You Have Requested : The.Cleaning.Lady.S01E02.M... [UPDATED]
Back at the birth, Offred gets a moment alone with Ofglen and tells her about the commander's request. And then Serena Joy pulls her into the dining room with some of the wives, asking for an update on how things are progressing. One of the other wives asks Offred if she'd like a cookie, like a child or a puppy. "You shouldn't spoil them," another says as if she's not even there. Serena Joy pulls a pink macaron off the display and hands it to her, and the child/puppy wife marvels at how "well-behaved" she is. Offred walks off, dismissed, and spits out the bite she took in a bathroom sink. Even the joys of desserts are tainted here.
You have requested : The.Cleaning.Lady.S01E02.M...
Hayak is enjoying himself at the club when Arman arrives. Arman informs him about the explosion. Hayak acts to know nothing about it. He tells him about the negotiated $6m with Noah. Surprised, Hayak asks him to validate the price again. Arman claims to not have told him until he was sure. He asks where the guns are being stored. Arman says they are at a farmhouse before asking about Carlos. He promises to get up with Hector (Leandro Valdez) and Noah to verify if he still wants to buy the guns. Giving him a hug, Hayak claims to be relieved he is alive.
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Poe meets with the other AI businesses in town. The rest have moved on from being hotels into more lucrative ventures. One, Maddy, has been enslaved by someone. He only speaks in sign language. Poe owes the rest money, and will be able to pay them back now that he has a guest.
Later, Penny runs into Raj in the hallway and talks to him about being upset over what happened (although he doesn't reply as he has selective mutism). Penny decides to forgive them while Raj was thinking; "Boy, her hair smells nice" and "Maybe my mother was right. Maybe I should marry an Indian girl. We would have the same cultural background and she could sing the same lullabies my mother sang to me". Penny then hugs Raj, much to his surprise. He then turns his pelvis to avoid embarrassing himself. Later, Leonard tries to apologize with several analogies referencing moments in history where errors in judgment resulted in positive outcomes. Penny cuts him off, and then hugs him saying, "We're okay".
Roger, Don, Betty Hofstadt, and Roger's wife Mona all are out at dinner together. Slightly tipsy while waiting for more liquor, Roger opines on how his childhood was laced with multiple nannies who "raised him" yet he turned out "just fine" unlike his 16-year-old daughter Margaret who is currently in therapy. Mona says that there isn't anything wrong with a child in therapy. Betty affirms that her children have a nanny, Carla who also looks after the house. Don sidesteps questions concerning his own childhood, jokingly claiming it would "ruin the first half of [his] novel." Betty and Mona excuse themselves to use the ladies room. Once inside Betty struggles with her hands, shaking and saying they are numb. Mona reapplies her lipstick for her, thinking nothing out of the ordinary. Betty confides in Mona that her mother passed away 2 months today. When two African-American lavatory attendants ask Betty and Mona to allow 2 other ladies a turn, they comment that "if their purses get any smaller, [we're] gonna starve."
In the car with an uneasy stomach, Betty comments that she was nervous to have dinner with Don's "boss." although she can tell that Roger has taken a liking to him. Don acknowledges that he was purposely avoided the questions about himself because he was raised to believe it was a "sin of pride, to go on about yourself." Once home, a tipsy Betty annoys Don with a barrage of innocent questions. She asks if he ever had a nanny, and he tells her no, comparing his past life to "religion, politics and sex; why talk about it?" and they make love. With Don asleep beside her, Betty looks at him while smoking a cigarette. Eventually she settles down next to him and whispers "Who's in there?" indicating how little she really knows about her husband.
Back at the Draper home, Betty prepares the children for dinner while they clamber on the furniture. Don apologizes to Betty for being out of reach when she was in the hospital, Betty, still visibly shaken, claims that it's fine and there isn't anything Don could have done either way. As the children excuse themselves, Don kisses Betty on the forehead and asks what happened. Betty explains that she saw numerous doctors, and eventually admits that it was her hands again. The doctors believe her problem is psychological instead of physiological, and suggest that she see a psychiatrist.
Agitated at the possibility that his picture-perfect wife may have something mentally wrong with her, Don tells Betty that he'll get the name of Burt Cooper's doctor. Later that night in bed Betty reveals to Don that she would be open to psychiatric treatment and perhaps it isn't such a negative thing after all. Don proclaims that therapy is for people who are "unhappy" and looking at the house, the children and their marriage, Don asks Betty if she is unhappy. Betty reluctantly replies "of course I'm happy," although her sideways glances suggest otherwise.
Near the end of the day Roger swings by Don's office and the two discuss what women want. Roger initially replies "Who cares?", before mentioning that woman just want what other women have. When Don asks about Margaret in psychiatry Roger denies any mention, stating that therapy is this year's "it" thing.
Don, in a fit of guilt, gets Betty a white gold watch with "one of those tiny faces you have to be young to be able to see." She's thankful but tearfully worries that something may be wrong with her. Still visibly shaken by the accident, she wonders what would've happened if Sally had gotten a permanent scar on her face and had to go through a long, lonely life with a facial defect. She breaks down, once again asking Don if she can go see someone. Don agrees.
It's 4:30 and Peggy begins to cover up her typewriter, summoning Joan who demands she rewrite misspelled correspondence letters. Peggy defiantly snaps at Joan "Are you gonna watch me?" and when Joan asks what's wrong with her Peggy remarks that come-ons have been constant from all the libidinous male employees. Joan reminds her that she is the "new girl" and since she "isn't much" she should enjoy the male attention while it lasts. As Peggy resumes her duties she realizes the male employees, one after another, gawking at her. She goes to the ladies room and as she stares at the mirror she hears another secretary crying in the bathroom. Peggy, refusing to succumb to her emotions, composes herself and heads back to the office.
Arriving at the scene, Beckett is filled in by Ryan. An older tenant tried to use the dryer, and found the clothes in it were still being worn. Esposito's preference for going commando, at least in warmer weather, comes up, and Beckett spots a couple of promising leads - a bleach bottle and what looks to be a blood stain. CSU will hopefully have more. The deceased is identified as the nanny from 12-F, so that's where Beckett heads.
Having been unable to break the news to their son, the Petersons close the door to his room before giving their accounts. Howard mentions Sara's gift with kids and bond with their son, while Claudia describes her as "such a lovely girl". Their routine has the parents taking their son, Justin, to school, and Sara coming into the apartment later, doing laundry, then collecting him about 2 p.m. They both have demanding jobs, so generally only one of them is home for dinner - last night it was Howard. Castle then begins to interpose questions and comments of his own, disrupting the atmosphere and flow Beckett has been carefully constructing. Sara's boyfriend is named as Brent, but with no further details, beyond being 'ex' for a month. Sara's parents aren't on the Petersons' contact list, and they live in Atlanta. Beckett takes the girl's jacket and bag as she leaves, and begins to do the physical digging in the elevator. Sara's cellphone, however, is missing, but the bag contains her Georgia driving license, a fact which somehow crystallizes for Castle 'the call' Beckett has to make, and the wrench it must be.
At the precinct, the detectives, and the captain, having been going over surveillance footage, tracking Sara's last known movements - down to the laundry room, back, and down again. Over the subsequent hour, only the tenant who found the body takes the elevator all the way down. Since the stairs must have been used, the detectives plan to run the names of maintenance workers on duty (three) although Castle feels all the neighbors should be checked, as they make better murderers, from a narrative standpoint. He begins to weave the tale of 'the guy in 8-B', unassuming, pleasant enough, keeps to himself, until this beautiful young girl passes through his orbit. He starts, as a game, to find out about her, watch her patterns and movements, and the interest spirals into obsession. Cloaked in the shadows and anonymity, he strikes Sara down as she leaves the elevator, ensuring the cameras don't catch him at it. Her empty eyes reproach him for the murder he never meant - he just wanted her to truly see him. The warm sigh of the dryer draws his attention, and he reverently places the body inside, a smile on his lips as he realizes that he does, in fact, have a quarter on him, and he starts the spin cycle which buys him time to use his skills - and disappear. At this point, as Castle goes for coffee, the detectives are finally released from his spell, to investigate the neighbors - particularly the guy in 8-B.
Upstairs, the detectives begin to hash out method and motive, discussing potential causes and triggers, with Castle happily adding his share. On the subpoenaed phone list one number 'pops' - though it stopped calling two weeks prior to her death, Sara had ceased calling that prepay earlier still. The captain wants the boyfriend, Brent, found and questioned. Before the go into interrogation, Beckett gives Castle a quick refresher on the fact that he's a guest. Brent, whose surname is Johnson, has been picked up by uniforms and told they have questions for him. Brent wants to pass the break-up off as 'mutual', but Beckett has voicemail recordings of his attempts to get back together, and personal insults. As Beckett prepares to follow up her advantage 'the observer' blows her out of the water once more - with an exposition of motive. Bringing the conversation back round to its original track, Beckett discovers there is one 'mutual', their friend Chloe Richardson, a college classmate of both who is another nanny in the building, and the person who found Sara her job. Brent's own workplace can, apparently, provide him with an ironclad alibi, and Beckett trusts her instinct to let him go. Brent scuttles out, and Castle is delighted to discover that cops are not bound to always tell the truth, the whole truth . . . 041b061a72