Untitled


Episode Report Card LTG: B- | 1 USERS: B+ YOU GRADE IT What? No Cyndi?

By LTG | Season 3 | Episode 20 | Aired on 04.18.2007

Cut to George walking out of Izzie's room. He takes a few steps, but then stops. Back in her room, Izzie is still crying, and in a lot of pain. And then George marches back in.

Burke is still hanging out in the O.R. after the piggyback surgery is finished. Cristina walks in and starts to tell him that Marlowe was a complete asshole, but Burke cuts her off and says that he was actually brilliant. Cristina gets a look on her face, kind of like she's trying to screw up the nerve to do something that she finds completely abhorrent, and then she asks Burke to clarify some technical point about the surgery. He answers her, and she thanks him for the clarification. He tells her that he'll see her at home and holds her hand a second before walking out of the room. Marlowe walks in through another door, clearly having heard everything that just transpired. He tells her that everything else he saw between Cristina and Burke that day was part of the game he was playing, but he believed that what she just did for Burke was genuine. And what did she just do for Burke? Why, she asked him a question to which she already knew the answer, just to make him feel like more of a man. Marlowe is clearly disgusted by the fact that Cristina "played the part of a helpless girl, trying to build up a grown man's ego." Finally, something Marlowe and I can agree on. Cristina tells him, "I have learned that sometimes, you have to think about other people." He accuses her of having compromised herself, and then announces that he's leaving because he no longer wants to chase after "a woman who apparently no longer exists." And then, with a voice that is full of utter bitch, he tells her, "Best of luck...with the wedding." Commercials.

So, George apparently didn't march into Izzie's room to disembowel her. Instead, we see him wheeling her down a corridor. Through a large window, they see Hannah's parents putting on surgical gowns and entering Hannah's room. George encourages Izzie to get closer to the window so she can watch what's going on, but she's too scared and asks him to watch for her. He peers around the corner and tells her that Hannah's getting an infusion -- I'm guessing this is somehow part of the bone marrow transplant process. Izzie asks how she looks, and George tells her that she can look for herself, because Hannah really can't see them where they are. Izzie stays rooted in her wheelchair. George: "She's got your eyes. And your mouth. Oh, that means she probably talks a lot and eats a lot, then. If she's in pain, she's not letting on. Man, she's tough." He holds out his hand to Izzie and helps her stand up. She steps up to the window, and sees her daughter for the first time. Hannah is indeed a beautiful little girl, and she's totally rocking the bald look. Izzie and George agree that she's a real knockout.

Bailey's in the clinic...making beds? That's not really an efficient use of resources. People should do what they do best, which means orderlies should make beds, nurses should care for patients, and Bailey should kick ass. Derek, dressed in his civvies, wanders into the otherwise empty clinic and asks if Bailey needs some help. Bailey: "I know you didn't wander in here to help me change pillowcases." Actually, it's his turn to mop the floors. What kind of cheap-ass clinic is this? And why are there no patients -- do they really only treat people during business hours? Man, $8 million does not buy very much these days. Derek: "You warned me she could become a problem." Bailey, no fool, instantly realizes he's talking about Meredith. Surprisingly, Bailey tells Derek that she thinks the two of them have actually done all right. But Derek is freaking out that dating Meredith is screwing up his chance to become Chief. Bailey tells him, "This turns into an either-or, you pick the person you love. End of story. All of this means nothing if you're alone." Once again, my mother seems to have found her way onto the writing staff.

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