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 don‘t sound impressed..
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
That’s 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
INT: STEFANO'S STAGE: TIMELESS
Exhausted Stefano looks at the back of the theatre. For each step forward he takes, the back of the theatre retreats.
STEFANO
I will not give up. My legacy depends on it.
The woman's laughter echoes around him, increasing in volume.
Shut up! Shut up! You stupid bitch!
WOMAN
Your legacy?
STEFANO
(Stopping)
I am a man of power and wealth.
WOMAN
Who is hated.
STEFANO
I'm respected.
WOMAN
People will be waiting in line to dance on your grave.
STEFANO
I will waste no more time on you. I'm going to get out of here.
(Continuing to fight his way forward)
Celeste and her friends will help me. We will take care of you. Just like we did before.
WOMAN
Celeste is currently occupied.
STEFANO
What did you do to her?
WOMAN
The two of you have much in common right now. But don't worry. I won't kill your marionette. I can't say the same for your daughter.
STEFANO
Leave Alexandra alone!
WOMAN
When I am done with your spawn. I will come for you. Until that time--
The theatre lights suddenly go up on the full auditorium. The orchestra is posed and ready to play. Stunned, Stefano looks around. The audience applauds.
enjoy your make believe. Sing your songs. Accept their adoration.
STEFANO
This is not real.
WOMAN
Accept your heart’s desire.
(Seductively)
It’s what you always wanted. Just walk back on the stage. Take center stage. They love you.
STEFANO
This not real!
WOMAN
Not real?
FEMALE AUDIENCE MEMBER
(Reaching out to take his hand)
What’s the matter, maestro? Are you feeling well?
STEFANO
You’re not real.
FEMALE AUDIENCE MEMBER
(Standing and cupping his face in her hands)
Please sing for us.
STEFANO
(Pushing her away and focusing on the door)
No!
Stefano’s mother appears center stage.
MOTHER
Mio figlio. (My son)
STEFANO
(Shocked)
Madre! (Mother)
MOTHER
Venite a me. (Come to me.) Ti amo. (I love you.). Essere mio figlio. (Be my son again.)
STEFANO
How can this be?
MOTHER
Non ho mai smesso di amare te. (I never stopped loving you.).
(Reaching out to him)
Come avete fatto quando si erano un bambino. (Sing for me again, my son. As you did when you were a child.)
(Pleading)
Mio figlio. Stefano, mio figlio di nuovo.
(My child. Stefano, be my son again.)
Confused, Stefano looks from the door to the stage.
STEFANO
Ti amo madre. (I love you mother.)
MOTHER
Venite a me. (Come to me.)
STEFANO
(Looking around at the audience then back at the door)
Mother, I can’t. You aren’t real.
(Screaming to the woman)
You bitch! This be beyond cruel! She’s not real!
His mother, the audience and the orchestra vanish. Stefano is left alone in the dark.
I am Stefano DiMera. I will go through that door!
WOMAN
(Mocking)
I am Stefano DiMera. I will go through that door!
STEFANO
When it is my time to die, I will find you.
WOMAN
Looking forward to it. That time is closer than you think.
The doors opens and closes. Their banging sounds intertwines with her laugher as it echoes off the walls.
CUT
INT: DIMERA STUDY: NIGHT
The room is dark except for a light by the couch and the entranceway light shining in through the doors. Dressed only in pajama bottoms, John creeps into the room, looking for Marlena. He doesn’t see her laying on the couch. Dressed in a robe, Marlena lays on the couch looking through an album and making notes. Smugly, he walks across the room and picks up a scrapbook.
MARLENA
You are so busted.
JOHN
(Startled)
Blondie. What are you doing there?
MARLENA
Taking notes.
JOHN
You haven’t won. The night isn’t over. I was just concerned when I didn’t hear you come upstairs.
MARLENA
Nice try.
JOHN
It’s true.
MARLENA
Remember who you are talking to.
JOHN
Fine. What do you want?
MARLENA
The feud with you and Philip to end. I want you to make peace.
JOHN
(Taking note of her robe)
Are you sure that’s what you want?
(Marlena smiles back and closes the front of her robe)
Not going to happen.
MARLENA
You’re going to welsh on a bet.
JOHN
Chose something else.
MARLENA
The terms were anything I wanted.
JOHN
The night isn’t over.
MARLENA
True. You can agree now or spend the rest of the night walking up and down the stairs. You choose.
JOHN
Don’t you have appointments tomorrow morning?
MARLENA
I’m canceling them to be here. Remember?
JOHN
We can make better use of the couch. We’re both already properly dressed
MARLENA
You haven’t won the bed.
JOHN
Freudian slip.
MARLENA
You being down here makes me the winner. Pay up.
JOHN
If I win we both win.
MARLENA
If you let go of this stupid war, everyone wins.
JOHN
You’re not going to let go of this?
MARLENA
Nope.
JOHN
(Walking toward the door)
Fine.
MARLENA
John.
(He stops)
I’ll know it if you go back into Stefano’s study.
Annoyed, John walks back in to room and sits the chair across from her. He turns on the light and picks up a scrapbook. Marlena chuckles.
JOHN
I’m not talking to you.
Marlena laughs.
CUT
INT: DIMERA STUDY: MORNING
The scrapbooks have been separated into different piles according to topic. A buffet breakfast has been set up. John walks in and pours himself a cup of coffee. Marlena follows a few moments later. They are freshly showered and changed.
MARLENA
(Seeing the coffee)
Good. I could use that.
JOHN
(Walking to the desk)
I’m still not talking to you.
MARLENA
(Pouring herself a cup of coffee and picking up a pastry)
Is Tony here?
John mumbles.
Guess not. Have you heard from EJ?
There is a knock at the front door.
You not talking to me will make sharing information more difficult.
Tony and Anna walk in. From above the perspective follows them in.
Tony and Anna good morning.
TONY
Good morning. I thought Anna could help with our quest. I asked her to come with me.
MARLENA
Of course. Good morning, Anna.
TONY
You both look tired.
JOHN
Blondie kept me up all night.
ANNA
Marlena!
MARLENA
We had a bet.
TONY
It must have been some bet.
MARLENA
John lost and he’s trying to welsh.
ANNE
John?
JOHN
It’d be more fun if I won.
ANNA
I don’t know how much help I can be. I didn’t meet Stefano until we both came to Salem.
JOHN
I talked to Delia.
TONY
Is she still alive?
JOHN
Yes. And she would like to keep it that way. She wouldn't even talk to me until she found out Stefano was in a coma.
ANNA
That's understandable.
MARLENA
Stefano closed up the west wing when he came back to Salem after the first time he faked his death.
ANNA
I'm a little confused.
MARLENA
A couple of weeks ago, Sami found the west wing door. I never understood what she was looking for.
JOHN
She was going to help me redecorate so you would feel more comfortable living here.
MARLENA
I didn't know that.
JOHN
The long and the short of it is that Rolf and EJ didn't want us to open it. I did anyway. Celeste said that a avenging spirit was released. She cursed Stefano and all his children. Since then both EJ, Lexie and Celeste have been attacked. Celeste was finally going to tell Lexie who the woman was, but she was attacked.
MARLENA
She's in the hospital unconscious. There isn’t a medical reason why. According to all the tests, Celeste should be awake.
ANNA
Lexie must be frantic.
TONY
I know I’m going to regret asking. Why did she curse father?
MARLENA
Stefano killed her daughter and locked her way until she died At first, I thought it was Renee. Especially after Sami found the white cat.
TONY.
(Hesitant)
I don’t know if this means anything. You said two weeks ago. It was about then weird things started happening. Strange dreams. I’ve also been finding white roses.
ANNA
Maybe she was trying to hurt you too.
TONY
No they were actually quite pleasant. Speaking of Renee, reminded me.
ANNA
You still dream of Renee?
TONY
The spirit couldn’t be Renee. She didn’t have any children
JOHN
After some persuasion, Rolf took us to Stefano’s real study. It’s where he kept computer and private papers.
TONY
What was on the computer?
JOHN
We’ll never know. It self destructed before I could unlock the password.
MARLENA
However, we did find all these scrapbooks. Tony, you may or may not be pleased. That stack over there is of your time on the island. It seems you were never far from Stefano’s sight.
TONY
Bloody wonderful. But it does answer a few questions.
ANNA
I’d like to see them.
TONY
No you wouldn’t.
ANNA
Oh really.
JOHN
They are really quite revealing.
MARLENA
We thought we go through them together. Maybe one of them would trigger a memory.
Unseen, the blanket slips off the couch and covers one stack.
JOHN
Where do you want to start?
ANNA
With Tony’s.
TONY
Let’s not.
MARLENA
That large stack starts when Stefano came to Salem.
TONY
Shouldn’t EJ be here.
JOHN
He’s currently MIA.
MARLENA
I’ve left messages, asking him to be here this morning.
ANNA
Maybe he’s hurt.
JOHN
He’ll turn up. Until then, let’s get started.
CUT
INT: LUCAS’S HOSPITAL ROOM: MORNING
Although he is in pain, Lucas is alert and awake. Miles has just finished examining him.
MILES
Looking good. I’m going to send the nurse in to remove the drain.
The officer steps forward and clears his throat. Miles turns and addresses him.
Yes, I know. Only specific people can come in. Just so you know I’m going file an official protest. Patients have a right to privacy. If I had wanted to kill him, it would have easier for me to do it on the operating table.
OFFICER
I’m just doing my job.
LUCAS
It’s okay. When do I get out?
MILES
Keep it up. Tomorrow.
LUCAS
Why not today?
MILES
Your rib punctured your lung and came damn close to your heart. Your body needs time to work through the trauma.
LUCAS
I can do that at home.
MILES
I would prefer you to be here Besides, your secure location isn’t ready yet.
LUCAS
What do you mean by that?
OFFICER
A safe house. Commander Brady is arranging for you to go directly from the hospital into hiding.
LUCAS
That isn’t necessary. I can ID the guy.
OFFICER
You’ll have to talk to Commander Brady.
LUCAS
There‘s something else going on? What is it?
OFFICER
An officer was murdered yesterday behind the station. He had evidence in your case. Rob had a wife and family.
LUCAS
How could that happen? Roman knows how to find the guys!
MILES
Calm down.
LUCAS
How can I calm down? A man was killed because what I know.
MILES
If you don’t calm down, I’ll sedate you. And there is a very beautiful woman waiting out there to see you. Do you want to see her or take a nap?
LUCAS
Fine.
MILES
(To the officer)
No more details Got it.
Without waiting for an answer, Miles walks out.
CUT
INT: HOSPITAL HALLWAY: MORNING
Sami is talking to Daniel. Miles walks up.
MILES
(To Sami)
You can go in.
SAMI
Thanks.
MILES
Just don’t upset him.
SAMI
Is he okay?
MILES
He’ll be fine. Just keep the conversation mellow. If his blood pressure goes up, you be doing all the talking and he’ll be doing all the sleeping. Understand.
SAMI
Light happy talk. Got it.
Sami goes inside.
DANIEL
How is he really?
MILES
It could have been a lot worse. Isn’t today you day off?
DANIEL
I had to check on a patient.
MILES
Which one? I’ll take over for the day.
DANIEL
(Uncomfortable)
Thanks for the offer. It’s not necessary. How long will Horton be here?
MILES
At least another day.
There is a loud explosion outside in the parking lot. Moments later the man who questioned Bo outside the Pub gets off the elevator; he is dressed in a patrolman’s uniform. He immediately runs to the officer standing watch outside Lucas’s room.
MAN FROM THE PUB
Carver wants you downstairs to help with crowd control. Blackburn can handle the babysitting duty alone for a few.
OFFICER AT THE DOOR
What’s the code word?
MAN FROM THE PUB
Your ass. If you don’t get downstairs.
OFFICER AT THE DOOR
Commander Brady gave me a specific code word. I don’t move without it.
MAN FROM THE PUB
Carver out ranks Brady.
Daniel followed by Miles walk over
DANIEL
Problem?
MAN FROM THE PUB
Police matter. None of your concern.
MILES
Take it outside. This is a hospital.
SAMI
(Opening the door)
What’s going on?
The officer is standing beside her in the room.
MAN FROM THE PUB
What are you doing in there?
DANIEL
That’s Commander Brady’s daughter.
PLAIN CLOTHES DETECTIVE
(Walking up)
Ms Brady go back in the room. Everything is under control.
SAMI
It sounded like an explosion
PLAIN CLOTHES DECTECTIVE
A car blew up in the parking lot. Please go back in the room.
(To the man from the pub)
I don’t know who gave you your orders. They are Horton security. I’m Ms Brady’s. You don’t belong up here.
MAN FROM THE PUB
I must have made a mistake.
PLAIN CLOTHES DETECTIVE
Name.
The man from the pub back towards the stairs
Wait a minute.
The detective follows. The man runs into the stair well.
(To the officer at the door)
You stay here.
The detective runs after him, disappearing beyond the door.
I said stop!
There is a gun shot.
CUT
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