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Another World Transcript Wednesday 1/14/04
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Proofread By Ebele
Nicole: I was just going upstairs. I had some work to do.
Cass: I think maybe I'll go out for a while.
Nicole: Ok. Sure.
Cass: I'll see you later.
Nicole: Oh, it wasn't that big a deal, Nicole. Come on.
Nicole: Or was it?
Donna: Well, I think one more trip ought to do it.
Bridget: Oh, Miss Donna, do you have to do this now?
Donna: Yes, why not? I mean, Michael has plans for tonight. What else do we have to do?
Bridget: Well --
Donna: Besides, I don't have any maternity clothes at the suite, and I am going to be needing them very soon.
Bridget: But, Miss Donna --
Donna: What? Michael.
Bridget: Oh, Mr. Michael, I told her that we should stay back at the hotel, but you know Miss Donna. She insisted.
Donna: Well, Michael, I thought you had plans tonight. What are you doing here?
Michael: Well, I've got a better question -- what are you doing here?
Jason: Are you ready?
Mary: Oh, you don't have to bother taking me.
Jason: Mary --
Mary: No, no, seriously. My car is right outside.
Jason: I'm sorry.
Mary: Did I actually just hear the words "I'm sorry" issue from your lips?
Jason: It's not that unusual.
Mary: Well, neither are hurricanes, but, you know, people are still surprised.
Jason: Mary, what you are doing tonight -- I've thought a lot about it, and before, all I could think about was how it would help nail Reginald.
Mary: Well, that's what we're all thinking about, isn't it?
Jason: Yes, but did you talk to your doctor about doing this?
Mary: No. Why should I?
Jason: Let's say you go in the room, Elizabeth's room, and you -- you suddenly remember everything that happened. It is probably not going to be a pleasant memory.
Mary: No, I expect if I witnessed a murder, it's not going to be.
Jason: Then how -- what is it going to do to you?
Mary: Probably, I will then be a very upset lady with a memory.
Jason: Yeah, well, I thought about it a lot. I want Michael and myself to go in the room alone, without --
Jason: I don't want to put you through it.
Mary: I'm putting me through it.
Jason: I got a very good idea of what happened that night. I didn't see it, but I wouldn't want to see it. And maybe the best thing is that you don't have to relive it to remember it.
Mary: No. Nothing that could come back to me could possibly be more frightening than not remembering and imagining. Jason, I'm doing this for me.
Jason: Are you sure?
Jason: All right, then let's go.
Scott: Mom --
Mary: Hi, honey.
Scott: I'm sorry, were you guys going somewhere?
Mary: Yeah. What's the matter?
Scott: I got to talk to you. It's about Dawn. Ok?
Jason: It's all right.
Ada: Why did Mac have to leave?
Rachel: He's upset. Amanda and Sam haven't been back for a day, and already everything's messed up.
Ada: Why did Sam resign?
Rachel: Well, I can understand that.
Amanda: Then tell me.
Rachel: Because Mac won't get over his resentment of Sam.
Ada: Well, Amanda and Sam will have to work that out.
Rachel: To what end? Amanda's just going to side with Sam.
Ada: Smart girl. Sam's going to be her husband.
Rachel: Mac loves her, Mom. He thinks he's lost her. I never should have let him go over there by himself. I should have gone with him.
Ada: Maybe you should have.
Rachel: Maybe what I should do now is go over and talk to Sam and Amanda.
Ada: Maybe you shouldn't do that.
Rachel: Mom, I can't just stand here and watch this happen.
Ada: Well, it looks like you're going to have to.
Sam: I'm sorry.
Sam: I shouldn't have resigned from the magazine without telling you first.
Amanda: No, you shouldn't have.
Sam: Amanda, I didn't do this because of your dad. I feel good about this decision. I was kind of hoping you'd feel the same way.
Amanda: I took your side over my father's, didn't I?
Sam: Yes, I know, and I know how hard that was.
Amanda: It was. I saw the hurt on his face.
Sam: Amanda, maybe it won't be so bad. Maybe your father and I will learn to get along if we're not working together.
Amanda: Not if you're in different cities.
Amanda: Yeah, "oh." You still haven't answered my question. Are you planning to move us out of Bay City?
Amanda: You really are serious about this, aren't you?
Sam: What if we took off, Amanda? What if we left all this behind, all these problems?
Amanda: You think that's possible?
Sam: Yeah, we'd get married. We'd go someplace else and start fresh. You really hate this idea, don't you?
Amanda: Um -- I don't know. I can see your point.
Sam: You can?
Amanda: All right, where would you want to go?
Sam: Seattle, maybe.
Amanda: Oh, ok. Now I understand. You don't want to stay in my hometown, you want to go to yours.
Sam: No, I didn't mean it that way. I don't know, I thought you'd might like to see it. It's where I grew up.
Amanda: Sorry. This is all just a little new to me.
Sam: Ok, what if we go someplace that neither of us have ever been, like San Francisco? I hear the summer's not hot.
Amanda: The baby's due in the summer.
Sam: Yeah. Or New York? Come on, we both love New York. We'd get a loft in Soho. I could paint.
Amanda: Well, if you want to paint, then I think we should probably go to Paris.
Sam: Watch it. You're really kicking into my fantasies now.
Amanda: Yeah. A nice big apartment on the left bank with a huge window --
Sam: Lots of shutters.
Sam: Just you and me.
Amanda: And bebe makes three.
Sam: Oh, we could have fresh croissants in the morning. The best art museums in the world. Paris in spring.
Amanda: No, no, no, no, no. I want winter. You know --
Amanda: Yeah, winter, where it's nice and dark and I can put on a nice trench coat and brood a lot.
Sam: We could do it. Wouldn't that be great? Whoo!
Amanda: Yeah. Great.
Ada: Why do you have to go over there?
Rachel: Amanda's got to know what she's doing to Mac.
Ada: Oh, wonderful. You're going to make her choose between her husband and her father.
Rachel: She's got to take her father's feelings into consideration.
Ada: She will. She's a good kid.
Rachel: I know that. And she's pregnant, and she's going to get married, but she's still my daughter. She's only 18, she's part of my family, and I can't ignore this.
Ada: Well, nobody's asking you to.
Rachel: I'm not going to go over and lecture her.
Ada: Oh, of course not.
Rachel: Mom, I just want her to know how Mac feels, how I feel.
Ada: Well, you never listened to me. Why should she listen to you?
Rachel: I'll see you later.
Ada: Of course you will.
Mary: How is she supposed to learn anything in that kind of atmosphere.
Scott: Tell me. And she's got midterm graduation next week.
Mary: Is she going to make it?
Scott: She's got to pass all of her exams first. And I don't know how she's going to do that if she can't -- look, if this whole thing blows up on her, it's going to be crazy.
Mary: How is she feeling?
Scott: Physically she's fine, but she's under a lot of stress.
Mary: Well, is there anything you can do?
Scott: There's got to be. I mean, legally there is no way -- there is no way they're going to keep her from getting what she wants.
Mary: I know, honey.
Scott: Mom, I am ok. But I tell you, I'll go get a court order if I have to. She's going to get what she wants.
Mary: Is there anything that I can do?
Scott: Yeah. You can listen to me when I'm feeling like this.
Mary: Anytime, pal.
Donna: Well, I was just taking some more things over to your place.
Michael: Oh, that's it?
Bridget: That's all, that's all.
Donna: Yes, no big deal.
Michael: Ok, I was just wondering.
Donna: Now it's your turn.
Michael: Well, I was driving by, and I saw the lights on in the house, and I wondered who was here.
Donna: Oh. Ok.
Michael: I knew you were supposed to be at the design house.
Donna: Oh, I know. I'm going over there later. It's just that I needed some of these things. Well, actually, I don't need them just yet, but I'm going to be needing them --
Bridget: I think we should go now, you know, and finish our unpacking because if we don't, Mr. Michael -- he's not going to be able to find his way around the suite.
Donna: You're right. It's just that I didn't know where to put everything. Should I put them in with your things?
Michael: My closet actually is full. Why don't you put them in the guest room. That way, they won't get wrinkled.
Donna: Ok. Whatever.
Michael: I'll get it.
Michael: I got it. We'll talk about all that later, ok?
Nicole: Michael, what are you doing there?
Michael: Well, that's a long story. You looking for Donna?
Donna: Who is it?
Michael: It's Nicole. She was actually just getting ready to come on over to see you.
Nicole: No, she doesn't have to come over here. I just wanted to talk to her about Ca-- about something.
Michael: Ok, well, look, she's going to be over there in just a little while.
Nicole: Michael, no, no, no. I can talk to her on the phone.
Michael: Ok, well, thanks a lot. Look, I'll tell her. Ok, bye.
Nicole: Michael --
Michael: Look, I think your sister needs to talk.
Donna: Really? Did she sound upset?
Michael: It's something about Cass.
Donna: Oh, oh. Well, then she's upset.
Michael: I told her you'd be right over.
Donna: Well, all right. Oh, Bridget, do you think you'll be able to take care of all this stuff by yourself?
Bridget: Of course I will, dear. I'll do all the unpacking, yes.
Donna: All right, all right. Well, would you like to walk me out?
Michael: No, actually, I think I'm going to help Bridget with this stuff.
Donna: Ok, all right. Wait a minute, how are you going to get home? I have the car.
Michael: I'm going to call her a cab, ok?
Donna: All right, all right. Well, I'll see you back at the suite, then, ok?
Michael: Sounds good to me. Talk to you. Bye. That was close.
Bridget: Well, I didn't tell her anything, but you know Miss Donna -- once she gets an idea in her head --
Michael: I know, I know.
Bridget: But anyway, I'm glad I came back because when I did, I found these for you.
Michael: You got the keys to the west wing?
Bridget: Yes. Wait a minute. Here they are.
Michael: Thank you, Bridget. Thank you so much for not saying anything.
Bridget: Oh, Mr. Michael, I don't like to lie. I mean, not to you, not even to Miss Donna.
Michael: I know that. And I don't like asking you to do it. It's just that Donna's mother was killed in this wing of the house.
Bridget: I know she was. But I wouldn't say anything to Miss Donna about her mother, and I don't want you to say anything to her, either. I mean, it was a very sad time for this family, my dear.
Michael: Yeah, it was. Look, why don't you get whatever you need together, and I'll phone that cab.
Bridget: Oh, well, if you've got other business -- look, I can do this by myself.
Michael: I'm meeting a couple of friends here in a little while.
Bridget: Oh, right. Well, I'll just go get my things.
Michael: Thank you.
Nicole: That's a lovely wedding dress -- for a linebacker.
Donna: Hi. Oh, Michael said you needed to talk to me.
Nicole: Oh, no. It's not that big a deal.
Donna: You know, he is being so sweet. He actually wants me to call him before I leave here tonight.
Nicole: Oh, that's nice.
Donna: Oh, nice? Oh, you don't even know the half of it. It is so wonderful living with him again. Oh, it's so wonderful to think about waking up next to him in the morning. Oh, providing I'm not in the guest bedroom.
Donna: Oh, never mind. That doesn't matter. We are living together, and that's all that counts. Oh, this is nice. Look at this. I had no idea that you were designing a line of draperies, too.
Nicole: That is not draperies, Donna. That is a wedding dress.
Donna: I'm sorry. My mistake.
Nicole: An ugly wedding dress, but a wedding dress nonetheless.
Donna: My, my, we're certainly testy.
Nicole: Look -- don't get cute with me, Donna. I hate it when you're cute.
Donna: Nicole, what is wrong?
Donna: Oh, great. What's happened now?
Nicole: Oh, I don't know. I'm not sure. But whatever it is, I'll mess it up somehow.
Donna: Honey, why would you say that?
Nicole: Because the only romance that I ever had that started to work out was with a homicidal maniac.
Donna: All right, now, that's it. Stop being so negative.
Nicole: Oh, you are the Scarlett O'Hara in the family. I'm not very good at saying "fiddle-dee-dee."
Donna: All right, that's it. Stop it. Stop, stop, stop. Tell me exactly what happened.
Nicole: Ok, ok. Cass and I were having this big argument --
Donna: About what?
Nicole: Well, whether he's going to leave the business or not.
Donna: Well, is he?
Nicole: Well, I still don't know.
Donna: Why not?
Nicole: Because I -- oh. No. No, you'll laugh at me.
Donna: I will not laugh. What?
Nicole: All right, I got so angry that I took this pin, and I just jabbed him.
Nicole: In the seat.
Donna: In the seat? Oh, Nicole.
Nicole: Donna, I told you not to laugh. And anyway, that is not the point here.
Donna: No, Cass got the point, right where it hurts.
Donna: I'm sorry, I'm sorry. Ok, all right, all right. It's not funny. Now what?
Nicole: He just got so furious that he grabbed me and he held me really close to him, and he --
Donna: And what?
Nicole: And he -- he almost kissed me.
Donna: Yeah? And then what?
Nicole: Well, that's it.
Nicole: Well, why do you say it like that?
Donna: It's just that, well, something similar happened to Michael and I the other day. I mean, here we were in this argument, right in the middle of it, he did -- he grabbed me.
Nicole: And now you're living with him.
Donna: You see?
Nicole: No, see what?
Donna: See, the same thing -- it happens to both of us.
Nicole: But then you end up with the guy, and I'm designing ugly wedding dresses alone.
Donna: Nicole, now, stop it. He almost kissed you, right?
Nicole: Well, I'm not even sure that's what it was.
Donna: Oh, yes. Now, look, there is something going on between you two. Now, you've just got to go for it.
Nicole: Oh, Donna, I'm afraid.
Donna: Of what?
Nicole: Well, now that I have time to think about everything that almost happened, well, what if I go after Cass and --
Donna: And what, honey? What?
Nicole: And I end up with nothing.
Sam: We could do it, Amanda. I know we could. I could get a grant. I've heard the National Endowment for the Arts has grants for artists who want to live abroad.
Amanda: Sam, look, I don't know if --
Sam: Within the first year, I'd be selling my first paintings. The baby would be here and -- what's the matter?
Sam: You look so sad.
Amanda: No, I don't.
Sam: Amanda, look, if it's about leaving your parents, I understand that.
Amanda: No, no, that's not it. I can handle that.
Sam: Are you sure?
Amanda: Sam, I want to be with you.
Sam: Ok, well, look, if it's not leaving your parents, then what's wrong?
Amanda: I just get a little scared sometimes.
Sam: Well, why? Amanda, are you afraid I can't make it as an artist?
Amanda: Nobody could believe in you more than I do.
Sam: Ok, then what's the problem?
Amanda: It's me.
Sam: What? I don't understand.
Amanda: I would love to go to a new place, but I don't know if I can handle it. I'm getting married. I've never done that before. I'm going to have a baby. That's new to me. And I don't know if I'll be able to get a job if my father isn't there to pull strings. I'm sorry if I'm being a drag.
Sam: Oh, Amanda, you're not being a drag. You're afraid. Everybody is. Look, I'm sorry I didn't think of your feelings. I'm kind of a jerk, sometimes.
Amanda: You're not a jerk.
Sam: Listen, Amanda, I wouldn't take you away from everything you know, especially now, unless I was absolutely sure that I could take care of you. And I'm not just talking financially. I'm talking baby feedings, 2:00 diaper changes, the formulas, the whole bit.
Amanda: You would do all that?
Sam: Yes, I would do all that because you're worth it. You both are worth it. Look, Amanda, "Brava" wasn't right for me. I know that. The money was great, the title was fun, but it left me feeling empty.
Amanda: I love it there.
Sam: Ok, but what would happen if you got a job working at a magazine that your dad didn't own?
Amanda: I don't know if I could.
Sam: I do. See, I believe in you, too.
Amanda: You do?
Sam: Yeah. You are a terrific writer. Except I'm not sure if you'll ever learn that just working for your dad.
Amanda: I don't know. I don't know.
Sam: Amanda, look, no one said it was going to be easy. And someday, we can have it, the both of us, all of it. What do you say?
[Knock on door]
Amanda: Who's at the door?
Sam: Come on. Are you with me, or what?
Amanda: I'm always with you. Mom.
Rachel: May I come in?
Rachel: Hello, Sam.
Sam: Hi, Mrs. Cory.
Rachel: Well, I guess under the circumstances, you ought to start calling me Rachel.
Amanda: How's dad?
Rachel: He could be better.
Sam: Mrs. Cory -- sorry, Rachel, I want you to understand why I left "Brava." It wasn't because of anger or spite. It was because I want to be a full-time artist now.
Rachel: Right. All right, I understand. You're an artist.
Sam: Amanda agrees with me.
Rachel: I see.
Sam: Um -- I'll tell you what, I'm going to get out of here for a while so you two can talk.
Rachel: Well, I don't mean to put you out of your own home, Sam.
Sam: No, that's -- that's ok. One of the problems with living in a loft is if you want to give somebody some privacy, you got to go sit in the bathroom. I'm going to go get some food. I'll be back. Ok.
Amanda: Do you really understand?
Rachel: Do you?
Rachel: Honey, your life is going to be very different if you go along with this.
Amanda: I know that.
Rachel: Honey, what you're trying is very difficult. I mean, you're starting a marriage, and you've got a baby on the way. And now you don't have financial security.
Amanda: Sam is going to be a very famous artist one day. We'll have everything we need.
Rachel: I certainly hope you're right.
Amanda: He's the most talented person that I know.
Rachel: Honey, he's asking you to take on an awful lot right now.
Amanda: He doesn't have to ask.
Rachel: Are you sure? Or has he made it impossible for you to disagree?
Jason: It's musty in here.
Michael: This room was restored after the fire. Nobody's been in here in years.
Mary: Now, would I have been in here a lot?
Jason: I would think so, Mary. You were a maid here. Boy, this is all changed around.
Jason: Yeah, there was a big mirror on this wall, and the bed -- I don't think it was in the corner. It was out -- out further. This furniture is different.
Michael: You certainly have an eye for detail.
Mary: Your job as horse trainer brought you here often?
Jason: I was here a couple times, Mary.
Jason: I've got a very good memory.
Michael: You certainly do. Mary?
Mary: I'm so sorry. None of this seems familiar. It's hard for me to believe I was ever even in this room. Maybe I really worked --
Jason: You were in this room, Mary.
Mary: I know you say that, Jason, but --
Jason: Please don't give up. You could have been here the night Elizabeth died.
Cass: Mr. Pinkney. Right?
Mr. Pinkney: This was a friend of his.
Cass: Oh, right.
Mr. Pinkney: Winthrop's the name, right?
Cass: Yes, that's right. What were you doing in Wally's room?
Man: Mr. Wallingford is gone. I'm sorry.
Cass: No, no, I've been trying to reach him all day.
Mr. Pinkney: I was the one that called the doctor.
Doctor: There was nothing I could do.
Cass: Oh, my God. No, not Wally. Oh, no, not him, too.
Amanda: I'm not exactly going to be cutting myself off from you and dad.
Rachel: We don't want that.
Amanda: No, neither does Sam.
Rachel: He doesn't?
Amanda: He just thinks that quitting "Brava" will make it easier for he and dad to get along, that's all.
Rachel: Good. I hope that's right.
Amanda: I am scared.
Rachel: Oh, sweetie. You admitted it. That's something.
Amanda: I'm not --
Rachel: I'm happy about that.
Amanda: I'm not scared of disagreeing with Sam. This is what I want, too.
Rachel: Honey, I don't think you know what it's going to be like.
Amanda: I have Sam. That's all that I want.
Rachel: Marriage is not easy to get used to. I know. I'm an expert. You're young. You're pregnant. Honey, you've never had to worry about money.
Amanda: We'll be ok.
Rachel: Amanda, you can't even balance a checkbook. How will you -- oh. I'm sorry. I'm all right. You'll have us. Mac and I will be close by.
Amanda: Uh -- Sam wants --
Amanda: It has to be this way, Mom. Otherwise, daddy will never accept Sam.
Rachel: Amanda, you don't have to sell your husband to your father. That's for them to work out.
Amanda: You should have seen the hurt on daddy's face when he left today.
Rachel: I know. He is hurt. That's why I came over here. I came over to yell at you because you're not taking his feelings into consideration.
Amanda: So why didn't you?
Rachel: Because I looked at you and I realized how much -- how much you're taking on.
Amanda: I love Sam. But I love daddy, too.
Rachel: Honey, you're not going to lose either one of them.
Amanda: Every time they're together, all they do is fight.
Rachel: I know.
Amanda: I don't know what to do.
Rachel: Neither do I.
Cass: A heart attack?
Doctor: I've been treating him for a heart condition.
Cass: He never told us.
Doctor: I guess he was used to living with it.
Cass: Is he in there?
Doctor: I called the funeral home. They've already been here.
Cass: The funeral home? May I go in, please?
Cass: Oh, Wally, what are we going to do without you?
Michael: Mary, what would help? You want to sit down?
Mary: No, no, no. I would not have sat down in here. I was a servant. Do you know what kind of thing I did?
Jason: Yeah, you'd bring her her morning coffee. I know that for sure. Right. You had everything timed out.
Mary: Timed out?
Jason: Yeah, you'd get the coffee started. While it was perking, you went to the cutting garden and got a rose. That's where I would always see you.
Mary: A rose.
Jason: Yeah, it went in a -- well, in a little vase that was on the table, almost in that spot right there.
Mary: Would it have been a small bud vase?
Jason: Exactly. Right.
Mary: Go on, go on, go on.
Jason: Well, the coffee stuff -- you'd get that together. You'd put it on a serving tray with a linen napkin, the rose, and "the New York Times."
Michael: Well, why "the New York Times"?
Jason: Elizabeth hated the local paper. "Provincial" was the word she used.
Jason: She would get "The Times" from a newsstand on the way in to work. Wasn't much she wouldn't do for anybody who lived here.
Reginald's voice: Beautiful Mary.
Mary's voice: Oh, Reginald, no. No, not here.
Reginald's voice: I want you.
Mary's voice: Not here. No, please, no. Oh, no. No, please, not here.
Jason: What? What is it, Mary?
Michael: Are you remembering? Honey, name the two dirtiest rooms in your house.
Jason: Why did you say, "not that, not here"?
Mary: Boy, you said this remembering stuff wasn't going to be pleasant. Were you ever right.
Michael: Look, if you don't want to do this --
Michael: No, you can leave right now, any time you want.
Mary: No. No. No.
Jason: All right. What is it? What happened?
Mary: I was coming down the hallway, and I heard --
Michael: Heard what?
Woman's voice: I am. I can't take being ignored by you anymore.
Jason: Voices? Who were they, Mary?
Michael: Let her remember.
Mary: Oh, I lost it!
Michael: Look, Mary, just relax, ok? We have all the time in the world. Right, Jason?
Jason: All right. You were walking along here, you heard the voices --
Woman's voice: Reginald --
Jason: What did they sound like? What did they say?
Reginald's voice: Did you really think I wouldn't find out about this?
Jason: The voices, Mary.
Woman's voice: I'm leaving, and there is nothing you can do.
Mary: It was hers.
Jason: Good. What did she sound like?
Mary: Oh. I was worried about her.
Jason: Why? The tone of her voice, or what?
Mary: I --
Mary: Maybe she's been drinking.
Jason: Which is why you decided to come here.
Elizabeth's voice: And he loves me.
Mary: The door was closed.
Elizabeth's voice: He always has, and he always will.
Mary: But the voices were so loud.
Reginald's voice: He loves your money. He always has, and he always will.
Jason: But whose voice is it? Elizabeth's and who? The other voice?
Mary: Yes. I -- I -- I didn't know what to do. I -- I heard something.
Jason: What? What?
Mary: I opened the door. Oh! Oh! Oh, I can see her!
Jason: What was she doing?
Mary: Oh, I can see her!
Jason: What was she doing, Mary?
Mary: She's -- she's lying on the floor! And Reginald is over her.
Jason: Reginald. What?
Mary: Reginald! Oh!
Jason: What was he doing to her, Mary?
Scott: Ada, I'm glad you talked me into this. I was hungrier than I thought.
Ada: Can I fix you something to take up to Dawn?
Scott: No, she already ate. She's upstairs sleeping. She gets tired pretty easily.
Ada: How does she feel?
Scott: Physically she's all right, but her T-cell count is dropping and we're worried about it.
Ada: What are T-cells?
Scott: It's part of the immune system. That's what the AIDS virus is attacking.
Ada: She comes through here, you know, when she comes home from school, but she never stops to talk to me.
Scott: She gets pretty sensitive.
Ada: About talking to me?
Scott: No, no, no, no, no. About coming into public places where people know she's got AIDS.
Ada: Well, don't they know that they can't catch AIDS just by being in a room with a person who has it? Don't they know that?
Scott: I know that, I know that, but we don't know what she's going through out in the real world out there.
Ada: We should do more. Educate people about this disease.
Scott: I agree with you, but right now, somebody looks at her, she gets scared. She doesn't know what to expect.
Ada: Glad she has you.
Scott: I'm glad I have her. I'm real glad I have her. She's the bravest girl I ever met.
Ada: She's more than welcome here, anytime. Be sure you tell her that.
Scott: I will.
Ada: Oh, you're back.
Rachel: Hello, Scott.
Scott: Hi. How are you doing?
Rachel: How's Dawn?
Scott: She's about the same. Yeah. Oh, I think I'm going to go upstairs because I think she's probably waiting for me --
Ada: Ah, ah, ah --
Ada: On the house. And give Dawn my message, ok?
Scott: Thanks, Ada. I will.
Rachel: Take care, Scott.
Scott: See you later, Rachel.
Ada: Did you see Amanda?
Rachel: I saw her.
Ada: How is she?
Rachel: I don't know. Why did she have to get pregnant?
Ada: Next question?
Rachel: Sam isn't going back to "Brava."
Ada: Did he tell you that?
Rachel: He's decided to embark on his career as an artist.
Ada: What timing.
Rachel: Just as he's decided to take on a pregnant 18-year-old wife.
Ada: How does Amanda feel about this?
Rachel: Oh, she thinks it's terrific. She's got the notion it's going to be romantic living in a garret -- blissfully romantic.
Ada: Well, even garrets don't come cheap these days.
Rachel: Yes, and that romantic notion doesn't include a crying baby.
Ada: This is true.
Rachel: Did Mac call?
Ada: No. But don't worry, honey. What they want to do today they might not want to do tomorrow.
Rachel: Well, what they want isn't so bad, it's just not realistic.
Ada: Nobody's realistic at that age.
Rachel: I was realistic at that age.
Ada: Oh, give me a break. I was working my tail off to support us, and all you could talk about was marrying some rich guy and living happily ever after.
Rachel: Well, I did that, didn't I?
Ada: Well, yes you did -- after a few false starts and a couple of pratfalls. Until you got lucky. Until you met Mac. And Mac taught you that the rich part was not as important as the love part.
Ada: Right. But I got to say for you, you followed your dream and you made it work.
Ada: So, maybe Amanda has her own dream. Why don't you give her a chance to make it work.
Donna: You know, this really was good. I can't remember the last time I had pizza.
Felicia: What, they don't deliver to the mansion?
Felicia: I'm sorry, I'm sorry.
Donna: Well, now that I'm living in Michael's suite, though, I can have all I want.
Nicole: Oh, yeah. And pizza, too.
Nicole: Sorry. Anybody want any more pop?
Felicia: Oh, no.
Donna: Not for me, either. Oh, you know, I really should be going. Bridget's probably back there with my clothes already.
Felicia: Wait a minute. Wait a minute. How is it going with Michael?
Donna: Well, it's not perfect. But now that we're under the same roof, I am not going to miss an opportunity.
Felicia: Oh, good for you.
Donna: Unlike some people I know, who have the same opportunity and are not doing anything about it.
Nicole: Donna, I told you, I'm not you.
Donna: You are wonderful. I just wish you knew that. Anyway, you know, this really was a lot of fun.
Felicia: It was fun.
Nicole: Hey, don't forget to call Michael before you leave.
Donna: Oh, no. No, no, I won't. You know, he is being so protective. I'll use the phone out in the foyer. Listen, good night, and I will see you tomorrow.
Felicia: Good night, Donna.
Nicole: Ok, good night.
Felicia: Hmm -- no --
Nicole: You want the last slice?
Felicia: No, you go ahead. No, no.
Felicia: No, no, please. No.
Felicia: So, what was Donna talking about?
Nicole: Huh? Oh. She's talking about Michael, you know? She's always talking about Michael.
Felicia: No, I mean about you. You know, missed opportunities? What was that?
Nicole: No, nothing. She's -- she's making something out of nothing, that's all.
Felicia: Is she?
Felicia: You know, I saw Cass tonight.
Nicole: Oh, yeah? What did he say?
Felicia: Nothing. He was looking for Wallingford.
Felicia: He seemed to be in the same mood that you're in, though.
Nicole: Well, my mood has nothing to do with Cass. I have a business to run here, and that's taking up all my time right now.
Nicole: He's -- Cass?
Felicia: Something's happened. What is it?
Cass: I -- I have some really bad news.
Felicia: Tell me.
Cass: I went to Wally's room, like you said, and Mr. Pinkney was there.
Felicia: His neighbor, the one he plays pinochle with.
Cass: He was there.
Cass: And a doctor was there.
Felicia: Wally's sick? Where is he? I'm --
Cass: No --
Felicia: Is he at the hospital?
Felicia: Well, is he sick? I really should go to the hospital. I should go see him.
Cass: No. He's gone.
Felicia: No. No!
Cass: I can't believe it, either. He's dead.
Amanda: Jane Austen? Why would -- why would he be reading Jane -- Joyce was reading Jane Austen. Well, if there's one thing I don't need around here, it's Joyce.
Sam: Hi. Did your mom leave?
Sam: I got takeout chicken for three. Look, I'm sorry it took so long.
Amanda: Oh, that's ok.
Sam: So, I talked to the guy across the way. Told him the apartment might be open. He was thrilled.
Amanda: You told someone already?
Sam: Well, yeah. Didn't you tell your mom?
Amanda: Well, I started to.
Sam: What happened?
Amanda: The timing just wasn't right.
Sam: Ok. You can handle it the way you want to, all right? So, are you hungry?
Amanda: Yeah, I guess so. I'll go get the glasses.
Sam: So, I was thinking about us while I was getting this chicken.
Sam: And I came to the conclusion that no matter where we're at, it won't matter. As long as you're with me, everything will be fine.
Amanda: Do you really mean that?
Sam: Well, yeah. I wouldn't say it unless I meant it.
Amanda: Oh, I love you.
Sam: Tell me something.
Sam: How hungry are you?
Amanda: Not that hungry.
Jason: All right, Elizabeth was on the floor. Reginald was standing over her.
Mary: Yes, right.
Jason: All right, you -- he had done something to her. You heard the noise outside, thought she was drinking, came inside.
Mary: Yes, yes. I don't know what it was.
Jason: Can you remember if you actually saw it happen --
Mary: I don't know --
Jason: Or you came in --
Mary: I don't know!
Jason: Please. You remember this part. You've got to be able to remember the other --
Mary: Jason, I don't know! This is as frustrating to me as it is to you!
Michael: All right, just hold it.
Jason: No, we are just getting somewhere.
Michael: Look, we can do this another time, all right? It is too hard on her.
Mary: I can't do this. I can't do it anymore.
Jason: All right. I'm sorry.
Michael: Come on, Mary. We can go. Let's go. All right?
Mary: Oh, my God! Oh --
Jason: What, Mary? What?
Mary: I heard something.
Elizabeth's voice: I'll tell it to the police, and I will see that it is in every newspaper headline in the country --
Mary: No. No.
Elizabeth's voice: Unless you let me out of this sham of a marriage --
Reginald's voice: I'm warning you --
Elizabeth's voice: Everyone will know what you are!
Reginald's voice: No!
Mary: Oh, he shot her!
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