[unsettling music plays]

[eerie sting]

[bells jingle]

Uh, what is that? 

Isn't it gorgeous? I found it on the street. Can you believe that? 

Joe and Bronte's relationship dynamic shifts once they're more in each other's space. I believe that romantic trope is called "forced time together." 

Not afraid I'll try to steal from you again? 

You know, I did install cameras. 

Perv. 

Joe has many things that are drawing him to Bronte. First, there's her personality. She's feisty. She's well-read. She's intelligent. 

She's a playwright who reads the Financial Times as well as Ibsen. Very impressive. 

There's no other employees, and there's no customers yet. [laughs] They're just constantly flirting with each other. 

I prefer the baddies myself. 

I think he's feeling a little bit of claustrophobia in his life. And Bronte is a spontaneity that he feels like he's missing. 

Holy shit. 

As he feels a bit of himself in her, I think she feels the same way. She sees someone who may have struggled and who's trying to reinvent themselves.

[Joe] What were you doing?

[Bronte] I heard how much some of these could go for. Just one book could pay off all my debt. 

He's also drawn to her because of her circumstances. She's got a bad-vibes ex. She has nowhere to sleep. This is all catnip for Joe, who loves to fix women's problems. 

You're fired. I don't ever wanna see you in this store again.

[Penn] I think Joe is trying to not make her the "you." He's trying not to think about her in those terms. 

I read your writing. It's decent, Joe. My gut says that you have more in you. What are you hiding from?

[Justin] She's a great writer, and she gives him great notes on what he's written. That's gonna be part of their connection we'll see throughout the entire season.

[man] Action! 

Well, why is Henry talking to a cop? 

Because Henry is a monster. 

Reagan. Oh my God. What happened? 

In some serial killer stories, the child of the serial killer will also be a killer. And when we were breaking the season, we were very interested in telling the story of Joe worrying that his son might be the bad seed. 

If you're reading "resistance," it's because I don't like the idea of my son being classified as violent. 

Henry's early years have been so all over the place that he's showing signs of certain developmental problems. 

When Henry does this violent thing to his cousin, Joe is suddenly worried that history is repeating itself. 

Joe came up in the foster system, was rejected by his mother, had an abusive surrogate father. 

And so he's worried that the same thing that happened to him will happen to his son. 

Do you know what makes kids violent? When the people who are supposed to love them turn their backs on them. 

Even though Joe has embraced the killer inside of himself, he does not want that life for his son. 

No Gretchen? We thought it best she stay home, seeing how she's been maimed.

[Justin] Reagan is type A. She's alpha. She's ambitious.

[Michael] She's a product of Tom Lockwood, who is a Machiavellian, corrupt son of a bitch. When he posthumously handed the throne to Kate, it stoked an enmity, because Reagan expected to ascend to the throne of the Lockwood Corporation. 

I think why Reagan is so furious has nothing to do with her daughter. Really, she wants to get down and have a fight about the fact that she thinks that she's entitled to that position. 

I want an apology from both of you. 

And her daughter is just the catalyst to start the drama. 

Getting up, that there is… Nice.

[Griffin chuckles] Let's go. 

I think the dinner scene was my favorite scene that we shot. And it took us two days between all of the characters and all the angles. 

You're a bad mother and a bad person.

[Anna] It's a very fun scene to play with, like, looks to each other and a lot of subtext. 

How are the truffles? 

I don't care for parasites. 

What I love so much about that scene was all of the nastiness of the Lockwoods was spilling out, literally.

I think you had Uncle Bob killed.

[Maddie gasps]

Should I leave?

Sh.

[Charlotte] You sort of see a perfect example of how if you don't sort your shit out between parents, it just trickles down to the kids. And sweet Henry is pushed to violence.

[gasps] Oh!

Shut up! 

It was so fun to play the shock and horror of getting hit in the head with a knife. 

Oh my God! 

It's also really fun to play Maddie watching this happen, because she thinks it's kind of funny. 

I'm actually super into this. [laughs]

[Anna] "That's hysterical, because I hate my sister." "And yeah, maybe she deserved to have a knife in the face." [laughs]

That was great.

All right, let's check that. 

Ever since Bob, everything's gone wrong. It feels like we're being… punished. 

Joe will do anything to protect his family, including killing.

How dare you! Stop it!

And Kate feels tremendous guilt. 

It was a moment of weakness. And Henry deserves parents who are good. 

Joe feels no guilt and actually wants to do it again. 

What if I talk to Reagan the same way I talked to Bob? 

You can't think that's a reasonable response. 

I think, really, in order to propel Joe forward, the stakes have to be very high.

[grunts]

[Penn] So Joe is problemsolving. And his best idea, as it usually is, is to put someone in the box. And in this case, he wants to put Reagan in the box. The funny thing is, is she has a twin. [chuckles] 

Boo-Boo, is that you?

[Joe] There is only one person who's ever called you Boo-Boo. You caged the wrong twin. 

We have a twin swap in the box. 

And it turns out that Maddie is having an affair with Reagan's husband, Harrison.

[Justin] Joe has made a huge mess. This is where the season really, in a way, takes off. 

I'm gonna make your whole family pay. Blood will have blood.

[dramatic sting]