Reviews written by registered user
|72 reviews in total|
I was so excited to see that this one guested one of my favorites from
way back, A Martinez. Loved him as Cruz Castillo on Santa Barbara.
Really, who didn't? Wasn't so sure about Abbe Lane, thought, as the
Sugar Mama paired off with Fernando Allende 20 years younger than her.
H2H does that a lot, though, pairing older guest women with younger
guest men. At first I wondered what they were thinking, but then I said
to myself, ya know, H2H was ahead of its time, casting women over 40
time and time again, and then giving them young guys to pair with! So,
OK with me. Anyhoo, this one centers around the polo world -- Jonathan
is captain of the US team, of course -- and a mallet that hides
something inside that the bad guys want. Of course, the mallet ends up
at the Hart estate, and seeing as how the baddies will do whatever they
have to to get it, you can imagine that bad things happen. I'm just
gonna stream of consciousness this one, mainly cuz I'm feeling lazy
* Early on, Jonathan says to Jennifer, "Every time I don't think you could look better, you always surprise me." Ain't that the truth? She looks fantastic, always does. Even in the short hair I wasn't a fan of in this Season 5 episode that was, less of a stinker than most.
* We get a shot of three different Hart cars in one episode: The Rolls in the driveway, the station wagon, and the yellow Mercedes.
* Martinez sweats an Awful lot in this. I mean, it's so excessive that he is shiny and drippy the entire time. They treated it as a plot point, but it seemed really unnecessary.
* Jonathan sits down to breakfast, puts his napkin on his lap, then tells Max he doesn't care for anything.
* I had to giggle at the polo player taking his time to dress all in black with a black ski mask, but left his signature ascot flappin' in the breeze so that a clue could be left.
The actors are mainly phoning this in, but it's still better than most of them in this season. The best line really goes to Max. As he's in a hospital bed, a pretty nurse goes to take his temperature (with a real live glass & mercury thermometer!), and Max says, "My mom used to just give me a kiss on the forehead" (wink wink nudge nudge). Heh.
Truly average. Not awful, not great.
It's another destination episode the the Harts. This time it's the
Bahamas, and the name dropping begins immediately. It's a huge Who's
Who ad, and honestly, it's pretty good. Yes, it's corny in spots. OK,
most spots. And it's predictable from the word go. But it was so
goooooood in its corniness and predictability. Not to mention how
surreal some of it was. There's so much going on in this episode that
it's hard to know where to begin.
Well, this Season 4 episode begins with J&J and Max headed out on their private jet to the Bahamas for a big party for a recluse named Loring Nichols. No one's seen him in 10 years, as, unbeknownst to his friends, he's been drugged and doubled by his closest entourage. There's a murder, scrambling ensues, and the whole episode goes exactly as you might imagine it would. What sucks me into this one has nothing to do with the story and everything to do with the storytelling. First, let's talk about the opening scene of the gin rummy game in the jet's very, very narrow cabin. Two opposing couches with a coffee table in between forces them to shoot poor Stefanie with her legs wide open. Her skirt covers things, but it was weird to see.
In fact, this is just indicative of the overall direction of the whole episode. I know location shoots are challenging, but some of these camera shots were just plain strange. Like the one following behind them as they talk to the police detective. It was literally 10 seconds, at least, of the backs of them as they discuss. No reason for this. If you ever wanted to know why you shouldn't turn your back to the audience, this is a great example. It's not like it was a plot-driven or artistic thing, it was just ... lazy? Takes you right out of the story. It wasn't even the stunt-Jennifer, this was really them from behind. Very weird. Another example of wack-ass shot composition was when Jonathan was on the pier talking to Loring. They dressed Loring in a terrible hat that sat all trucker-like on the top of his head, yet the bill hid his entire face, and it was a medium 2-shot that never once got you a good look at the actor. It was just pointless. Yes, they were on a real dock. Who cares, find a way. OK, then there's the shot of Jonathan elevator and climbing shots, which they reuse several times. At least choose a different expression for subsequent repeats! Or shooting Jonathan through the slats in bed's headboard, but the slats are obscuring a good portion of his face. Artistry is good. But do it so that it's technically sound and not blocking the actual subject of your shot! And these are just a couple examples. There are just so many shots that were probably creatively imagined but that when executed they failed miserably. But don't get me wrong, it was still a delicious kind of miserable.
Ah the days when you could smoke indoors. Which brings us to the entrance of Max. There's a reason Hart to Hart isn't the same without Max. Lionel turned in such a compelling cock and bull story scene that I was just drawn right in and smiled the whole time. It was a high counterpoint to the low one where Jennifer gratuitously absconds with an ATV for no real reason.
the last shot was such a disappointment. The Harts riding horses on the the beach at sunset is beautiful, but the stupidly dubbed conversation was el stinko.
Was I entertained. Oh hell yeah. But the execution of this episode was so bad I can't give it truly high marks. I think director Stuart Margolin, who is a fairly well-recognized character actor, probably tried with what he had to work with on location, but this was just ... not good.
This is so noiry that it was only the music that assured me that this
was truly a h2h episode I was watching. It was pretty creative,
actually. But back in the day, if the opening titles had not just
rolled, you might not know what you were watching till 8 minutes in.
I should be amused by this episode where the tables are turned and J&J are the servants to Max when his pen pal, Elizabeth, whom he's been lying to, shows up unexpectedly. But instead, it felt kind of uncomfortable. I mean there were funny moments for sure, but it just seemed to play like a big plate of awkward. And what is it about these last episodes of the series being about house guests that aren't all that welcome causing all kinds of havoc? I think as soon as they started naming episodes without the word "Hart" in it, that must have caused some kind of wack voodoo.
Here at the end of the series run we got a third dose of J&J getting a little tiffy with each other. Turns out Jennifer is a terrible cook and can, apparently, dish it out but not so much take it.
So, J&J switch roles with Max so completely that they're even in each others' rooms. More squick! Elizabeth, played by June Allyson, is tracked to the Hart's house by her nephew (a second visit from Joe Pantoliano) where he is tracked by his own bad guy, Robert Davi, who is creepy no matter what decade his bad guy role is in.
This episode introduces a new, pretty comprehensive set, the new wine cellar. I imagine that if the series had continued we'd've gotten more wine cellar scenes.
I gave this a lower rating. I think June Allyson, while ten years younger than Lionel, was poorly cast. She looked older, is not the type he would go for, and turned in a relatively weak performance. Robert Davi was great, though, and RJ was pretty good, too. Lionel, however, gave quite the little nuanced piece of subtle you can. That's why he was a good actor. He knew how to make you believe you ere watching a real guy, really named Max, who really knew how to please everyone. I didn't love this episode, but I did love him.
Well, it took till the end of the fifth season, but Jonathan & Jennifer actual have an argument that isn't fake, staged, or undercover. It's not a knock down drag out, and there's not really any true anger. But it was definitely different watching this dynamic between them. Why the fight? Well, they have some last minute houseguests when a couple they befriended on a ski trip come over to watch a VHS tape (VHS!) made of the four of them with a cutting edge self-operating camera. The brilliant character actor, Ray Wise, plays the husband, and wouldn't you know it, he's caught on that tape having done some bad things to a ski jumper that results in his death. It takes a while for the Harts to catch on, and in the interim, neither of them are that happy to see this couple and point fingers at each other for their having showed up. Because we know Wise is a bad guy, I wasn't really sure if the Hart's were engaging in a setup or if the fight was for real, but it turns out it was for real, and it was a bit voyeuristic watching them in that context. They did a nice job. That said, it was not their best performance. They really phoned it in half this episode. Which is so unfortunate, because the obligatory fisticuffs at the end was actually really good. Jennifer and Max were totally in on that act, too. I mean, Max even got shot, and they didn't even do anything with it! The the inexplicable behavior in the last scene where J&J have turned on the air conditioning and frozen Max & Freeway out of the house. What, now?! Weird. I guess I just don't know what to make of this episode. The direction was actually creative and a nice change of pace, but the overall effect was just plain strange. I gave it a 7 for the argument scene.
Finally, I get to see the pilot after all these years. Nothing looked
familiar, so, like so many other wonderful eps, this was new for me,
and it was great! I watched this as the originally intended 2-hour
pilot as it appeared on my Season 1 DVD set and not as the two-part
episode hack job that it ultimately became for most viewers of the
reruns. I'm so glad I did, because I got to see some real gems that
have probably gone missing at some point to accommodate the re-cut. The
pilot very clearly lays out four very important things:
1. Jonathan Hart is very, very rich and drop dead gorgeous 2. Jennifer is independent, confident, and drop dead gorgeous 3. The Harts are completely in love and always will be.
And, oh yeah, their hobby is murder, which is only really to give them something to do, cuz make no mistake, this show is about them and their off-the-charts chemistry. They had mad chemistry in all of their eps, but in this one it was in the stratosphere, setting the tone for what would be every episode to come. They were the original supercouple.
This very first Hart to Hart revolves around three concepts they'd come back to time and again --> evil spa treatments, evil hypnosis, and evil dangerous winding mountain curves. Specifically, when one of Jonathan's good friends appears to commit suicide, Jonathan & Jennifer go undercover to get to the bottom of it.
This establishing pilot gives us so much foundation. A beautifully crafted camera shot shows us just how lush and beautiful their property is with the only shot of their actual driveway that I recall in the series. It's in this pilot that we see the two of them playing winding-mountain-road-chicken in their two fabulous cars that later become the opener. It's where we learn that Jennifer is a writer, Max is their butler guy, they have a nice big house, they are very loyal to their friends, and they love their dog. Speaking of which, there's a very funny scene with Jonathan, Max, and Freeway where they're spelling things out so Freeway won't hear that he has a trip to the vet coming up. The D-O-G and the V-E-T for the S-H-O-T is amusing, but it's also very relatable, which is something they always somehow achieved well -- relating to their viewers despite their avarice of wealth.
There was some truly surreal stuff going' on here, too. Jill St. John and Natalie Wood, both of whom married Robert Wagner, were both in this pilot. Natalie's role (credited under Natasha Gurdin) is tiny as an actress playing a Scarlett O'Hara type on a Hollywood set; Jill plays a principal role as a spa customer. It was positively fascinating to watch, especially knowing that this is one of the very last things Natalie ever did. Natalie is perfect in her role, but Jill is way too overly made-up. She had on so much blush and so spidery in the eyelashes that it was reminiscent of a clown, unfortunately. Talented girl, though, she was really quite good. Pity she hasn't done much these days.
I watched this with Mankiewicz, Stef, and RJ doing commentary and completely geeked out over the little titbits they offer up. I waited with baited breath for RJ to talk about Natalie, but interestingly, it was all three of them that talked about her, and the brief mentions were gold. And while the tidbits were plentiful, it was their wonderful camaraderie and mutual admiration between the three of them that really warmed my heart. If you have a chance to get the Season 1 DVDs, you really must watch this pilot twice, the second time with the commentary turned on.
Have to mention the two things that didn't seem to fit. James Noble is in a bad guy role, here, but honestly, all I saw was the hapless and clueless Governor from Benson. This was either just before or just as Benson started, but it just made me completely giggle. On the commentary, they talk about how Noble had to be directed over and over and over again to stop leaning. And he totally was! His character went kind of nowhere, so it seemed like a character that started out important but ended up unneeded but was easier to just keep in the script. There was also a strange scene with Jonathan in the steam room. Completely pointless scene.
Hands down, my favorite scene was Max on the 20th Century back lot when the actors playing Nazis are checking out the car, and as they walk away, Max makes a power fist and says, "Shalom," then Jonathan who is on the phone with Max says back, "Shalom." HYSTERICAL stuff. I mean, it's nothing on paper, but it's truly all about the delivery. Then a Native American Indian chief actor strolls by checking out the car, followed by Natalie Wood as the Southern Belle. Pure indulgence, but it worked so well. This scene, as well as Max in the window sets up early the funny Max and straight-man Jonathan that would play well for years after. There's also a scene where J&J are bickering in his room that is so gorgeously done between them, and that final scene in the jet, which is just truly what this show is all about.
There was also a pool bit after a snake that was a potentially dangerous stunt thanks to the walls of that pool forming bays that the StuntJonathan could have hit on this way down. Fun, but Stefanie totally anticipates the splash before it happens, as does at least two others, tho not as significantly.
This pilot was fantastic. Despite the James Noble and steam room weirdness, I'm giving it a 10, because I can't give it a 12. There's just nothing not to love, here.
This first episode of "Hart to Hart" (after the original pilot) told
you everything you would need to know to prepare for the next five
years: The Harts are rich, they are fabulous, and they are completely
and utterly in love. And also solve murders.
I really appreciated the cargo shipping setting kicking off the entire series. Jonathan's undercover efforts result in his getting his hands dirty, which is fine with him. We immediately see that Jonathan may be rich and own everything, but he's also a very humane person who cares about the wellbeing of his workers. Makes us like him right away.
BLOOPER ALERT --> 4:15, the guy in the net is supported by the crane when the net collapses.
ANOTHER BLOOPER ALERT --> When Jennifer comes down the stairs in her first scene, she's holding her briefcase upside down. This is not my first episode review, so it goes without saying that I love Stefanie Powers. So much. But usually her propwork needs work.
While we're on weirdness, I have two words for you: Post-existentialism. Uh ... post-existentialism? Really? Oookie. I also kind of got a kick out of this guy saying he was Jennifer's 2nd cousin once removed. That's not so far away familially that she wouldn't know who he was. Of course, not many people know what the "removed" aspect of cousinship is. If my second cousin has a baby, then that child and I are second cousins once removed NOT third cousins. I'd have to also have a child, and then s/he and my 2nd cousin's child would be 3rd cousins. Basically, the "removed" is a half step. To make things even more interesting, if a 2nd cousin once removed then also has a child, then it's TWICE removed. There's your genealogy lesson for the day. Now where was I? So, the whole plot of this one is that the supervisors at the docks that Jonathan found to be bad guys at the dock got pretty peeved, so they put a hit out on Jennifer, and their head bad guy sent this fake cousin to kill Jennifer. However, Freeway doesn't like this guy; smart dog. He's so creepy. Jonathan doesn't trust him, either, and I love how he says let's call Uncle Chuck and Aunt Gail, and the phone number is 514 Zenith 79243. Can you imagine?! Still using words for exchanges! If this were All in the Family, I'd buy it no problem. But this was 1979, and I remember that year, and we didn't use words. How many of the six of you actually reading this review know what those words even existed?! You could tell that they were getting away with a lot during this with the pajama top, no bottoms. Bare chested Jonathan, kissing in bed. Standards loosened up during the run of the show, but at the time of this episode, this was a big deal.
There is no headboard here! No padded one, no Asian one, no nothing'! What is here, however, is so much foundation for their relationship. He doesn't get jealous cuz he trusts her, and that's a big deal for the time. Jennifer is her own woman, she doesn't need a man to define who she is, and he doesn't feel the least bit threatened by that.
What, Max isn't supposed to notice the bad guy's head sticking up out of the counter top when he's hiding? Not great direction. And the oven blew up the whole wall yet was rebuilt veeeery quickly. Also insane in the very best way was one of the few times Jonathan is driving the station wagon, which nearly sideswipes someone, then he makes a call on his car phone, which shocking back in the day, and then makes a u-turn. Did they not know they were in LA?! The suspense is pretty thick during the climactic scenes on the cliff. Stefanie does appear to do her own stunt there, hard to know for sure, but she does seem to be standing on an outcropping to simulate hanging off the cliff. This was also, as far as I know, the first and last appearance of the guest house.
Overall, really nicely done as far as telling us who these people were, why we should care, and what the whole show would be about. Oh, and you knew she was going in the pool the minute the hit-man started doing his thing as the pool man. So, THAT'S where those underwater kissing clips came from in the Season One & Two opener!
This episode really had it all. It took quite some time for me to be
able to view this episode, as my local channel left this and seven
others out when they aired these in rotation, but it finally showed up
on youtube for me to view. I was worried the hype of my waiting and
waiting for it would lead to a let down when I finally got to see it,
but lucky for me, that was not the case! The plot here is that Jennifer
is being hypnotized into being a jewel thief for a spa owner and her
badly casted lover who happens to be a business partner of Jonathan's.
Badly casted as she looks like a much older version of Jeri Ryan, he
looks like a 40-year-old cross between Burt Convy and David Birney, he
appears too young for her, and they just plain don't match, but
whatever. Plus, there were some inconsistencies with this episode that
would have been annoying had it not been for the bounty of wonderful
things about this episode that just made me not really care about the
nitpicky stuff that I usually thrive on. To get it out of the way,
there were major inconsistencies with the reference to their first kiss
where "her father was standing behind them," only we know that's not
how it happened from the 5th season opener. Forgivable, however, in
that this episode predates it by two seasons, only I watched it out of
order. Still, I would have liked to see continuity, but what can ya do?
As for the good, there's soooo much. For one thing, Drunk Jennifer was
really adorable. Later, Jonathan's concern over his wife possibly
losing her marbles is very realistic, and the way he says, "I like your
face just the way it is" is perfection for the romantic H2H fan. He
says more to her in that sentence than half the shows today say in a
bed scene. I also really enjoyed when Jonathan went snooping and his
utter confusion and concern when he didn't find what he was expecting.
Finding the purse from the previous night, he gets quite the "uh oh"
moment. Next, can we talk about the rotary phone?! It was a fancy one,
but a dial nonetheless. And a real ring, too! Oh, how I miss those real
live rings. Aaaaanyhoo ... Stephanie does a great job at the
hypnosis/confusion. Then the stress of knowing she's doing something
very bad with no memory of it. She's really scared. The sit down J&J
have on the chaise is a small thing but an effective one in reminding
us how much he loves her. How dedicated they are to each other. In
sickness or in health, indeed. The finest moment was when he caught her
in the act. Just great stuff. He was so concerned, frustrated, angry.
He's rough, yanks the jewels from her, puts her in the car, drives off.
Wow, great sequence. Blooper alert --> While snooping around her
wardrobe, Jonathan has to re-snap the jewelry box. Also, a weird scene
at the spa where he asks how the body wrap was and that he'll find out
about it later. Something went wonky there. I think it was just a bad
Jennifer up on the roof was truly creepy. Those actors and stunt doubles were really on the roof of a building. Stephanie was really close to that edge, and her double was truly on that ledge. I was actually nervous.
The concept of Jennifer killing Jonathan is just completely anathema, which is what you knew this ep was building toward. It defies everything we know and love about them. So, when she is so completely controlled by the bad guy, then the danger they're in is truly palpable, truly tangible. And when she holds the gun on him and then he does the same? My god, that's just heart-wrenching! Ultimately, I did give this a 9 instead of a 10 due to, of all things, Jennifer's hair. I really didn't dig her waking up in the *exact* same hairstyle that she wore all day every day throughout this episode. It's one of those oddities of direction that make me wonder ... WHY? Was there a real life need for her hair to be in the same style the entire episode for several straight days, even in the same barrette?! If they shot the entire thing in one day, OK, fine, I get it, but still, where is hair and wardrobe?! These kinds of things bug me.
But, to end on a good note, the bed scene at the end is great. Perfect example of how their timing is, literally, perfection.
The thing that struck me first about this episode was how college kids
dressed back in 1984. Wow. The next thing that struck me was the insane
hair on the bad guy. Oh. My. GAWD. OK, so this is another Max episode
bordering on a Mary Sue. Max's nephew is graduating from Westcliff
College and a star on the basketball team. The bad guy is another
player on the team, a patsy to the big bad guy, really, insanely
jealous, and plants cocaine in the nephew's locker, and causes all
kinds of trouble. Turns out Max was the only family he had after his
parents' died; turns out "Jenny," his mother, must have been his
sister. Now, I'm not generally a fan of Mary Sue stories, especially
here in the god-awful 5th season, but this one was really good. Really
great acting all around. The nephew, Doug, is played by David Wallace,
who played Tod Chandler on Days of our Lives. He did a very nice job. A
great scene between J&J playing ping pong; one of the truly rare
moments where J&J are genuinely annoyed with each other, not faking it
or undercover. They played it so well! Another great scene was between
the Dean of the college and the Chairman of the Alumni Assn. (the big
bad guy, played by "Hunter"). Great in many ways. For one thing, the
acting is top notch; it's a throwaway scene, but they're talented
actors who chose to own their roles and made this snooze of a scene
compelling and important. Which was a serious feat considering the Dean
is pushing an old push mower across his lawn that is nothing but DIRT
and no GRASS! And also considering that the Alumni guy is sitting there
on the front lawn as he's doing this on a piano bench? Talk about
terrible set dressing. But, still, they pulled off a great scene. And
Hunter had the very best line of the episode, maybe the season:
Dean: "There's going to be an investigation" Hunter: "Who's going to investigate it the campus cops? They couldn't find a pair of stolen panties if the girl was still in 'em."
So, of course, J&J are undercover, save the day, and Doug helps them win the championship for junior colleges. JUNIOR colleges? Oookey.
BLOOPER ALERT --> At :24, Jennifer is about to sit down as she's kind of manhandled by the guy in the blue shirt. The back cover of her magazine is different in this shot as the very next shot when she actually sits down. Also, the photo on the back of that magazine that first time looks an awful lot like the guy manhandling her; it's weird!
Kind of strange, she never wears her red backpack on her back. She Carries it with her everywhere. And that includes when she's on her bicycle. Not sure why she wouldn't just put it on her back. I really like, however, when there is the bike accident, Jonathan can't hold her cuz they're still undercover, and he just puts a hand on her shoulder. Communicated exactly what it needed to. And also great communication, after the game when Doug is being celebrated, Max reaches out to him and says something that we can't hear over the cheers. You can read his lips, but we don't hear the words ... and we don't need to.
This was a very interesting episode. the bball theme was a new one for them, certainly. It must have been difficult to direct and shoot,and while I did see more than one shot reused at least once, I still think director Ralph Senesky did a decent good job considering the complexities of this episode.
Sadly for me, this is the last episode my local station showed before they pulled it from their schedule. One day, I hope to find the last three episodes of the run,a s well as the nine or so episodes from season 3 that they didn't show. Untilthen, this was way fun. Maybe it's fitting that this episode ends with a freeze frame of Jonathan looking directly into the camera with a knowing grin.
Well, Jennifer's hair is back to normal here. J&J go to their ranch where they're shooting a commercial for it. I think. The director is a total jerk and rejects one model after another, braless and otherwise. He is so over the top that it's ludicrous. But, the actor commits to it, owns it, and ya gotta respect that. So, he sees Jennifer and says she's the one I've gotta have for my commercial, and he won't take no for an answer. Eventually, she agrees. Only there's a guy who just escaped from prison that is after her and tracks her down to the ranch and causes all kinds of havoc. The escapee is played by John Clarke, who originated the veteran role of Mickey Horton on Days of our Lives. This was a huge treat to see. In all the years he was on Days, he didn't do much else, and time never seemed that kind to him. Here he looks so young (only 52), and he does a wonderful job. Completely not Mickey. Great. It was a real treat. But also in this, playing Clarke's sidekick is MC Gainey, who was the scruffiest of the Others on Lost. Talk about looking young; it's shocking to see him. He was creepy then, too!Most of the other guests are great in this, too, but the stunt work? Horrible. They don't even bother making StuntJonathan or StuntClarke look remotely like their counterparts. I mean, full on face shots of them, obviously NOT them. It's bad, bad, bad. I don't get it at all. They could easily have shot those scenes so that they could hide the obvious differences, but no, they chose not to. To Stefanie's credit, I really loved how she drove the wagon in a few scenes all by herself, and she did a great job. This one's got its issues, but but compared to the complete and utter drek that exists in Season 5, this one is ... not bad.
Following int he great tradition of Season 5 location shoots, this time
production goes back to ... Greece? I think? I dunno, it's hard to
tell, really. they mention it a few times, but honestly, this was hard
to know. It looked like Greece, but then the locals were dressed like
modern-day cowboys with accents that were a cross between England and
Tunisia. Turns out it was the Island of Rhodes just off of Turkey. The
Hart's show up in a yacht with Max in tow. What, did they sail there?
Apparently, they've been at it for three weeks, so they probably did.
They meet Jennifer's old Classic's professor, who's on the verge of a
discovery the bad guys want. The local extras seem oblivious that
anything's being filmed here and/or that these people are famous
actors, which is probably why they keep going abroad; the last time
they went local, the San Franciscans couldn't stop staring and taking
photos of them on camera. A hungry little boy the professor take in
plays a big role here, which is actually kind of sweet at the end. But
you can tell that when J&J learn that the professor's assistant may
have been murdered that RJ & Stefanie are just tired of saying,
"murdered?!" like it's something new and shocking in their lives. The
guest stars are terrible in this, but no biggie. The greatest part of
this episode is the scene about 12 minutes in with J&J on their boat
just staring at each other, kissing, and having Max interrupt them.
Jen: Isn't it wonderful?
Jonathan: Ins't what wonderful?
Jen: Just being here listening to the music and the people.
Jonathan: I don't hear anything
Jonathan: We're the only ones here. That's what's wonderful. Just the two of us. You and I. Alone in the world. No more mysteries.
Max: Hey Mr. H.
Jonathan: Not now, max.
Max: I gotta talk to you, boss.
Jonathan: Go away. Max: It's important.
Jonathan: I know what's important.
Max: I'm sorry Mr. H, but something funny's going on.
Jonathan: Tell me later Max.
Max: You gotta take a look now.
Jonathan: Take a look at what. Max: Come on, I'll show ya.
The looks Stefanie was giving RJ and the head-shaking and the frustration was great. RJ was understated and not to much on the emoting, but he was too busy gazing. This scene brought the whole thing up to a 7. Otherwise, it's easily a 5.
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