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Another World Transcript Tuesday 12/16/03
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Proofread by Linda
Chad: Hey, Mitch.
Mitch: Is Felicia around?
Chad: Yeah, she's been working on that fashion show.
Mitch: Is she in her office?
Chad: She's over by the piano.
Man: How about this?
Felicia: Oh, I like that. That's nice. Roger, excuse me for a second, ok? Hi.
Mitch: Don't you look good.
Felicia: Oh, thank you. So do you.
Mitch: About our talk?
Felicia: Well, I -- I haven't forgotten, I haven't.
Felicia: Good. I mean, it is a real big decision, isn't it?
Mitch: Our future.
Felicia: Right. Look, I know that I said we could talk, but, you see, they moved the fashion show up a couple of weeks earlier, so I have to work with Roger here on the musical score for the models.
Mitch: That's fine. I'll wait.
Mitch: I'm in no hurry. I'm not going to let you get away.
Nicole: You can't believe how important this is. It can't be just any backdrop. I want it to be part of the fashion statement itself. Very contemporary.
Man: Ok, contemporary. We'll have some slashing lights, maybe, and jagged borders?
Nicole: Oh, no, no, no, no, no. Romantic.
Man: Well, you want romantic or contemporary?
Man: Do you want to maybe be a little more specific?
Nicole: Look, what do you want me to do, draw you a picture? For heaven's sake, just try a few things, all right? Show me something. Oh. Hi, John.
Nicole: I'm sorry, Barry. Just -- just try for me, will you?
Barry: Sure, yeah, ok. I'll step in here and see what I can do.
John: This the way you treat the hired help around here, ma'am?
Nicole: Ok, don't you start.
John: What seems to be the problem?
Nicole: Well, I've got Barry here to do a backdrop for me, and I need it to be romantic but modern.
Nicole: The two aren't mutually exclusive, are they?
John: Beats me. So what's your problem?
Nicole: Yeah, we've got four weeks instead of six before we're due in Monte Carlo.
Nicole: Yeah, complete with fashions, models, backdrop, musical scoring.
John: Oh, you can't do it, huh?
John: You're not going to make your deadline?
Nicole: Oh, no, I'll make it. No problem.
John: Then why are you upset?
Nicole: Can you keep a secret?
John: Yeah, come on. I'm the strong, silent type, remember?
Nicole: I'm scared about this show.
Nicole: Terrified. But don't you dare tell anyone, especially not -- Cass. How long have you been standing there?
Amanda: Talking to my dad?
Sam: Yeah. Budget stuff.
Sam: Excuse me.
Amanda: Sam, could we, um -- do you have a couple of minutes?
Sam: Well, I -- I've got a lot on my mind. You know --
Sam: Yeah, that's part of it.
Amanda: I want you to know the Barringtons didn't buy that painting just because of me.
Sam: Amanda -- Amanda, please, that's in the past. Is it ok if we just drop it?
Amanda: No, it's not. Not if you think that I was trying to buy success for you --
Sam: Amanda, please. Let's just drop it, ok? I don't want to fight anymore.
Mac: Hello, Amanda, darling.
Amanda: I want to talk to you.
Mac: What's wrong?
Amanda: I think you know.
Mac: I wish I did.
Amanda: You shouldn't have tried to send Sam away.
Mac: Amanda, I haven't sent anyone anywhere --
Amanda: You want him out of my life so bad that you're willing to buy him out.
Mac: Sam has been offered his choice to go to Paris or not.
Amanda: Because you want him out of my life. You're trying to get rid of him.
Mac: Well, I wouldn't mind that one bit.
Amanda: I knew it!
Mac: Then he wouldn't be able to hurt you anymore.
Amanda: Hurt me?
Mac: Look at you, darling.
Amanda: You're trying to make it so that he can't love me.
Mac: Does he love you, Amanda?
Amanda: Well, he's -- with everything that's been going on -- everything was fine until I spoiled it.
Mac: Oh, darling, listen to yourself. This is just what I mean.
Mac: Well, you're constantly being upset. You're worried. You're blaming yourself about --
Amanda: I'm fine. I'm fine.
Mac: You told me you were going to quit "brava" because you couldn't stand seeing him here.
Amanda: I didn't mean that.
Mac: Amanda, sweetheart, I love you. I think it's a father's right to want what's best for his child.
Amanda: I know.
Mac: And I just honestly don't think he is that for you.
Amanda: But I love him.
Mac: I know you do. I wish you didn't.
Amanda: I don't understand. How can I love someone that doesn't love me?
Mac: I know how it hurts. To think you love someone who doesn't love --
Amanda: I don't think I love him. I know that I do.
Mac: Yes, I know, darling.
Amanda: Don't you think I know how I feel?
Mac: But I just can't stand seeing you like this. I don't understand why he is doing this to you. Why does he walk out on his responsibilities?
Amanda: He wouldn't be walking out if you didn't give him a way to do it.
Mac: Oh, come on, Amanda. He walked before I said a word, and I still think I have done the right thing.
Amanda: Trying to buy him out? Trying to make me hate him?
Mac: I have done nothing but offer him a choice. I have opened a door.
Mac: He's the one to make the decision, and how he decides about going to Paris is going to tell you how he feels about you. And I hope you're ready for that.
Felicia: Well, that's -- that's quite a statement.
Mitch: I'm expecting quite an answer. How long will you be?
Felicia: Um -- I don't really know. Probably not too long.
Mitch: Ok, well, that's all right. I've got some errands to do. I'm going to go by my room.
Mitch: But I will be back.
Jason: Would you like dessert?
Woman: Oh, no, thank you.
Jason: Well, I'll pass, then, myself.
Woman: This was an unusual way to apply for a mortgage loan.
Jason: I thought it'd be a lot nicer than sitting at the bank with your phone going off every two seconds and people walking back and forth.
Woman: Oh, it was lovely, thank you.
Jason: It was my pleasure. I want that farm very, very much.
Woman: I know. Anyone who bids 200,000 is definitely enthusiastic.
Jason: Well, my problem is I can only come up with about 10% for a down payment. I know the bank --
Reginald: Well, my goodness, Joann Pettigrew. How nice to see you.
Joann: Oh, hello, Reginald. How nice to see you.
Reginald: You're looking lovely as usual.
Joann: Oh, thank you. And how are you?
Reginald: Couldn't be better.
Joann: Jason frame, this is Reginald --
Reginald: Ah, yes, Mr. Frame and I know each other quite well. But I must admit, though, I'm a bit puzzled.
Jason: What's your problem, Reginald?
Reginald: Well, I overheard a bit of your conversation.
Jason: I'm sure you did.
Reginald: Why would a man who isn't going to be in Bay City much longer be interested in a mortgage.
Jason: You've got your facts all wrong.
Reginald: Do I ?
Jason: Bay City is my home from now on.
Reginald: Good luck.
Jason: Thank you.
Reginald: So nice to see you again, Joann.
Jason: Where do you know Reginald love from?
Joann: He owns the biggest bank in Bay City. You have to know your competition.
Jason: Yes, of course, right.
Joann: As to your request for 90% financing --
Joann: I'll run it past my people and get back to you.
Jason: Do you see any problems?
Joann: I doubt it.
Joann: Why don't you call me later this afternoon? I should have an answer by then.
Jason: That soon?
Joann: We have all the necessary paperwork in place. Besides, it was a lovely lunch. I owe you one.
Jason: Thank you.
Reginald: Jason frame wants a loan from Bay City federal.
Reginald: We'll have to do something about that.
Nicole: I was just telling John that I was a little scared that we wouldn't be able to put it all together before the new deadline.
Nicole: It was just a momentary lapse.
Cass: Are those the plans for the construction?
John: Yeah. I've got an itemized estimate on each section. I kept it as low as I could. Here you go.
Cass: Yeah --
Nicole: Oh, John.
Cass: You did that on purpose, didn't you, huh?
Nicole: That's nice.
Cass: Yeah. Can the closets be built-in?
John: Sure, if you want.
Nicole: Well, that'll make the room seem awfully small, won't it?
Cass: Yeah, but we -- we do need the storage space. What do you think, john?
John: I think I'd be a lot better off staying out of this.
Cass: Well, fine. I'll defer to Nicole's judgment.
Nicole: Oh, no, no, please. If you want to waste room space, go ahead.
Cass: No, skip it. What's the cappuccino bar doing over on that side?
Nicole: Oh, I asked john to move it.
Cass: May I ask why?
Nicole: Well, I thought it would be better if it weren't the first thing you saw when you walk in the room.
Cass: But it isn't. It's screened in.
Nicole: No, it's not. Not now.
Cass: Oh. What other changes have we made here?
John: Excuse me.
Cass and Nicole: What?
John: When you two make up your mind exactly what you want, give me a call. I've got people to hire.
Cass: Oh, right. It's just some minor misunderstandings, John.
Nicole: Yeah, no real problems, John. We'll have everything ironed out by the time you get back.
Cass: No problem.
Nicole: Ok, now, look, Cass, the cappuccino bar isn't the first thing I want the customers to see when they walk in.
Cass: Are we going to argue over this? Look -- I'm the partition, and I'm screening off the cappuccino bar, ok?
Nicole: No, that's not ok --
Cass: Yes, yes, and you -- vroom -- are the client walking in, aren't you? Now what do you see?
Nicole: I'm looking at you.
Nicole: Well, because you have a nice shirt. And that tie -- it really sets off your eyes.
Cass: Nicole, don't pull this cute stuff here.
Nicole: Oh, I'm not.
Cass: You're looking at me like I'm a person, but I'm not. I'm the wall. You wouldn't look at a wall, would you? You would -- you'd look in this direction or you'd look in this direction, but you wouldn't look in that direction. Would you? Well?
Cass: Oh. Nicole?
Nicole: No, I heard you. I -- I mean, you're right, you're right. I -- I wouldn't see the cappuccino bar.
Cass: You know, we got to stop playing games.
Nicole: I'm not playing games.
Cass: After all, in the long run, we both want the same thing, don't we? Don't we?
Cass: Don't we both want the same thing?
Nicole: Well, I don't know. I hope so.
Cass: Would you mind if I get very personal here?
Nicole: Oh, please. Please do.
Cass: I heard what you just said to john, about being scared.
Nicole: Oh, uh -- well, all I meant was --
Cass: No, I know exactly what you meant. And you want to know something?
Cass: I'm scared, too. We both have a lot at stake here.
Nicole: I know.
Cass: I'm not talking the money. I'm talking our reputations, who we are, who we think we can be. We put ourselves on the line.
Nicole: Right. And if we fail, we take --
Cass: We take a lot of people down with us.
Nicole: Yeah. I've never felt so responsible.
Cass: But we can't let that cripple us. We can't let that worry us.
Nicole: Oh, really? Well, I don't know about you, but I --
Cass: We just have to realize that that's part of being scared, that's part of why we're scared, and then we got to get back to work.
Nicole: That's easy for you to say, but I'm the one who's got all this --
Cass: We made a pact, remember? Yesterday?
Nicole: Yeah -- partners, all the way.
Cass: Well, that means dealing with our fears as well as dealing with our work.
Cass: Come to me next time instead of John. Let me help you.
Nicole: Thanks. You can be so sweet sometimes.
Cass: What about those plans?
Nicole: Yeah. Ok. I think you're right. I think the cappuccino bar should be over there.
Cass: Right. And we can forget about the built-in closets. We do need the space.
Nicole: Well, thank you.
Cass: Don't mention it. That wasn't so tough, was it?
Nicole: No, it wasn't.
Cass: Hey, together, we can do anything.
Nicole: Yeah, today a cappuccino bar, tomorrow --
Cass and Nicole: The world.
Cass: I'm going to go and check on the backdrop that Barry's been working on.
Nicole: That's a good idea. You tell him that he can be contemporary and romantic at the same time, ok?
Cass: What's the matter with him? Hasn't he read Felicia Gallant's novel?
Nicole: I guess not.
Cass: Hey, Barry, we got to -- can we talk, Barry?
Reginald: I don't care how we get around the security laws, I want that company. Now make it happen.
Man: Yes, sir.
Reginald: What do you want?
Jason: I didn't know you owned a bank. I should've come to you for my loan.
Reginald: Maybe you should've stayed where you belonged.
Jason: I am right where I belong. Have a nice day.
Reginald: I don't want him in Bay City.
Man: His loan application is at Bay City federal?
Man: I'll take care of it.
Scott: Listen, I've taken care of all the copyright, but the publishing business is a whole other ballgame.
Chad: Oh, ye, I hear you. You know, I got a couple of connections in Chicago with some music publishers. I'll give it a try.
Scott: You think it'll go?
Chad: Can't hurt. It's a good song.
Scott: Listen --
Chad: No, it's a great song.
Scott: If we can get this thing published, get it in Dawn's hands, it'd be great.
Chad: Yeah, just to see the smile on her face. Maybe even get a record deal.
Scott: A record? You really think you could swing that?
Chad: I'll give it a shot.
Scott: Chad, that's a great idea!
Chad: Yeah. How'd she look this morning?
Scott: She was all right.
Chad: Yeah, she looked kind of pale to me.
Scott: No, she's doing all right, she's doing better. She's still worrying about everybody else but herself.
Reginald: Hello, son.
Scott: Hello. Look, I'm going to leave this with you, all right?
Chad: All right. Good. I'll see you later. Mr. Love.
Reginald: Chad. Scott, I -- I was terribly upset to hear that dawn had aids. I can't begin to tell you what a shock it was --
Scott: How did you find that out? We weren't going to tell anybody she had that.
Reginald: And I'll never repeat it again. But I am sorry, so sorry.
Scott: Ok, fine. I just am not in the mood --
Reginald: I thought perhaps you might need a father at a time like this.
Scott: I can handle it.
Reginald: Well, of course you can. It's not going to get easier.
Scott: I know that.
Reginald: I was thinking, I could put some money aside to help --
Scott: It's always money with you, isn't it? That's all it is!
Reginald: It seemed like something you might accept from me.
Scott: Listen, I -- I'm not going to fight with you about this.
Reginald: I didn't come here to quarrel, son, just to offer my help --
Scott: Dad, even you can't beat these odds. This is personal. Excuse me.
Reginald: Let me know if you need anything.
Mitch: What's up?
Sam: You got a couple of minutes?
Mitch: Well, I had made plans to talk with Felicia for a minute.
Sam: Well, I just needed to talk to you for a little bit, so --
Felicia: Hi, Sam. Did you come here to see Mitch?
Sam: Yeah, I kind of needed to talk to him for --
Felicia: Oh. Well, all right. We can talk later. I mean, we waited this long, right? Great. Bye-bye.
Sam: Bye. Did I come at a bad time?
Jamie: Hey, sis.
Amanda: Hi. Um --
Jamie: Are you ok?
Amanda: Yeah. I'm just waiting for an appointment with Dr. Crane.
Jamie: Hey, come on now. What's wrong?
Amanda: It's Dad.
Amanda: He's sending Sam to Paris.
Amanda: He offered Sam a job in Paris. I can't believe he did it.
Jamie: Sam turned it down, didn't he?
Amanda: Not yet.
Jamie: What is wrong with this guy?
Amanda: It's a very good job, Jamie. Dad made sure of that.
Jamie: Yeah, but you're pregnant.
Amanda: Are you on Dad's side all of a sudden?
Jamie: No, I'm not on Mac's side. I think everybody's on your side, including Mac.
Jamie: Have you talked to Sam lately?
Amanda: I can't even get two words to him.
Amanda: Because he found out that the people that bought his painting are friends of Mom's. He thinks I arranged the whole thing.
Jamie: Did you?
Amanda: No! I sent some letters to people that usually buy Mom's stuff. I just told them to take a look at the painting.
Jamie: There's nothing wrong with that.
Amanda: Yeah, tell that to Sam.
Jamie: Boy, this guy's got a real problem about people with money, doesn't he?
Amanda: Yeah, I know. But -- but he's so sincere and honest. Jamie, what am I going to do?
Jamie: You really love this guy?
Amanda: Yeah, I really do, even if Dad doesn't think that it's real. Answer me something honestly.
Amanda: Should I ask him to stay in Bay City?
Sonny: Whoa -
Jamie: If you asked Sam to stay in Bay City, would he do it?
Amanda: Yeah, I think so.
Jamie: Is that what you want?
Amanda: I want him to stay, but I want him to want to stay.
Jamie: Not just an obligation, right?
Jamie: I got to tell you that anybody who would want you because they felt obligated has got to be completely out of his mind.
Amanda: I think you're biased because you're my big brother.
Jamie: I think I'm being completely objective.
Jamie: Well, you can be a little unpredictable at times, and sometimes very stubborn, but altogether, I think you're pretty terrific.
Amanda: Would you mind putting that in writing?
Jamie: Anytime --
Jamie: And so would your dad. He only wants the best for you.
Amanda: Then he shouldn't try to run Sam out of town.
Jamie: And so don't be angry with him. Now, come on -- you got to remember, you see yourself as an 18-year-old woman with problems. Well, Mac sees those problems, too, but those problems are hurting his baby.
Amanda: I guess so. I wonder if he'll feel the same way when I have a baby in my arm.
Jamie: Well, sure he will, and you'll feel the same way he does.
Jamie: Well, when that baby's 18 and there'll be times when you look at that kid and all you'll see is your baby.
Amanda: Oh, wow.
Jamie: No, it's true.
Amanda: Jamie, don't know the first thing about being a mother.
Jamie: Well, babies have a way of being patient with new mothers.
Amanda: Jamie, I just -- I just thought of this. I don't know how to change a diaper! I don't know how to feed a baby!
Jamie: So you ask Mom or Grandma, or you get Dr. Crane to give you the names of some books on childcare, ok?
Amanda: Right, I better.
Jamie: I mean, you do have a few months to do this research.
Amanda: Don't tell anybody I just panicked like that, ok?
Jamie: My lips are sealed. Things will get better. I promise.
Amanda: I better get to my appointment. Bye.
Mitch: Did you make your mind up about Paris?
Mitch: Why not?
Sam: It's tough, Mitch. So, what did you want to talk to Felicia about?
Mitch: Getting married.
Sam: You going to ask her?
Mitch: I already have.
Sam: This is voluntary, right?
Mitch: Yeah, believe it or not, some people like the idea of marriage.
Sam: Tell me -- how did you know?
Mitch: How did I know what?
Sam: How did you know that you were in love with her?
Mitch: I just knew it.
Sam: There's nothing that -- I mean, there wasn't something that clued you in, that told you it was right?
Mitch: I realized I wanted to live my life with her.
Sam: Sounds to me like you need to romance the lady.
Mitch: It does, doesn't it?
Sam: That's how it was with Mandy.
Mitch: In what way?
Sam: It was romantic, no matter what we did. Two tacos were romantic. And then she turned into Amanda Cory.
Mitch: And that was it?
Sam: That was enough.
Mitch: You might not like the sound of this, but I can't see that there's any difference between Amanda and Mandy.
Sam: Oh -- so this is all in my head, right?
Mitch: Yeah, yeah, something like that.
Sam: Mitch, she lied to me, man! She used me --
Mitch: It doesn't make any difference. How do you feel about her? I mean, do you feel the same way?
Sam: I don't know.
Mitch: Does she know about your going to Paris?
Sam: Yeah, she knows.
Mitch: And what does she want?
Sam: Mitch, I have no idea what she wants. She's got her family, man.
Mitch: Are you ready to leave her? Leave a baby?
Sam: I don't know how to be a father, Mitch.
Mitch: Well, hey, don't worry about that. I'm sure it'll come naturally.
Sam: What, you don't know?
Mitch: I missed a lot of Matthew's childhood.
Sam: I hope that's not the way it is with me, missing out on my kid's childhood.
Mitch: Well, it's going to be unless you do something about it.
Mitch: Like let's get busy.
Mac: We're really going to miss you.
Cass: Oh, I hate to do this to you, Mac.
Mac: Nonsense. You should do it. Nicole needs you.
Cass: Well, when I started helping her out, I thought it was just going to be a part-time thing.
Mac: Well, it's always that way with a business that's just beginning. But my bet is you're going to be a tremendous success.
Cass: Well, keep your fingers crossed.
Mac: And there's always a position for you here, you know.
Cass: I sure do appreciate that, Mac.
Mac: Things must be pretty hectic if they moved your deadline up on you.
Cass: Oh, hectic doesn't even to begin to describe it.
Mac: But Nicole must be very easy to work with, isn't she?
Cass: Well, you know, we've had our problems like any new partnership -- of rough spots.
Mac: Yeah, of course.
Cass: But all in all, things are working out very well, yes.
Mac: Good, I'm very glad to hear it.
Cass: Nicole is -- well, Nicole is not exactly what I expected.
Mac: Well, she's not just a rich society girl.
Cass: Definitely not.
Mac: And she's not hard on the eyes, either.
Mac: She's worked very hard to make a name for herself. She is special.
Cass: Very special.
Cass: I didn't know you were here.
Nicole: Hi. I thought I'd drop some things off.
Mac: Hello, Nicole.
Nicole: Hi, Mac.
Mac: We were just talking about you.
Nicole: Really? I didn't hear a thing.
Cass: Oh, well, I was telling Mac that you're a real slave driver.
Nicole: Oh, me?
Mac: Cass did say they moved your deadline up two weeks?
Nicole: Yes. It's a pretty tight schedule.
Mac: I'm sure you two will make it.
Nicole: Maybe we will. This is the proof for the salon opening? The invitation -- Amanda needed it.
Mac: Oh, yes, Amanda told me. She's going to use this as the background on the first page.
Nicole: I really appreciate all the publicity you're giving us.
Cass: Oh, Mac, great publicity -- and it's free.
Nicole: Yes, he especially loves the free part.
Mac: Well, after all, "brava" is getting something, too -- exclusive photos of the first showing.
Nicole: I read Amanda's article.
Mac: Did you like it?
Nicole: She knows what she's doing. She really does.
Mac: She does, doesn't she?
Cass: And she has such amazing powers of observation for such a young woman.
Nicole: Yeah, that's because she called him "innovative" and --
Mac: I'm very proud of her. That article was really first-rate.
Nicole: It must be really nice having your daughter following in your footsteps and you right there to help her.
Mac: Yes, it is.
Nicole: When I was little, my father -- well, you know my father.
Cass: Listen, I better get back over to the design house and make sure that Barry hasn't gone off the deep end on that backdrop. Oh, by the way, we have to cover the air freight charges to Monte Carlo, you know.
Mac: Good luck, Cass. Take care of yourself.
Cass: Thank you, Mac. You, too. I'll see you back at the salt mine, Nicole? Soon?
Nicole: Keep your shirt on.
Jason: Does Lisa know about this pretty young lady I just saw you talking to?
Jamie: Oh, yeah, all about her, uh-huh.
Jason: And she doesn't mind?
Jamie: Oh, not in the -- not in the least, no.
Jason: She's got to be the most broad-minded woman I have ever met.
Jamie: Amanda's my sister.
Jason: What, Rachel's girl?
Jason: Oh, gosh.
Jamie: Say, Mom tells me you were doing some pretty heavy bidding at the auction the other day.
Jason: Yeah, I hope there's no hard feelings.
Jamie: Not from me.
Jason: I know your mom wanted to buy that farm for you. It's just been so long since I've had any real roots and a real home.
Jamie: I understand.
Jason: Good, because that's the last thing I wanted to happen was to get off on the wrong foot with you.
Jamie: Well, we didn't.
Jason: Great. Now, as soon as I get my loan -- which could be momentarily -- I'm going to start fixing the place up and I want you to know you're invited. You're welcome, 24 hours a day.
Jamie: Great, sounds great. You know, we still haven't figured out a time to have dinner together.
Jason: Name it. I'm available.
Jamie: Well, what about tonight?
Jason: Tonight? Hmm, I'm not doing anything.
Jamie: Well, how about it, then?
Jason: Yeah, but that's awful short notice. Are you sure?
Jamie: Well, why waste time?
Jason: A man after my own heart.
Jamie: Well, then you'll come?
Jason: Of course I'll come. I'll bring a bottle of champagne and we'll celebrate my loan.
Jamie: Well, terrific. How about, um -- 8:00?
Jason: I am yours.
Jamie: Great. Let me give you the address, then. Fantastic.
Jason: Got it.
Jamie: See you then.
Jason: Hey, take care.
Sam: Excuse me. I'm looking for books on like, you know, being a father? You know, how to raise a baby and stuff like that?
Woman: Mm-hmm. 300.
Sam: Excuse me?
Woman: Down that aisle, far end, on your right.
Sam: Oh, great. Thanks.
Woman: If you don't find what you want, you go around the corner to the next aisle. They'll all have listings of 300 to 301.9.
Sam: Great, got it. Thanks. Ok. "Raising Babies." "Your Baby, Your Way." "Giving Birth." Ok, where's the stuff about being a dad? "How to Father."
Both: Oh, I'm sorry --
Sam: Amanda. What are you doing here?
Amanda: What are you doing here?
Sam: I'm just getting some books with some good color reproduction, you know.
Amanda: Oh. Find anything?
Sam: Yeah. I mean, no, not really. Just some Monet and Degas. You know, nothing modern.
Amanda: French, though.
Amanda: You're looking at books of French painters.
Sam: Yeah. How about you?
Sam: Your book.
Amanda: Oh, my father told me about it.
Sam: Well, I guess he probably knows what's best.
Amanda: Sam, I really don't like the idea that he's trying to send you away.
Sam: You don't?
Amanda: He's just thinking of me, you know. He loves me. He's standing by me.
Sam: Yeah, by trying to get rid of me.
Amanda: Look, I know it's a good deal and everything, but I really wish he hadn't done it.
Amanda: Well, because now I'm fighting with him, and he's somebody that I really need to depend on right now. I don't know what I would do without him.
Sam: Well, good. I'm glad you're happy.
Amanda: So you're getting your books. Are you all set to go?
Sam: Well, they're just books.
Amanda: About artists that live in Paris.
Sam: Well, yeah.
Amanda: So does this mean you've decided to go?
Sam: Do you want me to go?
Mitch: Kind of late.
Felicia: I had some things to do. I'm sorry.
Mitch: It's ok.
Felicia: Flowers are beautiful.
Mitch: Yes, they are. Thank you.
Felicia: You didn't have to do this.
Mitch: No, I know that. I wanted to. Would you like a glass of champagne?
Felicia: No. It's a little early, I think.
Felicia: Mitch, I'm sorry. Look, I think a glass of champagne would be lovely. Thank you. So, did you work things out with Sam?
Mitch: We talked.
Felicia: Good. You know, he's very lucky to have you here to talk to.
Mitch: Let's not get on that subject.
Felicia: Thank you. It's just that --
Mitch: How about some canapés? Voila.
Felicia: Mitch, what do you think you're doing here?
Mitch: I'm offering you some of your favorite hotdogs. I mean, they are your favorites.
Felicia: You know perfectly well they're my favorites. You know that I love champagne and roses and surprises and --
Mitch: Then shoot me.
Felicia: I mean, I can see what you're trying to do here. I can.
Mitch: Then why don't you tell me what it is. Why don't you fill me in.
Felicia: You're pressuring me. You're trying to pull out all the big guns so I will say what it is you want me to say.
Mitch: What a jerk I am.
Felicia: Come on, Mitch. This is right out of one of my novels. This isn't you.
Mitch: Then what would you like for me to do? Do you want me to go get a bucket of chicken and some beer?
Felicia: Well, that would certainly be more honest. It would be more --
Mitch: You're the romantic. I'm not trying to pretend to be something that I'm not. I'm just trying to make an honest effort.
Felicia: I know.
Mitch: I didn't mean to pressure you.
Felicia: Mitch, don't go. Please. I -- I'm just a little scared.
Mitch: You seem to be more angry or upset than scared.
Felicia: It's just that being scared is not one of my strong suits. I'm afraid I -- I lash out, and I create diversionary tactics. The flowers and the wine were really very nice of you.
Mitch: Don't change the subject.
Felicia: And you are being very romantic, and I'm being -- I'm being very wrong. I'm sorry.
Mitch: That's still not the subject. What are you afraid of? Me?
Felicia: What, are you kidding? How would I ever be afraid of a guy who would serve me hotdogs on a porcelain plate, huh?
Mitch: Then what is it? Are you still in love with Zane and you're afraid to marry me? Is that it?
Felicia: We both lost a lot in life. We've both been hurt.
Mitch: That's it, isn't it?
Felicia: No -- this has nothing to do with you or Zane. It has to do with being -- it has to do with being pinned down, you know? It has to do with "till death do us part."
Mitch: And you're afraid that if you marry again, that -- that that's what it's going to be.
Felicia: I -- I couldn't lose that much twice. I couldn't.
Mitch: So what's the solution? What are you going to do, just put yourself in a situation where you don't ever care about anything again? Is that it?
Felicia: Wait a minute. Now, that's not fair. You're not supposed to have insights. You're supposed to be monosyllabic and masculine and that's it.
Mitch: Does all of this put pressure on you?
Felicia: It's really lovely.
Mitch: Well, good. Because it's going to keep coming.
Felicia: You're not mad at me, are you?
Mitch: No, I'm not mad. I mean, I'm not the expert with all of this, but I know that it's not something to rush and I'm going to be patient. There's no hurry. It's ok.
Felicia: Thank you.
Mitch: I mean, it's not like digging ditches, you know.
Felicia: You really do say the sweetest things.
Mitch: I'm also saying that I'm not giving up. And whatever it takes, whether it's roses and champagne or planes and trains or whatever big guns it takes to get you to say yes -- who knows, I might even write you a poem.
Felicia: Oh, please, stop.
Mitch: Don't be scared, kid. Nothing's going to happen to us.
Amanda: It's not my decision.
Sam: Yeah, but sometimes I get these vibes from you, like --
Amanda: Like what?
Sam: Like you want me to stay or you want me to go. Which is it?
Amanda: It's your life. You're going to have to make your own decision, find out what it is that you care about. I certainly don't want to be the thing to stand in your way.
Sam: Amanda, I'm not asking whether or not you want to stand in my way.
Woman: Ahem. Shh.
Amanda: I'm not going to press you either way, Sam. You'd probably just misinterpret it, anyway.
Sam: What do you mean?
Amanda: Like the painting.
Sam: Look, I don't want to discuss that painting.
Amanda: Fine. I have to go get some more books for my father. Excuse me.
John: So the deal is you'll be working 10-hour days and, more than likely, seven days a week.
Man: They really do want it done quick.
John: They want it done yesterday.
Man: Who's going to buy the beer on this job?
John: I am.
Man: All right.
John: After work.
Man: Aw, john, you have turned into such a hard hat.
Second man: I mean, is this the guy who used to close all the joints?
John: Look, we are going to do good work and we're going to do it fast. Cool it, you guys. Here comes the boss.
Man: I knew there'd be a nice reward.
Second man: Leave it to Hudson.
Nicole: Sorry, John.
John: Hey, Nic, let me.
Nicole: Oh. I don't know why I put so much stuff in it.
John: Where's it go?
John: One of the offices?
Nicole: No, put it in one of the empty rooms. I'm moving in here.
Nicole: Yeah. I checked out of the hotel.
Nicole: My room was too close to Cass.
John: So you came all the way over here?
Nicole: Yeah. What's wrong with that?
John: Why didn't you just take another room at the hotel?
Nicole: We'd still be in the same building. It's too much to be around him 24 hours a day. We need space.
Felicia: How are you holding up?
Cass: Things are better.
Felicia: With Nicole?
Cass: We made a truce.
Felicia: Great. You're living up to your end of it?
Cass: Yes, Mother.
Felicia: Oh, come on. Don't be like that.
Cass: Well, I never know when things are going to explode in my face, but yeah, we're ok. Are you sure that's all that's bothering you?
Felicia: I know that you're under a lot of pressure right now.
Cass: Oh, please. Don't talk to me about pressure. I mean, between the models and travel arrangements and the artists for the backdrop and the composer -- I mean, you should see his fee. And then today I get this.
Felicia: What is it?
Cass: I don't need to hear about pressure. This is the hotel bill. I picked it up on the way in.
Felicia: What are you doing with this? This is supposed to go to me.
Cass: Yeah, but I just wanted to see what kind of a tab I'm running up. Felicia, I can't let you do this anymore.
Felicia: All right. Why don't you think about getting an apartment?
Cass: I got a better idea. I'm moving into the design house.
Cass: Well, sure. Right above the salon. What could be better?
Felicia: Oh, no, Cass, this is crazy, I'm telling you.
Cass: No, it's free. Now give me that.
Felicia: No, no, no, don't be silly. It's mine.
Cass: Thank you. See you later.
Jason: Ms. Pettigrew. Hi. Jason frame.
Joann: Yes, Mr. Frame. I'm afraid the bank cannot agree to 90% financing.
Jason: How about the fact that I'm a veteran. Does that help?
Joann: I'm afraid the loan's been denied.
Jason: I thought you didn't anticipate any problems.
Joann: I'm sorry. Perhaps if you went to another bank --
Jason: No, I am dealing with your bank. Did you talk to Reginald love again?
Joann: I -- no, I haven't spoken to anyone.
Jason: Someone upstairs talked to Reginald love. Is that it?
Joann: Mr. Frame, the bank's decision-making process is based on a good many factors. I'm not free to discuss them with you.
Jason: All I want is a yes or no answer. Did Reginald love have anything to do with that decision? Never mind.
Jason: You think you're going to beat me, Reggie? Let me tell you something. You're going to get a lot more than you bargained for.
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