Daily Updates

From: joanna@mail.utexas.edu (Joanna L. Castillo)
Subject: GH: Update for Wednesday -- April 19th
Date: Thu, 20 Apr 1995 04:22:09 -0600

GH Update for Wednesday -- April 19, 1995

+---------------------------------------------------------------------+
| ASIDE:  I'm filling in for Nancy who didn't get the entire episode  |
| due to coverage of the bomb blast in Oklahoma City.  A moment of    |
| silence is in order.  My heart goes out to the victims and all      |
| their loved ones.  :'(                                              |
+---------------------------------------------------------------------+

BTW, we missed the first few seconds of the show here in Austin (also
due to news coverage).  In the update, personal comments appear in
[square brackets].  Also, I always tend to have long-winded updates but
since I know a lot of people will have missed large chunks of the show
due to the new coverage, I'm being even more detailed than usual.
Well, sort of...I feel no particular obligation to cover all the
details of Jason and Keesha's goo-goo/mushy stuff or Luke and Mike's
inane banter.  I apologize in advance to people who enjoy that sort of
stuff.  And so, on with the update...

YOUNG LOVE...MUSHY IS AS MUSHY DOES (Jason & Keesha)
-----------------------------------
Jason and Keesha are in a cafe in Paris.  He tells her that April in
Paris is great but if he were there alone, it wouldn't be the
same...she's the magic ingredient.  "Spoken like a man in love," she
replies and he kisses her hand saying he'll wear that label.  She says
she's so happy...in her wildest dreams, she never thought it could be
this good.  He offers a deal:  if she'll tell him her wildest dreams,
he'll see what he can do about making them come true.  [Actually it
sounded like:  "I'll see what I can do about better" but that *can't*
have been it...can it?]  Keesha says her grandmother says a woman has
to have her secrets.  He asks how a poor guy like him is supposed to
make her dreams come true if she won't tell him what they are.  She
suggests he use his imagination and he says he's starting to get a few
flashes of inspiration.  [Yada yada.]  Jason comments on how much
everyone smokes and then calls over the cigarette girl.  He buys a pack
of unfiltered cigarettes and Keesha's confused.  He puts on a fake
French accent and they yuk it up.  [Yada yada.]  Later, Jason says he's
more convinced than ever that a walking tour of Paris is the way to go.
She agrees but says there's a lot to be said for people watching, too.
She comments that the crowd in the cafe is pretty interesting and he
asks which couple she thinks is the most in love.  Speculation ensues.
She finally lights on a couple but he says they're only second best,
since he's sure they're the winners.  They get up to leave as he tells
her he's got something very special he wants to show her.  They end up
at a bridge...the oldest bridge in Paris...and a full moon hangs
overhead.  She comments that it's so beautiful it's amazing.  "A
backdrop for you, my lady," he replies.  He tells her to listen and she
says all she hears is the water lapping against the bridge.  He says
they could be alone right now with this fabulous light show put on just
for them.  He looks intently at her and says he'll never forget this
moment.  He's never been happier...or more at peace...or more sure of
anything.  He says he used to wonder what it would be like to finally
fall in love...and sometimes thought it wouldn't happen at all.  He
thought he might be too busy with something else and it would pass him
by.  But then, he looked up one night and there she was...walking into
the Nurses' Ball.  Saying "I love you" seems so inadequate to him but
it's the best he's got.  He says he loves her with everything he has
and they start to kiss.  Keesha says she would like to go on the
record, too.  She tells him he's amazing...she's never met anyone who's
so full of wonderful contradictions.  She says he's clear-headed and
rational, yet he's a hopeless romantic; he's dependable and reliable,
yet he's spontaneous enough to take her to Europe on a moment's notice;
he's strong, yet his touch is so tender.  She says she loves him too
and they start to kiss again.

Meanwhile...it's evening in Port Chuck...

WHO'S SCAMMING WHO? (Lucy & Scully)
-------------------
Joe's still putting the moves on Lucy at Luke's.  He says she's
fantastic and she asks what makes her so different.  He says she's got
mystery and he finds that intriguing.  She warns him that some men have
gone stark raving mad trying to analyze her.  He says he's not scared
off and she's probably never met a man as tenacious as he is once he
sees something he wants...and guess who he wants.  He asks if that
makes her nervous.  She smirks that she doesn't scare off easily
either.  Sonny walks up and asks if they're having a good time.  They
both declare they are.  Joe asks about Luke and Sonny says he had to
leave suddenly...his kid's got the flu.  Or something.  Joe says he's
sorry to hear that because he really wanted to pin him down on that
unfinished business.  Sonny says he can take it up tomorrow and Joe,
slithering up to Lucy and throwing his arm around her shoulder, says
he's busy tonight anyway.  A bit later, Scummy...er Scully...is sucking
on Lucy's neck.  He pulls away and tells her she has no idea what he
can do for her.  She remarks on the big plans he's already got for
them.  He says he doesn't think small and she remarks that she's always
been a small town girl...and they do things a tad bit slower.  She says
it takes time for two people to *really* get to know each other and
suggests he take two steps back and let her catch her breath.  He asks
if she's saying he takes her breath away.  She says she can't deny that
she finds him attractive.  He suggests they go out on the town to
celebrate the end of her problems with Deception.  She says ordinarily
she loves victory celebrations...especially when they're *her*
victories.  But, she's got too many things to do tomorrow so she better
"go home and hit the sheets...uh...the pillow...go to bed...perchance
to dream."  She says she should just get some rest.  He insists that he
see her home.  He says a gentleman always sees a lady home and when she
hesitates, he tells her to let him be her protector.  She asks how does
she know he's not the one she needs protecting from.  He insists she
isn't and laughs.  Later, outside Lucy's apartment, she thanks him for
seeing her home and says she hopes he calls her soon.  He invites
himself in saying the least she can do after all the trouble he went
through to see her home, is invite him in for a nightcap.  She tries to
bow out politely but finally agrees to one drink since she's so busy
tomorrow.  And, into the living room they go where they find Sigmund
hanging out on the sofa.  Joe's stunned...to say the least.  When he
comments on the duck, she says he lives there...it's not romantic...
Lucy scurries over to Sigmund and picks him up.  "Sigmund," she
admonishes, "you're not supposed to be in the living room...you are
supposed to be back in your room like I taught you but you're not doing
that very well, are you?...um...we have company...I think you
whispers have to be on your polite...be on your best behavior."  She
quits whispering and introduces Sigmund to Joe...asking if he (Sigmund)
isn't the cutest thing he (Joe) has ever seen.  Joe agrees uncertainly
and quickly changes topics, asking Lucy if she's got any scotch.  Lucy
comments that he's certainly gotten into a hurry all of a sudden and
says she can't just ignore her "little pal here...after all, he's been
in this big old apartment all by himself all day and he needs food and
water and maybe some of mommy's attention...to Sigmund...don't you,
baby?...some kisses and some hugs..."  Scully interrupts and tells her
rather abruptly to put the duck away.  "Excuse me?...this is my
house...my house," she points out.  He again tells her to get it out of
there.  Later, Lucy returns from Sigmund's room and tells Joe she's
hopes he's satisfied...Sigmund is *very* depressed because he's just
not used to people being so mean to him like that.  Joe, who's taken
off his suit jacket, says he has a hard time dealing with the idea of
competing with a duck for her attention.  He pulls her down to sit on
the couch with him and hands her a glass of wine, saying it's time to
get serious.  She sits rather stiffly and he tells her to relax.  She
says the word "serious" makes her all nervous inside.  He suggests he's
making her nervous and she insists he doesn't make her a bit nervous.
He's delighted to hear that and puts his drink down.  He starts
slinking across the couch saying he wants them to get a whole lot
closer before the night's over.  He says he's sure that doesn't
surprise her since there's been this attraction between them since the
beginning...is he right?  "Well," she replies coyly, "possibly."  He
says that's cute...but his question is:  what do they do about it.  She
looks at him and becomes inspired.  She says they really need to have
an in-depth examination of their innermost thoughts and feelings.
"Huh?" is the only response Joe can come up with.  Lucy shifts into a
higher gear.  "You know," she says, "what really makes the two of us
tick...I want to know everything about you...what those gray cells in
there are really doing...and I'll share those, too...you can share your
childhood...you can share what happened with animals...you can share
anything that happened to you your whole life..."  Joe just looks
perplexed.  He says he's not real big on this New Age touchy-feely
crap...besides, he doesn't have to dig very deep to know how he feels
about her.  He snakes even closer to her and she says he's got it...
that's a start...it's good...share with her.  "I think you're one hell
of a broad," he shares.  "Excuuuse me????" she asks, insulted.  He
assures her he couldn't pay her a higher compliment.  "Yeah...well,"
she replies, "when I said I wanted to have...like...a meaningful
exploration of feelings for each other, I meant it to be a little more
*meaningful*."  He reminds her that he's new at this stuff and asks her
to help him out...guide him through the emotional morass.  Okay, she'll
try.  She asks when he looks at her...what does he *see*...besides "one
hell of a broad"?  He says the sexiest woman he's ever met and starts
kissing her neck.  "Oh," she asks as she pushes him back a bit, "so
it's a sex object thing?...is that it?...you see me as a sex object?...
is that what you're saying?"  He sees nothing wrong with that and she
scoffs.  "Oh boy!" she exclaims as she squirms out of his grasp and
stands up.  He wants to know if that's a bad thing.  Lucy hits
overdrive.  "You know," she says, "women, these days, like to be taken
for more than just a boy-toy, you know...they really want to fell like
maybe there's a...a...a...connection happening between two souls."
There's lots of flailing of arms and interlocking of fingers to
illustrate her point.  "Souls?" Joe asks.  "*Everything* about sex
pales in comparison to when you really find your soul*mate*," she
explains.  More confused than ever, he stands and asks why make this
all so complicated.  He suggests that man meets woman...they turn each
other on...and do what comes naturally.  He puts his arms around her
but she won't have any of it.  She directs him back to the couch.  "Oh,
my goodness!" she exclaims, "where have you been?...you have been
living under a rock, haven't you?...that's what this is!...you haven't
gotten involved in the 90's...people do not just *hop* back-and-forth
into bed casually with each other, you know!"  "They don't?" he asks.
"You know," she explains, "there is something out there called AIDS...
that is a disease...it's a virus that kills people and it has put a
whole damper thing on casual sex."  He's starting to look discouraged.
"You know what this is about, really?" she continues, "it's not about
that as much as the fact that now couples are really connecting and
communicating on entirely different levels...it makes personal
gratification, I think, really rather...base!"  He's getting sadder by
the word.  "Right now," she barrels on, "we're going through a whole
revolution of feelings and we are trying to connect on the most
interpersonal, actualization, self-realization levels here these days!"
"What the hell does that mean?" he wants to know.  "It means," she
readily replies, "that couples, together, are not just casually jumping
into bed...they are connecting...they are exploring their
couple-dynamics together!"  He wants to know why.  "Because," she says,
"don't you see?...it's about commitment...and making a strong and
bonding..."  She stops short.  It's obvious that she's got the finish
line in sight.  "I just had a great idea," she says as she leaps to her
feet, "you know what we should do?...we should go out right now and go
to some of those self-help book stores, you know...and get those books
that tell you how to have a *proper* committed relationship...no!!...
better yet!!...I know what we do...we go to one of those
self-actualization/realization therapy-session-together couple things
that happens on the weekends...you know what you do there?...you get
into childhood...you delve into that deep dark mystery place that's in
your subconscious...you know how you do that...sometimes you have to
cry a lot...you're gonna hafta maybe shed some tears...and it's
*painful*...it's so *painful*...but you know what happens at the
end?...you're close...you're so close and bonded together like cement!"
He's defeated and she starts her victory lap.  "I think," she
continues, "I'm really onto something here...what I see is that beneath
this gruff, rough, masculine exterior that you sort of expose for
public consumption, is really a frightened little boy that just wants
that opportunity to be free and express himself...but you have to
protect that inner child inside, don't you?...and to be able to do that
you have to find somebody that would be trustworthy enough so that you
could expose yourself to this person...you see?...because you have to
protect that little baby...you don't want someone that would abuse that
little baby inside of you...AHHHH!...you know what this does???...it
brings us back to the whole soul-mate thing happening...don't you
see?...it's very neatly back to soul-mates...*if* I say so myself!"  He
sighs, stands up, and thanks her for the drink.  "Waitaminute," she
says, "you're not leaving, are you?...don't you feel it happening?...I
think we're really on a roll...I'm connecting with you...we're
bonding...I'm getting some ideas..."  He interrupts, saying they'll do
it some other night and reminds her of that busy day she's got ahead of
her tomorrow.  She looks crushed :) and says she knows but he doesn't
have to think of her.  He says it's been fascinating and gets his
jacket.  She tells him to keep the weekend seminar idea in mind and he
assures her he will.  "Say 'goodnight' to Sigfried," he mutters as he
dashes for the door and she reminds him the name is "Sigmund" as she
grins from ear to ear at his back.  She collapses to the couch in
relief.

SAME SONG...98TH VERSE (Sonny & Brenda)
----------------------
Sonny's pouring himself a drink as Brenda lets herself into their
apartment.  She's happy to see him...saying, as she cuddles up to him,
that she thought he'd be down at the club.  She asks if it's a slow
night and he says not at all...it's so noisy you can't hear yourself
think.  She senses trouble and asks what's wrong.  "Nothing," he says
as he pulls away from her.  "Come on, Sonny," she says.  He looks at
her for a couple of seconds and then says it's no big deal...he's just
a little concerned about Lucy.  "Why?" she wants to know.  He says she
left with Joe.  Brenda, laughing, says maybe he should be concerned
about Joe since Lucy can take care of herself better than anyone she
knows.  He says he hopes so and she tells him not to be so dramatic.
She says Joe's not going to hurt Lucy...he's totally infatuated with
her and, in fact, she thinks it's kind of sweet.  He tells her to get
her head out of the clouds and says nothing about Joe Scully is sweet.
She asks him to tell her what's really wrong.  When he starts to deny
that there's anything wrong she insists she knows there is and that it
doesn't have anything to do with Lucy.  "Come on!" she pleads.  He just
gives her a Sonny Stare (TM).  "Don't push," she says as she deciphers
the meaning behind the look.  "Thank you," he says.  After a moment,
she walks over to him, puts her chin on his shoulder, and says she just
wanted to help...that's what couples are supposed to be about.  She
asks him not to shut her out and he says it has nothing to do with
them.  She says it does if it's affecting him and he finally says it's
Luke...he's got some important business going down.  He continues that
Luke's brain must've shut down because he brought Mike, of all people,
into it.  He asks if she understands what kind of trouble Luke's left
himself open to by doing that.  He insists you can't depend on
Mike...he's just a disaster waiting to happen...and now that disaster
is waiting to happen to Luke.  Brenda asks why she has this sickening
feeling in her stomach...she asks if this thing Luke's involved in is
dangerous...and then realizes it must be.  Sonny says Luke's just
trying to resolve the situation that forced his wife and kid into
hiding.  He says it always had the potential for danger...now, with
Mike riding shotgun, it's almost guaranteed.  She says maybe Mike will
come through.  Sarcasm rears its ugly head as Sonny says maybe the sun
will come out tonight.  She asks why he has to be so hard on Mike and
he says because he has good reason.  He tells her not to defend Mike to
him because he's not in the mood to hear it.  She says she knows Mike
was a horrible husband and father because he (Sonny) told her so and
Mike even admits it.  But, she continues, he's holding Mike accountable
for things he did...a hundred years ago.  She says people change...she
has changed...he (Sonny) has changed.  He insists that Mike hasn't and
she asks how he knows that.  From what she knows, since he came to PC,
Mike's been nothing but responsible and dependable.  She thinks he
really cares.  She says if Sonny could work things through with his
father, it could change the rest of his life.  Sonny says that was real
touching...it's too bad Mike isn't around to hear her statement of
support.  Although, he adds, if Mike was around, he'd just take credit
for another successful con.  He says the only reason Mike hasn't
screwed up something yet is because this is the first chance he's had.
She says she thought he trusted Luke and he says he does but that
doesn't mean he can't make a bad judgment call.  She says she doesn't
think it's easy to pull the wool over Luke's eyes.  He insists he wants
to give it a rest...he's tired of talking about this.  She bulldozes
onward though and insists that they both know Luke is a very cautious
guy...and *he* is putting aside his reservations to give Mike a chance.
She asks if he can't do that as well.  He insists it's not the same and
asks her to please back off.  She says she won't...she's so tired of
backing off...she's sick of walking around on egg shells when it comes
to him and Mike.  She says Mike is his father and she feels that's
important.  "He's not important!" Sonny insists.  "God!" she replies,
"I want to feel like I can discuss this with you!"  Sonny pleads with
Brenda asking how many times they have to go over this.  He thought she
understood their differences:  she likes to beat everything to death
with words while constant babbling drives him crazy.  He asks why they
can't just live and let live.  She asks if he means that he wants to do
everything his way.  He seems to think that's not a bad idea at all.
She says this is what makes her crazy...the fact that they're in the
middle of an argument just because she asked him what's wrong.  She
asks if he really thinks that's fair.  She says it isn't...when you
love someone, you're not supposed to hold all the important stuff
inside and then attack them when they try to help.  He insists he
doesn't need any help.  She says fine!...she accepts that if he really
means it.  She says he better be sure because one of these days he may
get exactly what he's been asking for when she walks right out that
door.  He asks if that's what she wants to do...leave?  He tells her to
go then, saying she won't be the first.  She wants to know why he's
doing this...why he's taking all his anger for Mike out on her.  She
asks him to stop doing this to them.  He says he doesn't want to hurt
her and he doesn't want her to leave...he doesn't know what he'd do.
She assures him she's not going to go anywhere.  She says she loves him
forever and hugs him.  She says she knows it drives him crazy that she
asks him questions all the time but all she wants to do is help.  He
says he knows but he just can't...  She says he doesn't have to explain
and he says there is one thing that's getting easier for him to say.
And, that is that he loves her...and that's the most important thing,
right?  She smiles and agrees.  He asks if they can stop talking...at
least for tonight?  She asks if he's got something else in mind.  "Do I
ever," he says.  They start kissing.

ON THE ROAD WITH DUMB AND DUMBER (Luke & Mike)
--------------------------------
Mike, looking intently at a map, tells Luke (who's driving) that they
have to go back...he thinks they missed a couple of potholes back
there.  Luke says he'll rent a limo next time.  Mike says he thinks
they're almost "there"...they've got another 5 miles to go.  Later,
they're yammering about music...Luke thinks remakes stink and Mike says
they're necessary since they can turn a whole new generation onto a
song they might not otherwise hear.  [Yada yada.]  The mood gets
serious when they spot their ambush spot.  They unload a motorcycle
from the back of the pick-up and start yammering about their glory
days.  [Yada yada.]  Luke tells Mike now's the time to pull out if he's
not sure about this deal.  Mike says he's in this...and, in fact, he's
looking forward to it.  They lay the motorcycle down in the road and
stage a fight as the truck in question approaches.  They start pushing
and yelling about whether or not Luke knocked Mike over.  The driver of
the truck yells at them to get out of his way.  Luke yells back at the
driver to stay out of this.  The "fight" continues and the driver and
passenger in the truck wonder how long it will go on.  Finally, the two
guys get out of the truck.  Luke and Mike (studly men that they are)
take them out with a couple of punches and then proceed to congratulate
each other on their handiwork.  [Yawn.]  Later, we see they've tied the
guys up to the truck and have moved the cargo to their own pickup.  One
of the guys insists that they can't leave them there like that.  Luke
asks if they want them to all their boss and the other guy tells them
to just be on their way.  They hop in the truck and drive off.  More
yammering ensues.  Mike's happy that Sonny can't say he messed up
again.  He wonders, though, where they're gonna hide the stuff until
it's time for the hijacking.  Luke says it'll be in the one place
nobody thinks he's stupid enough to put it.

Whew!  The end.  I'm exhausted now!  :)

Joanna.

--
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