JOY: Logan is like a box of chocolates. You never know what you're gonna get.
HZ: Yeah, although you do assume that the chocolates will be brownish green and a bit out of date. What what? But still delicious. Delicious, but bad for you.
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HZ: Meg has got a secret admirer. She's narrowed it down to two guys. Someone sweet but moony called Martin, or someone called Caz who's flirty, but he would flirt with a trashcan if it had boobs.
JOY: Trying to picture a trash can with boobs. Hang on one second.
HZ: Pretty sexy.
JOY: Okay, please go on. I'm ready.
HZ: But Meg needs to find out who, because it could be her soulmate - there's a lot of soulmate chat this episode.
JOY: Meg, you're 16, you barely even have a soul let alone its mate. Her soul is still baking!
HZ: You're basically a trash can with boobs!
HZ: At school Veronica is at the lunch tables questioning Yolanda's friend Gabrielle who's just talking, talking, talking, talking. And I love how Veronica says in voiceover some stuff that really illustrates the daddy-daughter dynamic chez Mars.
VERONICA VOICEOVER: One thing about an ex-cop for a dad is that some boring Sunday when you’ve seen all the reruns, he might kill time describing, for instance, how to tell if someone’s lying in an interrogation. Take Yolanda’s friend Gabrielle here: the indirect eye contact, the smile that doesn’t crinkle the eyes.
HZ: It's so useful. I wish I'd had such a useful dad. He probably could have told me how to like cut down a tree or something - but then I wouldn't have been allowed to touch his chainsaw.
JOY: OMG, a chainsaw!
HZ: Oh, my dad loves his chainsaw, yeah.
JOY: <psycho music>
HZ: Not like that; you would never besmirch it with human flesh, it would clog the chain! God, Jenny.
JOY: Oh my god. My mistake.
HZ: Have some respect for the implement!
HZ: Veronica's playing with the stapler, partly as a sign of rudeness and partly so she can swap it with a spy stapler! Is there an office supplies catalogue has identical models of the most common stationary items but with cameras in?
JOY: And had Veronica noted what kind of stapler she had before? Like on a previous trip to Miss James’s office?
HZ: I admire the research.
JOY: The important questions of our times.
HZ: And also does it function as a real stapler?
JOY: Oh, great question.
HZ: I suppose it must, because otherwise it would arouse suspicion.
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HZ: At Mars HQ, Keith and Aaron are having some coffee. Keith asks Aaron to pull a file out which he's got tucked into his armpit, which I found really cute. But I was wondering also whether Keith had a kind of game plan of informality with Aaron and cosseting him a bit where he's like, "So, you fucked someone that's not your wife, but my memory is not so good, either. So it doesn't matter that you lied to me."
JOY: Aaron seems like somebody who's gonna lie to make himself look better, until he doesn't have the opportunity to do so but still wants to feel good about himself. So I think the trick to getting Aaron's to cop to stuff is give him soft ways to backpedal for sure.
HZ: Keith is very smart. Then he's like, "I'm not going to tell Lynn that you cheated, because you didn't hire me to tell you that you cheated, she hired me to protect you. So here's a list of people who were at the Casablancas Halloween party. Can you circle the people that you slept with?" And Aaron's like circle circle circle and Keith's like, "No just the people you slept with whilst at the party." Amazing. And Aaron's like, "Ooof. I was on the hard cider." Now, anyone who's been 15 years old in Britain can identify.
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JOY: No, alas. We plunge headlong from this into a really beautiful father-daughter scene where Keith and Veronica are doing their detective bit together.
HZ: Yeah, their detective a bit from when they were alive in the 1940s.
JOY: Yes, exactly.
VERONICA: Tough day?
KEITH: That ain’t the half of it. See, this dame walks in and you shoulda seen the getaway sticks on her. Says something’s hinky with her old man.
JOY: If you think I'm ever referring to my legs as anything other than ‘getaway sticks’ from here on out, you are sorely mistaken.
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