OLTL Transcript Friday 8/5/05

One Life to Live Transcript Friday 8/5/05


By Boo
Proofread by Kathy

Todd: You're damn right I'm serious. I'm going to sue the City of New York. False arrest, police brutality. Hold on a second. I got another call. Yeah. No, no, no, you got to give me a better headline than that. Talk to me.

Man: I could use a drink.

Todd: What, are you on a date? I hired you to do a job. Did you get it done?

R.J.: Hey, there, pretty lady. Miss me?

Lindsay: Always.

R.J.: What you got there?

Layla: I can't believe you convinced that pervert you were my agent. I was about to punch his lights out.

Antonio: Oh, that used to be my first instinct.

Layla: And now what, you've mellowed out?

Antonio: Well, I'm trying to.

Layla: Hmm.

Antonio: I learned that from Jess. It's better to go into battle with your wits instead of your fists.

Layla: Okay -- wits, not fists. Yeah, got to remember that one.

Man: Look, Manning, you want to know what your niece is up to in New York, it's going to cost you.

Antonio: She's in New York?

Tess: If you can't learn to keep your hands to yourself, then we're going to have to renegotiate this roommate situation.

Nash: Ooh, my thoughts exactly. Why don't you let me put something on the table?

Tess: Ooh, I'm open to anything you put on the table.

Nash: You're my kind of girl!

Tess: Hey, hey, hey, hey.

Nash: What?

Tess: What are you doing?

Nash: My favorite thing about Napa -- no fences.

Tess: Please don’t.

[Rex whistles]

Man: Over here.

Rex: You get it?

Man: Just like I said. We never met, right?

Rex: Oh, you ever know me to rat out my friends?

Man: I can't afford another bust.

Rex: Well, like you said, we never met.

[Phone rings]

Bo: Buchanan.

Officer: Commissioner, it's Murphy. I've been tailing Balsom like you asked.

Bo: Anything interesting?

Ofc. Murphy: He's been doing some business with a two-time loser at Capricorn.

Bo: What kind of business?

Ofc. Murphy: I don't know, Commissioner. Want me to bring him in?

Bo: No, no, no, no. You just keep your eye on him, don't let him out of your sight, okay? Keep me posted. Oh, Balsom, what are you up to now?

Evangeline: Oh, I can't -- I can't -- I can't -- I can't -- you've been drinking.

John: Just a little. A lot.

Evangeline: When we -- we kiss like this, we can't -- no, no, no. No, we're not going to do this.

John: No, I -- I know. We won't -- we're not going to. We're not going to do things like we did before. Listen, I -- I didn't come over here because I -- I didn't come here to --

Evangeline: What? Why did you -- why did you come here, John? What do you want?

R.J.: Lindsay, are you okay?

Lindsay: Yeah. Everything good on your end?

R.J.: Well, sure, but you know what'll be even better? If I can get you out of here. I have had my fill of Vega and company.

Lindsay: Yeah. Me, too.

R.J.: All right, then.

Antonio: Answer me, Todd. Jessica's in New York?

Todd: I never said that.

Antonio: No, but your friend here did. Now, if something's happened to her, I want to --

Todd: Something's happened to Jessica ever since she hooked up with you.

Antonio: I'm in no mood for this, Manning.

Man: Listen, you boys want to play, that's fine. I got a business call to make.

Antonio: Tell me what you know. Why is she in New York?

Todd: It really doesn't make any difference if she's in New York or she's in Timbuktu. Bottom line is wherever she is she's there because she wants to get away from you.

Nash: Look, is there something going on here that I don't know about?

Tess: Yeah. I'm not exactly wearing a lot of clothes over here, okay?

Nash: I know, I've noticed.

Tess: Well, since you have so gallantly done everything that I have told you not to do and you've gotten me up out of bed, I might as well get some things done.

Nash: Tonight?

Tess: I have a lot of work to do. Yes, I have to find a job tonight. Tomorrow, actually, first thing. I just want to get a head start. Okay. Here's one -- a design house. Great. Okay. Now all I have to do is just get my resume together and --

Nash: What's going on, Tess?

Tess: I told you -- I have to find a job. Do you want this to work out, our little arrangement, because it won't work out unless I find a way to make money. What are you doing?

Nash: I'm trying to get your attention.

Tess: You have it.

Nash: I have it?

Tess: Yes.

Nash: What are you so afraid of?

Tess: Afraid? I'm not afraid of anything.

Nash: You're not afraid of anything? Well, you know, because the first time I met you, you took off all your clothes in front of a group of complete strangers, so you're not the shy type, all right? And to answer your question, yeah, I do want this to work, and I think you're afraid. You're afraid of what's going on between the two of us, aren't you? Huh?

John: I hate how I made you feel when -- when you and Natalie were in trouble. Like you were second. I hate making you feel like --

Evangeline: I know.

John: You know how you make me feel -- when we were together? You know, how you made me -- you made me feel like I was worth something.

Evangeline: You are.

John: I want to be worth it. I want to be worth it, and I'm sorry -- I'm sorry I can't be the man you deserve.

Evangeline: I'm going to put on some coffee.

John: You have the right to remain silent. You also have the right to shut up. You know what I like to say to them when I read them their rights? I'd like to say you have no right. You have no right to keep in what you've done to people, the lousy things that you've done to people. You have a right to spit it out and then go straight to hell! That's what you have the right to do.

Layla: "Casting call in New York." Tomorrow morning. "Open audition for a small speaking role in a feature film"? Oh, my gosh. Maybe tonight wasn't such a bust after all.

Antonio: Look, I really don't care what you think about me. I love Jess. And if she's in some kind of trouble, I want to know about it.

Todd: I'm her uncle, hotshot. Whatever trouble she's in I can handle.

Antonio: Which means she is.

Todd: Well, I never said that.

Antonio: Damn it, Manning, if you don't tell me what the hell's going on here --

Todd: What -- what are you going to do, Antonio? You going to hire some of your Santi goons from Puerto Rico?

Layla: Maybe you need to go to another bar.

Antonio: Stay out of it.

Layla: No! I'll call 911.

Todd: Adios.

Layla: Go after him and I will call the cops.

Antonio: What the hell do you think you're doing?

Layla: Saving you from yourself, or was all that stuff about fighting with your wits and not your fist just a bunch of crap?

Tess: Dream on, cowboy.

Nash: So I'm just imagining all this, huh?

Tess: Yeah, you got it.

Nash: Uh-huh. This whole connection that I'm feeling between the two of us is just a big puff of smoke.

Tess: You said it.

Nash: You said -- and you are so full of it it's scary. That's the word, Tess. You, scary.

Tess: I'm not scared of anything, Nash.

Nash: You are so scared that you're shaking in your little bootees because of what's going on between us.

Tess: Oh, get over yourself.

Nash: No, no, no, this is not ego, lady. This is fact. Just like it's fact that I was feeling the connection when you first came on to me, hit on me in Central Park.

Tess: I came on to you?

Nash: You came on to me, that's right. That's a fact. Just like the connection, the feeling I get when you look at me. That's a connection. That's a fact. And the feeling that you get when I'm looking at you. Oh, yeah, that's not going to help. You can still feel my eyes on you. That's a fact. It's a connection. You know, this would all be a lot easier for you if it was just about sex, wouldn't it, because then you'd hold the cards, just the way of the world. Women always hold the sex card. That's one you can't use here. It's about something more important. It's about -- it's about trusting someone. It's about trusting them enough to give up just a little bit of your power. And that, roomie, terrifies you.

John: I'm screwing up again, aren't I?

Evangeline: You don't think I know how hard this is for you?

John: You know, on my way over here I'm thinking -- I don't know. I mean, this -- this should be simple.

Evangeline: It can be, John. You make it difficult.

John: You're beautiful. I didn't say that enough, did I? Or at all? Did I ever say that to you?

Evangeline: Yeah.

John: Good.

Evangeline: Yeah.

John: I like how your mom calls you cookie. I don't always like your mom, but I like how you two have that closeness, you know, like -- that's something I haven't seen in a long time, not since maybe I was a kid.

Evangeline: You could change that.

John: No, you know, because now it's about the work and the people out there that need help. Natalie -- Natalie needs help. I promised -- promised her I wouldn't let anyone hurt her.

Evangeline: That's why you're doing everything you possibly can to find her.

John: Not enough.

Evangeline: How can you say --

John: It never seems to be enough.

Evangeline: How can you say that?

John: How can I say that? I should have made Barber talk. I should have made him tell me where Natalie is. That's what I should have done. That's the job. Try to save people. That's the job. Try to save people.

Evangeline: John, you can't save the whole world.

John: I can't even look after the people I'm supposed to. I couldn't even do it then.

Evangeline: "Then"? What -- you mean Caitlin?

John: I just want to make everything right. I want to take all these mistakes and I just want to put them right, all the people that I've let down.

Evangeline: What people are you talking about?

John: I can't talk about this. I can't talk about this.

Evangeline: You said you couldn't do this alone. So don’t.

Officer: Can I help you, boss?

Bo: No. I just want you to keep your eye out for -- never mind. Balsom, where are you headed?

Rex: Hey. Bo, I was just on my way to the -- to the --

Bo: What do you got under your jacket?

Rex: Oh, designer shirt.

Bo: I'm talking about the little brown bag.

Rex: Bag? What bag? Oh, it's my dinner, tuna sandwich, chips.


Layla: Oh, I almost forgot. I have an audition tomorrow and I --

Antonio: Don't ever interfere in my business again. You understand that? You have no idea who that was or why I was talking to him.

Layla: You know what? You're right, boss. I didn't know what you were talking about, but all I knew was you were about to tear him apart in your own club. Not good for business.

Antonio: That was Jessica’s uncle. I was this close to finding out where she was when you decided to butt in.

Layla: Well, excuse me for trying to help you out. Next time --

Antonio: There won't be a next time.

Todd: What do you mean, you need more money?

Man: The retainer retains my services. What you're asking for is going to cost more.

Todd: But you haven't given me anything yet. As far as I'm concerned, you owe me money.

Man: That's a bad attitude, Mr. Manning.

Todd: All right, you listen to me. You'll get your money when you deliver the goods. Otherwise, I'll find another P.I. to retain. You know how to reach me.

P.I.: You son of a -- I don't want any trouble. Whatever's going on between you and Manning, that's your business.

Antonio: Yeah, that's right, that's right, but now you're a part of it.

P.I.: Yeah, like I said, what's between the two of you, I ain't got nothing --

Antonio: Relax. I'll pay you double what he owes you and double the expenses.

P.I.: I'm listening.

Antonio: Forget about Manning and tell me everything you know about Jessica Buchanan.

Tess: Where did you get your degree in psychology?

Nash: You don't need a degree in psychology to know when someone's putting on an act, okay?

Tess: Ever look in the mirror? You and your $2,000 suits and you're living in a dump like this?

Nash: You know, a dump that you were all too ready to move into till you realized that you were -- how close you were getting to me. Tess, you are the queen of hot and cold. All right, one minute you're all over me, the next minute, it's like I'm the plague; you're running like hell.

Tess: Well, I don't have to explain anything to you.

Nash: No, you don’t. All right, no pressure from me. It's just I thought that you wanted this as much as I do.

Tess: I did. I -- I do.

Nash: Look, if you're backing off, I understand. You don't want to be anything more than roomies, that's cool, but you got to fill me in, because right now I can't make heads or tails out of what's going on in that beautiful head of yours.

Tess: I -- women sometimes just change their minds.

Nash: Yes! Women do sometimes just change their minds, but usually it's for some kind of a reason. Look, is there something I've said or done to make you think that if we -- you know -- tonight, that I won't be here for you when you wake up in the morning?

Tess: I'm not worried about you, okay? I'm worried I'm not going to be here when you wake up in the morning.

Bo: What are you thinking? You'd sneak a gun in here? How'd you get past the metal detector?

Rex: I just used what the good Lord gave me -- looks, personality. Okay, but I don't want you to fire her.

Bo: Who?

Rex: I just distracted her for a minute.

Bo: Andrea? In security?

Rex: Well, I'm not sure that's her name. I don't know. I think I have a date with her next Saturday. All right, so how'd you know about the brown bag? You follow me or something?

Bo: You had that blowup with John and I thought you were probably headed for trouble. Stupid me, huh, worrying?

Rex: Look, I wasn't going to kill Barber, okay? I'm just trying to get him to talk.

Bo: Do you know it's a class a felony to bring a concealed weapon into this building?

Rex: Maybe you don't understand where I'm coming from.

Bo: That's a safe assumption.

Rex: Look; you've got this whole Buchanan thing going, okay? Brothers, nieces, nephews coming out your ears. But besides Roxy, Natalie’s the only family I have left, and I'm not just going to sit back and let my sister die because you and McBain are too caught up in bureaucratic B.S. to get the truth out of her kidnapper.

Bo: Spoken like a man who's not afraid to spend some time in jail.

Rex: Well, do it. Hmm?

Bo: What, and lock you up in a holding cell right next to Barber? I don't think so. I got a better idea.

John: There are things I never admitted to anyone.

Evangeline: Okay.

John: I mean nobody.

Evangeline: How far back does it go?

John: Back.

Evangeline: Is it something that happened when you were with the F.B.I. or before that? John?

John: I heard you.

Evangeline: Maybe -- maybe it was something that happened when you were a kid, something to do with your family, your mother or your father.

John: See, always with the questions.

Evangeline: John --

John: This isn't the witness stand.

Evangeline: You're doing it again. You're retreating and no one is attacking you. I'm just -- I'm sitting here. Can't you understand? Can't you see that I'm still in love with you?

John: Oh, man.

Evangeline: No, I see, I see how much pain you're in. I see -- I see how much hurt is here, and I'm -- I'm trying to help you.

John: Yeah? How's that working?

Evangeline: It's not.

John: I'm sorry. Look, it --

Evangeline: No, no.

John: It's not me. It's the whiskey. It's the talk --

Evangeline: No, no. This is all wrong. Maybe this whole thing, this is wrong.

John: It's not you.

Evangeline: I've been trying so hard. I've been trying so hard to get you to open up, you know, because I thought that it would free you and it would make you stronger, make us stronger, but seeing you here like this, I'm -- I have to wonder if this is -- this is a mistake, if this could do just the opposite. John, I want you to confront whatever it is that haunts you. I do. But not if it's going to destroy you.

John: I came here tonight; I wanted to tell you everything.

Evangeline: Why? Because you really wanted to tell me or because you thought it was the right thing to do?

John: All I know is you've given me more, you've made me feel more -- why can't I just get these words out just once just right?

Evangeline: Maybe because I'm not the person you should be saying them to. Maybe -- maybe that's why there's always this pull back to Natalie.

John: That's not what it is. Natalie just needs more. She needs more. She wants someone to protect her. She wants someone to take care of her.

Evangeline: And you know how to do that.

John: One thing I know how to do. Maybe the only thing.

R.J.: Well, what do you think?

Lindsay: Oh, i love it!

Love. Let me see.

R.J.: Oh, yes, and that ain't nothing.

Lindsay: Oh.

R.J.: You simply must see the masterpiece that Picasso has left on her bedroom wall.

Lindsay: Oh, really?

R.J.: Mm-hmm.

Lindsay: Good work, kid.

R.J.: So if you will watch her for just a minute, I can go in and clean up after her.

Lindsay: Are you kidding me? Come here, angel face. Oh, we'd give you a big kiss, but you got paint all over you. Oh, you know what I love? Huh? That there's a little artist living in there, and you know what I'm going to do when you grow up? I am going to teach you all about the great artists that came before you. And you know what? You know what else that Mommy's -- you know what else that Aunt Lindsay’s going to do when you grow up? She's going to hang an original Jamie Vega painting in her art gallery. I am so lucky. You know why? Because I never thought in a million years that I was going to get to hold another little girl in my arms besides my Jen. A beautiful, precious little girl.

R.J.: I'll tell you, I never would have thought I could have this much fun on a Friday night just staying home and scrubbing walls.

Lindsay: R.J.?

R.J.: Hmm?

Lindsay: There's something that I got to show you.

Bartender: Anything else?

Antonio: No, no, that's good. Thanks, Nelson. So, Todd Manning spotted Jessica at a restaurant in New York.

P.I.: Yeah. He actually set up the meet.

Antonio: Did he talk to her?

P.I.: He tried to, but she took off. Before Manning could catch up to her, some guy shows up and accuses him of stealing a woman's purse.

Antonio: Did she know the guy?

P.I.: I can't say. But I do know Jessica Buchanan did not want to be found. Manning got hit with disorderly conduct, but they dropped the charges.

Antonio: Got a copy of the arrest record?

P.I.: Yeah. You'll find the address to the restaurant on there somewhere. Look, if you want me to follow up --

Antonio: Thanks. I'll take it from here.

P.I.: If you ever need --

Antonio: I was -- I was just reading --

Layla: I don't think we're speaking.

Antonio: Really?

Layla: Yeah, really, and this is me not butting in.

Antonio: You know, actually, I was thinking maybe you could keep me company. I have to drive to New York.

Nash: You know, you might be worried that you're going to bail in the morning, but I'm not.

Tess: Well, don't be so sure. How do you know that by tomorrow I won't be just some pleasant footnote in the story of your life?

Nash: Oh, call it a gut feeling. But, hey, you know, maybe you're right. Maybe I did just imagine all of this. I imagined the wine tasting, the dinner on the fire escape. The flirting and the touching under the sheets was all me, not you, and that all you ever really wanted was room and board. I never got you. I never really got you at all.

[Phone rings]

Nash: Yeah? No, no, it's not a good time. Yeah, all right. Yep. You know what? I'm beat. I'm going to put the sheet back up, make the bed, go to bed.

Tess: You got me, okay? From the very start, you got me.

Rex: What are we doing here? Are you going to use me as a target?

Bo: That occurred to me. I'm going to give you the same advice I gave John McBain.

Rex: Okay, I don't need to hear anything about McBain.

Bo: Natalie's disappearance is driving you both crazy. You got to blow off some steam. Now, you want to carry a gun around, blow holes in things? This is the place to do it.

Rex: Hey, look; I don't need to play cops and robbers, okay? I sure as hell don't need you to play shrink with me.

Bo: You're not going anywhere, tough guy. Now, look, I know what you're going through right now. Jen died. Natalie's missing.

Rex: Yeah, and John McBain had the guy who knows where Natalie is, but John couldn't get him to talk.

Bo: You stay off John McBain’s case. Now, he's a good cop. You know that. And he's beating himself up enough right now without you piling on. And you packing heat walking around town -- that's not going to bring Natalie back, either.

Rex: Okay, and this is? Shooting some stupid target?

Bo: Yeah. If you want to help find your sister, first, you got to get your head on straight.

John: Look, what I said came out wrong. Everything I say comes out wrong.

Evangeline: I don't think so.

John: What I meant was with Natalie, what she's looking for is easier because it's actually someone I could be, but to be what you want -- I always felt like I wasn't good enough.

Evangeline: Why can't you see yourself the way I see you, John? You're the man that can take me in his arms and make me forget about the rest of the world.

John: Well, it wasn't enough.

Evangeline: So what are you going to do? You're going to be there for everybody? Except the one person you say you want to share your life with and maybe -- maybe lose out on the best thing that ever happened to either one of us?

John: I don't want to lose you.

Evangeline: Then don’t.

Evangeline: Go home, John. Sleep it off. Barber's arraignment is tomorrow. It's a big day. It's a big day for everybody.

John: Hey.

Evangeline: Yeah.

R.J.: Well, it doesn't take Vega long to forget Jessica, to move on to the next chippy. But why were you hiding this from me?

Lindsay: I wasn't sure whether or not I should show it to you. R.J., you know how I felt about that custody battle, about how it would affect Jamie, about how it would affect everyone. And I didn't want to put Evangeline’s sister in the middle of the war going on between you and Antonio.

R.J.: But you know if you show me this that I'm going to use it against him. So why did you show it to me?

Lindsay: Well, you come walking in here with our little angel covered in paint, and then you tell me you can't think of a better way to spend a Friday night than to wash down the walls that she just painted, and then I was holding her. And then I thought, hey, you know, if we have a chance to use this as a way to hold on to Jamie, maybe we should take it.

R.J.: You know, I love it when you think of you and me as we.

Lindsay: Hmm. Hmm.

R.J.: I'll be right back.

Lindsay: Okay. Who wants to do some more painting?

Jamie: Me!

Lindsay: And me! Come on. Let's do it. Come on.

R.J.: Yeah, manning? It's R.J. Yeah, well, listen, I understand you and Vega had a little misunderstanding. Yeah, well, I'm going to E-mail you a little something that's going to brighten your night.

Layla: You're going to drive me to New York for my audition even though you're mad at me?

Antonio: Let's just say it's my way of apologizing for jumping all over you.

Layla: So this is all for me? That's really cool.

Antonio: There's something else I have to do.

Layla: What, something bad?

Antonio: I just found out Jessica’s in New York.

Layla: And that worries you because?

Antonio: I can't get this sick feeling out of my stomach that something's wrong, seriously wrong.

Nash: What is it?

Tess: Why do I feel like this is the first time?

Nash: Because I think it is for both of us.

[Music plays]

Singer: And too many times I have wanted to turn around and walk away knowing deep inside what I need from you anyway but do you know it doesn't change the way I feel about you at the end of the day? 'Cause I know that all I want is what you got all I want is what you got I tell you that I want to go but I want to stay I tell you that I want to go but I want to stay I want to stay I want to stay I want to stay but I know I'm going to lose myself this way I want to stay I want to stay I want to stay here but I know I'm going to lose myself this way but do you know it doesn't change the way I feel about you at the end of the day? 'Cause I know that all I want is what you got all I want is what you got but this moment is all I've got it's all I've got

Natalie: Hello? Hello? Is anybody there? Oh. Somebody, help me!

>> On the next "One Life to Live" --

Antonio: All I care about is finding Jessica.

Tess: What do you want from me?

Nash: After last night, I want everything.

Michael: Johnny, I don't know what's going on with you and Natalie. Obviously, you don't know what's going on with you and Natalie.

Natalie: I'm going to die here.

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