didn't already know that. And she corrects him telling him that she's going home to take a bath in her tub to nick her razor. And she begins to open the bedroom door, but Steele rushes over, pushes past her, and pushes the door back shut. Then he puts his hand on the wall next to her head.

Sara: 1:02:49

Okay. Yeah. I got a problem

Eric: 1:02:50

with that. And then he leans into her really close. Yep. Can you say intimidation? And in a smarmy tone says, plenty of time for

Sara: 1:03:00

that, just as soon as

Eric: 1:03:01

we convince our immigration lady out there that we're sincerely and irrevocably married.

Sara: 1:03:06

So this to me doesn't feel intimidating so much as it feels desperate. Like, I I didn't get the the idea that he was trying to, like

Eric: 1:03:14

Well, I mean, that's a typical intimidation gesture. I'm gonna get up in your face.

Sara: 1:03:18

It is. It is. But I think this is more of him pleading, like, okay. Please just just help me out here. We need to just convince this lady that we're married. I don't think

Eric: 1:03:28

I he's got I will acknowledge there's some pleading in there, but I I Yeah. It seems to me that it's as much intimidation.

Sara: 1:03:34

I don't If it is, I don't think it's intentional. I think it because I don't think that his character, even the assassinated version of his character, is ever deeply malicious in in that way, that he's gonna try to threaten her or, you know, anything like that. Because at the end of the day, if she reveals the ruse, it doesn't hurt her. It just hurts him.

Eric: 1:03:54

Mhmm.

Sara: 1:03:54

He gets sent home. Right? He

Eric: 1:03:57

Yep. So And and I noticed in this scene, on 1 frame, there's a hair on the lens. I just I I just happened to have the video up, and it just stopped right there, yeah, there's a a hair on the lens when they did the transfer.

Sara: 1:04:15

They weren't expecting us to watch it in such large clear televisions.

Eric: 1:04:20

Yeah. Except it's pretty obvious. I mean, it's just you can't miss it. Anyway, yeah. It's just he's he's not handling this well.

Sara: 1:04:28

No. He's not.

Eric: 1:04:30

And Laura shakes her hands in frustration, rhetorically asking why she ever agreed to this. Smiling Steele answers that it was because she didn't wanna see him deported, he reminds her. She scowls looking off the side looking off to the side in thought, and then after a quiet moment, Steele scowls, nervous about her lack of response, then

Sara: 1:04:51

accidentally

Eric: 1:04:51

asks she doesn't want to see him deported, does she?

Sara: 1:04:58

I'm thinking,

Eric: 1:04:59

she says. I'm thinking, which is very reminiscent of a Jack Benny routine. Yeah. And instead irritated rewind irritated, Steele reminds her that he didn't want to get her involved in the charade in the 1st place.

Sara: 1:05:19

She

Eric: 1:05:19

volunteered. And still frustrated.

Sara: 1:05:23

She knows I mean, kind of, but backed into a corner. It it's more voluntelling because at that point, he had, you know, mere minutes to make a decision. And, yeah. I don't know if volunteer is the word I would use, but

Eric: 1:05:40

She stomps off toward the bed and then sits down, and that's always been her problem, she bemoans. Even as a child, she had her hand up for every thankless task, every dirty job, eager little Laura, 1st in line to please.

Sara: 1:05:53

Their marriage is a dirty job. Get it? Sorry.

Eric: 1:05:59

Dirty eaves done dirt cheap.

Sara: 1:06:00

It's a dirty job, but somebody's gotta do it.

Eric: 1:06:08

It still smells like fish. Steele comes over and sits on the bed beside her. Admits it's not gonna be easy or particularly enjoyable. Oh, boy. Talk about a compliment there.

Sara: 1:06:19

Yeah. I this okay. So this is this is the part, like, I I here's what I would have liked to have seen from the writers I would have liked to have seen Steele sit down and say, listen. This isn't the way I wanted to do things either, but I think you and I can make the best of it. We might even enjoy it. Instead, he's he's kind of like, yeah, it's gonna suck, but what do you do? Wait. They're they're basically like sucking any kind of

Eric: 1:06:50

hope Potential of joy.

Sara: 1:06:51

Yeah. Well, yeah. That's the thing because like the the viewers could at least I personally could have had some fun with the idea of them faking a marriage for a season. Could have been a joke.

Eric: 1:07:02

I'm sorry. I'm sorry. No.

Sara: 1:07:04

But I mean, it they it could have been enjoyable

Eric: 1:07:06

watching faking it for years. Right?

Sara: 1:07:08

Yeah. I just mean, like, having them living together, playing house, having me convince immigration while still kinda trying to figure out their their crap or whatever. It it might have and it could have been that vehicle they used to get them closer, to get them to to say they love each other, to get them to actually commit because they've been forced into it to begin with. But instead, they they keep sort of, like, yanking them back, and and it's it's frustrating because Mhmm. This could have been fun. This could have been funny. This could have been mad cat.

Eric: 1:07:39

This is is still that we can't get them together.

Sara: 1:07:43

Yeah. It's

Eric: 1:07:44

it's a different approach to it, but it's still we can't get them together.

Sara: 1:07:48

It could have been equally as fun as the whole he doesn't really exist, but we're gonna pretend he does. We're not really married, but we're gonna pretend we are. It I would have liked to have seen him at least try to cheer her up rather than saying, yeah, we're not gonna like it, but hey, what are you gonna do?

Eric: 1:08:03

Well, Steele says that somehow they'll get through it. After all, they've carried off the myth of Remington Steele's existence for all these years. And Laura flippantly says, so a simple thing like a bogus marriage should be a piece of cake.

Sara: 1:08:15

I like that that's what cheers her up.

Eric: 1:08:20

And Steele tells her to look on the bright side. After a couple of years, they can get a divorce. And at this, Laura Brighton's saying, now you're talking. And Steele continues to look at Laura, but a serious look comes over his face saying, in case I haven't said it before, thank you.

Sara: 1:08:37

His face kind of falls slightly after she says, now you're talking. And I'm not saying that he was looking for her to say, oh, no. I don't wanna get a divorce. Let's stay married. But I think there was I think both of them are kind of playing a part to each other.

Eric: 1:08:52

Mhmm.

Sara: 1:08:53

He's trying to know, hey, we can always get divorced. And I think deep down, that's

Eric: 1:08:58

He was hoping she's he'd say, oh, you know, maybe we maybe

Sara: 1:09:01

we'll We'll see. We'll see where it goes.

Eric: 1:09:03

Yeah. Leave it indefinite.

Sara: 1:09:05

I think that yeah. I think maybe he even he didn't realize because his face does kind of fall a little bit after she says, now you're talking. And then that's what leads him to finally at least drop all of the jokes and

Eric: 1:09:20

Mhmm.

Sara: 1:09:21

Insensitive comments and thank her because what she's doing is like, she's really putting herself on the line here. If the marriage is declared fraudulent, she could get in some trouble.

Eric: 1:09:33

Yeah. Yeah.

Sara: 1:09:35

So

Eric: 1:09:36

Well, Laura smiles and nods and with a deep sigh stands and heads to the door, tells him, let's go out and talk Scotch Plaid, trying to psych herself up with faux enthusiasm.

Sara: 1:09:48

Why can't she shower? Why won't they let her shower? Sorry.

Eric: 1:09:53

And she concludes, though, that if anybody gives her a silver pattern, she's gonna cream them. And what is

Sara: 1:10:00

What's what's a silver pattern?

Eric: 1:10:04

Silverware? That what you call patterns on the silverware, different different styles of handle. Wow. They're all if you're doing it right

Sara: 1:10:16

I just went to

Eric: 1:10:17

the match. It's it's not like you went down to the local, you know, secondhand store and picked up, oh, here's a knife. Oh, here's another knife. Here's another knife. And and none of them match like most That's of us what's in my drawer right now. Yeah. You you you go down to a houseware store and you buy an entire set of everything.

Sara: 1:10:38

Okay. Well, I don't have that, so that's why I didn't know And

Eric: 1:10:41

and there's the platters and the bowls, the the serving dishes,

Sara: 1:10:46

and all that other stuff to go along with it. Oh, yeah. No. I've

Eric: 1:10:52

Grinning, Steele reaches out to Pat her and starts to say, that's my little woman. But he catches himself and jerks his hand back when he sees the, oh, no. You don't look on her face.

Sara: 1:11:06

She's gonna castrate him in his sleep. He's gonna wake up without his favorite part, you know, his Yeah. His anatomy. Like, dude, we just had this conversation.

Eric: 1:11:17

Well, he he jerks back and and palms out of surrender gesture with his hands and corrects himself to say, trooper. Trooper. I said trooper.

Sara: 1:11:26

He smiles and then with both hands points to his

Eric: 1:11:29

face and reminds her, happy, happy. And his animated hand acting here is is deliberately absurd.

Sara: 1:11:36

It's fun. It is fun.

Eric: 1:11:39

Anyway, she gives him an exaggerated smile, and then they turn and go back into the living room. Well, Juan is still playing his concertina, and just a Steele and Laura walk out of the bedroom and into the living room, Eldred, Estelle, and Juan's shipmate toss rice on the happy couple. Meldred asks if the boss has any more beer. They're running dangerously low.

Sara: 1:12:00

Get out. Leave them alone. Go home.

Eric: 1:12:06

Steele apologizes that he doesn't, then he asks Juan if he knows the party's over. And Juan, not understanding, Yeah. Looks at But Steele tells him, well, don't worry about it. He'll send Juan a copy of the sheet music. And Steele begins guiding Juan and his friends towards the front door, but Juan, ever hopeful, asks, or beer? No, Steele tells him as they approach the door. And he says that it's really been quite lovely having them, not that any of the boat trio can understand him, but then as way of explanation, he makes a loud kissing sound. Oh, this is 1. Yes. Now he gets it. Get out.

Sara: 1:12:48

Get out.

Eric: 1:12:51

Steele opens the door, but standing on the other side of the doorway is a large, dangerous looking cactus holding a smaller, less dangerous looking cactus. I mean, it's Norman Keyes holding a dangerous looking cactus. The cactus is hiding Keyes' face, of course, at 1st, but then he lowers it, and then the tone of voice that somehow manages to sound flat and emotionless, yet sharp and threatening at the same time says, wedding present.

Sara: 1:13:15

Feel like the the opportunity for a joke involving the phrase little prick was sadly missed here. I'm just saying.

Eric: 1:13:32

Steele eyes it wearily wearily and warily and says, you shouldn't have. And without taking his eyes from Keyes, he hands it to Laura who then takes it and tells Keyes, every time we look at it, we'll think of you.

Sara: 1:13:46

Yeah. They both look at him like something that was stuck to their shoe

Eric: 1:13:50

Yes.

Sara: 1:13:50

Which is really good facial acting. The 2nd they see him, they're just instantly disgusted. It's great.

Eric: 1:14:00

Well, Laura hands the cactus to Mildred, and Steele snidely tells Keys that he'd invite him in, but they just had the carpet cleaned. Still cracking jokes, Steele? Keyes asks and tells Steele that he's he's in Keyes tells Steele that he's in the last laugh business, and he's gonna have it on all of them. He calls the marriage a farce, warning that it's gonna cost Steele 5 years in the federal pen, Laura her investigator's license, and pointing to Estelle Becker, says it's gonna cost her her job. And turning his attention back to Steele, Keyes tells Remington to keep listening because that's gonna be Keyes he's gonna hear laughing when he's on his way to Leavenworth. Ugh. Keyes leaves. Mildred shoves the cactus at 1 of the deckhands calling it a party favor, and then they've

Sara: 1:14:49

loose the 3

Eric: 1:14:50

men up.

Sara: 1:14:50

Love it.

Eric: 1:14:53

After Juan and his friends are gone, Estelle complains that that man is despicable, and angrily, Mildred expresses a desire to take a bat to the peen to that pinata head of his.

Sara: 1:15:04

She needs to take a number because at this point, I think they would all like a good swing.

Eric: 1:15:09

Yes. Well, Steele tries to calm everyone saying that there's no need to let Keys ruin such a joyous occasion. So if they don't mind, he and missus Steele would like to get a jump on their honeymoon activities. He

Sara: 1:15:24

wants to jump jumper for the honeymoon. Got it.

Eric: 1:15:27

What makes him think that after the last 24 hours, including their conversation moments Yeah. Earlier that there's going to be any honeymoon activities.

Sara: 1:15:35

Well, I honestly, I don't think he even planned there to be any. I think that was just him saying that to get Estelle out the door.

Eric: 1:15:42

Well, that's probably true.

Sara: 1:15:43

He ends up putting his foot in his mouth because she's like, oh, yeah. You need to go on a honeymoon. Yeah. Oh, where are you going?

Eric: 1:15:48

Is what she says next. Yeah. And, of course, she's lost all objectivity in the immigration case file. She's become an emotional participant in the marriage. Absolutely. Well, at the question of where they're going, Laura stiffens, and with a tinge of confusion in her voice, repeats, going? On their honeymoon, Estelle asks. Steele and Laura stammer for a brief moment, and then Laura says truthfully that they hadn't made any specific plans. They thought they'd just let the spirit move them, Steele adds. Estelle warns them that Keyes is relentless. He raised such a stink about this marriage that Estelle's superiors are breathing down her neck, which means she's gonna be breathing down their neck, looking over their shoulders, and recommends that they have their honeymoon right away and take lots of pictures. Mildred suddenly declares, she's got it. That's her wedding present to Steele and Laura. Uh-oh. Remington and Laura try to protest, but Mildred won't have any of it. The honeymoon is on her. Apparently, those raises Steele's giving her have made Mildred independently wealthy because I mean Yeah. Of how else could she afford to pay even for a low cost Mexican honeymoon at the drop of a hat? Yeah. I mean, come on. I don't have you know, how many people have that much money laying around?

Sara: 1:17:06

Not many. Not many. No. Well and in and in Big Borrower Steals, she barely even had 3 she had $3, and all her credit cards were overdrawn. So That's true. Where's that money coming from?

Eric: 1:17:19

Do we wanna know what she's doing on the side?

Sara: 1:17:21

Maybe not. Anyway, next we see

Eric: 1:17:25

Laura and Remington are winging their way to Mexico in not much comfort.

Sara: 1:17:31

Apparently, even with see her hair has changed. Her bangs. Yeah.

Eric: 1:17:37

Yeah. Well, apparently, even with Mildred's newly found affluence

Sara: 1:17:45

Laura's not even in a seat. She's not properly in a seat. She's, like, halfway onto the other seat.

Eric: 1:17:50

They've got 4 people into 3 seats because it's it's not only the cattle car section of the jet, but they've overstuffed it.

Sara: 1:17:59

Yeah. That can't be safe.

Eric: 1:18:03

No. But it's it's visually funny.

Sara: 1:18:07

Yeah. It is funny.

Eric: 1:18:08

Laura has her hat in her lap, and she's eyeing the magazine of the man in the seat next to her or in the half of the seat next to her. Yeah. And then half of the seat other half of the seat that she's in, Steele, who has the window seat, is also looking across at the man's magazine. And yeah. I've got my note here. It appears that the airline has stuffed 4 people into 3 seats, so he is half sitting in Laura's seat. Yeah. Head in hand, Laura gives or Steele gives Laura a side look and tells her Head in hand, Steele gives Laura a side look and tells her to remind him to give Mildred a raise when they get back from Mexico. Okay.

Sara: 1:18:48

So it can't like, Mexico I'm I'm just checking how long it would take to fly there because 3 hours and 45 minutes. Suck it up. Sorry. Just Google it. I was like, it can't take that long. I'm like, it is a 7 hour flight to go from Canada to Scotland, where I am in Canada to Scotland. Longer if you're further down my country. But, like, for 3 hour come on, guys. You can do this. It's it's it's a it's the length of a Lord of the Rings film. Just get, you know, get over yourselves. Anyway. Well,

Eric: 1:19:23

Laura says that she's sure it's just a small communication issue. And when she spots a stewardess, she calls her over. And the woman asks Laura if she would like the seafood surprise or Chucky beef.

Sara: 1:19:34

Nothing with surprises ever good. Never ever ever ever get good.

Eric: 1:19:40

I've got it in my notes.

Sara: 1:19:41

The

Eric: 1:19:41

word seafood and surprise are 2 words I You should never go might as well just say food poisoning.

Sara: 1:19:47

You might as well just see how yeah. Exactly. Diarrhea. Fun honeymoon times. Nope. Nope. Nope. Nope.

Eric: 1:19:54

And Laura says, no. No. No. No. There seems to be a mix up in our seating, and then she asks if there are any openings in 1st class. The stewardess says she'll check, but she doubts there were any cancellations. And Steele Mumba was not to say that word, and Laura tells her to tells the stewardess to never mind. It's a sore subject. And okay. Call me It doesn't make sense. Stupid. Just come late for dinner. Nope.

Sara: 1:20:18

It doesn't make sense. You're 100% correct.

Eric: 1:20:21

Okay. So you know where I was going too

Sara: 1:20:22

because yeah. It feels like something was taken out of the script, and we're getting the we're getting the punch line, but not the setup.

Eric: 1:20:29

Yeah. Because it it just makes no sense to me. And then they they repeat the

Sara: 1:20:34

The joke repeats

Eric: 1:20:35

the reference later. Yeah.

Sara: 1:20:37

We don't get like, if there was any indication, maybe they're, like a scene, for example, at the airport where they're finding, oh, their their 1st class tickets were canceled, and they have to fly coach or what have you, then that would make sense. But we have we've got nothing except this shot of them crammed into this these seats, and then, you know, a sore subject. Okay. How? Mhmm. It yeah. No. I'm right there with you if the joke does not land.

Eric: 1:21:05

Well, next, we're at an airport somewhere in Mexico. Steele and Laura are sweating as they wait for the limo that is supposed to pick them up.

Sara: 1:21:12

Steele is sweating. Laura looks fine. Well, yeah. This 1. Can't blame

Eric: 1:21:16

would you stop reading my notes? Sorry. Because I've got it written here. Or at least Steele is sweating. Laura seems to be cool and comfortable.

Sara: 1:21:25

Yeah. She looks good, actually. I like that dress on her. Like, that color looks nice on her. She doesn't look too bothered. He's just like this is like the running all over again. Right? She's fine, and he's just, like, dying.

Eric: 1:21:37

Well, a man approaches with a sign that says, Senora Steele, with the name spelled like a criminal. The man standing the man standing motionless and silent has a detached look on his face that doesn't exactly inspire confidence.

Sara: 1:21:51

No. No.

Eric: 1:21:52

Laura Reed Simons says that you're not the we're not the droids you're looking for. She asked if they're if he's looking for them, which is, of course, a stupid question because he doesn't know who you are. And how does he know if he's looking for you specifically? All he knows is he's got a sign that says, Senora Steele. And of course, it doesn't matter how stupid the question is because the man doesn't understand him anyway. So he just continues to stand motionless and silence motionless and silent. And Laura glances at Steele who, as I recall, used to speak some Spanish, at least adequately, if not fluently. So also, what happened with Laura and her Spanish lessons from the housekeeper? Steele Yeah. Away with me,

Sara: 1:22:37

I think? Question. Yeah. I don't know.

Eric: 1:22:40

Anyway, Laura turns back to the man with the sign and points to the sign and says, Steele, and then gestures toward herself, and Remington says, we are Steele. The man nods slightly, says, si, turns and begins to walk away. As Steele hollers after the man, we'll get the bags. Don't worry.

Sara: 1:22:59

Yeah.

Eric: 1:23:00

And with reservations, Laura expresses hope that the limousine is nicer than the driver. Oh. Turns out the limousine is a small plane, which isn't any nicer than the driver. In fact, it looks like it was rescued from

Sara: 1:23:13

a junkyard. That's full of livestock too. Like it

Eric: 1:23:16

Oh, yeah. That too. And again, Laura and Steele are cramped into a single seat at the extreme rear of the plane's passenger compartment, their bags all around them and sitting in a semi squatting position with their legs and knees cramped up against her chest. And as the plane comes in for a landing, we hear at least 1 of the engines sputtering. We also see a chicken.

Sara: 1:23:36

The chicken is great. I love the chicken. They're just flying into Steele's lap, and he's just like, what is happening right now?

Eric: 1:23:43

And then he catches it and just cradles it in his arm.

Sara: 1:23:47

Well, he's holding on for dear life. The plane may or may not land properly. So

Eric: 1:23:51

And maybe if he holds on to the chicken, the chicken will flap his wings. He'll fly if they crack. And

Sara: 1:23:58

this is the stuff in the episode that I actually really enjoy. Like, all of the stuff going wrong in their honeymoon, I am here for it. The way that they're just sort of like Mhmm. Okay. Fine. This is if they had sort of kept they could still have Kept

Eric: 1:24:11

the tone.

Sara: 1:24:12

The tone and kept it, you know, kept moving the relationship forward. Mhmm. This is great. This is this is a great visual gag. Him holding onto that chicken as the plane lands and, like, you know, her looking as as cool and fresh and him just, like, sweating buckets. Cool. I'm on board. Shame that it it couldn't last.

Eric: 1:24:35

Well, the plane completes the landing and taxis over to what is only in the most generous of terms called a terminal. And then we see the door at the rear of the plane, which was next to where Laura and Remington were sitting open. No. That's not quite right. We see Laura open the door because apparently there's no 1 else to do it. So the passengers are expected to do it themselves. Yeah. And then Laura climbs out with her luggage followed by Steele and then the other passengers. And as they are walking away from the flying death trap, Steele says, Butch Cassidy and the Sundance Kid, Paul Newman, Robert Redford, 20th Century Fox, 1969. Laura doesn't see the connection. Steele explains Steele explains that this looks exactly like the place where Butch and Sundance died.

Sara: 1:25:23

Yeah. That's not really something you might wanna bring up right now. Although, I have to say I have I can't. Would you stop reading my notes? Sorry. I have flown in a plane similar to this, not with livestock. But Uh-huh. When I was 17, we went to Venezuela.

Eric: 1:25:40

This beat up?

Sara: 1:25:41

Yeah. Actually, was because we went to, Canaima National Park and Canaima National Park is home to Angel Falls, which is the tallest waterfall in the world. You can't actually see the top of the waterfall from the ground. They go up into the clouds. The only way you can see the top of the waterfall is to fly over it. So my mom got us tickets. My sister and I, she she didn't come with us. So I don't know if she had not as much confidence in me.

Eric: 1:26:06

Thanks, mom. I I I didn't know you hated me that much, mom.

Sara: 1:26:09

Exactly. If we make it home, we'll we'll thank you. But, like, we flew over the falls in this plane that I swear was like a 2 seater. It's shaking back and forth. We're hanging on for dear life. We land, and then we got to tour the national park, which was actually really neat. And we went swimming in this lake, and the water was, like, brown, but it was clear. And the reason it was brown was because the the something about the pigmentation of the leaves tinted the water, but it was like bathwater warm. And because of the specific type of leaf, no bugs would come anywhere near it. So, like, it was Really? Yeah. There was no mosquitoes. There was no it was gorgeous, and it was Find

Eric: 1:26:48

out what that stuff is and make a Right. Aerosol, you know, mosquito repellent out of it.

Sara: 1:26:53

And and the the sand was like talcum powder fine. It was it was just not like, nothing I've ever experienced before. It was really cool, but the plane thing was genuinely terrifying. So I've been there. I've been there. No chicken on the flight, but other than that, yeah, I've been there.

Eric: 1:27:11

Well, as they continue walking away from the plane, they are approached by a man with a sign that reads, senoras stela. And like their chauffeur of the air when he was waiting for them, this man is also standing silent and stationary with a detached look on his face.

Sara: 1:27:28

It's not that hard to spell.

Eric: 1:27:31

Apparently, is. When Laura says, see, this man also turns and just begins walking away. And Laura and Steele begin to follow, but they stop, stunned when they see where the man is leading them. It's an old school bus that wiped the plane they just exited. Looks like it was rescued from a junkyard. Barely rescued from a junkyard. Yeah.

Sara: 1:27:53

I was gonna say rescued is a generous term.

Eric: 1:27:56

Except 1 point of criticism, if I may be allowed.

Sara: 1:28:01

Sure. Criticize away.

Eric: 1:28:03

The bus in question isn't really that old. It has square headlights, which means that it was no more than about 12 years old, and it would have been far more appropriate and distressing for Laura and Steele if it was a bus from the fifties or the forties. You know? Mean, part of your family bus didn't seem that scary, and it was a '55 model.

Sara: 1:28:24

Maybe it was just harder to find something that old and would probably cost the production more to make it look to basically kinda destroy it to the point where it looks like it's falling apart, whereas this might have been something they acquired cheaply from a school board or something. Could just like

Eric: 1:28:38

Yeah.

Sara: 1:28:39

Slap bunch of paint on it, make it look like it's falling apart.

Eric: 1:28:42

I suppose. Could be. Anyway, next, we see the bus traveling along a cobblestone style road that, quite frankly, looks better than some of the roads we have here in Anchorage.

Sara: 1:28:53

Yeah. Gotta say.

Eric: 1:28:54

I mean, we've got roads that have got potholes so big and deep that they can and do cause serious damage to cars.

Sara: 1:28:59

We've had we've had literal sinkholes open up in our city. Like, a whole like, chunks of the road just falling out and peep like, cars just going into them. Yeah. It's like, okay.

Eric: 1:29:11

We haven't had sinkholes, but we've got some pretty wicked potholes. In fact, I've damaged tires and wheels on my cars from potholes that were hidden underwater.

Sara: 1:29:21

That's brutal.

Eric: 1:29:23

Yeah. In fact, our potholes are so big and deep, you could hide a moose in them. They could have their own ZIP codes. They could lead down to Middle Earth. Inside the bus, there are nearly a dozen passengers of all ages and genders who, as they're driving, suddenly get up out of their seats and lay down in the center aisle, Morris

Sara: 1:29:43

and look at them in the Everybody starts ducking and covering. I'm doing it too. Okay? I'm not gonna question it. I'm just gonna do it. Well,

Eric: 1:29:53

Laura and Steele don't. They just look at them confused, and then, of course, the bus driver reaches down with his left hand and grabs

Sara: 1:29:59

the handle pulls them.

Eric: 1:30:00

Grabs a a handle that's welded to a large piece of sheet Steele, lifts it, places it in front of the side window next to him, and then crouches down behind it as he continues to drive. I would say at this point Yeah. Duck and cover.

Sara: 1:30:14

My mom always used to say, if everybody jumped off a cliff, would you do it too? And I'm like, yes. Because if everyone's jumping off a cliff, I'm going to assume something is chasing them. You know, either that or we're all part of a suicide pact. Either way, I'm going off the cliff. And if everyone starts to duck and cover, I'm gonna duck and cover. It seems like the logical thing to do.

Eric: 1:30:36

Yeah. Well, Steele begins to ask Laura, as if she knows the answer, why all these people? And just as he is in the middle of his question, it's answered with the sounds of gunfire. Laura and Steele dive to the floor, joining the other passengers as the windows on the bus shatter as the gunfire continues. The woman on the floor next to Laura comments, Malvados. And Laura asks what that is. Steele replies that he's not sure, but it's probably not good. No. And according to Bing Copilot AI, Malvados is the plural form of Malvado, which of course means wicked or evil. Can refer to somebody who is either deliberately harmful or villainous and is used to describe individuals or actions that are morally wrong or malevolent. Well, as they continue to lay on the floorboard of the bus and the shots continue to ravage the bus, Laura offhandedly remarks that somehow she never imagined that their honeymoon would go any other way. Well, next, the trip is finally over. The bus stops letting Laura and Remington disembark, and Laura promptly grabs her nose and covers her mouth, then rests her hand along to the side of her face. The bus falls away revealing the front of their honeymoon hide away. Neon sign on the front declares it to be the Hotel Della Moore.

Sara: 1:32:03

I I Googled to see if there actually was a place called Hotel Della Moore. There is not as far as I I can

Eric: 1:32:09

didn't find 1 either. Nope.

Sara: 1:32:10

But I did find, like, a bunch of things saying that, like, Las Hatos, we know is a real place. Mhmm. And this spa kept coming up. Las Jadas By Brisas located in Manzanillo, Colima, Mexico is the iconic whitewash resort known for its Moorish Mediterranean architecture. So it's this isn't actually in Las Jadas, apparently. This is somewhere else.

Eric: 1:32:32

But Mhmm.

Sara: 1:32:33

Why it's often associated with Della While there isn't a specific property named Hotel Della Moore, Las Hatos is famous for its highly romantic atmosphere entering it the rep earning it the reputation of the perfect couples at honeymoon retreat, so that is kind of ironic because that's not where they ended up.

Eric: 1:32:48

No. Well, and of course, on the neon sign, the hearts with the arrows through them

Sara: 1:32:56

Yeah.

Eric: 1:32:56

Replaced the letters o in the sign. Yep. Well, after studying the facade for a moment, Remington remarks to Laura that she she should remind him to fire Mildred if they ever survive this. At the sourly, Laura tells him to take a number and get in line. Well, they carry their bags into the open air reception desk. Open air reception desk. That's interesting. Where they are enthusiastically greeted by the clerk asking, you ordered the Steel's? No? And Laura's surprised by the recognition, the 1st of their entire trip. And he smiles and assures her that they've been expecting them. Welcome and he welcomes them to the Hotel of Love, and

Sara: 1:33:36

they directs

Eric: 1:33:37

them to sign the register. Laura repeats the name of the establishment, but as a cautious question. And when Steele asks about telephones in the room, the man laughs as if a precocious child is asked a silly question and tells Steele, no, senor. Laura asks about the location of the nearest phone, Las Addas.

Sara: 1:33:56

Okay. Okay. Okay. Does anybody book a hotel room at this hotel with no phone?

Eric: 1:34:04

Postcard, I guess. I don't know.

Sara: 1:34:06

Like, like, do they send a donkey? Like, how are they doing how I I I realized that Mildred didn't actually book this hotel. Their plans were changed, but still, if you have no phone at all

Eric: 1:34:17

The light snow motor car. Not a single luxury.

Sara: 1:34:20

How is anybody how are you in business? How is anyone booking a hotel room at your terrible hotel if there's no

Eric: 1:34:26

by phone mail.

Sara: 1:34:28

To call and book a hotel. And then and later when they go to pay, he doesn't have he only takes pace like, that is no way to run a business, sir.

Eric: 1:34:39

Well, if you're talking about the cash only policy, well, there are still businesses out

Sara: 1:34:43

there that I realized still that it but to to not even have, like

Eric: 1:34:48

Have a phone. Yeah.

Sara: 1:34:49

A phone or any of the again, how did she how did anyone secure the book? I I I have questions. Well,

Eric: 1:34:59

when Steele asks or when when Laura asks the location of the nearest phone and the man says Las Jardas, Steele asks, where's that? And the man repeats, 30 miles. And Laura kind of shocks, says, 30 miles? And Laura stares at the man and he turns and grabs a set of keys and flips a switch on the side panel and reaches under the counter to grab a bundle of something, and he hands all these things to Laura. He grins lasciviously, telling them that they will have the penthouse suite. Enjoy.

Sara: 1:35:30

Oh, yay.

Eric: 1:35:32

And Steele mumbles, what's the bundle about that the man's handed to Laura? She studies it for a moment and with a slight frown, and then disbelief asks, mosquito netting? Every jungle has mosquitoes, the clip says with an apologetic shrug.

Sara: 1:35:48

Nope. I'd be out. I'd be out. I'd here here's your mosquito. Nope. That is a that is a hard pass. Here's your netting. Bye.

Eric: 1:35:59

Well, it was worse than the original script that we have. Yeah. In the script, the clerk hands them flea collars to put around their ankles.

Sara: 1:36:06

Oh, no.

Eric: 1:36:08

No. And the response is when when she asks about the the collars, every jungle has fleas.

Sara: 1:36:15

That's not I feel like that's not true.

Eric: 1:36:20

Anyway, next we see Laura and Steele climbing the stairs with their luggage. They reach their room and are underwhelmed. The walls are stained from water leaks. At least you hope it's water leaks. Room is cooled by a single window. The room is cooled by a window and a single 12 inch fan in the corner. A bare bulb is in the fixture which hangs from the ceiling, and their closet is simply 1 side of the room that's been separated from the rest with a curtain. At least I hope that's a closet. I didn't think what else it could be. Steele sits down on the bed looking defeated. Laura takes her jacket and belt off and begins working on hanging the mosquito netting. She ties 1 end around the cord holding the light fixture from the ceiling, but then the

Sara: 1:37:04

fixture rips out of the ceiling. And as

Eric: 1:37:08

she holds the end of the netting and the detached light fixture, plaster begins to cascade down from the ceiling onto her head. She begins to laugh. Steele begins to laugh, and they collapse on the bed as their laughter continues.

Sara: 1:37:21

I love this. This is probably my favorite scene in the entire episode. I think this is what they should have gone for. This is the tone that they should have had throughout the entire whatever the 5th season ended up being. This this whole, like, it's similar to the season 2 opener when they're in the restaurant and the the guys keep coming up and singing that song Mhmm. And they keep paying them off and eventually Oh, they just I'm gonna them know. Yeah. And eventually, they just kinda burst out laughing because it's just so ludicrous.

Eric: 1:37:47

Mhmm.

Sara: 1:37:48

This is and this feels really real to me because you've I'm sure everybody's been in a situation where things have just gotten so bad that your only option is to laugh because Mhmm. It can't like, it's just it's that emotional release. You need it. Right? So the and then it's not even just laughing. They're, like, half crying as they lay down on the bed. They're clutching their sides. This feels like a married couple. This moment where they're just like, this is terrible. Sure. Okay. Fine. We're gonna surrender to it. We're gonna laugh our ass off because what else can you do? Yep. You're in the most hideous hotel room on the planet. You just nearly got shot in the jungle. The plane had a chicken on it. What the hell? We're just gonna It's like

Eric: 1:38:32

Just go with it.

Sara: 1:38:33

I just wish the rest of the season had had these little moments because this is a this is gorgeous. I love it.

Eric: 1:38:42

Well, next, we have a time jump, and they are outside walking through the jungle, and Steele offers Laura a peso for her thoughts. And she seems to start to say something, but then seems to think better of it. And for a moment, she's silent, but then she says, apparently, what she was thinking, why they put up with it all? Why it never seems to get any easier? And Steele asks, you mean, why don't we just give up and go our separate ways? When she asks if he has any answers, he warns her that she probably really doesn't want to get into that. And she challenges him to try her. After a deep sigh, he asks, why do we always draw the line at the bedroom door?

Sara: 1:39:29

And this And

Eric: 1:39:30

for those who have theorized that they've already been doing the deed, this would seem to void that theory. Mean, that

Sara: 1:39:37

is up.

Eric: 1:39:38

If you accept 5th Season as canon.

Sara: 1:39:40

Like, again, this is this is 1 of those conversations that had a lot of potential, but that they because they're they're under these orders not to have them make any progress Mhmm. You've got her saying, why doesn't it ever seem to get easier? Well, 1st of all, Laura, I have an answer for that. Both of you are in your your own way. Like, you're both getting in your own way. You need to get out of your own way, and then it'll get easier. But then when he says, you mean, why don't we just give up and go our separate ways? The answer should be because we have feelings for each other. Instead, he says, well, you don't want we don't wanna get into that. Yeah. She she says, try it. The only the closest he gets here is why do we always draw the line at the bedroom door? And honestly, again, 4 years in. Come on. I'm not a like, Laura's not a prude. I'm not saying, hey, if you wanna wait, cool. But these are grown adults who clearly

Eric: 1:40:33

Who obviously don't want to wait.

Sara: 1:40:35

You know what I mean? Yeah. Exactly. Like, they have had consensual physical relationships in the past, And and, like, Laura's previous reasons of not wanting to get into deep, they don't apply anymore because she's gonna be just as hurt if he left now as as as she would as if it happened after they slept together. Like, there would be no difference. There's not any magical thing that's gonna happen that's gonna make it hurt worse if he walks away after they sleep together. Mhmm. His his penis is not that magical. Okay? So let's be real clear here what we're I'm just saying, like, at this point, the feelings are the feelings no matter how far you take them or not. So it just feels weird that they haven't slept together because, like yeah.

Eric: 1:41:24

Mhmm. Yeah. Well, anyway, Laura admits that she doesn't know why they draw the line at the bedroom door saying that maybe the timing's never been quite right. 1 of them being ready and the other 1 not. Steele, of course, doesn't accept that suggesting that they've been actively avoiding it out of fear of Avoiding what comes it out of fear of what comes during that magical moment. I mean, sorry, what comes after that magical moment. You know what comes during the magical moment?

Sara: 1:41:56

Hopefully, they both do. But I'm pumped.

Eric: 1:42:01

Laura asks what is it that does come after that magical moment, and Steele says he doesn't know. And that's what's scary, Laura tells him.

Sara: 1:42:10

But nobody knows. This is the thing. You can't ever know. Even if you get married and you commit yourself to a person for for the rest of your life, no 1 can really know how that's gonna go down. People get divorced. People die. People get, you know, injured and and disabled. Like, there's no and I get it. This is this this actually feels in character for me for her because she has seen her parents' marriage break up. She saw Wilson, who was supposed to be the stable 1. He walked away. So in her mind, she's wanting some kind of guarantee that she's never going to get. And but there but also comes a certain point where I either have to poop or get off the pot, and and I don't really like that metaphor considering what we're talking about. Well, and especially considering how long some

Eric: 1:42:56

people sit there reading their phone

Sara: 1:42:58

Fair enough.

Eric: 1:42:59

Scrolling through, you know, Twitter, Facebook, Instagram.

Sara: 1:43:03

Yeah. It's just What are

Eric: 1:43:04

you doing in there? It's been an hour.

Sara: 1:43:07

It just feels like she she's got all the evidence that she needs at this point to know that he's not going to walk away willingly. Mhmm. That for better for for for better or for worse, he is planning on sticking around.

Eric: 1:43:21

Yeah.

Sara: 1:43:22

But again, there's never going to be any guarantees. So Yeah.

Eric: 1:43:27

Well, Steele points out pretty much what you said. He says they'll never know unless they take the chance. And she says, you mean let the chips fall where they may? Be bold, he responds.

Sara: 1:43:39

To the occasion.

Eric: 1:43:42

Periscope, he announces. You convince me, Laura says.

Sara: 1:43:50

Really? Periscope convinces her? Because that's gotta be the worst worst euphemism I've ever heard.

Eric: 1:43:58

Well, I've heard it before, so it's it's been around for a while, so obviously, works. Laura steps into him, puts her arms around him, and begins kissing him. And, of course, Steele responds accordingly. Yep. And after several moments, they take a break in the action, and Steele says that she's convinced him. And Laura pines optimistically that, well, maybe this honeymoon will turn out to be a blessing in disguise after all. But of course, Steele has to throw cold water on the meadow saying that there's just 1 slight problem. Naturally, Laura says with annoyance. But it's not as serious as she may fear, he says. Steele's object is that with all due respect to the Hotel Del Amore, they've waited far too long not to capture the moment in a more worthy setting.

Sara: 1:44:47

I disagree. I think this is their problem. They're always waiting for the perfect moment instead of taking things as they come. Don't get me wrong. I would not, if I were mister Steele, want a mosquito biting certain parts of my anatomy. That being said, like, dude, you've got her. She's there. She's she's willing right now. You've waited 4 years. Are you really gonna, like You're presumably alone too.

Eric: 1:45:11

You know?

Sara: 1:45:11

So You're really gonna risk screwing this up because you're not gonna, like dude. Yeah. This is dumb. This is dumb. This is dumb.

Eric: 1:45:20

Well, Laura seems to agree with him because after thinking about it for a moment, she concludes that if Las Jardas has telephones, it must have other amenities. Steele grins and then eagerly says that he'll get the bags. And when Laura says she'll check them out, Steele groans in anticipation.

Sara: 1:45:39

Your own fault. It's his own fault.

Eric: 1:45:41

Appropriate that Right? They're wearing

Sara: 1:45:45

That's all I'll say. No. No. I know exactly what you're saying. It is his own fault.

Eric: 1:45:53

Anyway, next, we find out that there's a snag. The bill is 72,000 pesos. Laura is incensed, calling it ridiculous, pointing out that they've only been there 20 minutes. The clerk gives the obviously disingenuous excuse that they've had to turn people away.

Sara: 1:46:12

Oh. 0. Obviously, the lucky ones Steele a pints.

Eric: 1:46:17

Laura indignantly demands to know exactly how much 72,000 pesos is in American dollars. Well, at the current rate of exchange, he begins, and then he pauses as he uses a manual adding machine to calculate the price, then announces about a $100. Well, I put calculate the price and sarcasm quotes in my notes because 1st of all, I think he's just trying to hold them up because I mean Yeah. They're rich American tourists, so he's gonna hold them up for what he can get out of them.

Sara: 1:46:44

Oh, for sure.

Eric: 1:46:45

Yeah. And secondly, his math is off.

Sara: 1:46:49

I figured.

Eric: 1:46:51

According to the website, fxtop.com, at the exchange rate on 01/05/1987, the date the episode aired, 72,000 of the old pesos, and that's an important thing to to take note of, would be about$52.68 US.

Sara: 1:47:06

Yeah. Okay.

Eric: 1:47:07

Now, some conversion sites which let you specify the conversion values based on the rates of specific dates you can choose, which is what I use that FX top Right. I put in that date. Some of these other sites don't take into account that as per the Bank of Mexico, on 1 January 19 93, the value of the peso changed, making 1 new peso equivalent to 1,000 of the old pesos issued before that date. And so those sites calculate the conversion rate based on the date, but with the new pesos resulting in crazy money prices for the room. So Interesting. Yeah. So 7 a 100 pesos in the new or 1 peso in the new new new pesos, 1,000 old pesos, and they do the math based on 1000 new pesos. So, yeah, they get it wrong. Anyway, Laura's disgusted, but Steele, equally disgusted, looks at him, and Laura tells Steele to pay the man. And I got in my notes here, what is this? It says, oh, wow. She's starting to sound like a wife already.

Sara: 1:48:20

I wonder, like, why doesn't she have her own money? Because he he basically comments that he doesn't carry cash. And we always we know this. Right? Mhmm. Know this. My why didn't she

Eric: 1:48:32

It's just her tone of voice though. I mean, it's like

Sara: 1:48:34

Yeah. No. I know.

Eric: 1:48:35

I demand that you pay the man because you are my servant.

Sara: 1:48:40

Well, and then it but like I said, again, she where's her money? Where

Eric: 1:48:44

Yeah.

Sara: 1:48:45

You know, she gets so irritated for him that he didn't exchange anything for pesos at the airport, but she could've. There's no reason that she couldn't have done that.

Eric: 1:48:54

Well, that's another fight right there. Anyway, Steele pulls out his wallet, hands the clerk his American Express card. The man looks at the card, smiles, and says, I see, Carter Baldwin. Don't leave home without him. A slight mangling of Baldwin's catchphrase there. He laughs, and then in the serious tone says, sorry, amigo. No plastic. And he hands the card back

Sara: 1:49:15

to

Eric: 1:49:15

Steele. Laura tells Steele to give the man traveler's checks. Sorry. Clerk tells him, no paper, only pesos. And the nag I I mean, the shrew I I mean I'm sorry. Laura begins the nag. I mean, Laura begins to criticize no. What's a word that combines nag and criticize? Oh, yeah. Wife. I told you to get pesos at the airport, but no. You wanted you wanted a better rate at the bank. Wow.

Sara: 1:49:45

Wow. Okay.

Eric: 1:49:49

Steele, already wondering how much a divorce

Sara: 1:49:51

lawyer would cost Right. Testily tells her to

Eric: 1:49:54

calm down. After all, he wants them out of there for the same reason that she does.

Sara: 1:49:58

I don't know that she does anymore. This is the thing, Steele.

Eric: 1:50:01

You you

Sara: 1:50:02

you had your moment. I think the moment might have gone. Yeah. The

Eric: 1:50:08

the interest has flagged, so to speak. Yeah.

Sara: 1:50:11

Yep. That's

Eric: 1:50:12

happening, I'm sure. Steele Hems and Haas for a moment and then tells the man, well, look. They'll leave their luggage as collateral. And the man says, well, but what if you don't come back? Yeah. You can keep it, Laura says. But the clerk isn't having it. After all, he doesn't do much traveling. And Laura shakes her head and then glancing at Remington catches sight of his watch and she offers that as collateral.

Sara: 1:50:35

Okay. Okay. Here. They're not confined to the hotel. They could have just pretended to change their minds about leaving, gone back up to the room, and then tried to go to Los Adas later or or left to go sightseeing and then just not come back. Right? Like, this is ridiculous to leave Laura there as collateral. Did they expect does the clerk expect that they come to this hotel and they're not leaving the room at all? They could just be like, oh, you know what? On 2nd thought, I guess we'll stay. Thanks

Eric: 1:51:02

Worst for your case scenario, you walk away and then you leave all your luggage and your your clothes and such. You can get more.

Sara: 1:51:09

Or or you come back later and pay them the pesos.

Eric: 1:51:12

Mhmm. Yeah.

Sara: 1:51:12

But you don't have to, like, nobody's forcing them to stay there. They they could have just been like, yeah. Okay. Cool. We'll stay. You know, just thought we'd we'd see if we could find something else. We're gonna go and look at the jungle. We'll be back. Yeah. Bye.

Eric: 1:51:24

In in 3 Yeah. Exactly. Well, after Laura offers Steele's watch as collateral, the man says, well, what about her? As he asks with an evil glint in his eye. And it's about her? And Clark says that he thinks Steele will come back for her. And, well, Steele considers looking Laura up and down.

Sara: 1:51:48

K. His Periscope is getting further and further down.

Eric: 1:51:52

You think his Like Periscope is in serious damage or serious danger of being damaged.

Sara: 1:51:57

He he's really not helping this cause here.

Eric: 1:52:00

Yeah. Because he he he just says well and looks her up and down. It doesn't say anything.

Sara: 1:52:05

Right. Interesting.

Eric: 1:52:05

Laura clearly offended by Steele's hesitation demands to know just exactly what does he mean by well.

Sara: 1:52:12

Well. Yeah. Precisely. Dude.

Eric: 1:52:15

I'm thinking. I'm thinking Steele answers responding and and repeating her comments from earlier, which of course gets him an immediate punch in the arm. And annoyed that Laura doesn't seem to appreciate his attempt to inject a bit of humor into the situation, he tells her, I'm kidding. Of course, I'll come back for you. Yeah. Well Right. Ain't no honeymoon happening tonight.

Sara: 1:52:41

No. No. They could've just gone with the moment, but no.

Eric: Laura wants to know when the bus leaves. 05: 1:52:48

00, Mann says. Sounds good, Steele says. Thursday, Mann adds. Steele's not happy with that amendum addendum, but they're in luck. The man shares them with a grin. And next, we see Steele struggling with the gear shift in a nearly ancient Jeep. Yeah. And so far, it's coming out on the losing end. Stand standing back with the clerk, Laura expresses concern about Steele's safety. What about the Melvados? Oh, they only come out when the bus comes to

Sara: 1:53:19

tell So why? Why? What is the purpose of these Melvados? Because they seem to just wanna shoot the bus? Is it just fun?

Eric: 1:53:30

Well, I I guess I guess the idea is that if you shoot the bus up enough, it's gonna stop.

Sara: 1:53:35

But it doesn't seem like it just seems like this is part of every their everyday routine. The driver puts it hit the thing in in front of him. He ducks. Everybody just kinda goes, oh, ho and leans ducks down on the floor. The they shoot through the windows, which, by the way, why are there any windows at all if they're shooting the the bus up every single day? But hey. And then they get back up, and they keep driving. Theoretically, 1 would think that the purpose of the Melvatos is to, I don't know, rob the people on the bus, but that doesn't seem to be the case. They seem to just wanna use it for target practice for funsies.

Eric: 1:54:08

Yeah. Well, I mean yeah. Alright. Cool. Just making

Sara: 1:54:13

sure we're on the same page here because, like, I don't know. I'm not gonna criticize how people get their kicks. This just seems like a weird 1 to Well, the

Eric: 1:54:23

clerk tells her that the the Mulatos only come out when the bus comes, and then Steele finally gets the Jeep into gear. And as he takes off, Laura calls out goodbye, and the clerk hollers to stay on the road, and he won't have any problems. Well, we have a time jump, and Laura is out walking through the jungle when she comes upon a man who doesn't exactly look terribly friendly. No. And he's blocking her way on the path. She stops nervously and then turns around to go back to the direction she came from, except now there is another man who also doesn't appear to be terribly friendly, and he's blocking her way that way as well. She smiles nervously and then turns to the side only to be confronted in the 3rd dimension by a 3rd man with the other 2. Hola, she calls, trying to sound friendly and confident, but the men say nothing. They also don't make any motions toward her. Deciding it's time to, she tells the men, adios, and then takes off into the woods on the 4th side where no man was standing. The men take off to follow her. She runs through the trees, through the clearing, across a small river, up an incline, and then through more wooded areas. And then I

Sara: 1:55:32

will say to to kind of like bolster this this episode Mhmm. The score music for this episode is great. Again, it is very I I I know that this is a no lodge to Romancing the Stone. They were clearly kind of like, wait. Did that movie come out after this or before?

Eric: 1:55:48

Before.

Sara: 1:55:49

Yeah. So oh, yeah. Because they've mentioned it before. It's I who the score music is great for this. I really enjoy. It's very, like, adventurous, fun, bouncy. It's

Eric: 1:56:01

good. Well, anyways, the men are following, and she finally comes upon a large river. But more than that, it's a rapids. There's no way she's getting across that. The men rush up behind her, and she turns to face them. And, of course, as bad guys always do in shows like this, they stop and look at her. Well, the men then begin to slowly approach her, but as she awaits her fate, Jack Colton, I mean, I'm sorry. Michael Douglas. No. Yeah. Some sleazebag. No. Sorry. Shouldn't prejudge. Some unidentified guy who we shall come to know and hate named Tony Rizzelli comes swinging in on a vine. I mean, who does this guy think he is? Tarzan? As he swings

Sara: 1:56:50

in Clearly.

Eric: 1:56:52

He kicks the guy closest to Laura and quickly dispatches the other 3 men in a moment. And then he looks at Laura and tells her, welcome to Mexico. And of course, none of this seems suspicious to Laura. And as Laura stares wide eyed, 1 of the Mulvados has gotten back to his feet, and our faux hero turns away from Laura, turns back around just in time to get punched in the face, sending them and the punch sends him flying into Laura, knocking her into the river. Roselli gains his balance, looks back at the Mulvado who punched him, then turns and jumps into the rapids after Laura. Laura's fighting the rapids, trying to keep her head above water. She spots a large branch hanging out over the rapids and tries to at least fight her way to it since any other option for getting out of the water seems to be remote. She manages to get to the branch, grabs it, and begins hanging on. Rizelli manages to also make it over to the branch, though he manages to grab it closer to the shore than Laura did. He begins to work his way toward her, but she's starting to lose her grip. And before the man can get to her, she slips and is swept over swept to the and is swept over a waterfall. Swept to a waterfall and over. I can talk. I really I can. Roselli decides to follow her, and so he lets go and also goes over the fall. And once he hits the lower pool of water, he begins looking around for a drowning Laura. But at the sound of someone whistling, he turns toward the source and sees Laura standing on the side. He swims to the side, crawls out, and then walking past Laura, criticizes her for having slipped. She sarcastically gives him an apology saying, well, next time she'll bring her gloves. It's a 100 foot drop, he chastises her, and we could've been killed. You were the 1 that knocked me into the rapping, she's

Sara: 1:58:45

not ours. She didn't jump in. She was knocked over.

Eric: 1:58:48

Yep. But, of course, he's not done, and he begins to take her to task for her apparent ingratitude saying, hey, lady. Remember the vine? That was me. And what were you doing in the jungle with those guys? Sightseeing is Laura's snarky response.

Sara: 1:59:03

Probably the only place where he has a point given that they've already seen that there are people in the jungle that are dangerous, that she knows that she's by herself, maybe not the greatest choice. The other stuff, though, Tony can shut his cake hole.

Eric: 1:59:21

Anyway, Wet Pants Boy gets up from the rock that he's been sitting on and stomps off. Laura demands to know where he's going. East, he says. Why? What does it matter, Laura? Go back to the hotel. Leave him alone. Let him

Sara: 1:59:35

I'm do the wondering if she doesn't know the way because she's been knocked down these rapids. She's she's run through the jungle. She's all turned around, and this is like, he's literally the only person that has any sense of direction and seems to know where he's going. So if it Yeah. That's true. Be fair, if it were me, I would I would latch on until I found my way back to

Eric: 1:59:54

the she she could do what she does a little bit later. Ask which direction back to the hotel or to to Las Jardas or wherever. Just say, give me a direction, point me that way, and I'll get going.

Sara: 2:00:04

Yeah.

Eric: 2:00:05

But she stubbornly sits down on the rock, which he vacated. She pouts for a few moments and then gets up and follows. Meanwhile, Steele is racing along the roads on his way to Las Haddas, except that he seems to have taken a wrong turn. At the very least, he's not driving with due care and caution. He comes flying over Arise, goes airborne, and lands in a swamp.

Sara: 2:00:32

It's quite funny. The look in his face as it starts to sink, and it's just confusion, like, wait, how did I what?

Eric: 2:00:41

Well, back at the hotel, Rizolli Rizolli Rizolli.

Sara: 2:00:46

Rizolli Rizolli and Isles. It's a whole different show.

Eric: 2:00:50

That is a whole different show. Rizolli is stomping through the jungle using a machete to cut a very rough path through the growth while Laura is trying to keep up. And she asks him to slow down a bit.

Sara: 2:01:04

No Does.

Eric: 2:01:05

Is Kurt's response.

Sara: 2:01:06

This feels like me and my husband anytime we go anywhere ever because he's 6 foot 2 and I'm 5 foot 3, and I'm always like, I have short little legs. Come on. Slow down. I can't keep up. I'm short.

Eric: 2:01:18

Yeah. Well, he pushes 1 of the large fronds out of his way rather than cutting it, then he lets go

Sara: 2:01:25

of it. That swings back

Eric: 2:01:27

to its original position just as Laura's coming around and just in time for it to hit her in the face. Angrily, she asks, though it's really more of a demand, that he cut the branches a little shorter. What a team, he criticizes. I do all the work. You do all the bitching.

Sara: 2:01:43

I hate to say it, but I'm kind of on team toy here. Like, if you're going through all the trouble to help this like, to help her out and get through the like, don't criticize the way the man cuts with his machete. He's the man with the machete. You you just you just shut up and follow him. Okay?

Eric: 2:01:59

Well, I like I like her response. Well, at least I'm doing a better job at my job than you are.

Sara: 2:02:04

Yeah. That's true. Yeah. I'm not sure that's something

Eric: 2:02:08

to brag about, but Oh, maybe not. Anyway, they continue through the growth until they come to a clearing. On several sides of the clearing are ruins of some sort when Nora catches

Sara: 2:02:17

sight They call them monuments down here.

Eric: 2:02:20

That's what she said. Uh-huh. She is odd. Roselia is squatting, pulling things out of his backpack, and he's surprised. She's not gonna complain that they're too old or they're not too out of the way or too something. And angrily, Laura says, let's call a truce. Well, I'm not really sure how being angry and confrontational when you propose a

Sara: 2:02:42

truce way to call yeah. Is on message. Hey. I've got a white flag here. Okay? Yeah. You idiot. Doesn't really make sense.

Eric: 2:02:53

But in an equally angry tone, Roselli says, fine. And Laura looks around and asks if this was where he was headed when he rescued her. And then almost as an afterthought, she thanks him for that. Yeah. Sorry about that. Yeah. He says so he's so

Sara: 2:03:11

bored by Tony. He's yawning. Yes.

Eric: 2:03:16

He says, and you're welcome. Then dismissively, she asks if he cleans stones. Thought you said a truce, he asks pointedly.

Sara: 2:03:24

Yeah. Right.

Eric: 2:03:24

And almost flippantly and unapologetically, she says that, you know, sometimes she gets in a groove and she just can't get out of it.

Sara: 2:03:31

To be fair though, this is actually really accurate. Like, you know, when you're in that like, you're stuff has just gone wrong, and you're just in such a bad mood, you wanna stay there. And even though you're trying to get out of that bad mood, you're just like, no. I'm still gonna be a horrible person. You can't seem to, like, pull yourself out of that in that instinct to just ruin it for everyone else. Sorry, but that happens.

Eric: 2:03:55

Yeah. Anyway, Rizzoli says Rizzoli Rizzoli Rizzoli says he's an archaeologist, and he was setting up a dig at the site. Okay. Then he offers her some coffee.

Sara: 2:04:09

We pause for a 2nd and talk about Tony's laundry list of jobs? Because so, again, this is where I ask, did they know what they were doing with this character, or did they just mold him to fit the script where possible because they wanted to shoehorn him in throughout the entire Yes. 6 episode run? Okay. Because here's my issue with and I don't hate Tony. I know this is a a sacrilegious thing to say, but as a character, I think I think he's interesting. I don't obviously want him as a love interest for Laura. I'm not saying that. But as a character in and of himself, I find him kind of interesting. But it's frustrating because they they keep changing who he is in every episode. And it eventually gets to the point where it's so ridiculous, it doesn't make any sense because by the by by the 3rd 2 part, whatever you wanna call this, he's a spy, and he's a spy moonlighting moonlighting as an immigration official, moonlighting as an archaeologist to Well, no. You know, it just feels I

Eric: 2:05:17

mean, I understand what you're saying, but he's a spy who's in the outs. He who's who's on the outs with with the agency, and he's trying to get back in. And in order to do that, he needs Steele to do something for him. And so all Oh,

Sara: 2:05:34

so he's trying to get blackmail material on Steele to

Eric: 2:05:37

Well, he's trying not necessarily blackmail material, but if that's what it takes, then that's But what it'll he's trying to maneuver Steele from 1 position to another, so then he becomes the immigration guy. Uses his his agency ID to get the job as the immigration guy responsible for Steele as part of a cover for an operation. Right.

Sara: 2:06:01

Right. Right.

Eric: 2:06:02

Yeah. And then from there, it goes on to the next thing, to the next thing, to the next thing. I wish Yes. He is chameleon like, but only because it gets him from point a to point b, and everybody that sees him other than Steele and Laura don't know that he's Yeah. Doing all these different things.

Sara: 2:06:20

I just wish they had told the audience, even if the characters didn't know Mhmm. That this is who he was. Because every time he shows up as someone else, you're like, okay. Wait. What? What is happening here?

Eric: 2:06:31

It is to follow. Yes.

Sara: 2:06:33

And and I get like I said, I actually kind of find him interesting. I find his storyline interesting. I find what he's trying to do interesting as a pseudo villain slash clog in the works for Laura and Steele. Obviously, I don't want Laura and Tony together.

Eric: 2:06:50

Mhmm.

Sara: 2:06:50

But I don't hate him as a character. I I hate what his character is meant to do because it it it the I think the character assassination is more on Laura's part than it is necessarily Tony's. I can see why a woman would find him attractive. I don't think Laura would necessarily find him attractive. Although, technically, he is a lot like Steele. If you think about it, he's lying about his identity. He's pretending to be someone who's not. He's got a bunch of different names and a bunch of different jobs. It's just his is more of an official con as Steele's con persona was less connected to an agency. Mhmm. But they're not that different in terms of who they are as people. Tony is a bit more rough around the edges. She was attracted to Butch Bemis, so you can kinda see where she might you know, but at the same time, it's a clear ploy to to try to inject some life into a flagging storyline with with Laura and Steele. It's like, well, we can't get them together. So we're gonna put this in here, this this wrench in the works to try to that's where I think the fans take offense and where I get annoyed because Tony as an as a character, kind of an interesting guy. As a foil for Laura Ed Steele's relationship, come on.

Eric: 2:08:07

Quick. This is the same maneuver that other shows have used when they bring in a a kid.

Sara: 2:08:12

Yes. It's In the 6th the same

Eric: 2:08:14

yeah. You know, some kid moves in with with people who why is he there? We don't know. He oh, he's there to help try and bolster the ratings. That's all it's about.

Sara: 2:08:23

You're gonna hate 1 of the seasons of Buffy. Anyway but, yeah. No. I don't disagree. Like, this is this is clearly it's just frustrating because there are parts of his character I actually do enjoy. I I like his sarcasm. I like how he kind of, you know, gives as good as he gets with Laura. They they banter back and forth, not romantically, but this scene is funny. I just wish that he his sole purpose wasn't to keep them apart, that if they were gonna give him a storyline because I could see if they weren't doing this as, you know, as a foil for Steele and Laura, I could see him being even a part of the agency like Murphy was. You know, and Steele and and him maybe having the odd pissing contest, but at the end of the day, you know, not being necessarily Laura's romantic interest. That's where I think they they

Eric: 2:09:13

Brings up the question then. Why did they need need to get rid of Murphy?

Sara: 2:09:17

Well, didn't. That's a I think we know that, but, like Yeah. I think we know they didn't, but, like, I could see him filling that role as somebody that Steele both competes with and sometimes gets along with. Instead, they they chose to do this, which is this Yeah. It's it's old. It's tired. It's not interesting. Mhmm. He's interesting,

Eric: 2:09:39

but the It's basically what Michael Gleeson originally envisioned for Mildred's character

Sara: 2:09:44

Yes.

Eric: 2:09:45

Except reversed.

Sara: 2:09:46

With with a woman. Yeah. Exactly. And it would have been equally as tiring and and ridiculous if they had tried it. Only with with a woman, they'd probably have her be more of a seductress, siren type character, whereas he's got the, you know, rugged Well,

Eric: 2:09:59

yeah. I mean, you you tailor tailor to the situation. Exactly. But it's the same concept. So anyway, Roselli offers her some coffee and she says, sounds good, but apparently, the way she says it causes Roselli to frown. He stands and begins walking toward the edge of the clearing, and indignantly, she demands to know where he's going. He turns back, glares at her, and angrily says that he doesn't know about her, but he likes his coffee hot. So he's about to go get some wood,

Sara: 2:10:25

if that's okay with her. That seems like an awful lot of work to go to to through to make some coff like, I realized he's going into the woods to meet with the the guys that he hired. But at the same time, like, if if I were in the jungle and somebody offered me coffee, I would just assume they had a thermos that had the coffee already in it. Yeah. Not that you were gonna make a fire and then eat it up. I at that point, I'm not that thirsty, you know? Yeah. I'm also in the jungle. Why would I want coffee in the jungle? But anyway

Eric: 2:10:52

No. She holds her hands up as a gesture of surrender, but her body language clearly says she doesn't mean it. And I don't like this version of Laura, but anyway

Sara: 2:11:02

I don't like it either. And again, I kind of get that she's off kilter in the sense that she's not she's alone. She's with this perfect stranger. She doesn't know. She's been attacked in the jungle.

Eric: 2:11:13

She's anything but perfect. Well,

Sara: 2:11:15

I mean, I just mean, like, complete Yes. Like, she's been attacked by men in in you know, Steel's not there. Mhmm. And she's scared, and she's she's resorting to kind of this defense mechanism of being kind of bitchy.

Eric: 2:11:30

Yeah.

Sara: 2:11:30

But but I I sort of I get where she's coming from in the sense that this isn't she's out of her element, and she's scared, and she doesn't trust this person. She doesn't know this person. And so she's reacting in the only way that she knows how in terms of the situation that she's in. But at the same time, I you're right. I don't like this version of her. It's it's beneath her, and this is kind of like that again, that part of that character assassination that yeah. This is my attempt to justify it because I I kind of enjoy the whole

Eric: 2:12:00

romance of the Because you painted yourself into a corner and you have

Sara: 2:12:03

to I know. I I I actually kinda like this episode. I just there's bits I don't, but obviously, you know, overall, it's fine.

Eric: 2:12:10

Well, anyway, next, we see Roselli walking through the jungle and seemingly not look looking very hard for firewood.

Sara: 2:12:18

Yeah.

Eric: 2:12:18

And then suddenly, he's surrounded by the 4 Milvados from earlier. But rather than assuming a defensive posture, Rosselli puts his machete into his belt and begins pulling off his gloves. Now, the head Mulatto asks Rosselli where he's been, calling him Amigo. They've been waiting a long time. Rosselli points to the man in grins and says, that was some punch you landed on me. Man chuckles. You wanted us to make it look Bueno. As he pulls out a bundle of bills from his shirt pocket, Roselli answers, yeah. But you made it look so Bueno. You almost got me and the girl killed. If you can't swim, stay off of the water, the man counsels. And he is and his compadres laugh. Roselli grins, but just as the man says, gracias for the money, Rosella lunges Rosella. Rosella, who lunges forward and hits the man in the face. The man falls to the ground and the other men move to the other 3 men move forward as if to attack Rosella, but he pulls out his machete and holds it against the man's throat. After a moment, he tells the man, and leaves. Yeah. Which was a town in an episode.

Sara: 2:13:30

Yeah. It was. It was.

Eric: 2:13:35

Rosselli then returns to the clearing, finally having taken the time to actually find some kindling. Yep. Laura's waiting, watching him pile the kindling and sarcastically asks if he's gonna rub 2 sticks together. He gives a pitying shake of his head and reaches into his pocket and pulls out a lighter, tosses it from 1 hand to the other and says, nah. Can you use 1 of these? And somewhat goofingly, he pulls out the what's a nice girl like you doing in a jungle like this question.

Sara: 2:14:01

Yeah.

Eric: 2:14:03

She doesn't give an explanation, just that it's a long story, but the short version is that she's supposed to be in Los Jardos. Rizalik calls it a nice place, but a bit too civilized for his tastes. She asks if he likes it better in the ruins. Monuments, he corrects. Now, she doesn't respond to that, but looks around for a moment then asks him to point her in the direction of Las Jardas. His current response is, West. Go, yeah, go West, young woman. She looks around trying to determine West.

Sara: 2:14:32

This is me. This is me. It's somebody like I think I've said this before, but, like, if if I ask directions and someone's like, yeah, it's North or I'm like, I'm not a sea captain. Can you just point in the direction? Because I don't know what West means.

Eric: 2:14:47

Point her in the direction of

Sara: 2:14:48

the But I know. I do like the not the we call them monuments because that's just silly, but the the backdrop of the old of the ruins. Like, as a person with a history degree, if I were Laura, I'd be asking questions about them. I'd be going over to look at them. I'd be this would be I would be so fascinated by the fact that I'd stumbled upon these monuments, ruins, whatever you wanna call them. They're probably thousands of years old, and she's just kind of like, yeah, where's the nearest town? Dude, you're right. Historical buildings there. Go look at them.

Eric: 2:15:26

Well, you know, a lot of people

Sara: 2:15:28

That is the closest you'll get to going back in time. This is my like, the closest we can get right now to time travel is touching a building that is thousands of years old because you're touching the same structure that somebody touched hundreds of years ago. That's kinda cool.

Eric: 2:15:48

Well, we can also watch TV shows that take place in the in the past. So Sure. Kind of that too.

Sara: 2:15:53

You can do that. But anyway, that's just my rant for

Eric: 2:15:56

Anyway, Laura's looking around trying to determine West. She extends her arm, hand fisted, thumb up as a sighting tool, and having decided on her direction, announces that way. Roselli takes her wrists, pulls it so that it's pointing more toward himself and corrects her. West. He holds her slightly longer than necessary and the 2 lock eyes. After a moment, Laura pulls back and Roselli tells her that the coffee will be ready in a minute. She stands, observes that it'll be dark soon, she'd better be on her way. Roselli finally does what he should have done from the get go and offers to escort her.

Sara: 2:16:36

Right. That would

Eric: 2:16:38

be the gentleman they think to do. But Laura declines the offer, making the excuse that he has things to do. And besides, she used to be a bluebird she brings.

Sara: 2:16:46

Laura, seriously. Like, she has to know that this is not a situation she is equipped to handle by herself. This is 1 of those stuff. What was it? Steele said that a woman with enough pride and and can be as stubbornly macho as any man?

Eric: 2:17:04

Yeah.

Sara: 2:17:05

This is ridiculous. You don't know these jungles. You don't know the people that are in them. You don't know there's there could be like insects, snakes, all manner of deadly creatures. He at least appears to know what he's doing, I would be sticking with him personally.

Eric: 2:17:22

But I will say that in this 1 instance, she actually is staying true to character because

Sara: 2:17:29

Oh, yes. She is. I'm just saying this is a flaw in the character. Because if it were me, I'd be going with the guy with the big knife. Well, that's true. Yes.

Eric: 2:17:41

Well, after she makes the comment about being a bluebird but I should we explain what that is?

Sara: 2:17:46

I don't even know, so please do. Okay. I know, like, scouts, and I know brownies and guides and stuff, but I don't

Eric: 2:17:53

kinda the same thing.

Sara: 2:17:54

Yeah. I assumed it was.

Eric: 2:17:56

Bluebirds was the junior organization of the Campfire Girls for 2nd through 4th grade girls.

Sara: 2:18:02

Okay.

Eric: 2:18:03

The age that girls could join and were members of Bluebirds changed a bit over the years. Campfire Girls was starting around 1910, and then Bluebirds was added shortly thereafter. And from the late 19 eighties to early 2 thousands, the Campfire Girls or Campfire as the organization eventually became known, introduced new programs and encouraged groups to switch, which resulted in phasing out of the Bluebirds. So it's kinda like brownies.

Sara: 2:18:28

Okay. So I'm Googling in here because I'm wondering Campfire Girls. I'm I'm looking to see if we had anything like that in Canada. No. Okay. So that's why it it just went right over my head because I it's funny. 1st, I Googled was the bluebird organization in Canada, and you know what I got? Military nurses. The 1st World War, Canadian nursing sisters who served as officers were affectionately nicknamed bluebirds by soldiers due to their iconic blue and white uniforms. Canada was the 1st country to assign officer rank to women in the military service, and those nurses worked courageously on ambulance trains, hospital ships, and near the front lines of Europe. Definitely not the same thing. So when I Googled Campfire Girls Canada, it's no. It's not active in Canada. It doesn't look like it has ever been active in Canada. So that's why like, I assumed it was something similar to Girl Guides, but it it the actual name of it just flew over my head because I was like Yeah.

Eric: 2:19:21

It's it's like the brownies for the Girl Scouts or the Cub Scouts

Sara: 2:19:24

for

Eric: 2:19:24

the Boy Scouts. Gotcha. Anyway, at her comment about being a bluebird, Roselli gives out with a dismissive, oh, and goes back to making his coffee and trying to be passively polite. She again thanks him for saving her and suggests that maybe they'll run into each other in a museum or something, and then holds out her hand for a shake. Roselli ignores her outstretched hand and without looking at her offhandedly says, good luck. She turns and begins walking off in the direction she had decided to go on.

Sara: 2:19:54

Yeah. Right. She goes in the wrong direction. I noticed that.

Eric: 2:19:59

But then she stops when she hears what sounds like a growl.

Sara: 2:20:03

Yeah. That's not good.

Eric: 2:20:04

After standing for a moment, she turns back to see Roselli looking at her, not wanting to admit that she's anything less than Superwoman, and that perhaps she's not quite prepared to deal with the unknown alone. Right. She covers her hesitancy by suggesting that, you know, she's decided she'll have that cup of coffee for a while.

Sara: 2:20:21

Sure, Laura. Sure.

Eric: 2:20:25

Meanwhile, Steele, having lost the jeep in the swamp, is hoofing it through the jungle. Suddenly, something goes flying past him. He hits the ground. Another projectile flies in at him, landing next to him. It's orange. It doesn't

Sara: 2:20:39

explode. It's a golf ball.

Eric: 2:20:41

Cautiously, he picks it up to discover that it's a golf ball. Exactly. He gets to his feet, walks forward, and out of the forest, then onto a golf course alongside a bay where he finds 2 men, 1 observing as the other's teen is shot. He approaches and greets them, holds up the ball, he recovered and asks, title is 2. The man standing by answers, c. So Steele makes a show of wiping the ball clean on his very muddy shirt and hands it to the man. He takes a quick survey of the course, the fairway in the distant green, and asks the man who's teeing up what club he's got. He looks at the iron then recommends the man use a 6 iron. Been some good day, and then walks off. As he does, he surveys the magnificent resort across the bay, the Hotel Las Jardas in Manzanillo, Mexico, where rooms go for anywhere from $190 a night to nearly $600 a night for the all inclusive package, which includes 3 buffet style meals, open bar, taxes, tips include.

Sara: 2:21:46

Book your room today. Yes. We're not getting any money for that, but we should be.

Eric: 2:21:51

Yes. And from the photos I saw online, it's a nice looking place.

Sara: 2:21:56

So this scene where he walks into the gorgeous lobby covered in filth, I have to wonder the Bond film, the last 1 that he did, Die Another Day

Eric: 2:22:07

Mhmm.

Sara: 2:22:08

I have to wonder if somebody was inspired by this scene because there's an almost almost shot for shot similar scene Mhmm. In that film. Because if I don't have you seen you've seen the Bros and Bonds. Right?

Eric: 2:22:22

I have. I don't remember.

Sara: 2:22:24

Okay. So if you're

Eric: 2:22:25

The Bond films to me are not memorable. They're just, you know, an interesting, fun Yeah. Knock

Sara: 2:22:31

off If you of the recall in Die Another Day, he's captured by the North Koreans and tortured for, like, 3 years. Right? They rescue him, and at that point, he's got, like, a Jerry Garcia type beard going on. His hair is super long. He's covered in like, he's he just looks awful. Mhmm. And m wants to keep him for observation because they think that he's been hemorrhaging information. So he he basically breaks out of m I 6

Eric: 2:22:55

Mhmm.

Sara: 2:22:55

And leaves. And then you see him wander into a luxury hotel in nothing but hospital pants, a white sort of tank top, and this grizzly looking beard hair situation. And he asked for, like, a luxury suite, and it's it's very similar to this scene here. And I just thought, I wonder if the Bond writers I don't know. Like, it just felt really like they were just kind of like, remember when he was running concealed and he did this? This is funny. It's funny there, and it's funny here because, like, everybody's looking at him, what is he doing? And he's like, my usual, please. Just like

Eric: 2:23:35

Well, next, as we see, as you were talking about Steele having made his way around the bay to the hotel, walks into the lobby still wearing his muddy grubby clothes, guests gawk at his disheveled appearance as they walk past. And the script describes his appearance as looking like something out of the swamp thing. At the registration counter, he addresses the young woman that working there saying, I'd like your finest room, please. The honeymoon suite, if it's available and even if it's not. Okay. You're gonna kick somebody out of the honeymoon suite?

Sara: 2:24:08

Right? Okay. Well, did before. They did before. Well, that's true. That's true. That's That's true.

Eric: 2:24:16

Well, she looks him up and down and looks over to the side where a man hangs up the phone and steps over to the counter. The man nods to the woman, dismissing her, then addresses Steele asking, may I help you, senor? I was inquiring about the honeymoon sweets. Steele says, reaching around to his back pocket, pulling out his wallet, and dropping it onto the counter.

Sara: 2:24:36

It's soggy.

Eric: 2:24:37

Small clumps of bud

Sara: 2:24:39

It's soggy. Have dried to it fall onto the counter from the wallet.

Eric: 2:24:44

Steele concludes, money's no object. The man playing along with the apparent joke Yeah. Right. Answers that they will check as to its availability. Mister and he pauses.

Sara: 2:24:55

Bond. James Bond.

Eric: 2:24:57

Okay. Steele. Remington Steele. Suddenly, the man's attitude changes from superior to awestruck. The Remington Steele? You are the big dick from Los Angeles.

Sara: 2:25:07

Okay. I love that line. Also, the Steele Remington Steele line? Mhmm. That sucks. Like, that had to have been a kick in the balls because he had just lost out on that role. Right? And he's he's basically Steele, Remington Steele. Like, come on, guys. Really? That's rude. I don't know. I if I were the if I were Brosnan, I would've not been happy with that line. I do like the big dick from Los Angeles. That's where you say, why, yes, I am. Yes, I do. Yes. Or, yes, it is.

Eric: 2:25:47

Oh, that's

Sara: 2:25:48

what she

Eric: 2:25:48

said. Exactly. Expresses his pleasure that his reputation has preceded him.

Sara: 2:25:53

Well, I guess he kinda did that with you. Oh, yeah. My reputation.

Eric: 2:25:57

But, of course, I have Fernando, the hotel manager. Welcome to Los Adas.

Sara: 2:26:01

Every time they say his name, I just think of Abba, and I hear Fernando. Sorry. Keep going.

Eric: 2:26:11

He reaches out and shakes hands with Steele, and then leans forward, suspiciously glancing around, and a quiet voice asks, you are on an undercover assignment?

Sara: 2:26:21

No. I just like rolling in mud. That's what I would have said.

Eric: 2:26:24

Chagrined by the truth, Steele reluctantly admits that, no, he just had to run-in with a rather nasty pothole. I'd like to exchange these traveler's checks for pesos as soon as possible. No problemo. I also need a taxi. No problemo. So I can retrieve my bride from the Hotel Del Amore. Big problem. Big problem. Why? Steele questions suspiciously. You see, no 1 goes into the jungle at night, you know, manager explains. Then brightly, he adds, but your bride will be here in the morning. Yes. 1 can only hope Steele laughs

Sara: 2:27:02

She's gotta know that she's not gonna be happy with that arrangement if she had to actually stay at the Hotel Del Amore. Nope.

Eric: 2:27:08

Oh, yes. Suddenly, the sound of an unpleasantly familiar voice echoes through the lobby. Like I told you, Steele, you can run, but you can't hide. Yes. It's Norman Keyes. Steele turns and looks at him and comments on the amazing coincidence.

Sara: 2:27:25

Keyes tells Steele that he

Eric: 2:27:27

can think it's a coincidence all he wants, but he's got Steele right where he wants him. Steele. Depp are starting to do a bit of a slow boil, tells Keys that

Sara: 2:27:36

Yeah.

Eric: 2:27:36

He snapped, and he should lock himself in a padded cell before he hurts himself.

Sara: 2:27:40

I gotta say, like, slow clap again. Rest in peace, James Tolkien, because he is so good at being so bad. He's

Eric: 2:27:50

such pickable

Sara: 2:27:51

hate this man with every cell and fiber of your being, and he's just so good at it. And he's such a he was, I said was, he was such a nice when I met him, he was lovely. He was so nice, and he's so so loathsome. So good for you, James Tolkien. Way to go.

Eric: 2:28:10

Keyes holds up his hand, thumb and index finger only slightly apart, warning Steele that Steele is this close to the edge, and he's gonna love giving Steele the boot. Well, Keyes stomps off, and then Steele turns back to the manager with a hard look on his face. And the manager, either not reading the room or reading it and enjoying the show, smiles and cheerfully says, what a happy surprise. You've already met an old friend. And was

Sara: 2:28:36

If that's his definition of friendship, I'd hate to see enemies.

Eric: 2:28:41

Steele gives a nervous laugh, and then the manager holds up a room key, hands it to Steele, and encourages him to enjoy his stay.

Sara: 2:28:49

Yeah.

Eric: 2:28:49

Well, it's now night. Steele is clean and relaxing in a luxurious suite. He is also on the telephone to Mildred. He's assuring her that while he doesn't mean to look a gift horse in

Sara: 2:29:00

the mouth,

Eric: 2:29:01

either her travel agent is a crook or she doesn't love Remington and Laura as much as she says she does.

Sara: 2:29:06

I love that line. That's funny.

Eric: 2:29:09

And though we can't hear Mildred's end of the conversation, we can hear from Steele's affirmation and responses that after she's explaining that the travel agent promised her that the accommodations were wonderful, he tells her, well, that wasn't the case.

Sara: 2:29:24

Yeah. And he's it's important to note he's eating caviar, and he's got champagne. Like, they've done their best to make it look as if he's had the easiest time of it, and that does not bode well when

Eric: 2:29:36

Laura walks through the door.

Sara: 2:29:37

Oh, yes. No. So, yeah. That's yeah.

Eric: 2:29:42

Well, as Mildred is talking, Steele sits down and begins to partake of the dish of the chilled hors d'oeuvres on the table in front of him, a table which appears to also host his champagne. Phone call concludes with Mildred apparently telling Aileen Steele that she's gonna get to the bottom of it since he tells her, that's the spirit, Mildred. Make those heads roll. As he hangs up the phone, there's a knock on the door. He goes to the door and opens it to find Laura standing there. She has obviously not had an easy trip of it as she has dirt and mud on her, but is certainly not to the degree that Steele had.

Sara: 2:30:15

Yeah. She's been through it.

Eric: 2:30:17

And apparently, he doesn't notice the cold look on her face. And, of course, he's surprised to see her wondering how she got through the jungle. No. Thanks to you. That's how I got through the jungle, she tells him. She stomps in past him, and then he begins to close the door, but a shoe inserts itself. Steele opens the door back up, looks, and finds Roselli standing there. Roselli says, excuse me, and then just walks right on He

Sara: 2:30:42

just walks at me. Yeah.

Eric: 2:30:44

Steele gives Roselli a perplexed look as he walks past him and toward Laura, and then he peeks out the door to make sure that there's no more unexpected additions to the entrance.

Sara: 2:30:54

Yeah.

Eric: 2:30:55

Inside, Laura is standing. Rosselli stands at the entrance to the suite and asks for his jacket, which Laura's wearing. She removes it and hands it to him. She turns back into the room showing a very nicely slit skirt. I'm sorry. Steele gestures to Roselli and asks Laura, clothing salesman? Laura turns to Steele and informs him that he is the reason that she's here. To Roselli, Steele says, well, in that case, I'm eternally grateful mister Laura realizes she doesn't even know his Oh, yeah. Roselli, the man says, Anthony Roselli. Holding out his hand to Steele, he says, Sphrints call him Tony. I'm sure they do, Steele says, and he introduces himself. Laura begins detailing their adventures. She was chased by Malvatos. Tony, mister Roselli, fought them off, and then we fell into some rapids. Steele interrupts suggesting that they might be thirsty and offers them some champagne. Roselli asks if he has any beer. Silently, without responding, Steele walks over to the table. Rizzoli follows. Rizzoli. Rizzoli follows, and Laura shows off some leg. I mean, she stares in disbelief. Steele picks up the bottle of champagne and begins pouring, and then finally answers Rizzoli. No.

Sara: 2:32:15

This is a really interesting body language because Steele throughout this entire interaction is nothing but polite as he points out later. He's nothing he he's he he comes across as friendly. He comes across as I mean, a little bit guarded, but, like, for the most part, he comes across as polite. There's nothing hostile in his overt manner. We can read under we can read between the lines. We can see he's he's immediately not a fan of Tony, obviously, but Well, he But this is 1 of those subtle moments where that body language shows because he asked for a beer, and Steele kind of, like, pauses, he's sort of, like, swirling the bottle around in his hand before he just says, no. Like, I you know?

Eric: 2:32:56

That I'm sorry. That's that's a bit that's that's a bit hostile. That that is

Sara: 2:33:03

But it's not overt.

Eric: 2:33:04

Putting you in your place. Well, it's

Sara: 2:33:05

not no.

Eric: 2:33:06

It's not overt. But it is That's what I

Sara: 2:33:07

mean. Like, there's

Eric: 2:33:08

But it's but it's it's overt enough that it's perfectly clear that

Sara: 2:33:14

It's body language, and it's really well done Mhmm. Because he's just kind of, like, asserting his place here and essentially kind of showing where the line gets drawn because it's clear that Tony is a beer guy, and Steele is a champagne guy. And Tony is not a, you know, a caviar guy, and Steele is. And and there's definitely there there's a pissing contest, but it's very subtle, and I like it.

Eric: 2:33:42

Well, Steele tells Laura to carry on, and so she continues to recount their adventures, including mentions of the ruins. They're called monuments down here. Prompting Steele to interject, sounds like a veritable romancing the stone.

Sara: 2:33:54

Yeah.

Eric: 2:33:54

And of course, Roselli is confused. Steele clarifies. Michael Douglas, Kathleen Turner, 20th Century Fox, 1985. Steele takes a sip of the champagne and then, as if suddenly remembering his manners, offers Roselli some fish eggs. Yep. Roselli declines, admitting that he never got a taste for those things.

Sara: 2:34:12

Ugh. I can't imagine why you would. Wow.

Eric: 2:34:14

And Roselli asks Steele, what brought him here? Of course, Steele's suspicions have been growing regarding Tony and his lovely bride, so he defers the responsibility of answering to Laura. Oh, she chuckles, and she moves to the table, begins preparing herself an hors d'oeuvre as she begins to answer. But it seems she has trouble keeping any formality in her words, not to mention trouble answering. Yep. Oh, yeah. That's another thing I I forgot to tell you, Tony. Mister Roselli, we're on our

Sara: 2:34:46

She's heaping cacao onto her crackers. She's famous.

Eric: 2:34:50

Yeah. But she's she's also stalling.

Sara: 2:34:52

She's Yeah. Oh, for sure. Yeah. Yeah. Yeah. That's We're actually, we're on our

Eric: 2:34:56

yeah. And she's she's putting more on there. Yeah. Yep. And Steele finally concern says, spit it out. She takes a ship a sip of champagne and then finally says, honeymoon. But there is a slight laugh in her voice as she says it, which is never a good sign. No. Of course, it would've been it would've been worse after after that 1st night. But

Sara: 2:35:21

Yeah. Well, I think it I think in this case, it's not so much that she's not wanting to say it to Tony because she is interested in Tony. I think it's more just the weirdness of it because it's 1 thing to be pretending to be married in front of the immigration's official that is supposed to think you're married. Mhmm. But somebody that they've just met on the street, she's still having to perform this fake this fake wedding. And and after everything they've been through, it it would feel really odd. It To be fair, it feels really odd to say your husband the 1st day that you're married anyway. It just feels like you're trying on a new name, and it it it's It it takes some getting used to to say like, oh, my husband, my wife. Eventually, it just rolls off the tongue, but this isn't So, even the honeymoon thing is gonna feel super duper awkward, especially after everything they've been through to just say it to a stranger and to kinda keep going with the charade, it I think that would be hard. I can understand why she would trip off over it a little

Eric: 2:36:18

Well, you know, in for a penny, in for a pound, if you're gonna play the part, you gotta play

Sara: 2:36:22

it True.

Eric: 2:36:22

You know, all the way, all the time. But

Sara: 2:36:25

And it's clear he was goading her too, and I think that's Like, part it as that whole, come on, spit it out. Like, he's taking pleasure in her uncomfortable Mhmm. And her being uncomfortable.

Eric: 2:36:35

He made her answer the question.

Sara: 2:36:39

Yeah. He could have easily said we're on our honeymoon and and spared her that, but he he didn't because he kind of like it was almost like a test. Mhmm. Yeah. It's that's also really there's a lot going on here. There's a power play between him and Laura. There's a power play between him and Tony. There's Laura in the middle. At this point, I don't think she's I don't think she's genuinely seeing Tony as as anything other than the the the the nice guy who helped her out. Right? I think there was some genuine, like, oh my god. And then we went on this adventure, and there were Mulvados. Like, you know how Laura likes excitement? So, like, that part of things would be thrilling for her. But at the same time, he's kinda being a dick, and he didn't have to be. If he had just

Eric: 2:37:20

But he but

Sara: 2:37:21

he's

Eric: 2:37:26

only just met Berzelli, but he knows exactly what he's about.

Sara: 2:37:30

Oh, I'm not saying he doesn't, but if he had been less and I I agree that this is his subtle isn't exactly subtle. If he had been a little more, I don't know, friendly and warm towards the guy. I mean, even if he does have his number, he did technically help Laura out and get her there. Right? Well, did take So even just even just as even just saying like, you know what? Thank you very much for your help. I'll show you to the door. That's all he really had to do, but he's kind of drawn this out, and it it only is making Laura more ticked off that, you know, he's behaving this way because she knows exactly what he's doing. And also, she's looking around and seeing that it looks as if he's been sitting here in luxury this entire time Mhmm. While she's been trekking through the jungle. That's building. Yeah. It's coming. You know? So it's just a bad situation all around.

Eric: 2:38:26

Yeah. Well, after Laura finally spits the word honeymoon out, Ruzelli repeats the word as if considering the revelation, and then admits that he never would have guessed. Oof. And with mock compassion, Steele says that from what they've both been through, they obviously didn't have any time for small talk. Yeah. Right. Tony says, no. He means no wedding ring. And with obvious panic, Laura looks at her hand and repeats, no wedding ring. Steele jumps in and says, it's in Los Angeles being resized. It belonged to his great grandmother who inherited it from her Greek uncle. He came upon it while he was in Paris on a secret mission for the grand duke's nephew. And Laura It seems like

Sara: 2:39:09

a bully, it's Taylor, took it as what is he doing?

Eric: 2:39:13

Laura tries to to subtly but unsuccessfully give him a look to stop. And she finally interrupts, telling him to stop with the history lesson. It's just a gold band. And, you know, I'm sorry. Steele should know better than to go into that much detail.

Sara: 2:39:30

Well, I it was funny just because I don't think he even knew where he was going. He just kept talking, and it was like Napoleon's tailor in a jacket. And like, what were you do? Like, I think there was a part of him that was waiting for Laura to just cut him off because I guess there'd be a certain point where he'd be like, I don't know where I'm going with this. Help me. Help me.

Eric: 2:39:51

Steele chuckles and asks Laura to forgive him that he didn't need to ramble ramble about the family jewels.

Sara: 2:40:01

That's funny. Yes.

Eric: 2:40:04

At that last comment, Laura's face drops into it. I can't believe he just I can't believe he just said that look.

Sara: 2:40:11

Oh, I can't believe the writers made you say that.

Eric: 2:40:15

Well, after an awkward moment, Roselli says, hey. Better shove off. And in a challenging tone, Steele suggests Roselli a result.

Sara: 2:40:23

Oh, dude.

Eric: 2:40:25

Roselli joined them for dinner, suggesting that it's the least he can do to thank him for salvaging his wife.

Sara: 2:40:30

This is where Steele, what are you doing? What are you doing? This is where you just say thank you for your help, let him go on his way, and let that be the end of it. I mean, obviously, it's not going to be because Tony's gonna find his way to worm himself in, but, like Mhmm. He does this just to get under Laura's skin. And if you had any hope of, you know, consummating marriage

Eric: 2:40:53

honeymoon. Yes.

Sara: 2:40:54

This is not the way to do it. Like, I don't know what he feels he needs to prove here. But

Eric: 2:41:01

You know, I think that I think that he is well, you know, we've seen in in TV shows and movies when a husband knows that his wife is doing the deed with some other guy. And they meet up, and it's like a I know what's going on here. I'm not gonna say I know what's going on here, but I'm gonna make it obvious. I know what's going on here, that type of thing. I think think that's what he's

Sara: 2:41:34

doing. Case. He's It's not even so much because, again, Laura, I don't think has looked at Tony as anything other than, at this point, the guy who helped her out. I I they they screw around with her character later on, and there is attraction there. But at this point, I don't think that it that there is. I think for Steele, though, I think there's some insecurity. He wasn't there to help her in the jungle. These men attacked her. Tony was the 1 who was there who helped her out. I mean, he doesn't know that Tony is the reason she got attacked. But like Mhmm. Tony is the reason that she got through the jungle. He saved her from the rapids. He got her through. Steele was I think there's a there he's feeling slightly guilty, but also a little bit annoyed that this this guy, this handsome dude helped Laura out when he wasn't there to do so. He left her there. And rather than kinda deal with those own those feelings, he's projecting that back.

Eric: 2:42:35

If you're saying he's feeling guilty, I'm going to disagree. I think he's feeling threatened.

Sara: 2:42:41

Well, okay. Maybe a little bit of both, though, because he I don't mean guilty like it's his fault, but guilty that, like

Eric: 2:42:47

That he wasn't there. Yeah. I understand that.

Sara: 2:42:49

He wasn't yeah. To help her.

Eric: 2:42:50

Like, he And that's that's that may that's there a little bit, but mostly, he's feeling threatened.

Sara: 2:42:56

And I I think that's part they're I think they're there together. Right? That's

Eric: 2:43:01

the most of it. He's

Sara: 2:43:02

feeling I think that he's looking at Laura and thinking, well, why wouldn't you be attracted to that? And I again, I don't think Laura's eager to get him out the door and gone. I don't think she's seeing him like that yet. But but if he is feeling threatened, don't invite him to dinner. Send him on his way. It just feels silly to Keep your

Eric: 2:43:25

friends close and your enemies closer?

Sara: 2:43:27

I don't know. It just feels silly to want to keep him around longer, and this is the writers obviously needing him to keep him around longer. But say, thank him for his trouble. Have a good night.

Eric: 2:43:40

Well, anyway, after Steele suggests that he join them for dinner, Laura insists that Roselli has to get back to the ruins, Steele corrects her.

Sara: 2:43:48

Called monuments down here.

Eric: 2:43:50

But he doesn't look at her as he says it.

Sara: 2:43:52

He's looking straight at him. Yeah.

Eric: 2:43:54

Instead, he's giving Roselli he's giving Roselli the evil eye, only glancing at word briefly at the end of his words.

Sara: 2:44:04

Just call him Tony. His friends call him Tony.

Eric: 2:44:07

Which is why I don't. Indignantly, Laura says it doesn't matter what they're called. Roselli Roselli has to be going, and he concedes that he's he's always up for eating. And so Steele sets their meeting, and they shake hands, and Steele tells him that he's looking forward to breaking bread with the man. As Rosselli leaves, Laura demands to know why Steele invited him to dinner when a simple thank you would have sufficed.

Sara: 10:00 on the terrace, 10: 2:44:34

00 at night. That's not dinner. Yeah.

Who has dinner at 10: 2:44:40

00 at night? I'm surprised they would even still sell food at that time.

You'd think the kitchen would close, like, around 8 or 09: 2:44:46

00.

Eric: 2:44:49

Yeah. You'd think.

Sara: 2:44:50

But Like an inclusive restaurant. Anyway, that's just my own little nitpick. I'm like, wow. That's a real late thing. It is very late

Eric: 2:44:55

to to be eating a a full dinner. That's true.

Sara: 2:44:58

Yeah.

Eric: 2:44:58

Of course, you know, there's there's dinner and there's supper, and I guess in certain cultures, those are actually different things.

Sara: 2:45:06

It will the in in Scotland, they sometimes use dinner in place of of lunch, but supper is always I the evening

Eric: 2:45:14

seem to recall having heard something here not too long ago. And I can't remember where it was or what the context was, but it was about how there is a late there is a supper or a dinner that

some places traditionally do at 9 or 10: 2:45:31

00 at night.

Sara: 2:45:36

I think you're thinking I can't

Eric: 2:45:37

remember the details.

Sara: 2:45:38

Well, I I know like, I just Googled it, and basically, I got historically, meant the main or largest meal of the day, which was traditionally eaten around midday. Today, while dinner usually refers to the main evening meal, the term supper is more specifically used to describe a light informal meal eaten late at night. So I I don't know if there's another cultural interpretation for it, but even in The UK, dinner was often used for, like, tea or, like, a mid mid afternoon meal, whereas supper is, like, the late

meal. Either way, 10: 2:46:06

00 seems a lot.

Eric: 2:46:08

Yeah. Anyway, at at Laura's, a simple thank you would have sufficed, Steele says that he just wanted to hear about her intrepid trek. He tells her accusation hiding He's in his

Sara: 2:46:21

being so defensive about this, and it and it it it he doesn't, at any point, ask her, hey. Are you alright? That must have been scary. Well There's no empathy in

Eric: 2:46:35

this. For whatever reason, and there's nothing in the script that we can point to that gives a reason why he would be because he doesn't know anything that's gone on, but for whatever reason, he feels threatened.

Sara: 2:46:49

Yeah. And it's unfortunate because, again, the the better way to handle this would have been, like, you know, are you all are you all right? Or you know, that must have been terrifying. I'm sorry I wasn't there.

Eric: 2:47:02

I tried, but I couldn't get anybody to take me at, you know, at night Yeah. Because of the mulvados.

Sara: 2:47:08

Or at least explain that he hasn't been sitting in luxury this entire time because this is not a good look Yeah. Considering what she's been through.

Eric: 2:47:15

Yeah. Well, that's what Laura basically says is that it doesn't really look like he's gone through much getting there. And she Steele

Sara: 2:47:23

Well within her rights to assume that.

Eric: 2:47:25

He could obscurely says, hardly used the Jeep.

Sara: 2:47:29

And he could've he not that it's a contest, but he could've at least because she's getting angrier and angrier and angrier He could have at least said, I had a you know, the Jeep broke down. I I went through hell. I didn't realize you were going through something as well. But no. He makes it look like he's barely had any trouble, and that only makes her angrier because it just makes him look like a callous a hole, which is not the case, but it's certainly not working in his favor here.

Eric: 2:47:58

So Yeah. Well, his comment about hard hardly having used the Jeep, Laura says, terrific. I'm in the middle of a jungle fighting for my life, and you're here swilling champagne and munching caviar.

Sara: 2:48:09

Yeah.

Eric: 2:48:09

She stomps to the side door and out onto the terrace, deliberately closing the door in Steele's face as she exits. Steele opens the door and then comes out onto the terrace to join her. She walks to the far side of the terrace confronting Steele saying, I traipse in here with Tony, mister Roselli, Steele corrects, and what do you do? You offer him fish eggs. He looked hungry, Steele counters. I don't think Steele thought Roselli would look hungry

Sara: 2:48:36

for fish And this is and I think it's it's making her even more angry that he's not admitting that he felt threatened or jealous. Mhmm. Because she starts escalating the situation. I'm not saying this is right for her because she starts going on about how he was attractive and all the other crap.

Eric: 2:48:51

Mhmm.

Sara: 2:48:51

That's immature too. Like, you guys should be able to just talk this out and just label the feelings that you're having. This should not be this hard. But the fact that she's at least trying to get him to admit that his behavior a minute ago was was a juvenile reaction to feeling threatened and and whatnot, and he's just playing dumb, like, oh, he looked hungry. Yet, that's good. That's not helping you. None of this is helping you.

Eric: 2:49:18

No. Well, Laura stomps away around the pool. Wait. Wait. Wait. A pool in a penthouse? Yeah.

Sara: 2:49:27

I guess it's the luxury. Honeywood and Sweden, I guess, they have their own pool, but it's not the surface.

Eric: 2:49:31

How much structural strength that would require in order to keep that? That is heavy. That's tons of weight. Anyway, Laura's stomping away around the pool ranting, don't

Sara: 2:49:44

you think other men find me attractive? Where did that come from? She's because she know she's and this is where I say this is this is clumsy. This is clumsy writing. This is the she obviously knows that Steele is is feeling threatened, that he's jealous, that his behavior in reaction to Tony is jealousy, and she's trying to provoke a reaction from Steele by making this comment that other men find me attractive, blah blah blah. It's something that a teenager would do. It's not something a grown adult should do. She should be just turning around and saying, Listen, I think you're behaving this way because you felt threatened by Tony. There's no reason to be. He helped me out of a tight spot. Now stop acting like a child, and let's talk this over. Instead, she acts like a child in response to him acting like a child, and now they're both acting like children. Well, he says,

Eric: 2:50:33

and there's there's a mirror to this in just a couple of seconds. But, you know, she goes from you you didn't have to offer him dinner to you offered him fish eggs. Yeah. To don't you think other men might find me attractive?

Sara: 2:50:51

It's because he's refusing to it's It's a totally it's a non sequitur. It's tonal whiplash, but it's also because he's refusing to fight. She's mad, and she's trying to have like, she's not that it's good to have a fight, but she's trying to have some sort of conversation and communicate what's going on, what the underlying tone to what happened between him and Tony and that whole situation. He's giving her nothing. It's like when you're arguing with somebody and they just suddenly stop and go, you know what? You're absolutely right, and they stop arguing with you. It is the most frustrating thing in the world. So she is throwing everything else out she can. I'm not agreeing with it. I think it's, again, immature, and she should be just calling it what it is and saying, hey, listen. Your behavior, not okay. If you're feeling threatened, just talk to me about it. But instead, she's she's using whatever she thinks she's got in her in her arsenal and now stooping to his level.

Eric: 2:51:46

Not fair. It's nonsecutor. She jumped somewhere where she really there was no logical reason for her to have jumped based on what was presented, but

Sara: 2:51:56

Well, I think the logical reason was she sensed that he was jealous, and so she's trying to provoke that jealousy and make and and bring it out into the open by saying, yeah. It's not okay. Like, this is Yeah. This is not how to communicate with somebody, you know? Like

Eric: 2:52:11

Well, and and when she says that about other men finding her attractive, he asks if she has anyone

Sara: 2:52:16

in mind. Anyone in mind. And then she asks, well, don't you think he was?

Eric: 2:52:20

And then, of course, he says, was what? Attractive. I didn't notice. Well, he was. Okay. 1st, it's don't you think other men find me attractive?

Sara: 2:52:32

And then suddenly suddenly, it's like, well, didn't you think he was? Well, wait wait a 2nd. You you just asked me if other men would find you attractive. How did we get to

Eric: 2:52:44

because she think he was.

Sara: 2:52:46

He's not he's not responding to what she's trying to provoke. So she's doing she's throwing everything out. She anything she can out to try to get him. I'm not agreeing with it. I'm definitely not agreeing with it. I think this is very juvenile for like, he was being juvenile. Now she's being juvenile. They're both being juvenile. But when she says, like, don't you think other men might find me attractive? She's trying to imply, obviously, that Tony might have found her attractive. And when he doesn't respond to that the way she wants him to, she he doesn't he doesn't fight back because that's what she wants. She wants a fight. She wants some sort of reaction beyond him just standing there very calmly. Then she throws it out, well, he was don't you think he was attractive? Damn attractive. And he's still not it's like she's fighting with a brick wall, and he's not responding, and that just makes her matter and matter and matter, which makes her get more ludicrous and more ridiculous, and it's stupid. It's a whole stupid

Eric: 2:53:37

I've got comments about this conversation coming up, but let's finish the conversation. Laura continues flashing leg. I mean, she continues walking around the pool as Steele follows, responding that he'll have to take Laura's word for it that Roselli was attractive. After all, she's always had a keen eye for that sort of thing. Yeah. That was uncalled for.

Sara: 2:53:58

See, he's he's just yeah. He's he knows that he's and this is the thing. Like, he knows why she's angry, and she knows that what he was doing earlier with Tony

Eric: 2:54:06

was And he's trying to provoke her.

Sara: 2:54:08

Yeah. And neither 1 of them are just talking to each other. They're just trying to get under each other's skin, and they're not actually trying to have a conversation.

Eric: 2:54:20

Well, back at the door, she walks through and back into the suite, and then once again deliberately closes the door into Steele's face.

Sara: 2:54:27

That is funny.

Eric: 2:54:29

He opens the door and enters, complaining that he doesn't understand why she's so angry. He thought he was being excruciatingly pleasant to her guests.

Sara: 2:54:36

The excruciating is that's the keyword here. Like, that's extremely disingenuous for him to say that because as as we pointed out that

Eric: 2:54:44

Because his pleasantness was disingenuous.

Sara: 2:54:46

Yeah. Exactly. And and and was it was not overt, but that doesn't mean it wasn't obvious. We we could all see it.

Eric: 2:54:57

Yeah. Yeah. Well, she finishes her glass of champagne, sets it down on the table, and then again walks away from Steele complaining that there she and Roselli were, 2 incredibly attractive people together deep in the jungle, and you're not even remotely jealous. And Steele calmly says, okay. If it makes you happy, I'm jealous. Too late, she hollers and then stomps off into the bedroom, and then again closes the door in Steel's face. Steele sighs and mumbles that at least they're starting to act like a married couple. Okay. So here's my note. Now, I really don't like this version of Laura. This is the sort of game some women, please note the word some women play trying to make their husbands jealous so they'll get mad and beat up the other guy or because they like it when their husbands get jealous and angry because they become rough with them or whatever the immediate result that they're looking to get out of it is.

Sara: 2:55:52

I don't And because if it's not

Eric: 2:55:55

if if it if it wasn't about being appreciated I mean, if if it it's not about being appreciated. If it was, they would be happy with their husbands being proud

Sara: 2:56:04

of them.

Eric: 2:56:04

Yeah. Maybe showing them off a bit, but it's about the woman being manipulative, exerting a debilitating power over the man, and that sort of behavior, whether by a man or a woman, is just flat out ugly.

Sara: 2:56:20

I agree. I don't think in this particular instance, I don't think she was trying to make him jealous for that reason. I think she already knew he was jealous, and she was trying to get him to admit it. I don't think she wanted him to be jealous. I'm not I don't think that was the goal. I think the goal was because she saw the way he was acting. She saw that he was threatened. She saw that he was jealous, and she, again, very closely imagery.

Eric: 2:56:49

If you take her words at face value, there we were, 2 incredibly attractive people together deep in the jungle, and you're not even remotely jealous. Translation, I want you to be jealous. I want you to show me that you're jealous.

Sara: 2:57:02

I don't think she but that's I I think that's she's she's gotten to the point where she's at her last straw. She's tried everything she could to get him to admit that he was jealous, and he is refusing to do so. And so she's call she's putting it right out there. And even still, when he says, oh, yeah, I'm jealous. I'm very jealous. That polite sort of, yeah, if if it makes you happy, I'm jealous. He he knows that that's only gonna make her angrier. He's refusing. If he had just said from the jump, yeah, I felt threatened, I don't think she would have gone through that whole diatribe because I don't think she this is not the same case as we we have seen this behavior from her before with, Derek, what's his face. In that case, I think she did kind of want a reaction from him, although not quite the reaction she ended up getting. In this case, I don't think she's doing this because she actually wants him to be jealous. I think she just wants him to admit that he was. Think she wants him to say, look. Okay. You wanna know? Fine. I don't like I don't like the guy. I don't like that you were in a jungle with him. I don't like that I wasn't there. I don't like that he saved you. I think if he had said that, she would have deflated and been like, okay. Why couldn't you I think she's offended that he isn't jealous. He is. She knows he is. She knows

Eric: 2:58:15

he is. She's offended that he won't admit it because she wants him to be jealous.

Sara: 2:58:22

I don't think she wants him to be. I think she's angry that he won't admit that he is, and that he's playing this game by inviting Tony to dinner and being polite and doing the whole, like, that that sort of, like, behavior he's he's doing to cover his jealousy. I think that's what's bothering her. Because if he had just said it and not invited like, he didn't have to invite Tony to dinner. She was trying to get him out the door. She doesn't want like

Eric: 2:58:47

She really wasn't trying to get him out the door until until Steele invited him to dinner. Right.

Sara: 2:58:53

But the even that she saw what that was. Right? And she knows that Steele is threatened and that this is just another game that he is playing to she just wants him to talk about his actual feelings, and he refuses to do this at every turn. This has always been his problem, the fact that he won't just label how he's feeling. We know that in in many cases, he has trouble with that. He sometimes doesn't even recognize what he's feeling or doesn't understand what he's feeling or why he's feeling it because nobody was there to teach him. But I think in this case, she just merely had she nearly died in the jungle, and he's being petty about the guy who helped get her back. Like, I don't think she necessarily needs him to be jealous of Tony. She just needs him to say, hey, I was. Maybe that's because she was like she just wants to feel like Steele cares at at least a little bit that she nearly died or that this guy was there and he wasn't. Like, he just seems totally unbothered by

Eric: 2:59:49

If she's bothered by the fact that he's jealous and would admit it, she's got what she wants. He's jealous.

Sara: 2:59:56

Well, when he says that, it's clear that he's not really, like he's just saying it's obvious he's saying that to shut her up, and she doesn't

Eric: 3:00:06

want she You just got done saying that it's obvious from his behavior that he's jealous. It's obvious to her that that he's jealous, and she wants him to admit it.

Sara: 3:00:14

Well, doesn't matter whether he admits it. If you can see that he's jealous, he's jealous. You got what you wanted. No. She doesn't but she doesn't want him to be jealous. She wants him to talk to her about it. It's the fact that he is refusing to actually discuss his feelings in any meaningful way that he's still playing these games that is bothering her. And and I'm not hey. I don't like what she's doing here. I think she is not a great version of herself either. I think she behaves very immaturely, especially that scene where she's stomping around the pool. I think she should have just turned to him and say, listen, you acted like a jerk because you're jealous. Just admit that you're jealous and threatened by this guy because I don't have time for these games. That's I think what she should have said. Not this whole not the beating around the book. Like, the the 2 of them are terrible at communicating. Sadly, this is actually quite in character for both of them, and I don't love it. Well It is funny what he says about, you know, well,

Eric: 3:01:12

at least Yeah. Don't get the joke quick.

Sara: 3:01:14

We're married couple.

Eric: 3:01:17

Oh, a bad joke quick.

Sara: 3:01:18

Bad comment. Yeah.

Eric: 3:01:19

That you you can you can on that 1.

Sara: 3:01:21

Yeah.

Eric: 3:01:22

Next, we see Laura Steele and Roselli at the hotel restaurant. It's apparently an open air patio style restaurant. Yeah. Steele breaks the tense silence awkwardly and seemingly for show, addressing Roselli saying that, well, now is as good a time as any to get something off his chest. He he must admit that he was somewhat jealous that Roselli was beating through the bush with his wife. Thor gives Steele a stiff look, fully aware of the intentional double entendre of Steele's words.

Sara: 3:01:53

He's just making it worse. Like, you what does he what is this is always my question when it comes to some of his behavior. What does he think this is going to accomplish? Because

Eric: 3:02:07

Same thing Laura was trying to accomplish a few minutes earlier.

Sara: 3:02:11

Was just trying to get an actual genuine conversation out of him. This is not what he's trying to do. He's trying to and and again, I don't think she did it the right way. I think she was very immature in how she did it. This, though, just seems to be intended to needle her and make her angry and and push this whatever this is between them, this tension. This is not going to get them anywhere good. It's not gonna get them anywhere positive.

Eric: 3:02:37

Well, right. But I mean

Sara: 3:02:39

Like, it's just going to piss her off. If that's his if that's his attention, kudos, dude, but you're not getting laid. You know? Like, that's your Periscope is is broken at this Like

Eric: 3:02:52

Yeah. Well, Tony finds Steele's folk and fashion funny. Push beating? Me? He asks. Steele drags up Laura's words from earlier in the evening, calling Roselli a relatively attractive man. And, well, does Roselli find his wife attractive? And, of course, Laura is stunned. Roselli, seemingly taking the conversation in stride as if it were just your typical dinner conversation, casually says,

Sara: 3:03:17

yeah.

Eric: 3:03:17

Sure.

Sara: 3:03:18

Well, I mean, yeah. She is attractive. Like, don't I what was he supposed to say? No. I think she's a hideous chud. Like Actually, I think your think your wife is quite ugly. No offense, but but he just it's the way he says it. He says it like it's just like normal dinner conversation. Yeah. You think my wife saw it? Yeah. Yeah. Pretty good. I mean, hey, if if Scott asked somebody that for me and they said, yes, I'll be like, thanks. High 5. But then, Anne, we're not we don't have an insecure, like it's like that thing where, you know, you want people to find your your partner attractive because she married you. And so that, k, you know, this is

Eric: 3:04:01

Well, Steele says, well, hence my jealousy. Laura gives Steele a quick kick under the table and then continues eating as if nothing happened. And Rosselli Rosselli Rosselli gives Laura a side look. And after a moment that takes the cover from this painful kick, Steele chuckles and then asks Rosselli if he's married. And Rosselli enthusiastically says, no. Funny thing about wives, Steele opines, no matter how hard you try to satisfy them, you can never please them. Take Laura for instance. I mean, just tonight, she wanted me to be jealous. In interest of fairness, I will say I don't like this version of Remington. He's being spiteful.

Sara: 3:04:38

He's he's that's the word. That I was trying to find it. That is the word because he could have let that argument go and just put it behind them. But no, he's gotta keep pushing it. He's gotta keep pushing it, and it's if he wants to be with her, why are

Eric: 3:04:57

you This isn't provoking way to do it.

Sara: 3:04:58

This isn't the way like, you're just drawing this argument out. Like, sometimes you just let an argument go. Even if it's not really resolved, 2 people just kinda we're gonna let it go. You know?

Eric: 3:05:09

Yeah. I've been I only have have 1 bit of advice for Steele. Hide the knives.

Sara: 3:05:16

Yeah. Right?

Eric: 3:05:19

Well, another kick to the shin silences Steele long enough for Laura to ask Roselli how he got into archaeology, although with obvious fake and excessive interest. Rizzelli says he got it into it sideways. Always an interesting position, Laura says, looking at Steele as she says it and emphasizing each word.

Sara: 3:05:39

I think that was kind of a reminder of what what he could have had. He's not continuing to open his big mouth. Rizzelli clarifies that he started

Eric: 3:05:49

out as a baseball player, pitched 3 years in triple a, hurt his arm, and then was out of there. A baseball player, she muses, asking Steele, isn't that fascinating, dear? Yes, Steele answers. Is a fascinating fellow, dear.

Sara: 3:06:04

And

Eric: 3:06:05

Tony Rizzelli starts glancing between the 2, maybe a little bit nervously. Right. And Steele continues trying to be clever, observing that Roselli went from bats to bones. Roselli

Sara: 3:06:24

man.

Eric: 3:06:26

I can't I have so much trouble getting that name right. Roselli grins, saying that it doesn't pay much, but he does get to travel a lot. A waiter brings a bucket of ice with a bottle of wine. He sets it down, holds up the bottle for Steele's inspection, telling him that it's compliments of the gentleman as he gestures to their benefactor. Steele and Laura look and see Keys raising his own glass of wine to

Sara: 3:06:49

them. Yeah.

Eric: 3:06:49

Laura is shocked, exclaiming, what's he doing here? Steele throws down his napkin saying, he'll handle it. Roselli leans over to Laura asking, friend of yours? She hesitates, unsure how to answer, and then says, not exactly. I

Sara: 3:07:04

gotta say, I don't think Steele would have done what he did, laid him out the way he did, had he not already been so keyed up in terms of Tony, Laura, that whole

Eric: 3:07:20

Heed up.

Sara: 3:07:21

I didn't That was that was unintentional, but I'm gonna pretend that I'm I'm meant to do that. Totally meant to do that. I don't think he would've punched him the way he punched him if it hadn't been for everything else going on because he normally keeps his cool unless somebody threatens Laura or, you know Mhmm. Season 2 notwithstanding. He's generally pretty able to handle himself in terms of that, but just everything else going on, he wanted someone to punch. And Keyes is pretty freaking punchable.

Eric: 3:07:49

So Oh, yeah. Oh, yeah.

Sara: 3:07:51

On the best of days, he's pretty punchable. But in this particular case, it just makes he just throws him over the edge. And since Steele can't turn around and punch Tony without looking like a total jackass, he's Keyes is the next best thing.

Eric: 3:08:06

Hey. However, you gotta get that hostility out. Yeah. And Steele takes the bottle of wine back over to Keys' table and slams it down. Keys asks,

Sara: 3:08:14

what's the matter? Don't like my gift?

Eric: 3:08:16

It's like you, Keys. Bad vintage, Steele reports. Continuing to push, Keyes asks, tell me something, Steele. Is it strictly business between you and Holt? Then he winks as he asks, or are you getting a little on the side? Steele looks like he's almost almost lets himself cut loose on Keyes, but instead says, you just don't know when to quit, do you, Keyes? Keyes gives Steele 1 last show when he says, you know, she ain't a bad looking broad in the right light.

Sara: 3:09:00

Gross. Gross. Gross. Gross. Gross. Gross. Gross. You're

Eric: 3:09:05

just saying that.

Sara: 3:09:06

Well, and it's not even because, like,

Eric: 3:09:08

I mean, James You don't like cheese. And so

Sara: 3:09:11

It's not to do with anything. I just wanna be clear that I'm not insulting James Tolkien for for being hideous or disgusting or ugly. He's he's a perfectly normal looking guy. Right? I don't Mhmm. You know, there there are very handsome bald men, Patrick Stewart. I would not kick out of bed for eating crackers even at his age. I'm just saying. And he went bald at 19 apparently, but, like, just it's it's not his physical appearance that makes him disgusting.

Eric: 3:09:38

It's I noticed you didn't include me in that list.

Sara: 3:09:41

I'm just saying he's not ugly because of how he looks. He's ugly because of who he is. That's what makes him so gross. Just like that. I if she's not my bad looking broad, I'd have a go at her like, I just wanna throw up every meal I've ever had

Eric: 3:10:00

when That's he says exactly what his intention is Oh, to For promote Steele. I mean, that's 100 and went with the most insulting, crude Yeah. Offensive thing he could he could come up with. So Yeah. Steele looks down at the glass of wine sitting on Keys' table and reaches out and knocks it, throwing the wine onto Keys, who instinctively stands up and then still lets him have

Sara: 3:10:21

it Yep.

Eric: 3:10:22

Seemingly hitting him hard enough to send him

Sara: 3:10:24

flying claps.

Eric: 3:10:27

Everybody in the viewing audience, yes, at least. Seemingly hitting him hard enough to send him back flying and over the rail and down into the swimming pool below.

Sara: 3:10:36

Lucky there was a pool there.

Eric: 3:10:38

Yeah. Yeah. Wonderful coincidence. Yeah. Rizoli rhetorically comments that Rosselli.

Sara: 3:10:46

Rosselli. Rosselli. Rosselli rhetorically comments that he must not have liked the wine,

Eric: 3:10:52

and both he and Laura stand. Steele remains looking over the rail and down at Keyes who has recovered and is climbing out of the pool. 2 hotel security men rush up and grab Steele. They begin talking to him, but, of course, he doesn't understand them because he suddenly no longer speaks Spanish. Laura and Roselli rush up. Roselli telling Steele that the men want them to want him to go to go The men want him to go with them. Yep. Why was that so hard for me to say? I don't know.

Sara: 3:11:20

I don't know.

Eric: 3:11:21

Laura wants to go out, Laura wants to go out with him. Laura wants to go with him, but Remington says no. Keyes is only gone for a little swim, so they should stay and finish their dinner. The men lead Steele off, and Roselli, getting a bit handsy, tells Laura that Steele will be alright. He just needs a chance to cool off.

Sara: 3:11:39

Yeah.

Eric: 3:11:41

In the manager's suite, the manager is telling Steele that the 1st order of business is to keep senior keys from pressing any charges. Between gritted teeth, Steele tells the manager that it's lucky.

Sara: 3:11:51

Oh, this is the is the worst thing he could have said.

Eric: 3:11:54

Yeah. Just Steele tells the manager that it's lucky keys fell off the balcony or he wouldn't be alive to press charges. The manager begins to say something to Steele but is interrupted by the phone. After speaking on the phone for a couple of moments, he hangs up and tells Steele that they cannot find keys anywhere. Steele considers this for a moment and stands, telling the manager that in that case, it's been lovely. Yeah. The manager begs Steele to stay away from Keyes, but Key but Steele reverses the warning, warning the manager to tell Keyes to stay away from him.

Sara: 3:12:27

I I get that Steele is still angry right now, and I think with a little bit of distance, he would be able to see how this looks. But saying to the manager, he's lucky. He's, you know, if he

Eric: 3:12:39

he Yeah. He's lucky. Didn't finish him.

Sara: 3:12:41

And then tell him to stay away from me implies that he's the threat, not Keyes, and there's nothing. The the hotel staff, nobody has seen anything to indicate that Keyes is stalking, antagonizing. They didn't hear the conversation. And and even then, e even if they did, it's technically a conversation. There's no reason to assault someone. If you're looking at legalities, he still hit them unprovoked or at least physically unprovoked. Like, it just none of this looks good for Steele, and then, of course, we know what ends up happening. So

Eric: 3:13:15

Well, next, we see Laura and Roselli walking along the beach, and he

Sara: 3:13:20

has I like her to shirt. I like that off the shoulder Anyway, I'm just sorry. Just wanna say that she looks really good in that shirt. It looks like very soft and yeah.

Eric: 3:13:31

Yeah. The the the pink

Sara: 3:13:37

It's a it's white, but it's got like a I think it's like a red trim or something like that. Either way, just looks

Eric: 3:13:43

like Yeah.

Sara: 3:13:44

Sitting off the shoulder the way it is, like showing off her bare shoulders, but Shoulder is you know,

Eric: 3:13:49

it's not yeah.

Sara: 3:13:49

Yeah. It just it looks good on her. She's she she looks tan and sunkissed, and it's it's a nice look. It's a shame that it's a sort of and I get it. They're they're they've got her having this sort of, like, soft, visually kind of romantic look to her while she's walking on the beach with Tony. She still looks good.

Eric: 3:14:09

Anyway, so they're walking on the beach, and he asks if she wants to talk about it. And we have a musical edit. The string ensemble we hear is supposed to be playing as time goes by,

Sara: 3:14:19

but

Eric: 3:14:20

that has been changed. Anyway, she tells him that it's it's just another long story. And he says, well, he's got time. She says that, well, he doesn't have to babysit her. She'll be fine. And so were mister Steele. And

Sara: 3:14:35

Ugh. So the verbal verbal faux pas aside, I like the fact that she doesn't confess anything to Tony.

Eric: 3:14:44

Mhmm.

Sara: 3:14:44

Like, he he's trying to get her to open up. He's trying to, like, you know, I I'm here. Do you wanna talk about it? I'm I'm blah blah blah. No. No. No. It's a long story. She she is maintaining at least for now, she is maintaining a boundary. That boundary gets murkier as we go, but

Eric: 3:15:00

Yeah.

Sara: 3:15:01

She is still maintaining a boundary. She does say, like, you don't have to babysit me. You can go. I'll be fine. She the mister Steele thing, a bit of a screw up. But and here's the thing, and I know we're we're without jumping the gun to the to the beginning of the next part of this episode, she really should be getting used to calling him Remington, and not because of the fake marriage. I honestly don't know why she wasn't doing this ever since they gave him the passport.

Eric: 3:15:29

Yeah.

Sara: 3:15:29

I think that once they gave him that passport, that was basically their way of saying, like, this is who you are now. Embrace this identity. You don't have to run anymore. You don't have to chase this other version of you. You can just be this person. So I just know.

Eric: 3:15:44

Certainly, in private, you would you would think that she was calling them that. In the office setting, Yeah. Professional setting it would still be yeah.

Sara: 3:15:52

But I I would've liked to have seen her call him Remington in season 4. Or, you know, if you're gonna short form it, make sure make it Rem. Don't say Remy because Remy just sounds I don't like it. But Rem or Remington would have worked.

Eric: 3:16:07

That last name thing, that's that's commonly used in TV shows in No. I know. In these types of relationships. Take Bones, for example. Go

Sara: 3:16:17

back Oh, for sure.

Eric: 3:16:18

Beckett and he calls her Bones, but she calls him Booth.

Sara: 3:16:28

Yeah. Yeah.

Eric: 3:16:29

Yeah. Bring it forward. Sorry. Booth.

Sara: 3:16:31

Yeah. I know. But they usually do it that way to to make it so that when they do use their actual 1st name, it's sort of, like, meaningful.

Eric: 3:16:39

Yeah. But, I mean, it's still commonly done. But

Sara: 3:16:42

And since she gave him a passport, it would have made sense to start calling him Remington in season 4. She didn't, and now she's struggling to remember to do so in public around other people. That's a problem. Well,

Eric: 3:16:57

at her reference to calling him mister Steele, Roselli questions her calling him mister Steele, she says, well, he used to be and then she hesitates, then finishes her boss, and old habits die hard. Well, she turns her head away from him, and his eyes drop to her North America. A fan of Michael Frank will understand. Do I need to should I explain that?

Sara: 3:17:26

No. I know what you're talking. You might you could for anyone listening, you could, but I I know.

Eric: 3:17:30

Michael Frank's had a song called Popsicle Toes. And 1 of the lines in it is, you've got the nicest North America this sailor ever saw. I'd like to seal your warm Brazil and touch your Panama, but your Tierra Del Fuegos are nearly always froze. So we gotta seesaw until we unthaw those popsicle toes.

Sara: 3:17:46

Yeah. You sent me that song. You told me the 1st time, so I I got the reference, but yeah.

Eric: 3:17:52

It's Anyway, on when she turns her head back, he quickly jerks his head away, and she reiterates her thanks for everything, she adds. And I'm wondering if she's not thinking him for about more than just escorting her back to the motel.

Sara: 3:18:08

Well, think she's again, this is where I think maybe there is a little spark of attraction here, and and, you know what? Here's the thing. It is fine to be in a relationship and find somebody else attractive. It happens all the time. It's what you do about it that matters. Right? If you Yeah. So in this case, I am I will say that she is holding a boundary. She does shake his hand and say, thanks for all your help. She's not encouraging it at the moment. Mhmm. Later on, unfortunately, they assassinate her character even further. But right now, like, I'm sure, you know, there's times where we've run into people. I used to tease Scott because when we were living in Scotland, there was a Chinese restaurant, just around the corner from his apartment that, the girl that worked there, he thought she was cute. And so I'd always be like, oh, you wanna go get Chinese to see your girlfriend, And it was like a, you know, was a running joke because he he found her attractive, but it wasn't, you know, he wasn't hitting on her. He was it was 1 of those, like, I found it kind of funny. His ears went a little pink, and it was it was that's all it was. Right? So as long as she's maintaining a boundary, there's nothing wrong with and here's the thing. Jack, whatever the heck his last name is, he's a good looking guy in a very different way than Pierce Brosnan is a good looking guy, but he is a good looking guy. He's not my type per se in terms of, like, Hollywood hunks, you wanna call them that. Mhmm. Not really what I would gravitate towards, but I can see why people would find him attractive. I can see where that would happen. Not with Butch Bemis, mind you, but with with him, I could see it. Again, hold the boundary. She shakes his hand. Sums up to Laura here. Not later, but here.

Eric: 3:19:50

Well, as you say, she holds out her hand to shake, and then after a moment's hesitation, Roselli takes it, shakes, and advises her to stay out of trouble.

Sara: 3:20:01

Jungles. He says stay out of jungles.

Eric: 3:20:06

You say potato, I say stupid. No. Well, back at the hotel, Steele heads to somewhere. I'm gonna take exception to the script here because the script says it's his suite.

Sara: 3:20:21

I I wondered about this too because like The

Eric: 3:20:24

layout's wrong.

Sara: 3:20:26

Yeah.

Eric: 3:20:26

Yeah. Before when you entered into came in, you came into an entry, and then the main room of the suite was off to the right. Here, it's directly through the entry. Also, the layout of the room is different. The room appears to be smaller. The couch is against the wall when it wasn't in the 1st 1st room. The 2nd couch that was across from the 1st couch and on the other side of the table isn't there. Yeah. I'm gonna say this is Keys' room because if

Sara: 3:20:52

it's supposed to be That's what I thought it was supposed to be Keys' room, but then later on, he says the man had the audacity to expire on my floor. So Yeah. It just it doesn't match up. No. It doesn't.

Eric: 3:21:03

Because if it is supposed to be Steele's sweet, as it says later in the in the episode Yeah. They didn't do a good job of matching the room in the set layout from

Sara: 3:21:11

the They did not.

Eric: 3:21:13

Anyway, Steele steps into the door and sees Keys motionless on the floor. Broken lamp is lying next to him on the floor, and there's blood on the lamp and Keys' hand. Yep. Steele closes the door behind him, steps over to Keys' body, picks up the wrist to check for a pulse. Apparently, he doesn't get 1, so he seems to check the neck for a pulse in the carotid artery. Apparently, there's still nothing there, except that when he pulls his hand away, there's blood on it. Next, we see Steele carrying Keys' body covered in a blanket downstairs with stairs because the room he entered a minute ago seemed to be on ground level.

Sara: 3:21:53

Yep. Well, not only that, though. I mean, come on. You're you're in not broad daylight, but you're out in the open Mhmm. Carrying a body wrapped in a like, what are you this is bad decision after bad decision. This is I mean, he should've hid keys somewhere in his room and found Laura and found and and, like, that's where he should've been like, hey. Here's a problem. He seems to be dead in our in our in in the suite. What do we do? Because this Yeah. This looks real freaking sketchy. He's got a body. He's like he's like sneaking around. They just saw him have a fight with the man. Come on.

Eric: 3:22:28

I'm not guilty. I'm just acting that way.

Sara: 3:22:32

Yeah. He wasn't born yesterday. This just seems like a really stupid thing to do. Yeah.

Eric: 3:22:37

Well, he ducks into a doorway at the sound of people approaching. The couple passes, and then once again or and then once they've gone, he peers out and spots an electric cart used by the hotel to tour guests. He rushes over, puts Keyes' body in the 2nd row, hops into the front seat, and begins driving. After a few moments, he stops, gets out, and lifts Keyes' body out of the cart. He carries the body to the beach chain to a beach changing tent and is leaning into the tent, putting the body into a chair inside the tent when he hears Like, somebody

Sara: 3:23:09

does he think this is gonna make him look any less guilty? He was the last person to have seen Keyes alive. They had a fight. He knocked him over a balcony. Is Keyes being found dead in a beach cabana gonna make

Eric: 3:23:20

Well, well,

Sara: 3:23:21

at least weight the body and dump it in the ocean or something.

Eric: 3:23:24

Well, no. That would definitely look guilty. But this way, by leaving it there, he can at least make the case that, well, anybody could've done it. I mean, look where his body was found.

Sara: 3:23:35

Sure. But, I mean, he's gonna be the prime suspect either way.

Eric: 3:23:38

Yeah. So And plus, can't really clean up blood effectively in in just a matter of a few hours No. Or

Sara: 3:23:44

Yeah. So I mean, like, hiding the body would maybe be a better choice just because

Eric: 3:23:49

Or just, you know, calling the cops and saying, look, I didn't do it. I know it's how it's gonna look, but I didn't do it. Anyway, when he hears somebody call out senior, he leaves Yeah. Keys' body partway in the chair, which is another mistake. Steps back out and then turns to face the 2 security men. They recognize him and ask if they can help him. No. No. No. He stutters nervously. He tells him that he's just going for a quick dip and then begins to remove his shirt, you know, to calm the nerves, stimulate the body. But then Keys' body falls out of the tent and onto the sand. The men look at Steele as he shifts nervously. And here is where we will leave off Yep. The end of part 1 of the episode.

Sara: 3:24:37

Yeah. Yeah.

Eric: 3:24:41

I'm gonna say that the Laura and Remington we get into this episode are not the same 2 characters we've known

Sara: 3:24:47

I think parts of them are.

Eric: 3:24:49

4 years.

Sara: 3:24:49

I think parts of them definitely are, but they're the not the great not the best versions of them. I think if if if we're looking at reversing some of that character development from season 4 Mhmm. Absolutely. We're seeing elements of him, elements of her that have never been terribly flattering as part of their character. Mhmm. And unfortunately, they've kind of ignored all that character development that we saw in season 4. Their ability to communicate with each other in season 4, to actually talk to each other in season 4, it seems to have been tossed out the window in favor of, let's go back to the stuff that worked before, where we're just gonna have them fight all the time. And it my favorite parts of the episode are the episode where or the parts where they're enduring all this hardship, like at the Hotel Del Amour and, like, on the bus with the Mulvados and the the chicken and the plane and all of that stuff where it's clear that they're sort of like, they're miserable, but they're miserable together at least. Like, they're still kind of like on each other's side in that moment where they're they're laughing in that in the room or they're talking about, you know, a periscope. Like, that stuff is really I like that. I like that they kinda come to at least somewhat of a truce in his apartment after the wedding, even though if it were me, I would have wanted him to just get rid of everybody and let me take a bath because you're covered in crap. Mhmm. But yeah. The parts where and it's not even really Tony per se. It's just what he brings out in both of them. Immaturity in Steele, that immaturity in Laura. Like, I'm not giving her a pass at all. Her behavior by the pool is not great. And I just think that they're it's unfortunate that they had to revert back to, let's make them fight. That's what we need to do. I wonder if

Eric: 3:26:35

the show hadn't gone through the off again, on again, and then the limited renewal of Yeah. 26 episodes or 3 2 hour episodes or what Yeah. However it broke down, would they have handled the characters this way?

Sara: 3:26:48

I would Or

Eric: 3:26:48

would think they have remained more faithful to the established versions of the characters? Because obviously, They were trying to they already knew that this was this was it. Yeah. You get 3 things. And the network undoubtedly wanted as much in the ratings as they could. Romancing the Stone was not that old.

Sara: 3:27:08

No. It it was pretty recent. And so And it was popular.

Eric: 3:27:11

Oh. Yeah. You know? Oh, and and I think probably before this, I I I'd have to check the I'd have to check the IMDB, but I think Tales of the Gold Monkey Yeah. Had hit and was fairly popular.

Sara: 3:27:26

Yeah.

Eric: 3:27:26

Didn't last very long,

Sara: 3:27:27

but it's fairly popular 1 for you 1st look at Indiana Jones was also very popular at the time as well. Same idea. So

Eric: 3:27:33

I wonder if there was not a lot of pressure put on them to do that sort of thing

Sara: 3:27:37

Yeah. With this I also kinda wonder, and I I hate this because it it I wonder if they saw the writing on the wall and they thought if we're if we are planning to keep this going, we're probably gonna lose Brosnan. So let's find another male lead. You know, it's I'm not Bring saying Murphy back. No. I agree. It's not gonna work either way. Right? But I I wonder if they were thinking, let's find someone else that she's got chemistry with, and we'll just replace him. It was kinda like how you remember when they were looking at keeping Castle going without Castle? And it was like

Eric: 3:28:15

No. With Castle, but without

Sara: 3:28:16

but not without her. They're the 2 that make the formula work. You can't just take 1 out and put somebody else in even if they do have chemistry. And here's the thing. Stephanie Zimmelist and Jack Scalia Scalia, whatever his name is, they do have chemistry. Whether we we like his character or not. There's chemistry between the actors. You can see the chemistry between the characters. I'm wondering if they're like, okay. Let's hedge our bets. If if if Brosnan goes, we got this guy. A stupid way to look at it because none of the fans are gonna keep watching it. That's not

Eric: 3:28:50

why Yeah.

Sara: 3:28:51

You know, they don't want you to just slot in any old any, you know, any dude and be like, okay. Here's a new handsome guy. She can be with him. They stuck with the show for 4 years because of the chemistry between those 2 leads. Yeah. And even if there is chemistry between this other guy, it's it try doing that with Castle. Try doing that with Bones. Try doing that with any other show that works on this formula. The fans aren't gonna go for it. Yeah. So Yeah. Now why guess that was the plan. But

Eric: 3:29:16

I I think you've got a a good theory there. Is that they were trying

Sara: 3:29:20

to think it might have been in the back of their minds to see how well he played for audiences, and then Mhmm. If they could keep it going, we can keep stuff Because in

Eric: 3:29:30

in a lot of respects, his character was a reflection of the season 1 Steele.

Sara: 3:29:35

Yeah. Yeah. Yeah. So, anyway

Eric: 3:29:41

Oh, alright. Well, anything else?

Sara: 3:29:45

No. I think that I mean, I again, I don't dislike the episode. Certainly not going to be in my top all time 5 episodes, but

Eric: 3:29:54

Has that gotta be in your season 5 top 5?

Sara: 3:29:57

I mean, it might. It might make the season 5 top 5. There's only 6 episodes, so, I mean, really, one's just gotta go. So I think there's stuff to like here, and I'm trying to find the stuff to like because

Eric: 3:30:08

Okay. You know. Because you have a sentimental

Sara: 3:30:12

It was the 1st episode I saw. So, I mean, it was it was fun when I saw it, and I still see some fun in it. It's just unfortunate.

Eric: 3:30:19

Alright. Website, steelwatching.com. We've got show notes, Amazon links to Butch Cassidy and Sundance Kid, Periscope, Romance in the Stone, and links to other resources such as

Sara: 3:30:33

The Facebook, Instagram, and Twitter or X, you wanna call it that, which I don't, as well as the officially unofficial Steele Watchers Facebook group. So if you're not in the group and you wanna be in the group, come and join us. We talk. We discuss. People tell me that Eric is wrong, and I am right. It's lovely. I enjoy it very

Eric: 3:30:51

much. Delusional.

Sara: 3:30:53

Check the comments for Steele running. Anyway, so yeah. No. Seriously, though. Come and join us. Have fun with us. And, yeah, that's about it.

Eric: 3:31:03

Alright. Next episode, Steele That Wouldn't Die Part Doo.

Sara: 3:31:07

Yay.

Eric: 3:31:08

Yay. Alright. Well, thanks everybody. Talk Bye to bye.