All language subtitles for The.Real.Housewives.Of.Beverly.Hills.S02E01.WEBRip.x264-ION10.en

KYLE RICHARDS: Last season
on "The Real Housewives

of Beverly Hills."

My husband told me that he
was done with our marriage.

[CHEERING]

When you're married
to a celebrity,

it's not a private divorce.

The world knows.

Who is this woman?

Does she not know that
she's destroying a family?

Somebody is in the apartment as
Mrs. Grammer, it's just not me.

I'm just so disconnected.

And I think it's because
he's so busy in his mind.

I know, no offence,
my husband's busy too.

Does he not like to
see you have fun?

I just don't--

I don't know.

[THEME MUSIC]

You like this?

That I don't like.

You don't have the eye.

I do have the eye.

No, you don't.

What is wrong with you?

Bend over, it's not
going to hurt a bit.

That's what you
said last time.

I really did hear
you say what you did.

I mean, you keep telling me
you didn't say that, I'm sorry.

I'm sorry, Kyle.

You're such a
[BLEEP] liar, Camille.

Camille, you sat there the
entire night like this,

trying to play your part.

That's who I am, Kyle.

No, that's not who
you are, Camille.

That's who you are
pretending to be.

I can tell you
when she will die

and what will happen
to her family.

I love that about me.

I was waiting for Kyle
to fly across the table.

KIM RICHARDS: Why don't you
stand up and take stock?

I can't talk to you, because
you're off your [BLEEP] rocker.

[INTERPOSING VOICES]
- Oh, really?

[INTERPOSING VOICES]

Why don't you blow
up your lips some more?

Enough, enough, enough!

Enough!

You better watch your step.

I've been a great
[BLEEP] sister to you,

and I think you're
being [BLEEP] out line.

KYLE RICHARDS: Really?
- Stop it!

You are a liar and
sick and an alcoholic.

Stop it.

[THEME MUSIC]

LISA VANDERPUMP: Life in
Beverly Hills is a game,

and I make the rules.

KYLE RICHARDS: I'm not the
richest girl in Beverly Hills,

but I am the luckiest.

KIM RICHARDS: People
try to figure me out,

but I'm one of a kind.

TAYLOR ARMSTRONG: I've
finally found my voice,

and I'm not afraid to use it.

ADRIENNE MALOOF: Having
it all is easy if you're

willing to work for it.

CAMILLE GRAMMER: Diamonds
aren't a girl's best friend,

freedom is.

[MUSIC PLAYING]

Do you want to wee-wee?

wee-wee?

Go on.

No scratching.

No wee-wee?

OK, come on, let's go.

Hi, darling, how are you.

BATIA: Hi, Lisa, good morning.

- It's quite cold, isn't it?
- How are you?

Yeah.
[INTERPOSING VOICES]

LISA VANDERPUMP: Hello!

Hi!

Beauty.

Pandora, my daughter,
she has been

and is the love of my life.

She is strong,
stubborn, infuriating.

I wouldn't change
her for the world.

So Pandora wants
her hair tonged,

and I'm going to
have my nails done.

- OK.
- [INAUDIBLE]

Sure, please.

All right, let's do it.

Let's do it, yeah.

Hello?

ROSIA: Hello?

Hi, Rosia, how are you?

How are you?

Good, is Ken around?

No, he left.

He's working with the puppies.

Do you know when
he'll be back?

He will be soon here.

You can sit in the office.

- In the office?
- Yeah.

Perfect.

Jason's parents are
leaving, aren't they?

He's very close to his
parents, actually, isn't he?

He really is, he's
very close to them.

It's like what
you always said,

you can always judge a man
by how he loves his mother.

I think that is kind
of relevant, don't you?

Jason's 24.

They've been
together four years.

He is an ideal partner for her.

Lisa, when she gets married,
I want to do her hair.

When she gets married, hello?

Can you talk to her about that?

Don't talk about it, because
she will get too excited.

Don't get me excited, Batia.

I've been hinting at
it for four years now.

Pandora, I would love to spend
the rest of my life with you.

[INTERPOSING VOICES]

Oh, is that a proposal?

I need to be definitive here.

[INTERPOSING VOICES]

If it was a proposal,
there would be a ring.

[GROANS]

She's too young.

Let her be.

LISA VANDERPUMP: No she's not.

I was 21 when I got married.

Rosia, can I get some
tea in the office, please?

OK, Mr. Jason's
waiting for you.

Jason?

Uh-huh, Jason, yeah.

OK.

Hey?

Hey!

I love Jason, and over
the last four or five years,

he's become like a son to me.

I said I was coming to
pick up makeup for Pandora.

But the real reason I'm
here is to come and ask

permission to marry Pandora.

Let me think about that.

OK, then.

[CHUCKLES]

I can't think of anybody
else that I'd rather

married my daughter, actually.

Asking for Pandora's
hand in marriage

was a very old-fashioned
thing to do, and I loved it.

Do you think I
should tell Lisa?

I think it's something
that Pandy would probably

like to tell her mother.

I can keep a secret
with a straight face.

Yeah, I'm pretty good at that.

You better not tell her.

You better not hint.

I'll tell her as soon
as she [INAUDIBLE] oh,

sorry, I'm just--

Jason was just here, proposing.

[SIGHS]

[MUSIC PLAYING]

Hi.

TAYLOR ARMSTRONG:
Hello, Dr. Sophy.

How are you?

OK, you're
standing under a sign

that says Caution Rattlesnakes.
CHARLES SOPHY: I know.

TAYLOR ARMSTRONG:
Is this a test?

It's a test.

How are you?

Dr. Sophy is my psychiatrist.

He's very straight
and to the point.

He calls you on everything.

CHARLES SOPHY:
How have you been?

TAYLOR ARMSTRONG:
Feel like I'm starting

to operate really
with my mind, and not

so much with my feelings.

Yeah.

You know, if it's an argument
between two people, which

normally makes me
so uncomfortable,

because of the
conflict and what that

could potentially look like
for me, being able to say--

to step back, and just think
about what's happening,

as opposed to reacting
with a pounding

heart and the nervous
energy that I'm used to.

Does that mean you feel
you would lose all the time?

Does that mean you
feel powerless?

I tend to want there
not to be any conflict,

so there doesn't
have to be a loser.

If you go through
life thinking

when you have a
confrontation with somebody

there has to be a loser or
a winner, that's a problem.

Because if you understand
truly what conflict is,

it's to be resolved.

Russell and I have a difficult
marriage, that's a fact.

Therapy is an incredible
amount of work,

but you're fighting for your
relationship and your kids.

It's hard, it's really hard.

So see all the way up there?

Uh-huh.

CHARLES SOPHY: Can
you get up there?

I can try.

Yeah?

Now that those
guys are already up

there shooing the snakes away.

Right.

They come back real quick.

(LAUGHING) [INAUDIBLE]

That's like kind
of where we need

to get, emotionally, for you.
- All right.

CHARLES SOPHY: And see, I don't
want you to look at the ground,

because then you'll
know if there's a snake.

I want you to have blind faith
and go all the way up there.

And if there's a snake,
you might step on it.

If not, you won't.

Great.

Yeah, OK.

You ready?

Yeah, I'm ready.

OK, go.

Go.

Ah!

[GIGGLES]

Therapy is helping
me to find my voice.

I have a very tough time
speaking up for myself.

[GIGGLES]

So it's allowing me to find
the strength to speak up.

Were you scared?

Yeah.

Yeah?

How did it feel,
though, to keep coming?

- Good.
- And push?

Good.

See, that whole
feeling is what

you have to do when you
start getting scared,

whether it's an interaction
with one of your friends

or whoever it is.

Right.

Or your husband.

[MUSIC PLAYING]

KYLE RICHARDS: Babe, we have
to wrap these so carefully.

MAURICIO UMANSKY: I
know, they're beautiful.

Oh, look how cute Portia
and Alexia are here.

So we've sold our house, and
we are moving to a new house.

I absolutely love our home so
much, but we were outgrowing it

and we needed more space.

Look how cute!

[INAUDIBLE]

Oh, little naked
baby pictures.

[LAUGHTER]

Aw, little tuchis.

Look at your drawers.

I can't even look, oh my god.

Take everything out, and just
sit there and say, I like this,

I don't like that, I
stole this from my mum.

I stole this from my sister.

What is this?

Crap piles.

Good, this is good.

This is all empty.

MAURICIO UMANSKY: You know what
we have to go through that's

going to be a pain in the butt?
The garage.

That's what you
have to go through.

Well, there's-- well,
I'll go through it,

and it'll all be thrown away.

Honey, that's my stuff.

Honey, if you throw away one of
those things, I'm telling you,

there's going to problems.

I'm dead, D-E-D.

(LAUGHING) D-E-D.
Well, at least

we've gotten most of the
stuff off the bookshelves.

This is grandma
when she was little.

When Kim and I have a
fight about something,

I always turn to my
mum, even though she's

not with me anymore.

I've got a lot on my
plate right now, and I--

KYLE RICHARDS: I do too.

I take time out of
my life to help you.

But I'm not her mum, and it's--

I don't have the patience
that my mum would have had.

[PHONE RINGING]

KIMBERLY JACKSON: Hello?

Yeah, it's Kimberly.
(WHISPERING) It's Aunt Kyle.

Oh.

I know, I missed you guys too.

KIM RICHARDS: She
had been calling me,

and I chose to not talk to Kyle.

(CRYING) You are not
being my sister right now.

I don't feel like
you have been either.

Stop it, stop.

What are you doing?

[INAUDIBLE]

You're acting like an idiot.

It takes some time, just--

I know one day,
we'll be right back

to be (CRYING) amazing
sisters, because we are.

It will happen.

Do you know it confusing it is
to explain my family to people?

Why?

Because of all the--

not even going to say it.

That's not fair.

OK, it doesn't even matter.

It does to me.

It's stupid.

It's so stupid.

I haven't really had much
of a relationship with Kyle

since then.

KYLE RICHARDS: Kim, I want you
to know something right now.

Anything we've ever
helped you with is over.

You're on your own now.

We're done.

When I was little, my mum used
to read me scripts out loud,

and then that's how--

I wish I could know--

could have like, knew her more.

She was so strong.

(CRYING) I know my
mum would really be sad.

I'm finding it
harder to let it go.

CAMILLE GRAMMER: Coming up--

His girlfriend moved in.

She got rid of all my
stuff out of the closet.

A girlfriend of mine
told me expect the worst

and you won't be disappointed.

Well, let me tell you, I
have not been disappointed.

[MUSIC PLAYING]

So I just got a new
delivery from our house

that we're selling
in the Hamptons.

Who will pack this stuff up?

I think my ex.

My divorce is final.

I'm still here in Malibu.

I plan on staying here.

But at some point, I'd
like to simplify my life.

It's only me and my two kids.

I don't need to maintain
five acres of land anymore.

Past the barn and into
the stable, here we go.

The last few months, I've been
healing, working on myself.

It's been an
interesting experience,

you know, this journey of,
you know, finding myself.

This is our horse, Ghost.

It's Ghost.

[INAUDIBLE]

Hey, buddy!

Want to go riding soon, huh?

He's a beautiful horse.

Yeah.

Yes.

OK.

I know, I have work to do.

Got to do the work.

OK, so this looks like a crib.

This was probably Jude's crib.

Oh, Jude's baby furniture.

That's nice stuff.

I know, it's
really nice stuff.

Yeah.

I love how Kelsey
just sent it to you.

I know, right?

Kelsey and I do not
communicate at all.

And if we do, it's through
a mediator for the kids.

Who says a woman can't
do this on her own?

OK.
- Oh!

Oh wow!

DEDRA: Oh my god!

[LAUGHTER]

Oh, that is hilarious.

Oh my gosh!

Did you even know you had
all these shoes out there?

No, I had no idea.

These are my summer
Hampton shoe wardrobe.

You know who packed these.

Yeah.

I was supposed to
go there last summer

and spend the summer there.

Yeah.

His girlfriend moved in,
and now she kind of took over.

Right.

She got rid of all my
stuff out of the closet.

Yeah.

And I called him
and said I was coming,

and then his attorney called
me and said, don't get upset,

but the girlfriend moved
all your clothes out

of your bedroom.

I'm like, but that's my bedroom?

No longer my bedroom.

Girlfriend of mine told
me expect the worst,

and you won't be disappointed.

Well, let me tell you, I
have not been disappointed.

I think it's good that
you donate them, though.

- Me too.
- You know?

Me too.

There's a lot of people that
need more than both of us.

Well, I don't need it anymore.

I don't need anymore
crap in my life.

[INAUDIBLE]

CAMILLE GRAMMER: Now I feel
so much stronger than I did

years ago, so much stronger.

I'm just adjusting
to being alone,

and I'm starting to like it.

[MUSIC PLAYING]

PAUL NASSIF: Lucy, I'm home.

Adrienne?

Yes?

I'm in the dining room.

Paul and I-- we really are like
two ships passing in the night.

We try to spend time
together, and we

enjoy each other's company.

But the reality
is in small doses.

Bernie, hi.

[INAUDIBLE] hey, Bernie.

Hi, guys.

Since hubby's home,
we're going to talk

about dinner that night.

What's the
occasion, by the way?

Well, it's to get
all the girls together.

And Camille was on
""[BLEEP] My Dad Says."

Did you say S-H-I-T?

Yeah, I did.

That's the name of the show.
- [BLEEP] My D--

[INAUDIBLE]

"[BLEEP] My Dad Says."

No, it's not.

OK, it's not.

Are you happy?

You're telling me there's
actually a show that says that?

Bernie, you ready?

BERNIE: OK.

You got it?

We kind of went over--

you wanted some sort
of a comfort food type

of [INAUDIBLE].

Yeah, your
macaroni and cheese.

Macaroni and cheese?

Yeah, it's comfort food.

Who doesn't love
macaroni and cheese?

The British lady across
the street, probably.

ADRIENNE MALOOF: Lisa had
made a comment to Bernie

about the food
that he was serving

for a party we were having.

And Bernie thought it
was a little offensive.

And that was probably
not the proper thing

to say in somebody
else's kitchen.

You know what's very good?

BERNIE: What's that?

PAUL NASSIF: Some New
Mexican salsa and guacamole.

Not really.

PAUL NASSIF: Come on.

OK, let me ask you
one more question.

Can you make something
like an apple something?

What was-- didn't
you make like a corn

souffle before or something?

Leave it the way it is.

Come on.

Can't we have something
a little more exciting?

Why don't you guys
finish the whole menu,

and then you can complain.

BERNIE: We talked
about a Waldorf salad.

Why would you want a
mayonnaise type of a salad

with fruit?

Why would you not want one?

PAUL NASSIF: Why would I?

OK, what else are you having?

Lemon chicken.

Can I make some medium and
some medium or well done?

Man, you're high
maintenance. (LAUGHING)

You are so high maintenance.

What would you like?

No, you know, I'm
just going to lose

a little weight, that's all.

And even though
it's not for me--

OK, so what would you like?

How about sweet potato fries?

So something nonfattening.

[INAUDIBLE]

There's times it would be nice
to spend more time with Paul.

But two hours is a
long time for us.

You want-- are we
serving full bar or wine?

BERNIE: Full bar and wine.

OK, I'll set up
the back bar, then.

ADRIENNE MALOOF:
You'll set it up?

Since when?

Well, no, but I tell
them what to use, though.

So you need red for me.

We're having chicken,
we should have white.

Well, no, but when people were
having appetisers or whatever,

they're going to--

let them pick
whatever they want.

OK, red and white.

Anything else?

Well, if you want to just
do a white, that's up to you.

(LAUGHING) Oh my god.

White and full
bar, how's that?

(LAUGHING) Oh god!

We better hurry.

Let's get out of here before
he changes his mind again.

Oh, I just
dropped [INAUDIBLE]..

Thanks, Bernie.

Oh, that's OK.

PAUL NASSIF: Thank you.

Thanks, Bernie.

Oh, anytime.

[MUSIC PLAYING]

Hi, good afternoon.

Hi, how are you?

I'm great, how are you?

Good, thank you.

Welcome to [INAUDIBLE].

Thank you.

If you need any help,
just give us a shout.

OK, sounds good.

Wonderful.

KYLE RICHARDS:
It's always so hard

to shop when I'm going to
Adrienne's, because I don't

know if she's going to
come down the stairs

in a ball gown or what.

Ooh, this is pretty.

That's really pretty too.

It comes in blue.

And I mean, if it's
someone's home,

you feel like you should be
casual, but not at Adrienne's.

OK, I'll try them on.

I'll try the black.

Oh my god.

[INTERPOSING VOICES]

Kyle?

What?

Sorry, hi.

You're not going to
believe who I just saw.

I'm talking on the
phone [INAUDIBLE]

walking down the street.

Oh my god, what happened?

Cedric pulls his bike
up right next to me.

You lie.

I haven't seen
him since everything

exploded between he and Lisa.

Oh my god!

I know!

It's just like, the
minute I see him,

I'm like, oh my god, oh my god.

Because I feel like I'm going to
get in trouble because somebody

came up to me that I
had nothing to do with.

If you're going to
be friends of Lisa,

you just can't be
friends with Cedric.

That was a misunderstanding.

You live in my house, drive
my car, that's not cool.

I'm stupid.

I feel like a fool for
being taken like that.

None of that had anything
to do with me, right?

Right.

But I take on
other people's stuff.

Still, [INAUDIBLE]
we bumped into Cedric.

Yeah.

But see, now I'll be
scared to say that.

And at the same time--
- Why?

Why would you be scared of Lisa?

Well, because I'm
afraid of her anyway.

Why?

Because she is
intimidating to me.

I don't feel like she likes me.

And I feel like every
time she sees me,

she's got like this
little edge with me.

I just don't think
anything needs to be

stirred up between those two.

Do you get what I'm saying?
- Yeah.

I just think, keep out of it.

I'm a little reserved
about Taylor.

Because if I'm going
to invest in a friend,

I want to know that
I'm getting the truth.

And I don't know it's always
exactly how she says it is.

She kind of makes me feel
like I'm not as good as she is.

And I don't know if it's a money
thing, because she has so much

more money than I do, or maybe
it's a British personality

thing [INAUDIBLE].

Maybe it's the British thing.

They're a little bit
cooler like that.

They're not as demonstrative.

They're-- you know, I just--

Yeah, not as affectionate.

Yeah.

And loving.

There's something
about having that accent

that just makes them seem more
superior to the rest of us.

And I don't mind if
she doesn't like me.

But at the same
time, I would just--

I guess I need to clear the air.

You need to.

Because otherwise, it's
going to be hanging over you,

and we're all in the
same circle of friends.

So every time you
bump into her, you're

going to be feeling like that.

Right.

I just start to think--

You don't have to
be intimidated by her.

Well, this is the
year for me that I

do have to make sure that at
least, I'm speaking my mind.

Well, if people
are in your life

because you haven't been
speaking up to them, then

it's time to clean house.

I like that.

All right.
- Right?

Yeah.

ADRIENNE MALOOF: Coming up.

Giggy, eat your
heart out, my friend.

Now that Jackpot's
on the scene--

guess what, Giggy?

Game on.

[DOG SNEEZES]

[MUSIC PLAYING]

PAUL NASSIF: Hey, Adrienne?

Adrienne, could I
ask you a question?

Do you want me to
keep this thing on?

What?

Oh, I got some action there.

Is that too weird,
it's so short?

This side's too thin,
and that side's too thick.

First of all, you
see how this thing--

- I know, five blades--
- Five blades.

OK.

OK, hold on, wait, wait.

Wait a minute, hold on.

Hurry.

I have been working on
this dinner party all day.

And he said he would help out,
and he left to go play golf.

Come on!

No, no, no, don't
use those towels--

I'm wearing silk.

[INAUDIBLE] These
are decorative--

Adrienne.

I know, I know.

- These are decorative.
- I know.

Just please leave
my decorative towels.

I get it.
I get it.

That's what this towel is for.

I decorated the house, I know.

I know, but please.

I get it.

The question is, do you get it?

He wasn't around, and I
couldn't get hold of him

for like an hour.

Not only was he
home late, but he

wouldn't stop messing around.

Hurry.

Seriously, because I got
to finish getting ready.

Oh, let me see what
you're-- well, that's-- oh!

OK.

- You're wear--
- Let's go, let's go.

- Wait--
- Let's go.

Let's go.

So I'm a little teed off at
the time, no pun intended.

PAUL NASSIF:
Adrienne, what cologne

would you like me to wear?

Paul, it's not
about you right now.

PAUL NASSIF: Adrienne,
I need you to help

me with something to wear.

I got to get ready.

PAUL NASSIF: Can
you just tell me--

My turn.

PAUL NASSIF: Wait, just help
me pick out something to wear.

No, you know what to wear.

Seriously?

Paul is extremely-- again--

PAUL NASSIF: Adrienne?

I need you for one
second, please.

[MUSIC PLAYING]

We're going to
serve from the right.

Adrienne and Paul
don't like formality,

but we're just going to
go the formal route today,

OK.

Can you-- can you help me?

Yes.

OK, I assume it goes like--

OK, like that.

Giggy, eat your
heart out, my friend.

Look at that. (IN A
HIGH VOICE) Look it.

ADRIENNE MALOOF: Now that
Jackpot's on the scene,

guess what, Giggy?

Game on.

You know the silver tray?

You can use that
for the champagne.

OK.

For the glasses, so
let me just get that.

I did have a few reservations
about bringing the girls back

together, just because if
history repeats itself,

we're in trouble.

Isn't that beautiful?

BERNIE: I love that.

PAUL NASSIF: What is this,
Angel flight, or what is it?

- Angel.
- Angel?

And just like
the pair of pants.

This is the most expensive
champagne in the world.

BERNIE: Oh, I believe it.

ADRIENNE MALOOF: If
they're invited to my house

and they're guests,
I prefer that,

you know, that they're
on their best behaviour.

That's how I run my house.

Please don't hit me in the eye.

OK, you see my hand is
pointed over to the right?

Yeah, OK.

So it can't hit
you in the eye,

because it's going that way.

You never know.

OK, perfect.

There's always something
happening at our house,

so, you know, I'm used to it.

As long as the end of the
night ends up peaceful,

that's what counts.

Hello?

Hello.

Who's here?

Over here.

Thank you.

Hi.

[SQUEALING]

This is Jackpot.

Jackpot!

Isn't he so cute?

Look at his little jacket.

Oh my god!

He's so cute.

Jackpot!

Look at that face.

CAMILLE GRAMMER:
I'm really excited.

Adrienne's going to screen
the episode of ""[BLEEP] My Dad

Says" tonight at her
house, and I'm really

looking forward to it.
- Cheers.

Cheers.

Thank you for--

Cheers.

--having me.

I know!

Wow.

Oops, sorry.

Sorry, I'm a little--

[INAUDIBLE]

I think if my husband's
not here, [INAUDIBLE]..

Yeah, forget about me.

What else is new?

He doesn't matter, right?

PAUL NASSIF: Oh,
look who's here.

Oh my gosh.

[INTERPOSING VOICES]

Hello, hello, hello.

[INTERPOSING VOICES]

Oh my gosh!

Hey, beautiful.
- Gorgeous.

PAUL NASSIF: That's going to--
- Thank you.

Oh my god.

How are you?

Hi.

Good to see you.

You look amazing.

KYLE RICHARDS: I
feel like Camille

really went through a hard
time with her divorce.

And after that many
years of marriage

and being the mother
to his two children,

she deserved a lot
more respect than that.

How's everything with you?

Oh, it's fine, thanks.

Thanks for asking.

It's been a little rough?

Yeah.

CAMMILE GRAMMER: On the day
that my divorce was finalised,

Kyle called me and reached
out to me, and kind of started

our friendship back again.

It was nice.

PAUL NASSIF: Oh look, it's
another one dressed in--

Hi, ladies.

PAUL NASSIF: --is
that blue or purple?

[INTERPOSING VOICES]

ADRIENNE MALOOF:
You're kidding me.

[INTERPOSING VOICES]

It's the colour of the day.

[INAUDIBLE] blue.

I guess we were all
[INAUDIBLE] this party.

[INAUDIBLE] in blue.

Would you like a glass?

No, thank you.

I don't want to see Kyle.

But I'm going to bite the bullet
and be civil with my sister,

because I don't ever want it
to go where it went last year.

PAUL NASSIF: Well,
look who's here now.

Hi!

[INTERPOSING VOICES]

Hello.

How are you?

Such a cool suit.

Oh, great suit.

Oh wow!

- How are you, honey?
- Hi.

Hi.

Hi, how are you?

That looks amazing.

KYLE RICHARDS: Since my sister
and I had our big blowout,

we haven't seen each
other that much.

So it's still kind of
shaky ground between us.

[MUSIC PLAYING]

LISA VANDERPUMP: Hello?

BERNIE: Is that Lisa?

LISA VANDERPUMP: Hello?

BERNIE: It's Lisa.

[INAUDIBLE] they go.

Can you shut those
two doors, please?

Pull the doors towards you.

Hi!

Hello, young lady.

Hello!
[INTERPOSING VOICES]

LISA VANDERPUMP:
It's a blue day.

It is.

[INTERPOSING VOICES]

Look who's here.

Hello.

I love your shoes.

Hello.

How are you?

- Good.
- Those are amazing.

LISA VANDERPUMP: Thank you.

Were they made for you?

[INTERPOSING VOICES]

LISA VANDERPUMP: Yes they
were, yes, the Vanderpump.

The Vanderpump--

[INTERPOSING VOICES]

I love it.

[DOG GROWLING]

PAUL NASSIF: Hey, hey!

WOMAN: Look at Giggy's face.

[DOG BARKING]

WOMAN: That took
a lot out of him.

He's like, arr.

[DOGS BARKING]

KEN TODD: I didn't think
he liked Giggy very much,

but not many dogs do.

A lot of dogs get
jealous of Giggy,

get jealous of his clothing,
and his beautiful face.

[DOG GROWLING]

Aw, it's OK.

Come here, baby, come here.

So are we going to get
to watch the show tonight?

Yes.

We are?

Yes, I have the tape.

ADRIENNE MALOOF: Let's
go, are you ready?

Where are we going?

[INTERPOSING VOICES]

What was that?

[INTERPOSING VOICES]

[LAUGHTER]

Hey, OK, where am I sitting?

PAUL NASSIF: I
have seen glimpses

of Camille's other acting work,
aka, "The Naked Detective."

John, do you have the
remote, my friend?

Are you guys ready?

[INTERPOSING VOICES]

How are you?

I'm feeling nervous
and it's not even me.

[INTERPOSING VOICES]

I have a hard time
watching myself.

I'm buying a house.

Yeah, so excited, yeah.

10,000 square feet.

We'll make do.

The kids will share a wing.

We're survivors.

[LAUGHTER]

KYLE RICHARDS: I'm
actually having

fun watching Camille perform.

It's fun seeing the
humour in things for once.

I said, I did not
ask your husband

to stare at me salvatiously.

[LAUGHTER]

CAMMILE GRAMMER: I've
had one rough year,

so it's nice to
have some girl time.

Whoo-hoo!

That was really cute.

[WHOOPING]

[APPLAUSE]

Good job!

WOMAN: Kelsey, eat
your heart out.

[INTERPOSING VOICES]

WOMAN: Coming up.

KEN TODD: If I had to go to see
a therapist to make my marriage

better, I would feel weak.

[MUSIC PLAYING]

[INTERPOSING VOICES]

Hello, hello, hello.

Oh, sweet.

[INTERPOSING VOICES]

CAMILLE GRAMMER:
OK, I am right here?

- Yes.
- OK.

You're the only one
thin enough for this side.

OK.

WOMAN: Thank you.

WOMAN: Where's
everybody sitting?

[INTERPOSING VOICES]

MAN: Is that correct?

We're getting our glasses
from in there, Paul, relax.

Relax.

I'm not saying anything.
I'm just opening the bottle.

He's getting the glasses.

I'm just opening up
the bottle of champagne.

I know, but the glasses--

Fine.

Oh my gosh.

[INTERPOSING VOICES]

Don't aim that
towards me, please.

Sit down, Paul.

You're too much, relax.

I'm not doing anything.

[INTERPOSING VOICES]

I'd like to give a toast-- my
husband and I would, actually.

Sit up.

PAUL NASSIF: Husband and I.

I thought you said you
wanted to do a toast--

you and I to do a toast?

OK, I'll do it.

[INTERPOSING VOICES]

Why are you
giving me that look?

Because you never
mentioned anything about me.

Yes I--

PAUL NASSIF: OK.

Well, I'll say
something if you want.

No, I want to say it.

PAUL NASSIF: Can I
ask you a question?

Can I say something?

If I say something,
you're going

to get up and speak
anyway, because you're

going to want to.
- Can I ask you a question?

ADRIENNE MALOOF: So I'm being--

OK, can I ask you a question.

What do we do with this?

[INTERPOSING VOICES]

[INAUDIBLE]

Like that?

ADRIENNE MALOOF: Yeah.

[INTERPOSING VOICES]

You think this is funny?

You think it's funny?

PAUL NASSIF: Why?

You are not funny.

Stop it.

ADRIENNE MALOOF: I'm trying
to have a nice dinner party,

but Paul keeps being
rude I, mean seriously.

Don't be rude.

You're being rude.

PAUL NASSIF: Why are you mad?

ADRIENNE MALOOF:
You're condescending.

PAUL NASSIF: I'm not.

I didn't do anything.

What's wrong-- what's
wrong with you?

ADRIENNE MALOOF: You.
[INTERPOSING VOICES]

PAUL NASSIF: [BLEEP]

ADRIENNE MALOOF: --early
today, [INAUDIBLE]..

PAUL NASSIF: You know what?

That's ridiculous.

You two, what are you doing?

Stop it.

Suddenly, the
atmosphere changed.

So I'm thinking, enough
already, we're having dinner.

That is not nice.

OK.

No, I'm not kidding.

Stop it.

Don't be rude.

PAUL NASSIF: That was a
little bit uncomfortable.

Actually, it was a
lot uncomfortable.

Sorry.

Anyway, who is
going to make a toast?

Somebody.

WOMAN: I know, Adrienne.

OK, now's our toast.

[INTERPOSING VOICES]

Please raise your
champagne glass.

The other night,
the wind was so bad

that our beautiful olive
tree in our front yard

actually fell down.

And it was very sad, because
it was one of the reasons

I love this house.

So I'm extending this
olive branch so everybody

tries to get along tonight.

LISA VANDERPUMP:
Including you two?

ADRIENNE MALOOF:
Yes, including us.

So from here on out,
here's to good friends.

- Cheers.
- Cheers.

- Thank you.
- Thank you.

Thank you.

- Thank you.
- Thank you.

[INTERPOSING VOICES]

Why do I like to do
these things to you?

I don't know, but if
you don't knock it off,

you're going to get
a piece of your own--

knock it off.

ADRIENNE MALOOF: Sometimes
in Beverly Hills,

typical behaviour
is to kind of sweep

a situation under the rug.

That might be the case
with Kim and Kyle.

[INTERPOSING VOICES]

You two ever bicker?

No.

Ken actually gives in.

That's the thing.

The reason Mauricio
and I don't fight

is because he gives in too.

At the end of the day, what
really is worth fighting over?

Taylor.

TAYLOR ARMSTRONG: Darling?

So what's happening
with you guys?

We're working on things.

We're really deep into
so much psychotherapy

that I'm sick of myself.

[LAUGHTER]

And so it's been really
helpful for each of us

to take a look at our own
lives, and what we brought

into the relationship,
and how it's

affecting our time together.

And, you know, it's been
good for me, I know.

I mean, I can't
speak for Russell.

But in my stance, and my--

And your voice.

TAYLOR ARMSTRONG:
Yeah, finding my voice.

[INAUDIBLE]
finding your voice,

Yeah, which seems like
I should have probably

done that a long time ago, but
I missed the boat on that one.

I think it's very
admirable that Taylor

and Russell are working on
their marriage through therapy.

My ex never gave me
that opportunity.

I never had that chance.

Whose idea was it to go?

It was mine.

KYLE RICHARDS: And
was he open to it?

Yeah.

[INTERPOSING VOICES]

I mean, it took some time.

- I know, but--
- I mean, we've been--

--believe me, I
have friends who--

they can't get the
husbands to go.

Ken, you would
never go to therapy--

KEN TODD: No, I wouldn't go.
- See, that's exactly right.

KIM RICHARDS: You
wouldn't go to therapy?

A lot of men wouldn't go.

Why?

I absolutely wouldn't go.

Well, I think when
there's children involved,

you've got to give
it your best shot.

[INTERPOSING VOICES]

Yeah, absolutely.

Because then you could
just say, you know what?

I'm outta here, like-- no
offence-- what Kelsey did,

which is terrible.

You have a family,
you can't do that.

You can't just throw in the
towel and say, you know what?

I'm over it.

[INTERPOSING VOICES]

PAUL NASSIF: Well, when
you have young children,

you can't do that.

--effective if, you know--

When you have young
children, you can't do that.

Maybe Americans are different.

I mean, I wouldn't want my
wife going to a therapist.

You know, you don't just
throw away a marriage.

If it's therapy, if it's going
to Africa, fly to the moon--

save your marriage.

You have a child.

So whatever you have
to do, you do it.

I think it is up to the man.

If your woman's not happy,
you've got to make her happy.

Oh, I like that.

No, but seriously, I want to--

I'd want to try and
sort it out myself.

Well I think that anytime
someone goes to therapy,

they've tried that first.

TAYLOR ARMSTRONG: Yeah, we--

I'm not so sure.

Why do you have to pay a third
person to sit and hear you,

I did this, or he did that?

Sort it out yourself.

For Paul and I, in
the Catholic religion--

we're both Catholic--

you have to see a therapist
before you get married.

If I had to go
to see a therapist

just to make my marriage
better, I would feel weak.

Did you just call
me weak for trying

to work on my own
mental health to save

my marriage for my child?

I just never in a million
years would have expected

the response that I got.

It's rude.

If we needed therapy, it would
probably be me going on my own,

basically.

I think after 29 years,
you're probably fine.

His approach is--

that's not what
Lisa and I would do.

And that's OK too,
that's his opinion.

[INAUDIBLE]

Excuse me, everyone.

Hello, how are you?

It's so hard for me.

But when Ken just
now was making it

a sign of weakness
to be in therapy,

that really hurt my feelings.

(CRYING) I didn't think
that was nice at all.

You are carrying a
dog around Beverly

Hills dressed up in clothes.

My husband's in therapy,
and that's weak?

I mean, I don't know-- that hurt
my feelings really bad, and I--

KYLE RICHARDS: I
don't blame you.

I mean, that wasn't nice.

And I don't care what
they do in England.

Because I'm trying to
keep my family together.

Yeah.

I mean, listen, I think
it takes a lot of courage

and a lot of strength
to not only do that,

but to admit it to everyone
at the table like that.

Kyle is always good at
helping me to calm down.

She was very encouraging.

Because I also thought that
was a little below the belt,

but that is your chance to say--

I know, and then I couldn't.

I cannot believe that
I just let him say that

to me and I didn't do anything.

I didn't speak up for myself.

I didn't say how I felt.

Hello.

Taylor's very manipulative,
and now she's trying to drag

Kyle into her problems with me.

I'll be two seconds, sorry.

Can I please get through
just one night without crying?

Well, at least you
avoided drama by,

you know, starting
anything at the table.

Hmm.

[INTERPOSING VOICES]

La, la, la.

KEN TODD: What
happened to Taylor?

She disappeared.

Taylor and Kyle are in
the bathroom together.

I couldn't even get in.

They were yakking
in the bathroom.

Where is Taylor?

She's by the the ladies room.

Oh.

Did I do wrong talking
about the therapy?

I think you offended
her a little bit--

Did you?
KYLE RICHARDS: --to be honest.

About what?

KYLE RICHARDS: I think you
offended her by saying that--

KEN TODD: Offended her?

That's a big word.

Well, I'm just saying--

OK.
LISA VANDERPUMP: About what?

I don't know what
word she would use.

I'm saying you asked--

No, you said offend.

OK.

I don't know what word
you want me to use.

You said, did I upset her?

KEN TODD: Upset maybe?

OK, let me change
the word to upset, Ken.

KEN TODD: But not offend.

KYLE RICHARDS: OK, whatever word
you want to use, I think that--

Offend is a big word.

Ken, Ken, please.

KEN TODD: No, but it is.
KYLE RICHARDS: Come on.

KEN TODD: It is a big word.

Relax, please, really.

LISA VANDERPUMP: I
wasn't happy to see

Kyle be so aggressive to Ken.

This is Ken's opinion.

He's entitled to it, stiff
upper lip and all that.

His idea of therapy is
pull yourself together.

Unbelievable.

KYLE RICHARDS: He was upset
that I use the word offended.

But that's what she felt. She
was offended by what he said.

I mean, there's so many words
we can't use in this group.

I can't say insecure,
insignificant,

offended, my god.

I need a whole
dictionary for this crap.

WOMAN: Coming up.

You asked me, and I'm
telling you her feelings

were hurt a little bit.

LISA VANDERPUMP: Kyle and
Taylor have become very close,

and I've had enough.

Well, you know, the clothes--
you said the clothes match.

[GIGGLES]

Oh.

I love Giggy, but I don't
know how polite that is,

especially when
the dog's drinking

out of your champagne glasses.

Dogs at the table?

Wow.

KIM RICHARDS: They're
like $550 a glass.

They're very expensive.

And then as Giggy's
done drinking,

Ken like, takes a
nice big gulp himself,

and I was, like, oh my gosh!

Then I like, lost it.

I was like, that is-- ugh!

Remember, my food first.

If the dog gets in
the way, step on it.

KYLE RICHARDS: I think you
offended her by saying that--

KEN TODD: Offended her?

That's a big word.
- Ken--

ADRIENNE MALOOF:
Why, what happened?

Ken.
KEN TODD: I mean, it is.

Please, come on.

- It is a big word.
- Relax.

ADRIENNE MALOOF: What happened?

KYLE RICHARDS: Please, really.

You asked me, and
I'm telling you

her feelings were
hurt a little bit.

The way Kyle
reacted surprised me.

Well, what happened?

I missed this.

About saying he
thinks it's a sign

of weakness to go get help.

KEN TODD: Taylor, did it
upset you, me saying that?

TAYLOR ARMSTRONG: It did.

KEN TODD: I said--

He would perceive it for him--

But then I didn't say--

You said you think therapy--
KEN TODD: No, I--

--a sign of weakness.

KEN TODD: I am an
old Englishman,

and maybe I shouldn't
have said anything.

I wouldn't just
attack you and say

therapy is a sign of weakness.

That's--
TAYLOR ARMSTRONG: You know what?

That's not my style.

TAYLOR ARMSTRONG: I'm
really fragile right now.

I'm going through so much,
that it's just-- it's a lot.

Regardless of what
is said here tonight,

you can't be married for 20
years and not have your issues.

Of course you
have your moments.

Of course, you're going
to have your moments.

Everybody does.

We actually better
go soon, because I have

to meet somebody [INAUDIBLE].

I see Kyle and Taylor
have become very close.

I felt a little uncomfortable,
and I'd kind of had enough.

For a change, I wasn't
a part of the drama.

Thank you so much for dinner.

All right.

Bye, honey.

Bye, thank you so much.

As usual, once
again, I felt judged.

WOMAN: This season on "The Real
Housewives of Beverly Hills--"

[MUSIC PLAYING]

[CHEERING]

That's the smallest
bikini I've ever seen.

OK, I'm loving the sunglasses.

$25,000.

Insane!

That's right.

Beverly Hills, darling.

[INAUDIBLE]

We're going take and we're
going to wash him first.

Do you just put soap on him?

Yeah.

She's washing
it with hand soap!

[LAUGHTER]

[CHEERING]

LISA VANDERPUMP: Kim
grabbed him by the ears.

Big hands, big feet,
big disappointment.

What is going on with the
fans for tomorrow night?

It's against my religion.

Hi, how are you?

Nice to meet you,
I'm your sister.

What are you talking about?

Bam!

Taylor is in a suitcase.

I want to go home.

(CRYING) I feel
like I'm breaking.

ADRIENNE MALOOF: You are.

You're having a
nervous breakdown.

Not another dinner
party from hell.

Do you love him?

Yes.

But this is not something
I chose to do with him

and lose three of my kids.

Now we're officially engaged.

[INTERPOSING VOICES]

PAUL NASSIF: This is dangerous.

I swear to God--

Just don't interfere
with my business.

Wait a minute.

I just said I
didn't do anything.

I'm not sure that I'm
making the right decision.

I can't take him anymore.

Who's that?

I don't know, she's tall.

Younger and prettier
women are often met

with hostility and jealousy.

KIM RICHARDS: You know what?
KYLE RICHARDS: You don't know--

You are--

--you're talking about.

--a goddamn bitch.

Watch your mouth.

I've had my fair
share of interaction

with people that are on drugs.

At least I don't do crystal
meth in the bathroom all night

long, bitch.

You know what?

Brandi, let me
tell you something.

You do not want to go there.

I will [BLEEP] kill you.

OK, OK--
[INTERPOSING VOICES]

[BLEEP] threaten me.

Listen, listen--

[INTERPOSING VOICES]

(YELLING) No, no, enough!

You're a slut pig.

I mean, if you fess up and
just say I missed my flight--

There's nothing to
fess up with, Maurice.

Brandi, I swear, get
your hands off my husband.

Do I have to come over there?

Lisa stirs the pot.

That's the problem.

KYLE RICHARDS: I'm sorry, I hear
a lot of rumours in this town.

I've never seen anything
with my own two eyes.

Don't know who's my friend.

Maybe nobody is.

Taylor, don't [BLEEP]
with me like that.

I don't like that, OK?

(CRYING) If you can't
be my friend, just please,

don't be my enemy.

You need to be honest.

Because that's not cool.

What do you want
from me, Cedric?

Because this is my party,
and you're not invited.

I don't like you.

I will never like you.

You have no idea
what she's done to me!

[INTERPOSING VOICES]

Stop, stop!

KYLE RICHARDS: To learn
more about the housewives,

go to bravotv.com.