LIFE WITH LEO(h) Episode 8 - Life with Half-Off Rotisserie Chickens by Octavia Bray
INT. JEANINE’S LIVING ROOM
SFX: Jeanine comes down the stairs, calling out.
JEANINE: LEO(h). Gentle, patient, LEO(h), best android I know.
LEOH: Yes...
SFX: She stops in front of him as he stands at the edge of the kitchen/living room.
JEANINE: I'm going to tell you something, and I don't want you to get upset.
LEOH: Did you stain something?
JEANINE: No.
LEOH: I told you to stop taking chocolate into bed with you.
JEANINE: My bedroom chocolate did not stain anything! Leave my bedroom chocolate out of this. (then, sniffing) What's that smell? Not pancakes, we were swimming in pancakes for weeks. (sniff sniff) Not eggy enough for French toast. Waffles.
SFX: She moves into the kitchen, LEOh following.
LEOH: And not just any waffles!
SFX: LEOh sets down a plate. Jeanine stares at it.
JEANINE: What is this supposed to be?
LEOH: A heart-shaped waffle!
JEANINE: What?
SFX: She turns the plate around a few times.
JEANINE: This is an anatomically-correct heart-shaped waffle.
LEOH: (proudly) Yes.
JEANINE: So... detailed. Hello, tricuspid valve. LEOH: Do you like it?
JEANINE: Honestly? (beat) I'm kind of obsessed with it. I don't think I can eat it!
LEOH: Take a picture of it.
JEANINE: Ooooh, should I? Ugh, but if Ellie finds out she'll call me-- (imitating Ellie) "Jea-basic."
LEOH: I could also make you another one. One to eat and one to look at.
JEANINE: Oooh, goody, let's do that!
SFX: LEOh keeps chatting as he whips up another waffle.
LEOH: For dinner tonight, every course can be made in a waffle iron. I'm very interested to see how the pizza will turn out.
JEANINE: That's actually what I wanted to talk to you about. I won't be home for dinner today.
LEOH: But it's Flowers, Chocolate, and Half-Off Rotisserie Chicken Day. I don't know why this day exists but—
JEANINE: Grocery stores wanted a bigger piece of the Valentine's Day pie—
LEOH: -- But research indicates that it is a day meant to be shared with someone important to you. You shouldn't spend it at work.
JEANINE: (blurting) I have a date.
SFX: LEOh stops his waffle prep.
LEOH: What?!
JEANINE: With some guy named Steve.
LEOH: On Flowers, Chocolates, and Half-Off Rotisserie Chicken Day?
JEANINE: To be fair, I didn't know today was a holiday when I said I'd go out with him. (then) But it does explain why we're going to a rotisserie chicken restaurant. (beat) Are you mad? I told you not to be mad.
LEOH: The woman I love is going on a date with someone else. Would you consider mad to be the correct word?
JEANINE: I'm sorry if I'm hurting your feelings. But I thought telling you about it would be better than keeping it a secret. I promise we will talk about this later, but I have to go! Don't be mad, don't wait up, I'll bring you back a rotisserie chicken! SFX: As Jeanine rushes out the door, we cut to-
TITLES
SFX: Life With LEO(h) theme music plays.
LAUREN SHIPPEN: From Atypical Artists and Octavia Bray, you're listening to Life with Leoh. This is Episode 8: Life With Half-Off Rotisserie Chickens
ADS
SFX: An out-of-universe ad plays
INT. ELLIE & AGGIE’S APARTMENT
SFX: Aggie puts on her heels as Ellie finishes up a phone call.
ELLIE:
You know that I support you getting back in the saddle, but on Flowers, Chocolates, and Half-Off Rotisserie Chicken Day?
JEANINE: (on the phone) I didn't know! Who's keeping track of non-Valentine's couple stuff?
ELLIE: People in love, that's who. Aggie and I are going out.
JEANINE: On a school night? Does Aggie know?
ELLIE: I communicate with my beloved, how about you worry about your own self?
JEANINE: So far, I don't think there's thaaaaat much to worry about.
ELLIE: What does that mean?
JEANINE: Well, scoping him out from the door, he's cuter than his pictures...
ELLIE: But?
JEANINE: He's wearing a turtleneck.
ELLIE: Uh... okay?
JEANINE: Feels like a weird choice for a first date is all I'm saying. What is he hiding behind all that extra fabric?
ELLIE: ... You know you can just go home, right?
JEANINE: I'm just trying to take charge of my own love life instead of sitting around. ELLIE: That's cool. And I respect that. But next time, check a calendar. You could have been home eating waffles, and now you're out with a dude with a cold neck.
JEANINE: Ooh, he's checking his watch. Hanging up now, goodbye.
SFX: Ellie ends the call and pockets her phone as Aggie walks over.
AGGIE: I can't believe you're taking me out on a school night.
ELLIE: Flowers, Chocolates, and Half-Off Rotisserie Chicken Day waits for no weekend, baby. But... I guess... if you want to just stay home and lesson plan...
AGGIE: Uh-uh, no takebacks! You promised me dinner and I will collect!
ELLIE: That's my girl. Oh, by the way, babe?
AGGIE: Hmm?
ELLIE: You look hot. I feel sorry for all the women in the world who aren't dating you.
AGGIE: (laughing) Oh my goodness.
SFX: Ellie opens the door for Aggie.
SFX: We transition outside as Ellie locks up the door.
ELLIE: I'm seriously considering drafting an open letter of apology to all the other ladies out there. Sorry! She's with me!
AGGIE: Uh, Ells?
ELLIE: You know what, I may as well write one for the men, too. Let 'em know what they're missing.
SFX: A sleek car pulls to a stop in front of their house.
AGGIE: (sharply) Ellie.
SFX: Ellie turns around from locking the door.
ELLIE: What? You love my hyperbolic compliments...
SFX: The car window rolls down as Ellie trails off.
PENELOPE: Hello, darlings!
SFX: Ellie and Aggie tentatively head toward their car. ELLIE: Ms. Lane. I think you're at the wrong address. If you wanted to see LEOh and Jeanine--
PENELOPE: No no, you're the lovebirds I was hoping to catch. Happy Flowers, Chocolates, and Half-Off Rotisserie Chicken Day! Join me for a drive, won't you?
AGGIE: The two of us have plans.
PENELOPE: You must be Agnes Wu. I've heard so much about you.
AGGIE: (creeped out) How?
PENELOPE: No matter. Now come on, quickly, into the car!
ELLIE: I really don't think--
SFX: The driver's side door of Penelope's car opens, and out steps JAREN. You can feel the earth move under his feet.
ELLIE: What on earth?
PENELOPE: Jaren, my driver. Never happier than when he's on the open road. Never more upset than when people drag their feet and keep him from... the open road.
ELLIE: Jaren's way or the highway, got it.
As Ellie and Aggie get into Penelope's car, we-
MUSICAL TRANSITION
INT. JEANINE’S KITCHEN
SFX: LEOh works the waffle maker in a fury.
LEOH: A date. A date. I could have-- I can't believe she would. A date on Flowers, Chocolates, and Half-Off Rotisserie Chicken Day with someone who is not me.
SFX: LEOh opens the waffle maker and examines its contents.
LEOH: I guess that's what I get for making pizza in a waffle iron.
SFX: A loud knock on the door.
SFX: LEOh creeps from the kitchen to the front door.
MICHAEL: (through the door) I know you're in there, Bell. I can smell food from out here. (beat) I can't tell if I'm smelling pizza or waffles. Lot of sensory confusion-.
SFX: More knocking. LEOh opens the door. MICHAEL: Huh. It's you.
LEOH: Michael Parker. Why are you here?
SFX: Michael lets himself in.
MICHAEL: Jeanine left her briefcase in my office, I was just coming by to drop it off.(calling into the house) Don't worry, Bell, I didn't dig through it looking for secrets or leverage. (to LEOh) Old Michael would have, no question, but we're trying something different these days.
LEOH: I don't care. I'll let Jeanine know that you returned the briefcase.
MICHAEL: Wait, let her know? You mean she's not here?
LEOH: Uh...
MICHAEL: She left the office dolled up, I thought she was headed to a hot date with you.
LEOH: Well--
MICHAEL: But it's nine o'clock and you're home by yourself making... what are you making?
LEOH: ... A pizza waffle.
MICHAEL: That sounds - and smells - gross, dude. (scandalized) Is Jeanine cheating on you?'
LEOH: No! She would never do that. I knew she had a date.
MICHAEL: But you're not happy about it. Did the two of you break up?
LEOH: I don't feel like being interrogated right now.
MICHAEL: I'm a lawyer. Interrogation is my dominant communication style. Answer the question-- did you and Bell break up?
LEOH: No. Not really. It isn't like that.
MICHAEL: Oh, you're on a break.
LEOH: A break?
MICHAEL: You know, the stage right before a breakup where the two of you are still deluding yourselves into thinking things may still work out.
LEOH: That's not what's happening.
MICHAEL: Uh-huh. LEOH: It isn't. No. (beat) Is it?
MICHAEL: Hate to break it to you, bud. (beat) You all right in there?
LEOH: (to himself) Am I deluding myself?
MICHAEL: Oh boy. Okay, I know what you need.
LEOH: (to himself) I'm delusional.
MICHAEL: No, you're not delusional, you're just sober. But we can fix that.
MUSICAL TRANSITION
INT. PENELOPE’S CAR
SFX: We drive along as Ellie and Aggie huddle in the backseat of Penelope's car.
ELLIE: Ms. Lane--
PENELOPE: Penelope, please, my dear.
ELLIE: What do you want with us, Penelope?
PENELOPE: Oh my, you do sound serious.
AGGIE: You bundled us into your car and won't tell us where we're going, so.
PENELOPE: Does no one appreciate the fine art of surprise?
AGGIE: Surprises have cake. Is there cake in this car?
ELLIE: I mean, I do be lookin' thick these days--
SFX: Aggie interrupts with an "ahem."
ELLIE: But this is not the cake we're talking about! Tell us what you want!
JAREN: No shouting in the car.
ELLIE: (whisper) Tell us what you want, please.
PENELOPE: I simply want to know how LEOh is doing. AGGIE: You mean the android you programmed into unrequited love and abandoned? He's fine.
ELLIE: Ooh, that reminds me. I owe you a kick in the shin.
PENELOPE: I beg your pardon?
ELLIE: (mildly threatening) Wait for me.
PENELOPE: When you say "unrequited love," I take it to mean that Jeanine is holding firm to those pesky principles.
ELLIE: Mhmm. Nobody out-pesks my sister.
PENELOPE: Her refusal to open her heart to LEOh may explain some of the anomalies I've been seeing in his diagnostic reports.
AGGIE: You get diagnostic reports?
PENELOPE: Of course. Did no one read the terms of service?
ELLIE: You left him on the porch un-boxed. There wasn't exactly a manual.
PENELOPE: Ah, well, yes. I keep track on LEOh's performance. But the numbers can't tell me everything, so here I am with the two of you. The woman who got an android a job...
SFX: Penelope leans forward and her voice gets far more serious.
PENELOPE: And the woman who's been digging around in his code.
MUSICAL TRANSITION
INT. RESTAURANT
SFX: Michael leads LEOh up to the doors of a fancy restaurant.
MICHAEL: A foodie like you is gonna love this place. This is one of my favorite spots in town.
SFX: A hostess swings in front of Michael.
HOST: Pardon me, sir.
MICHAEL: Oh, sorry. Two, please.
HOST: That's not it, sir. Today is Flowers, Chocolates, and Half-Off Rotisserie Chicken Day.
MICHAEL: Oh, man, I forgot. Sponsored by FashionNova this year? HOST: Yes, sir. So, you see, all of our tables are currently occupied.
MICHAEL: Right, right. (to LEOh, pityingly) So she's with someone else on Flowers, Chocolates, and Half-Off Rotisserie Chicken Day. All the drinks are on me. (to Host) Can we wait at the bar until a table opens up?
HOST: Certainly. Are the two of you in a relationship?
LEOH: No.
HOST: Oh, that's too bad. As part of our Flowers, Chocolates, and Half-Off Rotisserie Chicken Day promotion, couples will receive thirty-five percent off their bill.
SFX: Michael throws his arm over LEOh.
MICHAEL: Now, dearest, let's not fight on Flowers, Chocolates, and Half-Off Rotisserie Chicken Day.
LEOH: Why are you touching me?
MICHAEL: (to host) He gets so grumpy when he's thirsty. I'll just take him to the bar.
SFX: Michael wrestles LEOh over to the bar.
MICHAEL: Just go with it. That discount is amazing!
LEOH: Don't you make money at your job?
MICHAEL: Yeah, and this is how I keep my money. Now hush up, honeybuns, or I won't buy you any shots.
SFX: As Michael and LEOh go to sit at the bar, we:
MUSICAL TRANSITION
VOICEMAIL
SFX: After a ring or two, Ellie's automated message kicks in.
ELLIE: (voicemail message) Hi, you've reached Elizabeth Bell. I either can't or won't answer the phone right now. Leave a message or try again later!
SFX: BEEP! Jeanine's hushed voice comes down the line.
JEANINE: (on voicemail) Hi, it's me. I'm hiding in the bathroom... So apparently this guy has a job as an "accountant." That's weird, right? Like, do we see me with a math guy? I mean, yes, he has a stable job, and that's great... but I don't know, something seems off about him. Call me back so we can discuss! MUSICAL TRANSITION
INT. PENELOPE’S CAR
ELLIE: What do you mean digging around in LEOh's code?
PENELOPE: Please don't attempt to be coy with me, darling. Diagnostic reports, remember?
ELLIE: No no, really. What do you mean "digging"? I may be examining LEOh's code, but I operate with finesse.
AGGIE: If you didn't want anyone examining him, you shouldn't have abandoned him.
PENELOPE: LEOh was not abandoned. He was placed gently on the front porch of someone who did not know he would be arriving... but he was placed there with great care!
ELLIE: Two.
PENELOPE: Beg pardon?
ELLIE: You're up to two kicks in the shin.
AGGIE: And brace yourself, 'cause they are gonna hurt.
PENELOPE: I'm looking to protect my property.
AGGIE: LEOh isn't property! He's a person.
ELLIE: Wasn't that your whole point in making him? What is wrong with you?
PENELOPE: Not LEOh. The code. The Lane Robotics Sentient Science.
ELLIE: So just so I'm clear. You're concerned that I'm in LEOh's code trying to figure out what makes him... alive.
PENELOPE: I'm sure your sister would tell you that such code is quite illegal. It is also, however, quite lucrative. I would so hate for it to fall into the wrong hands.
ELLIE: /AGGIE: Three.
PENELOPE: You're both getting very worked up. I'm expressing concern. If you alter so much as a forward slash, you could drastically affect LEOh's functionalities. Clearly you've both grown to care for him. You wouldn't want him changing on you, would you?
AGGIE: You're right. We do care about LEOh. I can see how that must be alien to you.
SFX: Aggie leans forward in the seat menacingly. PENELOPE: What on earth--
ELLIE: If you don't pull this car over and let us go right now, I will claw your eyes out.
AGGIE: Babe, maybe you should let me--
SFX: Aggie taps her fingernails on the window.
ELLIE: My fiancee will claw your eyes out.
JAREN: No clawing out eyes in the car.
ELLIE: I may not have long nails, but a thumbs to the eye socket will really mess up that view of the open road. (beat) So what's it going to be?
MUSICAL TRANSITION
INT. RESTAURANT
SFX: Clinking glasses, low bar music, hubbub of a date night restaurant in the background. Michael and LEOh are at the bar, drunk and getting drunker, speech occasionally slightly slurred.
MICHAEL: (laughing) LEOh, watch this-(louder) Bartender! Another beer for my baby right here!
LEOH: (in a terrible French accent) Yes, and another lager for my... lover. We are getting drunk!
SFX: The bartender moseys over and pours them more drinks.
MICHAEL: (in a terrible French accent) Lovedrunk! On discount! (then) Okay, so you were saying?
LEOH: I made her a heart-shaped waffle!
MICHAEL: A heart-shaped waffle! On Flowers, Chocolates, and Half-Off Rotisserie Chicken Day! And she still went on a date with some other guy!
LEOH: Some guy from that app. Splint. Smoke. Spark.
MICHAEL: Spark?! I told her if she ever thought about using that wack app, she should call me.
LEOH: Hey.
MICHAEL: Sorry, bro, sorry. Wouldn't do it now. Not when you're so down.
LEOH: I don't like you. MICHAEL: Why not? I'm a cool guy. Look at my cool guy suit.
LEOH: You and Jeanine. You have tension.
MICHAEL: Tension? Me and Bell? I mean, maybe from my end... but she hates me.
LEOH: How can you have tension without both people contributing to the pull?
MICHAEL: How can you use so many syllables when we are so drunk right now?
LEOH: I heard you guys had a moment.
MICHAEL: A moment... yeah. But that was a while back. Besides, you're the one who's really with her.
LEOH: We are on a break, remember. We are broken.
MICHAEL: Wait, wait. I know what I said before, but listen. With relationships, you don't have to go from break to broken. You can break up--
SFX: LEOh groans and downs the rest of his drink, the glass hitting the bar top.
MICHAEL: You- You- You can break down. Or you can break through. (beat) I'm so jealous of you, man.
LEOH: Why? Jeanine is, at this moment, on a date with someone else.
MICHAEL: But she's coming home to you. And you get to see all these parts of her that I've never seen. Bell and I have spent most of our relationship at war. You know her at peace.
LEOH: I don't know if I would call being yelled at for beating her to a triple word score "peace."
MICHAEL: See, that's what I'm talking about! You play with her. You guys laugh. Cuddle. Intimacy. You have intimacy.
LEOH: But we don't have tension. (beat) Maybe that's what she's missing with me. Maybe I make it too easy.
SFX: Michael claps LEOh on the shoulder.
MICHAEL: No games, man. Don't go down that path. I speak from experience. (beat) You know, I'm surprised I haven't tried to start a macho fight with you.
LEOH: Do you want to start a macho fight with me?
MICHAEL: No. It just feels like the kind of thing two guys who like the same woman are supposed to do. LEOH: Ah. That's why we're not fighting. (suddenly very sober) I don't just like her.
MICHAEL: Wow. Okay. This calls for karaoke.
LEOH: Is there a karaoke machine here?
MICHAEL: We don't need no machines! Sing from the heart.
MICHAEL: (singing) You made me love you…
LEOH: Oh, I love this song…
SFX: Michael and LEOh drunkenly start singing “You Made Me Love You”.
SFX: The host scurries over. LEOh continues to sing as Michael talks.
HOST: Sirs, this isn't really... hold on a minute. (then) An emotional ballad about a woman who's done you wrong... are you two even a couple?
MICHAEL: S' very narrow-minded of you. We could be a couple.
HOST: Yes, but are you?
MICHAEL: (reaching) We're a couple of heartsick men?
HOST: That does not count for the discount. Tony! Ring them up, full price!
FADE OUT AS Michael and LEOh sing the blues.
MUSICAL TRANSITION
INT. PENELOPE’S CAR
SFX: The car pulls over and Ellie opens the door before it's even stopped. Penelope stops them before they bolt, but the outside atmosphere bleeds into the inside of the car.
PENELOPE: I really wish the two of you would stop overreacting. We were almost at our destination.
ELLIE: What destination? A secret lair? Were you going to kill us and feed us to your chauffeur?
AGGIE: Or reprogram our brains and leave us on someone's balcony?
PENELOPE: You're truly a delightful match. Equally dramatic.
ELLIE: Just go away. We're not going to tell you anything about LEOh your diagnostics don't already know. PENELOPE: But the diagnostics can't tell me how he's feeling!
ELLIE: What.
AGGIE: You care how he's feeling?
PENELOPE: Of course I do. I made him. I'm practically his mother. I want to know how he's been doing at the kindergarten. I want to know how he's feeling about his slow progress with Jeanine. I know the two of you have those answers!
ELLIE: We do. But why do you want them?
PENELOPE: Because one day, law-willing or not, LEOh will be an elder brother. I need to know how he's doing so that every subsequent version of the Sentient Science gets me closer to... I just need LEOh to be well.
AGGIE: You want him to be well so that you can use him.
PENELOPE: I want him to be well because I care about him. But yes, his wellness is also crucial to my goals. Please, you must, be careful while delving into LEOh's code. When I express concern over his altered functionalities, I'm not just talking about programming. I'm talking about him. You might change him. And that can't happen, not for me, but most importantly, not for LEOh.
ELLIE: I promise to be careful. We care about LEOh, too.
PENELOPE: I know you do. I wouldn't have left him with Jeanine if I didn't trust the people around her.
AGGIE: But you admit you left him?
PENELOPE: ... I didn't think of it that way at the time. But I suppose I did. I am truly sorry, especially if LEOh has been--
AGGIE: He hasn't been. But I want you to know what you did. Now we can be done here.
SFX: Aggie steps out of the car.
AGGIE: Where are we, anyway?
PENELOPE: You're about half a mile from a charming little bed and breakfast. Just follow the road and you'll find a reservation for dinner and a room under Elizabeth's name.
ELLIE: When did you make us dinner reservations?
PENELOPE: This morning, when I decided to drive you here and gather information on LEOh on the way. I didn't want to ruin your Flowers, Chocolates, and Half-Off Rotisserie Chicken Day. ELLIE: I'm reducing your shin-kick sentence to two.
PENELOPE: I very much appreciate it, darling. But you will understand if I don't let you back in the car, won't you?
SFX: Penelope closes the car door.
ELLIE: I guess that's fair.
SFX: Penelope's car drives off.
MUSICAL TRANSITION
VOICEMAIL
SFX: BEEP! Jeanine's voice, no longer hushed, leaves another voicemail.
JEANINE: (on voicemail) Okay, is it dining and dashing if I only got halfway through my appetizer?
SFX: In the background, the suggestion of pandemonium.
JEANINE: I knew something was off about this guy! He has a pet turtle. Which is bad enough, but then he produced said turtle from inside his turtleneck.
SFX: The sound of plates being smashed.
JEANINE: He fed it his bloomin’ onion and told me he became an accountant to provide for Liz. Liz is the turtle's name. Anyway, Liz went real still a few minutes ago.(whisper) I think Liz might be dead.
SFX: More chaos in the background.
JEANINE: Why am I dating? I don't even like most people! Yeah, that's it, I'm going home. Thanks for never calling me, you dick. Don't ever come eat my food again.
MUSICAL TRANSITION
INT. JEANINE’S LIVING ROOM
SFX: LEOh and Michael are on the couch scraping pizza directly out of the waffle iron.
MICHAEL: This tastes good, but I gotta tell you, man... it looks disgusting.
LEOH: It is my greatest kitchen shame. To be fair, it is my only kitchen shame.
SFX: Just then, Jeanine comes bursting through the front door. JEANINE: LEO(h)! Thank goodness you're not in sleep mo--
SFX: She spots Michael and rapidly course corrects.
JEANINE: Sleeping. Thank goodness you are not in here sleeping.
MICHAEL: What--
JEANINE: Michael, what are you doing here?
MICHAEL: Hanging out with LEO(h) since, you know, you were too busy. Go on, LEOh, tell her.
LEOH: Michael thinks-- (off Michael's cleared throat) And I agree... it wasn't nice that you went out with someone else on Sweetest Day.
MICHAEL: Eating rotisserie chicken with another man?! You jezebel!
JEANINE: You're right.
MICHAEL: Sorry, come again?
LEOH: You never cave that fast.
JEANINE: I spent the whole date just wishing that I were at home with you and this waffle maker. (noticing) Is that pizza?
LEOH: Don't look at my shame. Go back to how I was right.
JEANINE: I got you a present. To make up for not being here.
SFX: Jeanine hands LEO(h) a box of chocolates. He opens it up.
LEOH: Anatomically correct chocolate hearts.
JEANINE: In keeping with the theme.
LEOH: I love them. I love--
JEANINE: I know.
MICHAEL: Hey. Stop smiling! Dude, we're mad at her!
LEOH: She got me a present. I'm not mad anymore.
JEANINE: So butt out, Parker. Vacate my home so LEOh and I can eat our hearts out.
SFX: Michael begrudgingly pulls himself off the couch and towards to door. MICHAEL: We sang together.
LEOH: I know. I'm sorry.
SFX: Michael leaves.
MUSICAL TRANSITION.
INT. JEANINE’S LIVING ROOM - LATER
SFX: Jeanine and LEOh recline on the couch with heart-waffles and chocolates.
LEOH: How was your date?
JEANINE: I can't even talk about it.
LEOH: Why did you do it? I know we're not really together, but... we're looking for the code.
JEANINE: I know. I did it because of you.
LEOH: What did I do wrong?
JEANINE: Nothing! Nothing, it's not like that. You're great. And it made me realize that I want what we could have right now, for sure. Not someday, and not maybe.
SFX: LEOh leans forward to set his plate down.
LEOH: Should I date, too? If the code works the way you think it will I won't have feelings for you once it's gone. I know you won't care, but--
SFX: Jeanine leans forward sharply.
JEANINE: I'm not going on any more dates until Ellie finds and isolates the code. I don't have it in me.
LEOH: Okay.
JEANINE: So maybe... you could also...
LEOH: You don't want me to date until we find and remove the code?
JEANINE: Only if that's something you want, too.
LEOH: No. Don't do that. Say it.
JEANINE: LEOh. Please don't date anyone else until after Ellie finds the compelling code.
LEOH: Okay. Until we find the code, my heart-shaped waffles are yours. JEANINE: Speaking of which--
LEOH: More waffles, coming right up.
SFX: LEOh gets up to go to the waffle iron.
FADE OUT.
END CREDITS
SFX: Life With LEO(h) end credits theme plays.
LAUREN SHIPPEN: LIFE WITH LEO(h) was created by Octavia Bray and is a production of Atypical Artists. This episode was written by Octavia Bray and directed by Shenee Howard, with sound design by Julia Schifini. It featured Octavia Bray as Jeanine, Maximilian Koger as LEOh, Angelique Francis as Ellie, Jenapher Zheng as Aggie, Phillip Jordan as Michael, Caitlin Schneiderhan as Rosemary, with additional voices by Shawn Jain, Josh Rubino, Socks Whitmore, and Lauren Shippen. For complete credits, please visit lifewithleoh.com. Life with LEOh is executive produced by Lauren Shippen and made possible through Podfund. Thank you for listening.