INT: DIMERA STUDY: NIGHT
John stands in the dark, looking out the window and smoking a cigar. You can barely see him standing in the shadows.
CUT
INT: MIMERA ENTRANCE WAY: NIGHT
The entranceway and hall are dimly lit. Marlena enters and starts up the stairs. She suddenly stops and looks toward the study. She walks up a few more steps, but her attention keeps going back to the study. Impulsively, she walks back downstairs to the study doorway. She looks in. She doesn't see John.
INT: DIMERA STUDY: NIGHT
Marlena walks in a few steps. She isn’t sure what she is looking for. She turns to leave.
JOHN
Blondie.
MARLENA
(Turning around)
John? What are you doing standing in the dark?
JOHN
I like the dark.
MARLENA
Let me turn on a light.
JOHN
Leave it off.
MARLENA
Are you all right?
JOHN
What’s all right?
MARLENA
(Walking towards him)
I can barely see you.
JOHN
You can’t see me with the lights on either.
MARLENA
John, what’s happened?
JOHN
Didn’t your ex husband tell you about your crazy current husband?
MARLENA
He told me about the fountain. Roman said you were looking for something. Did you find it?
JOHN
I thought I had. Then you and Roman showed up together.
MARLENA
You were at the docks? Why did you go there?
JOHN
I don’t know.
MARLENA
Yes you do. Or part of you does.
JOHN
Why did you bring Roman?
MARLENA
I didn’t. He followed me.
JOHN
Why?
MARLENA
I don’t know and don’t care. John, why did you go to the docks?
JOHN
I wanted to--it doesn’t matter.
MARLENA
Did you find what you were looking for at the fountain?
JOHN
I thought I had. I’m going to bed.
MARLENA
John, wait. Tell me? Why did you go to the docks?
JOHN
I found the key. I went there looking for the lock.
(Walking out the door)
Good night Blondie.
MARLENA
John.
John walks out of the study and up the stairs.
CUT
INT: DIMERA ENTRANCE WAY: NIGHT
Marlena walks out of the study to the foot of the stairs. She looks up. John is already out of sight. The lira sits on the banister.
MARLENA
(Picking it up)
The key? Could it be the same one?
Marlena runs out the front door.
CUT
INT: OUTSIDE WESTWING DOOR: NIGHT
EJ walks up to the door, carrying a sheet of paper... He hesitates before knocking. Moments later, a light can be seen beneath the door. The doorknob rattles. The door suddenly jerks open. Lucas stands in the doorway surprised.
EJ
Lucas, you seem surprised to see.
LUCAS
The door opened.
EJ
That’s what they do. Is Samantha awake?
LUCAS
Do you know time it is?
EJ
(Taking a couple of steps inside)
Later than I thought.
LUCAS
Sami, told me what you did.
EJ
I’m not surprised. Could you get her please?
Sami walks out of her bedroom.
I have something to give her.
SAMI
Quiet, you’ll wake the twins.
(To Lucas)
You got the door open.
LUCAS
With no help from you.
EJ
What’s the fascination with the door?
SAMI
EJ, what are you doing here?
EJ
I wanted to give you this. The annulment papers. I’ve already signed.
SAMI
What’s the trick?
EJ
No trick.
LUCAS
I’ll go check on the twins.
EJ
Aren’t you going to stay and supervise?
LUCAS
No. Sami and I are wiping the slate clean and starting fresh. I am making the choice to trust her.
SAMI
Thank you Lucas.
LUCAS
I’m letting the past be in the past. Even for you.
EJ
That’s mighty big of you considering you shot me in the back.
LUCAS
What I did, I did for my family. There isn’t any thing I would do for them.
EJ
Johnny is my son.
LUCAS
He is also Sami’s.
Lucas kisses Sami on the cheek and walks to the nursery.
EJ
That won’t last.
SAMI
After all you’ve done EJ, you are the last person to be throwing rocks at anyone.
(Holding out her hand)
Well.
EJ
(Giving her the document)
Are you sure this is what you want?
SAMI
Are you kidding? If you hadn’t threatened Will, I wouldn’t even need it.
EJ
I'm moving out in the morning. I want to make arrangements to have visitation with my son.
SAMI
I won’t keep you from Johnny. But I also won’t let you use him to manipulate me either. I’ll talk to Mickey in the morning to make the arrangements.
EJ
I see. Good night.
EJ turns and walks away. Sami closes the door and reads the annulment. Lucas walks out of the nursery.
LUCAS
Are you okay?
SAMI
It’s over. It’s finally over.
LUCAS
Not quite.
SAMI
What?
LUCAS
I see that look in your eye enough to know what it means. Let it go, Sami. If you try to even the score, you’ll only hurt Johnny. Is that what you want?
SAMI
No.
LUCAS
Then let it go. We’re wiping the slate clean. Can we really do that if we don’t do the same for him? Sami?
SAMI
I’m thinking?
LUCAS
What’s to think about? You can have revenge or can you move on with the kids and me? What’s more important?
SAMI
Us. We are important.
LUCAS
Good.
(Looking at the door)
I have to check.
(Opening the door)
You’re ghostie must have changed her mind.
SAMI
Are you leaving?
LUCAS
It’s late. I’d hate to wake Maggie and Mickey.
Sami pulls him towards the hallway. Lucas kisses her check.
The couch is fine. New beginning. Remember?
Sami sticks her tongue out and saunters down the hallway alone. Lucas looks at the couch.
LUCAS
Gotta stay strong.
He flops down on the couch. Moonshine jumps on the back of the couch and then onto the middle of his back. Lucas looks over his shoulder as Moonshine kneads and then curls up on the middle of his back.
Swell.
CUT
INT: OUTSIDE OF WESTWING DOOR: NIGHT
EJ listens at the door. From above the perspective watches him and follows him down the hallway when he leaves.
EXT: FOUNTAIN IN THE PARK: NIGHT
Marlena is searching the bottom with the flashlight, trying to find the lire that she and John had tossed in. She picks coins out, but tosses them back when she realizes that they aren’t what she is looking for. Roman walks up on the other side of the fountain.
ROMAN
Marlena.
MARLENA
Roman. This is the second time tonight you have startle me.
ROMAN
Sorry. What are you doing?
MARLENA
Looking for a coin.
ROMAN
I have coins.
MARLENA
A specific coin. John and I threw it in here the day I should it to him.
ROMAN
John isn’t the same man you fell in love with.
MARLENA
How could he be?
ROMAN
He’s going to hurt you.
MARLENA
John would never hurt me.
ROMAN
He’s not John any more.
MARLENA
Roman, what are you doing here? Are you following me again?
ROMAN
No. I was went back to Chez Rouge to catch Doug's final set. Now I'm going home. I've answered your questions. Now, what are you trying to find in the fountain?
MARLENA
It what I'm not trying to find.
ROMAN
What?
MARLENA
If it's not here, it means that I already have it.
ROMAN
You're not making any sense.
MARLENA
Yes, I am.
ROMAN
Do you want me to help you not find it?
MARLENA
No thanks. It's not here any more. It's at home. Good night Roman.
Marlena turns off the flashlight and quickly walks back toward her car.
ROMAN
Either she's crazy. Or I am.
CUT
INT: EJ'S BEDROOM: NIGHT
Several suitcases are laid out around the room; they are half packed. EJ is asleep in bed. He smiles in his sleep as he dreams of the past.
CUT
EXT: EJ DREAM-COUNTRY ROAD: AFTERNOON SEVERAL YEARS BEFORE.
EJ and Ava are riding horse side by side on the sunlight country road. On the right side is open field. On the left is the shoreline of a lake. They are familiarly comfortable with each other.
AVA
I still think Kentucky would be the best.
EJ
Why Kentucky?
AVA
Do you think either of our fathers would look for us there?
EJ
Good point.
AVA
Besides, it has some of the best horse ranches around.
EJ
Don't you think they find us when our horse wins the Triple Crown?
AVA
Racing is your thing.
EJ
Like you don't have a competitive bone in your body.
AVA
Me. No. What ever gave you that idea?
EJ
So if I were to say, I'd race you to the docks, it wouldn't mean anything to you?
AVA
Not a thing.
Ava suddenly takes off in a full gallop down the road. Startled, EJ's horse dances until he regains control and he follows her. He catches up to her at the bend in the road. They turn the corner. Two more riders approach from the opposite direction. EJ diverts toward the lake. Ava's horse rears, tossing her off. The other two horse rear and buck. The riders quickly get them under control.
RIDER 1
(To Ava)
You hurt?
AVA
(Trying to grab the reigns of her horse)
Easy girl. You're fine.
RIDER 2
(Grabbing Ava's horse's harness)
What the hell do you think you were doing?
EJ
(Riding back on the road)
We didn’t think anyone else was out.
RIDER 1
You were wrong.
RIDER2
The path is for riding, not racing.
AVA
We’re sorry. I got carried away.
RIDER 1
Are you okay?
AVA
Just embarrassed.
RIDER 2
You’re Vitali’s kid?
AVA
Yes.
RIDER 2
I’ll take your behavior up with him.
The riders continue down the path
EJ
(Getting off his horse)
Ava, are you really okay.
AVA
I will be until that jerk calls daddy.
EJ
I’ll talk to him.
(Pulling a twigs an dry grass from her hair)
You sure you’re okay. You have a bruise on you forehead.
AVA
It hurts a little.
EJ
(Kissing the spot)
There all better.
AVA
(Pointing to her right wrist)
It hurt here too.
EJ kisses her wrist.
EJ
Any where else?
Ava points to her neck and he kisses it. Next to her lips and they passionately kiss. The dream vanishes and EJ stands alone in the darkness.
THE WOMAN’S VOICE
(Echoes around him)
You are your father’s son.
EJ
Ava!
THE WOMAN’S VOICE
You are your father’s son. You will pay for what he did to me and my daughter.
EJ
Who are you? Where’s Eva?
THE WOMAN’S VOICE
You will die as she did. I as did. Alone and forgotten.
EJ suddenly awakes in his bed. A shadow holds him down. He struggles to free himself. The shadow sits on his chest choking him. He yells for help. The woman laughs. No one comes. He wakes for real this time, only to find that he is alone in his room. He turns on the light on the nightstand. There are hand prints on his neck.
CUT
INT: OUTSIDE JOHN’S BEDROOM: NIGHT
Marlena knocks on the door.
MARLENA
John, It’ me. I need to talk to you.
JOHN
It’s late.
MARLENA
I’m not going away.
JOHN
(Opening the door)
I was asleep.
MARLENA
I don’t think you were.
JOHN
What do you want Blondie?
MARLENA
You have the lock.
(Holding up the lira)
I have the key.
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