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