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  1. A lot of soaps have a central theme. ATWT was, from what I interpreted from Irna's bible, it was the importance of a strong family. AMC's was the brother hood of man. GL's was 'There is a destiny that makes us brothers....' My question is: What is the core theme/focus for shows like DOOL, Y&R, AW, SFT, LOL, EON etc. If shows like Y&R/DOOL didn't have one how did writers like PFS/Bill Bell, Ann Marcus (?), Kay Alden maintain a steady direction?
  2. EXT. DOCKS – NIGHT A thick fog nearly consumes the setting when a boat pulls in. A pair of feet steps off the boat and it is revealed to be John Hu. He looks around and likes what he sees. Suddenly, a Don Chi, Hu’s henchman, steps off the boat from behind him. He has a briefcase in hand. Don: Pretty foggy here tonight, huh? John: Just how I like it. Don: So you never told me why we’re here in Springfield. John: Patience, patience. All good things to those who wait. John digs into his pocket and reveals a small photo of Harley. He brightens up at the sight of her. John: (putting it back in his pocket) We have to get things prepared for the shipment. Is all the money there. Don: (tapping the briefcase) Yep. Counted it twice. Five million dollars. John: Good. Let’s get back on the boat and circle around the bay until they arrive with our stash. Don: Yes, sir. Don heads back onto the boat. John starts to head back onto the boat, and takes one look back . . . John: Springfield . . . my home away from home. He gets back on the boat and it takes off. CUT TO INT. HARLEY’S COTTAGE (LIVING ROOM) – NIGHT The room is pure darkness with the exception of the TV, which illuminates Harley. We slowly pan towards Harley, who is nestled up on the sofa, asleep. She’s so peaceful, and we FADE INTO EXT. YACHT – NIGHT— DREAM SEQUENCE Harley is dressed to the “nines.” She is donning a beautiful haute couture gown while she sets on the deck of the yacht, which glides across the Danube River. The scenery—its so captivating and refreshing, mesmerizes her. A male hand then reaches into the frame and grabs her hand, placing a flute with champagne in it. She looks up (and we follow) to see the man is non other than John Hu. Harley: John . . . John: Ssh. Don’t say a word, my sweet. Harley: But— John leans in and kisses Harley passionately, silencing her. Then a shot of the boat drifting off into the night, and BANG! BANG! END OF DREAM SEQUENCE BACK IN HARLEY’S LIVING ROOM Harley jumps out the sound of someone beating at the door. Phillip (O.C.): Harley! Harley, are you there. Harley: Ugh. Harley gets up, with her hair tossed everywhere, and heads to the door. She snatches the door open to Phillip, who jumps back at the sight of her. He can see the fury in her eyes. Harley: What! Phillip: We need to talk. Phillip barges in without being invited. Harley astonished by this. Harley: Umm . . . Phillip, I didn’t— Phillip: What is about you not wanting Zach attend Lincoln Prep? It’s a good school! Harley: With a lot of spoiled brats! Phillip: Just say it, Harley! You don’t want Zach to attend Lincoln Prep or have anything to do with my family or me because you’re afraid he’ll end up just me like. On Harley over it, FADE OUT http://www.youtube.com/watch?v=LiVNjqhyeW8 FADE IN INT. SPAULDING MANOR (HOPE’S SUITE) The door to the room flings open and Alan Michael rushes into the room, frantic. He starts to scope out the room and Holly trails behind him. AM: Mom! Mom! Holly: Alan Michael, be quiet! Do you wanna be heard? Alan Michael nods understandingly. He peeks in the closet and sees that it has been cleared. He looks to Holly, anxious. AM: Where is she? Holly: She couldn’t’ve gone too far. AM: I wouldn’t put it past her. The door closes and Alan Michael and Holly turn to see India leaning on the door. India: Looking for Caroline or should I say Hope? Alan Michael’s jaw drops. He charges towards India with rage in his eyes, but Holly grabs him, stopping him. AM: You! I should’ve known it! You— India: You better settle down. Not if you want me to remain silent. AM: Remain silent? (trying to break free) That can be arranged! Holly: (restraining him) Calm down! (to India) Where is Hope? India: Oh Holly . . . (shaking head) you knew about Hope too? This gets better and better. Holly: India . . . India: I wonder how Ed is going to take the news—his main squeeze keeping such big secrets from him. (gloating) Bet he won’t like it. On Holly’s reaction CUT TO EXT. BAUER HOME – NIGHT Ed sits on the porch rocking, and its foggy also. He looks in the night sky. Mom, Leslie, and Maureen, if you can hear me . . . (tearing up) please help Meta, Bruce, Mike, and Hope find peace. Ed looks down to see someone standing within the fog. Ed: Hello? Hope emerges from the fog looking destroyed, mascara dripping down her eyes as if she’s been crying nonstop. Ed: Caroline, you all right? Ed steps off the porch and walks over towards her. Ed: Do I need to call Alan? Hope: No! Ed: Did something happen? Did Alan harm you? Hope: No. Ed: Come with me. Ed takes her by the arm and tries to take her by the arm, but she jerks away. Hope: Don’t you even recognize me! Ed: Caroline, are you sure you’re fine? Hope: It’s me, Uncle Ed! It is me, Hope! On Ed uncertain and shaken, CUT TO INT. HARLEY’S COTTAGE (LIVING ROOM) We open up on Harley and Phillip in a stand off. Harley: Phillip, are we seriously going to do this tonight? Phillip: Yes! Phillip storms over to the sofa and sits. Phillip: (patting the sofa) Come sit. Harley: No. Phillip: I’m not leaving till we talk. Harley: You sure about that? Phillip: Harley . . . please. Harley sighs heavily and complies with his wishes by sitting across from him. Harley: What Phillip? Phillip: This has to stop—this tension between you and me. Harley: There is no tension. Phillip: There is. Harley: Phillip! (gets up and points to the door) Goodbye! Phillip: No. Harley: Leave! Phillip: I said no. Harley walks over and grabs the phone off the end table and starts to dial. Phillip: (sighs) Who are you calling? Harley: Frank. So he can come and whoop your ass and take you to jail. Phillip crosses over and struggles the phone away from Harley. Then he tosses it across the room and shatters into pieces. Harley: Phillip! Phillip: Now lets sit and talk like adults. Harley: Talk like adults? Screw you! Phillip: Why do you hate me, Harley? Why! Is this because of how I took Zach from you? I thought you’ve forgiven me! Harley: Well you thought wrong. Harley grabs her keys. She goes to exit but Phillip grabs her by the arm, restraining her. Harley: Let me go! Phillip: No! Not until you listen to me! Harley tries to pry free of Phillip’s grip. Harley: My opinion isn’t changing, Phillip! Zach is not going to Lincoln Prep. End of story— Harley breaks free but falls onto the floor. She holds her arm in pain while Phillip rushes to her side. Phillip: (worried) Harley, you OK! Harley: No! Harley kicks Phillip away from her. Harley: See! See! You see why I don’t want Zach anywhere near you! Your family! You’re a bully, Phillip! You’re sick! Phillip: Harley, it was an acci— Harley looks past Phillip to see Zach standing at the bottom of the stairs. Noticing Harley’s reaction, Phillip turns and sees Zach too. Guilt comes over Phillip. Zach: What’s going on? Mom, are you OK? Harley: (covering) Nothing. (getting back up) Nothing at all. Zach: But I heard you two screaming. Phillip: It was nothing, Zach. Just a simple disagreement. (devastated) I-I’m sorry, Harley. Forgive me. (fighting back tears) Forgive me. Phillip rushes out of the house. Harley looks on concerned and, CUT TO: INT. BAUER HOME (LIVING ROOM) Hope sits on the sofa in utter silence. She’s a total mess. Ed (standing up) watches on from a far, bothered. KNOCK! KNOCK! Ed rushes over and opens the door to reveal Holly & Alan Michael. Holly: Is she here? Ed points to Hope. Alan Michael rushes in and kneels down next to her. Holly enters and Ed closes the door. They both watch what’s about to happen. Alan Michael: Caroline! I’m so sorry. She doesn’t respond. Alan Michael: I just wanna let you know that you’re not fired. Your job is still intact and I want you to come home with me. OK? She still doesn’t respond. Alan Michael: Caroline . . . (tearing up) please forgive me. She slowly turns to see her son crying. She wipes the tears from his eyes. Hope: Don’t cry, my sweet baby. I forgive you. Alan Michael kisses her hand and bury his face in it. Ed is now convinced. Ed: So I guess it’s true. Holly and Alan Michael react. Ed: So I guess she is Hope. Holly and Alan Michael exchange looks, and on Ed unhappy, CUT TO: INT. BOAT (LOWER DECK) – NIGHT John lies on the bed in a daze while he glances at the ceiling. He then gets up and head down the hall to another door. He cracks the door open, and we get a slight shot of Carmen lying in the bed with a medical ventilator strapped to her. John: You’re home, Bonita. You’re home. On a shot of Carmen soundless sleeping, FADE OUT http://www.youtube.com/watch?v=mKZEgIi2Les COMING SOON: Phillip’s illness continues to go unchecked Jason & Leah plan an attack on Phillip Remy & Tierra grow closer Mel struggles with keeping her pregnancy secret Olivia's continues her quest to destroy Marah A friend of Shayne's comes to town Dinah & Mallet are drawn together Blake & Rick find love (not with each other) Alan uses the Reardon boys as pawns to gain back Spaulding Hope’s secret’s comes out Laurel & Reva makes life-changing decisions Cassie starts her search for her biological father & Frank helps John Hu wreaks havoc Michelle continues to fall victim to the Bauer curse Pilar and Bill reestablish their friendship James grows tired for Daisy . . . and wants Trista instead
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