INT: EMERGENCY TREATMENT ROOM: NIGHT
Celeste lays unconscious on the bed. Sitting by her bedside, Lexie holds her hand. Abe walks in. Lexie runs to him.
LEXIE
(Crying)
She's not waking up.
ABE
I’m sorry I wasn’t here for you. Tell me what happened.
LEXIE
It was her.
ABE
Her?
LEXIE
Her the spirit. Mom was going to tell me. She didn’t get a chance. The back door burst open. Mom just flew across the room.
(Hesitating)
Theo stopped her from coming in. Abe, he stood in front of her and told her to go away. And she did.
ABE
You saw her?
LEXIE
Not clearly.
ABE
Where is Theo?
LEXIE
He’s up in daycare. We were in the waiting room. Abe, he said the strangest thing. He said, Mom wouldn’t wake up until she was done. Mom must know a way to stop her.
ABE
When Celeste wakes--
LEXIE
She should be awake. There is no reason for her to still be unconscious. Her injuries are minor. No broken bones. According to the CT, she has a slight concussion. Her EEG is normal.
CUT
INT: REALM BETWEEN LIFE AND DEATH: NO TIME
Celeste stands in a darkened room except for the incandescent mists swirls around her. Yet she doesn’t try to find her way out.
CELESTE
I know you are here. Show yourself.
The woman steps closer, yet remains cloaked in the shadows.
WOMAN
You should have never helped Stefano.
CELESTE
You gave me no choice.
WOMAN
You always had a choice. I did not.
CELESTE
Do you think I had any more freedom than you? I gave up my daughter just as you did.
WOMAN
His evil still poisoned her.
CELESTE
Not completely. Alexandra made mistakes. But she has made up for them. She’s a doctor. She saves people.
WOMAN
My daughter never had a chance to make up for her mistakes.
CELESTE
That is not my fault! Not my daughter’s fault.
WOMAN
She found true love; Stefano stole it from her. All those things your daughter experienced--love, marriage, a child of her own--my daughter was deprived of.
CELESTE
There is still a chance.
WOMAN
More lies! Here you are. Here you shall wait.
CELESTE
You can’t do this!
WOMAN
(Backing into the darkness)
As you left me. Now I leave you. When it is done, I will free you. I wasn’t able to say good-bye to my daughter. I would not deprive you of the same.
CELESTE
Please. I beg you. Take me. I will do penance for her.
WOMAN
You will watch them lower her lifeless body into the cold ground and know that you were responsible.
The woman leaves. Celeste is left alone in the mist and darkness.
CELESTE
(Screaming)
No!
CUT
INT: EMERGENCY TREATMENT ROOM: NIGHT
Lexie sits next to the bed, again holding Celeste’s hand. Abe stands to her.
ABE
I’ll take Theo home.
LEXIE
Tell him I love him.
ABE
Are you sure you don’t want to come with us?
LEXIE
I need to be here. If-when she wakes up.
ABE
I’m sorry I wasn’t here sooner.
LEXIE
There wasn’t anything you could do.
ABE
I’m still sorry. Marlena called.
LEXIE
Did they find anything?
ABE
Stefano’s private study. She didn’t give me any details. She wanted you to come to the mansion tomorrow morning.
LEXIE
I can’t promise that.
ABE
I’ll tell her. She also called Tony and EJ. They plan is to compare notes.
LEXIE
I wouldn’t have much to share. They knew him much better. Father never really trusted me enough to let me into his world.
ABE
Which I am eternally grateful for.
LEXIE
Me too. Give Theo a kiss for me.
ABE
(Kissing her cheek)
I will Try to get some sleep. Wearing yourself out won’t help her.
LEXIE
I’ll--we’ll be fine. I’ve arranged for a room with an extra bed for me. Night sweetheart. I’ll miss you.
ABE
If you need me call. I love you.
LEXIE
I love you too.
Abe leaves.
Mom. You have to wake up. We need you.
CUT
INT: HOSPITAL DOCTOR’S LOUNGE: NIGHT
Dr. Dan is alone in the room, talking on his phone.
DANIEL
I told you... Listen....Just listen. It was too soon. I told you that....Not even me. It wouldn’t have mattered. There are guards inside and out....I’ll talk to Bo or Roman tomorrow. They both trust me...If I push it, they’ll get suspicious...There isn’t a hurry. I looked at his chart. Lucas will be here for at least a couple of days....Don’t worry about her...I don’t know what Lane was doing with him. Horton is involved with Samantha Brady... That’s right. Roman Brady’s daughter. Bo Brady’s niece. You go after her and I’m out...When it comes to their family--they’re crazy. The Brady’s and the Hell’s Angels--All on one....Let me handle it. With Lexie’s history, let just say I know how to play her. She helps me or I’ll threaten to tell her husband we had an affair... No. Of course not. But the rumor mill has already begun to turn...I’m having a good time with her. Don’t worry. When the time comes he’ll be Chelsea’s father more than he is a cop...Give me time. I’ll take care of Luca. The only way he’s leaving the hospital is in a body bag. Accidents happen all the time.
He hangs up his phone.
Damn.
CUT
INT: BEDROOM OF BED AND BREAKFAST: NIGHT
Ava and EJ snuggle in bed, basking in love’s after glow.
EJ
I’m hungry.
AVA
(Teasing)
Hungry? You can think of food now?
EJ
(Tracing his finger up her harm)
Just think of all that lovely chocolate. Just right over there. And you. And me.
(Nibbling on her ear lobe)
And this big beautiful bed. All together.
AVA
(Rolling over to face him)
You. Me. Together. In this big beautiful bed. Hum?
Slowly her index finger circle around one of his nipples before, her hand massages his bare chest downward.
Whatever will we do?
EJ
I have a few ideas.
AVA
You do? Please share.
EJ
(Teasing)
We could watch the telly.
AVA
The telly? The Disney channel perhaps?
EJ
I was thinking of a cooking show.
AVA
A cooking show? Any particular one?
EJ
(Shifting in bed so she is lying beside him and looking up)
Most definitely. It demonstrates unique ways to serve deserts in bed.
AVA
You've already seen it.
EJ
(His hand trails down her bare shoulder past her breast and rests on her stomach)
Once or twice.
AVA
What about the crumbs?
EJ
Crumbs? There won't be any.
AVA
I see. How do you do that?
EJ
(Kissing down her neck)
You remember to lick your plate clean.
On the night stand, EJ's phone rings.
AVA
That's your phone.
EJ
I don't hear anything.
AVA
It could be important.
EJ
(Tossing his phone across the room)
Nothing. No one is more important.
AVA
I like the way you think.
(Tossing her phone in the same general direction)
Where were we. Oh, yes. Just about there.
CUT
EXT: CHEZ ROUGE: NIGHT
Chloe and Philip are leaving. They walk toward the park
CHLOE
Did you like the new songs?
PHILIP
Trying to send message.
CHLOE
You could say that.
PHILIP
Not very subtly.
CHLOE
I wasn't trying to be subtle.
PHILIP
Good thing.
They walk the path in silence.
CHLOE
Philip.
PHILIP
Chloe.
CHLOE
(Stopping him)
I'm serious.
PHILIP
The night is too beautiful to be serious.
CHLOE
I need to start living again.
PHILIP
Were you dead?
CHLOE
Inside. Yes. When I lost Brady, a piece of my heart died.
PHILIP
You weren’t responsible.
CHLOE
Not completely. Brady made his mistakes. But so did I.. I should have--
PHILIP
Should have. Could have. Would have. It’s over. You can’t go back.
CHLOE
I know. I want to go forward. Singing at Chez Rouge is a new beginning. I’m happy for the first time in a long time.
PHILIP
What’s the problem?
CHLOE
You are.
PHILIP
Me?
CHLOE
I know we said friend with benefits. But I’m not willing to settle any more. I let Brady push me away. I gave up on my marriage. What I need to know from you--do we have anything--anything between us that is worth fighting for?
PHILIP
I don't know.
CHLOE
Honest and vague. What or should I say who do you want Philip? I will fight for you if there is something to fight for. But I'm not just going to be the sure thing if you can't find another playmate. You need to stop sending me mixed signals.
PHILIP
I'm not doing that.
CHLOE
You're not? You are all loving and protective, until little miss southern bell bats he eyes.
PHILIP
That's not the way it is.
CHLOE
Philip, you can't be every woman's knight in shining armor. At some point you have to decide in whose barn your horse is going to live.
PHILIP
Nice metaphor.
CHLOE
You're stalling.
PHILIP
You're jealous.
CHLOE
Call it what you like. But it's time to make a decision.
PHILIP
I remember saying something similar to you.
CHLOE
This is payback?
PHILIP
No. That's not what I meant.
CHLOE
What did you mean?
PHILIP
Back then you asked for me to be patient and understanding. Now I'm asking for you for the same.
CHLOE
(Backing away)
I'm sorry that I hurt you.
PHILIP
Where you going?
CHLOE
Home.
PHILIP
You can't go by yourself.
CHLOE
Sorry Philip. No benefits tonight.
Chloe runs into the park.
PHILIP
Chloe! Wait! Chloe, it's not safe!
Philip runs after her.
CUT
EXT: ANOTHER PART OF THE PARK: NIGHT
Miles and Kate are walking on the path toward Kate's car in the parking lot.
KATE
I don't care what anyone says. Once you are a parent, you are always a parent--no matter how old your children are.
MILES
It's true. It's also true that at some point they have to take responsibility for their own lives.
KATE
So you're not going to help your son.
MILES
I will be loving and supportive. But this time he has to climb out of the hole he dug.
KATE
What if he can't
MILES
That's up to him.
KATE
Tough love. I don't think I could do it.
MILES
I never thought I could either. But this time he didn't just hurt himself. He hurt others. I won't support that.
KATE
He's your son.
MILES
Yes he is. He is also an adult who needs to be held responsible for his actions. We bailed him out more times than I can count. Each time it was worse. I feel partially responsible.
KATE
You shouldn't.
MILES
Thanks. It's time to talk about something else.
KATE
I'm sorry.
MILES
Me too. Did you hear A Chorus Line is touring again? It'll be at the Chicago Theatre for three weeks.
KATE
I heard too late. It was sold out. Oh well. Maybe it's for the best. I saw at the Shubert Theatre many years ago. It was amazing.
MILES
I have two tickets.
KATE
Two tickets?
MILES
On Friday.
KATE
On Friday?
MILES
Main floor.
KATE
Is that an invitation?
MILES
You could say that.
KATE
(Teasing)
Oh good. Otherwise, I would have to mug you.
MILES
(Startled)
You mug me.
KATE
Don't be so shocked. Not only am I stronger than I look, but I have moves that would take down a ninja.
MILES
Oh really like what?
KATE
(Walking ahead of him)
No. No. I might hurt you. Then you couldn't take me to Chicago.
Miles catches up with her and reaches out to take her arm. Kate flips him on his back. however, he grabs her and pulls her down on top of him. She pins him to the ground. Instead of struggling, Miles smiles up at her.
CUT
EXT: ANOTHER PART OF THE PARK PATH: NIGHT
Following the path, Chloe runs away from Philip.
PHILIP
(Off camera)
Chloe wait up
Chloe rounds a curve in the path to find Kate and Miles. She stops short.
CHLOE
Kate?
KATE
It's not what it looks like.
CHLOE
What are you doing? Trying to get a date?
Kate attempts to get off of Miles. He holds her down .
MILES
(Teasing)
Okay, okay. I'll go out with you!
Philip arrives. Without thinking, he pushes past Chloe to help his mother. Chloe grabs his arm and steps into his path.
CHLOE
Calm down.
PHILIP
(Angrily)
He's hurting--
MILES
(Letting go)
Whose on top of whom?
CHLOE
Chill. It's just part of your mother's mating ritual.
KATE
(Standing)
It's not what you think.
PHILIP
I don't know what to think.
KATE
Look. I'm not hurt.
MILES
(Getting to his feet)
I'm not to sure about me. Where did you learn to do that?
PHILIP
Mother, what do you think you were doing?
KATE
If it's any of your business--having fun.
Chloe quietly slips away.
PHILIP
What would people think?
KATE
There is no reason to take that tone with me. I'm your mother not your daughter!
MILES
Why do I suddenly feel like a teenage who just brought his date home late.
PHILIP
You could have hurt her!
KATE
I'm not made of glass.
MILES
(To Kate)
You're stronger than you look.
KATE
Thanks. I take self defense classes at the gym.
MILES
(Poking her arm muscle)
Wow. I need to check that out.
KATE
Sorry women only. Do you want to get a drink?
MILES
(Looking briefly at Philip)
Love too if it's a twosome.
KATE
(To Philip)
You still here.
PHILIP
We need to talk.
KATE
Yes we do. But not now. We--not including you are going for a drink.
(Kissing his cheek)
Good night Philip. I love you. Don't follow us.
Kate takes Miles arm and walks down the path. Philip stares. Suddenly, he looks around for Chloe only to find himself alone.
CUT
INT: DIMERA MANSION ENTRANCE WAY: NIGHT
Sami opens the door and pushes the stroller inside. The twins are asleep. She closes the door. Marlena walks out of the study.
MARLENA
Sami, we were worried. How is Lucas?
SAMI
Sorry. I had to stop off and pick up a few things. Dad arranged protection.
JOHN
(Walking out, carrying one of Stefano’s scrapbooks)
Are you sure they are trust worthy?
SAMI
Of course. My father would make sure.
MARLENA
Sami!
SAMI
Sorry, John. It’s been a long day. Lucas is doing good.
JOHN
Did they say when he would be released?
SAMI
Not for a couple of days.
JOHN
Good enough. I’ve made arrangements to have the cottage opened tomorrow. Blonde, if you’ll make a list what kind of medical supplies he’ll need, I’ll have make sure they are there.
MARLENA
I’ll talk to Miles. Do you still think it’s necessary.
JOHN
They killed a cop behind the station. You tell me. Would your rather be safe than sorry?
MARLENA
Go point.
JOHN
(To Sami)
Don’t worry about hauling the rugrats’ stuff. There’ll be a complete nursery--on the opposite of the cottage. All you need is their favorite toys
MARLENA
When did you have a chance to do all that?
JOHN
While you were catnapping? Speaking of which, you’ll have to make arrangement for your furball. It’s not coming with.
SAMI
I’ll talk to Rolf. Then again maybe not. I’ll think of something tomorrow. Night.
MARLENA
Night Sami
JOHN
Sleep well.
Sami pushes the stroller down the hall.
CUT
INT: DIMERA STUDY: NIGHT
John and Marlena walk in. They have begun to separate the scrapbooks into piles according to subject. Sticky notes with information have been attached to those they have looked through. There are at least 50 more that they haven’t looked at.
JOHN
(Opening)
This were obviously taken on one of his islands. It has a women and a child.
MARLENA
I started a possibility pile over there.
JOHN
Don't thinks so. The woman and child appear to still be alive.
(Setting it aside)
I'll put it in the maybe pile anyway. Who knows maybe they knew the child that died. The first seems to be from the early to mid 80's.
MARLENA
How do you know that is when the room was boarded up?
JOHN
I found Delia.
MARLENA
I remember her. She worked for Stefano for years.
JOHN
She said that the west wing was closed off except for a small staff. It was right after Stefano came back from the dead.
MARLENA
Which time?
JOHN
I think the first.
MARLENA
Did she know why?
JOHN
Stefano made it clear that no one was to ask questions.
MARLENA
At least we know about when. To bad we know why?
(Opening another one)
Another one of Tony on the island.
(Putting it on top of a stack)
This stack is filled with pictures of him while he was on the island. I don’t know how he is going to react when he finds out.
JOHN
He’ll probably be pissed as hell. I would.
MARLENA
Maybe Tony will know. That could be why Stefano replaced him with Andre. Imagine living 20 years in little more than a shack.
JOHN
The house in those pictures isn’t a shack. It makes all this look like a ghetto.
MARLENA
(Yawning)
Really? I wonder who house it is?
JOHN
Tired?
MARLENA
Very. Aren’t you?
JOHN
I’m too wired.
MARLENA
Nothing new about that..
JOHN
Let’s not go there.
MARLENA
It was the part of you that made miracle happen. You saved me and so many others because you wouldn’t--couldn’t give up. You just instinctively knew what questions to ask and where to look.
JOHN
I’m not that man any more.
MARLENA
Just because you don’t have the memories, doesn’t mean that you aren’t the same person at the core. I’m willing to bet you that you won’t be able to sleep until you go through every one of these and organize them.
JOHN
(Sitting closely beside her)
Okay. What’s the wager?
MARLENA
I’m so sure this I will to bet anything you like.
JOHN
(Nuzzling her neck)
Anything?
MARLENA
Anything.
JOHN
(Nipping her ear)
Are you sure?
MARLENA
Definitely. Don’t you want to know what I want when I win?
JOHN
It’s not going to happen.
MARLENA
Are you sure?
JOHN
Definitely.
MARLENA
So when--
JOHN
If--
MARLENA
When I win, I can have anything I want?
JOHN
What do you want?
MARLENA
I haven’t decided.
JOHN
(Standing up)
You can pay up in the morning. I’m going to bed.
MARLENA
It won’t last.
JOHN
Want a bet?
MARLENA
We just did.
JOHN
(Walking out of the room)
Easiest bet I ever won.
Marlena picks up another scrapbook. John walks back in.
Aren’t you going to bed?
MARLENA
Not yet.
JOHN
You said you were tired.
MARLENA
I will in a little while.
JOHN
Okay. Fine. Good night.
Marlena waggles her fingers at him. He starts to mirror her but catches himself. Instead, he walks part way upstairs before coming back down
Did you reach Tony and EJ?
MARLENA
You were sitting right there when I talked to Tony.
JOHN
What about EJ?
MARLENA
You were standing over there when I left the third message to be here tomorrow morning.
JOHN
Maybe you should call again?
MARLENA
It’s late.
JOHN
Then you should go to bed.
MARLENA
I will right after I win the bet.
JOHN
Not going to happen, Blondie.
John runs up the stairs.
MARLENA
That won’t last long.
CUT
EXT: DOCKS: NIGHT
Roman and Alyssa walk along the docks on the warm late summer night.
ALYSSA
This is what you wanted to show me? The docks? How romantic.
ROMAN
You sound skeptical.
ALYSSA
It’s the docks.
ROMAN
Here yes. Follow me. Careful.
Roman leads her to the end of the dock over looking the lake. A light fog hovers over the water, obscuring the reflection of the moon. The waves gentle lap against the dock and the shore.
What do you think?
ALYSSA
It’s this just about time the insane serial killer attacks?
ROMAN
You don’t think it’s romantic?
Alyssa shakes her head.
No.
ALYSSA
Sorry.
ROMAN
Don’t be sorry. Where would you like to go?
ALYSSA
Now. Home. It’s late.
ROMAN
I see. May I at least walk you back to your car?
ALYSSA
You better.
(Tucking her arm through his)
Next time. I’ll plan the date.
ROMAN
Then there will be a next time.
ALYSSA
I hope so.
ROMAN
Me too. Is breakfast too soon?
ALYSSA
How about lunch tomorrow? I’ll pack a lunch and we can meet in the park across from city hall.
ROMAN
You cook?
ALYSSA
I was a cook for a while at a small family restaurant.
ROMAN
Were you any good?
ALYSSA
People cried when I left.
ROMAN
That’s pretty good. Do you want me to bring anything?
ALYSSA
Just you cute self.
ROMAN
That I can easily do.
CUT
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