13. He shows her his fancy new product-placed Audi sports car. She pleads, “Can I drive? Let me drive. Let me drive it.” He ignores her and drives it himself.
14. He takes her to a beautiful lakeside mansion, and she says she feels as though she’s been there before. He reminds her that she saw it when they were out on the sailboat in the previous movie, so he bought it for her.
Christian is so impressed with Ana’s transformation that he allows her to drive the car
15. He’s hired an architect, Gia, who meets them at the house. She is beautiful and clearly has her eyes on Christian. Will she be the foil/complication that this limp film so desperately needs? No, she will not. This is the only time we see her, although characters will refer back to how wonderful her breasts are on multiple occasions.
16. Gia wants to tear down the entire mansion and replace it with an ultra-modern “smart home” featuring self-cleaning windows. Ana hates this idea and hates the way Gia looks at Christian, so she tells her, “You may call me Mrs. Grey. Or you can get back into your shit-colored car and drive back to Seattle.” It’s genuinely head-spinning how quickly Ana has changed her mind on the whole surname question and gone from Nice Girl Next Door to Nasty Entitled Rich Person. But at least she doesn’t call Gia “riff-raff.”
17. That puts him a full four months ahead of Saudi Arabia, which has announced that it is rescinding its ban on women drivers in June. Delighted at her newfound right, Ana enthuses, “I’m a race-car driver!” Attentive viewers may notice the echo of the last movie, in which Christian let her take the wheel of the sailboat and she gushed, “I can’t believe I’m doing this! I’m the captain!”
18. A mysterious SUV starts tailing them-is it Jack?-leading to what ic car chase committed to celluloid since the retirement of the Model T. After losing the SUV, they pull into a parking lot. Ana giggles.
19. Christian needs to go to New York for meetings. Ana offers to give him a haircut and asks where the scissors are. He says they’re in his desk, and when she goes to look for them she finds a revolver. Is this an example of the dramatic principle of “Chekhov’s gun”? Of course it is. While Ana cuts Christian’s hair, he gropes her. She giggles.
Later on, he will take her to the Red Room and torment her with a vibrator without allowing her sexual release
20. Christian, concerned about the possible threat from Jack, makes Ana promise to come directly home from work while he’s out of town. Instead, she goes out drinking with her friend Kate. When she gets back to the apartment, Jack is waiting for her with a kitchen knife. Luckily, he’s captured by Ana’s two security guards. One says, “You better restrain him.” The other replies: “I don’t have anything.” Ana announces: “We do.” This is the high point of the movie so far, and perhaps the only intentionally comic moment of the series to date.
20a. It’s worth noting that Jack, whose only job that we’re aware of was as a fiction editor, has essentially become a super-criminal, capable 
of penetrating extensive security to attack Christian’s corporate office and very nearly kidnap his wife. Keep this in mind the next time you piss off a fiction editor.
21. When Ana wakes up, Christian is back and is angrily morning-drinking. He explains that this is how he feels when she doesn’t do what he asks. It doesn’t seem like a very apt comparison.
