Guiding Light Transcript Monday 11/17/03

By Eric
Proofread By Hijrah

Harley (Whispering): Gus! Gus?

Gus: Hey, just testing your reflexes.

Harley: Well put it down. Come on, this is a stakeout. Stop the funny business.

Gus: Put it down. (Sighs) You know, I cannot stand these stalking cases. What kind of person hustles a pregnant lady? Get anything?

Harley: Hmm. Well, I'll tell you this, there's not a single neighbor of Andrea's who has any idea who's been stalking her. I don't know, my money is still on the father. Of course, it could be... it could be any random creep for all I know.

Gus: This guy wasn't successful in breaking in last night. I'm sure he'll be back tonight. We're just going to have to wait, that's all. You hear me?

Harley: Yeah, we're going to have to wait, just us, alone in the dark.

Gus: Oh, thank God you're here. You can help me stay awake.

*   *   *   *   *

Alan: Well, Lucia, what a surprise!

Lucia: It's been a long, long time.

Alan: Yes, too long as a matter of fact.

Lucia: How is our son?

Alan: Our son is an incredible young man. As a matter of fact, my relationship with Gus is probably the best thing in my life right now.

Lucia: Oh, that makes me so happy to know that you two are getting along.

Alan: You know what, why don't we three have dinner together?

Lucia: No, I don't think so.

Alan: Oh, all right. Well, maybe the two of us could have dinner.

Lucia: Just you and me?

Alan: Yes, after all, we have to eat, we share a child, we might as well share a meal.

Lucia: Are you asking me out on a date?

Alan: (Laughs) You know, I think Gus would be delighted to know that his mom and dad had a date together.

Lucia: Well, Alan, I'm flattered, and I appreciate the offer, but I'm not dating these days. Nuns don't date.

Alan: Hmm.

*   *   *   *   *

Lizzie: Mom, I'm playing the nurse. What could be more boring?

Beth: I won't tell your grandmother you said that.

Lizzie: Yeah, but Mom, Nanna saves lives. The nurse in this play is nothing like that. I'm going to be this old badly dressed nurse and Tammy's going to be the star. I mean, she's already got this great boyfriend and she's pretty, and I have to wait on her?

Beth: Lizzie, Lizzie, you are beautiful and talented and you have so much to offer. But this isn't about you not getting the lead. It's about the fact that Tammy did, isn't it?

Lizzie: Well, she's my friend and I'm happy for her, I really am. She's going to be great.

*   *   *   *   *

Michelle: I love this one, I really do. It's a little J-Lo for me, but maybe for Marina. You know, she's a diva in the making.

Marah: Yeah, definitely.

Michelle: Hey you, we were just talking about you.

Marah: Oh my goodness, do not tell me you and Shayne have been sleeping all day.

Marina: Uh, oh, yeah, well, you know, on and off.

Marah: Well, is Shayne coming down with something? Because if he is, I can call the nurse and have her come over.

Michelle: I don't think they need the nurse.

Marina: No, he's good, actually. He's really good. We're both really good.

Marah: Okay, well, that's good.

Marina: Yeah. What is that?

Michelle: I was wondering...

Marina: What's it doing there?

Marah: It's checking for footprints.

Marina: Marah, our dads have installed a state-of-the-art security system. What's going on?

Michelle: Did somebody come through the tunnel?

Marah: No, you know, it's been boarded up, but you never know. I just, I had is really weird encounter the other day with this woman at the house, and it kind of freaked me out, so I'm just making sure that nobody that's not invited can get in.

Michelle: Wait a minute, a woman? What did she look like?

Marah: Mm, like something out of an old movie.

Michelle: Circa 1930s, blonde hair, high heels, like the bone structure out of, out of, like, a sergeant painting?

Marah: Yeah, you've seen her?

Michelle: She's the one who did the unsolicited redecorating of my living room. Apparently she had some very strong feelings about where my sofa should be.

Marina: Wait, does she have an opinion about everything like who you are and what you do?

Marah: Oh, my gosh, you saw her, too?

Marah: Well, yeah, at Company. I mean, I mean, I thought it was kind of weird, but she was nice. I guess I didn't think much of it.

Marina: There's got to be an explanation for this, other than that we're all going crazy at the same time.

Michelle: An explanation other than she's a ghost?

*   *   *   *   *

Alan: The last time I saw you, I thought you said you were leaving the order and rejoining the civilian world.

Lucia: I know, I couldn't do it. I realized this is where I belong.

Alan: Hmm.

Lucia: But that doesn't mean we can't be friends. You look like you could use a friend. Are you happy, Alan?

Alan: Am I "happy"? What kind of a question is that? I have my son, he's good for me.

Lucia: And now that you've won his heart, the thrill is gone.

Alan: Oh no, no, no. I still enjoy winning and enjoy the spoils. But I am happy that Gus is in my life, my family.

Lucia: Yeah, I believe you. And why is it I, I sense an emptiness inside you?

Alan: I think you're analyzing a little too much. Now, my life isn't perfect, but no one's is. It's very full, and I think that is due primarily to Gus. I want you to see for yourself. Where can I reach you?

Lucia: I've been assigned to St. Michael's on 5th Street.

Alan: Hmm.

Lucia: Actually, I never left town.

Alan: Now, does Gus know this?

Lucia: No. I wanted him to have some time to sort things out for himself, but I, I just couldn't bring myself to leave him and go back to Chicago.

Alan: Hmm. Well, I can understand that.

Lucia: It makes me so happy to know that he’s... he's taken you into his life.

Alan: I think it's been good for both of us.

Lucia: Then why is it I've never seen you look more alone?

*   *   *   *   *

Gus: I forgot how difficult it is to be close to you and not be able to really actually be close to you. You know what I mean?

Harley: Yes. I don't know what's wrong with us, I really don’t. I mean, we used to be good at this.

Gus: Now, wait a second, we're still good at this. We're great at this.

Harley: Maybe it's because I had this whole romantic night planned for us and we had to shift gears so quickly.

Gus: Hmm. You know, you think it would be easier for us to keep our mind on our jobs now that we are together.

Harley: Yeah, because there's no more, you know, tension. There's no mystery, really.

Gus: No, no, no, no. You see, for me it's now that I know what I'm missing. I'm actually missing it a whole lot more. Maybe, maybe we could just talk about what we would do to each other after we catch our bad guy, what do you think?

Harley: (Laughs)

(Distant noise)

*   *   *   *   *

Michelle: What are you doing?

Marina: I'm putting in a call to Ghostbusters. (Laughs)

Michelle: Ha-ha.

Marina: Oh, my God. You cannot be serious. You really think that she's a ghost? Wait, Marah, will you please help me snap her out of this?

Marah: You know, anything's possible.

Michelle: Oh, maybe "ghost" isn't the right word, okay? I don't know, "spirit" maybe?

Marah: And why would she be seeking out the three of us?

Marina: Okay, you guys, we need to be real about this here. I mean, she can't possibly be a ghost, because everyone knows ghosts don't come out during the day.

Marah: Says who? Look, okay, I'm not saying that she is a ghost, but I think we can all agree that what she's doing is weird.

Michelle: Yeah, and I'd like to know what she wants from us.

Carrie: I'm getting a headache listening to all of this nonsense. If you three keep on prattling about ghosts, people are going to think you're insane. I want to assure you that I am very, very real.

Michelle: Um, how-how-how did you get in here?

Carrie: Ah, yes.

Michelle: Because I've never seen you enter or exit any room.

Carrie: You're the clever one, aren't you? Well, my dear, didn't you know, there are tunnels all over Springfield.

Marina: Sort of like a town underneath a town?

Carrie: Oh, I can remember a time when the young people of Springfield were much more adventurous. They explored every inch of those tunnels. Well, I expect today it's more indoor games. It's a pity, really.

Michelle: Ah, okay, well, who built all these tunnels?

Carrie: The same man who built all of the old houses in this town. Every single one of them has a secret door, a hidden cupboard, a little staircase that leads into the tunnels.

Marina: Wait, so it's kind of like a standard feature, sort of like a fridge?

Marah: In every house?

Carrie: You all think you lead separate lives, won't you? But you don’t. It's a pity. Maybe that's what's wrong with the modern world. None of us realize that everything we do, every action we take has an effect on other people.

*   *   *   *   *

Beth: Are you and Tammy okay?

Lizzie: Yeah, let's see, she has everything and I have nothing. Other than that, we're cool.

Beth: That is not...

Lizzie: Mom, I know it's not a competition, okay?

Beth: You know, I didn't even know you were even interested in theater again.

Lizzie: Well, I wasn't, and then I heard about the play, and I really wanted to do something normal. My only extracurricular is my therapy.

Beth: Okay, okay. But if the point is to be a part of something, does it really matter what part you play?

Lizzie: Look who's talking, Miss Prom Queen.

Beth: Honey, the only people who noticed me in high school were your father and Uncle Rick. But this isn't about me.

Lizzie: I just want to be someone different than Crazy Lizzie.

Beth: Are the other kids in school giving you a hard time now that you're back?

Lizzie: No, they're not saying anything. It's like they're scared of me. They're scared I'm going to fall off the deep end, just like you.

Beth: That is not true. You are doing very well these days.

Lizzie: Mom, we both know that I’m one incident away from being locked in a padded cell, and now I've got to play some frumpy old nurse?

Beth: You know, I don't think you're aware of what a great part this is.

Lizzie: Oh yeah, I've heard a real scene stealer. Mom, the fact is, if Romeo and Juliet had a slave, it would’ve been the nurse. I don't even think she made it to the screen version with Leo.

Beth: The nurse is more than a go-between. She's at the heart of everything that happens.

Lizzie: Yeah, Mom, but the nurse... Juliet gets to fall in love and die. The nurse, she's just the messenger.

Beth: The nurse requires maturity and guts. She doesn't get to stand up there and hide behind some pretty costume or some pretty boy. She has to stand there bravely. If anyone can do that, that's you.

Lizzie: Right.

Beth: Honey, it's easy to play the girl the boy loves. It's a lot harder to play someone who's lost so much already.

Lizzie: Like what?

Beth: Her innocence. At the start of the play, the nurse is a widow who's lost both her husband and her child. But then, she doesn't give up on love. And when Romeo and Juliet find each other, the nurse falls in love with love all over again. She sees it as this pure and innocent thing. But then she's the one that realizes this love will end badly. She's the one who realizes that love doesn't always triumph and that it's not innocent at all. She knows that when you give in to love passion, heartbreak and disaster follows, and she tries to tell Juliet that, but Juliet doesn't listen. And look where love got Juliet. We all know her story, don't we?

Lizzie: Yeah, not as well as you do, Mom.

*   *   *   *   *

Alan: I'm anything but lonely, Lucia.

Lucia: I didn't say "lonely," I said "alone." But since you mentioned it...

Alan: I have everything that I want, everything that I need.

Lucia: When is the last time you sang, Alan?

Alan: When is the last time I sang? What are you doing...

Lucia: Yes.

Alan: ...Recruiting for your church choir?

Lucia: (Laughs)

Alan: I mean, Lucia, that was a long time ago, and it was a private thing between you and me. We were very different people then.

Lucia: Now, I know that, but it's a shame to stop doing something that you love so much. Singing made you so happy. It's a shame to deny ourselves life's simple pleasures.

Alan: Ah, says the woman hiding behind the cloth.

Lucia: That's different. This is a calling.

Alan: Yes, and Spaulding is calling. Look, I don't understand why you're concerning yourself with such silly things like my singing.

Lucia: Because I want Gus to know. I want our son to know that behind that gruff exterior of yours there is a big heart and a big soul. I'd hope that you'd be more open to the people that love you, but... I know, you know, it's not my place to judge you, but there's a sadness in you, Alan. It's not too late to be the man that you were meant to be.

Alan: Well, I appreciate your concern, and I can also tell you that this gruffness that I have and lack of soul has had no effect on Gus. He was a fully formed young man when he came here.

Lucia: How's Phillip?

Alan: Well, Phillip, is another matter. Things are not going well for Phillip now. Matter of fact, his whole life is caving in around him.

Lucia: Can you help him?

Alan: He doesn't want to be helped, especially from me.

Lucia: You're not going to give up, are you, Alan? You give him the support and the unconditional love that your father never gave you. But first, you need to help yourself.

Alan: Lucia, I...

Lucia: You have to be true to yourself before you can be true to your children. If you need me, you know where to find me.

*   *   *   *   *

(Window opening)

Gus: Freeze!

Phillip: Oh, no, wh...?

Please stay with us for the

Harley: Phillip, what are you doing here?

Phillip: (Laughs) So you found her, too. Have you talked to her?

Harley: Of course, we've talked to her. How do you even know her?

Phillip: How do I know the woman that's having my baby?

Harley: Are we talking about Olivia?

Phillip: Who else?

Harley: You think Olivia lives here?

Harley: Harley, I asked you to find her and you found her.

Gus: Not a very bright move busting into this apartment. You got the wrong girl, pal.

Phillip: The wrong girl? I saw Olivia with my own eyes.

Harley: You saw her?

Phillip: Yeah.

Harley: When exactly did you see her?

Phillip: I saw her on the street. There were other people with her, but I know it was her. I'd know her anywhere.

Gus: Did you talk to her?

Phillip: No, no, uh-uh. I just, I followed her back here enough to keep my eye on her ever since.

Gus: So what was all this then? You were just surprising her?

Phillip: Well, I had to get everything right for the baby. I know I shouldn't have come in that way, but, you know, I've got to talk to her sometime. You know, I have to get things set before the baby comes.

Gus: This is not Olivia's home.

Phillip: Well, I know that. No, this baby belongs with me.

Gus: No, I mean, this apartment belongs to another person. It belongs to a woman named Andrea.

Phillip: Okay, well, if Andrea let Olivia stay here, I'll write her a check.

Harley: No, no, Phillip, Phillip listen to me. What Gus is trying to say you...

Phillip: Oh, come here, I want to show you something. Come here, I want to show you what I brought the baby. No, wait a minute, I bet you can guess.

Harley: I, I can’t.

Phillip: No, it was Zach's favorite thing, guess.

Harley: I can’t.

Phillip: Guess.

Harley: I can’t.

Phillip: Guess. It's a mobile. It's a mobile. It's just exactly like the one that we had for Zach. I think she'll really love it, but I want you to tell me what you think, honestly, because I want everything to be just right.

Harley: Phillip, look, I want you to stay focused with me he for a second, okay?

Phillip: Uh-huh.

Harley: There is a pregnant woman who lives in this apartment, but she's not Olivia. Okay? We've spoken with her. She's not Olivia.

Phillip: So what are you saying?

Harley: I'm saying she's not here. Olivia was never here, honey. We don't know where she is. She's gone.

Phillip: That's not true.

Harley: Phillip, it's true. Olivia is gone, I'm sorry.

Phillip: You wouldn't do that to me.

Gus: Do what, Phillip?

Phillip: (Giggles) Don't play games with me. You've been hiding my child from me, all along.

*   *   *   *   *

Lizzie: You haven't really given up on love, have you?

Beth: No, no, of course, not. It's just the Shakespeare. You know, all this love and tragedy really goes to my head. But just imagine what you'll do to the audience.

Lizzie: I'm your daughter. You have to think I'm good.

Beth: You are going to be good. You're going to be great. Look at this. "Go, girl. Seek happy days and happy nights." Good stuff.

Lizzie: Yeah, but it’s still not "Wherefore art thou, Romeo?" And you know it.

Alan: Hands down the best role in the play is Mercutio. The sword fight... "A plague on both their houses."

Lizzie: Grandpa, being the nurse is not enough. I don't want to be a boy.

Alan: Listen, the nurse is a much better role than Juliet. Why, when Dame Edith Evans played it in London, the critics said that her performance...

Lizzie: Newsflash -- I'm not a dame. I'm just a girl in high school. See Grandpa, being Juliet is cool. Being in love, that's cool. Being a pretty girl, that's really cool, but the nurse is so not cool.

Beth: Uh-uh-uh, you forgot something.

Lizzie: Okay, if anyone tells me that there are no small parts again, I'm dropping out, right?

Alan: Well, it's a good thing I didn't tell her the real reason I didn't want her to play Juliet.

Beth: And what's that?

Alan: The kissing. I couldn't bear to see her kiss a boy on stage, or off stage for that matter.

Beth: Well, unfortunately, she's at that age where kissing boys is imminent. You're going to have to get over it, Grandpa.

Alan: You were about Elizabeth’s age when your Romeo came along, weren't you?

Beth: I think Phillip was more of a Prince Charming. Rescued me, remember? But in the end, we were no better off than poor Romeo and Juliet.

Alan: And what about your present-day Romeo?

Beth: No Romeo. Jeffrey's history.

Alan: Well, he's a stupid man to turn his back on a beautiful woman like you.

Beth: I dumped him, Alan.

Alan: Well, that's good. Things couldn't be better timed.

Beth: And why is that?

Alan: Because Phillip needs you, Beth.

*   *   *   *   *

Michelle: Before we go on, you haven't told us your name. I mean, you know all about us, but we don't really know anything about you.

Carrie: I'm so sorry. My name is Caroline. But you may call me Carrie if you like. Now, what were we talking about?

Marah: The tunnels.

Michelle: Right, they weren't built so people could sneak around and rearrange furniture, were they? I mean, were they for criminals or rum runners during the prohibition?

Carrie: Hardly, my dear, hardly. The tunnels were built for lovers. Many, many years ago, before any of your families had come to Springfield, there were several very important, very powerful families who ran this town, and they loathed each other. It was very sad, for the children, particularly for one couple who fell madly, madly in love, but their families wouldn't let them get together.

Marina: Oh, wait, I've, I've seen that movie . And they're doing the play right now at the high school.

Carrie: One of the young men was my great, great grandfather. He fell in love. He fell in love with a beautiful, beautiful young girl, but their families kept them apart and so she married someone else. I don't think he ever, ever got over it, so he went away. He went away, and he studied and he came as a very famous architect.

Marah: The same man from before, the one who built Michelle's house and all the others in the town that looked like it, and he also built the tunnels?

Carrie: Yes. He's the one who suffered terribly. He never wanted anyone else to suffer the way he had.

Marah: Well, he went through a lot of trouble so that kids could hook up.

Carrie: Yes, he did, didn't he? Hook up, just like Romeo and Juliet. My own grandfather taught me the tunnels. I know them by heart. I learned them as a child. There isn't one house, or building, any place in Springfield that I can't go. But of course, I've never, ever, interfered with anybody's private life.

Michelle: Until now. So what made you change your mind to start showing up everywhere, like my living room?

Carrie: It was so wonderful for me to see you to be so happy in a house that you have loved ever since you were... you were a little girl.

Michelle: How did you know that?

Carrie: Oh. Oh, my dears, I make it my business to know lots of important things about very important people.

Marah: And where exactly do you live?

Marina: Well, maybe, maybe she doesn't live, you know, like anywhere in particular.

Carrie: Where do I live? Why, I live in my own house, the house that my great, great grandfather built for my family, the house that you live in.

Michelle: You live in my house with my family?

Carrie: Yes, my dear, I do. I would have never, ever spoken to you except for the fact that I simply could not bear that furniture arrangement one more second. (Laughs)

Michelle: So you've been living in my house all along? The house was closed up for years, and then before that, there was a really nice family that lived there, so how...

Carrie: But there's a wing. There's a deserted wing that was closed up for years. I didn't sell that when I put the house on the market, so I've been living there all this time, a quiet, quiet comfortable little place all my own. Except it was quiet until, of course, that team of carpenters came in and began to put that terrible bookcase on the wall. That really was the most dreadful idea...

Michelle: Okay, I really don't want your design advice right now. What happens now? Are you going to just keep popping in and popping out?

Marina: I think it's kind of fun.

Michelle: Well, I'm a little uncomfortable with the idea of you living with me and my family.

Carrie: But I was so hoping we could all be friends. You must promise me something. You must never, never tell anyone that you saw me. If you do, I'll have to disappear again.

Marina: Well, why? Are you, are you, like, on the run from the law, are you a fugitive?

Carrie: Oh, hardly.

Marah: Okay, so why should we keep your secret?

Carrie: Because, if you keep my secret, I'll tell you a secret. I'll tell you a story, a wonderful dark story that concerns everyone in Springfield. I think you'll like it, but you must promise never, ever to tell a soul. Otherwise I'll go away, and my story will go with me. Now, you must promise me. Promise me that you'll never, ever tell a soul, and someday, someday, I think you'll all understand why.

*   *   *   *   *

Harley: Well, how much longer?

Gus: I... all I can say is she's on her way. Do you think that we're going about this the right way?

Harley: I don't see what else we can do.

Phillip: Harley? I just want you to tell me where she is, okay? Because, if I can talk to her, I can convince her. I just need the chance. Just give me the chance. Olivia? You're not Olivia.

Harley: This is Andrea. This is the woman you've been stalking.

Phillip: No, no, no, no, no. It was Olivia. Where is she?

Harley: Phillip...

Andrea: What is wrong with you, huh? What kind of man are you? I'm pregnant, I'm alone, you scared me.

Phillip: I'm sorry. I'm really sorry. I didn't mean to scare anybody. I've got two girls on my own, and I would never want them to be afraid of any man. I thought... I thought you were somebody else. You... I won't bother you again. You won't have anymore trouble from me. I'm sorry.

*   *   *   *   *

Alan: Beth, I'm working hard on letting go of the fantasy that you and Phillip will ever get back together again. Although you do make a beautiful couple with a wonderful family.

Beth: We're still a family, just a different type of one.

Alan: Yes, but there's a part of me that feels if you two were able to work out your differences, none of this would have happened. I'm sorry. I'm sorry, I... I'm proud that you both have moved on and that you have retained your friendship. I was never able to do that. And I am sorry about you and Mr. O'Neill.

Beth: (Laughs) No, you're not.

Alan: All right, I'm not. But I am sorry if you're I any kind of pain over that.

Beth: Oh, Alan. He barely scratched the surface compared to some of the other things I've been through. All right. I'm not making any promises, but I'll try with Phillip. He needs your help, too.

Alan: Yes, but he doesn't want my help right now.

Beth: We all have to pull together, all of us. We're going to fight for Phillip, and we'll win.

Alan: You know something, Beth, you are the true heart of the Spaulding family.

*   *   *   *   *

Phillip: Do you think the baby's okay?

Harley: Whose baby?

Phillip: Andrea’s. It can't possibly be good for her to be scared like that, not for her or for the baby.

Harley: Why, I think she's fine. We will have her checked out, but you didn't hurt her.

Phillip: (Sigh)

Harley: Phillip, I think you need to see someone. 

Phillip I don't know why I did that. I, I guess, I guess I was just seeing what I wanted to see. You know, I really thought it was Olivia

Harley: Well, you know, you are... you're overworked and you're... you're stressed out. You know, you've been through a lot lately, and I think probably you just need some rest.

Phillip: Oh, yeah, sure I do, but you know, I can't rest as long as I know that I've got my child out there somewhere.

Harley: Phillip, hon, even if... even if that was Olivia, you know, what you did tonight, breaking in here like that, that would have been so stressful for her and the baby. I mean, that's the last thing you want.

Phillip: Yeah, I know, I know. Listen, I'll do better. Next time, I'll... I'll do better. I just have to, I've got a baby out there somewhere, and I need to find her because I have to be there for her. She needs me.

Gus: Okay, I spoke to Andrea. She understands our little, you know, situation with Phillip, and she's agreed not to press charges.

Harley: Thank you. Thank you, and I promise you, we will get him the help that he needs.

*   *   *   *   *

Fantasy Daughter: Miss me? (Laughs) Way to go, Dad. You really freaked that pregnant lady out.

Phillip: I was looking for you. I just want to be with you.

Fantasy Daughter: Mm-hmm. Yeah, right, this is all for me.

Phillip: You don't believe me?

Fantasy Daughter: Mom told me all about you. She said you just don't like to lose.

Phillip: I've made mistakes in the past, but I'm going to do better with you.

Fantasy Daughter: Hmm. Well, considering how you did with my big sister, the odds aren't that great. That's why Mom took me away so you couldn't screw me up.

Phillip: You're not real. You're not here.

Fantasy Daughter: (Giggling) You're losing it, Dad. You are really losing it.

Phillip: You're not real.

Fantasy Daughter: Oh, see, now that's not nice.

Phillip: You're not real! You're not here. I'm Phillip Spaulding. I'm a father. I run a company. I'm real, and you're not. You're not!

*   *   *   *   *

Marina: Okay, so she's gone.

Marah: Okay, so, are we in or are we out?

Michelle: Look, I don't know, okay. She's interesting and everything, but, you know, Danny and I don't keep secrets from each other anymore. We work really hard to do that.

Marah: Okay, Michelle, this isn't the mob. Okay, this I some kooky old woman who likes to give fashion advice. I think she's really interesting.

Marina: Okay, we are not telling anyone.

Marah: Okay, why not?

Marina: Because, you guys are just as curious about this secret as I am. I mean, come on, it's kind of like a mystery. I love mysteries.

Marah: Okay, Miss Nancy Drew. All right, I'm in. Michelle?

Michelle: Ah! Okay, I'm in, but the minute it become less than innocent, we're going public.

Marina: Okay, deal.

Marah: Deal.

(Laughter and Talking)

Carrie: And so, it all begins.

*   *   *   *   *

Alan: Next, on Guiding Light...

Gus: Something the matter, Phillip? Is there something out there?

Phillip: Would you stop distracting me?

Michelle: So what do you think, Dad? My husband, the mayor?

Ed: I think it's the worst idea I've ever heard.

Marah: He can't find out about it, Nico. I don't want him to know feel like he's letting me down.

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