Darren asking Cheryl where she's going to get the money to pay off his loan. Cheryl replying that she has an idea.
Mick Anderson flirting with Angie.
Billy calling to Melissa to wake up after the two of them fall asleep on Billy's bed and Melissa misses her curfew.
The front door opens and Karl comes in. Melissa emerges from Billy's bedroom to talk to her father on the 'phone. Seeing the girl emerge from the bedroom, Karl grabs Billy and demands angrily to know what's going on. Billy pleads with his father to just trust him for once - he'll explain later. Melissa hands the 'phone to Karl, who assures Mr. Drenth that he'll bring Melissa home right away. He hangs up and Billy tells him quickly that it's not what it looks like. Melissa chips in that they were just kissing a bit. Billy adds that they didn't do anything they shouldn't have done. Melissa tells Karl that they fell asleep - fully dressed. Karl assures the two of them that he believes them.
The next morning, Cheryl sits down at a table with Jo and thanks her humbly for coming. Jo comments that it must be important. Cheryl goes on:
CHERYL: First of all, I'd like to apologise. I, er, I shouldn't've spoken to you the way I did yesterday; I realise that you were only doing what you thought was best for Chez Chez and you had some very valid points.
JO: I thought they were all pretty good ideas - and I *still* think they are.
CHERYL: Yes - and I shouldn't have dismissed them the way I did. I'm sorry.
JO: Cheryl, is this a meeting to discuss new plans for the pub or...
CHERYL: No, it isn't.
JO: Well, what is this about?
CHERYL: I was, um, wondering - well, hoping - if you'd be able to help me out with something else. We've had a bit of a family crisis - another one! And, er, although I hate to have to ask you like this, I was wondering if you'd be able to lend me some money - just in the short term until I get paid for that magazine interview that I did, then I'd be able to pay you back.
JO (coolly): This is a little obvious, don't you think?
CHERYL: I beg your pardon?
JO: Well, first you apologise, and then you ask for a loan. It's pretty obvious that the apology is only because you need the money.
CHERYL (hesitantly): I- I thought I'd just be clearing the air.
JO (pointedly): But you wouldn't have if you didn't need the money.
CHERYL (meekly): Please would you be able to help me out? OK, maybe I *am* apologising because I need help, but I promise things really will be different in the future if... if you will just be able to help me, because I don't know where else I'm going to go to.
Jo stares at her.
Karl is sitting on the couch, blowing his nose, when Billy emerges from his room and thanks him for last night. Karl tells him to sit down and Billy does so. Karl then comments that Melissa's a lovely young lady, and her parents are... Billy chips in that they're nuts! - she always has to tell them where she'll be and whenever she's going out she has to leave a 'phone number. Karl comments:
KARL: So being nuts, as you put it, means they love and care for their daughter a great deal?
Billy retorts that they don't have to be so *strict*. Karl tells him that every parent decides how to treat their children; if Billy wants to keep seeing Melissa, he's going to have to help her keep to the rules the Drenths have set. He adds that, next time he and Melissa are together and her curfew is approaching, he suggests that they don't lie down together in each other's arms - however innocent that may be - unless they're sure they're not going to go to sleep. Billy accepts the advice and heads out, leaving Karl looking thoughtful.
Philip is still typing on the typewriter. Helen joins him and asks him if he stayed up all night. Philip groans that he did. He goes on that he wants to be able to write like he did with his short story *all the time*, not just when he has the 'flu. Helen comments that she's not sure this is the way to achieve it. Philip tells her that his computer's fixed and ready to be picked up; maybe that will help?
Mick Anderson walks into the lounge room and tells Angie that he reckons he got the last of them. Angie, who's sitting on the couch, wearing her dressing gown, exclaims that she didn't know he was there; she must look a wreck! Mick, however, smiles that she looks great! Angie comments that she'll be able to get a decent night's sleep now the possums have gone. Mick says:
MICK: You got a comfy bed, have you?
ANGIE (warily): Yeah, quite comfy.
Mick says he reckons it makes all the difference. Angie stands there looking nervous at the way the conversation's going.
Karl has his head under a blanket and is breathing in the vapours from a bowl of boiling water as Philip sits and tells him that he now has this story with no idea how to write like that again. Karl removes the blanket from his head and comments that the ideas flowed from Philip's subconscious. Philip says he'd like to write like that all the time - it was *so easy*; and the people who've read the story are amazed by it. He adds that he wondered if hypnotherapy might help him.
Mick is telling Angie that he lets the possums he catches go in the country. Angie smiles that she's glad he doesn't kill them. She offers him more coffee, but he declines. He then tells her that they need to talk: he has some things to say... He continues:
MICK: The thing is... I find it difficult to say these things - I'm not a fancy sort of bloke; I like down- to- earth people; you're real down- to- earth, Angeó
At that moment, Toadie barges in and asks Mick eagerly if he's caught any more possums! Angie tells him quickly that they're out in the truck. Toadie says he's going to go and have a word to them - they've been keeping him up at night! Angie tells Mick that she knows he's got a lot to do; Jarrod will see him out. Mick takes the none- too- subtle hint. Angie adds that she'll send him a cheque as soon as she gets his bill. He heads out and Angie sighs in relief.
Helen and Karl are standing either side of Philip, staring at him and betting with each other on whether he'll write something. Philip murmurs that he hasn't been able to write anything since he had the 'flu - he thinks it did something to him and made him write things he can't normally write; that's why he's pushing himself to stay awake - so he can get back to that same state so he can do it again. Karl hisses:
KARL: You were sick. There's no magic to it; there's no reason why you can't write the same way again.
PHILIP: Then why *haven't* I?
HELEN: Because you need to go to bed.
Karl tells Philip to have faith in himself - if he did it once, he can do it again - but he needs to take care of himself and get some rest.
Jo sits down at a table. Cheryl walks over to her and asks her if she had a chance to talk to Rob about the loan. Jo replies that she talked to Rob - and to their lawyer. Cheryl asks what they said. Jo comments that their lawyer thinks it's strange that she's invested so much money in a place like Chez Chez and she's still a silent partner; and he thinks the loan should be OK, except it should become an extension of the investment. Cheryl sits down and smiles that that's a good idea. Jo adds:
JO: But only if I'm entitled to a say in the running of the place.
CHERYL (warily): How *big* a say?
JO: Every decision has to be put to a vote. The majority rules, but at least I'll have my say.
CHERYL (meekly): Fair enough.
Toadie is standing with Billy in the kitchen area, asking Billy if he expects him to believe that Mel stayed there the whole night and they did *nothing*! Billy points out:
BILLY: Fleur was throwing herself at *you* and *you* did nothing.
TOADIE: Yeah, well, that was because she was driving me crazy, not because we fell asleep!
Billy asks what the big deal is about falling asleep. Toadie comments that Billy had a girl there for the whole night and they did nothing - unless he's not telling the truth and he's just trying to protect Mel's honour. Billy insists that they fell asleep.
Angie is sitting with Cheryl, commenting to her that she's had it her own way up 'til now; maybe new blood at Chez Chez won't hurt? Cheryl just muses:
CHERYL: There'll be blood all right...
Angie suggests that she sit back, relax and let Jo take responsibility for a change. Cheryl just asks Angie how she'd feel if the same thing happened at the coffee shop. Angie points out that *she* hasn't got *partners*. Cheryl reminds her that there's Kev, but Angie tells her that he leaves the running of the coffee shop completely to her; and besides, he's not around much. She adds with a sigh that he's due down in a week - that'll be the first time in nearly a year if he makes it. She goes on:
ANGIE: It'll be a great relief to me if he does, I can tell you. I just want things back to normal around here, that's all.
CHERYL: What's not normal? What have you been up to?!
ANGIE (shiftily): Me? Up to something? Don't be ridiculous!
Steve George walks up to the bar to find Jo standing there. He smiles that he was coming to see her: he's got something going that he thinks she and her husband might be interested in. Jo comments that she's intrigued. Steve adds:
STEVE: Or if you're half the businesswoman I *think* you are, you might want to pursue it on your own.
JO: Oh, I wouldn't want to exclude Rob.
STEVE: No, of course not - but I tell you what: why don't I whet your appetite first, then maybe I can have a chat to him as well?
Jo asks what it is exactly. Steve tells her that it's a block of apartments: a great location and a very good price.
Angie is snapping at Kev on the 'phone, muttering that it's damned annoying. She hangs up and tells Toadie - who's serving at the counter - that his dad's not coming down next week: he reckons he's got too much work and can't get the time off. She sighs that she's had just about enough of being on her own. Toadie points out:
TOADIE: You've got me and Stonie.
ANGIE: Yes I know, love, but it's just not the same - a woman needs a bloke around occasionally. I haven't had one around for far too long already.
Cheryl is standing behind the bar, watching as Jo meets with Helen, who tells Jo that it's good to have a chance to talk about the exhibition. She asks how many of her paintings Jo will need, and Jo tells her that she'd like her work to be featured pretty heavily. Cheryl calls over that she doesn't want the walls covered in picture hooks after the exhibition's over. Helen suggests that they could put in a false wall: particle board covered with hessian and canvas can be very effective.
Angie is closing up for the night when she suddenly spots Mick standing outside the door. She reluctantly lets him in and he tells her:
MICK: Listen, I'm heading to the country tomorrow to let the possums go. I thought you might like to take a break.
ANGIE: A break?
MICK: Yeah. Why don't you come with me? We'll make a picnic of it!
ANGIE: I've got the coffee shop!
MICK: Can't you get someone to take over here? I'd really like you to come with me, Angie.
ANGIE (smiles): Well, I suppose I *could* get away...
MICK: Then come! We could find a nice spot, take some sandwiches, thermos of coffee... It'll be relaxing.
Angie tells him that she'll fix them a real nice picnic basket. Mick smiles that he'd like that.
It's the next morning, and Jude McGinty is standing by the lake, looking at her watch. Cheryl marches over to her suddenly and tells her that she's got the money. She hands over an envelope and McGinty counts the contents. Cheryl tells her that she'd like a receipt to show that they've paid off the loan. McGinty, however, retorts:
MCGINTY: *What* loan?
Cheryl mutters that she hopes this means they won't be hearing from her again. McGinty assures her that they won't be hearing from her again - unless, of course, Darren contacts her, wanting to borrow more money. Cheryl says sharply:
CHERYL: No, he won't - not if he knows what's good for him.
Angie is sitting with Mick at a picnic table in the country. He comments to her that she must really love Kev. Angie smiles that they get on pretty good - when he's there. Mick then says:
MICK: You know, I get lonely myself, sometimes.
ANGIE (quickly): I didn't say I was lonely.
MICK: Oh come on, Ange, I can *see* it. I can *feel* it. I only wish I could do something about it.
ANGIE: Well, you can't.
Angie then suggests that they go for a walk; they can leave their picnic stuff there - there's no one around. As they start to walk, Mick comments that the countryside has never looked as pretty as it does today - with *her*... Angie doesn't respond and Mick apologises for speaking out of turn: he's never been known for his tact! Changing the subject, Angie smiles that the possums sure took off quick when Mick let them go. Mick laughs:
MICK: I felt like grabbing one and going back to your place and putting it up in the roof!
ANGIE: Why on earth would you want to do *that*?!
MICK (suddenly serious): Why do you reckon?
Angie turns to face him. She then sighs:
ANGIE: Listen, Mick. I only came out today because I thought we could have a nice friendly picnic. I didn't think there'd be anything more in it.
MICK: But you must know how much I like you?
ANGIE: Yeah, well, I like you too - but that's where it has to end. I have to accept that.
There's silence for several seconds before Mick remarks sadly:
MICK: Anything you say, Ange...
He goes to walk off. Angie follows him and almost stumbles. He grabs her to stop her falling and finds her staring into his eyes...