Kate's in a psychiatrist's office, and the shot frames her with a giant print of that famous still of Harold Lloyd hanging from a clock face, which is cool and everything, but not necessarily the best choice for a psychiatrist to decorate his office with, and maybe there are also pictures of domineering mothers and abusive fathers on his other walls, and Kate is babbling on about how her work has become her life, and it's tough when love is your work and you love it but it's not working. That kind of babbling. The psychiatrist says, "Go on." Kate explains that when she sets clients up on a date, she thinks about them before she goes to sleep, and she immediately wants to know the next day how the date went. "Buuuuttt " leads the psychiatrist. Kate pretends that there isn't a but, and it's only after much prodding from the psychiatrist that she reveals that Amy and Michael were at first a real challenge, but now that they're more or less on their own she doesn't worry about them so much, and I'm wondering what the "challenge" part of it was that Kate's talking about; was it getting Michael interested in Amy, the smart, personable, successful, beautiful woman? Or was it getting Amy interesting in Michael, the smart, personable, successful, good-looking man? Come to think of it, maybe the challenge was in getting Amy to ignore Michael's ridiculous goatee.
Dr. Feelgood is scribbling on a pad, saying he has something that might help. "I need drugs already?" asks Kate. My words exactly watching this show every week, but it's always a statement, never a question. Aw, I kid. I kid because I love! And my love has become my work, and I'm working to love the work that I love or whatever. No, the doctor's prescribing a book -- a book on establishing boundaries, which I'm sure won't be at all annoying. Well, as long as Dr. Phil's not on the cover, it won't be too bad. Kate jokes about how astute the psychiatrist is for picking up on her need for better boundaries. He smiles and asks to hear about Kate Fox when she isn't making matches. Kate explains that she's a lawyer who works for her dad (which is a "whole other session." Hee!), but then says that she's honestly always making matches, even if they're mental matches. "What's a mental match?" asks the doctor. God! It's a match she makes IN HER HEAD, stupid! Kate answers much more nicely, though; she uses the doctor as an example, explaining that she starts sizing people up -- in the doctor's case, he's warm, handsome, into silent movies, "as evidenced by the décor," many stills of silent movies, not just the Harold Lloyd one -- and then goes through her "mental Rolodex" until she comes up with a match. In this case, it's Elizabeth, a "Renaissance woman" who owns the silent-movie house on Fairfax and also doubles as the projectionist. "That's a mental match," burbles Kate, pleased with herself, and although it's a little too lucky that Kate knows someone who owns a silent movie theatre, she's so happy that it's almost impossible not to like Kate Fox, I have to admit. The doctor keeps scribbling. Kate wants to know what he's writing, but he just smiles at her. "So tell me, John. Are you currently seeing anyone?" He doesn't answer, just reminds Kate that they're here to talk about her. Kate looks dejected.