Guiding Light Transcript Wednesday 5/1/02

From Linda
Proofread By Tanya

Ross: Blake.

Blake: Ross.

Ross: My God, she's got you locked up like an animal.

Blake: Oh, my God, Ross.

Ross: Honey, it's all right.

Blake: How are the kids? How are the kids? Tory threatened to kill them.

Ross: I know, the kids are fine. Everybody is fine, okay.

Blake: Oh, my God, thank you. I thank you. How did you find me?

Ross: It's all right. It's all right. I picked up your message on the videotape. It was brilliant. The one about Jason and the chocolate. That was absolutely brilliant, and I got to thinking, where was the last place that I had had a definite sign about you? And it was right here, right upstairs where you had left your credit card.

Blake: Oh, Ross, it's just been so terrible.

Ross: I'm sure. But it's all over now, and you're back with me. And I love you so much.

Tory: Blake! My goodness, were you day dreaming? At a time like this, I am impressed.

Ross: Do you know when she'll be back?

Gus: No, but I can help you.

Ross: I'll wait for Harley, thanks.

Gus: Well, actually, Counselor, that could take a long time, you know. Have to order you soup and sandwich and spend the taxpayers money, but I'll help you out. What's going on?

Ross: I prefer to wait for Harley.

Gus: What have you got? I don't mind looking at it.

Ross: Gus, Gus...

Gus: Listen, I was sworn in, just like Cooper was, in fact I have a little more experience than she does. Well, we'll get into that another time. You need my assistance, let me give you some assistance, huh?

Ross: It's about Blake. She's disappeared.

Gus: Geez, why does that keep happening to you? I mean, you were in here a couple of months ago saying the kids were... Disappeared. Why does it keep happening?

Ross: Tory only took the kids for several hours and she left a note. This is much different. Blake is gone, and you are going to help me find her.

Beth: You know, I hate to spoil your fun, but when you lead me up two flights of stairs in this house, it's not exactly a secret that we're going to end up in the... Attic. (Nervous laugh)

Phillip: You remember the attic.

Beth: Yeah.

Phillip: Did I tell you I was going to find some place where we could be alone?

Beth: Yes, you did.

Phillip: I think we're alone.

Beth: We could be alone at a luxury suite in Towers, too.

Phillip: Takes way too much... Too far away. We need some place in this house that's just ours.

Beth: Meanwhile, there's something of everybody here. This was in Alan's study. This was Lizzie's.

Phillip: I think this was ours, wasn't it?

Beth: Yes, I think it was.

Phillip: Don't do that.

Beth: (Laughs)

Phillip: It kind of scares me when you do that. Actually, it also makes me wonder something. I wanted to ask you.

Beth: Yeah, okay.

Phillip: Lorelei was the card shark, not you, but she was essentially somebody that you had created, so where the hell did you learn to do that?

Beth: I tell you what. We'll play a few hands of poker. If you win, I'll tell you.

Phillip: Okay. I think we might be a little short on chips up here.

Beth: Yeah, well, we still have our clothes.

Phillip: Strip poker.

Beth: Afraid you'll lose? You did say we were alone.

Phillip: Okay.

Richard: You really love this place, don't you?

Cassie: More every time I come. I think this hotel is something special, Richard.

Richard: Well, that's because you own it, right? That is half of it anyway.

Cassie: You know what excites me the most? Is what we could make of it. I mean, I really think that this children's museum can be a special place for everyone in Springfield, not just for the children.

Richard: You've only been in town scarcely a month and already you want to give back to it. You're amazing.

Cassie: Springfield's my home. And I know we haven't fixed up the farm yet, but I don't want to hold off getting started on the museum, I really don't.

Richard: Sometimes it's not wise to spread yourself too thin.

Cassie: Yeah, but we can do it. Even if we have to use our own money. We can do it, that's what's money for. And we got it, right?

Ms. Porter: Ambassador Winslow, it's Suzanne Porter from Springfield Union Bank.

Richard: Yes, hello.

Ms. Porter: Yes, hello. I'm sorry to call so late, I thought you'd want to hear as soon as possible about your line of credit.

Richard: Yes, of course. So can you give me what I need?

Ms. Porter: I'm sorry, Mr. Ambassador, I'm afraid your request has been refused.

Richard: Right, yes, I'm sorry. Go on.

Cassie: Well, how far do you want me to go back? When did you stop listening?

Richard: No, I heard... I heard everything. You know, the museum, money, heard it all.

Cassie: You just had a really far off look on your face.

Richard: I was thinking about the future, that's all.

Cassie: That's all I'm thinking about. This place, you know, it can be a great children's museum. You know what we could call it? We could call it the Beacon's Children's Museum. What do you think? Wouldn't that be awesome?

Blake: Where are my children?

Tory: I know I brought it.

Blake: Are they all right, Tory?

Tory: Blake, will you relax? They're fine-- for now. Here it is. I brought you lunch.

Blake: I'm not hungry.

Tory: Oh, come on, Blake. Look, there's only 400 calories a serving. 300 of them from fat, it's almost diet food.

Blake: I said I don't want it.

Tory: You know, you are not very grateful for someone whose little kids are only alive because I allow them to stay that way.

Blake: I'm sorry.

Tory: Prove it. Try to enjoy it, Blake, because after all, how many last meals does someone get? I guess that's obvious. Only one.

Richard: Five, is that all?

Cassie: Yes, five. Well, listen. My favorite one was to create an exhibit about some of the very noteworthy and successful people in this town, about their childhood. And we could call it, you know, "Growing Up To Be Great."

Richard: What a marvelous way to bring home the point, you know, that just because the chips are down doesn't mean that there aren't great things on the horizon.

Cassie: Exactly. No, exactly. And I think it'd be the centerpiece of the museum. And you know what, I think it could be right here on this first level. I think it'd be great to have it right off the main lobby, what do you think?

Olivia: Funny, that's exactly where I was thinking about putting the nightclub.

Alan: Well, I hope we're not disturbing you. There's only one problem with turning this into a nightclub, though. The right name. Coming up with the right name which captures a blend of sass and class.

Olivia: You're right, it should be something but catchy and easy to remember.

Alan: I got it. How about Olivia's.

Olivia: Kind of has a nice ring to it.

Alan: Yeah, I think it's perfect.

Olivia: Hmm, Olivia’s at the newly restored Beacon Hotel and Resort. I kind of like it.

Beth: No, no. I'm just really good at this game.

Phillip: I don't think you're that good.

Beth: Quit stalling. Pants off.

Phillip: You haven't taken off a stitch of clothing.

Beth: Well, that's not necessarily permanent. But of course, you'll be buck naked by the time I take anything off.

Phillip: You know what? That's not a bet I would take.

Beth: No?

Phillip: No. Because you know what? We're going to play a different game now. And this is one that I'm really good at.

Gus: Technically, she's not even your wife, right?

Ross: Gus, we have been together for years, and when you're as close as we are, no matter how tough things get, you don't run out. And you certainly don't make a videotaped farewell.

Gus: Well, in my book, it's better than nothing.

Ross: There's something else. Near the end of that tape there's a reference where she's talking to our son, Jason about how he should go easy on the chocolate.

Gus: I love chocolate.

Ross: Jason can't have chocolate at all. He's allergic to it, has been all his life, it makes him violently ill. Now, the fact that Blake would say something that was so outrageously untrue makes me think that she may not be in control of what's happening to her.

Gus: Okay. All right, all right, I get it. So you think maybe she was under duress when she made this.

Ross: That's what I think, yes. And I want the police to look into it, because that's what the police do, Gus, when things go wrong.

Gus: Right, right. Well, you know, there's wrong, and there's wrong, wrong.

Ross: What the hell does that mean?

Gus: I don't really know if there's anything worth investigating here.

Ross: What are you talking about? I just laid it out for you.

Gus: Well, no, wait. Let me just... Let me tell you the way that I’m looking at it, okay? Just listen to me for a second. A man loves a woman, and a woman loves a man, the whole thing, you know, and he steps out on her, he cheats on her. She finds out about it, she tries to deal with it, she tries to, but she can't, so she splits and that's it. That's pretty much it.

Harley: Wow, that's an interesting scenario. But this is why you have a partner, partner: To help you see the story maybe just a little differently.

Blake: You're never going to get Ross, ever. Even if you kill me, Tory, what do you think you're going to do, take me out of the picture and just plug yourself in?

Tory: Yeah, that's exactly what I’m going to do.

Blake: And because Ross is so madly in love with you, and if I’m gone, he's free to express himself?

Tory: Exactly, because Ross was meant to be with me.

Blake: (Sighs) So how do you expect to finish me off, Tory? Going to poison me with the next bag of chips?

Tory: No, Blake, I'm not going to do anything. You're going to do it.

Blake: Excuse me?

Tory: You're going to end it yourself, by committing suicide, just like my mother did.

Blake: Oh, my God. You really are insane, aren't you?

Richard: Thank you.

Cassie: If this is a moveable feast, why don't you move it on out of here? You know, Richard and I were sitting here first, Olivia.

Olivia: Oh, well, the thing is, this might be my half of the hotel, so maybe you're the one who should move?

Alan: Do I smell chicken salad?

Richard: Yes, you do. Cassie made it fresh this morning.

Cassie: Yeah, made with dill for the sass and class.

Alan: That sounds delicious.

Olivia: Alan...

Richard: Do you want some?

Alan: Not unless I can reciprocate with duck pate and peppercorn.

Richard: That's my favorite.

Cassie: Unbelievable.

Olivia: Oh, you know, I do remember, Richard, when we were engaged, you used to smother duck pate on anything that was toastable.

Richard: Yes, well, I guess one can't say that I didn't have good taste.

Alan: And you still do, Richard. Please, be my guest. You ladies aren't going to be joining us?

Olivia and Cassie: No.

Cassie: You know, you may be interested to know that I spoke to the zoning board. And it turns out that a project the size of the one that you were planning to do here would just violate all kinds of ordinances, so there's no way you're going to get clearance, Olivia.

Olivia: As opposed to a children's museum, that probably has twice the daily volume, I don't think so.

Cassie: Well, see, there's a guy named Ken Franklin, he's the chairman, and he is seriously pro-kids. And when I told him my ideas about the children's museum, he loved it. He said that that is exactly what Springfield needs.

Olivia: Well, you know, I know Ken very well, and if there ever was a jazz enthusiast, it's him. I doubt that he would veto a plan that features a top-notch music venue.

Cassie: Jazz, kids. I wonder which commitment would get Ken reelected to the board? I am going to go and check the dimensions of where I'm going to put the "Growing Up Great" exhibit.

Olivia: You mean where Olivia’s will be.

Cassie: No, I don't. Enjoy the pate.

Olivia: Alan, remember you having said something about taking measures to make up for interfering in my project? Remember that? You need to take some more.

Alan: You know, Richard, you and I have a lot in common.

Richard: Really?

Alan: We're both enamored by two very strong-willed and intelligent women who know exactly what they want.

Richard: Well, here's to us.

Alan: I'll drink to that. And you know, we could give them both what they wanted if we work together.

Harley: I know Blake, okay. If she wanted to get even with him, she'd do it face to face.

Gus: Maybe she... Maybe she just had enough. Enough's enough.

Harley: Why do you find it so hard to believe that Blake could be in trouble? Why do you find it so hard to believe that?

Gus: Because... Blake is a hot-blooded woman, okay? And maybe, just maybe when she found out her man was cheating on her, she tried to get past it, she couldn't, and she split, and she couldn't take it, so she's gone. That's it.

Harley: That's so deep. Where did you get this deep insight into women?

Gus: Ever since I started working with you.

Ross: Excuse me, this is not about the two of you. This is about Blake. Now are you going to help me find her or not?

Gus: No.

Harley: Yes.

Tory: You know what, Blake, I don't really care if you don't think you'd kill yourself, as long as everybody else believes that you did.

Blake: Which they wouldn't.

Tory: Are you so sure about that? Ross, the love of your life, cheated on you, and then lied to you about it for months. And then you made that heartbreaking little videotape, which was proof of how far you'd actual gone before taking that final step.

Blake: Yeah, and on the tape, Tory, I said I was going off to write a book, remember? I was going to turn my disastrous relationship into a very detailed book. Somehow I don't think potential suicide is quite that ambitious.

Tory: Oh, my God, you're right. You're right. That's it. That's it. Writing... Writing is the key to the whole thing.

Blake: What?

Tory: Yeah. Your last piece of fiction is going to be a suicide note. One that will convince Ross, and the police and anyone else who reads it that you had every reason to kill yourself.

Blake: Me, why?

Tory: Because you couldn't handle the fact that Ross loves me more than you. You know, I don't care, you're the award-winning author, you figure it out.

Blake: Well, I'm very meticulous with my work, could take me, what, 40, 50 years.

Tory: Oh, you'll write it, and you'll write it fast, Blake. Or there are going to be three other funerals in town for your children.

Blake: You wouldn't dare.

Tory: How do you want to leave the world, Blake? With Kevin, and Jason, and little baby Clarissa still in it, or not?

Blake: You know, I used to think you were very intelligent, but clearly you're not very bright, are you?

Tory: Fine, you don't have to commit suicide. You can just disappear.

Blake: Oh, no. Unless you have a magic wand, I mean, how are you going to... Think about it, Tory. What are you going to do with the body? Now, you could weigh me down and throw me in the lake, or you could stash me in the trunk of a car. But somebody always sees you, and somebody always finds the body. It never works.

Tory: So what are you saying, that I’m stuck with you?

Blake: Unless you have a magic wand, it's not going to disappear.

Tory: Maybe I can arrange that.

Blake: I'm not going to disappear, Tory.

Tory: Oh, I think you will. See, this is how it works. I can't move you out of here because someone might see me, but nobody knows that you're here. So if you just stay here.

Blake: Forever?

Tory: No, no, that's the beauty. What if a fire broke out?

Blake: Oh. Tory, you can't be serious.

Tory: Yeah, a fire.

Blake: Oh, God.

Tory: A fire here would be horrible. And with all the bars there'd be absolutely no way that you would ever escape. And then after the fire is all finished, there would be no trace of your body left. I think I'm preparing and anticipating very well, don't you?

Blake: You can't do this, Tory.

Tory: I'm going to have to get the fire started. That's okay, that's okay, because it's nothing that a little bit of gasoline won't fix. Thank you, thank you, Blake. I'm so glad that we had this little discussion.

Blake: Wait, we have to talk some more, Tory. Please.

Tory: No, I can't... I can't. I got to go buy some gasoline. I've got to go pick up some matches. But it's okay, I’ll be right back. Just don't go anywhere, okay?

Blake: Tory, Tory, don't go. Oh, God, oh, God. Oh!

Blake: Kevin, make sure you choke up when you hit to right field, all right? And Jason, I know how much you love chocolate, but ease up on it, okay? It makes you sick to your stomach.

Ross: There.

Harley: Jason never eats chocolate.

Ross: Thank you. Harley picked up on it right away.

Harley: That's a signal!

Ross: Do you think Blake would make a mistake that obvious?

Harley: Give me a break, she is the mother of these children. I think she'd know her facts.

Ross: Of course she would. That was deliberate. Do you still think there's no cause for alarm, Gus?

Gus: She didn't say anything about being allergic to chocolate. I think she said one thing and she was stressed, she meant another thing. That's what I think.

Harley: I think she looked like she knew exactly what she was saying. She was looking right at it.

Ross: So you agree with me?

Harley: That she's in trouble?

Ross: Yes.

Harley: Absolutely. Absolutely. And we're going to find her, you and me, period.

Alan: I can almost guarantee it.

Richard: Guarantee. You know, it's funny that the Springfield Union Bank guaranteed me something recently. They guaranteed me a line of credit. Then they changed their minds. Now, you wouldn't happen to know why or who might've influenced their decision, would you?

Alan: No, not at all. This is the first I've heard of it.

Richard: Wait a minute. You own the bank, don't you? So you would be highly influential. Alan, you're trying to cut off my access to funds. It's not going to work, you know, I could simply go to another bank, but I'm not going to do that.

Alan: You have other sources?

Richard: Perhaps. Springfield has given me a chance to make a fresh start, and I intend to do just that. And when I have success, I’m not going to owe anything to anyone.

Alan: I've made a lot of mistakes in my career, but underestimating my competition has not been one of them.

Richard: Then perhaps you shouldn't start now.

Here we are face to face

we forget time and place hold me now

don't let go though it hurts and we both know

the time we spend together's going to fly

and everything you do to me is going to feel so right

baby when you're loving me, I feel like I could cry

because there's nothing I can do

to keep from loving you no no no no no no

here we are all alone

trembling hearts beating strong

reaching out breathless kiss

never thought would feel like this

I want to stop the time from passing by

I want to close my eyes and feel your lips touching mine

baby when you're close to me I want you more each time

and there's nothing I can do to keep from loving you

nothing I can do I’m helpless in your arms.

Baby what you do I’m in love this is it

there's no turning back this time no no no

here we are once again but this time we're only friends

funny world sometimes lives

becomes a game when love's the prize

no no one knows what's going on inside

and all the love I feel for you is something I should hide...

Alan: You know, Richard, if you get Cassie to sell her half of this hotel, I will triple the purchase price.

Richard: You really hate the idea of a children's museum, don't you?

Alan: No, not at all. I just don't think this is a children's museum. I think this is a hotel. I mean, purely by economic reasons.

Richard: Something tells me there's more to it than that.

Alan: Oh?

Richard: This property, Alan, is-- well, how would you Americans call it-- small potatoes?

Alan: Ah.

Richard: Yes. Your company deals with far larger acquisitions on a daily basis. Yet, here you are personally negotiating this little spot of land. Why? Well, because Ms. Olivia wants it.

Alan: Anything wrong with that?

Richard: No, it's quite refreshing to see such a powerful man so utterly taken with a woman that he would do anything for her.

Alan: Well, now you have experience in that area, also.

Richard: Touché. As a matter of fact, the most important thing in the world to me is Cassie's happiness and her peace of mind, which is why I can't accept your offer.

Alan: Why is that?

Richard: Well, for one thing, Cassie has grown very enamored of this place, and you just can't put a monetary value on that, can you? And secondly, well, it's not my deal to make. This is Cassie’s property and it's Cassie’s dream. So if you want to make a deal, you're going to have to make it with Cassie.

Olivia: I want to put a fountain right there.

Cassie: A reflecting pool, all the way down to the lake.

Olivia: That's not bad. Why does it have to be for kids? I mean, you know, just kids.

Cassie: Well, who do you think brings kids to the museum, Olivia? Adults.

Olivia: And then what, Cassie, they traipse through your exhibits for about and hour, buy a t-shirt and go home?

Cassie: Hopefully they're awed or touched or maybe even inspired in some way.

Olivia: You know what, you need to get off your high horse. This place was built as a luxury hotel; it should be one again.

Cassie: That's why Towers was built, Olivia, okay, to replace the Beacon. Springfield has its pleasure dome. Why don't we give the children of the town something?

Olivia: You know, you're barely back in the town long enough to get a library card, all of a sudden you're the conscious of the community?

Cassie: Sorry, I am so sorry, okay. I just think this feels right.

Olivia: To you. Spoken like a true princess. You know, I bet you just had a grand time down in San Cristobel telling everybody what was best for them, didn't you? You know, the amazing thing is that people here still treat you like royalty. No sooner are you back, then they install you as the co-chair of the Lighthouse Gala Committee. I'm sure it's not for your input, though, more for the glitz you can bring to the event. Still, I’ll bet you're getting almost as much attention now as when you were a stripper.

Cassie: I feel so sorry for you.

Olivia: Why's that?

Cassie: Because you don't have any children. You have no idea what it's like to look at their face when they see something or they go someplace that thrills them. You have no clue.

Olivia: A place. A place like, let me guess, a museum?

Cassie: That's right, Olivia. A place where they can discover. A place that's magical, and that's what this place would be. Because this place is magic. I mean, don't you feel it?

Olivia: All the more reason to restore it to a hotel, Cassie. And before you go on about zoning boards and glows on kids faces, let me remind you of one thing: No matter how right you think this museum is, it doesn't get built without my say-so.

Cassie: And your hotel doesn't get restored without mine. But hopefully we can still have picnics here, right? And I'm in the middle of one, so excuse me.

Olivia: (Groans)

Beth: It's been a while.

Phillip: Oh, God. Feels like a lifetime. Hey.

Beth: What?

Phillip: Where did you learn to play cards like that?

Beth: I don't know. I'll just give Lorelei the credit and leave it at that. Pretty handy skill, though. Look where it got me. (Laughs)

Phillip: I'd like to correct something that I said before.

Beth: Yeah, sure. What?

Phillip: When I said that I knew the game that I wanted to play, I didn't mean it. This is not a game. It never has been with us.

Beth: I know that.

Cassie: I know, Olivia. 50-50, with totally different agendas.

Olivia: Well, maybe we need to find one agenda that we can both work with.

Cassie: Do you really think that's possible?

Olivia: I think that we both have the same dream for this place: That its heart, magic, and maybe that's a place to start. Besides, men think they invented deal-making, which maybe they did, but women have turned it into a fine art.

Alan: I'm not so sure about that.

Olivia: Give us a little time. We'll show you that two smart, creative, 21st-century women can find some way to work together.

Cassie: For our sake, or the glory of the entire women's movement?

Olivia: Both. Look, this is the way I see it. We can either rise to meet the challenge, or we can fail miserably because it's so much easier to be petty. What do you say? Do we deal or don't we?

Cassie: I'll try.

Alan: Richard, I think these ladies have shown us something.

Richard: Something tells me they're going to show us a lot more.

Ross: Just hope to God, she's all right.

Harley: I do, too, Ross. And get some rest, okay?

Ross: Okay.

Harley: I'll be in touch.

Ross: Thank you. Thanks for your help.

Harley: Do you want to give me a reason why you went out of our way to make that situation so difficult? Hello?

Gus: Talking to me?

Harley: You treated him like a non person. No, you treated him like a suspect.

Gus: Please. I was very, very businesslike.

Harley: You were rude.

Gus: No, I wasn't.

Harley: The man has a problem, okay? He has a problem. He doesn't need your attitude; he needs a solution, he needs some help.

Gus: You reap what you sow. You reap what you sow.

Harley: What does that mean?

Gus: Can we just drop it, please?

Harley: No, no. I don't want to drop it. I want you to tell me why you treated him like that.

Gus: The guy cheated on his girl, all right? Yeah, he got himself in a little bit of a bind, but he cheated on his girl; he... He messed up. It's his fault, period.

Harley: So there's no room there for forgiveness at all?

Gus: I think that when somebody loves somebody, that should be it, just the two of them. But that's just me.

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