One Life to Live Transcript Thursday 8/4/05

By Boo
Proofread by Kathy

Nash: I told you -- blading is the only way to get around New York City.

Tess: Yeah, if you don't mind your ankles going south on you.

Nash: Oh, you'll get stronger. Here, hold one of these. Soon, you will be doing laps of Central Park.

Tess: I don't know about that, but you are right about one thing. The sunset on the Hudson -- spectacular.

Nash: Yeah. Here, give me that. I'll go get dinner ready. You know, speaking -- maybe we could go catch a movie later and then go for a walk through Washington Square. What do you think? What?

Tess: This is your place, and I'm kind of in the way, so I'm just -- I'm just going to go.

Nash: Ooh! Whoa, whoa, whoa, whoa, whoa. Oops. You don't look in the way to me.

Layla: Drink order for your thoughts? Jessica, right? That's who you're thinking about?

Antonio: What have you got?

Layla: One apple martini and one club soda, slice of lime. But there's no rush. It's not like they're lining up to get in here tonight.

Antonio: It'll pick up over the weekend.

Layla: You can pack this place every night if you'd listen to me and go the whole salsa route.

Antonio: One step at a time.

Layla: Why are you putting this off? I mean, you need to put a new vibe on this place, anyway. Everything from the music to the decor, even the name.

Antonio: There's nothing wrong with "Capricorn."

Layla: Yeah, if you're into goats.

Antonio: Let's drop it, okay?

Layla: Fine. If you don't want to get into the salsa thing, although I still think that's the way to go.

Antonio: Club soda, slice, martini.

Layla: How about naming the place after you? Antonio’s. It has a nice ring, don't you think?

Ginger: You're early.

Duke: Yeah, no traffic. You look great.

Ginger: You think it's okay?

Duke: Yeah, Rex Balsom won't know what hit him. So, where's Adriana?

Adriana: Right here.

Duke: Hey.

Ginger: Whoa! Who are you all dressed up for?

Adriana: Who do you think?

Rex: All right. Hayes Barber, where are you, you sick freak? Yes, there you are. Uh – whoa, hey, oh, whoa. Just me.

John: I know who it is.

Rex: You okay? You look a little ragged --

John: Shut up and listen. You think hanging around here makes you a cop? You're wrong.

Rex: Look, no, all I was saying --

John: I wasn't finished. I will bring Natalie home, that's my job, and I don't need you screwing it up.

Rex: Oh, any worse than you already have? All Nattie wanted was for you to notice her, okay? And, you know, you treated her like dirt, McBain, and now she's paying the price.

Bo: Whoa, whoa, whoa, what's going on?

Lindsay: It's a bad idea coming here.

R.J.: Lindsay, I will not be chased out of my own club, and it is my club, no matter how many times that buffoon changes the name. You just -- you grab us a table and I'll be right there.

Lindsay: R.J., stay away from Antonio, please. Nothing good is going to come out of this.

Singer: You're my baby

R.J.: Hey. Who's the new girl?

Waitress: Layla Williamson.

R.J.: Williamson.

Waitress: Yes.

R.J.: Is she any relation to Evangeline?

Waitress: They're sisters, and she never stops reminding us.

Singer: Times I see I thank you

R.J.: Layla? I'm Randall James.

Layla: Nice to meet you.

R.J.: So, you're new here?

Layla: Yes, I am. New in Llanview, actually. Do you live around here?

Evangeline: R.J., what are you doing with my sister?

Singer: I just want sunny skies

[Phone rings]

Antonio: Capricorn. Man, I'm sorry, I can barely make you out. But where did you -- where did you say you're calling from? New York?

Nash: What's wrong?

Tess: Nothing. Nothing, I just got to take a rain check on tonight. I'm sorry.

Nash: A rain check? A kiss like that is clear skies and a hot rain check not. Come on.

Tess: It wasn't the kiss, Nash. It's this whole domestic scene that we're acting out here.

Nash: Who's acting?

Tess: This can't go on forever. You know, I have to go. You need your space to cook.

Nash: Go? Where are you going to go?

Tess: Home.

Ginger: I thought you were saving that dress for something special.

Adriana: Oh, well, what could be more special than a night out with my guy?

Duke: Hmm.

Ginger: I'm going to go get my purse.

Duke: You look like you just stepped off the runway.

Adriana: Nah. Too short. Models have to be at least 5'10", or so I've heard.

Duke: Oh. Well, you know what? You better go up and change.

Adriana: Change? Why?

Duke: Well, yeah, if you want to hook up Rex with Ginger, you can't be the hottest girl in the club.

Adriana: Okay, shh -- I don't want my mother to know we're going out with Rex.

Duke: Oh, yeah, that whole "framing Dorian Lord for murder" thing probably doesn't buy him too many brownie points.

Adriana: Hmm.

Duke: Wow.

Ginger: All set?

Adriana: You look great.

Ginger: Rex Balsom, here I come.

Bo: Matthew, why don't you go down to the break area, see if you can find Officer Darrow and then ask him to show you that new computer game.

Matthew: Fine.

Bo: John, do you want to explain what's going on?

John: No.

Rex: Look; I was just trying to see if maybe I could --

Bo: I don't want to hear any excuses or explanations from you, Balsom. Now, I know you're worried about Natalie. This stuff is off-limits to you.

Rex: The hell it is. Who's the one who figured out who Ted was, huh? Not you, Bo, not John, that was me. I found Daniel’s passport, and I'll find my sister on my own, too, okay?

John: You believe this idiot?

Bo: Nah, it's -- yeah, actually, I can. That's classic Balsom. The person I'm having a hard time recognizing right now is you.

Evangeline: This is R.J.

Layla: Oh, you're that Randall James, the Randall James who has spent most of his life in and out of prison, the Randall James my sister got involved with and then wised up and dumped him because she realized he was still a sleazy criminal, the Randall James who had to rip a little girl away from her father to feel important. Am I missing anything, Vange?

Evangeline: No, no, I think that about covers it.

R.J.: Hmm. You know, now I can see the family resemblance. You know, it's more than the beauty. It's the uninformed arrogance and closed-mindedness. Did you get that from your father?

Evangeline: You have something to say, Randall James --

Layla: Vange --

Evangeline: Say it to me. No, no, no, I got this. You want to mess with me, bring it on. I've seen everything you've got, and frankly it's not that scary.

Layla: Uh-uh.

Evangeline: But if you ever mess with my sister, I will level you.

Layla: Thanks for the assist, Vange. I got to get back to work now. Bye.

R.J.: So, the self-hating ambulance chaser bares her fangs. You know, I always knew you had it in you, but what did it take to bring it out? Getting dumped again, hmm? Well, kudos to your flatfoot.

Layla: A guy from New York, huh?

Antonio: Yeah. I didn't get his name, it was a bad connection, but that's the number, I hope.

Layla: Okay, thanks.

Evangeline: Hey. I just wanted to say, Antonio, you've been amazing. Thanks so much for looking out for my sister.

Antonio: She's a lot of fun.

Evangeline: Yes, she is, and very theatrical.

Antonio: It was no problem, really.

Evangeline: Well, I'm going to take her off your hands now. I'm going to bring her back to my place. How's Jessica doing? Any word?

Antonio: No, no, none. I try to look at the bright side, though. With everything that's going on and Natalie being missing, it's probably best --

Layla: Yes! Yes! Yes! Yes! Ha!

Antonio: Ahem.

Nash: So you're going home?

Tess: Yes.

Nash: Where -- where exactly is home?

Tess: I don't know. But I do know that I have to find one and I can't put it off any longer.

Nash: Absolutely. First thing in the morning, we'll start looking for one.

Tess: "We."

Nash: Huh?

Tess: I don't think so, stud. Look, it's been a blast and everything, but I have gotten this far on my own and I am not going to rely on anybody riding to my rescue.

Nash: And you shouldn’t.

Tess: I came here to start over.

Nash: Uh-huh.

Tess: Make it on my own.

Nash: Absolutely.

Tess: Not to play house.

Nash: And absolutely not, not a chance.

Tess: I've gotten this far without relying on a man to help me, and I've done very well.

Nash: And you shouldn’t.

Tess: What -- what are you doing?

Nash: Putting your blades away in your closet.

Tess: But that's your closet.

Nash: Yeah. Not anymore.

Ginger: Glad we rushed to get here.

Adriana: Don't worry, okay? Rex will show. And he'll more than make up for being late. He's great company, he's really funny, but not in a usual way. I mean, he's one of a kind. And brave. Took on a serial killer, one on one.

Ginger: Excuse me. I need another drink.

Duke: So you're working P.R. for him now?

Adriana: What?

Duke: Rex. You know, I'm about to fall in love with the guy myself.

Adriana: I was trying to impress Ginger.

Duke: Hmm.

Adriana: And for the record, the only guy I want to be here with tonight is you.

Adriana: There you are.

Rex: Don't ask. Do not ask.

Adriana: Ask what?

Rex: How I'm doing, because I'll only bitch and moan and bore the crap out of you, so the best idea is to stay off the subject of me.

Adriana: What happened?

Rex: She doesn't listen, does she?

Adriana: Come on, vent! You'll feel better.

Rex: Fine, fine, okay. Well, in a nutshell, Barber's on this head trip, not telling anybody where Natalie is, McBain’s too busy drowning in his own misery to do any good, and I just got kicked out of the police station, to top it all off. So to hell with work. I need a drink.

Adriana: Rex, you remember Ginger --

Rex: What is she doing here?

Bo: Get any sleep last night?

John: I know what you're going to say, Bo.

Bo: Have you been off your feet in the past 48 hours?

John: She's out there. I ain't closing my eyes until I know she's safe.

Bo: Been a hell of a year for us, hasn't it? It started with the Cristian Vega case, then Colson, now Barber.

John: Yeah, a hell of a year.

Bo: You and I have ignored protocol, we've bent the law a little bit, but gone above and beyond the call to bring those SOBs to justice. You know, at night I lie in bed and I think about everything that happened during the day, just go over and over everything in my mind, every lousy detail.

John: Yeah, I know the feeling.

Bo: And it haunts me. Hurts. The pain. How somebody can have total disregard for human life. That haunts me. So you know what I do? Video games. I call my son, Matthew, and we go online and we play Alien Attack 4, you know? Just a couple of levels till he's ready to go to bed, but it puts everything in perspective for me. You know, just 20 minutes with my son, and then I can put my demons to bed for the rest of the night.

John: I don't have a son.

Bo: I know. But you got those demons, you know. You have to figure a way to get rid of them.

John: I'm not going home, Bo.

Bo: No. No, probably not, but you're not going to stick around here, either. I want you to call a friend, go to a bar, shoot some pool, you know, just forget about being a cop, just for a little while.

John: Kick back, I mean, watch the ball game, pound a few beers -- is that what you're telling me to do?

Bo: John, as a friend, I'm asking you to take the night off. Now, as the commissioner of police, I'm ordering you, Lieutenant McBain. I don't want to find out that you're Barber's last victim.

Rex: And now, as I'm sure you know, my sister is missing, so maybe you'd like to say something nasty and stupid about that, too.

Ginger: Look, I feel really bad about what I said when we met. I mean, I didn't mean to make light of what happened with you or your late girlfriend.

Rex: Forget it. I'm going to get that drink.

Adriana: Rex, wait -- look, here, have mine. I don't want it. I know you've had a bad day, but like I said, you'll feel better if you talk about it.

Rex: Maybe.

Adriana: I know it's got to be so awful, what you went through with Jen, and now Natalie missing. You can't give up. You need to know that your friends are here for you. I'm here for you, whatever you need.

Rex: Thanks.

Nash: All right. So what do you say?

Tess: I'd say that you're out of your mind.

Nash: Oh, come on. Look, you can't afford a place of your own, and I could use the help.

Tess: I don't get it.

Nash: Well, what's not to get? You kick in half the rent, we split the utilities in half, and we bunk in together until one of us strikes it rich and moves out to their deluxe apartment up in the sky.

Tess: "Bunk in." 24 hours ago, you were singing a much different tune. What changed?

Nash: Just makes sense -- financially.

Tess: Oh, financially.

Nash: Hmm.

Tess: So it's all about the finances?

Nash: Well, it's always about the bottom line, baby. Come on. All right. Now you can come and go as you please.

Layla: I have the most amazing news. You won't believe it. I don't even believe it.

Evangeline: Are you going to tell us already? What is it?

Layla: Okay. Curtis Murray is on his way over here right now.

Antonio: Who?

Layla: That's who called from New York. He's this huge Broadway producer, and I sent my picture and head shot and resume to him from L.A., and he basically said that he's passing through town and that he'd like to take a meeting with me.

Evangeline: That is great, Layla! I'm so happy for you! That's wonderful!

Layla: Oh, my God, he's going to be here any minute, so --

Antonio: Well, what are you waiting for? Go get ready.

Layla: Are you sure?

Antonio: Yeah, you can cover for her, right?

Bartender: Yeah, no problem. It's quiet tonight, anyway.

Layla: Oh, thank you so much. Come with me, help with my makeup?

Evangeline: Of course.

Layla: Ooh!

R.J.: I'm sorry, but I've got to take care of something.

Lindsay: Great. So far you've managed to harass a waitress, get into a verbal sparring match with the Williamson sisters, and now you're off to run a mystery errand somewhere.

R.J.: And there's plenty more where that came from if you give me just about a half an hour.

Lindsay: I'll be waiting. God help me.

R.J.: Mm-hmm.

Antonio: You look like you could use a beer.

John: Make it a shot. Whiskey.

Antonio: That bad, huh?

John: Orders from the commissioner. "Find a way to enjoy life," whatever the hell that means. Do it again, will you?

Antonio: You could use a day off, my friend.

John: How does Bo expect me to enjoy life without --

Evangeline: Without Natalie?

Matthew: How'd your talk with Mr. McBain go?

Bo: You know, John is -- John's really tired right now. He has to figure out a way to relax and just sort of unwind and not have to think about Natalie 24 hours a day.

Matthew: We're going to find Natalie, Dad. I know we are. Mom told me last night that Jen was looking down on me. She's like my guardian angel. So last night before I went to bed, I said a prayer to Jen.

Bo: I'm glad to hear that. I want you to keep on praying.

Matthew: Actually, it was more than just a prayer. I talked to Jen. I told her since things are going okay in my life, then it's okay to be Natalie’s angel -- until she comes home.

Bo: You're a swell kid. But being swell doesn't really mean jack when it comes to Alien Attack 4. I can still whip your butt.

Matthew: You wish.

Bo: "You wish"? It's on now, man. Come on. This is going to be really cool, though. Tonight we get to play it side by side.

John: You said it, not me.

Evangeline: Natalie's the only one who's still missing. You're focused on bringing her back, as you should be.

John: I sense a "but" in there somewhere.

Evangeline: It's not like you to drown your sorrows.

John: Nothing else is working.

Evangeline: You didn't drink when you and I broke up. Guess you had other things to drown your sorrows in back then.

John: You mean someone else, don't you?

Evangeline: Your words, not mine.

John: Well, you know me -- never good with the words.

Evangeline: Worth a try?

John: Why? It's all that "not giving you what you need" stuff. I'm not going to put you through that again.

Evangeline: It's what you need that's the problem. And until you can understand that, you know, you're right, neither one of us should be "put through" this anymore.

John: Bartender, one more time.

Antonio: Don't you think you've had enough?

John: No, I don't think.

John: Here's to life.

Layla: Where's my sister?

John: She's gone.

Man: Excuse me. I'm looking for Layla Williamson. She's expecting me here.

Layla: Hi. I'm Layla. And you must be Mr. Murray.

Man: "Curtis," please. You're even more beautiful than your picture.

Tess: Oh, you don't know what you're getting into.

Nash: Well, so it'll be like on-the-job training. Believe me, I've had tougher jobs.

Tess: Oh, really?

Nash: Mm-hmm.

Tess: Okay, well, I sleep till noon --

Nash: Mm-hmm.

Tess: I'm up till all hours of the night, and I drink out of the carton.

Nash: Drink out of the carton?

Tess: Mm-hmm.

Nash: Well, hey, doesn't everybody? Look, if it gets too weird, you know, we'll just renegotiate.

Tess: Okay. Okay, I'll be your roomie.

Nash: Okay. Well, I'm just going to, um, go and finish, you know, getting chow going, and you can take a shot at cutting that bed in half.

R.J.: Rex, hey come with me.

Rex: Yeah, in a minute.

R.J.: No, now, damn it. Don't make me embarrass you in front of your little friends.

Rex: Excuse me, ladies. Back in a flash.

Adriana: So, what do you think?

Ginger: I feel like I'm invisible next to you.

Adriana: Ginger, come on. I told you we're just friends. That's all.

Ginger: Oh, come on, Adriana. He sat down next to you. His entire conversation was focused on you. I mean, Rex may not even realize it, but the only girl that he wants to talk to tonight is you.

Rex: What's your problem?

R.J.: You -- you are my problem. Gone for days and leave my club in the hands of bartenders and waitresses, and when you do finally show up, I find you in here playing Junior Hefner?

Rex: Well, since you've obviously been too involved in your money problems to pick up a paper, R.J., let me fill you in on why I haven't been around.

R.J.: Rex, I do not want to hear any more of your --

Rex: Oh, let's see, I was drugged and kidnapped and almost killed by two wackos, one of whom still won't tell me where my sister is, so the last thing I'm caring about right now is you or your stupid turf war with Antonio.

R.J.: What does Vega have to do with this?

R.J.: How long have you been hanging out with little sister?

Rex: Well, like that's any of your business.

R.J.: Damn it, Balsom, there isn't a hole deep enough for you to hide in. Are you crossing me?

Duke: Hey, I'm back.

Adriana: That was quick.

Ginger: I'm going to the ladies' room.

Adriana: See Rex and R.J. over there? Things are always so tense between those two.

Duke: You know, I don't want to talk about Rex or R.J. or anybody else, okay? I want to talk about us.

R.J.: You are not going to play me for a fool.

Rex: What the hell are you so worked up about? You already got your grandkid back. Isn't that all you ever wanted?

R.J.: Balsom, I swear, if you, Vega, and these brats are planning something --

Rex: So pathetic. R.J. Gannon turning into some paranoid nut jumping at shadows. How the mighty have fallen. Ooh. What are you going to do, R.J., Hit me? In front of all these people? Go ahead, take your best shot.

Lindsay: Do you have any idea where R.J. got some of these light fixtures? Because I'm redecorating my office and I'd like to get my hands on a few.

Waitress: R.J. once told me they're not made anymore.

Lindsay: Oh. Oh, you know what, though? I have a friend. I'll bet if I take a picture of those he'll probably re-create it for me. Thanks.

[Keys drop]

John: Ah.

Antonio: It's time to go home, my friend.

John: I just need to find her.

Antonio: Not in your condition.

John: Keep them. I could care less about my car. I just need to find –

Layla: I don't have a whole lot of theater experience, living in Hollywood, but I've taken lots of classes and I've done TV guest spots such as "Desperate Housewives," "Lost" --

Curtis: Do you dance, sing?

Layla: Oh, yeah. I've taken voice lessons for years, tap, ballet, jazz. And by the way, I am a huge fan of Annette McKenzie, who I know you discovered, and look at her now.

Curtis: Major talent.

Layla: She is absolutely amazing. Whoo! Anyway, I'd be more than happy to come to New York and audition for you. I have a friend who lives in Brooklyn who would let me crash at her place for a while.

Curtis: That's absolutely not necessary. You can audition for me here.

Layla: Hmm. That's pretty --

Curtis: Is there someplace a little private we could go right now?

Layla: Someplace private? That doesn't sound very professional.

Curtis: Nothing is going to happen, Layla, unless you want it to. Of course --

Layla: I am not like that. I am not that kind of actress.

Antonio: Everything all right here?

Curtis: Huh. This is a private meeting.

Antonio: Well, anything you say to her you can say to me. I mean, after all, she is my most important client.

Curtis: Excuse me?

Antonio: I'm Antonio Vega, Ms. Williamson's agent.

Nash: Come and -- get it. Tess?

Tess: I'm out on the fire escape! I figured since this is our first dinner, we should be doing it up right.

Nash: That's a great idea.

Tess: I know.

Nash: Ha-ha. Oh.

Tess: Nice view, huh?

Nash: Well, you know, it's not the top of the empire state, but -- yeah, it'll do.

Tess: I love this city.

Nash: I hope you love the chicken. It's my specialty. Chicken a la Nash Brennan -- that's me.

Tess: Well, I tried to make a chicken a la Tess one time, and I almost gave myself salmonella.

Nash: Tess -- you know, I just realized you've never actually told me your last name.

Tess: Don't have one.

Nash: Oh, everyone's got one.

Tess: Well, tell that to Cher and Madonna.

Nash: All right, one-name Tess, this round goes to you, but there are going to be lots of rounds, I'm telling you.

Tess: This is delicious. It's a perfect meal for a perfect night. Everything is -- perfect.

Evangeline: Coming, Layla. I can't believe you lost your keys already.

[Pounding on door]

Evangeline: Coming.

Adriana: What about us? And where did you go just now?

Duke: My car. To get this. Open it.

Adriana: Duke! I can't believe you did this.

Duke: I figured, you know, since it was your undergarments that saved us in Argentina, it's only fair that I would replace what you, you know, sacrificed for us.

Adriana: You have excellent taste.

Duke: There's more. Take a look in the envelope.

Adriana: A weekend for two at Bayberry Inn.

Duke: I thought we could use some time away. No work, no family interference.

Adriana: Maybe I'll bring my gift along.

Duke: Well, let's just hope it keeps us out of other types of trouble.

Rex: Go on. Make a scene. Show these people what a complete jerk you are. Hmm?

R.J.: Damn it, Balsom. I'm going to find out what you're up to, and if you're working with Vega against me, your life isn't going to be worth a plugged nickel, hmm?

Antonio: I'd be more than willing to discuss specifics -- Layla's rate, availability, and you should probably also know that if she gets to audition for anything, I get to come along. Right, Layla?

Layla: Definitely.

Curtis: How about I call you later, Layla?

Layla: Don't bother.

Curtis: That negative attitude is not going to serve you well.

Layla: Hmm, what's going to serve me well, Mr. Murray, is my talent and my ability to recognize when someone is a sleazy son of a -- when someone is not worth my time.

Curtis: Well, I hope that you enjoy waiting tables here, honey, because I have a feeling you're going to be at it for the long haul.

Antonio: Ooh. Scary. You okay?

Layla: Antonio Vega. I didn't know you had the acting bug. Thank you so much.

Tess: Do you have enough room?

Nash: Well, I guess we'll just have to wait and -- oh -- see.

Tess: Stop it! Stop it! Listen, if this roomie thing is going to work out, you are going to have to do something about your hands.

Nash: Well, the hands have a mind all of their own. But the lips --

Tess: Then we are going to have to renegotiate sooner than we expected.

Evangeline: Go home, John.

John: We're going to talk, and this time you're going to listen.

Evangeline: When haven't I listened to you? And no matter what actually gets said, it always ends up the same.

John: Well, now is different.

Evangeline: I'm trying to get my life back together after the hell Hayes Barber put us through.

John: That's over.

Evangeline: It's all over, John. It has to be. I can't go on like this. Everywhere I look, I see us -- here, my office. I can't even walk to the park without thinking about the night you -- you kissed me there.

John: Me, neither.

Evangeline: What do you want? What do you want from me? Why are you here? What do you want, John?

John: I can't do this alone anymore! That's what I want to tell you. So many mistakes -- afraid to open my mouth sometimes, because the wrong things are going to come out, you know?

Evangeline: No, I don't know.

John: The way I figured it, you know, if I never left the station, then I could protect myself, you know, from what I was feeling. Just -- you know, you concentrate on the job, John, and then you -- you protect yourself. You concentrate on the next victim, the next case, and then you don't have to -- I didn't have to deal with me. Then you come along, and -- you come on -- you come into my life and I -- man, did I screw up. I thought too much with this and -- and not a lot with this. And now I don't know what to do. I look at you and I see all the ways I let you down staring right back at me, and I don't know how to change that.

Evangeline: You saved my life --

John: No.

Evangeline: John.

John: No. You saved mine. You -- you saved me. You saved me.

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

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

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

Antonio: I love Jess -- if she's in some kind of trouble, I want to know about it.

Nash: I think you're afraid. You're afraid of what's going on between the two us, aren't you?