Thirtysomething (1987) s03e06 Episode Script

1 [theme.]
[man sings on stereo.]
The tape.
I know.
What is that, Music to Make Love to Older Women By? No.
It doesn't have a name.
It's just, you know, music I like that I thought you might like.
- Lee? - What? I do like it.
[phone rings.]
[answering machine chimes.]
What, um What is your middle name? - My middle name? - Yeah.
It's Jo, from Little Women.
My mother let me pick it.
What's yours? It's, um [whispers.]
Spencer.
Oh, God.
- I know.
Don't tell anyone.
- I like it.
- Don't tell anyone.
- I like it.
Don't tell anyone, okay? Okay.
[knock on door.]
Wonderful.
Coming.
Hello? Hey.
There are bagels in my bag.
Thanks.
I've got to meet Michael.
I'm already late.
Did you get my messages? I must have called you three times.
I was going to call back.
I got some news.
It's not important or anything, but, you know - What's not important? - I'm going to have a show.
A show? Where? At the Brisson Gallery.
Just me.
Really, Russell? White wine and cheese puffs and a catalog, and I need a photograph.
Annie Leibovitz is busy.
Are you? Watchin' the town Hey, how are you? Um, I'm in a towel.
The paint job turned out great.
Thanks, man.
Thanks for the reference.
Sure.
Okay, I think I'll get dressed now.
- See you.
- See you.
He's going to get dressed now.
Uh-huh.
- What? - Nothing, nothing.
Just always pictured you schlepping around in mules and a house coat, curled up with Pride and Prejudice and a quart of Häagen-Dazs, but no And the final Jeopardy answer is she gets it regular.
Yes, she does.
Listen, will you take me to DAA? - Yeah, I'll get the car.
- Okay, great.
And congratulations.
You, too.
Wish me luck, okay? - Luck.
- Okay.
- And when you leave - I know.
Make sure to push the button on the knob.
What time you think you'll be back? In case I want to stop by.
I don't know.
It's going to be really crazy.
I'll be in and out.
Okay.
- What? - Nothing.
I'll have a set made if I have time.
Yes.
Are you mad? You're mad.
Don't be mad, I'm not that late.
- How could I be mad? You're in pain.
- I am? Yeah, you got one of the biggest hickies I've ever seen.
Ha ha.
Very funny.
And Drentell changed the meeting to 11, so you're early.
- Okay.
- Hi, Russell.
- Hey, Michael.
How's it going? - Peter here? - Yeah.
Hi, Melissa.
Hi, Peter.
- Hi, Russell.
- Elliot.
How are you doing? Good.
Russell, Peter.
Peter, Russell.
Hi, Russell Weller.
- Peter Montefiore.
- Nice to meet you.
Yeah, he's one of us.
Yeah, only respected and successful.
Melissa told me all about you.
- Oh, no.
- Oh, yeah.
You do the catalogs? Sometimes, for a couple of galleries.
Some painter friends.
So who do you like? Who's working now? - Not Schnavel.
- Ah, me, either.
So what'd you bring us? Oh, stuff.
Examples of everything.
I won't embarrass you.
- But I do like Clemente.
- Me, too.
I know.
I've seen your work.
In that group show last year.
- Oh, you mean PS1? - Yeah.
- I liked it.
- Thank you.
Why don't you tell him about the new show? We're in the conference room.
Two minutes, okay? I think he liked me Drentell.
Yeah, I think so, too.
Who knows? Maybe you'll wind up on a retainer, huh? Retainer I hate that word.
Makes me think of a night brace.
I don't think he liked me.
I think he only pretended to like me because I'm your cousin and you probably paid him 5 bucks.
Fine.
You're right.
He hated you.
So what'd you think of him? - Him? - Yeah.
- He seemed a little tense.
- Little tense? Yeah.
Did you notice how the tassels on his loafers kind of clenched up? You know, he's nice.
I think they're cute together.
They really hit it off.
Yeah, Russell's gay.
So? So's Peter.
He is? How do you know? Well, I thought he might be a possible for Ellyn, so I told him about her, and he said he was gay.
If somebody told me about Ellyn, I'd say I was gay.
Don't you talk about your personal lives? No, I'm married.
I don't have a personal life.
Listen, why don't you say something to Russell about Peter? Say something? Like what? I don't know.
Do a variation on "Get a load of those knockers.
" Listen, where's the ladies' room? Speaking of personal lives, when do we get to meet Lee? - I don't know.
Soon.
- Yeah? Tuesday, our house.
You come for supper, then we'll watch Harold and Maude.
Ha ha ha.
Talk to him.
I'll be right back.
[mouthing.]
Hey, Russell.
How you doing? Good.
How're you? So - Yeah.
- Yeah.
He's a great guy Peter, I mean.
Oh, uh, yeah.
He is.
Yeah.
He's nice-looking, too.
Peter, I mean.
You think so? Oh, yeah.
I do.
Have you talked to Hope about this? This is totally weird for me.
I am completely embarrassing you here.
- No, no, no.
- Yes, I am.
No, I'm just surprised.
I just thought that Melissa was the yenta.
What? [both.]
Nothing.
What are you doing? Just putting my clothes on.
I know you're putting your clothes on.
It's just Just what? You know, it's just You usually stay, is what.
After - And then - What? Well, then there's usually another after.
Oh.
Come on, Lee, what do you want me to say? That you want me to sleep here tonight.
That you don't want me to leave.
You know that's how I feel.
How? How do I know that if you don't tell me? Am I supposed to be, like, really perceptive? Read between the lines all the time? Forget the lines.
There are no lines.
I want you to stay tonight, okay? [phone rings.]
You going to get that? - It's probably work.
- Yeah.
What if it's a friend? You never talk to your friends when I'm here.
Okay.
I happen to like being with you.
Great.
Really? And I happen to like being with you, too.
Great.
- But I also like my friends.
- I like mine, too.
And my friends know about you, okay? I showed them a picture of you.
They think you're really hot.
- Which picture? - The one you gave me.
Oh, God, not the one in the turtleneck.
Oh.
So do your friends know about me? Of course they do.
Oh, okay.
You don't believe me, do you? Melissa, I believe you.
It just so happens that Tuesday night Tuesday night, I was invited to a friend's house for supper on Tuesday, and I want you to come, if you want to.
You got any plans for Tuesday night? I'll check my book.
- Great, okay.
- Okay.
- Melissa.
- Yeah? I don't have a book.
I know.
- But I'll check it anyway.
- Okay.
I think I left it under your covers.
So can you come Tuesday? Don't make a big fuss, Hope.
I'm not.
It's just us.
Excuse me.
Thank you.
So, how is it? I mean, with Lee.
Good.
Lee's good.
It's, uh I don't know, it's hard to talk about.
You remember being 23? I don't know.
It's kind of fuzzy, now that I've officially become Jane Jetson, but I do remember being 23, give or take a year.
He's 23.
Lee is.
I know.
And I'm not, obviously.
I've been through more.
Experience.
It's supposed to teach you, make you wise.
With him, it's like everything I've learned just melts away.
When I'm with him and he's inside me, it's Does he have a friend? - Melissa? - I haven't met any of his friends.
Oh, whatever.
Sounds great.
I know.
All right, hold still.
- Just don't show that I paint by numbers, all right? - Right.
- Hold still.
- Okay.
Don't move.
- Look spontaneous.
- Melissa.
How's Lee? Fine.
Great light.
It's Vermeer light.
[camera shutter snaps.]
Could you tilt this way? That's good.
- But? - But what? Come on, you just don't leave a but dangling in the air like that.
He's fine.
What do you think if we splattered some paint on your face? - You think that will look - Melissa.
We're having dinner with Hope and Michael, and he's never met any of my friends Except Gary, who doesn't count because I don't care about the opinion of someone I've slept with.
Don't probe that.
- When's it happening? - Tonight.
- Are you nervous? - Of course.
- They're like family.
- Yeah.
Nobody judges you like your family.
- You know what I'm doing tonight? - What? Peter Montefiore is coming over here for dinner.
- He is? - Yeah.
He's going to look at the paintings - and talk about the catalog.
- That's great.
He's really nice.
Yeah.
You think so? You're just out of the light.
You don't think that he's attractive or anything, do you? Who, Peter? Very.
Don't you think he's sort of queeny? Queeny? Not at all.
- Secretly, he is.
I can tell.
- I disagree.
He's probably going to show up with a tape of Sweeney Todd.
- I love Sweeney Todd.
- You do not love Sweeney Todd.
Anyway, he's not my type.
You don't know what your type is.
Why don't we both have headaches? What a great idea.
You won't have to humiliate yourself at Hope and Michael's and I won't have to suffer through an evening with Peter Montefiore.
What do you say? I'm out of film.
How do I look? You always look okay, always.
Try to imagine a cold, harsh, judgmental light.
Okay, I'm Okay.
I'm trying to imagine a very cold, harsh, judgmental light, and I think you look okay.
I think you look gorgeous, actually.
What? Is it It's me, right? You? Hey, I know it's scary, bringing me to meet your friends the first time and everything.
It's not that at all.
I promise I will not steal anything really valuable, okay? Cub Scout's honor.
- Hi.
I'm Hope.
- Hi, Hope.
- I assume you're Lee.
- Yes, you assume correct.
- I'm Michael.
- Hi, Michael.
Nice to meet you.
- Come on in.
- Yeah, come on in.
Why not? So that's Lee? Yep, that's Lee.
He's really great.
Thank you.
I'm going home now.
This is a great house.
Oh, yeah, it was before we got into it.
Can I get you anything to drink? - Yeah, that would be great.
- Sure.
[chatter.]
- Melissa? - Hope.
Can I talk to you for a minute? I'll be right back.
You said it would just be us.
Your living room is filled with every registered Democrat in the tri-state area.
[whispering.]
This is cute.
You're feeling nervous.
I was like that when Michael met my parents.
P Hope, you are not my parents.
You are my friends, which makes it much, much worse.
Oh, now, what are you worried about? I already like him.
He's completely adorable.
Adorable? Great.
Couldn't you use an adjective like imposing or statesmanlike? Calm down.
Have a drink.
I'll be right back.
[chatter.]
Did you ever see a match burn twice? No, Lee.
Now you have! That's real funny, Lee.
P.
U.
Excuse me.
Did you just cut one? Oh, God! Do you want another drink? Thanks.
You see, this isn't so bad.
Everybody really likes him.
It's awful.
I know.
The cellulite.
I mean, this lady It must be awful now.
She must have a bunch of it now.
It bunches up.
It bunches up.
You look at this.
It's like cottage cheese.
Yeah, but give her a break.
She's almost 30.
Almost 30? [laughing.]
I think you have great taste.
Thanks.
[chatter.]
Let me get this straight.
I'll be the one wearing the black negligee with the riding crop, and you'll come in dressed as the phone man.
Got it.
[chatter.]
It's now "Baby, baby, do it to me now.
" There are two "baby"s.
No, what she says is "Baby, do it to me now, baby.
" See, so there's a "baby" at the beginning and a "baby" at the end.
[together.]
Baby, do it to me now, baby.
You got it.
She does it every time, like a cuckoo clock.
Well, I think we should eat dinner.
I guess.
We won't We won't stay long.
Why? Why not? I'm having a great time.
You know what might be really interesting? To maybe arrange the whole thing not chronologically but emotionally.
I don't know what you mean.
Okay.
Okay.
These.
These here.
They sort of feel like they were painted by a stranger in the world, you know? They're not sentimental.
They're more melancholy, I guess.
Not much color.
Figures are so isolated.
I never thought about that.
Well, good.
You're not supposed to think, just paint.
And, um, I should go.
Oh, yeah.
Can I give you something for the pizza? Oh, no, no, it's my treat.
Then I owe you one.
Without anchovies next time.
- You know what? - What? What you were saying about these These are different.
Yeah, well, your work changes and develops.
Yeah.
I mean, I These, I I painted these I was in love when I painted these, so there's there's that, and, uh You're very perceptive.
You want, uh want some wine or some ice cream as a perceptivity award? - Yeah.
- All right.
- I like these.
- Thank you.
When did you do them? Oh, uh, a year ago or so.
You You going to You going to keep your coat on? I got it.
Is this all right? Yeah.
It's all right.
[chatter.]
Yeah.
This looks great, sweetie.
- Thank you.
- You're welcome.
Oh, thanks.
Mm, I love garlic bread.
- Did you make this? - Who needs a drink? Who's going to wear a tux? [Hope.]
You can borrow one of mine a tux.
[Nancy.]
Never worn one in your life? Can't afford them.
[chatter.]
- Good night.
- Bye.
Hey.
- Treat her right.
- Right.
- It was real.
- Okay.
So we finally did it.
Yeah, this was great.
I had a great time.
We're so glad you came over.
Maybe we'll go to a movie next week.
Oh, yeah, call us, and we'll set the time.
- Thanks.
- Bye, sweetie.
- Bye.
- [Hope.]
See you.
Bye.
Did you have a good time? Oh, yeah, yeah.
I always do here.
Good.
Good.
So when did you know? Always, I guess.
I went through all the standard denial stuff you know, the requisite Oriental flautist girlfriends.
Mine played the clarinet.
Don't say anything.
I'm stopping tomorrow.
So what's it like at work? It's not bad.
Most people know.
The others just assume from the picture on my desk that I'm married to Bernadette Peters.
No, come on, really.
Uh, I mean, I don't believe in making people uncomfortable, but I also don't believe in lying.
Like whenever I have to go to a memorial service or funeral, I always say why.
You lost a lot of friends? One very good one, one pretty good one, one friend of a friend, and I have one who's sick right now.
Yeah.
I've lost three, too, and I know somebody who's sick.
You read the obituaries first every morning? Gay man's sports page.
- You - Of course.
Then I check out the Sixers, do the crossword.
I greet the day with a smile.
Well, somebody's got to do it.
What? You.
What about me? You know what I like about you? Tell me.
Your last name.
Montefiore.
Montefiore.
It means mountain of flowers.
I've been to Italy.
I know what it means.
You coming in? You want me to? Well, I'm a little tired Yeah, me, too.
I'm tired, too.
I'll just call you tomorrow, okay? We'll both get a good night's sleep.
All right.
Good night.
Good night.
So what do you think? You're nauseous from them.
No, I'm not No.
It's just pictures of me.
I think I know that guy, but do I want to know that guy? I would.
I think they really capture you.
Yeah, a big fag with a paintbrush.
- Oh, Russell.
- It's the haircut, right? Don't you think it's an awful haircut? I think you're insane.
Can we just take one more roll? - Just one more, please? - Sit down.
Okay, thank you.
I just don't want to be stereotyped.
You know, if you're so worried, why don't you stick a shot of Sean Connery - in the catalogue? - Sean Connery, yeah.
He was sexy in Dr.
No.
I never saw that.
I thought it was about a therapist.
So? So what? So how was it last night? You haven't said anything.
- Oh.
- How'd it go? Uh, it went.
That's very revealing.
I'm touched by your openness.
Uh, he stayed, you know he stayed kind of late.
- How late? - The night.
He spent it.
- And? - And we slept together.
- Really? - Don't worry.
We were safe.
We were in different rooms at the time.
Okay, will you please take the photographs, Melissa, please? Russell, that's wonderful.
I'm really happy for you.
Okay, contain yourself.
He has love handles.
So you're going to call him? I don't know.
Maybe I will.
You should call him.
Melissa, it's no big deal, okay? Okay.
Why don't you tell me how dinner was with Ozzie and Harriet? Delicious.
That bad, huh? Come on.
We should do this.
Come on, let's do this.
Okay, okay.
How's my hair? Think butch.
[saxophone, off-key.]
Of all the guys that have stood in this alley playing the sax for me, you, my darling, are the worst.
Oh, thank you so much.
- Hi.
- Hi.
I also came, uh, out of pity because you said you had so much work to do that I thought some Chinese food might cheer you up.
Oh.
I ate.
Oh.
All right.
But it's really sweet of you.
Do you want to come in or something? Well, it's been a few days, you know, I mean, we haven't seen each other.
There's all those hormones and stuff.
You know what could happen.
So, how's it going? Well, you know, slow.
- Mm.
- Yeah.
You think you might be done tomorrow? Oh, I hope so.
Maybe.
Because Hope and Michael said that maybe we could go to the movies.
Oh, that would be great.
Yeah, I mean, I think you could use a break.
Oh, I I I really could.
I mean, this this well, Russell's show, you know.
And then, um, the stuff I'm doing for Michael.
Mmm.
Maybe next week.
Uh, pick a time, any time.
- I'll do that.
- All right.
Thanks for stopping by.
Excuse me.
Is Russell Weller around? He had to go out.
He'll be back soon.
Thanks.
Thank you.
Hi, Melissa.
Hey, Peter.
Hi.
- How you doing? - I'm good.
It was lunchtime, you know.
Thought I'd stick my head in.
Yeah, no, me, too.
I'm waiting for him, too.
- Right.
This is cool.
- Oh, thanks.
I've been wanting to call you.
The pictures you did for the campaign.
- They were great.
- Oh, thank you.
I really appreciate that.
Can I show you something? I have these proofs I took of Russell.
How is he? He had a really nice time with you.
- Really? - Yeah.
I mean, that's nice.
Thanks, Mel.
Oh, these are good, Melissa.
You think? Well, yeah.
They're a little posed, maybe.
I like things just a tad messy, you know? Which isn't an insult.
I'm not insulted.
I agree.
Well, if he's not here, I should go.
- Okay.
- I have a meeting.
It's really nice to see you.
- You, too.
Take care.
- Mm.
Peter? I I know this is totally none of my business.
Um, has he called you? Well, I've been impossible to reach.
He's trying to get stuff done for the show.
I was just curious.
Whatever.
Melissa, things like this, they just I don't know, they just cool out sometimes.
It's nobody's fault.
You know what I mean? Yeah.
- Bye.
- Take care.
Did he leave me a message or anything? [receptionist.]
Who are you? So what's the verdict? It's hopeless, right? Well, it's a condo.
Yes, it is.
Of course it is.
And condo's like a synonym.
Is that the right word? Uh, well, it depends.
A synonym means the same as.
Yeah.
That's it.
It's a synonym for bland, condo.
Oh.
I'm just kidding.
No offense.
No offense taken.
So, but you'd want some color, definitely.
Either that or move.
No, I'm kidding.
I'm not going to move.
I want color.
You're right.
So were you thinking of doing something soon or Well, it depends.
When are you available? Tomorrow or in a month.
Oh.
Tomorrow.
- Yeah? - Oh, yeah.
Okay.
Well, then, let's talk some colors here.
- Okay.
- What you could do is that you could do the moulding one color - Right.
- and the wall another.
Yeah.
What I like, and this is just an example, but I like these two colors.
They're very different, but they could make sense if you don't, uh, think about it too hard.
Mm-hmm.
Yeah, this kind of reminds me of what you did for Melissa's place.
Which I really love.
Yeah, well, sometimes, you know, you get a feeling about someone, and it lets you know how to go, you know? Mm-hmm.
You must have a really good feeling about Melissa, huh? Well, yeah.
All right, so just take alook at those, and I'll leave them with you and you can do some thinking.
- Thanks.
- Okay.
You're, like, really good friends with Melissa, right? Yes, I am.
She's great.
I love her.
That's good.
You should.
Okay.
That That came out wrong.
I mean I mean, um, you know, the thing about her is that she's I don't know.
I don't know what it is.
Okay.
So just take a look at that.
I think that's the best.
- Okay.
- Okay? - Thank you.
- All right.
Bye-bye.
Then we'll end this as friends.
I know it's what I want.
[door closes.]
Hi.
- How are you doing? - Great.
Uh, pot's boiling over.
I know.
Must seem weird, huh? Yeah.
We usually eat out.
Yeah, well, maybe if I throw it all in the pizza box and you tip me 2 bucks, would that be better? Yes, uh Hey, I hear that you might be painting Ellyn's place.
- Maybe.
- That's really great.
What's going on, Melissa? What's going on? Dinner's what's going on.
What's going on? You know, I don't think I'm that hungry.
Maybe I'll freeze the lamb chops.
What do you think, huh? Thanks.
Yeah.
Yeah.
Just a salad would be enough.
What's going on? Okay.
Um What's going on is, um, I'm having a problem Not with you, it's with me which I want to handle right because I don't usually handle it right.
- Because that way I - Okay.
I get it.
Wait.
You don't know what I'm going to say.
Well, I can guess.
No, Lee, come on.
Give me a little credit.
I've been doing a lot of thinking and I know you want to be nice and you don't want to hurt me, - but if this is it - I didn't say that I didn't say that.
If this is it, it's sloppy.
It's not candlesticks and little lamb chops, all right? You don't know what I wanted to say.
It's not nice.
I don't feel nice right now, okay? Well, I don't feel nice right now, either.
Great.
Maybe we should just call it quit.
Quit? How do we get to quit, huh? Look, look.
I asked you for dinner, all right? I've been working a few hours on this, and I wanted us to talk.
What are you doing? I'm making it easy for you.
Why make it Why? Don't make it easy for me.
Why not just do it now? That way you can find yourself a guy that you think your friends will approve of.
This has nothing to do with my friends.
Of course it does.
They see me.
They think I'm going to hurt you, that I'm going to dump you because you're old.
That's what you think they think.
That is not what I think.
That they were judging you that night.
You know just what they were thinking.
- Oh, yeah? - Yeah.
What's that? That you must really hate yourself to be with a guy like me.
Look.
Lee, I don't know how to All I know is that no one is watching, Melissa.
No one cares.
[door closes.]
Remember, kid, it's all in the attitude.
You go out in that ring like a loser, you go home a loser.
Now go out there Now go out there like a winner.
[booing.]
Beat it! [Man.]
Chump! Ladies and gentlemen! The main event title bout.
The purse being the domination of Melissa Steadman's soul! The contenders are in the ring.
In black trunks and a halter top, weighing 110 1/2 pounds, Philadelphia's own, the world champion The Judge Pretender! And now, in conclusion, the challenger, wearing red trunks and weighing 108 pounds, thanks to her aerobics class, ladies and gentlemen, The Kid Melissa! Thank you, Michael Steadman, for those introductions.
The Kid goes into the ring.
All right, I want a good clean fight.
Hey, girlie, where's your little boyfriend, huh? Ooh, Lee, kiss me, baby.
That's what he is a baby, right? [Man.]
Yeah, right, right, kill her, kill her.
[Michael.]
I want you to go to a neutral corner.
He makes me happy.
"He makes me happy.
" Ah.
Baby want a bottle, huh? Cootchie-cootchie-coo? Huh? Huh? Huh? It just so happens that Lee has many positive qualities.
He's half your age.
Why shouldn't he, right? [Michael.]
Gloves up.
And now welcome to the Intermount Radio Network.
I'm your announcer, Johnny Butcher, ringside.
Okay, hostilities are about to begin, as it is [ding.]
Round 1.
[chatter, cheering.]
The Kid looks already beaten up with a left to the jaw.
She's cut.
There's blood pouring out of her cheek.
The Kid gives a wild roundhouse right.
Kid, I tried to warn you! Listen, Melissa, because wherever you go, whatever you do, I'll be judging you.
There's nothing you can pull over me, no way to shut me up.
Round 3.
Guido Sangelito separating the fighters.
You may recognize Guido from his well, his little Irish potato farm.
Hey, hey, hey.
What'cha looking out here for? The fight's in the ring.
Oof! Ooh! Ow! She's down! A 1, a 2, a 3 - [ding.]
- The bell saved her.
I'm not going to win this one, I know it.
[Man.]
There she is! You lose this fight, you got a 10-cent ticket to Palookaville.
Now get up there into the ring.
- Make me proud of youse.
- [bell dings.]
Get out there.
Hey, Kid, remember what I told you.
What's that? He made you happy.
Say it! He made me happy.
That's right.
And what else did I told you? I forget.
He made you feel loved! Say it! - He made me feel - Look out! And there's a right to the head! And a right to the head again! Ladies and gentlemen, what we're watching here tonight is the longest fight in history at 33 years, ladies and gentlemen, with no end in sight.
Who won? Will somebody tell me who won? I got a lot of money riding on this fight.
All right, this one.
All right, it's your show.
All right, what's wrong with it? It's posed.
I like the faggy ones better.
Well, I don't.
Great.
Then this is it.
All right.
I just have to get it down to the gallery.
The printers need it.
I just want to finish wrapping up a few things.
I was there the other day.
It's a great space.
Would you give me a hand with this? I saw Peter there.
He was looking for you.
He ever actually do any work on the catalog? Yeah.
He had some ideas.
So that's it? What? For him.
He said you wanted to see what happened.
So nothing did? Melissa, I appreciate your interest and everything, but I can look after myself, all right? Oh.
Okay.
Look, I don't get into your stuff, you don't get into mine.
But you do.
Come on.
I never give you advise.
- Look at me.
- I do.
And I think I like what I see more than you do like what you see.
I don't know what I mean.
No, I think that you do.
I think you like Peter Montefiore.
Oh, God, Melissa.
And I think it's scary, and you don't know what to do about it, so you don't do anything.
You don't know what you're talking about.
You don't know what it's like What, to be gay in a lousy time? This is not a time to be making attachments.
Melissa, you know what's going on out there? I know.
People are dying.
It's incredibly scary.
You're right.
It is.
But I don't think that's what this is about.
Uch, Russell, this one.
This is you.
It's lumpy, it's goofy, and it's real.
I don't think you like that much.
Maybe you never did.
Maybe you think if he really saw this, then that would be it, right? Let's face it, Russell.
There's never a right time to make attachments.
Trust me.
This one.
It's you.
[pop.]
I have always wanted this [sigh.]
I could sing in solitude Here.
This one.
Nice haircut.
Thank you.
Hey.
Hot off the press.
Looks nice.
Yeah.
Turned out pretty good, didn't it? - Yeah.
- They used a lot of your ideas.
Great.
I I I just wanted to thank you.
Oh, good.
Thank you.
So the opening's Thursday.
Y-You're probably busy.
- I am.
- Oh.
Okay.
Well, it'll be up for six weeks.
I can change it.
I mean, I could try, make a few calls.
Oh.
Well, then, maybe I'll see you there.
You nervous? No.
No.
Yes, totally.
Don't be.
You're good.
- Yeah? - Yeah.
Thanks.
Well, thanks for the invitation and for this.
- Look at that.
- Can I call you? - You can call me.
- It won't work out, you know.
I know.
Nothing ever does.
But call anyway.
Drentell alert.
Drentell alert.
Hey, Russell.
- How you doing? - You should go.
I'm going to start spouting demographics.
Yeah.
I'll go.
See you, Peter.
- Russell.
- Yeah.
Good luck.
Thanks.
[phone rings.]
Hey, what are you doing home? I'm not Ellyn.
- I know.
- I know you know.
The door was open.
- The fumes.
- All right.
- You shave? - Yeah.
Looks good.
It's weird being here when she's not here.
Hey, you think If I look in her date book, will you tell? She'd probably figure it out anyway.
The place looks great.
You're really doing a great job.
Yeah.
Sometimes, you know, you get a feeling about someone.
Yeah? You missed a spot there.
Oh.
What's your feeling, Lee? It's hard to say.
I know what mine is.
- Yeah? - Also, um, hard to say.
Hmm.
I miss you.
These are for you, if you want them.
You're not going to make this easy, are you? I don't know how to make anything easy.
No, you don't.
Sometimes I would think, How does she get through the day anyway? Well, sometimes I had you at the end of it.
That helped.
Did it? I don't seem to have made your life very easy.
You did.
We were doing great.
I was.
So you're a few years younger.
We were doing great.
It's not what other people said or what I thought they said.
It's it's what I said.
There's this this I don't know this voice inside me that makes me feel bad about me, not you.
It had nothing to do with you.
With you, I I don't even hear it.
I guess I'm just not used to that.
Look, I I know I can't make things right with a set of keys, so I guess just whatever happens, you know, happens with us.
But whatever happens, I do love you, Lee.
Whatever happens.
You should know that.
Hey, Melissa.
I love you, too.
You should know that.
Okay.
Okay.
Then Then I'll see you.
- [Lee chuckles.]
- Yeah.
Hey I have always wanted I'll see you.
I could sing in solitude Something for certain Something to lose me In its soft ground Closed-Captioned By J.
R.
Media Services, Inc.
Burbank, CA And dance by the light of the moon