INT: CHEZ ROUGE: NIGHT
Doug is on the stage singing “I Remember You”. Chloe is a the bar with Philip waiting to go on. Roman is at the other end of the bar, watching Doug and talking to Julie.
CHLOE
Do I look all right?
PHILIP
Why are you so nervous?
CHLOE
After what happened this afternoon, how can I not be.
PHILIP
I’m here. Roman’s here.
Morgan walks in and looks around. Seeing Philip, she walks to him.
CHLOE
Lucas was attacked in the middle of Salem Square. Besides I’m opening up with a new song.
PHILIP
The truth comes out.
CHLOE
It’s different.
MORGAN
Philip, I was looking for you.
PHILIP
You found me.
MORGAN
I need to talk to you.
CHLOE
(Annoyed)
Hello, Morgan. What is it this time?
MORGAN
Chloe, I didn’t expect to see you here.
CHLOE
I work here.
MORGAN
A little beneath an international opera star.
CHLOE
(Sexual undertone)
You have no idea what is beneath me.
MORGAN
Philip, I really need to talk to you--alone.
PHILIP
Can’t it wait.
MORGAN
It’s about my father.
CHLOE
(Under her breath)
Isn’t it always.
MORGAN
It’s important.
PHILIP
Chloe, we’ll just be a minute. Morgan, let’s go out on the terrace.
CHLOE
Don’t leave on my account. I need to go talk to Julie.
Chloe walks to the other end of the bar.
ROMAN
I thought Julie was just talking about a piano. There is a five piece orchestra.
JULIE
You know Doug. He can’t do anything small.
ROMAN
I think it’s wonderful. Hi Chloe.
CHLOE
Hi.
JULIE
What’s wrong?
CHLOE
(Faking a Southern accent)
Miss Magnolia has another emergency. She just has to talk to Philip about her daddy.
ROMAN
This is a little out of my expertise. I’m going to call my date and see what’s keeping her.
Roman walks toward the front entrance.
JULIE
(Looking at the other end of the bar)
You’re not going to just give up like that?
CHLOE
What can I do?
JULIE
Fight for what is yours.
CHLOE
He’s not mine.
JULIE
He is if you want him. I’ve seen the way he looks at you.
CHLOE
How can I compete with her damsel in distress routine?
JULIE
Mark your turf.
CHLOE
Mark my turf?
JULIE
You’re bright, talent and beautiful. Use your God given assets to get his attention.
CHLOE
If my dress was any lower, I would have a wardrobe malfunction.
JULIE
Looks only get their attention. To reel him in you have to be smarter and tougher than the competition. And believe me Morgan isn’t much competition unless you give her room to be. Yesterday, you rehearsed Albert’s friend song.
CHLOE
Yea.
JULIE
Got down enough to sing in?
CHLOE
Yes, but that’s not what Doug is going to announce.
JULIE
Let me take care of it.
CUT
EXT: CHEZ ROUGE: NIGHT
Roman is on his phone.
ROMAN
Hi, Alyssa. Roman. I’m at Chez Rouge. Could you give me a call?
He hangs up. Kate walks up.
KATE
Problem?
ROMAN
Not really. Katie, you look nice?
KATE
You clean up real nice too.
(Looking around)
Where’s your date?
ROMAN
She’s running a little late.
KATE
Oh. I see. How about if I buy you a drink while you wait? I’ll order you a Kamikaze.
ROMAN
Why in the world would you do that?
KATE
I saw the way you were looking at Marlena. You have never gotten over her.
ROMAN
Katie, Katie.
KATE
Isn’t that why you faked having a date?
ROMAN
I didn’t fake anything. Alyssa is just late.
KATE
Alyssa? How long have you known her?
ROMAN
We went to school together.
KATE
High school sweetheart?
Alyssa walks up.
ROMAN
No, actually she gave me a black eye. Hello, pretty lady. We were just talking about you. Kate. Alyssa. Alyssa. Kate.
ALYSSA
(Extending her hand)
It’s nice to meet one of Roman’s friends.
KATE
I’m his ex-wife.
ROMAN
Katie, be nice.
KATE
I am being nice.
ALYSSA
It’s good to meet you any way.
(To Roman)
I’m sorry I’m late.
ROMAN
No problem.
(To Kate)
It was nice seeing you again.
Roman and Alyssa walk inside, leaving Kate outside alone. She starts to go in, but changes her mind and walks toward the park.
CUT
INT: STANLEY AND MARIE’S BEDROOM: NIGHT
The shower can be heard from the bathroom. Stanley walks in carrying a large dress box. The water is turned off
STANLEY
Ava. There has been a change in plans. I called Martin. He is coming here.
AVA
(Walks out wearing a bathrobe)
I smell better at least.
STANLEY
I called Marie. She wanted you to wear this.
(Offering her the box)
It’s her wedding dress.
AVA
I couldn’t. That’s for family.
STANLEY
Marie wouldn’t have offered if she didn’t want you to wear it.
AVA
(Taking the box)
Thank you.
STANLEY
It might be a bit big. But Martin’s wife, Cheryl will becoming with him. She’ll be able to make it look nice.
Ava takes the dress out of the box. Made with silk and lace, it was designed after Renaissance era with full puffy sleeves and square cut bodice. It has a long and flowing train made of lace.
AVA
It’s beautiful.
STANLEY
Marie made it. There isn’t a vale. We wanted to see each other.
AVA
(Kissing his cheek)
It doesn’t need it. Thank you Stanley
STANLEY
(Patting his stomach)
My suits, well let say they would take a lot more alternating. I dug out one of my son’s suits. It’ll fit better in the waist. But I wouldn’t be taking any full length picture.
Ava’s confused.
You’ll see. I’ll send Cheryl up when she gets here.
Stanley walks out and closes the door. Smiling, Ava holds the dress up to herself and looks in the mirror.
CUT
INT: STEFANO’S OFFICE: NIGHT
John at the computer. His untouched dinner sets on the desk. Marlena sits across the room, finishing her dinner.
JOHN
I think I have it.
He types and pushes enter. The computer beeps at him
Not it.
MARLENA
That’s two.
JOHN
I was sure it Santo.
MARLENA
You were just as sure it was phoenix.
JOHN
Do you think you can do better?
MARLENA
Yes. I’d wait to talk to EJ and Tony.
JOHN
I can do it.
MARLENA
Try his mother’s name.
JOHN
Why?
MARLENA
(Standing and walking to the desk)
Look around. He built a shrine to her.
JOHN
Stefano isn’t that sentimental.
MARLENA
That’s one thing that hasn’t changed. You’re still stubborn.
JOHN
I prefer tenacious.
MARLENA
Same thing.
JOHN
Mine sounds better.
MARLENA
Fine.
(Pulling off one of the scrapbooks)
Do what you want? But don’t complain later.
JOHN
Me complain?
Astonished, Marlena takes the scrapbook back to the chair and opens it up.
I never complain. I express my displeasure in a clear, concise manor.
MARLENA
(Turning the pages)
Keep telling yourself that. One of us will start to believe it.
CUT
INT: FRONT HALLWAY TO STANLEY AND MARIE’S HOUSE: NIGHT
EJ, Stanley and Martin stand by the fire place. In his early twenties Martin is dressed in jeans and a t-shirt. He looks more like a college student than an ordained minister and township clerk. EJ is dressed in a late 60’s black suit that was better suited for a high school prom. It fits; however, the pants are about three inches too short.
MARTIN
It’s a good thing you called when you did. Cheryl and I were just getting ready to leave for Chicago. We have Cubbie tickets They have a double header at Wrigley tomorrow.
STANLEY
Love the field.
MARTIN
Don’t even go there.
EJ
Ava and I are very grateful.
MARTIN
I didn’t have much choice. Marie called Cheryl.
STANLEY
Translation. They thought it was romantic and Cheryl didn’t give him a choice.
MARTIN
Exactly. No wedding. No Wrigley.
EJ
I’m sorry.
MARTIN
Don’t worry about it. Do you have a ring?
EJ
No.
MARTIN
Marie didn’t think you would. We stopped on the way here.
(Pulling a ring out pocket)
It‘s nice, but nothing fancy. We‘ll settle up later. Cheryl picked a bouquet from our garden. She also called the Staninski’s in town. They have a bed and breakfast. Pat is holding a room for the two of you. If you don‘t have other plans, give her a call and she’ll spiffy it up for a romantic honeymoon night.
EJ
I don’t know what to say.
STANLEY
Mayfield may just a little county place. But know the true meaning of friendship and family.
CHERYL
(Off camera)
We’re ready.
MARTIN
Okay. We’re starting the music.
Stanley goes to his desktop computer. With a click of the mouse, the wedding march begins. Quickly, he returns to EJ’s side. Wearing a sundress, Cheryl walks down the stairs ahead of Ava. Ava follows, the train flowing behind her. She stumbles on the last step and falls. EJ runs to her, helping her up.
EJ
Are you okay?
AVA
As long as I’m with you, I won’t be anything else.
EJ
Always and forever.
With Cheryl in the lead, they walk into the living room. Ava hands her the bouquet and Stanley mutes the music.
We are gathered here to legalize the bond that EJ DiMera and Ava Vitali already have created in their hearts and their souls. Their paths briefly led each other in different directions, yet their souls longed for the love they found in each other. Although they were separated, they were never truly parted. The fates, seeing the longing their hearts, brought them back to each other to rekindle the love and passion that will last all the days of their lives.
MERGING OF SCENES WITH INT: CHAZ ROUGE: NIGHT
Doug is singing “My Romance/You‘re Nearer” to the crowded dining room. Roman and Alyssa sit at a dinner table. Roman smiles at her. Alyssa smiles back. Julie walks around towards the side of the stage to stand just outside the spotlight. Philip talks with Morgan. He looks up at Chloe and smiles at her.
INT: STANLEY AND MARIE’S LIVING ROOM: NIGHT
Doug sings as a voice over. Martin continues with the ceremony. EJ and Ava take each other hands. Martin blesses the rings and gives one to EJ. He slips it on Ava’s finger and kisses it. Martin gives the second to Ava, who puts it on EJ’s finger. Their fingers intertwine.
INT: CHEZ ROUGE: NIGHT
Doug sings slowly moving in Julie’s direction. He extends his hand and she takes it; he pulls her on the stage, singing directly to her. He finishes the song and he kisses her.
At the same time, EJ and Ava kiss.
FADE
INT: CHEZ ROUGE: NIGHT
The crowd applauds.
DOUG
(To the audience)
Oh, you all still here.
JULIE
We are on the stage.
Crowd laughs.
DOUG
I can’t see anyone but you fair lady.
JULIE
Yes, that may be true my darling. But they can definitely see us.
DOUG
Okay, in that case. Chloe would you pretty please come up and sing. So I can take this beautiful woman in the moonlight.
CHLOE
(Walking up)
I would love to.
JULIE
Albert, there as been a little change. Chloe is going to be singing your friend, Suz Tyler-McPhee’s song.
ALBERT
She is?
CHLOE
I’ll do the other one second.
Julie and Doug leave the stage, walking toward the balcony.
ALBERT
Okay by me.
DOUG
What was that all about?
Albert is seen talking to the other musicians.
JULIE
Never mind. Didn’t you promise me moonlight?
The music starts and Chloe sings Voodoo Mamma copy righted and used with the permission of Tyler-McPhee.
Well, I stumbled on a letter
To my man in the mail,
The contents of the letter
Turned my face all white and pale.
It was written on some paper
That smelled of cheap perfume,
From some low-rent kind of woman.
Guess I better get my broom.
DOUG
What’s that--
Julie passionately kisses him and walks out on the balcony. He looks to the stage then a the doorway.
Who cares?
Doug follows her. Chloe sings from the stage. Morgan and Philip don’t seem to notice. Still singing, Chloe steps off the stage and weaves through the tables; the spotlight follows her.
And go see Mamma
Yeaaaa, Voodoo Mamma.
Keep away from my man,
Mamma do her voodoo on you.
My Mamma lives out in the swamp
In a spooky little shack,
Lotta of folk will try to find her,
Not a lot will make it back.
I said, ‘Mamma, what do I do?
Some woman wants many man.’
Mamma sprinkled something on the note,
Then placed it in my hand.
That’s my Mamma,
Mamma do her Voodoo on you.
Mamma said, ‘A spell has been cast,
And it carries her name.
With every thought of your man
More weight she will gain.
Just a pound or two at first,
We’ll give her a little chance,
But if she persists by noon
She won’t fit in her pants!’
Yea that’s my Mamma,
Mamma do her Voodoo on you.
Mamma said, ‘If she keeps it up
That girl will be aghast,
When she looks in the mirror
And see she’s grown a thick mustache.
Well, her slender thighs will swell
And her ample breasts will sag.
Well, honey it won’t take long
To turn that woman into a hag.
That’s my Mamma,
Mamma do her Voodoo on you.
Chloe works her to where Philip and Morgan are standing. They notice her. Chloe steps between them and sings to Morgan. Philip is both embarrassed and flattered. He doesn’t move. However, Morgan backs away. Chloe follows.
Mamma said, ‘honey wait til midnight,
When the moon is full and bright.
Then light this note on fire,
You know, the flames will make it right.’
She spun around in circles.
Arms raised in the moon’s new light.
Then she danced a little dance and
Disappeared into the night.
Morgan leaves. Chloe returns to Philip.
That’s my Mamma,
Mamma do her Voodoo on you.
Now, women be forewarned
If you mess with a married man,
You better give him up
You know he’s stolen contraband.
Well, I wouldn’t be so sure,
As if it were routine
He may just have a mother-in-law
Like my Mamma, the Voodoo Queen.
Well, that’s my Mamma,
Yeaaaaah, Voodoo Mamma.
Keep away from my man,
Mamma do her Voodoo on you.
The song ends. Chloe quickly kisses Philip and returns to the stage.
ROMAN
What’s that all about?
ALYSSA
Looks like she is laying claiming what’s hers.
ROMAN
They’re not married.
ALYSSA
Not yet.
ROMAN
You sound as if you approve.
ALYSSA
I do.
ROMAN
(Teasing)
Now you’re scaring me.
ALYSSA
(Touching his hand)
There is nothing wrong with telling the world, this is mind-you can’t have.
ROMAN
(Placing his hand on top of hers)
You’re right. There is nothing wrong with that.
CUT
INT: STEFANO’S STUDY: NIGHT
Frustrated, John stares at the computer screen. Marlena as fallen asleep on the couch. Several of the scrapbooks have been stacked on the table. He looks up and smiles. He walks around the couch and drapes the throw over her. Leaning over, he kisses her cheek. Marlena wakes and turns her head so that their lips touch.
MARLENA
(Sleepily)
John.
Taking his hand, she pulls him closer to her. John slides over the back of the couch and snuggles behind her. They fit together perfectly.
I love you.
Marlena falls back to sleep. John momentarily watches her before he too starts to doze off. The door knob turns; the door slowly opens
CUT
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