Matthew: "Your family is wonderful. They are a blessing."
Ian: "I've been to Greece. And I can kill a man with my mind."
Whatever. I'd make the same choice. Sincerity is for Coke commercials and simpletons.
Ooooh, this is creepy. Apparently, Meredith and Matthew decide to take a little drunken tour of the house, and she takes him into the Gloom Room. Matthew hilariously takes Ian's picture and places it face down on its perch. I guess it's a success for this show that I had always pictured that place as a totally detached entity, existing in no temporal dimension humans can touch or feel. I kind of pictured the two of them walking in and discovering Chris Harrison wearing a Phantom of the Opera mask and playing an organ, cowering and hissing, "You should not have brought him here, this rogue!" when they walked in. Maybe they just edited that part out. But this I warn them both: don't y'all stand beneath the chandelier on the ground floor, if you know what's good for you.
Matthew's confessional tells us that they had a fabulous time, even "when there's nothing exciting going on...for me, that's what life's all about." Well, that's exactly the problem, isn't it, Polite Knievel? Upstairs in Meredith's bed, Matthew pines on for the glory of Meredith, promising that he'll be there giving "whatever it takes" if it means they can be together. "Everything else seems to disappear" when they're together, according to him. He believes that this is his "fairy tale." He wants nothing more than to end up with Meredith. He gets the same "bye, baby" Ian was offered, and he tells her before he gets in the car that he can't wait to see her again. Which he will do. On television. Or, as the most famous shrew in Shrewville put it on during another incarnation of reality television, "See you at the top of the charts!" Oh, man. That reference makes two O-Town references in two days. I guess Jacob Underwood withdrawal is a lot more slow-acting than professionals had previously hoped.