After dinner, Nora goes to Dylan’s terraced house on Huxley Avenue with their half-finished wine, reasoning that time together will reveal more about this life. The home—inheritance from Dylan’s mum—is crowded with dogs and chew toys, and the smell and chaos quickly test Nora’s assumptions about her tolerance for such a life.

As they settle to watch the Ryan Bailey film Last Chance Saloon, a cataract Chihuahua named Pedro humps Nora’s leg, and a massive chestnut Newfoundland monopolizes the sofa and licks her ear, leaving Dylan on the floor. Nora feels not happy but not depressed, and the seating arrangement eases immediate awkwardness.

During the movie—punctuated by Ryan Bailey’s “Life is for living, cupcake”—Dylan mentions letting yet another dog sleep in his bed. The combination of constant canine demands and the film’s platitudes clarifies Nora’s unease: she isn’t enamored with this life and believes Dylan deserves the Nora who truly loves him. Noting her higher alcohol tolerance, she sips a ropey Zinfandel and reads a label about Janine and Terence Thornton’s fulfilled vineyard dream, which contrasts with her own misfit feeling.

Resolved, Nora strokes the Newfoundland and whispers a soft goodbye. She leaves Dylan and the dogs behind, recognizing she is occupying someone else’s place and choosing to step away from this version of her life.