General Hospital Transcript Wednesday 4/28/04
Provided by SuzanneProofread by Brian
Dillon: Emily, Emily. Hi. Have you seen Georgie?
Emily: You're looking for Georgie? What a surprise. What, have you been camped out here in the lounge her whole shift, Dillon?
Dillon: I know I'm, like, a raging dork, and I don't even care. It's, like, I'm just -- I'm so happy, you know, because I thought I had, like, lost her forever, and -- real sensitive, Dillon. That's great.
Emily: No, Dillon, Dillon, don't do that, ok? Don't edit yourself because of me. I'm thrilled for you and Georgie. There's nothing more wonderful or more important than being with the person you love.
Nikolas: Hi. What's wrong?
Mary: Nothing. Why would anything be wrong? I get to wake up next to you and see your face first thing.
Nikolas: Something I said?
Mary: I have to get breakfast started or we're both going to be late.
[Knock on door]
Sonny: How's he doing?
Carly: He's good. He's sleeping peacefully.
Sonny: Um -- I figured you'd be hungry.
Carly: Hmm. You brought me a doughnut.
Sonny: Breakfast of champions, right?
Carly: Thanks. He should be awake soon.
Sonny: I need to talk to you first.
Sam: "Many fathers choose to take an active role in pregnancy and prenatal care. It's important for both parents to be honest about their expectations and needs."
Jason: Sam. So much for being honest with Sonny.
Emily: This is exciting news, huh?
Dillon: I know! I mean, you know, don't get me wrong, Iím not kidding myself. It's not like Ned suddenly discovered my hugely insane talent. I'm sure he's mostly just doing it to annoy my mom -- which is fine, you know, but how often do you get an opportunity like this? I mean, you got to grab on with both hands and just devour it for everything it is and do the best you can to make sure it works.
Emily: Well, excellent philosophy, Dillon. I think it's great, and I'm sure that you will be fabulous.
Georgie: Emily? You paged me?
Emily: For him.
Dillon: That was me.
Dillon: Yeah, so Ned wants to get started on the video project right away, and I need your help. Emily here has offered to take over the rest of your shift.
Emily: Yep, happy to.
Georgie: Thank you so much, but can I push my luck and ask for one more favor?
Emily: Sure. Why not?
Georgie: Thank you, thank you. If my parents call, please don't tell them I'm with Dillon.
Emily: No problem. No problem. Go, go! Have fun.
Georgie: Thank you. Three minutes. Let me get my stuff.
Dillon: All right. I owe you.
Emily: You know, just think of it as my contribution to the artistic future of L&B and Tracyís ultimate defeat -- no offense.
Dillon: None taken.
Dillon: I -- I get why the family loves you so much.
Emily: What did I do, hmm?
Dillon: You're strong, Emily. You are so strong. You just -- you just lost the love of your life, and look at you, you're helping me run away with Georgie so we can have time together. And I just -- I don't even know if I could get out of the bed in the morning.
Emily: I'll let you in on a little secret. I'm faking like crazy, Dillon. But sometimes that's all you can do, until the day finally comes when you can let go and move on.
Mary: Come on, sit down before it gets cold. I -- I packed you a lunch to take to work. It's in the fridge.
Nikolas: Aren't you going to eat?
Mary: Oh, I couldn't. I'm too nervous about my interview at General Hospital. Is my suit right?
Nikolas: You look beautiful.
Mary: I'm not sure what the position's for. It's obviously something clerical, because I'm not qualified to be a brain surgeon.
Nikolas: Mary, Mary, we made love last night, and I thought you were happy about it. But by the way you've been acting, I'd say you're trying to find a graceful way out of a one-night stand.
Courtney: I feel a psychic moment coming on.
Lorenzo: This happen often?
Courtney: I'll bet you a million dollars you and I are headed to the same place -- to the law offices of Jen McNeill, right, to sign off on your purchase of my piers.
Lorenzo: Don't forget the exchange of a nice, fat check.
Courtney: You know, I was surprised when I realized you were the buyer, Alcazar. With everything that's happened lately, I'd have thought real estate would've been the last thing on your mind.
Lorenzo: Recent occurrences in my life have forced me to reprioritize, and Iíve neglected my business affairs far too long.
Courtney: In other words, you're staying in Port Charles.
Lorenzo: It's where I live. It's my new home.
Courtney: Are you really that sure of yourself? Or is it that even after all this time, you still don't get how Carly works?
Lorenzo: And how is that?
Courtney: You know how she suddenly seems interested in you? It's only because she is trying to push Sonny away. He asked her to move back in with him.
Sonny: I have to finalize an arrangement before we talk to Michael.
Carly: Look, Sonny, this -- this was your bright idea, and if you are having second thoughts, I certainly won't pursue it.
Sonny: I made a promise to Michael. I intend to keep it.
Carly: Even if it makes both of us miserable? Look, Sonny, we haven't told Michael anything. There's still time to reconsider.
Sonny: Michael almost died trying to fix his family. Maybe he won't get two parents who still love each other, but we can at least make the effort to live together in peace.
Carly: Fine. I just -- I don't think that this reconciliation is going to be as easy as you seem to think.
Sam: Didn't we just do this? I'd be more than happy to speak with Sonny face to face if he has time to come here.
Jason: What kind of games are you playing? You called Sonny last night; said you were going to meet him at the penthouse. He waited and you never showed up.
Sam: I changed my mind. I have the right to do that. It's not like he doesn't know where I live.
Jason: Ok, but he's busy with Michael.
Sam: Well, I'm sure Carly found his presence extremely comf -- you know, I'm not going to do this, Jason. I'm not going to get angry with Sonny because I don't like his choices. He has every right to do what he thinks is best for his family. Know what, there's no point in putting off the inevitable. If he wants to break up with me at the penthouse, that's fine by me. At least it'll give me a chance to pack my things.
Nikolas: Do you regret making love to me last night? I mean --
Mary: No, not for a moment. No, it was -- it was unbelievable.
Nikolas: Then why are you so sad and why are you trying to hide it from me?
Mary: I'm just being silly, that's all.
Nikolas: We're married; silly's allowed. And by the way, whatever you're feeling matters to me.
Mary: I guess part of me thought that making love with you would open up a flood gate and your memory would come back -- you know, like sleeping beauty in reverse, a kiss awakens the prince.
Nikolas: Yeah, fine, but only one problem -- Iím far from a prince.
Mary: You are to me.
Nikolas: I'm sorry to disappoint you, Mary.
Mary: That's not what happened last night; and that's the last thing Iíd ever want to make you think. That's why I didn't want to get into this. I'm being impossibly greedy and selfish, and I know there's no going back now. And I just have to stop trying and be grateful that I have you at all. I mean, how many miracles do I think I deserve?
Nikolas: And last night felt like a new beginning -- at least to me it did.
Mary: Me, too.
Nikolas: Ok. Ok, then let's make a deal. All right? We'll start again, from right here.
Mary: You know, I -- I have to go or Iím going to be late, and, you know, what kind of first impression would that make?
Nikolas: So when you fill out your job application, what are you going to say; that you're a widow?
Mary: I don't have a choice. You see, the irony is that the only way I can keep you close to me is by convincing everyone else you're gone.
Lorenzo: Courtney, you have a tendency to jump to the wrong conclusions, especially when it comes to me and my relationship to Carly, which is really none of your business. But I will satisfy your curiosity because it might make it easier for you to sell me your piers. Carly did come to me last night. I was absurdly happy. When I took the opportunity to ask her to reconsider her relationship with me, she couldn't get out of the door fast enough.
Courtney: Good for Carly.
Lorenzo: Out of everyone who's connected to Sonny, you seem to have the most objective point of view so this once allow me to ask you to put your personal dislike of me aside and make a fair assessment of who you think has treated Carly worse. Me, the man who kidnapped her? Now, admittedly, that's not the smartest first step in a courtship, but I fell in love with her and that is the reason I pursued her. Or Sonny, who has repeatedly cheated on her, repeatedly verbally abused her, and then tried to use her children against her to punish her for turning to another man? Sonny is a bully and a tyrant who has tormented Carly with her own children and his new lover for months! Suddenly, Sonny thinks it's ok for Carly to return home, and you think that's acceptable? Why? Because it's best for Sonny to keep a promise he made to a God that's not even listening to him? Has it occurred to you or anyone else in your family that the only person who's thinking about what Carly needs is the man you all accuse of ruining her life?
Sonny: Sam here?
Jason: She's waiting.
Sam: Jason, please, just stay away.
Sonny: Why you crying?
Sam: You don't look like you're ready for a party, either, so why don't we just plunge in like grownups and get this over with?
Georgie: Are you sure this is the right address?
Dillon: Uh -- yeah, according to the realtor.
Georgie: Well, I guess she would know. Has Ned even looked at this space before he rented it?
Dillon: Um -- yeah, I think so. I wouldn't worry about it, though. I mean, studios and sound stages are supposed to be, like, greasy and grimy and dumpy. It's kind of a rule.
Dillon: Because they're basically workspace. I mean, imagine what happens when the cameras start rolling. Of course, there's always location.
Nikolas: Morning, Father.
Priest: Good morning. Ah, you're making good progress here.
Nikolas: Yeah, yeah, it's coming along ok, but I'm running a little low on supplies.
Priest: Oh, I'm sorry. I'm going out of town to perform a wedding. I just stopped by to let you know Iíd be gone. I won't be able to bring in supplies for a couple days.
Nikolas: Oh, ok. You know, I noticed a caretaker's truck out back. If you don't object to me borrowing it, I'm glad to get whatever I need myself.
Priest: Are you sure you want to risk going into the city?
Nikolas: It's just one trip to the hardware store. Anyway, Mary tells me I don't really know anyone in town anyway, so I figure what are the chances of me being recognized?
Emily: You here for an update on Michaelís condition?
Jason: It must be good news. You're smiling.
Emily: Michael slept through the night, and Dr. OíDonnell says he's much stronger and he may be able to go home in a couple of days.
Jason: All right.
Mary: Emily, I was hoping Iíd run into you.
Emily: And why's that?
Mary: Oh, well, I'm on my way to an interview with Mrs. Hardy, and I just wanted to thank you again for the recommendation.
Emily: Yeah, it was just a thought, Mary. You may decide that, you know, General Hospital isn't for you after all.
Mary: I'm Mary Bishop.
Jason: Jason Morgan.
Mary: Very nice to meet you. I saw you with Emily at her fiancťís memorial service.
Emily: Yeah, Jason and I aren't dating, if that's what you're wondering. He's my brother.
Mary: Well, it was very nice to meet you.
Emily: Audrey's office is down the corridor on the left. Her name's on the door. Ahem.
Mary: I'm sure Iíll find it.
Jason: Who is she and why are you mad at her?
Carly: Listen, I -- I owe you an explanation for what happened last night.
Lorenzo: No, I'm very clear on what happened and why. You turned to me in an attempt to drive Sonny away. It's not very flattering but, Carly, it speaks volumes about your ambivalence towards your so-called reconciliation.
Carly: Look, that's already been decided.
Lorenzo: By who? Sonny? Has he even given you a vote?
Carly: Listen, please. Lorenzo, please don't do this.
Lorenzo: Carly, someone has to. Look, you don't want to be with me, don't, but you are more than capable of being on your own, so for once in your life, stand up to Sonny and tell him no.
Sonny: You want a drink?
Sam: No, I want this over with. Sonny, I was in and out of the hospital through most of Michaelís illness and I was enlightened by a few things that I saw, like the way you and Carly leaned on each other, took and gave comfort, the mutual joy you shared when you found out Michael was going to be ok, and the connection that is still there between you. You want her back, don't you?
Sonny: Are you going to speak for me or you want me to --
Sam: I'm just trying to jump-start things, that's all.
Sonny: Ok, ok, ok. I have no intention of going back to the way things used to be with Carly. There's too much anger, too much betrayal. Fights with no resolutions; too much pain with nowhere to go. It's not good for me or Carly. I like having you around, ok? We're just now starting to get to know each other. If it were just me, you would never leave. But I, you know -- there are children involved, and Michael almost died trying to get his, you know, parents back together, and I made a pact with God that if he let my son live that I would make sure Michael had the family he so desperately wants. I got to step up. I have to -- I have to keep the promise.
Sam: I understand that.
Sonny: No, no, I don't think you do. Listen -- yeah, it's true that Carly and the boys have to move back in with me, but that doesn't mean that I want you out of my life.
Sam: What are you saying, Sonny?
Sonny: I'd like to keep seeing you.
Sam: Even though you'll be living with your wife?
Sam: Yeah. And that would make us good buddies? What?
Sonny: It would make us what we are.
Sonny: Well, not exactly.
Sam: What exactly? Where does Carly fit in?
Sonny: Look, Carly is coming back for the kids. She doesn't want an intimate relationship with me any more than I do with her.
Sam: Well, you might want to double-check with her because I doubt she's going to be ok with you coming to see me.
Sonny: But this is not about Carly; it's about -- it's about us. You care about me, right?
Sam: I can't deny that.
Sonny: Well, it goes both ways. I mean, I'm grateful that you came into my life. You make me laugh, and that's not -- that's not easy to do, you know? Look, hey, I know it's selfish of me to ask this of you, but I don't know -- I don't want it to end, and I don't know any other way to do this. Look, if it doesn't work out for whatever reason, if it's too painful, if, you know, I tie you down in any way, all you've got to do is tell me. I just want to try to -- I want to try to work this out, ok? I mean, what do you think? Think you can live with it?
Carly: I want to make something really clear to you -- I am moving in with Sonny for Michael and Morganís sake.
Lorenzo: And what kind of a home will you be providing? Even if you and Sonny manage not to fight, which is highly unlikely, silent anger and unspoken suffering can be just as devastating to children.
Carly: I know this, Lorenzo -- I am doing what I think I should.
Lorenzo: You're allowing your need to be a good mother to coerce you into returning to an untenable situation. I got to hand it to Sonny, he works fast.
Carly: Lorenzo, I cannot discuss this with you.
Lorenzo: You are sacrificing yourself on Sonny's altar yet again! He abuses you emotionally, Carly, and he's going to use your time with me to punish and control you. And you're so used to being mistreated, you don't care anymore. It sure as hell bothers me. Carly, I am not going to sit by and cheer while you return to a life that has been nothing but destructive to you.
Carly: Ok, look, listen to me -- I am trying to give my children a good life. I'm doing the best I can.
Emily: I've been struggling since Nikolas died, Jase. I mean, I'm fortunate to have so many people who care about me and want to help -- and I'm grateful for them, Jason, I really, really am. But it's like from this vantage point, it feels like no one can possibly understand how hollow I am inside, and I thought Mary did. You know, she recently lost her husband in Iraq. We've been kind of comparing notes, you know, bonding over our pain.
Jason: Ok, what happened?
Emily: I dropped in on her. Always a bad idea, right? Anyway, she was -- she was acting kind of strange, and then I heard a sound from her bedroom. I mean, Mary is already sleeping with another man, Jase. And I don't know, but it made me so angry, you know? I mean, I know it's none of my business -- I realize that -- but it's like I just -- I thought that -- I thought that I was connecting with this woman on such a deep level, you know? I just -- I know that I could never betray Nikolas like that.
Jason: Ok, look, you know, people don't always think clearly when they're grieving. Ok? They're afraid that they're going to fall in this dark place and never find their way out again. I mean, when we thought Michael might die, I have never been so scared. Because I knew if we lost him, I would carry that pain with me forever; the way you carry losing Nikolas. You know, some people deal with loss however they can. Sometimes it might be trying to forget with another person; sometimes it might be trying -- trying to get so mad where you fight through the pain.
Emily: You think I'm being unfair to Mary?
Jason: Only you can answer that one.
Emily: Excuse me, I have an apology to make.
Georgie: Hello? Earth to Dillon? Come on, I could use a little help here.
Dillon: Uh -- sorry. I was conceptualizing.
Georgie: Look, I know that you're really excited about shooting your first video -- and I am, too. I think it's amazing. But don't you think you're getting a little ahead of yourself? I mean, does L&B even have an artist under contract?
Dillon: Yeah, it does now. I mean, Ned says he found this, like, amazing singer in Florida that he's bringing up to Port Charles to cut his C.D. and -- and to shoot a breakout video, shot by none other than me.
Georgie: Well, great. Who's the singer?
Dillon: Uh -- I don't know, Ashley -- Ashley B or C or something. G. Maybe it's G. Ashley G. I don't know. It doesn't matter. It doesn't matter because Ned says that she is going to be the next Jessica Simpson, and she's going to launch -- well, launch my career. All I have to do is come up with a concept. Do you think -- I don't know, do you think the Rock 'n' Roll Hall of Fame either has or will eventually have, like, a category for music video directors? Or, no -- no, music video conceptualist. I like that.
Emily: Mary, wait up.
Mary: Oh, Emily. What can I do for you?
Emily: Um -- accept my heartfelt apology, Mary. How you deal with your husband's death is no one's business but yours. I had no right to judge you. In fact, I'd like to help. I realized how unfair I was projecting my feelings onto you and making snap judgments, and my brother reminded me that people deal with grief in different ways, and I had no right to inflict my way onto you, Mary.
Mary: No, no, if anybody has a right, it's you. I mean, your loss is recent and you're still trying to find a way to accommodate the brand-new hole in your heart. And you're living with grief every moment of every day and you feel completely alone, and I claim to understand, to empathize because it was a grief that I recognized. And then I turned around and I did something that you find unfathomable.
Emily: Oh, Mary.
Mary: For what it's worth, I don't know what I'm doing half the time or why.
Emily: Well, that I understand.
Mary: I would give anything -- anything in this world, Emily, to have Connor back with me the way he was, with his eyes full of love for me. That's not going to happen. And sometimes the moving along, the relentless getting through life part is -- it's not only overwhelming, it's -- it's impossible.
Emily: Well, that I understand. Completely.
Dillon: Ok, so what do you think I should use for inspiration? Like "To Have and Have Not," "Casablanca," or something more noirish, like "Postman Always Rings Twice"?
Georgie: Look, I know you love those movies -- and I love them, too -- but I don't know if they're cutting edge enough. I mean, we are the generation with a short attention span, and what if our target audience sees a girl in a satin dress with a 1940s-style hairdo and changes the channel for Beyoncť or something?
Dillon: Georgie, the song and the camera work is going to be contemporary. It's just it's more like an homage. Ok, can I -- can I show you? Do you mind? Can I? Ok.
Dillon: All right, I want you to turn around.
Dillon: And have your back facing me. Now, give me a turn over your left shoulder, and I want like a sultry sort of look, ok?
Georgie: Oh, no, no, no, I don't do sultry.
Dillon: You do sultry. You just don't know you do it. Turn.
Georgie: Ok, ok. Dillon, what are you doing?
Dillon: I'm framing the shot.
Georgie: Oh, wait. No, no, no, you're -- you are not doing a video of me.
Dillon: Of course I am. All my videos will be of you. I mean, you're my muse, right? Yeah, I know the final product will say something like Ashley B or C or G or D or F or whatever it is, but in my head, where the concept is born, you are the one singing to me.
Georgie: Well, then it poses one itsy-bitsy little problem -- I cannot sing, not a --
Sam: You're back. Ahem, let me guess -- instead of stopping me, you're here to carry my bag. Oh, maybe you're here to give me a personal escort to my boat, right?
Jason: Sonny didn't want you to be alone.
Sam: But I am alone. That's the whole point here, Jason. Sonny has Carly, and I am alone. Except for the times Iím going to see him.
Jason: What are you talking about?
Sam: Didn't Sonny tell you? Yeah, I have agreed to be his mistress.
Carly: Ok, it's my turn now. Ok, knock, knock.
Michael: Who's there?
Carly: Interrupting cow.
Michael: Interrupting cow --
Carly: Oink! Oh! I mean -- oh, it's moo! You messed it up. You made me mess up with your giggles. Stop!
Sonny: Looks like you guys are having a grand old time.
Michael: Mommy's trying to tell jokes.
Carly: What do you mean, trying? I am the joke-telling queen!
Michael: Yeah, of always forgetting the punch line!
Carly: Well, no, you just messed me up, that's all.
Sonny: How you feeling? Looks like you're feeling good, huh?
Michael: A lot better. When can I go home?
Sonny: Well, that's what your mother and I want to talk to you about.
Carly: The doctor says that you can be released really soon.
Sonny: Yeah, and when you are, that means that you and Morgan and your mommy are going to be coming home to live with me.
Michael: Does that mean you're getting back together, for real?
Georgie: Ladies, all the ladies, ladies, we got a situation. We need determination; we got to show the world what we can do. All my girls come together now. They think they're better whatever now until my day to discover now we got to stand our ground say, here we are whatcha gonna do about it? Here we are whatcha gonna say? Here we are whatcha gonna do when we get up in your face, now? Here we are whatcha gonna do about it? Here we are whatcha gonna say? Here we are whatcha gonna do when we get up in your face, now? Here we are whatcha gonna do about it? Here we are whatcha gonna say? Here we are whatcha gonna do when we get up in your face, now?
Singer: Here we are whatcha gonna do? Here we are, whatcha --
Dillon: What the hell was -- hey, kid, this is not a playground, ok? This is a recording studio. That's sensitive equipment. So just, you know, get lost or something.
Girl: I'm supposed to be here and, by the way, that equipment is a piece of junk. So is everything else around here. We're talking major upgrade before I sing one note.
Dillon: You're Ashley G?
Girl: Ashley B. You'd better remember and learn how to say it with respect. I'm L&B's new star.
Michael: Is this really happening? You guys aren't mad at each other anymore?
Carly: Michael, you and Morgan are the most important thing to your daddy and me.
Sonny: But it doesn't mean what you did was ok. Running away, writing a false ransom note to make us think you're kidnapped -- that's wrong, not just because, you know, your life was in danger and you wound up in the hospital. You don't try to get what you want by scaring the people you love. It's wrong.
Michael: I know, and I'm really sorry. But it's ok to be happy. We're going to be together, right?
Sonny: You know what? You be as happy about that as you need to be, but right now you need to rest because the more you sleep, the shorter you'll stay in the hospital. Ok?
Michael: Love you.
Carly: We love you too, sweetheart. We're going to go talk in the hall.
Carly: It's done. We can't take it back without breaking his heart.
Sonny: Yeah, yeah, well, there's no backing out. I mean, it's just important that we don't do what, you know, we did before, and there are parameters that we have to agree on.
Carly: Mm-hmm. Ok.
Sonny: One of us will sleep in the guest room, and Iím willing to --
Carly: Of course one of us will sleep in the guest room. We're not sleeping together. But you don't want to sleep alone, do you? That's right. That's -- hmm -- where Sam comes in. You actually -- you want me to move back in the house as your wife and you want to keep Sam as your mistress on the side.
Sam: Sonny is with Carly for the children. That's why they're getting back together. I mean, you're clear with that, right?
Sam: Are you judging me from some high, imaginary moral post right now, because --
Jason: Like I said, what you and Sonny do is your business.
Sam: Yeah, you're right, it is my business. You know, why shouldn't Sonny and I go on enjoying each other for as long as we can? What is the big sin in wanting to be happy for a little while in this miserable world? It's not going to last, Jason, I know that. Nothing good ever does. But just because a thing can't last doesn't make it less magical while it's happening. So Iím going to take that magic for as long as it's offered, and then Iím going to let go, and I won't look back.
Jason: Whoa, whoa, hold on, hold on. What's wrong with you?
Mary: Connor was my life since the moment I saw him. And up until last night, I'd never been with anybody else.
Emily: Was it strange?
Emily: Was it awful?
Mary: No. No, not at all. It was -- I haven't found words for it yet.
Emily: Mary, I shouldn't pry.
Mary: No, I don't mind.
Emily: It's all very abrupt and confusing, isn't it?
Mary: Oh, yeah. Well, everything changes. Even the way I saw myself. Like before, I was Mary, Connorís wife, and then suddenly, I was Mary, Connorís widow.
Emily: You're isolated, you know, you're cut off from everyone. No matter how many people are around, you feel alone, huh?
Mary: I know one thing, though. Connor wouldn't want me to spend the rest of my life alone and grieving for him. He'd want me to move on, and maybe even fall in love again. I mean, how do I know he's not taking care of me right now?
Emily: What do you mean?
Mary: Well, they say everything happens for a reason, right? And if that's true, then, well, then this man hasn't come into my life arbitrarily. I mean, maybe there's a purpose to it, for -- for both of us.
Nikolas: I'm sorry, sir. The church is closed for renovation.
>> On the next "General Hospital" --
Nikolas: Do we know each other?
Dillon: We have a serious problem here, and you are it!
Emily: You're the best thing that ever happened to Jason. Are you sure it has to be over?
Jason: You're lying to me, and I'm not sure why.
Sonny: It's obvious by the way you're acting you don't want to sleep with me, do you?
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