"previously on october road... are you ok?" "i'm going to find the amazing woman who saved my life." "she only comes to sully's once every six weeks to make a delivery." "somewhere between the 21st and 22nd day of no phones ringing, best friend windows considered advertising." "who's that?" "my dad." "gavin?" "yeah." "i have to tell ray that gavin goddard isn't sam's real father." "you're a great mom, hannah, but there is one thing that you have never been, and that's accountable." "nothing stays a secret forever." "in these uncertain times, is there anything more important than having a roof over your head... and not just a roof, but a solid, sound, reliable roof?" "there is a way to have that roof... what do horses and tigers have to do with building houses?" "confidence." "it's all about confidence." "big cat said that business has gone up, like, a zillion percent since he started running these commercials." "yeah?" "well, ours is gonna be much better." "come here." "yeah. check this out." "so i've created a basic template- a sketch of what we should do." "so first we start out with the windows..." "mm-hmm." "and then we incorporate all of the elements- uh, rain, wind, uh, snow, sleet, and then... what is that?" "the asteroid." "boom!" "boom!" "asteroids!" "asteroid?" "asteroid- heading for earth, cataclysmic impact... a new ice age." "and this will be owen and ronnie." "and-and what are they?" "gangsters." "why gangsters?" "oh, it's a theme, you know?" "big cat had a western motif." "we'll do gangsters." "shooting machine guns at- at windows?" "i don't know, phys." "it's a motif." "okay. okay." "so we dissolve from the gangsters to... see?" "we go from the ridiculous to the sublime." "i'm the sublime." "yes. yes, you are, sam daniels." "and, um, then we, uh, the voice-over says," ""best friend windows-protecting you from all the elements, blah, blah, blah."" "okay, so how much is this gonna cost to make?" "nick said not to worry about the cost, didn't you, nick?" "yeah, it's all good." "good work, phys." "that was jenny." "the, uh, the- the beer truck driver?" "who saved my life from the evil chicken bone." "she's coming to town tomorrow on her keg delivery run to sully's, and she has accepted my offer of a gratitude lunch." "well, is it a gratitude lunch or a date?" "i'm hopin to show my gratitude by turning it into a date." "so that's it." "you and alison areactively seeing o well, i know sheis, so why shouldn't i?" "mom?" "dad." "hi, honey." "what are you guys doing here at the market?" "there are certain things we like you to have in the house when we come for our weekend visit, so we thought we'd pick them up now and save youhe trouble." "mom, i know what you guys like." "that's why i'm here." "well, you know, your father likes these red pistachios, hearts of palm... and then i like- i know, mom." "stone ground mustard." "yes. good for you, honey." "i heard a rumor my two favorite people on the planet were in town to help us plan our wedding." "ray." "gorgeous as ever, ellen. hey, gloy." "good to see you, ray." "so what are we thinking for dinner?" "maybe i can throw these babies on the grill?" "i don't know." "i think mom and dad want red pistachios, hearts of palm and stone ground mustard." "the most critical component of lyrical abstraction remains spontaneous expression." "you need to shrug off inhibition, and in today's parlance, just go for it." "i can so go for it." "i was born to go for it." "i am the poster child for "go for it."" "okay." "go for it." "okay." "right. next week's assignment- i want you to find a person- a friend, a-a lover, a relative- and paint him or her in the nude." "hello." "yeah, one minute." "it's for you." "hello." "nick, larry snyder." "remember me?" "i used to be your accountant back when you returned my calls." "yeah. i'm sorry, larry. what's up?" "we've got all these vendor invoices- camera equipment, industrial fans, lights... yeah, pay them." "i'm shooting a commercial." "okay. "pay them."" "uh, only thing is, nick, we can't pay them." "you're broke." "what do you mean, i'm broke?" "yep. scrapped." "oofless. melted out." "how is that possible?" "it's a two-way street with money, nick." "you can send as much as you like one way, as long as you got somecoming are you saying i can't afford to shoot this commercial, larry?" "i'm saying you can't afford lunch." "it's gonna be so cool." "the gangsters are gonna shoot the guns, and i'm gonna throw the baseball." "i'm sorry. what is this for again?" "the commercial for nick and eddie's window shop." "nick and eddie have a window shop?" "yes. the one they were talking about opening when they were kids." "you've been spending time with nick garrett." "we did for a while, and then we didn't, and then we had a talk, and now maybe we will again." "a talk?" "he's really fun." "did you guys like him in the olden days when he and ma were together?" "we did." "we liked nick a lot in the olden days." "may i get a soda?" "sure." "i didn't even know nick garrett was back in town. did you, ellen?" "i did." "but i didn't know hat he was in business with eddie and chummy with sam?" "what is the big deal?" "why is any of what nick is doing now a big deal?" "well, it's a big deal, hannah, only in the way if someone threw a hand grenade at you, and that hand grenade blew up everything you held dear, if the hand grenade shows up again ten years later... anything it did would be a big deal." "so i'm not exactly sure how this works." "nick garrett." "yeah. yeah. that's me." "i've never, you know, had to apply for a loan before, so... you're "turtle on a snare drum" nick garrett, aren't you?" "i am." "i am a huge fan of that book." "oh, yeah?" "i picked it up not even knowing you were from the ridge." "i can't believe nick garrett is sitting here at my desk." "asking for a loan." "well, that's why i'm here." "let's make it happen." "we are very amenable to our v.i.p.s." "excellent." "wow." "these are real good." "we should get some of these framed, put them up around the place." "really?" "you would do that?" "yes." "i mean, look at what we have now." "the art in this place is pretty much a bunch of rock 'n' roll posters and one stuffed armadillo." "yeah, i always wondered about him." "oh, that's rico." "eddie won him in a card game." "gotcha." "so, um, about my next art project... yes?" "so how are we looking?" "what did you do to yourself?" "what do you mean?" "i mean, your credit's death." "i tried talking to my manager, and he just laughed at me." "i've been making steady payments on a- on a loft in new york for the last three years." "big loft. big payments." "unfortunately, honoring a lease agreement- it doesn't impress my bosses." "why don't you ask your publisher for an advance on your next book?" "'cause there's not another book coming anytime soon." "i thought you were a writer." "yeah, well, i'm a lot of things, "in big trouble" being one of them." "hey, would it, uh, pump you up if i asked you for an autograph?" "not so much." "i'm not-i'm not comfortable with it- being naked. i never have been." "for example, i take issue with the fact that they call it your birthday suit, when you only really wear it on one birthday." "arguably your most important one." "but still, only one, and the only one you have no choice in picking out an ensemble for." "is there somebody else you could get to pose for you?" "fine. i suppose there is someone else i could ask." "yeah, i mean, um, there's that new pizza maker at the shop." "that guy." "rudy." "yeah." "he's 22, a bodybuilder, but, you know, that good kind of bodybuilder, not all swollen and gross." "he's more lean and cut." "yeah, i suppose i could ask him to pose nude for those long hours alone in a studio." "you don't think that's gonna work, do you- using rudy to make me jealous and force me into posing?" "i do think it's going to work." "yep." "well, what do you think?" "whoa." "mm, well, we cut the gangsters, owen." "what?" "why?" "'cause it's silly." "gangsters shooting gunsat windows- that's not really the message we're trying to send." "but- owen, showbiz is tough, but the hat looks excellent- very raffish." "in fact, i think you should wear it on your date with jenny beer truck." "oh. really. you think?" "well, heck, yeah." "i mean, it's- it makes you look accomplished and self-assured... semi-fancy, like a dandy." "mm." "a rake." "mm." "beau brummell." "uh, nick?" "i think the commander's right." "it gives you a...a jaunty aplomb." "oh." "well, i just don't think you've thought this through." "i'm done thinking." "i've been thinking for going on 11 years now." "and yet you're still willing to go through with this adoption thing." "it's important to ray, and it's important to me, and after we explain it to sam, it will be important to him, too." "despite the fact that it could bring everything- everything that was go and hidden to light." "you see, mom, that phrase doesn't make any sense, because anything hidden can't be good." "doesn't any of this seem patently troublesome to you?" "all of it seems patently troublesome to me, mother, and it has for a long, long time." "i get that you're under a lot of pressure." "we all know how you behave under pressure." "it's my job to prevent you from screwing up again." "you're doing excellent." "i am very proud of you." "how much longer?" "hey, guys." "owen." "don't you dare move!" "hey, uh, i need your opinion-aah!" "aah!" "aah!" "my eyes!" "my eyes!" "i'm a grower, not a shower. tell him." "you show just fine." "okay, everybody, stop it." "phil is helping me with an art project." "what do you want, owen?" "a bathrobe for you." "okay." "not funny." "okay. okay, so i'm going on my jenny date, and the shirt and slacks are oldies but goodies, therefore off the table for nitpicking, but i can't decide on one thing... hat?" "no hat?" "nick says it gives me a jaunty aplomb." "what do you think?" "so... hat?" "no hat?" "this is a deep philosophical conundrum you've stepped into." "right, so?" "i say "hat." yeah!" "i say "no hat."" "oh, thanks for nothing." "you skinny people are confusing." "well, this is quite a production." "so are you sure you want to cancel the wind machine?" "yeah. i am." "i-i think it's a little over the top." "all right. you tell that to the director yet?" "not yet. i still don't know why we hired him." "why?" "he almost went to film school." "okay, let's get this thing painted." "we can't do a screen test until the set is painted." "what?" "no monocle?" "no riding crop?" "no jodhpurs?" "i heard a rumor that the wind machine is going away?" "yeah, it's true." "ugh!" "would you be careful with that, please?" "hat?" "no hat?" "hat?" "who are you kidding?" "you are the gangster of love." "it is so about the hat!" "jenny?" "it's you." "yeah, it's me." "i remember the sweet face." "well, much sweeter without puked-up chicken wings all over it." "hey." "so you want to get a table?" "are you hungry?" "ah, starving." "all right. i got-i got it." "thanks." "yeah." "can you believe you heimliched me?" "for the cocktail hour, i have lots of fun ideas." "our prosciutto-infused wheat bulgar baked in phyllo dough has been getting raves." "yum." "what am i tasting?" "i'm guessing that would be the dash of lavender mint." "lavender mint?" "i think it's delish." "okay." "it's your wedding." "okay, what?" "if i want to screw it up with lavender mint, you're okay with that?" "hold it. hold it." "and... done." "ugh. finally." "can i see?" "no, no. not yet." "i still have to put my sploogalies on it." "you, um... your towel's... right here." "i don't think i want that." "do you want me get your clothes?" "clothes... they sound so claustrophobic... inhibiting, you know." "i mean, this- this is kinda nice... sorta letting' my freak flag fly." "it is flying." "ho!" "i am nude airplane... that is me, yeah." "i'm just a nude airplane... naked and free!" "the chicken paillard is wonderful." "mm-hmm. it's really good." "something else to keep in mind is presentation." "we can do a traditional sitdown where every entrée is plated." "i don't really recommend a buffet, but something we've been starting to do that's a lot of fun is family style- big portions out on lazy susans in the middle of the table... it's more festive, brings the table together." "i never really see that." "i kind of like that." "and what about it appeals to you?" "i didn't say it appeals to me. i said i kinda like the idea of something different." "don't get upset, sweetheart." "i'm just asking the questions that your guests will ask." "i'm hoping my guests will ask where i'm going on my honeymoon or if we plan on having children or what it was about ray that first made me know that he was the one i really hope hey won't be asking about lavender mint" "or my questionable embrace of lazy susans." "you wanted my guidance, right?" "i asked for your opinion." "i'm sorry i don't share your sophistication with the english language, but i don't understand the difference." "of course you don't." "other people consider me quite articulate, but when i'm with you, apparently i'm nothing more than a shrill dunce." "not at all." "i would never peg you as stupid, ma." "you're way too crafty at getting what you want." "champagne?" "yes." "my wife of seven years decides she's unhappy, and she decides the best way to get over her funk is to sleep with my best friend." "i just got out of a relationship myself." "it would've been three years next month." "oh." "but that's in the past, right?" "why should we let your wife and my ex infect our lunch?" "let's talk about other things." "okay. good idea." "um, like what?" "here-ask me anything." "i'm an open book." "okay. what's your middle name?" "you can ask me anything in the world, and you go with "what's your middle name?"" "i have a theory that middle names are more indicative than first names of a person's character." "for example, owen means "well born,"" "but if my theory is correct, your middle name will be a better measure of your true nature." "wow. you know a lot about names." "i have to." "a person can't have a theory without data to back it up." "okay, um... it's dennis." "you see?" "i-i'm right." "you are most definitely a dennis." "am i?" "why is that?" ""dennis," from the greek "dionysus,"" "the god of wine, liberator of man's spirit from the humdrum of everyday existence." "cool. i'm a liberator." "so, uh, what's your middle name?" "joyce. it means "cheerful, merry"... hmm. jennifer joyce bristol." "yeah, my parents had a taste for alliteration." "my brother was henry hubert, so clearly i got the better end of that deal." "clearly." "well, i'm glad you saved my life, jennifer joyce bristol." "thank you, owen dennis rowan." "i'm glad i saved your life, too." "nicholson." "hey, prepare, my young friend, to have your mind blown." "check this out." "what is this?" "a crane." "i always wanted to work with one of these puppies." "super..." "and why do we have it?" "for the asteroid point of view." "yeah, rooster, buddy, here's the thing- i think we're gonna lose the asteroid. lose the asteroid?" "yeah, i think it get in the way of our message." "first you deprive me of my wind machine, then you take away the gangsters, leaving memotif-less, but that's okay, if your goal here is to make this commercial suck." "let's just have the kid throw a ball through a piece of glass, then we'll cut to you and latekka," ""best friend windows." "knights ridge, massachusetts." ""when it comes to fixing things right," ""we're your best friends." "and we can provide lame-o commercials, too."" "thank you, owen dennis rowan." "that was fun, but sadly, i have beer to deliver and miles to go before i sleep." "but i'm gonna be out this way again tomorrow." "i have an errand to run in lowell, but are you free for lunch, or is two days in a row too much jenny for you?" ""too much jenny"?" "as if there could ever be such a thing." "well, great, then it's a date, and this time, it is on me." "bye!" "so, hey, i talked to jim at channel 5. mm-hmm." "he says our best bet is to buy ad time during the middle of the day." "whoa. what's going on, phil?" "hey, guys." "just cataloging my cds." "yeah, it's-that's not what i'm talking about." "oh, uh, pizza girl had to sketch a nude for her drawing class." "i was her model, and then when we were done, it occurred to me, there wasn't really any need to put my clothes back on. why not?" "well, because sometimes i feel trapped in here... phil." "but without my clothes, it- aah. okay, so you're just gonn naked from now on?" "not naked- nude." "right." ""naked" implies embarrassment and vulnerability, exposure... yeah." ""nude" does not." ""nude" implies the sun on my bum, the air on my snookle." ""nude" implies free." "i'm going over here." "i'll go with you." "gin." "again?" "hannah jane, come join us." "we need somebody we can beat, don't we, ellen?" "oh, i don't think so, dad." "i still need to straighten up in here. oh, come on, mom. please?" "come on." "okay, fine." "but beware- i take no prisoners." "i'm getting kind of tired." "i think i'm gonna turn in early." "come on, grandma." "one more hand?" "i don't think i'm gonna be very much fun." "i need to get some rest." "okay." "ha ha ha!" "rich, how you been?" "very good, man." "fitzy, what goes on?" "hey, how you doin'?" "sully, draft for me and a round for my friends." "look who's skippin' on rainbows and riding the unicorn railroad." "as i should be." "as i should be when i've just met the girl of which my fantasies are made." "the paul revere beer delivery girl?" "yeah." "i've had that fantasy, too." "oh, she's beautiful, funny, charming, plus we have so much n, it's silly." "well, good luck on that, 'cause the way i hear it, one of them things you and her have in common- you both like girls." "ha ha ha!" "what are you saying?" "what i'm saying is that the girl of your dreams has girls in her dreams." "uh-oh!" "ooh!" "ooh." "yeah." "oh, let me help you." "thanks, dad." "your mother and i have a policy." "we never go to bed angry." "34 years of marriage, and we've only broken that on a handful of occasions." "dad... no." "what's going on tween you and your mother, hanna?" "you two used to be thick as thieves." "there were even times when the three of us were together- i felt like an outsider." "yeah, i'll admit, it was hard for me, but seeing es peor. two like this-ro verla it's worse." "mom and i just got into a fight, you know?" "it'll blow over." "i'm not talking about tonight, hannah." "this has been going on for years now." "what happened between you two?" "what is this about?" "you two should work it out." "your mother and i aren't gonna be around forever, you know." "dad, please don't say that." "sorry." "good night, sweetheart." "dad?" "good night." "good night, baby." "okay." "can i get a draft?" "eddie?" "eddie latekka." "mack hill, knights ridge mutual." "also used to run the snack bar at the little league field." "oh, of course." ""refill" hill." "you were very generous at the soda fountain." "that i was." "funny running into you and nick garrett in the same week. really?" "where'd you see nick?" "what are you doing?" "well, i just thought that since clothes are now a thing from your past, we should give them to people who really need them. my pink floyd t-shirt." "you're giving away my pink floyd t-shirt?" "i was planning to." "but i got this when they played the worcester centrum, and ikey and i managed to scam our way into the pit." "my b.u. sweatshirt." "beanpot 1998." "eddie and i and a couple girls from pine manor c- okay, okay." "i can only imagine." "you really think i should give these away?" "i don't know. you ever gonna wear them again?" "no." "hmm." "'cause it seems to me that maybe, just maybe, being naked isn't as freeing as it first seemed." "you know, your clothes... they don't just allow you to walk outside of the house without being arrested for indecent exposure." "they take you back to places and people you used to know." "so maybe by staying nude, you're cutting yourself off from the rest of the world, turning yourself into a prisoner in a way." "you're a prisoner even more than you already were." "oh." "i don't think so." "hey. what's up, man?" "oh, brown bagging it today, huh?" "oh, yeah." "the commander was making one of his b.l.t.s this morning, so... so, nick, listen." "i was, uh, i washinkin'." "maybe we can go even bigger with the commercial." "what we need is a barroom brawl." "a barroom brawl?" "a barroom brawl. see, we hire a couple stunt guys, and as they throw each other through the windows, we use digital effects to put 'em back together." "huh?" "not bad." "stuntmen and special effects?" "yeah, it-it-it might cost, like, 10, 15 grand over the original 40..." "hmm." "but i really think it's the way to go." "i mean, assuming that you can, uh, you know, cover the extra costs. oh, i can handle it. yeah, it's-it's not a, um... the universe is a cruel, cruel prankster." "i mean, jenny was everything i'd hoped she'd be and more." "we got along so well." "we had so much in common." "so where's the cruel joke?" "well, according to sully and the scuttlebutt on the street, jenny likes girls and only girls." "really?" "really?" "really." "oh, come on, man." "you can't believe sully, and you can rarely trust scuttlebutt." "plus why would she have agreed to a second date if she wasn't at least a little interested?" "whoa. you got a second date?" "at least i thought it was." "well, so you'll clear it up then." "wait a second." "let me get this straight." "this girl is hot, she likes other girls and she drives a beer truck?" "so it seems." "what are you whining about, guy?" "you just hit the trifecta." "congratulations." "wow!" "you look fantastic." "oh." "oh, here. let me help you." "thank you." "a dress?" "if i would have known, i would have worn a tie." "no, you look great just the way you are." "oh. to tell you the truth, i probably overdid it." "oh, so you usually don't wear a dress when you're not working?" "no, i do." "i just wanted to look particularly hot today." "you did?" "yeah, i went to lowell to return my ex's books and cds, so i figured i'd spruce things up a bit." "oh." "um, what's your's name?" "chris." "it's awful of me, i know." "i just- i thought if i walked in there looking hot that chris might regret moving on." "and-and did you see chris?" "i did." "what was chris wearing?" "an old "i've moved on and have nothing to prove to you" t-shirt and jeans." "and-and what kind of shoes?" "um, barefoot." "is chris a man chris or a lady chris?" "a..." "lady chris, of course." "why "of course"?" "this is something one is to assume?" "i thought it was obvious." "do you remember when i was 11, and stephy gower's mother let us watch "the exorcist"?" "of course." "you couldn't sleep for days after." "every night, i cried." "every night, i was convinced that i was gonna be possessed by the devil and that my head would spin around, and then i would throw up green goo." "and before you went to bed every night, you made me promise that you wouldn't throw up." "and i'd bring you a glass of water, and we'd say that prayer." "do you remember it?" ""god is in this glass of water." "god is in this cup."" "please, god, please, no green throw up." "every night, for weeks" ""you promise me, ma?"" "and then a few times you went out without saying the prayer with me before you left." "and you had the babysitter track us down at the restaurants, at movies." "i would make you say it over the phone, and you'd promise me." "you always took care of me, mom, which is why, ten years ago, when everything happened," "i listened to you." "and now you regret that you did?" "it's just, you keep telling me this is a confusing landscape for sam, for everyone, buthe truth is, you created this landscape." "i created the landscape?" "you were pregnant. you didn't know who the father was." "it was one of two people, and gavin wasn't one of them, and you knew that, and you chose him anyway." "somebody had to take charge. you were a 17-year-old girl." "your heart was shattered to bits." "you were out of control. and what?" "by assigning paternity to gavin- that was your way of keeping things in control?" "it was my way of trying to make life easier for you and for sam." "by lying?" "no, by protecting- by protecting you and protecting sam." "that's what we do." "hannah jane, as mothers... we fight to keep our children safe." "we defend. we safeguard." "we love." "it's no different from promising a scared, little 11-year-old that she's not gonna throw up green goo." "i fight for sam every day, ma." "i know you do, sweetheart." "so why do you take issue with me fighting for you ten years ago?" "i don't... but it's time to stop." "hi nice place you got here, nick." "it's been a long time, mr. daniels." "it's good to see you." "how's the cape?" "great." "what retirement should be." "i read, play a little golf, grow a few tomatoes-good stuff." "that's nice." "nice." "huh. uh, we, uh, had a nice thing, you and i, all those years you dated hannah jane." "yeah, you can say so." "so, um, around the time you were due back from your european jaunt- when you didn't show," "ellen said you weren't coming home." "hannah jane and i told her she was crazy, but then a few weeks later, and still no you." "hannah jane started to think so, too, but not me." "i always believed that someday you'd be back." "of course, after a few months, a year even, i started to have my doubts," "especially all those nights i'd hear my little girl sobbing herself to sleep." "hannah's in a good place now, nick." "i hope you'll let her stay there." "yeah, yeah, of course, sir, and i... i'm sorry for everything, mr. daniels." "it was a... it was a pretty crazy time in my life, and, uh, you know, i don't offer that as an excuse- only, um... an explanation." "you don't owe me anything." "you did what you needed to do." "you left home." "you expanded your capacities." "you wrote a book- a best seller." "and then... you did something even more impressive than that." "you came home, and you faced the music." "you did, nicky." "hey." "hey." "what do you think?" "stripes?" "no stripes?" "thank god you're here." "i've been trying your cell all morning." "the effects guys never showed." "yeah, that's, uh, that's because there's no commercial." "it's over." "huh?" "listen, everyone." "can i have your attention, please?" "yeah, can everyone gather around?" "everybody?" "all right, um, look, i know- i know you all came here today expecting to make a commercial, but... i gotta pull the plug." "i'm-i'm really sorry, guys." "but thank you for coming out." "i appreciate your time." "thank you." "sorry, guys." "i could get into a big long deal about how and why, but the bottom line is i'm out of cash." "what do you mean out of cash?" "like broke, busted, beggared?" "yeah, pretty much that." "did you know your partner here was tapped?" "no, he didn't- i did." "you did?" "i ran into mack hill at sully's-the loan guy." "he told me everything. hence the barroom brawl and the stuntmen." "couldn't help myself." "so, um... how is this going to affect the window shop?" "well, we've only got two jobs so far, so... we're just gonna have to work our butts off to get more." "you game?" "i'm game, so long as in the future, we have money problems, you come talk to me, partner." "you got it." "so am i officially out of the commercial?" "i'm afraid your television debut will have to wait." "maybe not, kid. i think i might have something up my sleeve." "thanks for seeing me two days in a row." "are you kiddin'?" "i'd have lunch with you 74 days in a row if i could." "you know what's weird?" "i couldn't say that to a girl who was available." ""i'd have lunch 74 days in a row."" "but since you're not available and therefore, not scary," "i can tell you that you make me... very, very, happy-sad." "i'm... pretty overflowing with happy sadness myself." "on the one hand, i miss chris, and on the other hand, you're sweet. you're funny," "and you owe me your life." "if i ever do come around to boys, owen, i can tell you one thing." "you're gonna be the first on my list." "i'll be back when the kegs are kicked. can i call you?" "you bet." "and be careful wi the hot wings till then." "whoa!" "okay, what are you doing?" "savoring every last bit of this hot peppers and steak." "yeah, i mean why aren't you wearing any clothes?" "mm. well, you made such a fuss about the virtues of being set free, i figured i'd give it a try, and you know what?" "it is really liberating." "i may never wear clothes again either." "but you n't... if-if i'm... i'm... fine." "done." "my days of nudism are over." "what?" "why?" "oh, come on, eddie." "we can't live like this." "i mean, one guy naked- it's charming. it's quirky, but two guys-it's." "it's... not something i'm comfortable with." "whoo." "yeah, i've said it before, and i'll say it again." "the pizza girl ain't the only one who delivers." "thanks, ray." "hey, thanks for coming." "oh, come here." "dad." "go say good-bye to your grandpa." "hey!" "it was a good visit, hannah jane." "i think so, too, ma." "you should know that even though i don't agree with your catering choices, i do understand them, and i will do whatever i can to help you." "you promise me, ma?" "i promise you, hannah jane." "all right, let's have a look, then." "hey, guys." "hey, looking good." "hey, hey!" "good bye, all." "like your bike." "playful breed... best friend windows." "we're at 658 maple street, knights ridge, mass." "when it comes to fixing things right... we're your best friends."