I. Jason Visits Michael...and His Mother (4/19)
A.J.: "Are you all right? Your face is flushed."
Carly: "The night air, I guess."
A.J.: "I--I haven't pushed. Michael's been my priority. You know, once we get this custody thing straightened out, I'll--I'll go after E.L.Q. again. I'm more determined than ever now that I have Michael to consider. E.L.Q. is Michael's legacy."
A.J.: "You're a phase that Michael's going through, just like sucking your thumb and Willie the bunny was for you. See, he's forgetting about you. You hear that? Hmm? You hear that quiet? That means that your presence is no longer required here. He's not waking up for his geography lesson. And--oh--I don't hear him crying for you anymore."
Jason: "A.J., if Michael sleeps through the night, that's great because that's what I want, too."
A.J.: "Oh."
Jason: "And if he doesn't, I plan to be here. Carly, I'll be in the kitchen."
A.J.: "Why don't you just go home. Leticia, please, show Jason out, would you?"
Leticia: "Michael's awake. He's asking for you."
Carly: "Well, at least he's not miserable every time he sees you."
A.J.: "He has the system beat, Carly. 'I know I can get through the day with these bozos because my da-da shows up every night.'"
Carly: "I think he's getting used to us."
A.J.: "Uh-uh. He's putting up with us."
Carly: "Come on, A.J. you really don't think Michael cares about us?"
A.J.: "Carly, Michael cares about us about as much as he cares for that lamp. Face it, Carly, we'll never be Michael's parents until he separates from Jason, and how's that ever going to happen if Jason shows up every night?"
The entire episode was perfection. Simply perfection. I adored the scenes of Carly and Jason outside, and loved that the only reason he gave for breaking off their kiss was that they might get caught. My only complaint about the Quartermaine scenes is that AJ's complaining about Jason is simply rehash. This reminded me of the other times AJ's been used in the "other scenes" in an important episode. Carly's drugging of AJ (including laundry basket) interrupted Monica and Alan's anniversary episode in 1997. AJ's threats against Carly at Jason's penthouse (as well as Sonny's attempts to convince Alexis to work for Jason) interrupted Ruby's memorial episode. All in all, it's precisely AJ's lack of connections to other characters that allows him to be used in this way. But I also think it's a sign of the way the writers understand AJ. It's like a sign to us that he's not sympathetic; he's off ranting or harassing when others are dealing with the important stuff. And while the irony that Monica and Alan were reuniting that year just as their son was being dumped in an alley was supposed, I guess, to be dramatic contrast, AJ is simply diversion in these episodes. He becomes simple filler, a narrative device.
Jason: "That's a giraffe. Yes."
A.J.: "This is obviously for our benefit. It's his little book and giraffe. Good for you."
Jason: "You see, Michael, you can have fun in any part of the house. I know we have a good time in the nursery, but you can have fun with your mom, Carly, and you can have fun with A.J. he's not mad at you."
A.J.: "Are you going to watch this?"
Carly: "No, uh-uh. I'm going to play. See, if we all had a really good time, then Michael would see that we all get along."
A.J.: "I can't--I can't. This doesn't work for me."
Jason: "Oh, dropped your book."
Carly: "What a jerk. Hey, I'm going to have to go--"
Jason: "Uh-oh, that's right."
Carly: "To keep the peace. So, Michael, have fun with your da-da. Sweetheart, I love you, both."
Jason: "Now, you see, when I'm around, A.J. goes off. But he's not angry with you. You see, he's like a kid in the middle of a tantrum. But he's not going to hurt you, Michael. I'd never let him hurt you. [Michael fusses] It's ok. [telephone rings] Oh, look. Hello. Lucky was in the building? Yeah, yeah, I'll be right there."
When the news came about Lucky, Jason was with Michael, and hugged his son close.
II. Jason Tells Emily that Lucky is Dead (4/21)
Jason: "I need to tell you something."
Emily: "What? Tell me now."
Jason: "Oh, there's no--there's no good way to do this so I'm--I'm just going to say it straight out. There was a fire at the motorcycle shop last night. Lucky--was killed."
Jason: "It's ok, it's ok. Do you want me to call Monica?"
Emily: "No. No. I want you to tell me exactly what happened."
Jason: "She was at the building. I guess someone told her."
Emily: "Yeah. She and Lucky were so connected, she would have known no matter what. Do you think she's home? I should go see her."
Jason: "No, no, no. Emily, Emily, I'm not sure where she is."
Emily: "She's going to need a friend, Jason. Someone who knows how much she loved Lucky."
Jason: "I know. I know, but it's early, ok? Why don't you just wait till later."
Emily: "You know, some people have best friends, and the next day they're not even talking. Lucky and I, it was never like that. We were friends from the beginning, and it--it never changed."
Emily: "After my mom died, I couldn't even smile. And then one night Lucky had me laughing. I don't even remember how. And I realized that it was his way of trying to make me feel normal again. And that's what he did. He would scope out a situation, and he would find out what it needed, and then he would do it without waiting for anybody to help him or join him. I thought we were going to be friends forever."
Jason: "I'm sorry. I should have found a better way to protect him."
Emily: "No, Jason, don't you make this your fault."
Carly: "What's not Jason's fault? What happened?"
Jason: "Lucky Spencer died last night."
Carly: "Lucky was my cousin. We didn't grow up together or anything, but I was kind of hoping that--I don't know--maybe somewhere down the line we could get to know each other. I'm sorry. I can see that you guys want to be alone."
Emily: "I almost believe that Lucky meant something to her."
Jason: "He probably did. It's hard to tell with Carly."
I have a hard time feeling Emily's pain. Perhaps because I'm not a big fan of the character, but more likely because Emily and Lucky's friendship was off the screen for so long, when the writing draws on their past it feels very distant to me. I was, in fact, more moved by Carly's response--her realization that she had lost another family member before she even got to know him, and that it was her own fault.
Also, Emily wanted to go to Elizabeth, but Jason told her it was too early. Meanwhile, Nikolas had gone to Elizabeth. He was the better choice, after all, because he was Lucky's brother. But I knew that this marked a separation, and it was one I bet we'd never really put back together.
III. All the News AJ Sees Fit to Print (4/27)
Edward: "You know, this story couldn't be better if we had planted it ourselves."
A.J.: "Who said we didn't?"
A.J.: "Was that Judge Carter? Did he see the paper? Did he move up the date of the custody hearing?"
Edward: "I'm afraid we don't quite have the advantage that we did."
A.J.: "Who was that?"
Edward: "The mayor's office. The fire that killed Lucky Spencer was an accident."
A.J.: "What?"
Edward: "The police commissioner has already closed the case. Apparently Jason is completely blameless, and we are no closer to getting Michael than we were before."
I wondered at Edward's responses. I suspected that they were a defense mechanism against the loss of Lucky, as the two have had some great scenes in the past, and Edward could imagine what it would be like to lose a son, regardless of his past with Luke and Laura. We have been given the background, with Edward, to make those assumptions. But AJ seemed to have no real response to the situation except to go after Jason. And in contrast to Jason's hug, above, AJ looked really bad.
IV. Lila and Felicia Continue Their Work (4/27)
Felicia: "Lila. It's so wonderful to see you."
Lila: "Oh, and you, Felicia. Oh, I've missed our little chats."
Felicia: "Oh, me, too. Maybe it'll take our minds off of Lucky."
Lila: "Oh, what a tragedy."
Felicia: "How's Emily? I know they were friends."
Lila: "Well, she's acting very brave. But Emily grieves in private."
Felicia: "She's lucky to have you. I've been looking forward to this."
Lila: "Oh, so have I."
Felicia: "Shall we start?"
Lila: "Uh-huh."
Felicia: "Let's see--you were about to tell me how you met Edward. Your parents threw a garden party."
Lila: "Yes. When Edward walked through that gate, I knew he was the love of my life. But unfortunately, I was engaged to another man."
Felicia: "They were still doing arranged marriages in the 1940s in England?"
Lila: "Oh, and I'm sure they're still doing them now, even as we speak, my dear."
Felicia: "Well, didn't you confront your father? Didn't you tell him that you were determined to live your own life? Did you refuse to marry Elliot?"
Lila: "He was killed in the war."
Felicia: "Oh. I see. This must have been a very difficult time for you--to be in love with Edward, to be dealing with the death of Elliot, knowing that your father was looking over your shoulder every second."
Lila: "That's why I started writing all those letters."
Felicia: "You wrote letters to Edward?"
Lila: "Oh, Edward and I wrote to each other constantly. I also wrote to my cousin Eleanor, telling her every little detail about what it was like to be falling in love. Oh, those letters must have read like a penny romance novel."
Felicia: "Edward. You missed the big show. How'd that happen?"
Edward: "Well, whatever you and Lila say to each other is completely confidential."
Felicia: "Sure, after we chase you out of the room. You know, you're very charming when Lila orders you around."
Edward: "Did she mention me?"
Felicia: "Maybe."
Edward: "Did she leave me out entirely? What?"
Felicia: "Been to any garden parties lately?"
Edward: "Oh, she told you, didn't she?"
Felicia: "It really was love at first sight."
Edward: "I suppose that she didn't tell you about the dress she was wearing. It was the softest shade of blue. She was laughing, and she had a drink in her hand. And I went through this silly gate covered with flowers, and there she was. She looked at me. And I swear I have never seen a more beautiful woman before or since. And so I--well, why aren't you writing this down?"
Edward: "Oh, yes. Well, it was very unfortunate about poor Elliot. Mm-hmm."
Felicia: "But it sort of worked out for you, though, right?"
Edward: "Well, you can call me selfish or heartless like everyone else does. But, yes. I decided that I wanted to marry Lila, so I did."
V. The Letters (4/29)
Lila: "Learn from my mistakes, Felicia. Hold on to all the mementos of your own past. They're more precious than you realize."
These scenes, and Felicia's decision to find the letters for Lila, was the beginning of what would become Luke and Felicia's crypt adventure, but also was to bring Chloe Morgan onto the stage.
VI. AJ Ensures that Carly's on His Side (4/30)
Edward: "No, we have lost our ace in the hole because Judge Carter couldn't clear his calendar on such short notice. So we have one short week to prove that you and Carly are the perfect parents."
Alan: "Hey. What's all this?"
A.J.: "I'm planning a little surprise for Carly."
A.J.: "Actually, I'm applying a lesson I learned from you."
Alan: "How so?"
A.J.: "Well, growing up, I--even when you and mom were at each other's throats, you always went out of your way to do something thoughtful for her, and you still do."
Alan: "You mean when I'm not trying to kill her."
A.J.: "Was it worth it? You know, the years, the lies, the mutual betrayal? Can you stand here and tell me that you're glad that you married mom in the first place?"
Alan: "Let me tell you something, A.J. marriage is the most exquisitely painful proposition, but I would do it again in a heartbeat."
A.J.: "I thought so."
Alan: "The difference is I love Monica."
Oh, how I wanted more of this kind of scene. I wanted to see Alan dealing with his son's mistakes and trying to support him at the same time. I wanted to see more of the comparison drawn out between these two flawed marriages.
Carly: "Ok, what's the occasion?"
A.J.: "I'm really not sure there is one. You'll have to decide. I want you to know that this is not a spur-of-the-moment thing. I've given it a lot of thought. We have a son together, and that's wonderful, a miracle. But I--I want us to have more."
Carly: "Such as?"
A.J.: "A life--together. Carly, will you marry me?"
The contrast between Jason's rejection and AJ's proposal was rendered less effective than it might have been by the imbalance in this triangle. Sarah Brown's performance, however, managed to save these scenes, and I actually wondered if Carly would respond irrationally to Jason's rejection and turn to AJ. I knew she'd say yes. After all, her plan was working. But I do think that the sequence bolstered her decision, and that if Jason had acquiesced, she might have called her plan to a halt and turned AJ down.
Terry described these scenes in her ratsa update of this episode. Here are some excerpts:
"At the Q mansion, Carly meets AJ in the foyer, after she has gone up to check on Michael upon returning from Jason's. In one of those great 'double meaning' exchanges, AJ asks her about class (where he thinks she has been) and she says, 'I think I have my work cut out for me, but I think I'm up to the challenge.' He invites her into the living room, saying he has something to show her. There are lit candles everywhere, and he's wearing what looks like a tux and white shirt with no tie (but with the top button buttoned in a way that chokes me to look at). She asks him what the occasion is, and he says he isn't sure there is one, that it's up to her to decide. He leads her to the couch, they sit down, and he tells her he wants them to share more than just Michael. 'Such as?' 'A life together,' he says seriously, and pulls out the box with a large diamond ring. 'Carly, will you marry me?'"