'Connor' is the true character of Nikolas Cassadine however, he has amnesia and believes that he is Connor Bishop.
'Connor' is the true character of Nikolas Cassadine however, he has amnesia and believes that he is Connor Bishop.
In progess...Emily butts into the conversation about Lorenzo pulling his money from L&B due to Sage's accident.
Georgie: You can't give up directing, Dillon. It's your dream.
Dillon: Sage is in the hospital right now with a sprained knee and damaged voice because of me, okay?
Georgie: It's not your fault, Dillon!
Ned: It was an accident, all right? Look, there's absolutely no reason for you to pull out of L&B. I thought you wanted a singing career for your niece.
Lorenzo: I should have placed Sage with a label that made her a priority.
Emily: Don't -- don't you think you're overreacting just a little bit? I mean, you saw potential in Ned and Dillon and Sage. Isn't it why you invested your money in something worthwhile for a change?
Lorenzo: What, you don't approve of how I spend my money?
Emily: Truthfully, no.
Lorenzo: And you feel you're in a position to make that judgment?
Emily: Well, I have an excellent basis for comparison. For most of his life, Nikolas was far wealthier than you, and he put his money to much better use.
'Connor': I'll see you after work, okay?
Mary: Okay.
'Connor': Hey -- why did you just take off your engagement ring?
Ned: It's okay, Em. I can hammer this out with Mr. Alcazar.
Lorenzo: Your fiance, Nikolas, always struck me as a man of integrity and principle.
Emily: Are you always this polite? See, Nikolas was. Good manners were a reflex with him. He could be furious and never let it show.
Lorenzo: I'm not furious.
Emily: Mm-hmm.
Lorenzo: In fact, you've given me a lot to think about.
Emily: I hope you'll reconsider pulling out of L&B.
Ned: I'm actually prepared to offer a little incentive for your continued involvement with L&B.
Lorenzo: I'm listening.
The scene continues with Lorenzo pulling out his money after Ned offers to get him information on a bid that E.L.Q. has going on a shipping company.
'Connor': You know, if you don't -- if you don't like that one, we can get -- we can get another one.
Mary: Oh, no. The ring is perfect.
'Connor': Then what is it?
Mary: If people see this engagement ring, they're going to ask me about it. I can't take the chance of people finding out you're still alive, or -- or what you risked for me by walking away from the marines. I love this ring. And I love you. And I wish I could stand on a hilltop and -- and shout that we're together and -- and that it is wonderful.
'Connor': It's okay. It's okay. Just leave it off for now, okay? I'm making good money with this job with Mr. Alcazar. It'll afford us a lot of opportunities and -- and freedom, and I'll be able to take you on that incredible honeymoon we talked about. Someplace where we don't have to hide anymore. Okay?
Mary: I'm not in a hurry. As long as I have you, I'm happy.
'Connor': See you at home.
Mary: Okay.
'Connor': Bye.
Phone rings.
'Connor': Hello? I'm in the park. I'll wait for you here.
Lorenzo: Hi.
'Connor': I assume that this is about the next job.
Lorenzo: Well, you said you didn't want to be involved in anything illegal.
'Connor': Yeah. Is that a problem?
Lorenzo: A question of semantics. I need you to get some information for me.
'Connor': What kind of information?
Lorenzo: Confidential. But it requires breaking and entering.
Lorenzo: Just need you to get into the Quartermaine house, search for files, memos, documents a anything pertaining to E.L.Q.'s bid on a shipping contract for I.B.G. It's a South American company. They manufacture heavy machinery.
'Connor': Is it a front?
Lorenzo: No. The company's legitimate. I've done business with them before. I own a large fleet. We do a lot of international transport. You're free to decline, of course. Just a matter of weighing the risks and rewards.
'Connor': Is this another test?
Lorenzo: Not at all.
'Connor': Okay, first I was a courier. Now, we're moving up to breaking and entering. How far across the line will you be asking me to go, Mr. Alcazar?
Lorenzo: The limits of your participation are up to you.
'Connor': Okay. I don't have a problem looking for some business parsrs.
Lorenzo: Good. This for you. Whatever happens, do not get caught.
Emily: Mary. Hi.
Mary: Hi.
Emily: Can I ask you a favor?
Mary: Sure.
Emily: Can you cover for me? I'm feeling kind of shaky, and I just -- I'd like to go home early.
Mary: Are you getting sick?
Emily: Yeah -- no, I'm just missing Nikolas. Um -- sometimes the grief comes out of nowhere, and I just need a little time.
Mary: Of course, I'd be happy to cover for you. Go home.
Emily: Thank you. I appreciate it.
Mary: It's the least I can do, Emily.
Emily: All right. Bye.
Emily moves through the Quartermaine living room, stopping at the desk. She sits down and starts to look at a picture of Nikolas. As she sits there, a hooded figure approaches the French doors of the balcony and looks in on her. It's 'Connor'. He watches as she gets up, crying a little, and places the picture in a wooden box on the other side of the room. The drawer is left open a bit and she leaves the room, turning the lights off. 'Connor' breaks in and goes to the desk. He finds the papers and takes pictures of them all with a mini-camera. He's finished, puts the papers away without getting caught. As he goes to leave, his attention is caught by the drawer...