One Life to Live Transcript Thursday 8/11/05
Proofread by Brandi
Antonio: Jessica, what is going on? What are you -- what are you doing here in New York?
Tess: I --
Antonio: I thought you needed time. You were going someplace to get better. I mean, New York is the last place I figured you'd be.
Tess: I know, Antonio, and I'm sorry.
Antonio: What the hell does that mean?
Tess: There's no easy way to say this, but I think we both know that it's over between us.
Tess: So the only thing to do is just say goodbye, and we're going to say goodbye right here and now.
Hayes: Hey, guard, what's the point of hang a book if I can't read in this black hole? Could you get me a lamp in here? You know, and I also asked for a dehumidifier.
Guard: Shut up, barber.
Marcie: What's the matter, hayes? Is it too dark in here for you?
Hayes: What do you want?
Marcie: You know, it's got to remind you of being in your grandfather's cellar.
Hayes: Excuse me?
Marcie: You remember. You lived with him after your mother died and your father ran off. And every time you were a bad little boy, that's how he would punish you. You know, all those days that you missed school -- I never knew it was because you were locked up in a cellar. God, that must have sucked.
Hayes: You don't know anything.
Marcie: Really? Well, you would be surprised what your neighbors were willing to tell a complete stranger. Oh, they were full of stories, especially about your grandfather and all the terrible things he would do to his pathetic little grandson Ivan.
Hayes: Shut up.
Marcie: And now here you are again. You're locked up in a dark, cold cell. Ah, good times, good times. Actually, they're not so good, are they, because this is not going to end this time. This is how it's going to be tomorrow and tomorrow and tomorrow.
Hayes: I said shut up!
Marcie: Oh, no, but you know what? It doesn't have to be. You can make it stop. All you have to do is tell me where Natalie is.
Bo: There's an echo lake right there. Now, it's only a few miles from barber's hometown in New Jersey. His bodyguard said that he'd been there a couple of times. Why don't you take a couple of k-9 units up there, see if you can turn up any sign of Natalie.
Officer: Yes, sir.
[Knock on door]
Evangeline: Hey. Do you have a second?
Bo: Yeah. Come on in. What can do for you?
Evangeline: I have an idea. It's about Natalie.
Bo: Oh, good. Ok. Let me get John up. He'll want to hear this.
Evangeline: Actually, if you don't mind, I was wondering if I could run it by you first. I seriously doubt John's going to go for it.
John: What do you want now, Balsom?
Rex: Well, some news about my sister would be nice right about now.
John: Wish I could give you something. Sorry.
Rex: Evangeline just went in there to see Bo. She's looking pretty serious about something. You know anything about that?
John: If we find anything out, you'll be one of the first to know. Until then, just stay out of it.
Rex: Yeah, ok, fine. Well, I'm in full cooperation mode. You know, you don't have to get your spine out of whack over me. Just find her, Mc Bain. Find Natalie. That's all I care about.
John: Me, too.
Natalie: Ok. Can anybody hear me?
Natalie: Oh, my God. What if they caught him? What if they caught him and he won't tell them where I am? And then nobody knows where I am. I'm going to die in this place.
John: What's going on?
Bo: You know, john's going to be in on whatever is you pitch to me, so --
Evangeline: Yeah, I know. I was just hoping to get you on my side first.
John: About what?
Evangeline: An idea I had this morning after the arraignment. I want to see if I can remember anything more about Hayes or his accomplice, you know? Maybe I saw something or heard something. A detail that might lead you to Natalie.
John: Your statement was pretty thorough. You think you might have left something out?
Evangeline: Yes. I do.
Nash: Hey, Tess. It's me, Nash. Look, I'm sorry to have run out on you like that. You seemed upset. If -- if you need me, just -- just give me a call, ok? This meeting can wait. So can my vineyard. Ok, bye.
Antonio: You're breaking up with me? Why?
Tess: I just really think that it is the right thing for both of us.
Antonio: No. No. There's nothing right about this at all. All right, you go and you're gone for weeks, and then when I finally see you, you tell me that you want to end it? There's something definitely wrong here, and I deserve to know what it is.
Tess: The only thing that's wrong is us and the fact that you're not listening to me.
Antonio: Wait a second. You -- you expect me to accept that and walk -- and just walk away? Well, I'm not going anywhere, Jessica.
Tess: Great, then let me go.
Antonio: No, I can't. I won't. I don't know why you're doing this. Maybe you're in trouble. Maybe you're trying to protect me.
Tess: No, it's not that. It --
Antonio: Well, then whatever it is, I'm not leaving until I find out why. Now, you can try and push me away, I don't care, not as long as I remember how we were when we were together. Look at me, Jessica. Look at me. You think you can make me forget how you used to look at me? All the times we were together? All the times you were there for me? All the times we made love?
Antonio: You love me. I know you do. I'm not giving up on us without a fight, Jess. I love you.
Tess: I -- I --
Antonio: Jess, what is it? What's wrong?
Jessica: Antonio -- oh, my God. Oh, my God, Antonio.
Jessica: How did I get here? How did you find me?
Antonio: That's not important. Why don't we grab a table in the back. Come on.
Jessica: Antonio, I don't know -- I don't know -- I don't know where I've been. I don't know what I did. I -- what day is it today?
Antonio: It's Thursday, August 11.
Jessica: It's been weeks? I blacked out for almost a month?
Antonio: I know you're scared. But I'm here. I'm here with you now and I'm going to take you home and we're going to handle this.
Jessica: Ok. So I remember going away when I put my mom in the hospital. Oh, my God, I could have killed her. Is she ok?
Antonio: She's doing fine.
Jessica: I'm sorry. I'm sorry I didn't say goodbye to you. I was afraid that if I did that you would try to convince me to stay.
Antonio: I needed to find you just to make sure you were all right.
Jessica: I -- I am not all right.
Antonio: I knew that. I knew that as soon as you said you wanted to break up.
Jessica: Antonio, that wasn't me.
Man: Dennis Hunt.
Nash: Nash Brennan.
Nash: It's a pleasure. Thanks for taking the time.
Dennis: Oh, as I told Fred, I've always been interested in backing entrepreneurs, as long as it's the right one.
Nash: Well, here's my business plan and my prospectus, but I know what you're probably most interested in is the potential for a great product.
Nash: So, I took the liberty of ordering us up some wine samples from northern California. That's where I'm going to buy.
Nash: Yeah. This is a 2002 Sauvignon Blanc.
Hayes: Guard, can you get her out of here?
Marcie: Oh, I can stay a little while longer, can't I, Eli?
Eli: Sure, Marcie, if you can stand the company.
Marcie: Hmm. Thanks.
Marcie: You know, I made a lot of friends when I worked at the police station.
Hayes: Fine. Stay. You want to take a trip back to the good old days, relive the humiliation you suffered in high school? How many times did you find a picture of a fat pink pig taped to your locker, courtesy of one of those boneheaded jocks?
Marcie: That was a long time ago.
Hayes: What was it those popular girls used to call you? But it wasn't Marcie Wal-- Marcie Walrus?
Marcie: And it hurt me. And I wanted revenge. I mean, naturally. Who wouldn't? But I didn't do what you did. I let it go and I moved on, and you want to know what? My life got better.
Hayes: Right. Your life is perfect.
Marcie: No one's life is perfect, is it? Even when I lost the love of my life and it nearly killed me, I still managed to pick up the pieces of myself and move on. I surrounded myself with my friends, my family, people who respected me, people who respected my work.
Hayes: Respect? Try morbid fascination. And only because your book made a murder mystery come to life.
Rex: Oh, no one died because of Marcie's book, creep. It's all you, Barber.
Hayes: Ah, I can't take all the credit, Rex. She made me who I am.
Rex: Oh, hey, you want to throw some blame around? Why don't you start with your freak mutant genes and then look in the mirror, you pathetic jerk. You see, nobody put a gun to your head and forced you to commit murder. You always had a choice.
Hayes: Oh, my -- you two make a great team. You should take this act on the road.
Rex: Oh, you can blame yourself for that, too. You're the one who tied us up and tried to get Marcie to shoot me. That's one hell of a bonding experience, wouldn't you say, Marcie?
Hayes: That's good, that's good. Enjoy it while you can, because wait till they actually do find Natalie -- maybe in a month, maybe a few years. Either way, there won't be anything left but a pile of bones turning to dust, just -- just the remains of a poor innocent girl who suffered a long, slow, excruciating death.
John: When we talked before, you said you told me everything you remembered.
Evangeline: Yeah, I did. But I s drugged and I was disoriented. There were pockets of time I couldn't remember at all.
Bo: And now you do?
Evangeline: No. But I can't help feeling that there's something buried in my subconscious, something I can't quite get to. I keep having these flashes of memory, nothing concrete, really, but I keep wondering if maybe I woke up in the car on the way from the palace that night. If I did, I might have heard something, seen something -- a detail that might help get you to Natalie.
Bo: I think it's a possibility.
Evangeline: If there's any possibility that I can do something to help bring Natalie home, we have to try.
John: What do you have in mind?
Evangeline: I need to remember every detail about the night I was kidnapped. I think we should find someone to hypnotize me.
Antonio: What do you mean, it wasn't you?
Jessica: I -- I mean if it was me, then I was in a blackout. I don't even know what I was saying. I don't -- I don't know what I did.
Antonio: Had I known where you were, I could have kept you safe.
Jessica: Well, I was safe. I was safe at St. Ann's.
Antonio: St. Ann's? Why didn't you just tell me?
Jessica: Well, I was scared for you. I was terrified.
Antonio: Scared for me? Why?
Jessica: It wasn't just you. It's -- everybody that I love was in danger.
Antonio: From what?
Jessica: From me.
Rex: You sick piece of filth!
Marcie: He's not going to get away with anything.
Rex: Well, what? A quick shot in the arm and this bastard gets to say "good night, world"? No, Marcie, that's way too damn easy.
Marcie: I don't know about that. I think this is going to be anything but easy. What do you think, Hayes? I mean, being in these dark, cramped, cold quarters. It's got to remind you of being in your grandfather's cellar, right?
Hayes: You don't know anything about me.
Marcie: Really? You mean your grandfather didn't actually, really lock you up in the cellar every time you got your homework answers wrong?
Marcie: Oh, you would not believe the stuff I heard.
Hayes: But you believed it, Marcie, didn't you? And so will a jury. Pretty soon, I'll spend my days painting pottery and talking about my feelings with a compassionate shrink, which shouldn't take more than a few years for me to be rehabilitated, and then I'll walk away from all of this.
Marcie: Maybe. But until then, this is where you're staying, right here in this cell.
Rex: Yeah, and that's going to be a while, too.
Rex: You see, the people upstairs -- they're really steamed because you won't give up Natty. I bet they're up there right now thinking of a zillion legal reasons to delay your day in court.
Marcie: Hmm. It could take months, maybe even years.
Rex: Poor little Ivan. Did you used to yell for your grandfather to let you out?
Hayes: Shut up.
Marcie and Rex: Hmm.
Marcie: Didn't do you any more good than it will now, did it?
Hayes: Just get the hell out of here!
Marcie: Fine. Fine, we'll go. But, you know, you might want to rethink keeping quiet about Natalie.
Rex: Yeah, and if this cell drives you to drooling on yourself, soiling your pants, who knows? Could be worse than a lethal injection. Well, let's leave little Ivan to all the monsters in the dark.
Marcie: Oh -- you want to get a cup of coffee?
Rex: I would love a cup of coffee.
Marcie: It sounds good, doesn't it?
Hayes: I was never locked up in any cellar. I -- I don't know what you're talking about! I don't know who you're talking about! Just -- just shut up! Just shut up! Marcie -- Marcie, you think you know about me, and I know all about you, though. Marcie --
Rex: You think it worked?
Hayes: Marcie --
Marcie: I hope so. I figured it was worth a try.
[Hayes bangs on cell door]
Rex: Anything is if it'll help us get to Natalie.
John: You're as good as rack 'em said, but maybe a little --
Natalie: Excuse me?
John: Now, I want your eyes to feel connected with your body. I want you to feel it running from your hands all the way up your arms, through your hips, and straight down into your legs.
Natalie: I lost my husband. I'm going to hate you for as long as I live.
John: Listen to me --
Natalie: Hey -- you know what? Do not touch me. You do not touch me. Just leave me alone.
John: Tell me what you want me to do and I'll do it.
Natalie: I don't even know why I came here now.
John: You came here to tell me to go to hell.
Natalie: Go to hell.
Natalie: You always made me so damn mad.
Natalie: Oh, if I could just get mad enough to get out of here and get back to you. Oh, God. I've got to do it somehow. I've got to get back you, John.
John: Hypnosis rarely works.
Evangeline: But sometimes it does work. So we have to try.
John: You realize it would mean reliving it all over again?
Evangeline: I'm aware of that.
John: I don't know.
Evangeline: If I can come up with anything that'll help Natalie, John, we have to do it.
Bo: I'm inclined to agree with Evangeline. We don't really have anything else to go on right now anyway.
John: I say we go back to barber.
Bo: Yeah, we've tried everything with this guy. I don't think he's going to talk.
John: So she can go through hell again? For what? Odds are we still come up empty. It's not worth it.
Evangeline: Would you say that if I was any other witness? I know what you're trying to do, John, and I appreciate it. But I don't want to just do this for Bo or for you or even for Natalie. I want to do it for me, too. So let me do what I can to help end this, please. Maybe then we can all start getting our lives back.
Hugh: Really well, how can I turn down an invitation like that?
Hugh: Oh, Marcie. Hey, I'll talk to you later, all right? All right, bye.
Hugh: How are you doing?
Marcie: I'm doing ok.
Hugh: Good. After the arraignment this morning, I was kind of worried about you.
Marcie: That's very sweet. Thanks for the coffee. I appreciate it.
Hugh: Oh, hey, hey, we're friends. At least I'd like to be. You do look better, actually.
Marcie: Yeah? I guess seeing Hayes at, you know, pulling that phony, crazy act in the courtroom, it kind of put things into perspective, you know?
Hugh: Really? How so?
Marcie: Well, I know I shouldn't have done this, but I made some phone calls this afternoon, and I spoke to some of the people that Hayes grew up around, you know, when he was growing up, and they all remember him really vividly. Of course, they remembered him as Ivan Potter. But it turns out that he had a pretty bad childhood.
Hugh: Well, that's no excuse for what he did.
Marcie: No, I'm not saying that it was, but at least -- you know, I get it now. I mean, it wasn't my fault. I'm not responsible for what he did. He was damaged goods long before I knew him.
Hugh: Good, good. I'm glad that you see that now.
Marcie: Yeah, me, too. But I wonder if I should have just left it at that.
Hugh: Why? What did you do?
Marcie: Uh --
Rex: In the interest of full disclosure and all that, I guess you ought to know Marcie and I paid a visit to Hayes Barber.
Bo: And what good exactly did you think could come from that?
Rex: Look, I know it was a bad idea, but I can't stop hoping he'll tell us where Natalie is.
Bo: So you interrogated him, huh? You, without even talking to me?
Rex: Well, not exactly.
Bo: What, exactly?
Rex: All right, Marcie found out some stuff about his childhood, and she maybe kind of used it to get a rise out of him. I might have joined in a little.
Rex: Well, I'm thinking maybe we went too far. I mean, if he gets too wigged out -- I don't know -- if barber wasn't talking before, then --
Bo: Then he's less likely now to open up. Damn it, Balsom. John is on his way right now to interrogate him. We wanted to give it one last shot.
Bo: And you and Marcie -- thanks to you, now we're going to have to do something that John really didn't want to do.
Hayes: Guard! Guard, where the hell are you? I -- I need -- I need to talk to my -- my lawyer. I want my lawyer. I -- I can't -- I can't -- I can't -- I can't -- I can't -- I can't -- I can't do this! I cannot do this! I can't. I can't be here, please. Please just let me out. Please, grandpa, please just unlock the door. I won't --
Hayes: Grandpa. Oh, grandpa, please just unlock the door. I swear, I won't do anything wrong again. I promise I -- I'll be good, grandpa. Unlock -- unlock the door. Please unlock the door. Oh, God!
John: What the hell happened?
Eli: Marcie Walsh was here with that Balsom guy. He got upset when they left.
Hayes: I won't do it again. I promise I won't do it again.
Rex: What does John not want to do?
Bo: It's none of your business.
Rex: It is if it has something to do with Natalie. Look, something's going on with Evangeline, isn't it? She was one of the last people to see Natty. What? Does she know something?
Bo: If I were you, I'd get out of here while you still can, because John's not going to be too happy to see you when he gets back.
Rex: Yeah, fine, I can take a hint.
Bo: It's not a hint. Get out of here.
Rex: All right, so you'll call if there's any word?
Bo: Get out!
Rex: Ok -- later.
Evangeline: Ok. All right, it's all set. I just got off the phone with Dr. Jamison. And he's sending over a specialist in hypnotherapy, a Dr. Travis Fox.
Bo: So you're going to go through with this, no matter what?
Evangeline: I have to do this, Bo.
John: Oh -- so much for getting any more out of Barber.
Bo: I just heard about Rex and Marcie.
Evangeline: What happened?
John: They went down there, they messed with his head, so now, apparently, he's one psycho for real. He's useless.
Evangeline: So that means you're ok with hypnosis now?
John: Would you change your mind if I said no?
John: It gets out of hand, it stops. You got that?
Evangeline: Got it. I can handle this, John. And I have a feeling that it might finally give you something you can use.
Dennis: Nice complexity.
Nash: Actually, it has a very full texture, too, white pinot is surprising, considering they had such a bad weather year. The heat almost wiped out their entire harvest. This pinot grape was the only thing they could salvage.
Dennis: It's actually my sister's favorite.
Dennis: She's actually in town this week. Maybe if you're free, I could introduce you to her.
Nash: I'm sorry, I'm --
Nash: Yes. Yeah, I'm taken.
Antonio: I still don't understand. I mean, why would you think that you could be a danger to me?
Jessica: Antonio, I'm -- I'm sorry. I -- I can't explain this right now. I just -- I'm still trying to figure out how I got here and what I've done and -- how did you find me?
Antonio: It's a long story. Here. It's a bit complicated. I got the address to that building off a resume you sent in for a job.
Jessica: So that means what? What, I'm living here now?
Antonio: I guess. Look, it doesn't matter. Ok? I just want to get you home.
Jessica: I can't. I can't go back to Llanview.
Antonio: Why not?
Jessica: Because I'm scared, Antonio.
Antonio: No, look, I know you are, ok? But I'm here now. Ok? You're safe.
Jessica: But you might not be.
Antonio: Why do you keep saying that?
Jessica: That's why I went to St. Ann's in the first place, Antonio. It was because of he she threatened to kill you.
Antonio: Who are you talking about, Jess?
Waiter: Here you are. Sorry for the delay.
Hugh: Thank you.
Marcie: Are you with someone?
Hugh: Yeah, over there.
Marcie: Oh, I'm so sorry. You should have told me. I've been standing here chewing your ear off and --
Hugh: No, no, no, no problem. She hasn't put that phone down since we got here.
Marcie: She's beautiful. Same type as the one you were with at Ultra Violet. Remember, that night you helped me out?
Hugh: Yeah, I'm surprised you remember.
Marcie: It was hazy, but I remember bits and pieces.
Marcie: Thank you very much, and if I remember correctly, you two didn't hit it off exactly. Right?
Hugh: It's just as well. I mean, you needed me.
Marcie: Oh --
Hugh: You were being attacked by a gang of rabid writers.
Marcie: So do you ever actually go out on a second date with any of these women?
Hugh: Yeah -- truth is once is usually more than enough.
Man: Ok, Evangeline. As you just continue to breathe naturally, you'll realize you're fully relaxed and you're in a deep hypnotic sleep, and my voice will be with you always. Do you understand?
Travis: Ok, good. Now, as I count back from three to one, you'll be able to recall the events that occurred the night you were kidnapped. Three, two, one. You may open your eyes. Are you ready to answer some questions now?
Travis: Now, I want you to go back in time, deep in your memory, to the night you received the woman of the year award. What's the last thing you remember before being taken from the palace?
Evangeline: I was standing backstage, waiting for Nora to finish her beautiful introduction. And I remember wishing John was with me. He was supposed to be there with me that night. But it was over between us. So I was with my mother. And she kept saying how much better off I was without John. I was trying to get all that out of my mind and focus on my speech when someone came up behind me. For a second, I thought it was John. But no. I felt a hand cover my mouth and nose with a cloth that smelled like medicine. I struggled as long as I could. Everything went black.
Travis: Ok. Now, I want you to focus your awareness on your just calmly rhythmic breathing. Do you recall being carried anywhere or being in the car itself? Ok. I'm going to ask you to close your eyes in a moment. And as you do so, it will sharpen your recall of the events that occurred that evening. Close your eyes.
Evangeline: I remember motion. It was like I was in a dream. Lights passing over me, like when I was a little girl and I was asleep in the back seat of my parents' car. No. Not like that. I'm -- I'm not safe. I'm starting to panic. I want to scream, but I can't. My voice won't work. I just -- I don't have the energy. I -- I managed to open my eyes. I can barely move. I look up, I -- I see the back of his head.
Travis: Now, Evangeline, do you recognize this person?
Evangeline: No. But, the radio is playing that song that John likes.
Evangeline: I wonder, does he know that I'm not there? No. I'm completely alone. I have to do something myself to get out of here or I'm going to die. I was so sad before, that john wasn't with me at the ceremony. And now that's the least of my problems. But I can't stop thinking about him. I just -- even now, even here, I can't stop. I can't stop thinking about him. I just -- I can't. I can't stop.
John: Ok, we've got to do something.
Evangeline: I can't stop thinking about him. I just -- I can't stop. I canít.
John: Do something.
Dennis: You certainly know your wines, Mr. Brennan.
Nash: Oh, please, call me Nash, and it has been a pleasure.
Nash: Listen -- I'm sorry about your sister. I hope she enjoys her stay.
Dennis: She'll be fine.
Dennis: I'll look these over, and we'll talk later.
Nash: Thanks again.
Nash: Wh, ok, ok, ok. Tess. Hey, where are you? All right, look, it doesn't matter. I just hope you get back soon, because I am about to get on the world's fastest taxi to get back to you. You know what? I have a bottle of 1996 chateau Lafite-Rothschild that I have been saving for five years, and I say we uncork it, not that I think we need it, because I'm starting to think that you could turn a malt liquor into liquid gold. See you soon.
Antonio: Jess, you threatened to kill me?
Jessica: Tess. Tess said that if you ever found out the truth about us that she would kill you.
Antonio: Who is Tess?
Jessica: She's a part of me. She -- she lives inside me, and she -- she comes out pretty much whenever she wants to. She's my alter, Antonio.
Antonio: Your alter?
Jessica: Yeah, I -- I have the same sickness that my mom had. I have a multiple personality disorder.
Woman: It's been fabulous. Sorry I have to go.
Hugh: All right. I understand.
Woman: Call me about that party next week at Philly.
Hugh: Sure. Sure thing.
Hugh: Good night. Ciao -- ciao -- who's ciao?
Marcie: You're not really going to call her, are you?
Hugh: Well, not much point. You want to join me?
Hugh: She didn't touch it, if you want.
Marcie: No, thank you. I'm pretty much a nervous wreck all the time lately, and I don't think we want a repeat of the last time we were together.
Hugh: No, no problem. These are old shoes -- well --
Marcie: Very funny.
Hugh: Why are you a nervous wreck? What's wrong?
Hugh: Yeah. You said you and Rex went to see him?
Marcie: I don't know, but I think we might have really messed up big time.
Marcie: Well, we were trying to get him to tell us where Natalie is, and I used the information that I found out, about how he was abused as a kid, and he got pretty angry.
Hugh: What happened?
Marcie: Well, he started flipping out, and by the time we left, I'm not sure he remembers who his name is, who he is, where Natalie is, who Natalie is. I think we just messed it up.
Rex: Yeah, you're right, Marcie. We blew it.
Evangeline: I can't stop.
Bo: Yeah. I'll be right down.
Bo: Go back to my office.
Evangeline: No --
John: I think she's had enough.
Evangeline: Can't stop.
Bo: Well, it's your call.
Evangeline: I can't stop.
Bo: But I'd give it just a little more time if I were you.
Travis: Ok, Evangeline.
Travis: Are you willing to go further now?
Evangeline: Yes. Yes, I have to get it together. I have to stop thinking about john and my big night. All that's over no I have to figure out how I'm going to save myself. John isn't going to rescue me this time. He was only at The Palace because of Natalie. I have to do something myself. I'm in the back seat. I'm still. I'm quiet, so that whoever is driving doesn't know I'm awake. I look down on the floor for something, anything I can use as a weapon, but there's -- but wait, wait. I see something. In the pocket on the back of the front seat. It's -- it's a map. But there's something wrong with it.
Travis: Now, focus and tell me what's wrong with the map.
Evangeline: No! No don't! Please, don't! No, please, don't! Don't -- stop it, no!
John: Get her out of it now!
Travis: Evangeline, I want you to focus.
Evangeline: Don't knock me out again, please!
Travis: Listen to the sound of my voice.
Evangeline: Please, no! No!
John: Bring her out!
Travis: Just relax.
Travis: It's ok.
Travis: Take a deep breath. It's ok. I want you to relax.
Evangeline: No, don't!
Natalie: Oh! Oh!
Natalie: I don't know if I can fight anymore, John, not even for you. Are you setting me up, Mc Bain?
John: It's a good table. You didn't think I was going to give up that easy, did you?
Natalie: Sorry, your burger kind of got cold.
John: That's ok. I'm used to it by now.
Natalie: Well, I guess I will be going.
Natalie: See ya.
John: Ok, good night.
Natalie: Do you know what's happening?
John: We'll see what happens.
Natalie: I don't know. Maybe -- maybe that's enough for me. Maybe I can just let go.
>> On the next "One Life to Live" --
Antonio: So this personality, Tess, what do you know about her?
Asa: It looks like things are going the way I planned.
Rex: Just tell me -- do you think Evangeline knows where to find Natty?
Travis: She's almost there. Just give me a couple more minutes.
Natalie: I don't want to die.
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