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Another World Transcript Thursday 10/14/04
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Provided by Boo
Proofread by Daniel
Caroline: So am I.
Cass: Well, shall we go?
Caroline: Go? Go where?
Cass: To the gallery site. Isn't that why you're here?
Caroline: Oh, right. Yes. You know, I'm really pleased with how enthusiastic you are about my art gallery.
Cass: It's my job to protect Rachel’s investment.
Caroline: Well, I'd hoped it was something more. You make it sound so businesslike.
Cass: Ok. All right. It's more, all right. I think that Bay City needs an art gallery.
Caroline: Ah. So under the suave exterior beats the heart of an art patron?
Cass: Well, I wouldn't go that far.
Caroline: Let me guess who you're fond of.
Caroline: Hmm, Titian, Rubens, the female form?
Cass: Not bad, not bad, but I've always been a sucker for impressionism.
Cass: You know, Monet, Degas, Cezanne.
Caroline: Well, I'm rather partial to them as well, but as an art dealer, Cezanne’s a little outside my range. But one never knows. I mean, I'm an ambitious woman.
Cass: Yes, I've noticed that.
Caroline: Hmm, and I normally get what I want.
Cass: Hmm. Good for you.
Caroline: I'm really sorry I had to break the dinner date the other night.
Cass: Oh, don't worry about that. I was in a lousy mood anyway.
Caroline: Well, when you're in a good mood again, let me know and let's make a date.
Cass: Well, you may have to wait a while. With Nicole gone, I'm not good for too many laughs.
Caroline: I'll take my chances. I mean, if it doesn't work out, I'll say, "Call me," but I'm sure it'll be a lot of fun.
Marley: Ooh, come here, sweetie, come here. Isn't this the most fabulous place for an art gallery?
Jake: Uh-huh. Hey, John, how's it going?
John: Slow, but I'm getting there.
Jake: Yeah? I wouldn't know about fabulous art galleries. You're talking to Jake from Lassiter. The best art we had was hanging on the wall at the local pool hall.
John: Well, you know, Jake, you might be able to fit, oh, three or four pool tables in here.
Jake: Yeah, right here.
Marley: This is going to be the finest art gallery west of New York.
Jake: Well, if it's not the best, it's surely not Marley’s fault.
John: Enthusiastic, isn't she?
Jake: Yeah, she was up all night looking through a stack of art books and gallery brochures.
Marley: John, how difficult would it be to make revolving partitions?
Jake: Revolving partitions.
John: It's an interesting idea.
Marley: Well, we could change the configuration of the general space and tailor it to the aesthetic needs of the individual artists.
John: That might work, but, you know, you're going to have to bring in a lighting specialist if you do all that.
Marley: Well, of course, but we could preset the lights to dim and highlight with the movement.
John: Could work.
Jake: Yeah, how many art galleries in New York have revolving partitions?
John: Not many, I'll bet.
Jake: I'll bet.
Marley: You could do it?
John: Yeah, I think so.
Marley: Oh, fabulous!
Vicky: Stop right where you are.
Jason: Sorry, I -- I thought I heard somebody pull up. Hi.
Vicky: Is that why you tried to skip off?
Jason: Hey, I'm in no condition to skip anywhere.
Vicky: You look a lot better than you did last time I saw you.
Jason: These old bones, they don't heal like they used to.
Vicky: If you're looking for sympathy, forget it.
Jason: I'm not looking for anything, Vicky.
Vicky: Oh? Well, I am -- my money. I want it back, Jason.
Marley: So, John, do you have a projected finish date?
John: I can't give you an exact date, no, especially if Caroline takes your suggestion, but we'll be ready for the opening.
Marley: A real gallery opening. Isn't this so exciting?
Vince: Break time! All right, break time!
Vince: I got your coffee, I got your bagels, I got your Danish here, and I got sunshine on a cloudy day.
John: Wait, wait, who ordered this?
Vince: Your new assistant manager. She said she wanted the crew happy.
John: Well, it is.
Marley: Vince, you didn't have to bring it over yourself.
Vince: Hey, well, how else am I going to get to see what you're doing over here? So this is what you're all excited about, huh?
Marley: Oh, isn't it fabulous?
Vince: You know, this place used to be a furniture warehouse.
Marley: It did?
Vince: Yeah. Our bedroom set -- Mary’s and mine, you know -- this is where it came from.
Vince: Now it's going to be an art gallery.
Marley: Well, it needs a lot of work, of course.
Vince: Well, you'll love that.
Marley: Yes, it's a very important project.
Vince: Are you sure it's the project that's important?
Marley: What do you mean?
Vince: Well, I love you. You know that, right?
Marley: I love you, too, Vince. Now what are you getting at?
Vince: Well, I just see you working so hard, and I just -- well, I wonder if it's for the right reasons.
Marley: Oh, I love this job.
Vince: Good, and you're going to be terrific at it.
Marley: It's such a wonderful opportunity, maybe even a start of a new career for me.
Vince: Just be happy, huh? That's all that matters.
Jake: Here you go, some coffee. What are you two guys talking about?
Marley: Oh, thank you, sweetie.
Vince: Well, I was just finding out how she puts up with a mug like yours.
Jake: Yeah, I have my good points.
Marley: You sure do.
Jake: I'll talk to you later, all right?
Marley: You have to go now?
Jake: Yes. I'll be back to pick you up for lunch.
Marley: All right.
Vince: You two are going to vote today, I trust, huh?
Jake: It would be awfully hard to vote tomorrow.
Vince: Oh. I know how you do it now. He's a comedian. Ha-ha!
Marley: Of course I'm going to vote. It's my first chance. I wouldn't miss it.
Jake: Yeah, that's why I'm coming back to get her for lunch.
Marley: Ok. See you later.
Jake: Bye-bye. See you, John.
John: Take care, Jake.
Marley: I really am ok, Vince.
Vince: Ok, ok. Now, tell me, what are you going to do with this place?
Liz: Good morning, Cass.
Cass: Hello, Liz.
Caroline: Good morning.
Liz: Were there any messages?
Cass: A couple. They're on the desk, Liz.
Liz: From Nicole?
Cass: No, and I don't understand why not. I've been waiting around for her phone call since 6:00 this morning.
Caroline: There's a lot to do in Paris.
Liz: Well, I'm sure the phone will ring any minute.
Cass: Well, I can't stay.
Liz: Why not?
Cass: I'm going out to the gallery site with Caroline.
Liz: You are not going to wait for Nicole’s call?
Cass: I can't wait around all day. Anyway, she must be busy. I won't be gone long.
Liz: What are you going to do at the gallery site?
Cass: I'm going to see how the construction is going, Liz.
Liz: I see.
Cass: Well, shall we go? There's a number I've left on the desk where I can be reached down at the gallery.
Liz: When will you be back, Cass, in case Nicole does get through?
Cass: I'll keep checking in in case Nicole gets through. And in case Nicole does call while I'm out, why don't you have her leave a number where she can be reached, and I'll see you later?
Caroline: Bye-bye, Liz. Lovely to see you again.
Liz: [As Caroline] "Lovely."
Liz: [Normal voice] Good morning. Nicole Love's salon.
Nicole: I sure love the sound of that.
[Knock on door]
Bridget: I'm coming, I'm coming. What's the matter? Did you forget your key again, Victoria, hmm? There we go.
Michael: Bridget! Boy, are you a sight for sore eyes.
Bridget: Oh, Mr. Michael!
Michael: You are missed, I want you to know.
Bridget: Oh, Mr. Michael, how nice of you to say that.
Michael: You know, Mikey talks about you all the time. He keeps saying, "Where’s Bridget? Where's Bridget? When's she coming back?"
Bridget: Oh, does he? You know, I'm going to have to make him a great, big plate of cookies and take it over to him, eh?
Michael: Well, I tell you what, why don't you bake enough for all of us, ok?
Bridget: Oh. You know, I'm very sorry. I can't be one person being in two places at the same time.
Michael: Well, Victoria needs you now more than we do. Speaking of which, is she here?
Bridget: No, no, she's not.
Michael: Oh, well, where is she?
Bridget: Well, I don't know exactly.
Michael: Do you know when she's coming back?
Bridget: No, she didn't say so exactly.
Michael: Bridget, is she all right?
Bridget: Oh, yes, she's fine. Well, I just hope she is. Yes, she's -- she's fine.
Michael: Bridget, why are you so nervous?
Bridget: Oh, I'm not nervous, Mr. Michael. No. I'm so happy to see you, and, you know, I miss Ms. Donna, and of course I miss little Mikey, too. Do you know that I have his picture right alongside my bed?
Michael: Bridget, you are a terrible liar. What's going on?
Bridget: She went to see Mr. Frame.
Bridget: Yes. No, not Jamie Frame! She went to see Jason Frame.
Michael: What on earth for?
Bridget: Well, Mr. Michael, I'm so worried. I --
Michael: Well, so am I. Look, what business does she have with Jason Frame?
Bridget: Well, she lent him some money.
Bridget: She went to get it back.
Michael: When did she go?
Bridget: About an hour ago.
Michael: Did she go alone?
Bridget: Well, yes. But, you see, I couldn't stop her. Well, you know how she is. She's so determined.
Michael: Yes, well, I'm determined that she shouldn't have anything to do with Jason Frame!
Jason: I'm still feeling a little rotten.
Vicky: I'm not interested in discussing your health.
Jason: I know you want your money back.
Vicky: That's what I want.
Jason: I'm sorry.
Vicky: Don't be sorry. Just write me a check.
Jason: I can't do that.
Vicky: No, I'm not asking you. I'm telling you.
Jason: I'm sorry, I spent it.
Vicky: How? On what?
Jason: I spent all of it. Frame Construction has a lot of debts, that's why.
Vicky: Well, I'm the one you owe, Jason -- me!
Jason: Yeah, well, when the hospice deal went sour, there were some notes I had signed that came due.
Vicky: And what about my note?
Jason: It was a whole new deal. That was to rebuild the company. That was something else.
Vicky: You didn’t. I mean, you couldn’t. Not all my money.
Jason: Yeah, every dime of it.
Vicky: I want to see the receipts.
Jason: For what?
Vicky: The canceled notes. I want evidence that you paid them off with my money.
Jason: I sure didn't have anybody else's money, Vicky.
Vicky: I want proof!
Jason: I don't keep the records here.
Vicky: Then where exactly do you keep them?
Jason: They're safe. I'll get -- I'll get you whatever you need, Vicky.
Vicky: Jason, I could just --
Jason: What, you want to beat me up? Fine, go ahead.
Vicky: You took that money under false pretenses.
Jason: There were no false pretenses.
Vicky: You didn't tell me that -- that uncle John left the company!
Jason: Hey, he's your uncle! Why wouldn't I think that you already knew?
Vicky: Because that was the whole reason I invested in Frame Construction in the first place! You knew that! You told me you wanted to get Frame Construction back together, and there is no Frame Construction!
Jason: There is Frame Construction! Why don't we level with each other, get it straight, all right?
Vicky: You're a liar, Jason! And I'm a chump.
Jason: Hey, I worked hard, I worked real hard to make sure that Jamie left Lisa.
Vicky: You did a terrific job.
Jason: Yeah? They didn't get married, and it's not over yet, and I never promised you I could work miracles like that, did I?
Vicky: I'm getting a lawyer.
Jason: Come on, Vicky.
Vicky: I want my money back.
Jason: And I told you I don't have it!
Vicky: Well, you're not going to get it, unless you like the idea of doing time.
John: You know, the more I look at this, the more impressed I am.
Marley: It is such an improvement on his original blueprints.
John: This man is a first-rate architect.
Marley: John, what is this right off the main gallery?
John: A storage room.
Marley: Storage room? Isn't that an awfully large space for storage?
John: Well, I think so, but then what do I know about art galleries?
Marley: That seems awfully ridiculous to use that whole space for storage. It could be put any of these other places. I don't think we should waste that space.
John: Marley, do I detect another idea coming on?
Marley: A restaurant.
John: A what?
Marley: A restaurant! A little fun place, some atmosphere. A brasserie!
John: Well, that might work. You mean as a part of the gallery?
Marley: Well, yes, we could put it right --
Caroline: Um -- am I missing something?
John: Hi, Caroline, Cass.
John: I think that Marley has a pretty interesting idea here.
Caroline: Oh. Well, listen, I'd love to hear it. A brasserie?
Marley: Well, I was just saying that the storage space was awfully big and I thought that maybe --
Caroline: You thought?
Marley: I'm sorry. I didn't mean anything by it.
Caroline: I'm kidding. That's why I hired you, for your ideas.
Marley: Really? Well, I was just thinking that this space is so big, and we could just fit a little brasserie-type place right in it. The storage could go --
Cass: Why don't you two carry on. John, if you have a minute, Caroline asked me to take a look at the construction estimates.
John: Well, they're kind of rough.
Cass: That's ok, just as long as I get an idea.
John: Step into my office over here.
John: Let's see what we got here.
Marley: Look, Caroline, I don't mean to overstep my bounds.
Caroline: Darling, I will let you know when you overstep your mark.
Marley: So you like the idea of the restaurant?
Caroline: I think it's fantastic because it's going to make the opening twice as fabulous.
Marley: Well, we would be able to cater to twice as many people.
Caroline: With twice as many checkbooks. You are a wiz!
Liz: Tell me everything!
Nicole: Oh, everything would run up some phone bill, Liz.
Liz: Is Christian St. Jacques as suave as he appears in his photos?
Nicole: He's pretty suave, all right, but he's no pushover. He has very definite ideas.
Liz: So do you. That's why he asked for you.
Amanda: Hi, Aunt Liz.
Liz: Hi. It's Amanda. I'm talking to Nicole in Paris.
Amanda: Oh, give her my love. Is there something I can do for the two of you?
Woman: It's her. I told you.
Amanda: You followed me all the way from the parking lot.
Woman: I don't know. The girl looked blonder.
Amanda: What is the problem?
Woman: She's Amanda Fowler, I'm telling you.
Liz: Nicole, dear, something is happening here. I'm going to put you on hold, and then I'll get back to you in just a moment.
Amanda: Don't you think it's a little rude to be talking about me as if I wasn't here?
Liz: Is there something I can do for you ladies?
Woman: Mackenzie Cory’s daughter.
Amanda: Now I'm getting angry.
Woman: Those photos of you with that criminal.
Second woman: Your father must be so hurt.
Amanda: I don't believe you people!
Liz: I do! Listen, ladies, you're going to get out of here this very instant.
Woman: How dare you,
Liz: Oh, I dare. I really do dare.
Liz: Now, go, and don't ever set your faces in here again!
Amanda: Thanks, Liz.
Liz: How do people get like that?
Amanda: I am never going to live these pictures down.
Liz: You already have. Those women don't count. Everyone who knows the two of you loves you, and that's the truth.
Amanda: I love you. That's the truth.
Liz: Oh. Oh. Now, what brings you here today?
Amanda: Oh, a dress.
Liz: A dress?
Amanda: Yes, Mom gave me money to buy a special dress for a night out on the town with Sam.
Liz: You don't want it for tonight?
Amanda: No, no.
Liz: Well, why don't you go up and see Sophie. She is just putting finishing touches on two of the most exquisite cocktail gowns.
Amanda: Oh, great!
Liz: And when am I going to see Alli? I miss that baby. I was telling Nicole -- Nicole. She's still on hold. Nicole, are you there?
Nicole: Yes. Where were you? What's going on?
Liz: Oh, it's too long to tell you, dear.
Nicole: I'll say.
Liz: I'm so sorry.
Nicole: I could've been talking to Cass all this time.
Liz: No, you couldn’t.
Nicole: Why not?
Liz: He's not here. He waited for your call for hours.
Nicole: I was tied up with Christian’s milliner. Well, where did he go?
Nicole: Well, he has to be someplace, doesn't he?
Nicole: Well, do you know where?
Nicole: Well, Liz, then why don't you tell me so I can call him there?
Liz: Yes, he went to the gallery site with Caroline Stafford. Driver's license number...
Cass: Let me see if I get this straight. You're asking for almost half the money upfront?
John: Oh, no, no, no, not at all, not at all. I just need some more by this date. Otherwise, I'm going to be pushed right to the wire.
Cass: Well, I can understand that. You know, a lot of people are going to be wondering who's doing the terrific work on this place.
John: Well, I intend to put business cards everywhere. My crew and I are really going to need the work.
Cass: It was rough losing the hospice.
John: It's been a rough year all around, let alone the work.
Cass: How is Chris?
John: Hard to say. I keep going to see her, though.
Cass: Well, at the expense of sounding trite, I guess it'll take time.
John: Yeah, that's what the doctors say. Listen, I've been meaning to say something to you, too. I've been kind of uncomfortable about it, but I just wanted to tell you I'm sorry about the wedding.
Cass: Oh, the wedding that never was.
Cass: That's ok. We'll work it out.
John: How is my old buddy Nic?
Cass: Well, you know she's in Paris?
John: Oh, that's right, that's right! I read about that in the paper. She's working with some big fashion designer, right?
Cass: Yeah, that's right.
John: She's doing great.
Cass: I know, I know. Maybe too great. Anyway, I'll -- I'll see what I can do about this money situation, ok?
John: I appreciate it.
John: Have you seen the rest of this place?
Cass: No, actually, I haven't seen out there.
John: Come on, come on, I'll show you around. Just take a right out here.
Marley: Well, do you think we should delay the gallery opening?
Caroline: Well, we really can't afford to, but publicity is publicity. Besides, even if it's good or bad, it helps.
Marley: Oh, Caroline, what if somebody mentions the photographs in front of Sam?
Caroline: If I know Sam, he's going to defend his wife's honor, lose his temper, and he's going to punch someone right in the nose. He'll be fabulous.
Caroline: I mean, we're going to have all the newspapers here and the networks. I can just see it. It's going to say, "Young artist goes wild at his own exhibition. Film at 11:00.” I mean, I love it.
Marley: You --
Caroline: I really love it.
Marley: You would not really set something up like that, would you?
Caroline: Years ago I might have, but now I am much more respectable.
Marley: Oh, good, because I think it would really end up hurting Amanda.
Caroline: You're right. Actually, let's have a very nice, quiet, sedate opening, ok?
Marley: Ok, and I think we should speak with Sam about it.
Caroline: Well, I already have spoken to him about it, but it's probably a good idea to keep in touch, so why don't you go over and give him a ring --
Caroline: But don't be obvious.
Marley: Oh, I won’t. I have his number right here.
Sam: Yeah, hello?
Marley: Hi, Sam, it's Marley.
Marley: Are you busy?
Sam: Well, I'm taking a break. What can I do for you?
Marley: Well, I was wondering if you could come down to the gallery. Caroline and I are both here.
Sam: Is something wrong?
Marley: No, not at all. We were just getting some things together and I thought that if you would come down, we could get together some ideas for the display.
Sam: Sure, that's no problem, but don't expect me right away. I got to stop at home first.
Marley: Ok, that's fine. Then we'll see you when you get here.
Sam: All right, bye.
Marley: Ok, bye-bye. Well, he's coming.
Caroline: Good. Now, listen, you and I, let's go up and see our new restaurant.
Marley: Our new restaurant. That's a great idea.
Michael: She's not here?
Bridget: No, Mr. Michael.
Michael: You haven't heard from her at all?
Bridget: No, I haven’t. I just don't understand it. I don’t.
Michael: I don't, either. I went by Jason Frame’s. Her car wasn't there. I don't know where she could be.
Vicky: Oh, Dad!
Bridget: Oh, Victoria.
Vicky: I didn't know you were stopping by. I would've dressed up.
Michael: How could you take a chance like that? Why didn't you ask for help?
Vicky: You told him?
Michael: I'm glad somebody did.
Bridget: Well, please, Victoria, don't be angry with me, dear, please.
Michael: Bridget, I think it'll be ok. You want to give us a few moments alone? You want to tell me what you were doing with a jerk like Jason Frame?
Vicky: I lent him some money, that's all.
Michael: That's all? What, you just hand out money to anybody who wants it?
Vicky: No! I thought I was doing it for uncle John!
Michael: Honey, they don't even work together anymore.
Vicky: Well, how was I supposed to know that?
Michael: You ask! That's my point. How much?
Vicky: Not much.
Michael: How much?
Vicky: A quarter-million.
Michael: Dollars? You loaned Jason Frame $250,000?
Vicky: Do you have to yell?
Michael: Ooh! How could you do something like that? I don't under-- what were you thinking of? Did you ask anybody about this? Why didn't you ask me about this?
Vicky: I'm a fool! Dad, I'm sorry, but I feel really stupid enough.
Michael: I -- I -- oh. I'm sorry, I'm sorry. It's just I can't stand the fact that somebody conned you like this.
Vicky: I know, and he's not going to give it back.
Michael: Oh, yes, he is! Don't you worry about that. Cass knows him better than anybody. I'm going to get Cass involved here.
Michael: Yeah. Look, we're not going to let that clown get away with this.
Vicky: Oh, I'm so glad I have you.
Michael: Why don't you come to me when you are in trouble?
Vicky: Every time I'm in trouble? You don't have enough room in your schedule.
Vicky: Dad, I know what a screw-up I can be.
Michael: Don't you understand? I am always proud of you.
Vicky: You're proud of a daughter who's pregnant, no husband, no career, no friends?
Michael: Honey, I think -- I think you're terrific.
Michael: Because you've got a big heart, because you care, because even though you don't like people to see how easily you get hurt, I don't buy that rough front, not for a minute.
Vicky: Yeah, well, I think you're in the minority opinion.
Michael: I love you, Victoria. You're just going to have to forgive me if I worry a little bit about you.
Vicky: Oh, I forgive you. Actually, I think I'm going to take after you with my own kid. I'm going to be so worried, I'm never going to let it out of my sight.
Michael: How you feeling?
Vicky: Physically, ok.
Michael: And emotionally?
Vicky: Oh, that's the tricky part.
Michael: Any changes?
Vicky: With Jamie, yeah. He's decided he's more in love with Lisa than he's ever been and they're going to ignore me and go on with their lives.
Michael: Uh-huh. That must hurt.
Vicky: It's not fun. But I'll survive.
Michael: Well, I think you should do a little bit better than surviving. I think you should have a little bit of hope in your life.
Michael: And I'm not going to just sit around and watch while this happens.
Vicky: Oh, yeah? What are you going to do about it?
Michael: Well -- how about a vacation?
Vicky: A vacation? Where?
Michael: A vacation! Why not? Majorca! I got friends in Majorca! You could go over there and stay. It's a little cold this time of year. We'll send Bridget with you. You just lay out, relax, and have a good time.
Vicky: Majorca, huh?
Michael: Sure! I mean, well, it'll help you get life in perspective maybe.
Vicky: Oh, well, I'll have to buy one of those maternity bathing suits.
Michael: You can buy anything you want, anything that makes you happy.
Vicky: I can't be happy, Dad. Jamie's not with me. How can I be happy? Do you know how much I want him in my life?
Michael: I know you want him. What I'm trying to get through to you is that you don't need him. You have people that love you. You have me. You have your mom. You got Bridget. You got Mikey. You got Marley. You got Jake. A lot of people love you. Ooh. Just think about that, would you?
Caroline: I think it's marvelous! Bloody marvelous!
Cass: Yeah, well, it's already bloody expensive.
Caroline: What are you going to tell Rachel?
Cass: "Bloody marvelous." What else?
Caroline: Thank you!
Cass: And I won't have to lie to her, either. I wish I had some of my money tied up in this place.
Caroline: Well, look, don't speak too loudly because I might be able to still cut you in on the action, you know what I'm saying?
Cass: Actually, I have all my money in Nicole’s salon, but I do prophecy that Rachel is going to make a bundle on this.
Caroline: Well, look, shh. Sam's about to come over any minute. You know what I'm saying?
Cass: Oh, sorry, sorry. Mum's the word.
Caroline: You know, I really wish Rachel would start sculpting again. I mean, do you know her work's absolutely remarkable?
Cass: Yes, I do know. I've seen most everything she's done.
Caroline: And I'd love to mount an exhibition. I know exactly how to do it.
Cass: Well, talk to her.
Caroline: I should. I really should, because I've also heard there's a bit of change in the wind at Cory’s?
Cass: Oh, really? Where did you hear this?
Caroline: Oh, I'm on the grapevine.
Caroline: Is it true?
Cass: Well, I don't know what you've heard.
Caroline: Ah, well, I heard there's a major shakeup going on, and I'm just wondering who's shaking whom.
Cass: Uh-huh, who's shaking whom? Well, I work for Mac and Rachel, so --
Cass: I'm not at liberty to discuss it, you see.
Caroline: Oh, you like being mysterious.
Cass: No, not particularly.
Caroline: Well, you're also loyal, and that's a very appealing quality in a man.
Cass: Not in a woman?
Nicole: Hello. This is Nicole Love.
Caroline: Oh, hi, Nicole. It's Caroline Stafford.
Caroline: Your man's right here. Sorry.
Cass: Thank you. Well, well, well, well. I've been waiting all day for your call.
Nicole: Liz told me. I had a meeting here.
Cass: I miss you so much.
Nicole: Oh, me, too. I wish you were here.
Cass: So how's the hotel?
Nicole: Oh, glorious.
Cass: Are you ordering room service every morning?
Nicole: Every morning. An omelet with caviar.
Cass: Mmm, that's my girl, that's my girl. You know, I think about you all the time.
Nicole: Oh, Cass. Are things ok?
Cass: Well, I'm getting a little behind with the work, you know, but otherwise, everything is fine. How about you?
Nicole: So far so good.
Cass: Yeah? When are you coming home?
Nicole: It depends on Christian.
Cass: Is he hanging you up?
Nicole: Well, you know, he's hard to figure. One moment, he's crazy about my work, and then the next --
Cass: Oh, he sounds like a jerk, absolute jerk. He looks like a jerk, too, by the way. I saw a photograph of him in a magazine. We are talking major cosmetic surgery here.
Nicole: I don't care about that. I just want things decided. I am tired of sitting around here waiting, especially without you here.
Cass: We'll be together soon. You just hang in there, ok? And you're the greatest. Don't let anybody tell you differently. One other thing -- I love you.
Mary: There must be someone available. The Pilara Sanchez case. Yes, right. No, it is not that I can't schedule it. The problem is that she desperately needs help and I am not able to help her. She needs someone that she can talk to. Ok. All right, fine, I'll call back then. Thank you. Did you ever have a conversation with someone and you know you are making perfect sense, and what you get back from them is, "I'm sorry, I'm not sure I understand the problem"?
Vince: I get it all the time, and usually it's from you.
Mary: Well, sure, but you don't make sense.
Vince: Wait a minute, wait a minute. Psychologists are supposed to be too sensitive to say things like that, you know?
Mary: We all have to be mean and rotten to someone.
Vince: Oh, in other words, I shouldn't take it personally?
Mary: You shouldn't take it at all! Why do you?
Vince: Well, I am mildly attracted to you. You know what I mean?
Mary: Thank you so much. That's just what I needed to hear.
Vince: And because I think we have one of the best marriages going.
Mary: You do? Really?
Vince: Mm-hmm. That's why I came over here.
Mary: You came over here to tell me you think we have a good marriage?
Vince: No. I came over here because I want Jake and Marley to have what we have.
Mary: Well, we have a couple years on them. Of course, you have a few more than I do.
Vince: I'm talking about happiness, you know?
Mary: You don't think they're happy?
Vince: Well, they're always saying, "everything's fine, everything's fine."
Mary: Yeah, I know.
Vince: Look, they live in our home, Mary. They don't talk to each other, not really.
Mary: Except about work.
Vince: Yeah, and the only reason they do that is so they don't have to talk about anything else.
Mary: I think you're absolutely right.
Vince: So, you going to talk to them?
Mary: Well, if I had any sense at all, I would say it's none of my business. Let them work it out themselves.
Vince: You -- you going to call?
Mary: Of course. I have absolutely no sense at all. Hi, Jake. It's Mary.
Michael: I'm sorry to drag you away from the gallery.
Cass: That's ok. It sounded important.
Vicky: Hey, Cass.
Cass: Hi, honey. Oh. How you feeling, huh?
Vicky: Better now that you're here.
Cass: Uh-huh. Hmm. Ok, what's going on?
Michael: Well, why don't we say that my daughter is too big-hearted.
Vicky: That's a euphemism for stupid.
Michael: Let's compromise with naive.
Cass: Ok. She's big-hearted, stupid, and naive.
Cass: I still don't know what's going on.
Vicky: I lent Jason Frame $250,000.
Cass: You're big-hearted, stupid, and naive.
Vicky: I know.
Cass: I'm sorry, but I can't believe you did that.
Vicky: I know! I --
Cass: Why did you do that?
Vicky: Well, because Jason wanted to get Frame Construction back together and I didn't know that Uncle John and he aren't partners anymore.
Cass: Do you think he deliberately kept that from you?
Vicky: Oh, of course he did.
Cass: Have you confronted him?
Vicky: Yeah, I went over there today, and he said that he spent all my money paying back loans.
Michael: I would assume that he's lying.
Cass: Knowing Jason Frame, I'd be surprised if he weren’t.
Vicky: Yeah, well, can you find out for sure?
Cass: I'll check it out right now.
Michael: You're going over there?
Cass: Yeah. I'm going to find out what's going on one way or another.
Vicky: Ok, I'll go with you.
Cass: Hey, hey, hey, what do you have a lawyer for, huh? You stay here, you take care of yourself, take care of the baby, and I'll handle Jason Frame.
Jason: Appreciate you coming out, Zack. I'm trying to keep a low profile till my profile looks a little better.
Zack: What happened, Jason?
Jason: I ran into a fist about 40 times.
Zack: You took a whipping, all right.
Jason: Well, it looks worse than it really is. I got a few loose teeth, but I still got them.
Zack: And you want to sue the guy with the fist?
Jason: No, nothing to do with that at all.
Zack: Well, then what did you want to see me about?
Jason: Look, sit down. Can I get you some coffee or tea or something here?
Zack: I've got other appointments, Jason. Can you just get to the point, please?
Jason: Well, the point is one of my investors --
Zack: In Frame Construction?
Jason: Yeah, yeah. This particular investor, she wants to sue me.
Jason: She wants to get her investment back.
Zack: And you don't want to let her have it?
Jason: Well, I can't do that. I spent the money. I had a lot of debts. Frame Construction was going under.
Zack: Well, were there any papers signed between you and this investor?
Jason: I got a great contract, perfect.
Zack: Who is she?
Jason: And no loopholes in it at all. It's clean.
Zack: What's her name, Jason?
Jason: Vicky Hudson.
Jason: She's got more money than Jackie Onassis, for crying out loud.
Zack: And you'd like to relieve her of some of it.
Jason: Hey, it was an exchange for a piece of Frame Construction.
Zack: Ok. All right, what was the problem with this deal that she wants to hit you with litigation?
Jason: Well, she claims that I -- I got the money under false pretenses.
Zack: What's false?
Jason: It was nothing false.
Zack: Ok, Jason, look, you call me when you want to tell me the whole story.
Jason: Zack -- I forgot to tell her that John Hudson was no longer part of the company.
Zack: You forgot?
Jason: It was her uncle. Yeah, I forgot!
Zack: I can't do it. I can't represent you, Jason.
Jason: Why not?
Zack: Because I don't believe you. I'll let myself out.
Jason: There are other attorneys out there, Zack -- and better ones!
Mary: Your uncle is a very intuitive person, especially about his family. He may not be able to exactly put his finger on why he thinks everything is wrong, he may not be able to get real specific about it, but he knows. The man just knows. Probably would make a better psychologist than I do.
Jake: You haven't told me what you brought me here to talk to me about.
Mary: Oh! Of course.
Mary: Um -- your uncle Vince -- um -- is concerned about you and Marley.
Mary: Well, he thinks that you have been working too hard.
Jake: What is wrong with working hard?
Mary: Nothing. A certain amount of hard work is very good. It can be very therapeutic.
Jake: What amount is that, hmm, Mary? The amount that you and Vince say is right?
Mary: Now, now, now. Let's don't get defensive.
Jake: Well, what do you expect me to do?
Mary: I'm trying to help you.
Jake: What, by telling me everything I do is a mistake?
Mary: Uh-uh. I didn't say that.
Jake: No, no, but the other day you told me -- you said I didn't really want to have a baby. Now you're telling me that I'm working too hard to cover up, to avoid my problems?
Mary: Well, isn't that possible?
Jake: No, Mary, isn't it possible that I'm trying to work so I can succeed, or maybe isn't it just possible that I'm good at what I do?
Mary: Of course it is. I just --
Jake: You don't believe it, do you?
Mary: I happen to think that maybe there's a little more to it than that.
Jake: What you think is wrong.
Mary: Ok, great. Fine. I'm wrong. Don't get angry. Tell me why I'm wrong.
Jake: I am dealing with my life the best way I know how. I wish you would believe that.
Mary: I wish you would believe that your uncle Vince and I care about you and we really want to help.
Jake: Thanks. The best thing you can do to help is just leave us alone, all right?
Mary: Oh, Jake, please --
Jake: No, I am going back to work now.
Mary: Great, Mary. Well done.
Caroline: Oh, I'm really excited now!
John: Well, Marley’s got a great head on her shoulders.
Caroline: You know, everyone I've met in Bay City I'm really impressed by -- you, Cass. Now, he's something.
John: Who, Cass?
Caroline: Yeah, he's got his finger in every bloody pie.
John: Cass has a lot of different interests, yeah.
Caroline: Well, you know, I hear he has a bit of a history.
John: We all have histories.
Caroline: Well, I heard that he had different women stashed in every corner of town.
John: I don't know about that. All I know is that now he has --
Caroline and John: Nicole.
Caroline: And she's very nice.
John: Nicole is terrific, and they're very good together.
John: Now, listen, if you can get to the licensing board before --
Caroline: Oh, excuse me. Speaking of the couples that look good together --
Amanda: Look at this place, Sam.
Sam: It's incredible, isn't it?
Caroline: Sam, Amanda, I wasn't expecting you. Hello.
Sam: I thought I'd bring her down to show her the place.
Caroline: Oh, excellent. Well, look, come over here, Sam and Amanda. I want to show you exactly where your husband's work's going to hang.
Amanda: My husband's work.
Caroline: Hmm. Now, we have floor to ceiling, corner to corner the Sam Fowler wall.
Sam: Ooh, that's a lot of wall.
Caroline: Well, you're a lot of painter.
Amanda: Remember the painting in Chicago, Sam? The one that was hanging in the window?
Sam: Yeah, and how many arms you had to break to get it put there?
Amanda: Well, now, you have a whole wall. I love you.
Cass: Ok, let's talk, Jason.
Jason: Go away, Cass.
Cass: I've been hired by Vicky Hudson.
Jason: Congratulations. You got steady employment now.
Cass: You're going to give her back her investment.
Jason: Can't do that, counselor. It's an ex-investment.
Cass: Don't tell me there's nothing left.
Jason: Not a penny.
Cass: Come on, Jason. Even you can't spend that much money that fast.
Jason: Yeah? It took me about an hour. I had a lot of checks to write because we owed a lot of money.
Cass: You're a liar.
Jason: I'm broke. That's the truth.
Cass: You haven't told the truth since the Eisenhower administration!
Jason: Go on, get as upset as you want, but you're not going to get it!
Cass: You help Marsten, you take those photographs of Amanda!
Jason: I was in a bind.
Cass: You were in a bind? Spare me! I'm not letting you off the hook! This is fair warning! You're already looking at a jail term for what you did to the Cory's.
Jason: There's the door.
Cass: If you want to add obtaining money under false pretenses to the other charge, you could be facing quite a few years in jail. Are you prepared to do that, Jason?
Sam: [British accent] Oh, well, will you look here. There's a portrait of the artist's wife. How beautiful, don't you think?
Amanda: [British accent] Well, I certainly hope that she knows just how lucky she is.
Sam: [Normal voice] He's the lucky one. You know she's more beautiful than the Mona Lisa?
Amanda: [Normal voice] You really think so?
Sam: Yeah. And sexier than Goya's "Maya"?
Amanda: Oh, my.
Sam: "Oh, my" is right.
Amanda: Whoo! This is just how it's going to be, Sam.
Sam: Hmm? Yeah, how?
Amanda: Mm-hmm. Well, just like we're pretending, with the art critics raving over your work, people buying your paintings. It's going to happen. You'll see. They're going to be begging you to go to Europe.
Sam: I'd be happy if they wanted me in Des Moines.
Amanda: You'll take me with you, won't you?
Sam: To Des Moines?
Amanda: To Europe.
Amanda: I mean, you're going to need somebody to fight off all those groupies.
Sam: Hey, hey, I've only got one groupie, and that groupie's you.
Amanda: Oh, hey, you've got me for life.
Jake: Look, artists at work.
Marley: We'll leave.
Sam: No, no, it's ok, really.
Amanda: We were just looking around and admiring all the work that's been done.
Sam: Yeah, John Hudson’s work is incredible.
Marley: It sure is. Hey, do you know where he is, Sam?
Sam: Yeah, Caroline wanted him to pick out some colors. They should be back in a bit.
Marley: Terrific. Well, did you bring your sketches?
Sam: Yeah, they're right here.
Sam: Actually, you know, I think you're going to have to do some test hangings yourself because I just got an inspiration.
Amanda: You know, that's funny, so did I.
Sam: Coincidence, yeah.
Sam: That's amazing! Excuse us. We'll see you guys later.
Marley: Oh. Oh, Jake. Look how sweet this is.
Jake: Alli. She's a sweetheart.
Marley: What a beautiful baby. What a precious, precious, precious child.
Vicky: Look how big you've gotten, you little stinker. If I didn't love you so much, I'd be upset with you for ruining my girlish figure.
Vicky: I read in a maternity book someplace that even a baby can tell when a mommy's sad, even when the baby's in the stomach. And I just wanted to tell you that if you feel that, sweetie, I am so sorry. You see, I try to be cheery, but sometimes I can't be. Because even though I have you -- and, oh, I love you so much -- sometimes it's just hard. It gets lonely. I think it's because your daddy's pulling away.
Vicky: But I am not going to give up, of course. You know what, though, sweetie? I don't want you to worry about how this is all going to turn out for you, because I am going to love you so much, and your daddy is going to love you! It's just me he has a little problem with. And that's what we have to work on, you see, because there has got to be a way to get your daddy to fall in love with me.
Vicky: Oh, it's going to be ok.
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