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Another World Transcript Monday 10/2/06
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Proofread By Ebele
Josie: She's not here.
John: Shar -- Josie, you know that your mother left the hospital against orders?
Josie: I know.
John: Oh, you do?
John: You know that she is not listening to anyone about her health or the baby's health?
Josie: The baby's going to be fine, John.
John: You know something that I don't?
Josie: I saw her when she came in.
John: Oh, well, did she tell you that she's completely disregarding her doctor's orders?
Josie: She told me she thought she had to do what was best.
John: Was she alone?
John: Why didn't I know that? Of course, she's with Grant.
Josie: No. They're not together.
John: Well, then where is she?
Josie: I promised not to tell you, not until you read the letter.
John: What letter? Come on, Josie, what's going on?
Josie: She's been feeling so much pressure, John.
John: Well, I know that.
Josie: She couldn't take it anymore.
John: Josie, what has she done?
Josie: She's gone.
John: What do you mean she's gone?
Josie: She packed a bag and she left.
John: She left?
Josie: Your mother left and you didn't call me? What's the matter with --
Josie: I promised her I wouldn't. Not until you read this.
Amanda: Hey, check this out. What do you think of this for Alli?
Paulina: I'm sorry, what?
Amanda: For trick or treating.
Paulina: It's very cute.
Amanda: She didn't tell me what she wanted to be, so --
Paulina: She'll love it.
Amanda: I guess your mind isn't much on Halloween, huh?
Paulina: Life sure is a lot simpler for kids, isn't it?
Amanda: Did you call the hospital?
Paulina: No, why would I?
Amanda: Because I know you cared about Jake.
Paulina: Well, he didn't care much for me, did he?
Amanda: Still, this has got to be hell for you wondering whether he's going to be --
Paulina: You know what I wish, Amanda? I wish I never met Jake McKinnon.
Iris: Police think Marley shot Jake?
Donna: Oh no.
Michael: No, Iris. Marley has admitted to seeing Jake last night before he was shot. She broke off their engagement.
Iris: Oh, dear.
Donna: Which is absolutely ridiculous. The police don't have any leads and so they're going after Marley.
Iris: Oh, I'm so sorry. I'm so -- but I don't understand how I can help.
Michael: Well, Jamie said that you had something very important you wanted to tell Marley.
Donna: About Jake.
Donna: You did, didn't you?
Iris: Well, yes. I had a conversation with Marley.
Michael: Iris --
Iris: At the art gallery --
Michael: Iris, what was it? Just tell me. What did you have to talk to her about?
Donna: Hold your thought. Don't -- don't go any further. I'll get rid of whoever this is.
What do you want?
Ryan: I think you know.
Donna: Marley is finally asleep. I'm not going to disturb her now.
Michael: Excuse me, Donna. Ryan, I told you, you call before you get an appointment with Marley.
Ryan: I'm not here to ask Marley about Jake.
Michael: Well, then what the hell do you want?
Ryan: I'm here to ask Mrs. Hudson about Jake.
[Knock at door]
Olivia: Hi. Oh, listen, if I'm interrupting, just say the word and I'm -- I'm out of here.
Sam: No, no, I'll be with you in a minute.
What do you think?
Olivia: Oh, Sam.
Sam: Is that a good "oh, Sam" or is that a bad "oh, Sam"?
Olivia: It's going to be a beautiful painting.
Sam: Thank you.
Sam: So I don't see any visible scars. Looks like you survived the wrath of aunt Liz.
Olivia: Well, by the time I tiptoed in, she was fast asleep.
Sam: I'm sorry I asked you to leave last night.
Olivia: Oh, I didn't mind. I like thinking of myself as a temptress.
Sam: It's not that I didn't want you to stay.
Olivia: I know.
Sam: I want to do this right, Olivia.
Olivia: And I want what you want.
Sam: What is in the bag there?
Olivia: Well, it's trick or treat night, right?
Olivia: So instead of corrupting all the neighborhood children with disgusting things like candy...
Olivia: Take a look at that.
Sam: What, raisins and oatmeal cookies?
Olivia: And carrot candy.
Sam: You're gonna sell the kids on this stuff? Come on, get out of here.
Olivia: Sure, well, I thought I would try it out on Alli first.
Sam: Well, listen, I've got to pick her up from Play school right now. You want to come along?
Olivia: I'd love to.
Sam: All right, let's go.
Sam: Hey, what you got in the other bag there?
Olivia: Oh, well, that is a surprise for you, but it's between Alli and me.
Sam: Hmm, you really get along well with her, don't you?
Olivia: Why wouldn't I? She's a part of you.
Paulina: Hi, Rachel.
Amanda: Hi, Mom.
Rachel: Hi. Has anyone called to find out how Jake is?
Paulina: No, I'm afraid to. I had horrible dreams about him last night, just horrible, blood and guns and --
Amanda: Sounds like a bad nightmare.
Paulina: No matter how he treated me, I never wanted this to happen.
Rachel: Of course you didn't.
Amanda: The newspaper says the police don't have any leads.
Paulina: It was probably some kids trying to break into the place. I kept telling him to get a new alarm system, but he didn't listen.
Rachel: He lived on the edge. It's a risky way to live.
Paulina: It finally caught up with him.
Rachel: I guess so.
Paulina: Are you saying that he got what he deserved?
Rachel: I am saying someone may think so.
Amanda: Look at this. "The Stafford gallery is proud to announce an upcoming show will feature new works of art by local artist Sam Fowler."
Rachel: Good for Sam.
Amanda: I've got to go.
Rachel: Where are you off to in such a rush? Are you going back to the negotiations?
Amanda: No -- no, everything's fine there. Nobody walked off and the bargaining started today.
Rachel: Good. So, where are you going?
Amanda: Sam is picking up Alli from Play school and I thought if I showed up there with her costume --
Rachel: You might be invited.
Amanda: Is that so terrible?
Rachel: No, just don't get your hopes up.
Amanda: I have to hope, Mom. At this point that's about all I've got. See you later. Bye, Paulina.
Grant: I want the results of the opinion poll before I spend one more minute on the speech. Yes. Have you heard from my father about that yet? Good, good, the less involved he is, the better. Yeah. No, I know my demographics have shown a slight decline in the rural counties. Well, I know. You know, I can't help it if -- wait, I'll call you right back.
Sharlene's voice: Dear, Grant, after you left last night, I made a decision. I hope you can understand. I can't be caught between you and John anymore. It's making everyone miserable, including me. So I've decided to leave Bay City, at least until it's time for my baby to be born. I am going some place where I can concentrate on what is most important to me right now -- doing everything I can to make sure that my baby is born healthy. Your acceptance and support have meant more than you'll ever realize. But right now I need to stand on my own, find out more about who I am, and I have to do that alone. Please don't try to find me or contact me. I am sorry I won't be with you on election day, but I hope the voters will see you as I do -- a warm, sincere, caring man. Be well and be happy. Sharlene.
Grant: Get out. I need to be alone. Get out!
Michael: Come on in, Ryan. Now why don't you just tell me what the hell you think Donna can tell you about what happened to Jake?
Ryan: Donna is not under investigation.
Donna: Well, I certainly hope not.
Iris: Look, you're very busy. I think I'm gonna --
Michael: Uh-uh, don't. We haven't finished our little conversation, Iris. Don't go.
Iris: Well, when you have a free moment, why don't you call my secretary and we'll set something up?
Michael: All right.
Iris: Good afternoon, Donna.
Donna: Bye, Iris.
Michael: Ryan, why don't you just tell me what this is all about?
Ryan: You were Jake's partner, right?
Donna: Well I haven't had anything to do with Visions since last summer.
Ryan: But you still know a lot about the business, don't you?
Donna: Well, Jake made a lot of changes after I left. At least, that's what I hear.
Ryan: Look, I've got a team of forensic specialists going over to Jake's loft right now. Jake's still in critical condition and I don't have anybody to tell me what the place was like normally.
Michael: That's what you want to talk to Donna about?
Ryan: Yeah, she knows the layout, the equipment, she can tell me if anything's out of place or missing.
Michael: Well, Donna, that makes sense.
Ryan: You're going to help me out?
Donna: No. But I'll help Marley out.
Ryan: I'm just trying to figure out what happened. I'm not trying to lay this on Marley.
Michael: You're still going to question her, though, right?
Ryan: Spoke to Cass. We're going to get her statement later. After that...
Donna: All right. Then you take your inventory and send me the list and I'll check it over.
Ryan: I was hoping you'd go to the loft with me.
Donna: Well, that's out of the question.
Donna: Because going back into the loft would just give me the creeps.
Michael: Donna, come on, if it would help to clear Marley.
Donna: All right. All right, when would you like to do this?
Ryan: I've got a car waiting outside now.
Donna: Of course, how convenient. You'll go with me?
Michael: Ah, you know, I can't. I've got --
Michael: I've got an appointment. I guess I forgot to tell you about it, but it's now.
Ryan: Shall we?
Josie: I was hoping she'd get a few miles down the road and realize she couldn't have the baby alone and come back.
John: Why didn't you try to stop her?
Josie: I did. John, she had her mind made up. I'm sure she's going to be fine.
John: Josie, did she say anything, anything at all that might give us some clue as to where she went?
John: How many bags did she pack?
John: Ok. Listen, uh, did you hear her on the phone? Was she on the telephone?
John: Benson -- she would've called Dr. Benson. She would've never done this --
Josie: John, I didn't hear her make any calls.
John: Ok. Look, when she drove out, which way did she go when she hit the main road?
Josie: I don't know.
John: Josie, how the hell are we going to find her?
Josie: She doesn't want you to find her, John.
John: She can't be thinking straight.
Josie: She explained to me why she had to do this, and she didn't act crazy. She didn't act the way she used to when she was Sharly.
John: You're sure?
Josie: I'm sure.
John: I can't believe this. I --
Josie: John, she was just feeling so much pressure.
John: She's sick. Her doctor's here, you're here, I'm here.
Josie: But don't you see she's doing what her doctor said? She's trying to get away from all the pressure.
John: Tell me again what she said.
Josie: She said she had to do what was best for her and the baby.
John: Was she agitated or upset?
Josie: Actually, she was calmer than I've seen her in a long time.
John: I'm going to find her.
Josie: John, I don't think you should.
John: Josie, I'm not about to sit around and do nothing!
Josie: John -- if you can stand it, if you can let her do what she thinks is right, I think she'll come back to you and things will be different.
John: None of this would have happened if it hadn't been for Grant Harrison.
Josie: I know. I feel the same way.
John: He just kept chipping away, didn't he? He just had to do it.
Josie: John, where are you going?
John: To find out what Grant knows about your mother.
[Knocking at door]
Grant: What do you want?
John: Shut up. Sharlene. Sharlene! All right, Grant, where is she?
Grant: You think I'd tell you if I knew?
John: Cut the crap, Grant. You tell me where she is. I know that you were at the hospital with her last night. You helped her leave.
Grant: Why the hell would I --
John: Now where is she?
Grant: She left because she wanted to get away from you.
John: You do know where she is.
Grant: I'm not saying anything.
John: Grant, I love Sharlene more than anything in this world. If I could, I would obliterate you from the face of this earth, but right now all I can think about is my pregnant wife with hypertension who you helped leave medical treatment. Now you tell me where she is. I'd really appreciate it if you would help me help her.
Grant: Oh, well, now we're playing doctor, I see.
John: That's right and I'm damn good at it because if I wasn't, you would be obliterated. Now tell me where she is!
Grant: I'm not gonna let you hound her anymore. Leave that alone, John.
John: Now -- now this is very nice, isn't it?
Grant: Look, my father gave it to me.
John: Tang Dynasty or is this Han?
John: I bet you this has been in the Harrison household for years and years, hasn't it?
Grant: Yeah, that's right, it has.
John: Bet your father is just the kind of a guy who values things like this almost as much as he values people.
Grant: Yeah, he likes beautiful things. Now put it down, John.
John: It's really scary, isn't it? When somebody just walks into your house, takes something that you value so much and smashes the hell out of it.
John: I'm sorry. That's what you tried to do to my marriage, but I'm a fair guy, Grant. I believe that turnabout's fair play. I'll tell you what you do. You just think about telling me where my wife is while I practice a little balancing act with your old man's vase.
Grant: I don't know where she is.
John: Come on, Grant, I know you can do better than that.
Grant: Look, I'm telling you the truth.
John: Oh, yeah.
Grant: Now put that thing down. Here.
John: Put it on the table.
So she didn't tell you anything either.
Grant: Well, I guess that makes you real happy, doesn't it?
John: No, Grant. No, it doesn't make me happy because I still don't know where my wife is. Now I don't know if you're capable of this or not, but I want you to try, just try to put Sharlene in front of you. Just think about her.
Grant: Well, I'm just as capable of that as you are.
John: If she tries to contact you, you tell her not to worry about coming back, because you're going to back off.
Grant: Well, I'm not making any promises. Uh-uh.
John: You're unbelievable. You just can't do it, can you? You can't think of anybody but Grant Harrison.
Grant: No matter what you think about me or my motives, I really do care what happens to Sharlene.
John: Yeah, I'll bet. You're a worthless human being, Grant.
So, I guess you're into painting dancers these days.
Sam: Now, Alli, you know what that means -- since Olivia and I went trick or treating with you, we're like your agents. That means we get 10% of all the candy that you get. Hi.
Sam: There you go, down you go.
Olivia: Amanda, we weren't expecting you.
Amanda: Sam, I hope you don't mind I used my own key.
Sam: I told you I'd drop Alli back at your mom's.
Amanda: I know that, but you -- I didn't think she had her costume. I guess I was wrong.
Olivia: Oh, she -- she told me she wanted to be a ballerina, so I just, I -- I'm sorry.
Sam: What are you sorry for?
Amanda: Well, honey, you didn't tell me what you wanted to be. I thought you wanted to be a princess.
Sam: You can wear that costume tonight, ok, sweetheart?
Amanda: Sure. You make a beautiful ballerina.
Sam: Look, Olivia, why don't you take Alli across the hall to trick or treat and Mommy and I are going to stay right here, ok, baby? Go get some candy. Go fly away.
Olivia: We'll see if they have some good stuff like unsalted popcorn --
Sam: Bye-bye, sweetheart.
Olivia: And apples and stuff like that.
Amanda: I guess congratulations are in order, huh?
Sam: They are?
Amanda: Your upcoming show at Caroline's.
Sam: Yeah, it's been a while since I've been able to concentrate on my painting.
Amanda: I guess so. You're so talented, I'm sure it will be wonderful.
Sam: I have high hopes. I really like this series.
Amanda: May I see something?
Sam: Yeah, why not?
Amanda: It's Olivia.
Amanda: She looks stunning.
Sam: She's a good model.
Amanda: Remember your first show? You were a nervous wreck trying to decide which paintings to put into it. It was a great show.
Sam: What I remember is that it was built on lies.
Sam: You and your Mom bought me that show.
Amanda: I wanted you to realize your dream.
Sam: Then again, that shouldn't surprise me. I mean, lies are no big deal to you.
Amanda: Sam, please.
Sam: You lied to me the very first day I met you about your name. Remember, Amanda?
Amanda: Nothing I ever did -- I never meant to hurt you.
Sam: Is that why you went to bed with Evan?
Amanda: I know that you loved me.
Sam: With all my heart.
Amanda: That's why I have such a hard time believing that you don't feel anything for me now.
Sam: I still feel things for you, like hurt, frustration, anger -- there's a lot of that. I feel a lot of that.
Amanda: I know what I did.
Sam: Do you know what it's like watching Evan playing with Alli when he was touching you?
Amanda: I don't deserve this.
Sam: No, you deserve much more, Amanda. Do you know what it's like having to think of that -- that animal making love to you? Do you have any idea what it's like having to live with that?
Donna: I can't do this.
Ryan: Just try and relax.
Donna: I'm sorry. I shouldn't have come here.
Ryan: Mrs. Hudson, it's important. What you got, Danny?
Danny: This came from headquarters. Gun belonged to McKinnon, all registered and legal.
Donna: Jake was shot with his own gun?
Ryan: Yeah, it happens all the time. Mrs. Hudson, did Jake keep a gun on the premises while you were working with him?
Donna: Not that I know of.
Ryan: Are you sure?
Donna: Well, you know Jake lives here, but I've never been in his living quarters. So -
Carlos: We just got a statement from the usher at the opera house.
Ryan: Did he see Vicky?
Carlos: He took her ticket personally.
Ryan: What about the doctors? Have they established a time of the shooting?
Carlos: I'll see what I can find out.
Ryan: Tell me soon as you know.
Danny: Mrs. Hudson, we will be needing a set of your fingerprints.
Donna: I beg your pardon.
Ryan: Well, we've dusted this entire loft and we found several different prints. We're going to need yours on file for comparison.
Donna: Is that blood over there?
Ryan: Yeah. He lost a lot of it.
Ryan: Why don't you sit down, try to relax, take your mind off of things. How was Jake to work with?
Donna: Creative. He was knowledgeable.
Danny: This will only take a second, Mrs. Hudson.
Ryan: What about his personality?
Donna: Jake didn't have many social graces.
Ryan: What do you mean?
Donna: Well, he was arrogant and opportunistic and extremely untrustworthy.
Ryan: Not the type of individual that you would want to be associated with, hmm?
Ryan: Do you know many people that wanted to hurt Jake?
Donna: How much time do you have?
Donna: Jake alienated everybody that he ever knew.
Ryan: Well, it's funny that you should say that.
Ryan: Well, because there is no signs of breaking and entering. There's nothing missing as far as I can tell, which indicates that Jake let in whoever shot him.
Donna: Well, that's probably because he knew the person and he trusted them.
Ryan: Right, but then he changed his mind because the place has been torn apart.
Donna: Well, I can't help you with that.
Ryan: Marley said that Jake took the news of their breakup pretty well, that they parted nice and calm.
Donna: Well, if that's what she said happened, then that's what happened.
Ryan: Oh, it just doesn't add up though.
Donna: Marley never lies.
Ryan: Listen, I've seen that guy talk about Marley and he was anything but nice and calm.
Donna: Excuse me, I came here to help you examine the loft, so let's just get on with the business --
Donna: And get this over with.
Ryan: You can start over there, inside the equipment cabinet. Make sure that nothing's lost or missing.
Donna: All right.
Ryan: Oh, hello.
Ryan: Looks like a diamond.
Donna: It is a diamond, a carat, maybe a carat and a half.
Ryan: And here's the setting. Look at this.
John: This mark on the wall. It's where the ring probably hit it and separated it from the setting. These look familiar to you?
Donna: Well, it's a very common cut and you could buy the setting in any jewelry store in town.
Ryan: But this particular one is the one that your daughter returned to Jake last night, right?
Donna: Yes, I believe it is.
Ryan: I'm surprised to see this.
Ryan: Marley said that Jake took it like a real cool cat.
Donna: Well, maybe he threw it after she left.
Ryan: Yeah, unless --
Donna: Unless what?
Ryan: You said Marley never lies.
Donna: That's right, she doesn't.
Ryan: She was married to the guy, probably knew him better than anyone?
Ryan: And yet he's able to convince her that he's all cool, calm, and collected when in reality he's about to bust a diamond from a setting. Either the guy is a hell of an actor or Marley is not telling the whole truth.
Amanda: You're not the only one that's hurting.
Sam: True. It's hard on Alli, too.
Amanda: Do you have any idea how miserable I am?
Sam: If you've come for a shoulder to cry on, you've come to the wrong place.
Amanda: Sam, I would do anything to make this up to you.
Sam: It's too late.
Amanda: Don't shut me out, please.
Sam: All of a sudden you can't live without me. Is that it?
Amanda: If we keep talking, maybe we can build a life together.
Amanda: For Alli's sake, please?
Olivia: Wow, she was the hit of the building. Made out like a bandit, didn't you?
Amanda: Did you have fun, honey, huh, yeah?
Olivia: So let's hit the streets, ok? Why don't we go and knock on some doors before all the ghosts and goblins snatch up all the good stuff?
Amanda: I'd like to go with you if that's ok.
Amanda: Sam, it would mean a lot to me.
Sam: Look, why don't you take her back to the house and you can do the rounds there, ok?
Amanda: We've always taken her around together.
Sam: You take her and Olivia and I will stop back and pick her up, ok? Alli, honey, Mommy's going to take you and then Olivia and I are going to come back and pick you up in a little bit, ok, babe?
Amanda: Come on, let's go see grandma. She's gonna want to see you in your costume, ok?
Sam: You have a good time, sweetheart. We'll be back over and get you in just a little while, ok? Bye, baby.
Olivia: Amanda, you forgot this. This is her bag.
Sam: Bye, sweetheart, I'll see you in just a little bit, ok?
Olivia: I'm sorry, Sam.
Sam: Why? You didn't do anything.
Olivia: I know how much this meant to you. I'm sorry it didn't work out the way you wanted.
Sam: As long as Alli has a good time, that's all that matters.
What are you looking at?
Olivia: You're still in love with Amanda, aren't you?
Donna: You're making a very dangerous assumption.
Ryan: So how do you think the ring got there?
Donna: I told you. I think that Jake threw the ring in a fit of anger after Marley left. He has a horrible temper.
Ryan: It's possible.
Donna: As far as I can tell, there is nothing missing in there.
Ryan: Why don't you check the drawer in that table?
Donna: Or somebody else could have thrown it.
Ryan: Besides Jake?
Donna: I don't suppose you've spoken to Paulina Cory.
Ryan: She used to work for Jake, right?
Donna: Well, from what I understand, she performed a great many services for Jake.
Ryan: Tell me what you know.
Donna: She had a huge crush on him. Jake told Marley that.
Donna: So a scorned woman could have bounced that ring off the wall.
Ryan: Yeah, she could have. But -- oh, never mind.
Ryan: It's just that a nurse reported that just before Jake slipped into a coma, he said Marley's name.
Donna: That doesn't prove anything.
Ryan: It proves that Marley may have been through with Jake, but obviously Jake wasn't through with Marley.
Donna: Well I'm not interested in Jake's rantings. I just want you to have an open mind. Marley is a sweet, gentle soul who wouldn't hurt a fly, but Jake McKinnon has dozens of enemies who would be glad to shoot him. Now, I've never seen this piece of equipment.
Ryan: Did Jake do much surveillance work?
Donna: Not that I know of.
Ryan: It's a sophisticated bugging device.
Donna: Jake was --
Ryan: It's hooked up to the recorder. There's no tape in it.
Donna: He was bugging somebody?
Ryan: Uh-huh. You wouldn't happen to know who.
Donna: No, of course I wouldn't.
Ryan: That's too bad because if Jake was poking his nose somewhere where it didn't belong and the wrong person found out, well, sounds like a motive to me.
Rachel: Yeah, ok, but, Jamie, would you have somebody call us if there is any change? Yeah, ok then, honey. Yeah, I'll see you later.
Paulina: How is he?
Rachel: He's still critical and he hasn't regained consciousness.
Paulina: But he will eventually.
Rachel: Jamie says that he's known other patients who were worse off that have made complete recoveries.
Paulina: Oh, that's good then.
Rachel: You must have cared a lot for him.
Paulina: I -- I didn't realize how much I could care for someone who treated me so badly. How well did you know Jake?
Rachel: Well, I knew his family. He worked for Mom for a while, but I didn't really know him.
Paulina: I know he had a lot of enemies, but I just can't imagine who would want to hurt him, who could
Rachel: I wouldn't be surprised if the police want to talk with you.
Paulina: To me? Why?
Rachel: Because you worked with him and you were involved with him.
Paulina: Well that doesn't mean I shot him.
Rachel: No, I know that. I just think you ought to be prepared.
Paulina: I will be.
Iris: Michael, please. I have an issue going to press. I'm in the middle of negotiation for the printer's union --
Michael: Iris, just give me an answer to my questions and I'm out of here, all right?
Iris: Look, whatever I had to say to Marley is now irrelevant.
Michael: Jamie said you had something very important you wanted to tell Marley about Jake, and I just want to know what it was.
Iris: Look, I'm sure Jamie meant well, but he -- I'm really sorry he spoke to you.
Michael: Iris, there is a police investigation going on here and if something doesn't change soon, Marley is going to be the one they're going to zero in on.
Iris: Oh, come on, that sweet child couldn't have anything to do with it.
Michael: Will you tell me what you know about Jake, please?
Iris: Look, you're his father-in-law; you should know everything there is to know about Jake.
Michael: Why are you evading my question, Iris, why?
Iris: Ok -- ok I worked with Jake once. That was -- that was months ago. It was on that presentation tape for "Sophisticate."
Michael: Yeah, I know that.
Iris: Well, he was rude. He was opinionated. He was chauvinistic beyond belief.
Michael: That's it? That's -- that's the big bombshell you wanted to drop on Marley about Jake?
Iris: All right, there was something else.
Iris: I noticed that he was getting very close to his assistant.
Iris: Yes, Paulina. There was definitely something going on between them while he was -- while he was still involved with Marley.
Michael: How can you be so sure about that, Iris, how?
Iris: Because I'm very sensitive to strong physical attraction, don't you remember?
Michael: I remember. That's it, huh? That's what you wanted to tell Marley?
Iris: Believe it or not, I thought I might save her some heartache. I guess it doesn't matter anymore.
Michael: I guess it doesn't, does it?
Sharlene's voice: I cherish the time we've been together and look forward to our future, sharing our lives with our baby, this life that our love created, but this child isn't going to solve our problems, darling. I'm going to use this time alone to regain my health and take a hard look at myself, decide who I am and what I really want. It is very important to me that you respect my wishes and don't try to find me. Look after Josie, please. She will need you now more than ever. Believe that I never meant to hurt you. I know that seems empty, but it's true. I love you. Sharlene.
Grant: I want the best operative there. I want you to find the whereabouts of Sharlene Hudson. No, no. Nobody is to know what you're doing or who you're working for. Now when you find her, do not make contact with her. That's right. Report back to me and I will handle everything from there.
Sam: This brush is too damn thick.
Olivia: Sam, just relax.
Sam: But you think I still have a thing for Amanda?
Olivia: It makes sense actually.
Olivia: Well, look at how you're reacting.
Sam: Amanda has destroyed everything I ever felt for her.
Olivia: Not all of it.
Sam: How come you know about this and I don't?
Olivia: Because it's in your eyes when you look at her. It's in your voice when you talk about her.
Sam: Look, I'm trying to make the best out of a bad situation, especially for Alli.
Olivia: It must have been some passionate thing you two had.
Sam: "Had." That is the operative word. It's past tense.
Olivia: You're only proving my point by being so defensive.
Sam: Now tell me I'm in love with Amanda.
Rachel: I thought Alli was going to be a princess.
Amanda: Well, Olivia thought otherwise.
Rachel: I see.
Amanda: Alli was already in costume when I got there so I wasn't going to make an issue out of it.
Rachel: Olivia has been seeing a lot of Sam.
Amanda: Well, I left the door wide open. Olivia is no fool.
Rachel: She's had her eye on him for a long time, sweetie.
Amanda: Sam's theme for his upcoming show is the dance. Guess who his primary model is.
Rachel: So you think they're involved.
Amanda: Oh, I don't know. What does it matter? I just have to face the fact that I blew it.
Rachel: It went badly today?
Amanda: Sam is gone, Mom. My marriage is over.
Rachel: Oh, sweetie.
Amanda: And soon Alli is going to have a stepmother that's going to teach her how to dance on her toes.
Rachel: Sweetie, I know you're upset, but --
Amanda: Sam and I had so many plans and I threw them all away.
Rachel: With a lot of Evan's help.
Amanda: You know, in a few years, Alli is going to ask me why her parents don't live together. How am I gonna explain what I did to her?
Rachel: By being honest to her and making sure that she understands that both of you love her very much.
Amanda: Probably lose her, too.
Rachel: That doesn't necessarily follow.
Amanda: I feel like my life is just spinning out of control.
Rachel: Then get it back. Examine your options. Decide what's best, what's important to both you and your daughter.
Amanda: And what if that's Sam, and I can't have him?
Rachel: Then you let him go.
Ryan: Danny, what does this number mean?
Danny: Beats me.
Ryan: Mrs. Hudson, could you come over here a minute please?
Donna: I really have to go. Michael and I are supposed to be at a Halloween gala this evening. Of course I don't feel like going now.
Ryan: What does this number signify?
Donna: This is time code.
Ryan: What's time code?
Donna: It's an electronic clock. It sort of lets you know where you are in a reel.
Ryan: Why would you need to know that?
Donna: It allows you to locate a specific point in a reel tape.
Ryan: So if you're looking at a tape and you see a close-up, for instance, that you like and you want to see it again, the time code allows you to find that same spot.
Ryan: What determines the number?
Donna: Well, a lot of people set time code at zero for every tape, but Jake wired this console into a clock.
Ryan: So this is the time of day.
Donna: Right. 20:35:28 means it's 8:35 and 28 seconds, p.m.
Ryan: Mrs. Hudson, I really appreciate all your help, but I think it's time that we should be going. Why don't we just call it a day, hmm?
Ryan: There's an officer downstairs. He'll -- he'll drive you home.
Donna: Thank you. Oh, don't forget what I told you about Paulina Cory.
Ryan: I've got it all in my -- listen, give Michael my best. Has that thing been touched since the shooting? So Jake slumps over, stops the time code, which gives us the exact moment that he was shot.
Danny: Makes sense.
Ryan: Well, Marley said that she got here at 8:00, stayed a half an hour, maybe 45 minutes tops. So that means that Jake was shot at exactly 8:35. Which is exactly when Marley said she was here. Damn it.
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