We are treated to our early-morning-L.A. opening montage (including a milk-man delivering milk in clinking GLASS milk bottles to a house... do people really still do that?). Finally brought back to 4616 we see the construction workers sawing wood in the yard, but, magically, not a spec of sawdust is in the pool (and some people think Pool Boy doesn't do his job well!). Panning into an apartment we see Billy waking up, in theory to the sound of the buzz saw outside his window until we hear a far more grating sound - his wife's voice making airplane reservations to Miami. Billy stands behind her, wordless, as the entire conversation takes place, his hands on his hips, and as she hangs up the phone she turns to him and coos "Ohhhh, you're up!" in a voice that betrays she got caught at something, but she won't come clean. When Billy asks what is going on in Miami Brooke quickly concocts a lie about real estate investment in Miami and something about tripling her money in the first year and she is thinking it's the perfect place to put her $10,000. Billy, not caring at all, just says "well, it's your money" and tries to take a drink of orange juice right from the pitcher from the refrigerator. Before the OJ can hit his mouth, Brooke pulls it away and says "the only thing worse than morning breath is orange juice breath" (and here I thought she was going to comment on his lack of using a glass). She continues saying, "First you brush your teeth, and then we start this day all over" which is funny because there are few things nastier than the taste of orange juice immediately after having brushed your teeth.

We then see more construction work going on in the courtyard and zoom in on Jake's door. Inside we see Jo leaning against a fire place grilling her boyfriend. "So, I'm waiting for an explanation. We had that big night planned and then you call, you say you can't talk." Then, without missing a beat or changing her tone of voice she says "Who's in your shower?" Jake, smart man that he is, says simply "Shelley" apparently not thinking his girlfriend will care that some generic female is in his shower. Jo nods and says "Who the hell is Shelley?" but, A-HA!! Jake gets a smug look on his face (I have no clue why) and says "Jess' ex-wife." He explains all about Shelley's arrival in L.A. and that she will be staying with him for a day or two. Jo asks how Shelley reacted to the news of how Jess died, and Jake loses his smug look, looks down at the ground and just says "She doesn't know all the details yet, I haven't told her." Jo tells him to just keep his mouth shut and say it was an accident, which is, of course, Shelley's cue to enter wearing nothing but a yellow towel. With big pouty lips she apologizes for interrupting Jo and Jake and I'm wondering how often it is that a first-night guest starts walking around the house after a shower in a towel - don't they normally dress and then come out? Jake introduces Shelley and Jo and Shelley says "Oh, right, Jake was just telling me all about you" and I'm wondering when "just" was since she seems to have just been in the shower and Jake is totally dry. Shelley and Jo have a polite exchange of pleasantries. Jo tells Shelley she's sorry about Jess and Shelley says "Yeah Jake told me that you two were really close, and I'm sorry for you too," and I'm wondering in what bad taste Jake decided to tell Shelley about Jo and Jess' relationship. Jo smiles and says "Yeah, well, life goes on doesn't it" and I wish someone had said "Not for Jess" but I wasn't that lucky. Jo leaves promising to call Jake from work and, outside the door, proceeds to give us that patented Melrose sigh.

At the hospital we see Michael on the phone saying "I hope when you say 'maximum security' you mean maximum security" which makes no sense, but Michael doesn't seem to care. Sydney walks up carrying an armload of files just as Michael hangs up and says those were all the files the hospital would release to her about Kimberly. Finally the trio is complete as Peter - sporting a new hairstyle with bangs that make him look like a sheepdog - walks in from yet another direction and I'm wondering who is watching the office. Peter and Michael have a 5th grade tug-of-war for the files on Kimberly and finally they turn to Sydney, obviously the most mature if least educated of the three, and she declares the files to be Michael's and that Peter can get his own. Peter says "Sydney, how many times do I have to say this to you? You work for both of us." Michael pulls Peter away and as they walk down the hall, he tells his partner, "You know you're wasting your time with Kimberly. She's beyond medical help... beyond psychiatric help. Hell - she's beyond the Lord's" but before Peter can retaliate, good ol' Dr. Hobbs walks up behind them. He compliments Peter and Michael saying he heard their surgical practice has really taken off and Peter says "Yes, we have a full caseload." If they have a full case load now I'm wondering not only who's at the office, but how both doctors have so much time to devote to Kimberly. Proving if we can't have more scenes with Matt, at least we'll have more scenes ABOUT Matt, Dr. Hobbs says he's glad the whole Matt Fielding mess is behind them. Michael says "I heard he was cleared" but the head doctor says "Yeah, well I still fired the little faggot." Michael, of course, sees this as an opportunity for career advancement saying "That bigoted bastard should really watch his mouth or he'll wind up in some serious legal trouble. Might even lose his job." Peter responds coldly to the idea and Michael realizes he's on his own in this one.

Back at D&D we see Alison sitting in Amanda's office when Amanda comes in blathering about some financial report she can't find. Alison points out that it's under the phone. Amanda, unable to put together two plus two says "Wait...how'd you know that?" and Alison confides in Amanda that her eyesight is returning. She proceeds to confide that her eye sight is a secret until some "personal issues are resolved." Amanda, in an odd moment of sympathy, wishes Alison good luck at playing blind to get Billy back. Amanda begins to walk out the door when Alison calls to her and finally the reason for Alison confiding in Amanda is revealed as Alison tells her about finding Brooke snooping through Amanda's personal files. Storming out of her office Amanda goes out and confronts Brooke face to face and Brooke lies effortlessly denying having gone into those files. Amanda storms off not believing Brooke just as Alison comes in waving her arms in front of her as if she were still blind but miraculously not bumping into anything.

Over at Mackenzie-Hart Jane is being complimented by Elliott Freeport, a man from the bank that will be financing the company. Jo comes in, her camera bag slung over her shoulder, and Jane introduces her to Mr. Freeport saying that "using an exclusive photographer for pre-release publicity is another one of their unique marketing ideas" and I'm trying to figure out exactly why that's unique... or even worth mentioning. Just then Richard enters and apologizes for being late. Freeport says it's not a problem, "Ms. Mancini is a terrific host" and if they have a successful show the line of credit will be theirs and anyone who has ever seen Jane's designs knows that these guys don't have a snowball's chance in Hell of getting two cents from that bank but NO PRESSURE guys. Richard must sense this, or else he's suddenly become constipated because he snaps, "Once again all the applause for Miss Mancini" and storms off. Jane follows Richard into his office, walks up behind him, smiles and goes "Mmmm, you smell nice honey" as if that will make everything all right... complimenting his cologne. Trying a new tactic she says "We're almost there." Richard turns to her and says he sometimes wonders if she's pulling a "snow job" on him the way she pulled on Freeport. Jane denies it saying Freeport is business and that Richard is her knight in shining armor, so apparently she's pulling a completely DIFFERENT kind of snow job on him. She smiles and says she loves him and they kiss the most dispassionate kisses I've seen on this show recently. Not coincidentally Richard chooses that exact moment to pull out a diamond engagement ring. Jane seems flustered and agrees to marry Richard then adds "but maybe we should wait, at least until after the show. We don't want anything to overshadow it." She says she'll wear the ring when they're alone together but not at work, and I would take that as a sign of problems, but Richard agrees. He says "It's nice to see that look in a woman's eyes again" and I'm thinking the last time he saw that look was when he was bearing down on a deer in the headlights and wondering what Richard does for fun in his spare time.

Back at Jess' grave Jake is sitting/leaning on someone's headstone which is even less respectful than I would have given Jake credit for, but he doesn't move from the headstone the entire scene. Shelley walks up and rambles something about everything with Jess being so "left up in the air" and I chuckle thinking it wasn't left in the air, it fell through the air, down a few stories, then broke. Jake, in his infinite wisdom, spouts the Zen phrase "It's tough, I know." and I'm thinking his compassion knows no bounds. He then takes this opportunity to tell Shelley that he was with Jess when he died, that Jess wanted to kill him, and they fell off the platform together. Jake says he feels responsible and Shelley gets a hard look in her face and says "Look, nobody knew Jess better than me and I barely know you but I know what he was capable of. It could get ugly." Obviously that's why she wanted to get back together with him. Then she says "I gotta get outta here" and leaves Jake there, still leaning against the head stone.

Michael and Matt - who is plastered and sporting that same sheepdog hairstyle Peter had earlier - are sitting at Shooters and I'm thinking Michael is branching out to new areas of Melrose Place but then discover he's only there trying to convince Matt that Hobbs fired him because he was gay (this is news?) "Hobbs made what I would call a definite homophobic statement," Michael says to which Matt cynically replies, "Alright, what's your cut? Ten percent? Twenty percent?" When Michael says it's free of charge, Matt then realizes that with Hobbs out of the way Michael may finally get that Chief-Of-Staff position. He tells Michael he's not in the suit business, he's not in the revenge business, he just wants to forget and move on, which is what he does by leaving the table, being sure to take his drink with him.

Finally back to Kimberly, who we haven't seen since the dream sequence before the credits. She is eating her dinner with her fingers when Henry appears once more telling her that he is the only one she can trust, "Just like before." Kimberly starts throwing her food at the mirror and says "You bastard, I'm ruined, locked up like a caged animal because of you" and then proceeds to jump on her bed screaming wildly. We then see behind the mirror is Peter and another man who rush into Kimberly's room and sedate her. Forcing her into a wheelchair they take her down the hallway and now we've gone from "Silence of the Lambs" to "One Flew Over the Cuckoos Nest" as we get to see Kimberly administered electroshock therapy (and poorly depicted I might add). They give her three quite lengthy shocks as Peter looks over her with concern on his face.

Back at 4616 we see Billy and Alison sitting pool side on saw horses (because it's always a good idea for blind people to get near both construction equipment and swimming pools). Brooke comes down on her way to her flight to Miami, and Alison excuses herself to go back to Jane's apartment. She walks back without her hands in front of her and opens the door without hesitation. Apparently Brooke noticed too because she brings up to Billy how Alison has lost that tentativeness and says "Wouldn't it be wild if she was regaining her sight?" Billy, having been hit on the head with a soccer ball one too many times asks, "If that were true why wouldn't she tell us?" so Brooke points out the obvious: getting the sympathies of an old boyfriend. She kisses him goodbye and flips his tie telling him to "stay out of trouble" knowing damn well he couldn't get into trouble even if someone gave him directions and a map.

At Burns-Mancini, Sydney is in Peter's office asking why he's so determined to help Kimberly citing, "Kimberly is a viscious monster with so many screws lose she could start a hardware store". Peter replies, "Kimberly has what we call 'certain issues'" and I'm wondering what other people call them. Peter then says "Let's just say I know what she's going through." Sydney says "You're a psycho too?" and I'm thinking about that attempt on Amanda's life, but all Peter says is "For hiring you, yes. For helping Kimberly, no. I just don't want to see it happen again, that's all." Sydney picks up on the word "again" which is when Peter confesses to Sydney about his sister who ended up in a similar situation, but he couldn't do anything about it. Sydney says "I didn't know you had a family" which is a dumb thing to say even for Sydney but even dumber is Peter's response. "I don't", he tells her. "It died with her" but I wonder what other secrets may someday come out of Peter's family closet. Peter then tells Sydney to forget what she just learned and he has to go on rounds. Peter isn't out the door when Sydney picks up the phone and says "Michael, get in here. Have I got something to tell you." We leave that scene as I wonder why Sydney didn't just cross the hall to go to Michael's office to tell him.

Back at Shooters we see Matt for a second time, and here I was worried he would disappear after the murder story ended. The Heavenly Kid (or at least the actor who played the title role in the 80s film by the same name) walks up and asks, "You're Matt Fielding aren't you?" Matt replies with the oh-so-witty, "Last time I checked". The Heavenly Kid introduces himself as Tom, with the L.A. office of the Gay and Lesbian Rights coalition, coming to offer their free legal services. Matt realizes that Michael called them and tells Tom that Michael's' motives are "anything but altruistic." Tom, obviously showing himself to be the lawyer, says "We don't care. We'll win a case any way we have to." Matt then goes on a tirade about being labeled as a gay man, and he doesn't want to fight it. "Right now I'm at a point where I just want to be left alone," he says, which makes me think he gets paid the same weather his character has a story line or not, and he's tired of working so much. Tom tells him he has a responsibility to fight for the rights of gay men, tells Matt to give him a call if he changes his mind, and leaves.

Jane storms into Richard's office. He has released the news of their engagement and Jane is more than a little upset. Richard smiles and says "What can I say? I'm lousy at keeping secrets." Jane replies "This is about the spring line" as if that changes everything in an instant. She then says "Nothing can overshadow our work." Richard leans back and says "Why the hell not?" and asks why it's so important to Jane since Mackenzie is going to get all the credit for the spring line. Jane then goes into the stepped-on role she plays so well, saying she wanted to just accomplish something on her own... how she's always been Mrs. Mancini, Michael's ex-, someone's fiancee, defined by who she's with not what she does. Richard then says a line that I just have a gut feeling will come back to haunt him: "I'm not one of these men, Jane. I'm not out to hurt you." Jane relaxes slightly and Richard says "Should we get back to work now?" which is an odd change of roles.

We then cut to Brooke sitting at a telefische machine in what I am assuming is a library, but it actually looks more like a hallway from the hospital. Brooke scrolls through the newspaper articles on the screen sheet by sheet at a slow pace. Soon she gets to a picture of Amanda with a guy, the headline saying "Amanda & Jack Parezi Vows Exchanged" and I'm thinking if Brooke is just meandering through newspapers looking for news on Amanda Parezi she would have been in Miami a week, not just a day.

The next scene, Brooke is outside a door ringing the bell. Not surprisingly Jack Parezi, the man from the newspaper picture with Amanda, opens the door. Brooke is there and all smiles as she says her car broke down out front. At that point Jack had to know she was lying... I've never seen anyone smile when their car breaks down, but nonetheless Jack lets her in to call the motor club. Upon entering, Brooke mixes one lie with another, saying she's in Miami from L.A. looking into real estate investment. Jack, probably wondering why this babbling Brooke told him all this, leads her to the telephone, which happens to be in the same room as a large painted portrait of Amanda. Brooke walks up to the picture and says "Your wife?" to which Jack says "It was... Amanda died five years ago." Then enters the epitome of a Mafia thug, eating a sandwich and saying, "Everything okay Mr. Parezi?" as if Brooke using a telephone required a bodyguard. Jack says everything is fine and leaves Brooke alone on the telephone. Mutual snooping occurs as Brooke looks at a wedding photo of Amanda, in the full white gown, and Jack goes over to where Brooke set her purse down, goes through, and steals a business card from D & D advertising. Why he finds this suspicious is beyond me, as she already said she was from Los Angeles, but the "important moment" music is playing so I think there is more to be made of this.

In Jane's apartment, Alison lets Billy in to work on some ad copy. She's wearing a red dress and had already poured him a glass of wine, which makes Billy suspicious. While Alison tries to come up with ad slogans, Billy proceeds to make funny faces by moving his eyebrows. I found the faces to be nothing spectacular, but Alison finds this terribly amusing and starts to laugh, ending the charade of her blindness. Billy says "Brooke was right, you can see." Alison concedes this but says it just came back and she was going to tell him, to which Billy replies "But you figured what the heck, I'll just lie to him a little while longer." Alison tries to play this off as something Billy should be flattered by, how their time together was how it used to be (he used to lead her around by the arm stopping her from bumping into things?) but Billy says "Alison, our relationship is over. I married Brooke." Billy gets up and plays everything off just saying "Don't lie to me again, okay?" as if that's all there is too it, but Alison takes it as an opportunity to twist the knife a little deeper saying "I wonder if you've ever said that to Brooke. I may have been a little dishonest, but how honest has she been/ Are you going to tell me that someone like Brooke doesn't keep secrets?" Billy looks down, obviously thinking of the Miami trip, and Alison just says "I didn't think so."

At the beach house, Sydney is decidedly drunk sitting next to Michael on the couch, rambling on how Peter is trying to save the sister he couldn't save. Realizing she's drunk, she asks what it is they're drinking, jet fuel? Michael tells her it's something distilled from the residue of fresh wine, rumored by his ancestors to have aphrodisiacal powers (which ancestors were these? Uncle Vinny arrested for date rape?) He then puts his hand on Syd's stomach, but she laughs and tells him to stop, wanting to talk about their plan against Kimberly. She then walks out on the deck and slurs rambling drunken nonsense about how her life is a ball that bounces from relationship to relationship, scheme to scheme... and I'm thinking the aphrodisiac might be working if she's talking about bouncing balls... That aside, she talks about how Michael is the only constant in her life, and Michael walks up behind her and starts kissing her on the neck. Syd turns to him but says "Wait, what about Kimberly? You said you had a plan." Michael says "Silly girl, this is the plan." With that he picks her up off the ground and carries her into the bedroom, both of them laughing all the way.

Things aren't quite as giggly in Kimberly's cell the next morning as Kimberly sits, immobile, leaning against the wall. Nurse Ratchet walks in, says "Visitors, Kimberly" and then leaves as Michael and Sydney walk in, hand in hand. Sydney is sporting some awfully realistic afterglow as Michael stands almost too close, running his arm up and down Syd's bare arm. They compliment Kimberly on how well she looks. Michael says "I even think I see a little color in those cheeks" to which Sydney replies "I thought only Michael could put that kind of color in a woman's cheeks" and proceeds to kiss right there in front of Kimberly. Kimberly seems as nauseated by this display as I am as she starts to moan and whimper "Stop it. Stay away from me." Sydney then plays it up a little further saying "Michael, I told you this wasn't a good idea. I mean, seeing us separately that was one thing, but now, seeing us together realizing that we're a couple again..." Kimberly once again has another fit, screaming "Get out" and climbing behind her bed. Peter then rushes in to the rescue, pulling Michael and Sydney out of Kimberly's room and saying if they ever bother her again he'll have them arrested. Michael smirks and says "It looks like future trips won't be necessary now, does it?" He and Sydney then leave to go have lunch.

Billy is hard at work at D & D when Brooke comes up to him, wraps her arms around him, and says "Hello, darling." Billy, grasping the obvious with a talent that only he could have says "You're back." He asks about the investment and she says it was a windfall, but she has to go talk to Amanda. On the way to Amanda's office she sees Alison, who tries to tell Brooke about her miraculous eye-sight recovery, but Brooke guesses it first and says "Goody for you, Alison," turns, and walks away.

Brooke goes into Amanda's office and shows Amanda the printout from the newspaper and says "I expected skeletons, but nothing on this grand a scale. Faking your own death to get out of a marriage. Changing your name, changing your whole identity. Only you could pull off something this wild." Amanda then does something we've all wanted to do for this entire season. She grabs Brooke by the neck and slams her into a wall, starting to strangle her. Amanda grunts "Those were my personal files!" to which Brooke cries, "You're hurting me!" which I think was Amanda's intention. After a moment's pause Amanda loses her determination and let's Brooke go - and here we were all thinking we'd get to see Brooke dead. We may yet still as Brooke then starts right up again saying "I met Jack - lovely guy" but concedes she didn't tell him Amanda is still alive. Amanda warns Brooke that she's in way over her head, that Jack comes from a dangerous family, that he's abusive, and that she went to great lengths to get away from him, but Brooke is having none of it. Amanda finally gives in and says "Name your terms." Brooke has conveniently already drawn up a list of all the changes she wants effective immediately at D & D which she hands to Amanda before bouncing out.

Back at the only bar in L.A., Jo walks in to find Shelley is now working behind the counter at Shooters, doing the books, and complaining about how Jake needs to get a computer. Shelley says, "I started thinking about it and I realized I didn't really have any other place to go, except back home, the same dead-end job" and I'm thinking that now she decided to stay here and pick a dead-end job... not much of a change except more smog. Shelley even had some accounting experience, so she's, obviously, perfect to keep the books of a bar. Jake and Jo then walk to the door and Jo asks if he finds it odd that she would want to work here after finding out about Jake and Jess and her, but Jake says "She had Jess figured out better than any of the rest of us and she understands. Besides, she needed a break." Jo brings up that it's the same attitude that had Jess working at Shooters, but Jake doesn't listen. She exits as Matt enters and if you look closely you'll see there's nothing outside but a white blinding light which means either all of L.A. has collided with the sun or the set people forgot to put the backdrop in place before Matt opened the door.

And why is Matt there? He's come to meet Tom, the GAY lawyer, who is sitting there drinking a beer in the middle of the day. I'm sorry... free or not, if I'm meeting with a lawyer I'd really like them to be totally sober, but maybe that's just me. Matt says he changed his mind and he wants to go after Hobbs. He and Tom shake hands on this, and I'm thinking that they may have just had sex... on this show it's hard to tell.

It's nighttime at D & D as Amanda calls a late meeting between Billy, Alison, and Brooke. Amanda informs Alison that she is being demoted and Brooke is taking over all of her duties, although her salary will remain unchanged. Brooke, on the other hand, is getting a merit raise and the corner office. Alison starts to argue but Amanda says these decisions are final and leaves. Alison chases after her and tries to get Amanda to admit Brooke is blackmailing her with something found in the personal files. Amanda replies with, "Never mention those files again, do you understand? As for my decisions, they're final, and I will defend every last one of them if questioned, which means you could end up more screwed over than you already are." Amanda then gets on the elevator and talks about how the new, nicer Amanda is gone and how if you open yourself up someone punches you in the gut, and I'm wondering why Billy was even at the meeting as none of this had anything to do with him except that he's slept with all three women that were there.

It's time to see more of Jane's wonderful design work as models walk down the runway in designs so awful you'd think they're real. It seems to be the end of the show as Jane walks out on stage with a microphone. Richard calls after her but she keeps on walking, a determined grin on her face. Once on stage all the models come out on stage behind her. She says "For those of you who don't know, my name is Jane Mancini and though you won't find me in your program, I personally designed this line. In fact, Mackenzie Hart had nothing to do with the creations you've seen here tonight." This is greeted with a round of applause as if such company betrayal is commonplace at fashion shows. One of the models even hugs Jane as she walks off stage towards a very angry Richard and I'm starting to really think their relationship isn't healthy. "What in God's name do you think you're doing? You just betrayed me and this whole company", he says angrily, but Jane defends it as just taking credit for her work. Richard then tells her she's fired but not a single word is mentioned about their engagement.

At the beach house Sydney comes in to find Michael listening to music with headphones on. She comes in wearing a ridiculously funny leopard-spotted coat, with a skimpy black dress underneath. She brought some champagne to celebrate their victory over Kimberly, but Michael just replies "Sydney, get lost." The smile slowly fades from Sydney's face as what is happening sinks in. Michael continues by saying he only did what he had to do to get her in the right mood for their visit to Kimberly, and that Kimberly would have seen through it if it was fake, but now that Kimberly is totally far gone, he doesn't need Sydney any more. Sydney says "Oh God, I haven't learned anything, have I?" to which Michael replies "Apparently not," puts his headphones back on, and closes his eyes.

The next day at the office of Burns-Mancini, Michael and Peter are having an argument over how to use the telephone (and these guys are surgeons??). Sydney walks in, shows them both how the phone works, and proceeds to tell them she quits. Michael says it's fine with him, but now Peter wants her to stay, saying everything she's done was because she was under the influence of "a very evil man." Sydney says "I had no idea what he was up to until it was too late" but I think she's referring to their having slept together, not to Michael's attempts to drive Kimberly insane, but Peter doesn't seem to care, offering Sydney an extra $100 per week, under the table, if she will stay on as their secretary and also spy on Michael for him. Sydney, in a very willing mood to get Michael back, agrees to stay.

Jane is jogging along the beach side sidewalk when Richard pulls up next to her. He mentions that she's had some job offers, and she confirms that. Richard says "I thought the idea was for you to run the show yourself," but Jane replies "The idea, yeah... it just didn't turn out that way," and starts to jog off. Richard stops her and tells Jane that he released a press statement that morning of Jane's involvement in the line and Mackenzie's death. He also offers her a job at any salary she wants, full participation, because Freeport from the bank called and said that there would be no line of credit without her. Jane agrees to return, but she's in charge both creatively and financially. She also wanted the company name changed to Mancini-Hart. Richard agrees, except that the company name is Hart-Mancini, Jane agrees, and starts to jog off. Richard stops her once more to ask about their engagement, to which Jane smiles and says "One step at a time, Richard," and finally continues her jog.

Brooke is moving into the corner office that Billy is saying he'd kill for but I can't understand why as it seems to have no windows that go outside. He and Alison are discussing how Brooke managed to get the office, and Alison brings up Brooke's trip to Miami, and also that she caught Brooke going through Amanda's personal files. When Billy tells Alison to stop back-stabbing his wife, she asks if he has another theory. He says, "Maybe she earned it. Maybe Amanda was impressed with her ambition and skill." Not even Billy can believe this, even though he's saying it. Alison then says he can find out what happened a lot quicker than anyone else and he says "You want me to investigate my wife? It's none of my business, or yours," as if his wife blackmailing their mutual employer is none of his business. Alison pleads for sympathy one more time, but Billy is downright cold as he says "As you can see again, why don't you look into it?" Inside Amanda's office while this great intellectual debate is taking place, Amanda is shredding her personal files (and I wonder why she didn't do that years ago).

Finally at the Los Angeles airport, Jack Parezi gets off of his United flight (since the show plugged the airline, I thought I should too). The limo driver is waiting there for Jack and asks if he will be staying in Los Angeles long, to which Jack replies "I'm not sure, all depends what I can find here." The ominous music plays and we fade to credits.

--written by Arnie, edited by Stacie