"Short on Time," Scenes L and M

We're at the apartment again, somehow "minutes later," which doesn't make any sense, because, for one thing, Laverne has changed back to her waitress uniform, and for another, even if she drove, how could she get from the auditorium back home, especially considering Los Angeles traffic?

They dropped Frank saying that Chuckie got the phone number of the waitress at the coffee shop, because "he's a real operator."  And they omitted the last part of the scene, after the DeFazios hug:

FRANK GOES TOWARD THE DOOR AND HE TURNS TOWARD LAVERNE.

FRANK

Listen, Muffin, maybe I can start getting used to this alone business tomorrow.  But for tonight, is it all right if I sleep on your couch?

LAVERNE

I got a better idea.  Why don't you sleep in my bed and I'll take the couch?

FRANK

That is a better idea, thanks.

LAVERNE

Okay, Pop.  But if there's anything you need, just let me know.

FRANK

There is one thing.  Can I borrow ten bucks?...  I owe the monkey some money from Gin Rummy.

LAVERNE GIVES HIM A "LOOK."

LAVERNE

Gin Rummy?  Wow, Chuckie really is smart.

FRANK

He ain't that smart.  He only beat me two out of three.

LAVERNE

Pop, look at this tally sheet.  He killed you...

FRANK

He was keepin' score.  He cheated.  Look.  He don't even know how to add.  Seven and six is thirteen.

LAVERNE SHOOTS HIM A LOOK, AS WE:

FADE OUT.

In the tag at Cowboy Bill's, in the "evening," Frank was supposed to be carrying "several boards and a hammer.  On one of the boards is written, 'Women, go home.' "  And then after Mary exits to the kitchen (rather than outside, as in the filmed version), Frank "dumps the boards on a customer's table" and says, "Here.  Souvenir."  Otherwise, no changes.

A few thoughts:

• With Chuckie knowing about women and getting the waitress's number, he seems like a real swinger in this episode.  (You're welcome.)
• Frank is a little more vulnerable in this version, although of course they have to undercut that by making him more stupid than a chimp.
• Despite the long gap until the airdate, this script is remarkably close to the later version.  I would like to see a much earlier version, and find out if Edna's departure was handled any better, or worse.  Also, I wonder if they planned to combine all these odd threads together from the first, or if they later threw everything into the stew and hoped for the best.

"Short on Time," Scenes D through K

Act Two opens at the "apartment - one hour later."  And the script is almost identical to the aired version.  Scene E is at the auditorium, no time given, and that, too, is faithful.  

Then Scene H is in the "auditorium wings - minutes later."  The description says, "The usual hubbub during a rock concert is taking place in this backstage area," but it doesn't look that frantic, especially by Laverne & Shirley standards.  The costumer, Jane, says, "Lucky thing you called in your measurements this afternoon," making Laverne respond, "Oh, that must have been Rhon...  Yeah, lucky thing."  They added Lamar telling her that her father just called, another example of how they tried to tie the various threads together more by the time of filming.

Then it's back to Laverne's apartment, "time parallel."  They dropped this, after Frank tells Chuckie about Edna's note:

CHUCKIE DOES NOT RESPOND.

FRANK

You don't understand, do you?  Edna (PANTOMIMES INDICATION OF EDNA) left me (POINTS TO HIMSELF) for a jockey.  (INDICATES SHORT)  Women, huh?  Who can figure 'em?

CHUCKIE SHAKES HIS HEAD.

FRANK (CONT'D)

You been there, huh?  Ah, who cares.  (CRUMPLES NOTE AND THROWS IT ON THE FLOOR)  I'll get over it.  No sweat.

CHUCKIE RASPBERRIES.

FRANK (CONT'D)

(THEN) I don't get it.  I tried to make her happy.  Even used moustache wax when she wanted me to.  I hated the taste, but I did it cause I loved her.  I wonder what she's doing right now?  Probably sitting on her jockey's lap.

CHUCKIE NODS.

FRANK (CONT'D)

It hurts.  All those years.  We ate a lot of pizza together.

FRANK LOOKS AROUND TO MAKE SURE NO ONE IS LISTENING ALTHOUGH NO ONE IS EVEN THERE.

Scene K is at the "stage of auditorium," again with "parallel time."  (I guess they got tired of saying "continuous action.")  Laverne was supposed to be wearing "a Supremes wig," but she's just got her regular early '80s hairdo.  The scene is otherwise as is.

Thoughts:

• There's no explanation in the aired version about Laverne's borrowed dress being too big, but then this episode isn't exactly known for its careful plotting.
• Phil Foster doing drunken pantomime is clearly what was missing from this episode.
• Was Frank eating the moustache wax, or did it just get in his food?
• "Eating a lot of pizza together" sounds dirty to me, especially if wax was involved, but I have a dirty mind sometimes.
• That is such a sad, almost existentialist stage direction about no one being there, especially since it negates Chuckie's presence, even as Frank confides in him.

"Short on Time," Scenes A, B, and C

Scene A reads in its entirety, "THIS SCENE HAS BEEN OMITTED."  So let's move on to B, which is set at "Laverne's apartment - night."  They added Laverne saying she tried to call Edna to find out what's wrong with her pop, but there was no answer.  Other than that, the scene is basically what would air.

So Scene C, which is in the same place, "later."  They added Laverne wondering if she should call her pop.  They changed the leader of the Polka Cats from Myron Florin to Myron Chomsky.  In the script, Laverne tells Chuck she's been working with him "for months," which became the more specific "two months" by the time of filming, which messes up continuity, considering the eventual airdate.

Onscreen, there's a quick explanation of the colors of the Star Trek uniforms, and Chuck says he's "janitor Eigari."  But in the script she says, "I know you're not supposed to be Mr. Spock.  And I know you're not Mr. Sulu.  Who're you supposed to be?", then he replies, "Yeoman Eigari."  The description of the ST episode is similar, but there was also this in the script:

CHUCK

...But it [shooting at the monster] does no good, the monster swallows them.

LAVERNE

Is this a two-parter?

CHUCK

I'll go right to the end.  After eating all that gas the monster got sick and Yeoman Eigari is now one big cosmic burp.

LAVERNE

I musta missed that one.

CHUCK

Yeah, it was the first season when nobody watched.

And that's it for changes to Act One.

A few thoughts:

• I wonder which of the crazy plot threads was in Scene A.  Or maybe it was something else entirely.
• They tried to do a bit more of Laverne worrying about her pop by the time of filming, not that it helps much.
• The "first season" line is cute, but yeah, we're not missing much here, no lost gems.

"Short on Time" script, introduction

On October 5, 1982, over four months before "Short on Time" aired, its Rev. Shooting Script was good to go.  From what I've heard, they delayed airing the episode, so that Edna's departure wouldn't appear too close to Shirley's, although of course Betty Garrett left at the end of the sixth season.  Next time, I'll start to get into what changes happened between script and filmed episode, but first, have some wardrobe notes:

My favorite thing here is that Wes Eckhart had to provide costumes for Chuckie, and it looks like he wrote, "Oopsie-Chimp."  And, yes, he had to specify that Star Trek was a series.

"The Note," Tag

The first part of the scene is pretty much what aired, but the Squiggy portion is not.  This time, I'm going to transcribe what aired, and then show you the version in the script:

LAVERNE

Goodnight, Shirley.  Wherever you are.

SQUIGGY:

Goodnight, Laverne.  And I know where you are.

LAVERNE

It's like I haven't fallen asleep yet and I'm already getting nightmares.

SQUIGGY ENTERS IN NIGHTCLOTHES AND TURNS ON THE LIGHT.

LAVERNE

What are you doin' here, Squig?

SQUIGGY

Now, now, don't jump to any tasty conclusions.  Uh, well, I, I, this may not be exactly the right time, but, Laverne, I have a proposition to make for you.

LAVERNE

No way!  Get out!

SQUIGGY

No, no, no, it's not anything good.  No, it's nothing like that.  No, what I would like to do is....May I buy your crib?

LAVERNE

What do you want a crib for?

SQUIGGY

Well, to sleep in, of course.  You see, the night I spent over here, sleeping in that crib, I....Well, for the first time in my adult life, I felt like a real man.

And here's the version from a month earlier:

LAVERNE

Good night, Laverne.

SQUIGGY'S VOICE

Good night, Squiggy.

STARTLED, LAVERNE TURNS ON THE LIGHT TO SEE SQUIGGY AT THE DOOR.

LAVERNE

Aw, gee.  I ain't even asleep yet, I'm havin' a nightmare.

SQUIGGY

I hope I didn't catch you at a bad time, Laverne.  But I have a proposition for you.

LAVERNE

Forget it.  You ain't sleepin' here with me.

SQUIGGY

You kidding?  The way you look right now?  I'm surprised you're sleepin' here with you.  What I was wondering was if I couldn't buy that crib over there from you?

LAVERNE

What do you need a crib for?

SQUIGGY

Why, to sleep in, Laverne.  When I slept in that thing I slept like a... dare I say it?  Like a real man.

LAVERNE

Ten bucks, it's yours.

SQUIGGY

Eight.

THEY BARTER.

SQUIGGY (CONT'D)

I'll send Lenny to pick up the crib tomorrow.

SQUIGGY TURNS OUT THE LIGHT AND JUMPS IN BED WITH LAVERNE.

LAVERNE

Out!!  OUT!!  Get out!

AS LAVERNE CHASES HIM OUT, WE:

FADE OUT.

Thoughts:

• It's sweeter to have Laverne bid goodnight to Shirley than to herself.  Squiggy bidding goodnight to himself is just odd, even for Season-Eight Squiggy.
• They kept the basic idea of the "nightmare" line.
• Squiggy is a lot nicer about "rejecting" Laverne in the aired version.
• He hems and haws about his wish more in the later version, and then they just end it with him wanting to sleep "like a real man."
• The haggling is cute, and I can see Lenny being made into a pack mule to carry the crib back to the boys' apartment.
• Although Squiggy said he doesn't want to sleep with Laverne, he jumps into bed with her.  This crosses a line that is only crossed in canon, I believe, in the controversial and sometimes out-of-character "Road to Burbank," and there it is the usual L&L and S&S pairs.  This scene does reinforce that Judy Pioli, who was such a Lavenny shipper in "The Debutante Ball" and "Lenny's Crush," for whatever reason,  had moved on.
• Overall, this script isn't too surprising, the Squiggy bits aside.  Probably that close to filming, they didn't want to change very much.

"The Note," Scenes E through K

Act Two opens on the "apartment - a couple days later."  The initial part with Patti made it in.

Interestingly, "A bartender from the Playboy Club enters dressed to look youthful."  His name is Tom and he's played by Tom Trbovich, whose "Playboy Show" role didn't make it to air, so this feels like an in-joke, especially since Trbovich sometimes directed L&S.

They omitted Laverne's line, "The bag ladies in California look so much better than the bag ladies in Milwaukee.  Must be their tan."

They added Maxine having the same Beatles poster.  After Patti and Maxine leave together, Laverne originally said, "Fine.  If they're gonna desert me, better now than in ten years.  Who needs those people!"  Onscreen she'd insult the combination of milk & Coke.

The next scene is in the same place, "later that night":

ONLY THE BLACK LAMP IS LIT NEXT TO CARMINE.  FRANK, CARMINE, RHONDA, SQUIGGY AND LENNY ARE ALL DRESSED FOR BED IN THE LIVING ROOM.  SQUIGGY IS IN THE CRIB.  RHONDA IS IN A CHAIR.  FRANK IS IN A CHAIR.  CARMINE IS IN A CHAIR.  AND, LENNY, IS ON THE SOFA.

Onscreen, Squiggy says that a married woman changes her name, which he read in House Beautiful, while in the script he says, "I saw Lon Chaney change into a werewolf.  I'd like to see Shirl with a fuzzy face and fangs."

One stage direction is "They do a snoring bit (see Judy)."  I presume that Judy Pioli, the writer for this script had the specific routine for group snoring in mind and she had to explain it in person.

Onscreen, Squiggy says they didn't want Laverne to have to be alone, but he was scripted to say, "We're all gonna stay right here with you and spend the night.  Ooh, I like the way that sounds."

Scene J is in the bedroom, again with continuous action, and it's basically what would air.

Scene K goes back to the living room, still with continuous action.   Onscreen, Rhonda is sleeping on the other side of Squiggy in the crib, nowhere near the couch, but the script has the stage direction, "Lenny shakes Rhonda and, half-asleep, she slaps him, knocking him back to the couch."

In the script, Laverne, reading from Shirley's note says, " 'Love you always, Shirley.  XXXOOO XXX,' " so Squiggy replies, "I wonder what she meant by the last part."  In the filmed version, she says it as "hugs and kisses" and Squiggy has his line about always hoping to meet his own Walter.  Someone, likely Lander, added Squiggy saying he'll "miss that little whippet."

And that's it for Act Two changes.

A few more notes on "The Note":

• Laverne has understandable abandonment issues in both versions.
• Although there are some un-Lenny moments in this script, that lead-up to him sleeping on the sofa is just right.
• Squiggy having classic-horror-movie fantasies about Shirley is on brand, although the House Beautiful line works, too.
• Squiggy lusts after Laverne more in the script than onscreen, which is surprising, but then so is Lenny being interested in Rhonda, in both versions.
• Next time, we'll look at the tag, which short though it of course is, deserves to stand alone.

"The Note," Scenes A through D

We start at the "Burbank Business Association's monthly meeting - night":

THE MEETING IS TAKING PLACE IN A LARGE ROOM.  A SIGN ON THE WALL READS "BURBANK BUSINESS ASSOCIATION."  THERE IS A SPEAKER'S STAND AT THE HEAD TABLE.  THE ROOM IS SCATTERED WITH OTHER TABLES THAT SEAT MOSTLY OLDER COUPLES.  AT ONE TABLE SITS [sic] LAVERNE, CARMINE, RHONDA AND SQUIGGY.  LENNY IS PACING BEHIND THEM.  FRANK APPROACHES THE SPEAKER'S STAND AND GRABS THE MICROPHONE.

FRANK

It's really an honor to be your host for this month's meeting.

APPLAUSE.

FRANK (CONT'D)

As long as people still need stuff, I predict better business in Burbank.

THE CROWD POLITELY APPLAUDS.

ANGLE ON:

LAVERNE, CARMINE, RHONDA AND SQUIGGY AT THEIR TABLE.

LENNY

Laverne, I can't believe we let you drag us here.

SQUIGGY

Five bucks says the guy on the left drops dead doing the Tarantella.

LAVERNE

C'mon, I promised my Pop that we'd give him our support.  But I gotta admit, I didn't promise that I'd stay awake.

They skipped that opening and went right to Frank announcing the dance contest.  They dropped Lenny's line after Laverne and Carmine win the dance contest, "If it couldn't be me, I'm glad it was you two."  Lenny sitting down and eating the chicken from Cowboy Bill's was added, as was Laverne and Carmine trying to leave.  

Another addition was the exchange about Shirley never having a baby before not being Carmine's fault.  The script instead has Carmine saying, "I just thought it would be manly to own my own chain saw," and Laverne telling him, "You wanna be manly?  --  Here, you carry the crib."

Scene B is set in the "apartment - later that evening," and it all made it to air.  Scene C is in the "bedroom" with continuous action, so it's set right afterwards, and it's also remarkably faithful.  So let's move on to Scene D, at "Cowboy Bill's - day - two days later."

They left out Laverne saying, "She took the iron, too.  Did she have a good reason for that?"  They added Laverne calling the note "chintzy" and Carmine pointing out that Shirley left all her friends, not just Laverne.  The first significant difference, however, is that onscreen Squiggy says that he and Lenny agreed that Laverne can move in with them, while in this script he says, "Laverne, your misery is under the dam.  Me and Lenny voted, and now that Shirley's gone, I'm gonna move in with you."

The onscreen scene ends with Laverne saying she's just going to live by herself.  Here's how it goes in the script:

LAVERNE

Hold it, guys.  Nobody's tellin' me what to do.  I can think for myself.  If Shirley can have her own life, so can I.  I don't need a roommate.  I'm living alone.

CARMINE

What're you gonna do when the rent's due on Tuesday?

LAVERNE

Well, maybe I will get a roommate.

She exits and the first act ends.

A few notes on "The Note":

• That opening is definitely droppable.  The first Lenny line feels out of character, in the sense that it would work just as well if not better coming from Carmine.  The Squiggy line is vaguely Squiggy though.
• The rest of the first scene is more polished onscreen, not a great scene but better.
• Two days doesn't seem like enough time to mourn such a long, close friendship.
• In what universe would Lenny agree to Squiggy moving in with Laverne and without him?
• This scene does confirm my headcanon that Carmine took over as manager after Sonny left.
• This Laverne is more open to getting a roommate than the one onscreen.

"The Note" script, introduction

On September 21, 1982, when it was clear that Cindy Williams was not coming back, the script for "The Note" was turned in, only four weeks before the episode was aired.  Obviously, there wasn't much time for further changes but we shall see.  First though, some wardrobe notes:

What I find most interesting here is, one, Carmine had a lot of wardrobe changes, and two, originally Lenny was going to wear the "Bullmoose P.J.'s" and Squiggy had cowboy pajamas, but wonderfully by filming Squiggy had the Bullwinkles.

"The Mummy's Bride," Scenes J and K

We go to the "hospital room - continuous - night."  This was dropped:

WHEN SHIRLEY REACHES THE END OF THE AISLE SHE NOTICES LENNY AND SQUIGGY LYING ON A BED.

SQUIGGY

Len, we've got the best seats in the house.

LENNY

Maybe later we'll get a sponge bath.

I like this stage direction:

THIS "MUMMY" KISSES OUR GIRL.

Basically, this is what we saw.  The tag, however....

It's still the hospital room, "soon after."

WALTER, SHIRLEY AND LAVERNE ARE TALKING IN ONE CORNER.  RHONDA SITS ON A BED TALKING TO A SOLDIER, AS IS CARMINE.  LENNY AND SQUIGGY ARE STILL ON THEIR BED.

ANGLE ON:  RHONDA

RHONDA

You know, in the theatre, it's good luck when you break a leg.  I guess it's not the same when you're jumping out of a plane.

THE SOLDIER SMILES GOONILY.

ANGLE ON:  CARMINE - TALK TO SOLDIER

CARMINE

I broke my leg once.  I'll never forget how itchy it was under the cast.  I was alright [sic] as long as I didn't think about it.  But the more I thought about it, the more I itched, and the more I itched, the more I scratched, the more I scratched...

SOLDIER

Nurse.  Get this guy outta here.

ANGLE ON:  FRANK

FRANK

(TO SOLDIER) So there I was -- all alone on the Anzio beachhead.  Facing thousands of the enemy by myself.

THE SOLDIER YAWNS.

That all got chopped out, but thankfully Squiggy scaring Lenny about "The Mummy's Bride" made it in.

Thoughts:

• Overall, this script isn't dramatically different from what aired, compared to some, although with little surprises here and there.
• Lenny and Squiggy being in bed together is definitely a thing in script and onscreen.
• Rhonda, Carmine, and Frank each in their own way are self-centered with the soldiers.  And, yay, another Anzio story from Frank.
• Anson Downes, by the way, the soldier with a line, has just a handful of acting credits, including on Happy Days and Joanie Loves Chachi, but he did appear in a movie in 2019.  (He mostly seems to be a producer these days though.)

"The Mummy's Bride," Scenes E and H

We're again in "the girls' apartment - later that day."  Since Laverne went upstairs in the script, she comes downstairs to answer the door, but onscreen she just moves from the couch.  They dropped this:

CARMINE

(SUSPICIOUS) Did Laverne tell me something I don't know she told you?

SHIRLEY

I don't know.  What do you know?

CARMINE

I know I have to tell you something.  That's why I brought the flowers.

SHIRLEY

Oh, no.  Dear Carmine, if you want to talk engagement, I'm not sure this is the proper time.

CARMINE

(RISING) Okay.  That's fine with me.

SHIRLEY

(PULLS HIM) But I think we should talk marriage.

CARMINE

Marriage?  Angelface, this may come as a shock to you...

Then they go into her telling him she's marrying Walter.  They left out Carmine giving her the flowers in honor of her wedding, and her saying, "Oh, thank you.  I've never seen anything so beautiful."

For the next scene, we get an exterior stock shot of an army hospital at night, followed by an interior of the "hospital waiting room," also at night.  After Laverne's line about a wedding at a hospital, there was this:

SHIRLEY

All the conveniences of a church and Uncle Sam picks up the tab.  Isn't it wonderful?

LAVERNE

Wonderful?  Where are all those things ya always dreamed of... the big church... the shrimp pinwheels... napkins with your name on 'em... I mean, I got writer's cramp here, Shirl.

That was replaced by the girls bickering about the gowns.

Walter was supposed to be wheeled on a dolly into the room by another man, but instead it's a female nurse.  They dropped Shirley telling him, "You look beautiful, Walter darling," and asking, "Are you happy darling?...Blink once for 'yes.' "  And then when he does, she says, "I'm happy too."

This was lost after Shirley says that she already told Laverne that Walter has a rash that covers 98% of his body:

LAVERNE

And the other 2%?

SHIRLEY

Our honeymoon.

LAVERNE

Thank the Lord.

SHIRLEY

Don't worry.  The doctor said that the rash will be gone completely in a few days.

Thoughts:

• The confusion between Carmine and Shirley isn't as drawn out onscreen.
• I like that Laverne points out that this isn't Shirley's long-planned dream wedding, but maybe they didn't want to call too much attention to how rushed this was offscreen as well.
• Shirley interacts some with Walter onscreen, but that, too, is trimmed.
• Wow, I can't imagine the censors letting the "2%" line by, with the implication that the part that counts most for a honeymoon is rashless.

"The Mummy's Bride," Scenes C and D

We return to the "girls' apartment - same day."  They left out Laverne telling Shirley she should've used mothballs with the wedding dress, and Shirley replying, "I did.  They ate those too."

When Shirley was on the phone, Laverne was supposed to say to herself, "She's right.  I'm gonna look up from that bowl of chili and meet Mr. Right.  I gotta remember to always have breath mints."  But otherwise, the short scene is faithful and it ends Act One.

Act Two opens in the same place but the next day.  In the script, the girls serve cake at the short wedding shower, but it's "pie," as in pizza, onscreen.  We only see Rhonda's gift-giving, but the script has this:

FRANK

I, Frank DeFazio, being of sound mind and body...

LAVERNE

(LOOKING AT WATCH) Two seconds.

FRANK

(OFFERING GIFT TO SHIRLEY) Here.

SHIRLEY

(CHECKING CLIPBOARD) Thank you, Mr. DeFazio.  I'm all aglow.

LAVERNE

She's all aglow.  Here's your cake.

In the script, Squiggy calls Shirley "my pretty little ducklette," which became "my little butterlips."  His pronunciation of "nuptials" as "nuppitals" sounds like another Lander touch.

We missed this:

SHIRLEY

There's nothing mysterious about Walter.

LENNY

Easy for you to say.  You know the guy.

SQUIGGY

And did you come to me seeking advice and console?  No.  'Cause I woulda said "Hold your horse, Shirley Feeney, don't marry some fly-boy who's gonna take you off for foreign legions as soon as you...share your nuptials with him."

LENNY

You coulda married Squiggy.  He ain't goin' no place.

SQUIGGY

That's right.  I've been going no place for years.  (TO SHIRLEY) So what's your excuse?  And make it good, woman.

Then it goes into the dialogue about Shirley being in love with Walter Meeney.  Onscreen, Squiggy says that Lenny is a funny man because of the suggestion of names for the Feeney-Meeney children, and then he suggests they wash their hair and go down to the ladies' prison, but there was actually more to it in the script:

Except for the phone ringing, this was mostly dropped after Laverne comes back downstairs and asks what's next on the list:

SHIRLEY

(CHECKS CLIPBOARD; READS) "Exchange shower gifts.  Read the manual.  Break Carmine's heart."

THE PHONE RINGS.

SHIRLEY (CONT'D)

I'll take that upstairs.  If Carmine happens to show up, you know what to do.

LAVERNE

Sure, I won't beat around the bush either.  I'll look him straight in the eye and say, "Carmine, Shirley's gonna take away your reason to live."

SHIRLEY

(CROSSING TO PHONE) All right, Miss Coward.  I'll do everything.  I'll get the phone, I'll deal with Carmine.

Laverne was supposed to "read the manual" upstairs, but onscreen she makes herself comfortable on the couch.

Thoughts:

• There's not really anything to say about Scene C, but there's definitely stuff going on in D.
• Frank sounds like he's dictating his will.
• Shirley is all aglow.
• It's ironic that Shirley says there's nothing mysterious about Walter, when of course the character would remain a mystery to the audience.
• I love the boys' dialogue about Walter.
• Squiggy is concerned that Walter's just going to deflower Shirley and then leave.
• Lenny remains a Squirley shipper.  And Squiggy acts like he would be willing to marry Shirley.
• Damn, we lost a "woman" line!
• But the love between the boys is even stronger, with that wonderful tribute to Lenny from Squiggy.
• And of course the boys still visit women's prisons, as we'd see proof of in "Death Row," Part Two.
• C'mon, I know Carmine loves Shirley, but she's not his reason to live!
• Shirley has some nerve calling Laverne a coward, when she's trying to get out of telling Carmine herself.  Why is that Laverne's responsibility?