Our Favorite Storylines/Moments From The Malone Years

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(1 fave scenes added 1/1)

PATRICK AND MARTY
"Tell Me A Story"
One night on Inishcrag, Patrick and Marty both were "chilled to the bone" after helping to save islanders whose boat had gone down at sea during a storm. Patrick had rushed down to the beach without a thought, but since Marty's parents had drowned when she was a child, she had great difficulty in suppressing that traumatic memory in order to administer CPR to a woman in respiratory distress whom Patrick had carried inside. When the woman finally sputtered back into life as the result of Marty's treatment, Patrick drew a shaken Marty to him and told her "You're just as strong as I always knew you were."
Then, in the bedroom they platonically shared at the Wild Swan, Patrick stripped off his cold, wet clothes as unthinkingly as he'd gotten them wet in the first place and jumped into bed shivering, while Marty, primly attired in her long-sleeved, floor-lenth nightgown and shawl, hung back. Patrick made light of her trepidation ("....Do medical students in the states know about this body heat thing....you're just going to let me die after everything we've been through together?"), until she warily joined him, gingerly rubbing the edge of her shawl over Patrick's shoulder to help warm him. Marty relaxed at his matter-of-fact response and thanked Patrick for giving her the courage to save the woman. She asked him to tell her something about himself ("I want something personal...I want something real." ) and they tentatively began to share some of the sad details of their previous relationships with each other. But when Marty asked him about the men who were following them, Patrick balked. So Marty asked him to tell her a story..."about Ireland." Taking her hand in his, Patrick began to spin a tale of an Irish king who lived in a castle by the sea, and Marty fell asleep to the sound of Patrick's voice.
Only Michael Malone could have written a scene like this of two people giving each other exactly what they needed, when they needed it, connecting in a way not usually seen on soaps. It was very personal, real, and revealing.
(Christy)

Bo and Nora

Who can forget the “kiss in front of the fireplace?” Bo and Nora had been working on trying to find the driver of the car that killed Sarah. They arrived at Bo’shouse, neither of them ready to call it a night. So they decided to pop some popcorn and watch an old movie. As Bo plugged in the popcorn maker, he blew a fuse so they were forced to make up their own movie as they sat by the fireplace. As they were doing their scenes, they looked deeper and deeper into each others eyes and then Bo leaned forward and kissed Nora. For me that was the moment that I knew that these two had something so very special.
(Mary Ann)

Patrick and Marty

One of my favorite Patrick/Margaret memories is when they are locked in the university library late one night. When Patrick discovers Margaret asleep over her books, he simply looks at her for a while, smiles wistfully, leans over to inhale the scent of her hair, and traces the curve of her cheek without touching her . . . and then the words of Shakespeare take over. The scenes were beautifully crafted, and the actors gave powerful performances.
(Janet Jensen)

Patrick and Marty

In the stables after Patrick helped Blair bring Starr home from the hospital. Marty came to warn Patrick and he told her off - "Don't toy with me anymore"...still gives me chills every time I watch that scene.
(Debbie R.)

Bo and Nora

Bo and Nora’s wedding vows. While I wasn’t too keen on Little Richard (though I loved the stroll down the aisle) I absolutely loved Bo and Nora’s vows to each other. Who can forget:
Nora: "A few minutes ago, we were gonna call the whole thing off because something felt wrong and we're not used to that feeling when the two of us are together. It'sthe one thing we've always had. One thing that was never wrong, not for a minute, was this love we have.... You just make everything so easy, easier than I ever thought love could be. I promise you, Bo Buchanan, with all my heart and all my soul, that I will love you and cherish you for as long as I live."
Bo: "Yeah, it's been some dance though, hasn't it? My life's never felt so full. I’ve never felt so alive. I hope the music keeps playing for us as long as it possibly can, because as long as I got you, that dance can just go on forever."
(Mary Ann)

Todd and Rebecca

"Dirty Little Thrill" is the name of my fave Malonian scene. Todd had just confronted the hospital rapist and was giving Bo the mask that he had ripped off of the rapist before he escaped. The scene picks up when Todd returns to his room and an awaiting Rebecca. Rebecca assures him that she still and will always believe in him. Todd starts kissing her, grateful that she is still there for him, still his Angel. Todd is desperate to consumate his relationship with Rebecca; he sees it as a way to get a commitment from her. He knows Powell is out of town and wants to solidify their relationship before Powell gets back.
Earlier Todd had told Powell about the passionate kisses he had been sharing with Rebecca, resulting in PnR's break up and Powell's supposed trip out of town. Rebecca pulls away from Todd and starts being mamby-pamby about her feelings for him. Todd is very impatient and demands that she lay it all out for him. Again he offers Rebecca his mom's ring and a marriage proposal. "Do you want me to BEG", he angrily growls at her. He accuses her of playing Powell and him off each other, and says that she enjoys them fighting over her. He demands that she acknowledge and deal with the feelings that HE has for her. He then angrily suggests that "I give you that dirty little thrill for wanting a Bad Boy." Rebecca explains that if she could get TODD of all people to accept God then she TOO would be worthyof God's love. Rebecca acknowledges his dark side, his violent temper, his desire for her sexually and her desire for him. She did get a dirty little thrill for wanting him, but her desire for him was in competition with her salvation. Could she give up her soul for him?
Todd then informs Rebecca of the fact that Powell raped Marty too and that Powell was as much a monster as he was. She didn't seem to have a problem with letting Powell steal her soul. Rebecca then let slip that she never slept with Powell, that she had lied and told him that so he would leave her alone. Todd felt totally betrayed and terrified Rebecca with his anger. She ran out of the room and hopefully away from Todd forever.
RA was the perfect supporting actor for RH. They had unbelievable chemistry. We rooted for our Angel and Dark Prince, not for Todd's redemption, but for him to have a little piece of Heaven in his self-inflicted Hell. RH had a lot to work with in this series of scenes, his relief that Rebecca still believed in him, his passion and desire to make love to her, his constant conflict with Powell, his frustation that she wouldn't make love to him. I'll never forget this scene, or the TnRstory.
(Jane)

Todd and Rebecca

There were so many wonderful, riveting scenes during Malone's tenure that it was difficult to choose just one as my 'favorite' between Todd and Rebecca. This particular scene isn't one of their most tender, but it was so well-written and shot that I get chills every time I watch it.
Todd has taken Rebecca to his mother and step-father's summer home on Mt. Joy when the police close in on him at the Tabernacle of Joy. He is sick, tired and run down from his time on the run and is going on pure adrenaline. He has decided that the only way he and Rebecca will ever be truly happy together is if they are dead, and tells her that he plans to kill her, then himself. The desperate depths to which he has sunk terrify her, and when he lets her make a last phone call to Angela Holiday, Rebecca slips a subtle clue to her as to their whereabouts.
Bo picks up on the clue, and he and Powell rush to Mt Joy and the old summer home to resuce Rebecca and apprehend Todd. In the meantime, Todd and Rebecca have a heart to heart during which Rebecca tells him she loves him for the first time. He tells her that he can't believe she would love him after all he has done to her, but she replies softly, "That has nothing to do with how I feel about you."
Shortly after this, Bo and Powell arrive. Bo hides while Powell rushes in like the calvary and confronts Todd. He tells Todd that if he truly cares for Rebecca he will let her go, and keep him as a hostage instead. Todd considers Powell's words. Giving her an emotion-filled kiss on her forehead, Todd tells Rebecca to go before he changes his mind. When she leaves, he and Powell fight. When Todd gets the upper hand, Bo enters the fray and Todd escapes into the surrounding woods with a gun he acquired in Llanview.
Bo follows him to the lake, and tries to wrest the gun from Todd's grasp. Rebecca rushes to the scene screaming Todd's name hysterically with Powell close at her heels. Her cries penetrate Todd's consciousness, and he looks over at her slowly, mouthing her name. In that moment, the gun, which is between Bo and Todd's bodies, goes off and Todd's eyes widen in surprise. Rebecca becomes even more frantic, as she watches Todd fall into the freezing lake in slow motion, his eyes locked on hers. She struggles to get away from Powell, intent on jumping into the water to find Todd, but Powell will not let her go.
Todd's body is not found, but he is presumed dead because of the coldness of the water and the gunshot wound. Rebecca lashes out at Marty and others who deride her for mourning Todd's 'death', but eventually she gives in to the pressure of the townspeople and becomes thankful that Todd is gone.
Of course, he wasn't really dead.
(Didi)

Todd and Marty

"I Know What I Did To You"
Powell, who has turned out to be the serial hospital rapist, has just held Todd at gunpoint terrorizing him. Todd was humiliated, gagged, terrified, helpless, on his knees begging for his life. He finally knew exactly how Marty felt the night he raped her. After the police have taken away Powell, Todd apologizes to Marty. Now he's said he was sorry before but this is from his soul, it is raw and gut-wrenching. It is Todd with absolutely no walls up, his most open we have ever seen him. The writing is superb and Roger and Susan's performance's were stellar. Todd and Marty had come almost full circle. Malone's writing and his characters absolutely grabbed my heart and had me mesmerized.

TODD: This is really hard. What Powell did to me was more than make me think that I just had a second to live. It made me think about things, about myself, that I never would have seen before.

MARTY: What are you trying to say?

TODD: I’m trying to say I’m sorry. Sorry for what I did to you. And I know that I’ve said that before but let’s face it you never believed me. And who knows maybe that’s because I never knew what I was asking for forgiveness for. Until now....now I know what I’m asking. I’ve been there....where you were at the KAD house. Powell made me beg for my life, he made me get down on my knees and beg. My hands were tied, there was a sweatband in my mouth and I felt....(breaks off)

MARTY: Helpless?

TODD: Yeah.

MARTY: Not much fun is it?

TODD: No. And I wanted you to know that I know what I did to you. I really know (breaking down) And I wanted....I wanted to say I’m sorry. Umm, I finally gotto see myself the way the whole world sees me and I know why they do. Cause I was a monster, I was nothing but a monster. (Marty’s eyes widen at his admittance) I don’t know Marty. I, uh, want to make some changes in my life and I want to get off this wild crazy ride we've been on since the night that I hurt you. (breaks down in his voice) Since the night I raped you. I’m sick of all the hatred and all the games and I just want to get past it.

MARTY: (tears in eyes, barely a whisper) I wouldn’t mind that myself.

TODD: I don’t know maybe there’s a way that we can both let it go. We could stay out of each others way or find some way to make a life. I know it’ll probably take a little time.

MARTY: (Nods silently) Mmmm.

TODD: (Turns his back to her, during this Todd totally loses it and the tears flow, his voice choked and cracking with emotion) It’s funny though, you spend your whole life thinking you’re so cool, and nobody can hurt you and then one day you really see, you look around, and everybody hates you. No friends, no nothing! I don’t know I don’t think I can do this! (Todd is crying still with his back to her, Marty slowly comes to his side, tears in her eyes and tries to reach out to touch his cheek where the scar is, her hand trembling and jerking, as soon as she touches him she shrieks, he jerks away. She runs out into the hall shaking and slowly you can visibly see the weight being lifted from her shoulders. She smiles and says a firm “Goodbye” to herself. Todd slowly stops the tears and lets out a huge sigh)
(Deb C.)

Nora's Closing Arguements at the Rape Trial

"The Halls Of Justice"
The most powerful scene to me during the Malone era was Nora's closing statements at the rape trial of Marty Sayebrook. It was the end of the trial and Nora was racked with guilt that the men that she defending were guilty of such a hideous and cowardly crime. Watching the scene gave me absolute chills with the passion and bravery that Nora exhibited by trying to sway the jury against her own clients. This was very emotional as the camera panned from Marty's face stained with tears to Todd Manning's filled with rage and fear. Nora starts out by telling the jury to close their eyes because justice is blind. She says not to be concerned with appearances. The three men look like model citizens, good looking young, rich and in college. One an honor student, one a class officer and another a football hero. She asks is that what they really are or are they three spoiled boys
who trapped an unwilling prey and committed a brutal act of violence? She then asks the jury to look at the alleged victim. Is she a lying slut or a brave woman who had the courage to bring her attackers to face justice?

As the scene progresses so does the intensity of it as Nora delivers these lines with conviction and fire:
"Do you see them throwing a waman down on the bed holding her there by force bruising her neck and her wrists? Do you see them trying to stifle her cries of passion or do you see them shoving a sweat band in her mouth so they don't have to listen to her screaming for help as they rape her. AS THEY RAPE HER!!!..."

Wow! Haunting, disturbing, powerful, and intense. This was Michael Malone's One Life To Live.
(Natalie P.)

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