From: starkid@mcs.com (Lance Sanders)

(c)

       ***  Godzilla Lite Update --- Wednesday, February 15, 1995  ***
            -----------------------------------------------------

                              Brought to you by:
                              4-SIGHT OPTICALS
              "We offer you the horizon - at a reasonable price"


                               Old Faithful
                                   Day
                               ------------


                                Storylines
                      (ranked by relative superiority)
                      --------------------------------

[E]:
---

   Adoption agency.
   Nick & Mindums are in the corridor during a break in the proceedings; 
Mindy is called back in, separately. 
   A bouyant couple who have just successfully completed their adoption 
walk by with their new baby. A brief chat, and Nick is left with a look 
of mixed feelings plastered on his face (IMMHO).
   Back in the interviewer's office, Nick and Mindy assure her they're 
positive about wanting to adopt, and are eagerly awaiting the next step 
in the process: the home visit. End of interview.
   In the corridor, Mindy announces she wants all their clothes, etc., 
moved back into the Spaulding mansion: "...I want everything perfect;
nothing can go wrong..."
   Mindums shows Nick a book on facilitating the entry of adopted 
children into families. They briefly "fantasize" about the kid's 1st 
boyfriend, her 1st prom, etc., and hug big-time (and are spotted by the 
interviewer on her way out of her office). 
   Nick takes Mindy _back_ into the office for a quick, private chat. He 
promises he'll never f**k-up again. Mindy agrees that this marks the 
beginning of a new committment.  [Sheyeahright :))]
   Mr. Man opts to take her out for a Valentines day celebration to mark 
the "new beginning". Another big hug, and Mindy stares at the adoption 
book over his shoulder (tsk, tsk, tsk; prioritizing on the sly  ;) ).



[D]:
---

   The Diner.
   Valentines decorations are up, courtesy of Stavros.
   Frank can't get to Crete because heavy fog has grounded all flights.
   Dave and Bridget arrive and hit booth one; he goes through mail he's 
brought along, and finds divorce papers among the pile. [Ouch.]  Chat 
turns to the day-at-hand. Jet disses "holiday stuff", and simultaneously 
pulls out two heart-shaped chocolate suckers from her pocket [:)] which 
they attack immediately.

   Nadine and Lucy are at the counter, chit-chatting about "the perfect 
companion", and l'amour in general. Lucy: "...once you find it, you 
can't lose it...". Nadine assures her she'll "find it". 
   Buzz pulls his daughter into the kitchen for a private chat, and to 
give her a V-Day card. Blah, blah, blah...failed romances...Jenna and 
Nadine...
   Buzz: "...but I'm tough, I'm tough...
          alright, I'm _lonely!........."
   Lucy: "...it's your fault I can't find anybody;
          I'll never find anyone as good as you..."
   Buzz sends her to the front to help Frank get an airline reservation; 
Lucy (on phone) finds a flight out of O'Hare that leaves that evening.
   A delivery man arrives with a bouquet for Nadine --- Carroll is "on 
the job".  :) 

   Lucy joins Dave and Jet at booth one. David insists they hit the town 
to have some fun instead of spending the night feeling sorry for 
themselves. Luce initially thinks it'll be obvious they don't have 
dates, and so are "group-clubbing"; Bridget believes the lack of 
"dating pressure" will do them good. Lucy comes around, and it's decided 
that they'll hit the roadhouse first, then decide what to do from there. 
   Exit The Three Amigos.
   Additionally, the fog has cleared, and Frank prepares to leave for 
Crete, getting frantic with last minute instructions to Buzz and Nadine 
for Marina. 
   Buzz gives him the photo of Christos:
   "...he's PUNY; don't be too hard on
    him - you shouldn't have a problem..."


[C]:
---

   Crete.
   Eleni has arrived chez Christos, and is immediately confronted by his 
sister, Demitra.
   The D-ster is pissed that Eleni came without explicit permission (not 
to mention the still-standing "spitting on her family's honor" thing).
Demitra notes that Chris doesn't want to hear her sob story, and isn't 
home, anyway; she goes inside to arrange a boat off the island for 
Eleni. 
   E hears a piano being played, and recognizes the style as Christos'. 
She begins to bang on the door --- which brings Demitra right back out 
to run interference. :) 
   Unseen, Christos (all grown-up, apparently ;) ) peers on the convo 
from an upstairs window.

   The fog is too thick for safe boat travel, and Eleni must stay the 
night on the island.
   Christos (to himself) : "You've come at last..."

   Uh-oh, Frank.



[B]:
---

   Beachfront.
   Holly is sitting, brooding in the fog, near-tears.
   She pulls out a blank Valentines Day card just as Ed jogs by (keeping 
himself in shape for Eve :) ). Chat naturally ensues. Seems Holly is 
tired of soul-searching, but "...still stuck on 'Square One'...". Holly 
asks Ed how he and Eve manage at work together; the convo segues to the 
last time Ed saw Holly --- the Christmas mini-brouhaha when Rog "bum 
rushed" casa Bauer. Ed's recent encounter w/The Dodger is explained: 
"...he thinks you're sleeping with another man...".
   Blah, blah, blah. Ed: "...do what is right for _you_, for once;
                          break the pattern - listen to your inner 
                          voice..."
   The good doctor insists that the only thing driving Roger is greed, 
and disses him over the Christmas "display":
   "...what kind of man debases himself in front of a room full of 
people??.."
   After Ed jogs off, Holly supplies herself with the answer:
   "...a man in love..."
   She repeats the phrase, crumples the card and pockets it, then slowly 
walks off into the thick fog.


[A]:
---
   The Journal's parking garage.
   Roger has tracked Fletcher, and physically barred him from taking the 
elevator to his office: "...I KNOW, Reade...I know _everything_...".
   Turns out Roger thinks Holly is using Fletch as a "cover" for her 
tryst w/ "Mr. Unknown". [!]  He insists Holly must have told Fletcher 
who the guy is.
   Fletcher: "_Something's_ changed...Holly has changed; she's happy -
              satisfied. That's the word for Holly these days:
              SATISFIED."                       

   [Dream on, desk jockey. :) ]

   The situation becomes heated, but before Fletch can spill the beans 
about the office romp, Ben arrives --- Fletcher is supposed to take him 
to his dental appointment. 
   Reade sends his son to the car and delivers final advice to Rog:
   "If Holly were my woman, I would keep my
    eyes on HER instead of some other guy..."


[A2]:
----

   Holly returns home, pulls the crumpled holiday card from her coat 
pocket, then scans her phone messages. Fletcher has called from the 
Journal: needs her back at the office to sign stuff, their journalistic 
award is in the works, and oh, yeah, he ran into Roger ("...didn't tell 
him anything...").
   Knock-knock. The Dodger.
   Holly: "...sit down, Roger...I've made a decision...
           it's over. I took the time that I needed...
           I'm sorry for what I put you through..."

   Roger's jaw drops a good four feet.

   Holly: "...it's YOU; it's ALWAYS been you
           --- I want us to be together....."

   Yeah, but does HE want to get back on the "good foot"??
   Cliffhanger!






Timings For Those So Inclined  :)
-----------------------------


   Well, so far, GL has been using abbreviated graphics on days when 
there are no O.J. Updates (one day when there was), and _full_ graphics 
on days when there is an O.J. prelude!
   So much for saving time (interesting, tho...).
   You make the call.


   [The following figures are approximate, and were obtained by
    zeroing the VCR counter prior to timing a sequence.
    Opening graphics are minus the end commercial lettering
    prior to 1st commercial (on Thur. (2/09/95), print was for
    "Pantene...".)
    Close graphics time includes the PGP logo.
    Segment times are running time for storylines.              ]
     

                    Thu    Fri    Mon    Tue    Wed
                    ---    ---    ---    ---    ---
 O.J. Update:       1:30   zero   zero   1:28   1:27

  GL Opening:       0:43   0:10   0:10   0:11   0:47
Mid-graphics:       0:10   0:05   0:05   0:05   0:10
End graphics:       0:23   0:23   0:28   0:19   0:18

 Segment One:       2:30   3:13   3:16   2:56   2:14
    Seg. Two:      10:30   7:08   4:25   7:18   6:51
  Seg. Three:       5:15   6:55   4:25   10:31  8:56
   Seg. Four:       5:53   6:52   9:29   4:44   5:44
   Seg. Five:       4:55   6:00   8:05   6:41   5:02
    Seg. Six:       5:08   4:11   6:30   4:44   4:48
  Seg. Seven:       4:00   4:48   2:47   2:09   5:06


----------------------------------------------------

                    Thu    Fri    Mon    Tue    Wed
                    ---    ---    ---    ---    ---
  Total O.J.:       1:30   zero   zero   1:28   1:27

    Total GL
    Graphics:       1:16   0:38   0:43   0:36   1:15

    Total GL:      36:71   37:87  37:77  37:43  37:21


---------
lance "9:99" sanders
  starkid@mcs.com



