Get Out of My Life

v • d • e Desperate Housewives Season 8 << S1 • << S2 • << S3 • << S4 • << S5 • << S6 • << S7   #01 Secrets That I Never Want to Know #02 Making the Connection #03 Watch While I Revise the World #04 School of Hard Knocks #05 The Art of Making Art #06 Witch's Lament #07 Always in Control #08 Suspicion Song #09 Putting It Together #10 What's to Discuss, Old Friend? #11 Who Can Say What's True? #12 What's the Good of Being Good? #13 Is This What You Call Love? #14 Get Out of My Life #15 She Needs Me #16 You Take for Granted #17 Women and Death #18 Any Moment #19 With So Little to Be Sure Of #20 Lost My Power #21 The People Will Hear #22 Give Me the Blame #23 Finishing the Hat

"Get Out of My Life" is the 171st episode of Desperate Housewives.

Summary

Susan discovers the identity of the father of Julie's baby, and Orson makes it his duty to nurse Bree back to health. When Mrs. McCluskey throws Roy out of the house, Gabrielle takes him in and is reluctant to help get them back together when he proves to be an invaluable disciplinarian to her kids. Meanwhile, after getting used to her alone time, Lynette is furious when Porter and Preston are evicted from their apartment and try to move back home, and Mike informs Renee of Ben's dire circumstances with a loan shark.

Plot

Previously on Desperate Housewives

	Ben took money from a loan shark. Julie had more than one surprise for Susan. Bree rejected her friends. But it was Orson who came to her rescue.
Mary Alice Young

• Ben takes money from a loan shark. The loan shark understands that Ben's girlfriend, Renee Perry, is extremely wealthy. ("Is This What You Call Love?")
• Julie Mayer returns to Wisteria Lane...pregnant. She announces that she won't be keeping the baby, and will instead be giving it up for adoption. ("Is This What You Call Love?")
• Bree lashes out at Susan, Lynette and Gaby. She is subsequently violently attacked outside a bar, but her ex-husband, Orson Hodge, comes to her rescue. ("Is This What You Call Love?")

Teaser

	Orson Hodge had always known one thing: Bree Van de Kamp was the perfect woman for him.

Orson Hodge is boiling a kettle of water on the stove in Bree's kitchen. He stares at his ex-wife, who is sitting at the dining table on the other side of the room. She has her hand wrapped in an iced-towel, after being injured by Dylan outside the bar, as previously seen.

Several flashbacks are shown;

	When he was sick, she nursed him back to health.

Orson, who is clearly ill, is seen lying in bed. Bree sits beside him. She dips a small towel into some water and gently places it on her husband's head to help eliminate his fever.

	When he was arrested, she promised to wait for him.

Orson's hands are handcuffed behind his back by a police-officer. Bree stands beside him, a tissue in hand, quietly sobbing and wiping her tears away. She plants a tender kiss on his lips, as he is taken away.

	And when he suffered a terrible injury, she did everything he couldn't.

Lastly, Orson is seen, now wheel-chair bound, looking somber and depressed. His wife, like before, is seen beside him. She picks up a shoe, lifts up her husband's leg, and places it on his foot.

	So now that Bree was suffering, Orson intended to care for her.

Orson makes his way over to Bree, a cup of tea resting on a tray in his lap. He wheels himself to the dining table and places the tea in front of Bree, who immediately thanks him. Orson tells Bree that she is completely safe now, as he is here to protect her. "You really are a good friend," Bree replies, "Perhaps my only one." Orson reassures Bree that she still has Lynette, Gabrielle and Susan, and Bree reluctantly admits that she is now estranged from her friends because of something that happened a couple of months ago.

Orson is intrigued but Bree tells him that she doesn't want to talk about it. "After everything we've been through, I promise you can trust me," Orson says calmly. Bree is still hesitant about telling Orson, especially seeing as he is the only one who still believes in her. After some persuasion, Bree gives in and begins to spill the beans on the murder of Gaby's step-father, Alejandro Perez.

Once the story has been told, Orson sits still and refuses to speak. Bree tells him that she understands his shock and she pleads him to talk to her. Orson is indeed shocked, not just because of Carlos's crime, but at how quickly Lynette, Gabrielle and Susan abandoned Bree. Bree is extremely surprised that Orson is angry at the gals and that he still believes in her regardless of what she covered up.

	Yes, Orson Hodge knew that Bree was the perfect woman for him. And now that he had her back...

"I believe in you more than ever," Orson says sternly. He places his hand over his ex-wife's and squeezes tight.

	...He had no intention of letting her go.
Mary Alice Young

Act I

	Lynette Scavo had discovered the silver lining of separation; shared custody. For three glorious days a week, she had no child demanding her attention. No one to set an example for. And plenty of time to exercise.

As Mary Alice's opening narration plays, we are shown scenes of Lynette seemingly enjoying the positive sides of being separated.

	But Lynette forgot that when it comes to being a mother, you can run. But you can never hide.
Mary Alice Young

Lynette, after just finishing a work-out, heads outside to pick up the daily newspaper. "Hey mom," a voice calls out - Porter and Preston have returned. Lynette greets her two sons and asks what's going on. They deliver her a bouquet of beautiful flowers, before pulling suitcases out of the trunk of their car. Lynette becomes suspicious, and eventually learns that the twins were evicted from their apartment and have returned home to stay for a while. Lynette lets out a nervous giggle before thrusting the bouquet of flowers into the faces of the twins and dashing inside. The twins follow and try to force open the door.

Inside, Lynette uses all her body strength trying to keep the door closed and thus preventing the twins from moving back in. Lynette manages to close the door and the twins apparently give in. They call through the window to their mother and admit that they have to learn how to live on their own. Porter and Preston give each other a sly look, before sprinting off the porch and round the back of the house. They head for the back garden door, which Lynette manages to lock before they can enter. "Come on," they call out, "Just for a week!" Lynette shouts through the window that knowing them, a week would turn into a year, and soon after 20 years. Porter and Preston look at one another before turning back to their mom and replying, "Please let us in. We're children of divorce." Lynette suggests they go live with their father. However, the twins don't want to go and live with Tom because of his 'stupid girlfriend' and because of the mean way he has treated their mother recently. Lynette disappears from the window and the door opens. She lets the twins step inside and adds, "You had me at stupid girlfriend."

Up the street, Julie Mayer is checking out several new adoptive couples she has been emailed by the adoptive agency. Susan asks to see some of the couples, and Julie does so. Susan dislikes all of the couples, and finds petty reasons why she does so, before reluctantly admitting she still wants Julie to keep the baby and not give it up for adoption. Julie folds up her laptop and leaves. Mike suggests that Susan stop hassling her daughter, but Susan is determined not to - she says she is going to talk to the father of the baby. Mike holds his head in his hands, before replying, "That's a very bad idea." Susan sees it from a different light, and thinks speaking to the father might help convince Julie to keep the child. Mike asks what Susan's friends think and she reveals that she hasn't told them yet. Mike takes his wife by his hands and admits that this is Julie's decision, and if Susan keeps pushing her, it's not just a grandchild she is going to lose. Susan lets out an exasperated sigh and the two embrace.

Meanwhile, Juanita and Celia are playing on the swings at Wisteria Lane Park. Gabrielle tells the girls that it's time for them to go home now. Juanita and Celia refuse to return home...they're have too much fun on the swings. Gaby informs her daughters that she's calling their father. She storms off, her cellphone up to her ear.

At the rehab center, Carlos is trying to meditate in his room. His cellphone rings and he pauses to answer the call. Gabrielle orders Carlos to return home to tell the girls off, but he reminds his wife he can't return home until his treatment is complete. He has another 16 days left in rehab. "In 16 days," Gabrielle squeals, "I can't guarantee you'll have children to come home to!" Carlos says that he understands how tough it has been for Gaby without him at home. Gabrielle exclaims that she is tending to the girls and running Carlos' business and she is exhausted. Carlos asks to speak to Juanita. She hands over the phone to Juanita, who walks away to speak to her father. Gabrielle then spots Roy Bender, sitting on the park bench, looking down at the ground - upset - with a suitcase beside him. Gaby approaches her elderly neighbor and asks if there is anything is wrong, to which Roy replies, "Karen kicked me out!" Gaby takes a seat beside Roy and asks what happens. Roy doesn't know - it seems like everything he does lately makes her angry. Gaby says that Karen has always been like that, but Roy is certain it is different this time...He has decided to give her a while to cool down...and now needs a place to stay. Roy, sneakily, drops several hints Gaby's way, thinking she'll fall for it and let him stay with her. Gaby reluctantly agrees to let the old man stay with her. "Thanks Gaby," Roy shouts happily, "I'd ask Bree if I could stay with her, but she's got Orson over there." Gaby looks up the road and spots several builders constructing a ramp outside Bree's house, and she realizes Bree's ex-husband has returned.

Juanita is still, meanwhile, talking to her father on the phone. Gabrielle quickly snatches the phone away from her daughter, thanks Carlos, and says that she has got to call the girls. She juggles the cellphone in her hand and begins to dial her friend's numbers.

Susan, Lynette and Gaby make their way over to Bree's home. Orson wheels himself down the ramp and greets his ex-neighbors. "Orson," Susan says, "You're back!" Orson chuckles and replies, "Keenly observed, Susan!" Lynette says how unexpected it is for them to see him again after so long and Gabrielle mentions the ramp. Orson confirms the girls suspicions - he and Bree will be spending some time together, as he attempts to get her life back on track. The girls listen as Orson retells the events that happened a previous night, during which Bree was violently abused outside a bar. The girls all look at each other - they panic and worry about Bree's safety. "She's fine," Orson says calmed, "Thank God I happened to be driving by." The girls are relieved. Gaby asks if they can see Bree, and Orson quickly denies the request, he doesn't think Bree is up for that yet. The girls aren't surprised...after all, last time they spoke, it didn't go so well. "Will you at least tell her that we love her? And we're here for her?," Lynette asks. Orson smiles and agrees. The girls thank him, bid farewell, and leave. Orson looks on before wheeling himself back into the house. Inside, Bree appears on the stairs and asks who Orson was talking to. "Just the men installing my ramp," Orson says, "Now...how about I make us some lunch?" Bree smiles and follows Orson into the kitchen.

Later that night, Mike pulls up in his truck at Ben Faulkner's construction site. Mike is on the phone to a supplier and he tries to make arrangements for some cement to be delivered by tomorrow. The supplier asks why Ben hasn't paid him and Mike explains that he has driven back to the site and is going to find a cheque. Suddenly, a mysterious figure, hidden behind the construction material, shuffles and dashes away. Mike spots the figure, hangs up the phone, and calls out; "Hey! Hey! This is private property!"

The dark figure runs away and what immediately follows is a massive explosion of fire and rumble. A giant cloud of smoke quickly ascends into the air. Mike falls to the ground, as a piece of flying scrap falls beside him. Mike gets up and regains sight of the mysterious arsonist and gives chase through a mound of burning rubble and ash. The two meet beside some construction machines and the arsonist grabs Mike and holds him firmly. Mike, however, manages to overpower the man, and violently thrusts him against one of the machines. The arsonist turns around quickly and holds up his fists. He is seconds away from punching Mike, but stops. Mike finally gets a look at the arsonist's face. It's Ben. "What the Hell?!," Mike shouts. Ben's face is full of anger and rage. "Dammit Mike," he exclaims, "Why'd you 'ave to come back?"

Act II

Ben is sitting alone in his office. Mike enters, after putting out the inferno outside, and places a large fire extinguisher on the desk beside him. "Are you out of your mind?," Mike asks furiously. Ben tells Mike that what happened tonight doesn't concern him, however, seeing as his life was put in jeopardy, Mike believes it does.

Ben ultimately confesses that he's in over his head with the loan shark he's been doing business with, so he decided to blow up some of the equipment, get an insurance payment and subsequently pay back the shark. Mike informs Ben that what he attempted to do was fraud. "I know what it's called," Ben growls, "...I...just didn't know what else to do." Mike says that blowing up the construction machinery isn't the way to fix this problem. Ben angrily asks Mike what else he can do - he's been trying to work his way out of the situation for weeks but it just keeps getting worse. Ben stands up, exclaiming he's screwed up, before pulling at his coat and placing his hand on his chest. Mike asks if Ben is OK and Ben nervously replies; "My chest feels tight. That's not good, is it?" His hand still grasped on his chest, Ben slumps back into his office chair and his face snarls with agony. Mike frantically pulls Ben out of the chair and takes him to the hospital.

The next morning, Susan has dropped by to visit Lynette. Lynette makes the two of them some coffee and they both take a seat at the kitchen table. The table is littered with unwashed bowls, empty cereal cartons, and dirty underwear. Lynette reveals that the twins have returned home (Susan already had guessed such) and says that they're like termites...she can never seem to get rid of them. Susan then announces Julie's pregnancy - and her plans to give the baby up for adoption - to Lynette, even though she wasn't supposed to say anything. Lynette, after violently swallowing her coffee out of shock, asks Susan where the dad is in all of this. "Whose the dad, is more like it," Susan begins, "She won't tell me anything!" Lynette listens thoughtfully. Susan then reminisces about the day Julie was born, and how the doctors took the newborn away to give her vitamin supplements, and reveals that that was the longest hour Susan has ever experienced in her life. Susan tells Lynette that Julie doesn't understand how hard it'll be for her to give up the baby. Lynette asks Susan if she wants her to speak to Julie - she might possibly react differently to someone who's not her mom. Politely, Susan turns down Lynette's offer, and once again reminds her friend that she mustn't say a word to Julie, as nobody is supposed to know. The camera pans to the stairs behind the two women. Porter and Preston are listening in secretly. The twins look at each other horrified.

Elsewhere, Gabrielle is sitting in her kitchen, drinking her morning coffee, and yawning softly. Roy appears and greets Gaby with a joyful; "Morning! How'd you sleep?" It appears that Gaby didn't get much sleep the previous night, due to Roy's frequent late-night visits to the bathroom. As the two converse, Juanita and Celia dash into the kitchen and quickly start demolishing a pile of toast Gaby has prepared. They are still in their pajamas, to their mother's dismay, and school starts in 20 minutes! Juanita insults Gaby's lack of imagination when it comes to preparing breakfast, as Roy looks on. He is appalled by the girl's behavior. The two girls leave the room and Gaby and Roy begin to discuss how he is going to get back together with Karen. Roy has rang his wife several times (she ignored him) and Gabrielle informs the elder that he needs to march over to her house and woo her. As the two continue to talk, Roy eventually understands that Gaby wants him out of her home, and rather reluctantly thanks her for letting him stay the night. Juanita and Celia return, still in their pajamas, and Gaby orders them to get changed ready for school. "Dammit girls," Roy shouts at the top of his lungs, "Listen to your mother!" Roy intimidates the girls and they quickly run upstairs to get changed. Roy tells Gaby he's also going upstairs to start packing, but Gaby, who is clearly impressed with how well Roy can control her children, allows him to stay.

Julie is talking to the father of the baby on the telephone. Susan, who is doing the laundry, stops in the doorway and listens quietly. Julie tells the father to meet her at the Coffee Cup in half an hour, as she doesn't want to discuss the situation over the phone. Julie hangs up, and Susan dashes away before being caught.

At the Coffee Cup, Julie is sat at a table, waiting patiently. The camera pans across the coffee shop and reveals Susan sitting at another table, concealing her appearance by holding a giant newspaper over her face, pretending to read it. Susan peeks over the top of the newspaper and looks at her daughter. Julie is completely oblivious to the fact that her mother is spying on her. Just then, a heavily tattooed and pierced young man dressed in dirty clothes appears in the door. The man walks over to Julie's table - Susan fears the man is the father. However, it turns out the man isn't the father, he just wants to borrow an empty chair placed at Julie's table. Susan is relieved. The bell above the coffee shop door jingles and Porter Scavo enters. He spots Susan and asks puzzled; "Mrs. Delfino?" Susan orders Porter to be quiet and informs him that she doesn't want Julie to know she's here. Porter asks why and Susan tells him that Julie is meeting 'a guy' and she needs to find out who it is. "Oh hey," Julie exclaims, "Porter! Over here." Susan pulls the newspaper down, revealing her face, and Julie spots her mom. Putting two-and-two together, Susan soon realizes that Porter is the father of Julie's baby. She lets out a shocked gasp.

Act III

Susan and Julie arrive home. Susan refuses to let Porter inside, and he instead waits on the porch. Susan is furious about the discovery of who the father is. Julie explains that she went to a bar, bumped into Porter, had a few drinks, and went back to her place. "And clearly forgot everything I told you about condoms," Susan interrupts. Julie informs her mother that the condom broke. "What did you expect?," Susan shrieks, "It's Porter Scavo! He probably found it on the floor of a movie theater." Porter knocks on the door, Julie sighs, and Susan lets him in. Susan points at Porter and reminds Julie that Porter, the snot-nosed kid who got his head stuck in their fence years ago, is now the father of her baby. Julie turns to her mother and says that the father will be an adoptive parent, who will have to pass several tests before receiving the child. "Both of you stop," Porter shouts, "I want to keep it." Julie refuses to raise the child with Porter, but Porter is more than happy to raise it alone. Julie is furious and tells the boy that he would never be able to do that. Susan glides over to Porter and remarks, "Well, legally, he can. I mean...fathers do have rights." Susan, much to her daughter's dismay, lets Porter know that he will have her support if he wishes to raise the baby himself. "No no! This is none of your business! Stay out of it!," Julie screams, before leaving the room angrily. Porter asks Susan if she could tell Lynette about the situation, after she offers to do anything to help. Susan looks concerned.

At the Rehab Center, Gaby hands Carlos several business forms which his secretary has requested he sign. Carlos thanks his wife for everything she has been doing while he's been receiving treatment. He continues, and reveals that he has spoken to his counselor, who has agreed to let him out a few days early to help out with the girls. "Oh honey," Gaby replies, "You don't have to worry about that." Carlos is surprised...especially as Gaby made a joky remark about drowning the kids because they're too stressful the day before. Gaby reveals that she has got help at home - Roy - who is disciplining the kids for her and getting them in line. "McCluskey kicked him out? Why?," Carlos asks concerned. Gaby doesn't care why Roy got kicked out...she's just happy the girls are doing what they're told. Carlos is thankful for Roy disciplining the girls, but is still worried about what made drove the elderly couple apart. "I know what will drive us apart," Gabrielle shouts, "You asking those kind of questions!" She prances off, and Carlos rolls his eyes and follows.

Mike stops by Renee's home to talk about Ben. "After what he did to me," Renee says, "I don't care." She attempts to close the door, but Mike pushes it back open and replies sternly, "He's in the hospital." Renee becomes concerned and asks what happened, before reluctantly inviting Mike in. Mike informs Renee that Ben was complaining of chest pains and was taken to the hospital, where the doctor said it wasn't a heart-attack - Ben is currently still in the hospital being monitored for a few days. Renee asks why Ben, a young healthy guy, should be having chest pains. "He's been under a lot of stress," Mike reminds her. Renee asks if it is to do with his financial difficulty and Mike confirms this, except it's a lot worse than she thinks. Mike tells Renee that Ben borrowed money from a loan shark...and now he's in trouble and needs help off Renee. Renee listens - she looks troubled.

Later, Bree and Orson are preparing dinner in the former's kitchen. Bree and Orson both talk about how nice it is to be back in each other's lives. "I want to run something by you," Orson says, as Bree looks up from chopping vegetables, "Given everything you've been through lately, how would you feel about a change of scenery?"

Bree asks how big of a change Orson means, to which he replies; "Maine." Bree looks at her ex-husband, surprised, and Orson tells her that his aunt recently past away and left her coastal cabin to him in her will. Bree is open to the idea of visiting Maine for a few weeks for a pleasant break and Orson says that if she likes, perhaps they could make it more permanent. In other words, move there. "Are you talking about us getting back together? Because I'm not sure I'm ready for that," Bree replies slowly. Orson says that all he wants is a fresh start...a new chapter in their lives. Bree is still reluctant to agree to anything. She doesn't want to leave her friends. "You mean the ones who involved you in a murder cover-up and then abandoned you?," Orson reminds her. Bree explains that they did try to intervene, but Orson says that they haven't come by since. Orson reaches out and takes a grip of his ex-wife's hand. Bree eventually agrees to visit the cabin for a few weeks, although she still appears hesitant. "Wonderful. I'll book the flight," Orson says cheerfully. The pair resume cooking. "Now, how's the sauce?," Bree asks Orson, to which he replies, "Hmm, it's all coming together perfectly." A sinister smile flashes across his face.

Act IV

Gabrielle returns home from shopping, dozens of designer branded bags are grasped in her hands. Roy is sitting at the dining table quietly scanning an article in a newspaper. Gaby plants a small kiss on the back of Roy's head, and the old man quickly asks; "What was that for?" Gaby says that she was thanking him for giving her the day off by dealing with the girls, so she decided to go shopping at mall. As Gaby begins unpacking her new goods, Juanita and Celia walk through the living room, carrying armfuls of chopped wood. They greet their mother, before placing the wood beside the fireplace. Roy explains to Gaby that he made them chop down the dead tree in the backyard, although he comically informs Gaby that her older daughter is very good with an axe...and that might want to be something she keeps an eye on. Gaby giggles and adds; "Well, I can't thank you enough. You're absolutely welcome to stay here....for the next 16 days." Roy admits that he has been thinking of returning home and begging Karen to take him back. Gaby, fearing she'll loose her free-time and shopping trips if Roy returns to his wife, urges him to stay.

She lists Karen's negatives aspects (her foul moods and the nagging) and hopes she's convinced him to stay. She hasn't - Roy still wants to head home, he misses his wife deeply. Just then, Gaby looks out of the window, and spots Karen walking up the path to the porch, a freshly baked pie in her arms. Gaby, thinking the two will patch things up, orders Roy to go upstairs and take a long bath. He heads upstairs and Gaby greets Karen at the door. Gaby asks if the pie is for her, and Karen informs her that the pie is actually meant for Roy - it's a peace offering. Gaby makes up excuses for Karen not to make up to Roy ("I've only lived him for a few days, and I can already tell he's a hand-full!"), but Karen insists, she needs to tell him a few things. Out of desperation, Gaby tells Karen that Roy is livid with her for throwing him out and even took an axe to a tree in the backyard! "He just kept hacking at it and muttering 'Take that Karen!' under his breath," Gaby lies. Karen is upset, and Gaby can see this, so she promises her elderly neighbor to return her husband in 16 days. Karen hands over the pie and tells Gaby to make sure he gets it - she made it special - it's his favorite, French apple. Karen then leaves. Back inside, Gaby places the pie down on the dining table in front of Juanita and Celia. "Make this disappear," Gaby says quickly. The two girls look up from their coloring books and reply, "If you insist," with devious smiles on their faces.

At the hospital, Ben is sitting silently in his private room. Renee appears in the doorway and enters. The two converse, before Renee admits why she came to visit - "Mike told me that you borrowed money from a loan shark." Ben says that Mike should learn to keep his mouth shut, before Renee confesses that she doesn't want to see Ben dead, and pulls out her cheque book and asks how much he needs. "From you? Not a cent," Ben replies.

Renee advises Ben not to be stupid, he's clearly in trouble, and she is here to help. "You wanna help me?," Ben says, taking hold of Renee's arm, "Wait until I get myself out of this mess. Then let me come back to you and apologize for what I did. Then, allow me to propose to you again." Renee lets out a whispered 'Wow' and Ben says that he's still crazy about her. "If you don't pay those thugs what you owe them, they're going to disassemble you. And, if we're getting back together, I want the whole package. Not just parts." Ben tells Renee not to worry about him, he can take care of himself. Renee looks around at where Ben is, before smiling and adding, "Yeah! You're doing a Hell of a job!" She pats him gently and leaves. Ben watches her and smiles.

Bree has just baked some croissants and is placing them in a neatly prepared basket. Orson wheels himself into the kitchen and tries to snatch one out of the basket. Bree jokingly smacks his hand with the spatula she is using, before placing a plate stacked with croissants in front of him - she made these ones for him, the ones in the basket are for the girls. Bree explains to Orson that she has been doing some thinking and that it's time for some reconciliation. As Bree wraps a ribbon around the basket, Orson replies, "What a good heart you have, my dear. But you also have a good head, and maybe you should give this a second thought?" Bree tells him no - she has already given it a lot of thought and they're all to blame for the situation they're in now. "Besides," Bree continues, "If you think about it.

They actually saved me by calling you. You told me so that night outside the bar. And, if they hadn't, who knows what might have happened to me!" Orson blocks Bree's path and slyly tries to convince her not to make up with the girls. Bree wants to thank them for bringing Orson back into her life, to tell them about the trip they have planned together, and anyway, it's time one of them made the first move and apologized. Bree pushes past Orson and makes her way to the door. "They already did," Orson says, "They came by the other day while I was outside checking the ramp. I didn't tell you because...it was an unkind visit. At first, I thought they were here to apologize for how they treated you. But, then the comments started. How you deserve what happened, and how they regret calling me, for now I was stuck with you." Bree begins to tear up and asks if they really said those things. Orson nods his head, confirming this. Bree takes a seat and Orson wheels himself closer. He tells her that the girls don't deserve her kindness and Bree looks at him and smiles. She is glad he didn't hide this from her. The two keep their eyes locked. "You're always trying to protect me, aren't you?," Bree says. The two take each other's hands.

Lynette is greeted by Susan into her home. Susan leads her friend to a nearby sofa and the two sit down. Susan begins pouring some coffee, before adding, "Look at us. Being friends. Eating cookies. Can you imagine us being even closer than we are now?" Lynette looks around before turning back to Susan and saying that she thinks they're pretty close already. Susan says that it'd be great if the two of them were family. "Okay Susan," Lynette giggles, "If you need a ride to the airport..." Susan says a ride to the airport is not what she's after, before revealing to her friend that she has some amazing news about our children. The scene quickly cuts to Lynette throwing open the front door and screaming, "Nooooooooooooooooo! No! No! No! He can't be having a baby!" Susan dashes after Lynette and hands her a brown paper bag, instructing her to breath into it.

Lynette does so, before stopping, and tries to reaffirm to herself that everything will be okay. After all, Julie is going to give up the baby for adoption. Lynette looks at the brown paper bag and chucks it on the floor and says, "I don't know why people do this." Lynette begins to walk up and down and Susan informs her friend that in a very mature move, Porter wants to keep the baby. Lynette spins around and exclaims, "He can't raise a baby! He can't even take care of himself. All he eats is frozen waffles. Still frozen!" Susan tells Lynette that she needs to calm down, but Lynette has had enough, she announces her wish to go home and slap some sense into her son. "You can't be mad at Porter," Susan says, "You should've heard the way he was talking about the baby. He's so excited!" Lynette isn't buying any of it. She says to Susan that she already has a sweat little baby who's only a few months away from daycare, and she has no plans to go right back to the beginning. Lynette begins to dash up the street, as Susan shouts after her; "I see. You're afraid of being inconvenienced. So you want to give the baby away to strangers." Lynette returns to Susan's home and says that she wants to give the baby away to people who are ready to be parents - it's better for Porter, it's better for Julie, and it's better for the baby. Lynette turns her back on Susan and marches home. Susan fights back tears, as she crosses her arms, and watches her friend leave.

Act V

Lynette returns home and spots Porter typing at his laptop in the kitchen. Lynette impersonates a baby and tells Porter that he'd never be able to handle being a father.

Porter disagrees, and his mother replies, "Are you serious? You've never been able to commit to anything! Maybe if Julie was giving birth to a new video game. Or a porn site. But there is no way in Hell that you are ready for this!" Porter tells Lynette that he actually agrees - he isn't ready for all of this - he has only $17 in his checking account and no clue how to write a resume. He admits that a couple of days ago, he didn't care, but now it's bothering him. He announces his wish to get a job and take classes - he'll do whatever it takes. Lynette sits down at the dining table with her son, her head in her hands. "When you are a parent," Lynette explains, "There is so much you have to give up. Your whole life is going to change forever." Porter understands and tells Lynette that his life already has changed; the baby hasn't even been born yet and he can't put into words just how excited he is to finally see her - he loves her already. Lynette sits back in the chair, tears pouring from her eyes, and she nods her head gently.

Julie, meanwhile, is furious with Susan. She has just discovered that Porter has hired a lawyer and is fighting to raise the baby himself. Susan asks her daughter if him doing that is such a terrible thing, after all, she is more than willing to help him out.

"You think that makes it better?," Julie replies sorrowfully, "Now when I come home I'll have to see her. Do you have any idea how painful that's gonna be? I just wanna forget this ever happened." Julie takes a seat beside her mother. Susan reminds Julie that this baby is her daughter, and she'll never be able to forget her. Julie tells her mother that she doesn't know that, but Susan is adamant she does. "I've had a daughter," Susan says, "You can't possibly understand this until you have one too. And every single day you're not with me, I think about you. I wonder what you're doing, I worry if you're safe, and I hope you're happy." Susan places her hand on her daughter's face softly, but Julie screams out: "No! This was my decision to make. And you took it away. I can't forgive you for that." Julie's face pours with raw emotion, as she gets up, and leaves the room. Susan is hurt.

At the Solis home, Roy is sitting in the lounge looking out the window. Gaby appears on the staircase and she asks him if he can make Juanita and Celia take a bath. Roy seems depressed and Gaby joins him and asks if he's OK. "I just didn't think it was going to end like this," Roy says slowly, "After all these years, I thought I'd finally found 'the one.'" Gaby comforts him and reassures him that what he and Karen are going through is just a rough patch - they'll get through it stronger than ever. Roy explains that he isn't too sure and informs Gabrielle that falling in love at his age isn't about all the drama young people go through. It's about finding the one who'll be there to hold your hand at the end. Roy confesses that he always believed Karen was that person for him...but now he guesses he was wrong. Roy returns to looking out the window. He is clearly heart-broken.

At Fairview Memorial Hospital, Karen is waiting in the doctor's office. Karen's doctor enters the office with a pile of paperwork. Karen stares out of the office window.

The doctor announces that he has got the result of her MRI scan back...the results are not what they'd hoped for - Karen's Cancer has returned. The doctor informs her she has got metastasis to the brain. Karen asks if the drugs have stopped working and the doctor confirms this. Karen rubs her hands together and looks around the room nervously. Her doctor suggests they put her on an aggressive treatment of radiotherapy and explains that there are new techniques they can try out. Karen thanks the doctor for being so honest and giving it to her straight, as she fiddles with her purse. "Karen," the doctor says, "We've been through this before. You're a fighter. But this is going to be tough. You're going to need a lot of support from Roy." Karen looks away before returning her gaze to her doctor and politely explaining that Roy is now out of the picture. He and her split. The doctor says he is sorry to hear that. "Oh, I'm not," Karen replies, "He had to watch his first wife get sick and die. He doesn't need to go through that again. Trust me. This is for the best."

Act VI

At her home, Renee is writing a cheque for the loan shark to pay off Ben's debts. "I assume you'll honor our agreement to keep this between you and me?," Renee asks, as she tears the cheque from the cheque book.

The shark agrees, before complimenting Renee on her lovely home. He can tell she likes the finer things in life. He then brings up her marriage to Doug Perry..."I heard he cheated on you, huh? Man! You must cleaned up in that divorce." Renee becomes a little nervous and she quickly hands over the cheque. "It always amazes me how much power is in this little piece of paper," the loan shark continues, as he admires the cheque in his palm, "I mean with it, all your problems disappear. Without it, your Aussie friend, he ends up begging one of my guys not to shoot him in the knee cap." The shark takes a step forward and begins to intimidate Renee. She informs him that he has his money and that he can leave now. He agrees to leave, but subtly threatens her by reminding Renee that he now knows where she lives. Renee looks on worriedly.

Back at the Van de Kamp residence, Bree and Orson are packing their suitcases ready to leave for Maine. Orson spots a jumper of Bree's and recalls that he purchased it for his then-wife back in Milan. Bree confesses that it's one of her favorites. She sits down by her suitcase and folds a jumper in her lap quietly. Orson asks if everything is OK and she replies; "Yes, it's just, I don't think I've ever seen you this confident." Orson giggles gently, before telling Bree that he doesn't believe he is the same man he was 2 years ago. He's let go of a lot. And changed his life completely. Bree asks how Orson did such a thing and he reveals that it all started once he learned how to drive again...

	I know it sounds strange, but for me, in my condition, that freedom changed everything.

The scene transitions to several flashbacks;

	Driving was a way for me to move forward with my life. To let go of the past.

Orson is seen driving along a country road. He looks down and placed beside the gearstick is a photo of Bree smiling pleasantly.

	Being on the road gave me a new perspective.

Orson is parked up the road from 4354 Wisteria Lane. He watches as his ex-wife steps out of her car and enters her home.

	I started to see the silver lining in even the worse situations.

Orson pulls up beside Gabrielle's house. It is the night of the dinner party. The guests have left. Orson watches as Bree, Susan, Lynette, Gaby and Carlos all carry a wrapped body from the porch to the back of the latter's car.

	I learned to be calmer. More patient. I even began spending more time in nature.

The housewives and Carlos remove the body from the back of his car in the middle of the woods and place it besides them. Orson is sitting in his car, lurking by, watching the events unravel.

	Then I started reaching out to old friends.

Lastly, Orson opens Bree's mailbox and place the blackmail letter in it carefully. He smiles deviously before shutting it tightly.

	It took time. But, little by little, I became a new man.
Orson Hodge

Back in present day, Bree tells Orson how inspiring his story is and suggests that when they're in Maine, he can assist her in the process of changing her life. "Oh Bree," Orson replies, "Don't you see? The process has already started for you." Bree acknowledges this and smiles. Orson smiles back, and adds; "Trust me darling. You won't believe where it's going to end up."

Production

This episode was written by Cindy Appel and directed by James Hayman, marking the 1st credits as such for each of them on the show.

Reception

• "Get Out of My Life" was watched by an approx 7.65 million viewers with a 2.2 in the key demographic rating (A18-A49). While well below the season average, DH did see an increase in viewership compared to the previous week's episode.
• Critically, the episode garnered overwhelmingly positive reviews from television critics and fans alike. Catriona Wightman, of Digital Spy, spoke highly of the reveal that Orson Hodge was the mysterious note sender and was pleased that the writers have given "Kyle MacLachlan a storyline to sink his teeth into."^[1] Meanwhile, fans of the show responded positively to Julie's pregnancy storyline, but criticized Gaby's repetitive 'filler.' Ultimately, fans used words such as "Great", "Good" and "Dramatic" to describe it.^[2]

Trivia

• The title of this episode is taken from a song of the same name from the Stephen Sondheim musical, Bounce, which was later renamed Road Show, with the song cut from its setlist.
• The final narration in this episode is provided by Orson Hodge, as opposed to regular series narrator Mary Alice Young (who still provides the additional early voice-overs).
• Although credited, Doug Savant (Tom Scavo) is absent from this episode, marking his 4th straight absence in the season, a streak that will finally be broken in the following episode.
• This episode marks the return of Ricardo Antonio Chavira (Carlos Solis) after an absence of 3 episodes.
• This episode marks the return of supporting characters Porter and Preston Scavo, who had last been featured in episode 7.21 (excluding a brief cameo in episode 8.09, as portrayed by uncredited extras). It also marks the return of recurring character Roy Bender, after 13 straight absences.

Bloopers and Continuity Errors

• In this episode, Gabrielle and Carlos Solis state that the latter isn't getting out of rehab for 16 days. However, in the previous episode, Gabrielle had claimed Carlos was 14 and a half days away from getting out. Also, the number of days never changes down from 16 throughout this episode, despite the fact that more than 2 days worth of time are shown.
• At the end of this episode, during the closing sequence, Orson puts the blackmail letter for Bree in the mail box, and then closes it. But, in "Secrets That I Never Want to Know", we see that the mail box is wide open, when Bree is walking past it and first discovers the letter.

Episode connections

Episode references

• Susan discovers the identity of Julie's baby when she follows her to the Coffee Cup, a coffee shop down town. The Coffee Cup was where Eddie Orlofsky was previously employed, as well as being where he murdered one of his victims in Season 6. ("The Coffee Cup")

Episode allusions

• In the closing sequence, the scene in which Orson places the blackmail letter in Bree's mailbox and closes it is filmed in exactly the same fashion as a scene in the Pilot episode - both are filmed with the camera placed in the mailbox. In the Pilot, Mary Alice Young opens her mailbox receives her letter that leads to her suicide. ("Pilot")
• Carlos refers to Gaby having a "drowning" fantasy, which is how Mary Alice described her in the first season - "Gabrielle was a drowning woman..." ("Ah, But Underneath")

Quotes

“

[Lynette greets her twin sons coming to visit, then notices they have luggage and figures out they want to move back in, so she barricades herself in the house.] Preston: Please let us in, we're children of divorce. Lynette: Exactly. Go to your dad's. Preston: But we like you so much more. Lynette: Don't give me that! Porter: No, seriously... Dad has that stupid girlfriend. Preston: And he's been so unfair to you. Lynette: [letting them in] You had me at 'stupid girlfriend'.

”

“

Gabrielle: You better watch out. This phone has a whoop-ass app!

”

Gallery

Gallery of photographic stills released to promote the episode.

References

1. ↑ Digital Spy Review
2. ↑ TV.com 8.14 - "Get Out of My Life" Episode Discussion

External links

• Press release
• Promotional trailer

v • d • e Season 8 Episodes "Secrets That I Never Want to Know" • "Making the Connection" • "Watch While I Revise the World" "School of Hard Knocks" • "The Art of Making Art" • "Witch's Lament" • "Always in Control" "Suspicion Song" • "Putting It Together" • "What's to Discuss, Old Friend?" • "Who Can Say What's True?" "What's the Good of Being Good?" • "Is This What You Call Love?" • "Get Out of My Life" • "She Needs Me" "You Take for Granted" • "Women and Death" • "Any Moment" • "With So Little to Be Sure Of" • "Lost My Power" "The People Will Hear" • "Give Me the Blame" • "Finishing the Hat"