Secrets And Lies (2)

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Call Me "Tarzan," Dammit!

Oh, my God. When Michael walks out of the interrogation room to meet Jane in the hallway? He goes: "Hey." He then only talks in a whisper about how she totally screwed up his feng shui, and he almost had the perp's confession. Jane says she knows that these guys didn't do it, and when she finds the ones who did, Michael's going to owe Keaton an apology. Michael whispers, "Jane. They were at the scene of the crime. They stole from the victim. What else do you need?" A motive. Intent. Evidence. Fingerprints. Hair. DNA. Another two guys, since the victim described four men. A certain wild shoeless Joe who saw all four of the attackers (with his fists!). Little things like that, Mike. And what's with the whispering? Jane's not. Jane tells Michael not to take his aggression against her out on these kids. Michael growls -- that sound you make in Bikram Yoga during the warm-up. "I wouldn't do that," Michael lies. "Jane. I wanted to apologize for last night. Heh-heh. I completely lost my head. I'm sorry." Jane says it's okay. Michael grabs her arm and keeps whispering. "No. It isn't. But I'm gonna make it up to you. Everything's going to be okay. I promise." Dude, she just said exactly those same lines, like, ten minutes ago. Jane does some blinking, and Michael says "Okay." The best part of this scene is the print-out of the Miranda rights in English and Spanish, tacked to the bulletin board in between them. Just in case the cops forget.

Greystoke. Xena's come to visit Richard. She picks up a framed photo, as all long-lost siblings do when they return home. She looks around the room, waiting for Richard to enter. He finally does, and they stare each other down for a little while. Richard says he's surprised to see Xena there, since it's usually like pulling teeth to get her to come around. This script uses a lot of dialogue fillers. There's the greetings that everyone has to make at the top of the scenes, but then there's also all this stuff like people stating their intent, what the scene is going to be about, and then people agreeing to talk about whatever the intent is. Like here. Xena: "Richard, I wanted to talk to you." Richard: "I'm listening." Xena says she's tired of the bitterness and anger between them. Richard: "What do you want, Kate?" There's also a lot of repeating names. Xena: "I want to stop fighting over our brother's trust." Xena suggests that they settle out of court, splitting John's trust 50/50. "Why the change of heart?" Richard asks. Xena says that she went by the cemetery today and realized she never thanked Richard. "For what?" he fills. "For going back to the jungle," she replies. Xena thanks Richard for being diligent in recovering the bodies, and for bringing them back home for a proper burial. Coincidentally, this shot with Xena talking is the exact reverse shot of when Michael was joining forces with Richard. The camera swings in the other direction. Richard smiles, and says he's always tried to do what was best for this family. Xena: "So let's settle this thing once and for all." Fight! Fight! "No," Richard says. "I need that trust to keep Greystoke strong. To keep this company running the way it should be run. That's what's best, Kate. But I appreciate you [sic] coming." There's quite the stare-down as Xena slowly stands, the camera following her. She walks away, Richard's eyes following her. He sucks something sour in his mouth -- perhaps the lines he wishes he could say. As Xena leaves, Richard looks right at us. It's weird, but he's totally looking right at us. He opens his mouth, as if he's going to talk to the closed door. Then he looks around, searching for something. Maybe a resolution to this scene. Maybe a reason not to be sitting in this chair all the time. Maybe he's hoping that they won't dress him in blue-striped shirts and red multi-patterned ties and pinstriped suits anymore. It's very busy.

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