OLTL Transcript Wednesday 11/12/03

One Life to Live Transcript Wednesday 11/12/03

By Eric
Proofread by Melissa Dann

Nora: How did I know you'd still be working?

Bo: Thank you.

Nora: It's cold out there.

Bo: Well, I think it's going to get a hell of a lot colder.


Antonio: Waste of time.

Singer: You've been digging for gold in an abandoned mine. 'Cause things are going to change in an abandoned mine

John: Home, sweet temporary home.

Manager: Is this your current address?

Natalie: No, I lied because I'm in the witness protection.

Manager: Married or single?

Natalie: Excuse me?

Manager: You left it blank.

Natalie: What has that got to do with whether I can make a martini or not?

Manager: I'm just doing my job. What are you getting so huffy about?

Natalie: You know, I can mix drinks, I can make change. You either got a job or you donít.

Manager: OK, show me.


Marcie: Al? Al -- are you coming back? Come on, I was OK when you were here, but now that you're gone, I'm not. Where are you? Ooh -- hey! Will you watch it?

Al: God, I'm sorry. I'm cramming for rounds.

Al's voice: See me, Marcie. I'm still here. OK. Iíll just say something nice.

Al: Marcie, what the hell is wrong with you? Canít you tell I like you?

[Marcie scoffs]

Marcie: Will you just -- you just leave me alone.

Luna: Hey, hey -- where do you think you're going?

Al: This is terrible. It's not working, OK? This Michael guy -- he's a total jerk. She thinks that I'm stalking her.

Na: Well, you canít give up now. The battles worth fighting are always the hardest.

Al: Hey, Marcie. Listen, I'm sorry. For some reason, we seem to keep getting off on the wrong foot.

Marcie: Iíll say.

Al: You know, you probably shouldn't be out here all alone by yourself.

Marcie: I'm fine.

Al: You're cold. But, you know, there is a serial killer running around town.

Marcie: Well, maybe if I'm lucky, he'll find me.

Al: You want to go have a drink?

Marcie: I donít drink.

Al: OK, we'll go have a soda, then. Come on, Marcie, please. Give me another chance.


[Music plays]

Singer: Only now I'm feeling fine


Nora: So what's your take on John McBain?

Bo: Oh, he's a good detective. I called a buddy of mine who works for the bureau in New Jersey just to get a rundown on him.

Nora: Very intense.

Bo: Hmm. Oh, he's a loner. He -- his life is his job.

Nora: No people skills.

Bo: Yeah, but his instincts for the job are just right on. My friend says a couple times a year they take him down to Quantico to teach the teachers.

Nora: Wow.

Bo: And he also said he has a hard time following orders. He likes to do things his way.

Nora: I canít wait for him to meet Daniel Colson.

Bo: Hmm.

Nora: Hmm. Well, so, he's relentless, smart --

Bo: Hmm.

Nora: Bit of a maverick.

Bo: Mm-hmm.

Nora: Sounds like somebody else I know.

Bo: Hmm? Oh.

Nora: How are you holding up?

Bo: Eh.

Nora: Matthew's worried about you.

Bo: Matthew?

Nora: Mm-hmm. He says you look tired.

Bo: Well, you know what? I want to find this guy before he kills someone else.

Nora: I put in a few calls to Gabrielle. I haven't heard back from her yet, but --

Bo: I'm not surprised. She shut everybody out.

Nora: So, you're living in here?

Bo: Well, no, I canít get through to her, so I figure as long as I'm here, maybe I can at least do something.

Nora: OK.

Bo: I donít want to push.

Nora: Well, Iíll give her a call, again. But you're right. People need to grieve in their own way, huh?

Bo: Mm-hmm. You know, when Drew died, everybody wanted to help me, but it was something that I needed to go through on my own.


Man: Lady, a couple of bucks? Hey, it's cold out here!

John: It's open. You're late.

Antonio: Yeah, well, I went uptown to get the real stuff. Interesting place.

John: Iíve stayed in worse. Not much worse.

Antonio: Why here?

John: You think the bureau's going to pop for the Palace long-term?

John: On the table, please.

Antonio: Who's this?

John: My mother.

Antonio: Singer?

John: Covers, mostly. 1960s, 1970s. She's played at that same little place now for 14 years.

Antonio: OK. Mother's a singer, dad's a cop. That's a hell of a team.

John: Yeah. Look at this. A woman strangled every 15 days. If he keeps to this pattern --

Antonio: It'll be a week before he does it again.


Manager: Hey, that's good. When can you start?

Al: So, can I get you something to drink? Wait. Wait, let me guess.

Al's voice: You know it's ginger ale, no ice. But you shouldn't say it.

Al: Vodka gimlet.

Marcie: I donít drink, remember? I already told you that.

Al: Yeah. Right, sorry.

Marcie: Iíll have a ginger ale. No ice. What am I doing here?


Bo: This is every police department's nightmare, having something like this come into the city.

Nora: Go home, Bo. Go home, get some sleep. Come back tomorrow.

Bo: I canít. Really, I got too much catching up to do.

Nora: OK, well, you need to take a break, then. Come up to my office. Come on. Let's play a game of chess. Come on, we haven't done that in ages.

Bo: Yeah, you know what? Maybe -- maybe one quick game.

Nora: Oh, it'll be quick, I promise you. Very quick.


Antonio: I donít think your landlord's going to appreciate the new wallpaper.

John: Yeah. I donít think interior design is his thing.

Antonio: Yeah? All right. Bring me up to speed.

John: First victim -- San Gelman, 28. Disappeared from her apartment in Ridgeway, New Jersey, on September 20. Her body was found on September 21 in a motel on route 9 at approximately 11:45 P.M.

Antonio: 28 years old.

John: Hmm. Their M.E. -- According to him, she was strangled 46 hours earlier at another location and brought to the motel site.

Antonio: Strangled?

John: Yeah, with a red leotard. She also had a single red tear drawn on her cheek, and there was a music box found nearby.

Antonio: Where?

John: On the bed. The victim was propped upright.

Antonio: Oh, man. This is the same as Elyssa Collins, except that in the Collins case the dog dragged the music box out to Angel Square. Is there a husband?

John: Single, no kids. She lived alone. She spent all her life in New Jersey, born and raised there. Her parents live in Mays Landing about 10 minutes away from her own apartment.

Antonio: Boyfriend?

John: No, no one significant. We brought in a few guys, but they all checked out. She did work at a club called Scintillating Sinsations, somewhere around the Atlantic City area.

Antonio: Did you say Scintillating Sinsations?

John: Yeah, why? You know it?

Antonio: I found this near Elyssa's body. It would be one hell of a coincidence.


Al: Hey, can I get a ginger ale, no ice?

Manager: Oh, yeah, just give me a sec to hook up the Co2. Tomorrow, 3:00, OK?

Marcie: How are you doing?

Natalie: Ooh -- peachy. Just got a job.

Marcie: Here?

Natalie: Yeah. I start tomorrow. Just kind of taking it day by day.

Marcie: Me, too. Canít sleep. Well, except in class.

[Marcie giggles]

Natalie: Yeah. All I want to do is sleep, except for my dreams are so awful that I just hope he can give me as many night shifts as possible.

Marcie: Haven't seen you around campus.

Natalie: I -- I dropped out. It just -- it reminded me of Cristian too much and I -- I donít want to do anything.

Marcie: It's actually one of the parts I like about L.U. You know, it's kind of like Al's still there. I keep hoping that any minute now he's going to walk around a corner.

Natalie: But he won't. And neither will Cristian. It's so hard. His stuff is everywhere. You know? Clothes are all over the floor, and the razor is just where he left it -- and I canít touch it. I canít -- I canít move it because if I do, then it's like he's gone.

Marcie: Yeah, but you got to keep yourself strong, Natalie. You got to keep your mind strong, your body strong because you never know. Maybe he can come --

Natalie: What?

Marcie: Well, maybe he can come back to you.

Marcie: This is Natalie Vega. Natalie, this is Michael -- what's your last name?

Al's voice: I'm Al. I love you, Marcie. Please. Please recognize me.

Natalie: Hello, mystery man?

Marcie: Your last name?

Al: McBain. Michael -- Michael McBain. Nice to meet you.

Natalie: Are you related to John McBain?

Al: Yeah. He's my brother. Why?

Natalie: I just -- I know him, that's all. Actually, could you excuse us for just a few minutes, because we were really in the middle of something kind of important here.

Marcie: Yeah, it won't take long.

Al: Yeah. Right.

Natalie: Marcie, what do you mean? How could I get Cristian to come back to me?

Marcie: Well, after Al died, I could kind of feel his presence, you know, all around me. I know that it sounds crazy, but I think that in my mind he was there because he knew that I needed him to come back to me, I needed him to help me try and move on.

Natalie: You actually saw him?

Marcie: No, no. It was more like he -- he wrapped his hands around my heart. He warmed it up again. And you know, Cristian -- he's still around, and he loves you, and he wants you to be happy.

Natalie: I wish I could believe that. But all I feel -- I just feel cold, lost, and empty.

Marcie: Natalie? No, Natalie?

Al: Well, you tried to cheer Natalie up there. It was beautiful, you know, but, God, could that have gone any worse?

Marcie: You know what, Michael? I donít want this drink. And I donít need to get to know you.

Al: You idiot. Women.


Bo: Damn. You didn't used to be that good.

Nora: It's Matthew's fault. He joined a junior chess club. I had to buy a book to keep up.

Bo: That kid is a genius.

Nora: Well, it's all in the genes, you know.

Bo: Hmm.

Nora: Hey!

Bo: I got a book, too.

Bo: How is Matthew?

Nora: Donít distract me.

Bo: You know, I miss him. Past couple of days, Iíve just been working day and night.

Nora: Well, he understands. He was actually thrilled to be part of the investigation. Told all of his friends that he helped solve the crime of the music box killer.

Bo: You didn't tell him --

Nora: No, of course I didn't, it's all over the papers.

Bo: Yeah, The Sun.

Nora: Yeah. They know how to put the fear of God into people, donít they? Everybody runs scared. I have to say, there are times I just want to pick Matthew up and run for the hills, hide, away from TV and papers and -- is that crazy?

Bo: I donít know. I mean, how do you know what's right? You know, you tell them the truth, you teach them to be careful.

Gabrielle: And when that doesn't work, what do you do after that?

Bo: Where have you been, honey? Jeez, Iíve been calling all over.

Gabrielle: Couldn't sleep, so I went for a long, never-ending walk. I'm sorry, Nora, I didn't return your call.

Nora: No, that's fine. I -- you know, you're here now, and, actually, if you have a little time, Iíd like to run something by you.

Gabrielle: Well, I --

Bo: No, no, that's OK, that's OK. Iíll tell you what, Iíll be in my office.

Gabrielle: I know what you're trying to do, Nora, and I do appreciate it. It's not going to work, though.

Nora: Well, just hear me out, OK? Please?


Man: I canít see. It's so dark.

Natalie: Get your hands off me!

Man: What happened to the moon? I need the moon. I need to see the moon.

Natalie: Donít touch me!

John: Hey, hey, hey. What are you doing?

Antonio: No, no, no, no, no. John, it's just old Pete.

Pete: I'm sorry, lady.

Antonio: He won't hurt you. All right.

Natalie: You know him?

Antonio: Yeah. Yeah, he's lived around here for years. Comes by the diner.

Pete: I do windows.

Antonio: Yeah. Yeah, that's right, Pete. You do windows.

John: All right, look, Iíll -- I want you to get yourself something to eat, all right?

Antonio: Pete, it's a little cold to be sleeping out here tonight. Why donít you go to the community center? They'll set you up with a warm bed, anything else you need.

Pete: I need the moon.

John: Yeah, they're not going to be able to help you with that.

Pete: Take me?

Antonio: Yeah. Of course. Iíll be right back.

John: Yeah. You OK?

Natalie: No, no, I'm not OK. I'm never going to be OK.

John: What I meant was --

Natalie: Look, I have a pain in my heart that's never going to go away. I mean, how could it? Without Cristian, Iím just -- not loved.

John: Hey, listen to me.

Natalie: Hey, you know what? Do not touch me. You do not touch me. Just leave me alone.


Al: Hey, John. I thought that was you.

John: Hey, Michael.

Al: How long you been in town?

John: A while.

Al: You working a case? That serial killer thing?

John: How's med school going?

Al: I'm done. I'm an intern here at Llanview Hospital. Lots of hard work, but it's worth it, right?

Al: How's Mom?

John: Try calling her sometime.

Al: Yeah, like she'd want to talk to me.

John: Only one way to find out.

Al: You know what? I donít have time to keep knocking on that door, bro. You two slammed it shut a long time ago. Got a life of my own to worry about.

John: And the rest of the world can just go to hell, right, kid?

John: Iíll see you around.

Al: Yep.

Al's voice: Marcie's right. I donít get along with anybody.

Luna: Darling? Michael is a lost soul. He needs your help.

Al: Huh. Whose fault is that?

Luna: Oh, come on, now. If we're right about this, Marcie is the one to help him through.

Al: I donít know about this whole afterlife, body-switching thing. I mean, it's me inside of here. But it's him, too.

Luna: Well -- I -- I know, I know, I know, but you cannot back out, not now. If you do, we donít even want to talk about what might happen.


Antonio: It was stuffed in a wall right by where we found Elyssa Collins.

Bo: "Scintillating Sinsations." This is where victim number one worked.

Antonio: No way it's coincidence.

Bo: No, the killer probably dropped it there, probably on purpose.

John: This guy doesn't make mistakes. He's baiting us.

Bo: Timing is perfect, John. Have a seat. Look, you know this guy better than we do, so what do you think he's trying to tell us?

John: Could be he's ready to play cat-and-mouse. Somehow he's tied into this club. Or maybe it's just a red herring.

Antonio: Or there's a connection between the two victims.

Bo: Well, yeah, but Elyssa Collins -- she's a private eye. Susan Gelman's a stripper.

John: Noralyn Atkins, victim number two. She worked as a lap dancer. And Jane Small, the third victim -- she was a cocktail waitress.

Bo: So Elyssa doesn't fit.

Antonio: Or she was investigating Susan or the club. She's got to be tied in somehow, or our killer's just striking blind.

John: A list of all the cases she worked in the past year -- that would be a good thing. Think you can keep it local for me?

Bo: Yeah, yeah, Iíll have a detective get to work on that first thing in the morning. John, tell me about victim number two.

John: 28. They found her body in the back of a movie theater in Atlantic City on October 6. Same M.O. -- Neck broken, red leotard, hearts drawn on her right cheek. There's two this time. Music box on the scene. She lived alone. No known personal connection between her and the first victim, except for the fact that they both worked at strip clubs in and around the Atlantic City area.


Nora: I know you want to be alone, and it makes perfect sense to me.

Gabrielle: But you think I should pull up my bootstraps and get on with life.

Nora: Oh -- no, on the contrary. You know what you need. Al's death was just a terrible tragedy, and I would never presume to tell you how to grieve.

Gabrielle: Then what is this?

Nora: It's about Bo. He's having a rough time. I mean, he's trying.

Gabrielle: I know, I know, I know.

Nora: I just want you to know that I'm on your side, OK? And I will do everything I can to see that you get the space that you need.

Gabrielle: Thank you.

Nora: Well, it's not going to be easy because he's stubborn and he's in love with you, so it's really not going to be easy.

Gabrielle: I know that he feels like he's failing because he wants to help me, and I -- I do feel awful about that.

Nora: Well, you know, it's how he copes. It's how most men cope. They want to fix things, and when they canít, they --

Gabrielle: They suffer.

Nora: Yeah.

Gabrielle: I know. Nora, I wish I could change this. Al was my baby. I am so sick of this! Oh, so sick of this.

Nora: Hey. OK, you want to hear something really --

Gabrielle: Thank you.

Nora: I donít know, silly?

Gabrielle: Yeah. What?

Nora: Well, whenever I -- whenever I'm sad and I really need to get out of my head, I sometimes come up with something to do that's completely inconsequential.

Gabrielle: Mm-hmm. What? Like?

Nora: Well -- well, you know Roxy, right? And Marcie's brother Ron? They actually are teaching dance classes down at the community center, and you want to go? With me?

Gabrielle: Dancing?

Nora: Yes. Well, heck, it's Roxy, so it's going to be at least a little comical, you know, to say the very least.

Gabrielle: Yeah, I -- I saw the fliers, and I thought about it for a split second, but, you know, I --

Nora: Well, you know, it -- it sometimes, you know -- yeah, it's good to do those things, and they're having a class tomorrow night, so --

Gabrielle: Oh, I donít know. I really --

Nora: OK, I'm going to tell you something. If you tell anyone else this, I'm going to call you a bald-faced liar. Iíve already been to one of the classes, and it was really fun. It was really fun. I have to tell you I had a great time. You know, she's funny, and he's fun to look at, so there you go. So come with me.

Gabrielle: You already went?

Nora: Yeah. Donít -- I went. It's fun. Come.

Gabrielle: Maybe.

[Gabrielle laughs]

Nora: Roxy --

Gabrielle: OK.

Nora: OK? I mean, you know -- good. We're on, then.

Gabrielle: OK.


Marcie: What are you doing here?

Al: I'm not exactly sure.

Marcie: Good. Then go away. You shouldn't be here, anyway.

Al: Marcie --

Marcie: I'm busy. You're a jerk.

Al: Fine. Marcie, I --

Marcie: What? What could you possibly have to say to me?

Al: Marcie, I'm in love with you.


John: I'm sorry. I'm sorry. Look, you know, we can get this guy if he keeps to his pattern, but we donít have much time.

Antonio: There's got to be something we're missing.

Bo: Yeah. Sleep.

John: You're right. We're not going to get anything done tonight, all right? Let's get some rest, start again in the morning.

Bo: Right.

John: I want to thank you for all the cooperation you've shown. Iíve seen too many cases fall apart because of ego.

Bo: It's not going to happen on my watch.

Nora: Yeah, that means we'll have to keep Daniel Colson on the other side of the building.

John: Hey, tell me something, how'd this guy even get elected?

Nora: Integrity.

Bo: Yeah, integrity, yeah. Hmm, her integrity, not his. Look, Iíll do everything I can to keep that guy away from you, all right? I think these young dies deserve better.

John: Whatever it takes.

Marcie: Why are you doing this to me? I just lost my best friend. He was the love of my life, and he's never coming back. He never can, and it's because of mean, stupid, narrow-minded jerks like you. You know, Al was wonderful, and he would have done something amazing in this life if he had been given a chance. But he didn't have a chance, and I'm just starting to figure that out, OK? So I will not be patronized or made fun of. Why are you looking at me like that?

Al's voice: Kiss her, damn it. Kiss her!

Al: Ow! What the hell was that for?

Marcie: You just -- just get out of here, OK?

Al: Fine. I donít know why I'm wasting my time here for, anyway.

Marcie: Well, me, neither.

[Music plays]

[Knock on door]

Singer: It's all right it's all right

Marcie: Huh. I miss you.

Singer: It's all right donít sigh, I say, for now it's all right


Al: Hey, man, guy! You want to watch where you're going?

Pete: I couldn't -- I couldn't see.

Al: Hey, buddy.

Pete: Hey, I said I was sorry! I --

Pete: Thanks. Thanks.

Luna: This might just work out after all.


Manager: Good night. Donít forget this, all right?

Bo: Oh -- hey, thanks, Dave.

Dave: Have a good night. Good to see you.

Gabrielle: Good night.

Dave: Bye-bye.

Bo: Come on.

Gabrielle: Hey.

Bo: Hmm?

Gabrielle: I love you so much. Thanks for not giving up on me.

Bo: No, no, no, no, no, it's never going to happen. Ever.


[Phone rings]

Nora: Nora Buchanan. Hey, sweetie, what are you -- what are you doing up this late? Yes, I know it's late. I'm coming home right now. Right this very second. Hey, you know there's nowhere else Iíd rather be right now than with you, right? OK. Love you.

Natalie: Nothing's really making any sense to me right now. I'm just -- I'm trying to make it right in my head. Every time I think I'm there -- you know what? I'm not going to let this beat me down. You know, it was horrible, but it happened, and there are definitely days that I wish I were dead. But I'm not -- I'm not going to be some basket case who's just sitting around waiting for it to come.

John: That's good.

Natalie: Please donít say anything. The thing is every time I see you, it hits me all over again, what happened. Cristian's not here, and he's not coming back. And that means that I'm not going to get to touch him or see him or talk to him ever again. And you -- you're a big part of that. So please, stop reaching out to me. Stop trying to be there in case I need you, because I donít. I know you feel guilty. Deal with it.

John: I have to live with what happened for the rest of my life. But this isn't about me. It's about you. And I donít want to make things worse for you than I already have. So you tell me what you want. You tell me what you want me to do. Iíll do it.

Natalie: I donít even know why I came here.

John: You came here to tell me to go to hell.

Natalie: Go to hell.

Stay tuned for scenes from the next "One Life to Live."


On the next "One Life to Live" --

Natalie: Why is he even wasting his time on Jen?

Roxy: Duh -- because he's in love.

Kelly: Are you really going to get married this time?

Todd: Nothing bad is going to happen today. I won't let it.

Kevin: I have to decide whether I'm going to go over there before she marries him and tell her everything.

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