Days of Our lives: A Gift for the Fans of the Vets
This is a gift for the fans of the vets. It takes place in the future after the ghost story has ended so don't trying to match anything up with it. It is strictly to prove that a creative writer can write for the vets. These scenes would be drawn out more. Please keep this in mind when you read "The Gift"
To read the beginning of this storyline please go to http://elfmagic.blogspot.com/
Showing posts with label Corday productions. Show all posts
Showing posts with label Corday productions. Show all posts
Monday, February 09, 2009
Saturday, January 31, 2009
Soap Opera Fans: Speak out to Save the Genre by Boycotting NBC
Soap Opera Fans: Speak out to Save the Genre by Boycotting NBC
By
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
By
Theresa Chaze
Like so many industries, television is financially top heavy with over paid executives, who suck up the profits while giving little or nothing back. The banking industry is a prime example of how those create nothing take the lion share of the profits, while those who do produce are asked to make financial sacrifices. Instead of taking across the board pay cuts, the television executives have decided to cut the quality and the diversity of their programming. By choosing amateur based “reality” shows over, those produced by talented and creative professionals, they under cut the unions, while disregarding the viewers.
In television, this can be best seen in the rapid movement toward the cheaper talk and reality shows. Using their declining revenue as an excuse, the networks are cutting production values of shows produced by professional casts and crews until such time as they are more financially secure. It is the equivalent of Taco Bell taking tacos off their menu until they sell enough burritos to make it cost effective to sell tacos again. Replacing quality product with cheaper doesn’t increase customer-viewer satisfaction; it forces them to seek other venues of satisfaction. As in all industries, the customer is always right or they become someone else’s customer.
Soap operas have been the hardest hit, not because they have lost popularity, but simply the modern family needs two incomes to survive. Originally targeting the stay at home mothers, the soaps focused on advertisers that appealed the needs of women, hence the name soap opera. However, one would only have to look at the highly profitable industries attached to soaps to learn just how loyal the fan bases are. The conventions, interview requests, and the multitude of websites are only a small example of industries, which have spun off the genre. Fans spend millions of dollars each year supporting hotels, conventions centers, and other fan events just to meet the soap opera stars.
As more women joined the work force, the popularity of soaps seemed decline. However it is the out dated ratings system failed to compensate for modern technology. Only those who watch the show live are counted by Nielsen Media Research. The system disregards any viewer who records and watches a show later. Instead of adjusting the viewer measuring system, the executives are using it as an excuse to cut the salaries of popular actors and creative technical people. They claim poverty while doing the equivalent of Merrill Lynch spending a million dollars to redecorate an office and giving out bonuses early. Instead of finding more efficient methods of accumulating viewer data, they are choosing to use it as an excuse to cancel soaps.
What started at Days of Our Lives has already begun to spread to the other soaps. The bad writing, the firing of major stars, while replacing them with talent-less younger actors, and the cutting production values is what is costing the shows viewers not the lack of interest. Loyal viewers are turning the channel not because they don’t love their show, but because they don’t recognize it any more.
It is time for soap fan to send a clear message to the networks. As in the movie, Network--it is time to stand up and say--”We are as mad as hell and we aren’t going to take it anymore!” The across the board boycotting of NBC for it’s systematic canceling the daytime soaps on it’s network will not only sent a clear message to them, but the other networks who might contemplating the same course of action. The only way to get their attention is to make them bleed in the wallet. Sending letters, emails and making phone calls no longer makes a difference; hit them at their bottom line and you start speaking their language. The power to control is seen on the television comes from the viewers' remotes, not the executives' office. It is time to for the fans to take their power back and demand that the soap opera genre be saved.
Thursday, January 15, 2009
Formatting Soap Opera Scripts
Formatting Soap Opera Scripts
In style, television and movie script are similar; however, television programs must format around commercials and station identification. While movies contain a full hour of entertainment, broadcast television is broken down into approximately 22 minutes of entertainment and 8 minutes of commercials per half hour.
Most one hour shows have six 2.02 minute breaks with two 1.34, which fall at the top and bottom of the hour. Generally this leaves 22 minutes per half hour for the actual show, which is broken down further into the teaser/open, three acts and bottom of the hour teaser/bridge for the local break. The second half hour also has three acts, but it is ended with a teaser/closing credits and the top of the hour break.
Whether starting at the top or bottom of the hour, the initial segment, contains the show teaser and opening; its run time varies between 2-4 minutes in length. The following three acts divide the remaining entertainment time between them without any set length; however, most stations, especially during ratings, identify themselves within a two minute margin at the quarter hour; therefore, there is usually a break written in to accommodate this standard. The second half hour also begins with a teaser, which identifies the show and the network, and is followed by a local commercial with identification. Most shows end with a 2-4 minute teaser of the next episode and the ending credits with another local break following.
Unless you have a talent that milks their part, usually one page of script equals one minute of air time. This generality helps the writer pace the storyline and time the scenes to maximize the suspense in order to hold the audience’s attention through the commercial breaks. By splitting the action between multiply scenes to create mini cliffhangers, the writer suspends the action in order to height the drama and prevent channel surfing. It is also how a creative writer creates an effective end of an episode cliffhanger to torment the viewers into returning to see what happens to their favorite characters.
Format for one hour television script
2-4 minutes teaser and show open
2.02 minute commercial break
Act 1
2.02 minute commercial break
Act 2
2.02 minute commercial break
Act 3
1:34 minute commercial break
20 second teaser- 10 seconds from each half hour
1:34 bottom of the hour local break
Act 4
2.02 minute commercial break
Act 5
2.02 minute commercial break
Act 6
2.02 minute commercial break
2-4 tag and end credits
1:34 local top of the hour break
No doubt many of you are asking why the script I have been writing for Days doesn’t meet this industry standard. Very simple. There are two reasons. When I started, it was a protest that I never thought would go any where. Originally I was going to write a few scenes to embarrass the writers into their job. However, I received so much positive feedback that I just kept going. Secondly, a major of my script writing experience was for the stage and screen. Even then, it had been a while since I worked on a long project. My information was not only dated, but I had forgotten a few little details. The new scenes will be in the correct format. I’ve also started the process of reformatting and restructuring the rest to not only meet the industry standards but to also put it into episodes. During the process a few scenes will have to be tweaked, but it will give me a chance to improve them as well. Although I knew how I wanted the storylines to unfold, everything that I have posted still qualifies for first draft status. The reality is that I had put little effort into the project yet it was still be better than the so called professionals; hat do you think I could do if I actually put work it to the project?
In style, television and movie script are similar; however, television programs must format around commercials and station identification. While movies contain a full hour of entertainment, broadcast television is broken down into approximately 22 minutes of entertainment and 8 minutes of commercials per half hour.
Most one hour shows have six 2.02 minute breaks with two 1.34, which fall at the top and bottom of the hour. Generally this leaves 22 minutes per half hour for the actual show, which is broken down further into the teaser/open, three acts and bottom of the hour teaser/bridge for the local break. The second half hour also has three acts, but it is ended with a teaser/closing credits and the top of the hour break.
Whether starting at the top or bottom of the hour, the initial segment, contains the show teaser and opening; its run time varies between 2-4 minutes in length. The following three acts divide the remaining entertainment time between them without any set length; however, most stations, especially during ratings, identify themselves within a two minute margin at the quarter hour; therefore, there is usually a break written in to accommodate this standard. The second half hour also begins with a teaser, which identifies the show and the network, and is followed by a local commercial with identification. Most shows end with a 2-4 minute teaser of the next episode and the ending credits with another local break following.
Unless you have a talent that milks their part, usually one page of script equals one minute of air time. This generality helps the writer pace the storyline and time the scenes to maximize the suspense in order to hold the audience’s attention through the commercial breaks. By splitting the action between multiply scenes to create mini cliffhangers, the writer suspends the action in order to height the drama and prevent channel surfing. It is also how a creative writer creates an effective end of an episode cliffhanger to torment the viewers into returning to see what happens to their favorite characters.
Format for one hour television script
2-4 minutes teaser and show open
2.02 minute commercial break
Act 1
2.02 minute commercial break
Act 2
2.02 minute commercial break
Act 3
1:34 minute commercial break
20 second teaser- 10 seconds from each half hour
1:34 bottom of the hour local break
Act 4
2.02 minute commercial break
Act 5
2.02 minute commercial break
Act 6
2.02 minute commercial break
2-4 tag and end credits
1:34 local top of the hour break
No doubt many of you are asking why the script I have been writing for Days doesn’t meet this industry standard. Very simple. There are two reasons. When I started, it was a protest that I never thought would go any where. Originally I was going to write a few scenes to embarrass the writers into their job. However, I received so much positive feedback that I just kept going. Secondly, a major of my script writing experience was for the stage and screen. Even then, it had been a while since I worked on a long project. My information was not only dated, but I had forgotten a few little details. The new scenes will be in the correct format. I’ve also started the process of reformatting and restructuring the rest to not only meet the industry standards but to also put it into episodes. During the process a few scenes will have to be tweaked, but it will give me a chance to improve them as well. Although I knew how I wanted the storylines to unfold, everything that I have posted still qualifies for first draft status. The reality is that I had put little effort into the project yet it was still be better than the so called professionals; hat do you think I could do if I actually put work it to the project?
Friday, January 02, 2009
Days of Our Lives 12-30-08
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
I wish I would have known about the program earlier. The program makes the process so much easier. If I didn't have so many other projects, I would reformat the previous posts, but it's not a simple cut and past and I have other projects that need my attention.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/tirgana/days12-30-08.pdf
This is what I previously posted on the NBC Days boards
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
The last entries aren't in the proper format.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
I have made a few changes. Recently I learned that that format I was using was out dated, which is why I wasn't taken seriously. It seems the industry is more concerned with what a project looks like, instead of the content.
Yesterday, I downloaded Cinergy Script Editor. I will be using it from now on, so the script will be in proper format. However, the free version doesn't have all the features, one of them being spell check so there may be errors. Normally, I don't post first drafts of projects.
I wish I would have known about the program earlier. The program makes the process so much easier. If I didn't have so many other projects, I would reformat the previous posts, but it's not a simple cut and past and I have other projects that need my attention.
As I have promised I will finish the ghost story, but there is no guarantee that I will keep it going.
Most current is at http://www.geocities.com/tirgana/days12-30-08.pdf
This is what I previously posted on the NBC Days boards
http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
http://geocities.com/tirgana/Days12-2-08.pdf
http://geocities.com/tirgana/Days12-8-08.pdf
http://geocities.com/tirgana/day12-14-08.pdf
The last entries aren't in the proper format.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Tuesday, December 23, 2008
Looking for an agent or someone connected to Daytime TV
I am looking for an agent to represent my scripts and to help me get a writing gig. In addition, I have three novels that I would like to sell the rights too or be contracted to write the script. Nearly all my work is set in Michigan, which gives them an added selling point in today's financial climate. The State of Michigan is giving film makers incentives to film within the state.
Winning the 2006 International Gloria Film Festival, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead she finds herself dealing with violently jealous wife and the past mistakes she is only beginning to remember. Arriving in town, she finds it uncomfortably familiar. As the controlling President of the college, Judy Olson, shows her around, Elizabeth begins to realize that she has made a mistake and begins looking for excuses to leave. After meeting the famous historian, Michael Scott and his irrational wife, Shane, Elizabeth finds the past becoming more real than the present as the death of a small boy decades earlier reignites an old treachery, which could destroy the entire town. When love leads to vengeance, it is best to say good-bye.
Eye of Ra is an occult horror film that is based on Egyptian mythology. When Isis stole power from Ra, she initiated a guardian who not only had the strength to be the focal point for this great power, but who also had the ability to protect its secrets from those who would abuse them. Jealous of her grandmother and daughters’ spiritual gifts, Sandra takes her youngest daughter, Rikki and disappears. Seeking power, she searches the world for the Eye of Ra; when she finds it, it is Rikki not her that the Guardian chooses. Enraged, Sandra makes a pact with the Dark Ones; if they help her destroy her own daughter, she will use the Eye in their name. Sandra attacks in the middle of the initiation ceremony. The Priestess is killed before it can be completed. Barely escaping with her life, Rikki returns to the small town of her birth. Her physical wounds have heals, but the guilt and self-doubt keeps her from seeing the truth of her life. Sandra follows Rikki to finish what she started, bringing the evil of the Dark Ones with her, and a small northern Michigan town learns the black secret that had been buried among them for generations.
Awakening the Dragon -- Book One of the Dragon Clan Trilogy (http://www.youtube.com/watch?v=7fy7KEOE3AQ) -- is a story of magic, suspense and karmic justice combined in a tale of horror. Rachael moves to Coyote Springs to find a home and open her bookstore. Instead, she becomes the catalyst in exposing a murder and the target of a violent cult. She is forced to awaken her dragon spirit prematurely to save herself and all she loves. Will she be able to control the power of the dragon as it rises giving her the power to save all she loves or will the flames from within destroy her?
In Dragon Domain -- Book Two of the Dragon Clan Trilogy (http://www.youtube.com/watch?v=fvK7RjM9QRQ) -- Cheyenne and Celeste came to Coyote Springs to save a child; instead, Cheyenne found a home. With the help of their new friend, Jane, they created a spiritual sanctuary. But when Celeste stopped running, her past caught up with her. Dominic arrived with promises of love and passion. Instead of love, he reawakened Celeste’s dark side, turning her against those she loved the most. With the aid of the dragons, Cheyenne was barely able to ward off their first attack. With each soul they bound to them, Celeste and Dominic’s greed and hatred grew until they would not settle for less than totally destroying Cheyenne and all she loves. How do you protect yourself from someone who knows how to steal your soul?
Nict For Ure Selfe (Not for Ourselves) a paranormal suspense novelette that ties the present with the past as karma awakens an old blood feud. Alyssa attends a local Pagan festival, only become the target of the local deputy's bigotry and hatred. Unable to understand way she was singled out, she performs a ritual asking Bridget for her help. Instead of gaining wisdom, her spirit is transported back to a time before the Celtic Goddesses and Gods gave way to the Christos and when clan traditions could mean life or death. The book trailer can be viewed at http://www.youtube.com/watch?v=1Jk8S7AVw5E.
In addition, I have been writing alternative universe storylines for the soap opera, Days of Our Lives and posting them on the NBC boards. Starting out as a protest to the bad writing, my script has received more favorable reviews from the fans than what is been aired. I have applied for the gig, but I need someone to represent me to the producers.
I need an agent who has the ability to knock door of hinges--metaphorically speaking--and let some fresh energy into the industry. If you are such a person, please call me at 231-943-3298.
Winning the 2006 International Gloria Film Festival, Never Can Say Good-bye is a paranormal romance that connects the present with the logging industry of the 1900. To help a friend, Elizabeth agrees to teach a writing course at a small college. She expects to find a sleepy town with a long history, but instead she finds herself dealing with violently jealous wife and the past mistakes she is only beginning to remember. Arriving in town, she finds it uncomfortably familiar. As the controlling President of the college, Judy Olson, shows her around, Elizabeth begins to realize that she has made a mistake and begins looking for excuses to leave. After meeting the famous historian, Michael Scott and his irrational wife, Shane, Elizabeth finds the past becoming more real than the present as the death of a small boy decades earlier reignites an old treachery, which could destroy the entire town. When love leads to vengeance, it is best to say good-bye.
Eye of Ra is an occult horror film that is based on Egyptian mythology. When Isis stole power from Ra, she initiated a guardian who not only had the strength to be the focal point for this great power, but who also had the ability to protect its secrets from those who would abuse them. Jealous of her grandmother and daughters’ spiritual gifts, Sandra takes her youngest daughter, Rikki and disappears. Seeking power, she searches the world for the Eye of Ra; when she finds it, it is Rikki not her that the Guardian chooses. Enraged, Sandra makes a pact with the Dark Ones; if they help her destroy her own daughter, she will use the Eye in their name. Sandra attacks in the middle of the initiation ceremony. The Priestess is killed before it can be completed. Barely escaping with her life, Rikki returns to the small town of her birth. Her physical wounds have heals, but the guilt and self-doubt keeps her from seeing the truth of her life. Sandra follows Rikki to finish what she started, bringing the evil of the Dark Ones with her, and a small northern Michigan town learns the black secret that had been buried among them for generations.
Awakening the Dragon -- Book One of the Dragon Clan Trilogy (http://www.youtube.com/watch?v=7fy7KEOE3AQ) -- is a story of magic, suspense and karmic justice combined in a tale of horror. Rachael moves to Coyote Springs to find a home and open her bookstore. Instead, she becomes the catalyst in exposing a murder and the target of a violent cult. She is forced to awaken her dragon spirit prematurely to save herself and all she loves. Will she be able to control the power of the dragon as it rises giving her the power to save all she loves or will the flames from within destroy her?
In Dragon Domain -- Book Two of the Dragon Clan Trilogy (http://www.youtube.com/watch?v=fvK7RjM9QRQ) -- Cheyenne and Celeste came to Coyote Springs to save a child; instead, Cheyenne found a home. With the help of their new friend, Jane, they created a spiritual sanctuary. But when Celeste stopped running, her past caught up with her. Dominic arrived with promises of love and passion. Instead of love, he reawakened Celeste’s dark side, turning her against those she loved the most. With the aid of the dragons, Cheyenne was barely able to ward off their first attack. With each soul they bound to them, Celeste and Dominic’s greed and hatred grew until they would not settle for less than totally destroying Cheyenne and all she loves. How do you protect yourself from someone who knows how to steal your soul?
Nict For Ure Selfe (Not for Ourselves) a paranormal suspense novelette that ties the present with the past as karma awakens an old blood feud. Alyssa attends a local Pagan festival, only become the target of the local deputy's bigotry and hatred. Unable to understand way she was singled out, she performs a ritual asking Bridget for her help. Instead of gaining wisdom, her spirit is transported back to a time before the Celtic Goddesses and Gods gave way to the Christos and when clan traditions could mean life or death. The book trailer can be viewed at http://www.youtube.com/watch?v=1Jk8S7AVw5E.
In addition, I have been writing alternative universe storylines for the soap opera, Days of Our Lives and posting them on the NBC boards. Starting out as a protest to the bad writing, my script has received more favorable reviews from the fans than what is been aired. I have applied for the gig, but I need someone to represent me to the producers.
I need an agent who has the ability to knock door of hinges--metaphorically speaking--and let some fresh energy into the industry. If you are such a person, please call me at 231-943-3298.
Sunday, December 14, 2008
Days of Our Lives: Fans Missing the Good Old Days
My alternative Days of Our Lives storylines are being continued on my Days of Our Lives blog at http://elfmagic.blogspot.com/ along with articles about Days and soap operas. Please pop on over and catch up. Don't forget to vote in my polls.
Thanks
Theresa
Thanks
Theresa
Wednesday, December 03, 2008
What the Fans on the NBC Boards Think of Day of Our Lives
What the Fans on the NBC Boards Think of Day of Our Lives
Although there are many fan message boards for Days of our Lives. The most active one is on the NBC home site. It has one of the most diverse viewer demographics. However, one theme has been increasingly prevailant--the fans are not happy with the direction the executive producers and writers are taking Days. There have been more than one thread asking for the firing of both.
On more than one occasion, ideas that were presented on the board appeared a few weeks later on the screen; credit was never given to the posters, but it has happened consistently enough to prove that either the executive producers or the writing staff had been checking in. It is too bad that while they are swiping plot points and ideas from the fans, they don't take the time to listen to what the fans want and need. If they did, the fans would be staying instead changing the channel and ratings would be increasing instead of falling.
The viewers want:
Deidre and Drake to stay; many viewer have already stated that the actors last air date will be the last time they will watch Days.
The vets to be actively involved with storylines, not just show up occasionally to prop up the newbies.
An end to endless and continuing triangles. Enough already. Triangles are a good short term plot point, but nothing more.
New writers. The replacement need to not only know the show's history, but be able to write for vets without gutting and recreating them, created interesting new characters, and write storylines that are based on romance, suspense, drama and humor.
They were disappointed that Thanksgiving was ignored and afraid the same will happen with Christmas. Both holidays were always very special for the fans.
The following are quotes taken from the different threads.
With the show only having an eighteen month contract, I'm wondering if the scribes have any real intention of "wowing" the viewers. So far, they have failed miserably. I seriously hope that they check out these message boards to see how disheartened DAYS fans truly are. Unfortunately, the show has landed itself in the same position that PASSIONS was in not too long ago. PASSIONS received a couple of one year extensions for their contracts. But, sadly, that show has bit the dust. I shudder to think what these short contract deals mean for DAYS. It's not too promising. So, my BIG question for the scribes is what will you do to truly turn the show around? I don't know about anyone else, but I'm pretty much fed up with triangles, dead babies, lifeless characters, and the departures of vets such as Dee/Drake. For the past couple of years or so, I've done more groaning/complaining than anything else when posting about the show. I can remember when Salem was a happy place filled with love and adventure galore. It's now a shadow of its former self. The scribes are going to have to come up with something super tremendous to keep me coming back for more. I don't have any faith, however, that they will be able to deliver.
Cookfan
Okay, if DOOL continue to replace popular actors with other unknown actors. They might as well cancel the show. Enough already!!!
Thesun
Oh, Marlena is probable gone too, the way things look we will have the stupid young group and that is it.
atsvan
Why am I not surprised? Ken Corday has no desire to preserve his parents legacy! Unbelievable. Absolutely unbelievable! I do feel the end is near for our beloved show. Yes I know that we're thinking 18 months... but at this rate it's going to be a pathetic 18 months.
I'm sending you a big hug, Hartleyfan. My six year old says that hugs always make you feel better. I think in this case, though, it's going to take more than a hug to make any of us feel better.
Boomonster
So Corday gets rid of John Black yet we are still stuck with Melanie, Max, Nicole and Daniel? Why don't they just cancel the show right now! Higley and Corday obviously don't care about the show or the fans who have remained loyal. Screw them!! Just cancel the show already! Obviously, TIIC don't care about the actors or the fans. If they did, they wouldn't be firing beloved vets and bringing on more pointless newbies.
Jnjfan
I am really hoping that this is a rumor. I don't want to see John go.
Max could go back into racing, and be on the circuit... Melonie could go anywhere but Salem... Nick is going to jail so he is already out, Chelsea and Stephanie could go back to college and do it abroad... not in Salem.
Dr. Dan could just go... Roman hardly is on and has no storyline, as much as I love Roman, send him off to some training class or something. What on earth are they doing with Victor and Stefano? If they aren't going to use them for their evilness then why have them at all.
Lexie and Theo could go some where to get theo help... they have nothing to add to the show.
There are so many little characters that don't really need to be there that you could explain away that they could keep the majors.
Why are we spending so much time on Trent's murder? No offense, but some college professor should take a back seat to the Mayor's murder and they haven't done anything on finding the killer of the Mayor... We have had to deal with Trent for what 3 months after his murder... just get this over with... and lets just get rid of Melonie.
Co770
I guess Ken doesn't remember last time he decided to fire Drake? The fans went berserk. If the actors and actresses who have been on the show the longest continue to leave, they won't get to finish out their new extension. Half of the viewers will be gone. They say that they want to make room for other stories, what the heck does that mean? That they think whoever is leftover when they finish their massacre will be more important? The vets are important and they aren't on enough, and that's the reason they are in the spot they are in now. The fans would have been loving this John storyline and viewing in drones had they handled it right. They let Drake tell us about all of the stuff coming up for him in this story and they let him go!?
And not just that. Had they given the rest of the vets stories or at least given us some real stories and not this dribble we have now of slow and boring storylines, they wouldn't have to let anyone go. New people are nice, but don't sacrifice the proven formula for a new one!
I'm furious that they are just letting their talent out the door. They are really proving that they don't know what they Hell they are doing. We might as well accept cancellation and let it go.
And you know, I said before that I wouldn't stop watching. But if none of the characters I know are on the show, what's the point in watching? So im starting to rethink that. Good job Ken!
NewDaysfan
If this is indeed a fact, I can definitely guarantee to NBC that me and many of the loyal viewers who have remained, will be gone forever. I have already talked to some of these people and we are in total agreement......NO JOHN means NO VIEWERS. The show has been totally horrible but we have hung on for the last year for a glimpse of the old John returning to reunite with Marlena. Enough is enough!!
Jane083
I loved that S/L! It was creative and innovative. I would be open to bringing her back....oh if only it were up to me. I also like Sheri Anderson as HW. I don't like the direction "Hackley" is taking the show...it's lame, predictable and what she thinks is interesting... which is not what the fans find interesting.
Twisted fate
Are you happy with Days and the storylines
Definitely yes. [ 2 ] [4.08%]
yes [ 5 ] [10.20%]
Sometimes [ 10 ] [20.41%]
I'm hanging in there hoping it will get better [ 14 ] [28.57%]
not really [ 0 ] [0.00%]
Definitely no [ 9 ] [18.37%]
I fast forward through most the show. [ 4 ] [8.16%]
If I miss it, it doesn't matter. [ 2 ] [4.08%]
I have given up and am moving on to another soap. [ 1 ] [2.04%]
The best years are over all that's left is to turn off the stage lights. [ 2 ] [4.08%]
If you could have five minutes with the Executive Producers, What would you say to them?
Good job [ 1 ] [2.04%]
What are you doing? [ 15 ] [30.61%]
I have a few ideas to make things better. [ 17 ] [34.69%]
Why do you work on Days if you hate your job [ 4 ] [8.16%]
Your fired [ 12 ] [24.49%]
Honestly, I think I could have voted ALL of these:
I'm hanging in there hoping it will get better
not really
Definitely no
I fast forward through most the show.
If I miss it, it doesn't matter.
I have given up and am moving on to another soap.
The best years are over all that's left is to turn off the stage lights.
And I would tell them to get back to using their "main" characters in storylines where everyone is involved, like they did in the 80s. It's time to get back to basics and stop pandering to the younger demographic already.
Soozn79
There is so much more than I could possible list here. However, what the fans want is very clear to anyone who is open enough to see it. Most fans believe that Days will be cancelled before the contract ends and at this point they don't care. The show they have loved and have been loyal too for decades doesn't exist any more. But it doesn't have to be. Change can be wonderful, but so can keeping to tradition. Two generations have grown up with Days; many of the vets feel like family. It doesn't have to end. There are still many viewers and fan who desperately want to be loyal, including me; we just want our show back--the one that was based on romance, suspense, drama and humor--not just shallow soft porn. We are a demographic that can be very profitable to any network that choices to give us back Our Days.
So Mr Fairfield, Connecticut are you willing to step up to the plate and make your voice heard. You can make the necessary changes. The power is within you to save Days. It's a good business, good karma and just a plain out and out good deed--And if you decided to take up this challenge, remember, me for the head writer gig. I would very much like the opportunity to brink back the good old Days.
Although there are many fan message boards for Days of our Lives. The most active one is on the NBC home site. It has one of the most diverse viewer demographics. However, one theme has been increasingly prevailant--the fans are not happy with the direction the executive producers and writers are taking Days. There have been more than one thread asking for the firing of both.
On more than one occasion, ideas that were presented on the board appeared a few weeks later on the screen; credit was never given to the posters, but it has happened consistently enough to prove that either the executive producers or the writing staff had been checking in. It is too bad that while they are swiping plot points and ideas from the fans, they don't take the time to listen to what the fans want and need. If they did, the fans would be staying instead changing the channel and ratings would be increasing instead of falling.
The viewers want:
Deidre and Drake to stay; many viewer have already stated that the actors last air date will be the last time they will watch Days.
The vets to be actively involved with storylines, not just show up occasionally to prop up the newbies.
An end to endless and continuing triangles. Enough already. Triangles are a good short term plot point, but nothing more.
New writers. The replacement need to not only know the show's history, but be able to write for vets without gutting and recreating them, created interesting new characters, and write storylines that are based on romance, suspense, drama and humor.
They were disappointed that Thanksgiving was ignored and afraid the same will happen with Christmas. Both holidays were always very special for the fans.
The following are quotes taken from the different threads.
With the show only having an eighteen month contract, I'm wondering if the scribes have any real intention of "wowing" the viewers. So far, they have failed miserably. I seriously hope that they check out these message boards to see how disheartened DAYS fans truly are. Unfortunately, the show has landed itself in the same position that PASSIONS was in not too long ago. PASSIONS received a couple of one year extensions for their contracts. But, sadly, that show has bit the dust. I shudder to think what these short contract deals mean for DAYS. It's not too promising. So, my BIG question for the scribes is what will you do to truly turn the show around? I don't know about anyone else, but I'm pretty much fed up with triangles, dead babies, lifeless characters, and the departures of vets such as Dee/Drake. For the past couple of years or so, I've done more groaning/complaining than anything else when posting about the show. I can remember when Salem was a happy place filled with love and adventure galore. It's now a shadow of its former self. The scribes are going to have to come up with something super tremendous to keep me coming back for more. I don't have any faith, however, that they will be able to deliver.
Cookfan
Okay, if DOOL continue to replace popular actors with other unknown actors. They might as well cancel the show. Enough already!!!
Thesun
Oh, Marlena is probable gone too, the way things look we will have the stupid young group and that is it.
atsvan
Why am I not surprised? Ken Corday has no desire to preserve his parents legacy! Unbelievable. Absolutely unbelievable! I do feel the end is near for our beloved show. Yes I know that we're thinking 18 months... but at this rate it's going to be a pathetic 18 months.
I'm sending you a big hug, Hartleyfan. My six year old says that hugs always make you feel better. I think in this case, though, it's going to take more than a hug to make any of us feel better.
Boomonster
So Corday gets rid of John Black yet we are still stuck with Melanie, Max, Nicole and Daniel? Why don't they just cancel the show right now! Higley and Corday obviously don't care about the show or the fans who have remained loyal. Screw them!! Just cancel the show already! Obviously, TIIC don't care about the actors or the fans. If they did, they wouldn't be firing beloved vets and bringing on more pointless newbies.
Jnjfan
I am really hoping that this is a rumor. I don't want to see John go.
Max could go back into racing, and be on the circuit... Melonie could go anywhere but Salem... Nick is going to jail so he is already out, Chelsea and Stephanie could go back to college and do it abroad... not in Salem.
Dr. Dan could just go... Roman hardly is on and has no storyline, as much as I love Roman, send him off to some training class or something. What on earth are they doing with Victor and Stefano? If they aren't going to use them for their evilness then why have them at all.
Lexie and Theo could go some where to get theo help... they have nothing to add to the show.
There are so many little characters that don't really need to be there that you could explain away that they could keep the majors.
Why are we spending so much time on Trent's murder? No offense, but some college professor should take a back seat to the Mayor's murder and they haven't done anything on finding the killer of the Mayor... We have had to deal with Trent for what 3 months after his murder... just get this over with... and lets just get rid of Melonie.
Co770
I guess Ken doesn't remember last time he decided to fire Drake? The fans went berserk. If the actors and actresses who have been on the show the longest continue to leave, they won't get to finish out their new extension. Half of the viewers will be gone. They say that they want to make room for other stories, what the heck does that mean? That they think whoever is leftover when they finish their massacre will be more important? The vets are important and they aren't on enough, and that's the reason they are in the spot they are in now. The fans would have been loving this John storyline and viewing in drones had they handled it right. They let Drake tell us about all of the stuff coming up for him in this story and they let him go!?
And not just that. Had they given the rest of the vets stories or at least given us some real stories and not this dribble we have now of slow and boring storylines, they wouldn't have to let anyone go. New people are nice, but don't sacrifice the proven formula for a new one!
I'm furious that they are just letting their talent out the door. They are really proving that they don't know what they Hell they are doing. We might as well accept cancellation and let it go.
And you know, I said before that I wouldn't stop watching. But if none of the characters I know are on the show, what's the point in watching? So im starting to rethink that. Good job Ken!
NewDaysfan
If this is indeed a fact, I can definitely guarantee to NBC that me and many of the loyal viewers who have remained, will be gone forever. I have already talked to some of these people and we are in total agreement......NO JOHN means NO VIEWERS. The show has been totally horrible but we have hung on for the last year for a glimpse of the old John returning to reunite with Marlena. Enough is enough!!
Jane083
I loved that S/L! It was creative and innovative. I would be open to bringing her back....oh if only it were up to me. I also like Sheri Anderson as HW. I don't like the direction "Hackley" is taking the show...it's lame, predictable and what she thinks is interesting... which is not what the fans find interesting.
Twisted fate
Are you happy with Days and the storylines
Definitely yes. [ 2 ] [4.08%]
yes [ 5 ] [10.20%]
Sometimes [ 10 ] [20.41%]
I'm hanging in there hoping it will get better [ 14 ] [28.57%]
not really [ 0 ] [0.00%]
Definitely no [ 9 ] [18.37%]
I fast forward through most the show. [ 4 ] [8.16%]
If I miss it, it doesn't matter. [ 2 ] [4.08%]
I have given up and am moving on to another soap. [ 1 ] [2.04%]
The best years are over all that's left is to turn off the stage lights. [ 2 ] [4.08%]
If you could have five minutes with the Executive Producers, What would you say to them?
Good job [ 1 ] [2.04%]
What are you doing? [ 15 ] [30.61%]
I have a few ideas to make things better. [ 17 ] [34.69%]
Why do you work on Days if you hate your job [ 4 ] [8.16%]
Your fired [ 12 ] [24.49%]
Honestly, I think I could have voted ALL of these:
I'm hanging in there hoping it will get better
not really
Definitely no
I fast forward through most the show.
If I miss it, it doesn't matter.
I have given up and am moving on to another soap.
The best years are over all that's left is to turn off the stage lights.
And I would tell them to get back to using their "main" characters in storylines where everyone is involved, like they did in the 80s. It's time to get back to basics and stop pandering to the younger demographic already.
Soozn79
There is so much more than I could possible list here. However, what the fans want is very clear to anyone who is open enough to see it. Most fans believe that Days will be cancelled before the contract ends and at this point they don't care. The show they have loved and have been loyal too for decades doesn't exist any more. But it doesn't have to be. Change can be wonderful, but so can keeping to tradition. Two generations have grown up with Days; many of the vets feel like family. It doesn't have to end. There are still many viewers and fan who desperately want to be loyal, including me; we just want our show back--the one that was based on romance, suspense, drama and humor--not just shallow soft porn. We are a demographic that can be very profitable to any network that choices to give us back Our Days.
So Mr Fairfield, Connecticut are you willing to step up to the plate and make your voice heard. You can make the necessary changes. The power is within you to save Days. It's a good business, good karma and just a plain out and out good deed--And if you decided to take up this challenge, remember, me for the head writer gig. I would very much like the opportunity to brink back the good old Days.
Tuesday, December 02, 2008
Days of Our Lives: 12-1-08
Monday, December 1, 2008
Days of Our Lives 12-2-08
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
The newest entry is at http://geocities.com/tirgana/Days12-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Days of Our Lives 12-2-08
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
http://www.geocities.com/tirgana/days11-15-08.pdf
The newest entry is at http://geocities.com/tirgana/Days12-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Tuesday, November 25, 2008
Soap Operas: The Cliff Hanger-The Backbone of the Genre
Soap Operas: The Cliff Hanger-The Backbone of the Genre
By
Theresa Chaze
The cliffhanger has been the both a source of pleasure and bane to soap opera viewer since the genre was created. It is one of the hooks that keep the viewers coming back. From radio to daytime to the emergence of primetime soaps, the cliffhanger has been the one element that has remained constant. However, in the past few years with the movement away from the traditional soap opera format to one that is more titillating, the cliffhanger has also been cast aside.
In the era of multi-media and channel options, cliff hangers have become more important than ever in the success of a soap opera. With so many choices, all shows need to give the viewers a reason to keep tuning in. Historically, cliff hangers have been the genre’s best tools to create loyal fans. According the World English dictionary, the definition of a cliffhanger is:
1. Arts literature ending left teasingly unresolved: an unresolved ending in a serialized drama or book that leaves the audience or reader desperate to know what will happen in the next part
2. Arts drama serial with suspenseful endings: a drama serial that has episodes that often end in suspenseful unresolved endings
3. Tense situation: a situation full of tension or suspense because it is not clear what will happen next
By keeping the audience guessing, the writers insure they will tune in next time to learn what happens to their favorite characters. However, the more invested the viewer is in the characters the easier it is to hook them. Yet on the flip side, it is nearly impossible to retain the interest of the viewers if they can’t identify with the character or if the plot doesn‘t fit within the perimeters the show has already established. The more the viewers care about the characters, the more likely they will be loyal to the show.
Cliff hangers need storylines that are not only well written, but also well thought out and exactly timed. Cutting the scene in the middle of the action is not a cliff hanger; it is a poorly placed cut. In order to be effective, it has to be the logical progression of the plot throughout the episode. By properly organizing and timing the sequence of scenes, the writer builds the suspense and drama. Inter-cutting the primary storyline to build a secondary, not only heightens the tension, but it also initiates the next primary storyline and helps insure the show will end at climatic moment. As with comedy, timing isn't the only thing, it's everything.
Many of the current soaps have given up writing the complicated storylines that are associated with cliff hangers in favor of gratuitous sexual scenes that aren’t based in plot or character. Instead of developing characters or stories the viewers can identify with and care about, the writers have chosen to focus shallow characters and plots that more closely resemble soft porn, which is why the genre has been slowly dying. In traditional soaps, sex was the end result of romance that was gradually created over weeks of teasing, testing and sexual tension. Instant romance and relationships give nothing for the viewer to look forward to since they already know what the end results will be sex. Until the writers return to storylines, which are based on suspense, drama, romance and humor, cliff hangers will be a thing of the past, taking with them the whole genre.
By
Theresa Chaze
The cliffhanger has been the both a source of pleasure and bane to soap opera viewer since the genre was created. It is one of the hooks that keep the viewers coming back. From radio to daytime to the emergence of primetime soaps, the cliffhanger has been the one element that has remained constant. However, in the past few years with the movement away from the traditional soap opera format to one that is more titillating, the cliffhanger has also been cast aside.
In the era of multi-media and channel options, cliff hangers have become more important than ever in the success of a soap opera. With so many choices, all shows need to give the viewers a reason to keep tuning in. Historically, cliff hangers have been the genre’s best tools to create loyal fans. According the World English dictionary, the definition of a cliffhanger is:
1. Arts literature ending left teasingly unresolved: an unresolved ending in a serialized drama or book that leaves the audience or reader desperate to know what will happen in the next part
2. Arts drama serial with suspenseful endings: a drama serial that has episodes that often end in suspenseful unresolved endings
3. Tense situation: a situation full of tension or suspense because it is not clear what will happen next
By keeping the audience guessing, the writers insure they will tune in next time to learn what happens to their favorite characters. However, the more invested the viewer is in the characters the easier it is to hook them. Yet on the flip side, it is nearly impossible to retain the interest of the viewers if they can’t identify with the character or if the plot doesn‘t fit within the perimeters the show has already established. The more the viewers care about the characters, the more likely they will be loyal to the show.
Cliff hangers need storylines that are not only well written, but also well thought out and exactly timed. Cutting the scene in the middle of the action is not a cliff hanger; it is a poorly placed cut. In order to be effective, it has to be the logical progression of the plot throughout the episode. By properly organizing and timing the sequence of scenes, the writer builds the suspense and drama. Inter-cutting the primary storyline to build a secondary, not only heightens the tension, but it also initiates the next primary storyline and helps insure the show will end at climatic moment. As with comedy, timing isn't the only thing, it's everything.
Many of the current soaps have given up writing the complicated storylines that are associated with cliff hangers in favor of gratuitous sexual scenes that aren’t based in plot or character. Instead of developing characters or stories the viewers can identify with and care about, the writers have chosen to focus shallow characters and plots that more closely resemble soft porn, which is why the genre has been slowly dying. In traditional soaps, sex was the end result of romance that was gradually created over weeks of teasing, testing and sexual tension. Instant romance and relationships give nothing for the viewer to look forward to since they already know what the end results will be sex. Until the writers return to storylines, which are based on suspense, drama, romance and humor, cliff hangers will be a thing of the past, taking with them the whole genre.
Tuesday, November 18, 2008
Days of Our Lives:Saving Days
With the firing of Deidre and Drake with only more to come for budgetary concerns, Ken Corday is announcing the death of Days of Our Lives. It is not the actors or crew who have brought Days to the brink of cancellation, but the bad writing, the corruption of beloved characters and the endless triangles. The fans want Days to go back to the basics of romance, suspense, drama and humor. Corday Productions produced a show few people wanted to watch and couldn’t understand why the ratings tanked.
If money is Corday’s main concern, it is the perfect way to get his attention. These are sweeps weeks. Ratings are calculated and recorded not only daily but hourly,. It’s this rapid return that can be turned to the fans’ favor. For the rest of the week, boycott Days. The storylines suck anyway. If there is a rapid, sudden drop in ratings Corday will be held accountable.
If money is Corday’s main concern, it is the perfect way to get his attention. These are sweeps weeks. Ratings are calculated and recorded not only daily but hourly,. It’s this rapid return that can be turned to the fans’ favor. For the rest of the week, boycott Days. The storylines suck anyway. If there is a rapid, sudden drop in ratings Corday will be held accountable.
Monday, November 17, 2008
Dedrie Hall and Drake Hogestyn Fired: Stand Up and Speak Out
Dedrie Hall and Drake Hogestyn Fired: Stand Up and Speak Out
One thing I've been always good as is finding things. You give me a little time and access to a phone or a computer--and there isn't anything that exists that I can't eventually find.
This is the way it lays out.
Jeffrey Zucker is head of NBC
the corporate phone number is 212-669-4444. They won't put you through, but if enough people call eventually they will take notice.
There are two fax numbers: 212-669-4426 and 212-669-5705
NBC is owned by GE who is run by Jeffrey Immelt
I haven't been able to find yet the corporate phone numbers but his house address is 705 W. Rd New Canaan Ct 06840
Sony Pictures owns part of Days
Michael Lynton is had of Sony Pictures
310-244-5722
Corday Productions
Production phone number 818-295-2820
Calling your local station will also do a little good. They do have connects at corporate.
I found three addresses for Ken Corday
1035 Santa Monica Blvd
130 LA CA 90025
10343 Valley Springs
Toluca Lake, CA 91602-2933
285 Ocean Park Blvd 300
Santa Monica CA 90405
One thing I've been always good as is finding things. You give me a little time and access to a phone or a computer--and there isn't anything that exists that I can't eventually find.
This is the way it lays out.
Jeffrey Zucker is head of NBC
the corporate phone number is 212-669-4444. They won't put you through, but if enough people call eventually they will take notice.
There are two fax numbers: 212-669-4426 and 212-669-5705
NBC is owned by GE who is run by Jeffrey Immelt
I haven't been able to find yet the corporate phone numbers but his house address is 705 W. Rd New Canaan Ct 06840
Sony Pictures owns part of Days
Michael Lynton is had of Sony Pictures
310-244-5722
Corday Productions
Production phone number 818-295-2820
Calling your local station will also do a little good. They do have connects at corporate.
I found three addresses for Ken Corday
1035 Santa Monica Blvd
130 LA CA 90025
10343 Valley Springs
Toluca Lake, CA 91602-2933
285 Ocean Park Blvd 300
Santa Monica CA 90405
Saturday, November 15, 2008
Days of Our Lives
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
http://www.geocities.com/tirgana/days11-2-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-15-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Sunday, November 09, 2008
Days of Our Lives
Alternative Storyline for Days of Our Lives
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://www.geocities.com/tirgana/Days10-16.pdf
http://www.geocities.com/tirgana/days10-26-08.pdf
http://www.geocities.com/tirgana/days10-31-08.pdf
The newest entry is at http://www.geocities.com/tirgana/days11-2-08.pdf
The last three entries aren't in the proper format; I'll fix it later.
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2821
Friday, October 17, 2008
Days of Our Lives
To read more of my alternative universe for Day of Our Lives, plus article on the characters and writing for soap operas, please go to http://elfmagic.blogspot.com/
Days of Our Lives 10-16-2008
Days of Our Lives 10-16-2008
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://geocities.com/tirgana/Days10-16.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2820
Here is the next installment of my alternative storylines for Days of Our Lives.
This is what I previously posted on the NBC Days boards http://geocities.com/tirgana/daysofourlives.pdf
http://geocities.com/tirgana/Days10-16.pdf
If you like what you are reading, please leave me a comment here or on the NBC message boards. Or better yet contact the executive producers at
Gary Tomlin or Ken Corday
Corday Productions
3400 W. Olive Avenue
suite 170 Burbank CA
91505-4630
818-295-2820
Saturday, October 11, 2008
I want to Be the Head Writer of Days of Our Lives
For generations Days of Our Lives has been not only much loved but the top rated Daytime soap, being the leader in suspense, drama, romance, and comedy, as well as social issues. As the sand fell through the hour glass, we laughed, cried and waited with baited breath for Monday as the cliffhanger left us dangling on Friday. We had a our favorite heroes and villains--couples we cheered for and those we knew who were doomed for failure. When it became clear that the writers no longer had a clear understanding of the characters and history, I started writing my own storylines, which brought back the romance, suspense and drama that Days was well known for.
To read the viewers reviews and script go to http://elfmagic.blogspot.com/
To read the viewers reviews and script go to http://elfmagic.blogspot.com/
Sunday, October 05, 2008
Writing and Producing a Soap Opera
Writing and Producing Soap Operas
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Wednesday, September 24, 2008
Days of Our Lives Spoiler: Murder in Salem That Will be No Mystery
Murder in Salem That Will Be No Mystery
Days of our Lives is setting up the murder of Trent. The suspects have already been lined up; each threatening to kill him for their own reasons. But in short, who cares?
Trent Robbins is a physics professor who appears in Salem initially to be Nick's advisor. However, later it is learned that he is Max's biological father and part of Nicole's past. In the months Trent has been on the air, he has gone from being a dead beat dad to someone who would pimp out his daughter to pay his gambling debts. Along the way he has pissed off a good portion of the Salemites.
Recently, it was released that the character would be murdered (Again, I say-who cares?) and Salem will be embroiled in a great murder mystery. However, there will not be much mystery for those who are long time soap fans. The writers have already telegraphed their moves.
The suspects:
Max Brady--He hated Trent for deserting him as a child and abusing his mother. In addition, after he found his half-sister, he learn that Trent attempted to pimp her out to pay his gambling debt.
Melanie--Trent's daughter now hates him for lying about having a brother and using her to try to pay his debts.
Caroline Brady--Max is her son, even if she didn't give birth to him. Trent hurt and continues to hurt him. Like any Mama Bear, she is rising up to protect her young.
Nick--Trent is threatening to expose Max's help in receiving Nick's grant, thereby discounting all of Nick's work, which would cost him his grant.
John Black-DiMera--Trent made the moves on Marlena, which triggered John's jealousy. John is becoming increasing unstable; the blackouts are just around the corner, opening the door to John not remembering what he did during the time Trent was murdered.
Marlena Black--Trent has been harassing her trying to force he into a relationship. She has repeatedly told him to buzz of, but like any pest he didn't listen, so she has threatened to squash him.
Nicole--Trent used and abused her in the past, deserting her when she needed him the most. From the get-go she hated him. However, that hate deepened the more he manipulated her. He revealed that he had never divorced her, which meant that she was never legally married to Victor. The revelation cost her the divorce settlement.
The unnamed bookie--It has been revealed that Trent is a compulsive gambler, who is heavy into debt to those who break legs for fun.
All of those listed above have threatened to kill Trent; hence the so called murder mystery. However, there isn't a mystery.
Caroline will think Max did it so she will try to cover it up. implicating himself.
Max will think Melanie did it so he will try to cover it up, implicating himself.
Stephanie will think Max did it so she will lie and in doing so make Max look more guilty. She will has her Papa to find the real killer. Steve PI will be led to the gambling underworld where he will unravel Trent's gambling history.
Nick will be a suspect because of his motive as well as he will be seen in the area; however, he will be quickly moved from the suspect list to the witness list.
Chelsea will come to his defense, trying to get Nick back. She will lie in order to give Nick an alibi that he doesn’t actually need; thereby, putting him back on the suspect list.
John will see Trent threatening/making another pass at Marlena. Marlena and Trent will fight. Marlena will be knocked unconscious. When she wakes up, John will be incapacitated-either unconscious or in a trance. Trent will be dead. Marlena will get John out of there, thinking he killed Trent. She will be briefly be a suspect. John won’t remember anything until the crucial moment when he gets his memory back.
Nicole will be a prime suspect because of the money and the marriage. However, EJ will come to her rescue when he digs in to Trent’s past and learns that yes they were divorced and Victor still has to give her the money. However, this will happen after there is some question about Trent being the father of Nicole’s baby and EJ revealing that he doesn’t care--he loves her anyway.
However, the identity of the murder will come will come out of left field. Steve’s investigation will lead him into the gambling underworld; however, it will also reveal Melanie’s mother and the true murderer . Melanie’s mother will appear in town if she isn’t there already. No it isn’t Nicole. But a meek, mousy woman who has been abused by Trent for years. She will finally gain the backbone to put an end to Trent’s abusing her daughter by killing him dead.
Days of our Lives is setting up the murder of Trent. The suspects have already been lined up; each threatening to kill him for their own reasons. But in short, who cares?
Trent Robbins is a physics professor who appears in Salem initially to be Nick's advisor. However, later it is learned that he is Max's biological father and part of Nicole's past. In the months Trent has been on the air, he has gone from being a dead beat dad to someone who would pimp out his daughter to pay his gambling debts. Along the way he has pissed off a good portion of the Salemites.
Recently, it was released that the character would be murdered (Again, I say-who cares?) and Salem will be embroiled in a great murder mystery. However, there will not be much mystery for those who are long time soap fans. The writers have already telegraphed their moves.
The suspects:
Max Brady--He hated Trent for deserting him as a child and abusing his mother. In addition, after he found his half-sister, he learn that Trent attempted to pimp her out to pay his gambling debt.
Melanie--Trent's daughter now hates him for lying about having a brother and using her to try to pay his debts.
Caroline Brady--Max is her son, even if she didn't give birth to him. Trent hurt and continues to hurt him. Like any Mama Bear, she is rising up to protect her young.
Nick--Trent is threatening to expose Max's help in receiving Nick's grant, thereby discounting all of Nick's work, which would cost him his grant.
John Black-DiMera--Trent made the moves on Marlena, which triggered John's jealousy. John is becoming increasing unstable; the blackouts are just around the corner, opening the door to John not remembering what he did during the time Trent was murdered.
Marlena Black--Trent has been harassing her trying to force he into a relationship. She has repeatedly told him to buzz of, but like any pest he didn't listen, so she has threatened to squash him.
Nicole--Trent used and abused her in the past, deserting her when she needed him the most. From the get-go she hated him. However, that hate deepened the more he manipulated her. He revealed that he had never divorced her, which meant that she was never legally married to Victor. The revelation cost her the divorce settlement.
The unnamed bookie--It has been revealed that Trent is a compulsive gambler, who is heavy into debt to those who break legs for fun.
All of those listed above have threatened to kill Trent; hence the so called murder mystery. However, there isn't a mystery.
Caroline will think Max did it so she will try to cover it up. implicating himself.
Max will think Melanie did it so he will try to cover it up, implicating himself.
Stephanie will think Max did it so she will lie and in doing so make Max look more guilty. She will has her Papa to find the real killer. Steve PI will be led to the gambling underworld where he will unravel Trent's gambling history.
Nick will be a suspect because of his motive as well as he will be seen in the area; however, he will be quickly moved from the suspect list to the witness list.
Chelsea will come to his defense, trying to get Nick back. She will lie in order to give Nick an alibi that he doesn’t actually need; thereby, putting him back on the suspect list.
John will see Trent threatening/making another pass at Marlena. Marlena and Trent will fight. Marlena will be knocked unconscious. When she wakes up, John will be incapacitated-either unconscious or in a trance. Trent will be dead. Marlena will get John out of there, thinking he killed Trent. She will be briefly be a suspect. John won’t remember anything until the crucial moment when he gets his memory back.
Nicole will be a prime suspect because of the money and the marriage. However, EJ will come to her rescue when he digs in to Trent’s past and learns that yes they were divorced and Victor still has to give her the money. However, this will happen after there is some question about Trent being the father of Nicole’s baby and EJ revealing that he doesn’t care--he loves her anyway.
However, the identity of the murder will come will come out of left field. Steve’s investigation will lead him into the gambling underworld; however, it will also reveal Melanie’s mother and the true murderer . Melanie’s mother will appear in town if she isn’t there already. No it isn’t Nicole. But a meek, mousy woman who has been abused by Trent for years. She will finally gain the backbone to put an end to Trent’s abusing her daughter by killing him dead.
Tuesday, September 23, 2008
Alternative Storyline for Days of Our Lives Part 31
INT: HOSPITAL HALLWAY: NIGHT
The officer at the door pushes Sami into the room. The one inside pulls her the rest of the way in and slams the door.
OFFICER AT THE DOOR
(Into his mic)
Shots fired. Possible officer down. North stairwell of University Hospital.
ABE
(Off camera)
Do not--I repeat do not leave your post
OFFICER AT THE DOOR
What about--
ABE
(Off camera)
Keep everyone away from the door. Swat is coming in.
OFFICER AT THE DOOR
What about--
ABE
(Off camera)
If you move more than ten feet from that door, you're fired!.
OFFICER AT THE DOOR
Affirmative.
Daniel walks toward the elevator, while Miles starts toward the stairway door.
(To Miles)
Down go down there!
MILES
Some might be hurt!
OFFICER AT THE DOOR
(Reaching for his gun)
I gave you an order.
MILES
(Pointing at his hand)
You're going to shoot me?
OFFICER AT THE DOOR
(To Daniel)
Don't move!
Daniel stops and raises his hands. The south stairway door opens six officers in full swat gear run onto the floor and down the hall. On the way they clear the hallway by asking people to step into the nearest room and close the door. The nurses at the station are herded into the room behind the desk. Two stop in the center of the hallway with the threesome. The others continue through the stairway door.
SWAT 1
Officer, you were told to stay by your objective.
OFFICER AT THE DOOR
I was detaining witnesses.
SWAT 1
Suspects are detained. Witnesses are protected.
MILES
He was going to shoot me.
DANIEL
That's what it looked like to me.
OFFICER AT THE DOOR
He ignored my order.
SWAT OFFICER 2
(Shaking his head in disgust)
Carver, your man needs to be relieved of duty.
ABE
(Angrily)
Send him down and stand by until his replacement gets there.
SWAT 2
Will do. Get going.
Angrily the officer marches to the elevator.
Take the stairs. The elevator is stopped between floor.
SWAT 1
(Knocking on Lucas's door)
Did you copy in?
CUT
INT: LUCAS'S HOSPITAL ROOM: MORNING
Sami is sitting on the bed next to Lucas. The officer is at the door.
OFFICER
Affirmative.
(To Sami and Lucas)
Better make yourselves comfortable. But not too comfortable.
(To Lucas)
You just had surgery and I’m still in the room.
SAMI
What do you think happened?
OFFICER
You know as much I do.
LUCAS
It can’t be good.
SAMI
How are your feeling?
LUCAS
I hurt. How’s my new son?
OFFICER
You just have baby?
SAMI
Almost a year ago.
LUCAS
I just learned I was the father.
SAMI
First we thought Johnny was Lucas then the test--
OFFICER
(Waving his hand)
Way to much information. You both seem happy. Congratulations.
SAMI
Thanks.
LUCAS
How is EJ taking it?
SAMI
I haven’t seen him.
LUCAS
I wonder what he’s planning.
CUT
INT: B & B BATHROOM: MORNING.
Ava reclining on EJ as they take a bubble bath in an old fashion claw foot tube. Their fingers intertwine and he kisses her ring.
EJ
I need to get you a real wedding ring. Something big and shiny.
AVA
If you must.
EJ
I must. I must.
AVA
(Holding it up to the light)
I like it this one.
EJ
You don’t want a big diamond to show off.
AVA
(Shrugging)
The ring doesn’t matter as long as I’m in your heart.
They passionately kiss. One of their cell phone can be heard ringing from the bedroom.
Is that yours or mine?
EJ
Sounds like mine.
AVA
Aren’t you going to answer it.
EJ
Whoever it is can bugger off.
AVA
(Looking up at him)
What if it’s important?
EJ
(Embracing her)
I’m busy.
Rolling over to face him, she kisses down his chest. There is a sudden banging on the bedroom door.
MALE VOICE
Sheriff’s department.
EJ
What’s the problem officer?
MALE VOICE
You EJ DiMera?
EJ
Yes. What’s the problem?
MALE VOICE
Open the door.
EJ
What the--just a second!
EJ gets out of the tube, quickly drying himself off he wraps the towel around his middle Ava stays in the tube.
AVA
I’ll save you place.
EJ
This better be good.
(Opening the door)
Yes officer?
The sheriff’s deputy looks him up and down as if he can’t believe his eyes; the camera follows his gaze. Although, the sheriff has a big booming voice, he’s a short, slender man who could have doubled for Don Knotts.
SHERIFF
Little late to be taking a bath.
EJ
Is there some sort of bathing law in this county?
SHERIFF
You’re all wrinkly.
EJ
My new wife and I are on honeymoon.
SHERIFF
Oh, I see. Your uncle called.
EJ
My uncle?
SHERIFF
John Black. He was worried about you? Seems you haven’t been answering you phone.
EJ
(Closing the door)
I’m not a truant child.
SHERIFF
He said its a family emergency. You need to go home immediately.
Wearing a robe, Ava walks up behind EJ.
Miss.
AVA
(Holding up her ring)
Mrs. Mrs. EJ DiMera.
SHERIFF
You’re all wrinkly too. I didn’t know these rooms had more than one tube.
EJ
They don’t.
SHERIFF
(Embarrassed)
That would mean you were in the tube together.
EJ
(Closing the door)
Yes it would. If you will excuse us, we’re going to pick up where we left off.
CUT
INT: B & B BEDROOM: MORNING
SHERIFF
(Off screen)
Well. I. You. He said it was life or death.
EJ
(To the Sheriff)
I’ll take care of it. Thank you.
AVA
You should at least call.
EJ
(Putting on his pants)
No. I’m going to kill him in person.
CUT
INT: LUCAS’S HOSPITAL ROOM: MORNING
The officer stands near the door, listening to the police chatter on his radio. Sami stands at the window, looking out.
SAMI
The fire is out.
LUCAS
How many cars?
SAMI
Looks like three. My dad and Abe walked in a few minutes ago.
(To the officer)
Are they coming up?
OFFICER
Should be here in about five.
LUCAS
Do you have any more details?
OFFICER
Sorry. I can’t.
LUCAS
You don’t know or you can’t say?
OFFICER
Both.
LUCAS
Come man. I need to know how much blood I’m responsible for?
SAMI
None. You didn’t do it..
(To the officer)
Tell him. You did the right thing.
OFFICER
I don’t know nothing about nothing.
SAMI
How is the detective?
OFFICER
(Looks away then back)
Dead.
SAMI
What about the other guy?
OFFICER
He’s dead too. I don’t know what you’re into buddy--but you’re racking up a hell of a body count.
SAMI
You don’t know what you are talking about!
LUCAS
Sami don’t.
SAMI
No. He’s implying that it’s your fault it isn’t!
OFFICER
There are two dead cops.
SAMI
He didn’t start this. The guards at Statesville did.
OFFICER
They were just doing their job.
SAMI
Beating up inmates is part of their job?
OFFICER
Who said they were the ones?
LUCAS
I do.
OFFICER
You must have been a troublemaker.
There is a knock at the door.
ROMAN
(Off camera)
Brady and Carver. We’re coming in. Codeword Jack of all trades.
The officer opens the door. Abe and Roman walk in; Miles follows.
Is there a problem in here. I heard loud voices.
LUCAS
Nothing worth mentioning.
SAMI
(Pointing to the officer)
He’s blaming Lucas.
ABE
Obviously he doesn’t have his facts straight.
MILES
I would like to lodge an official complaint. He put my patient at risk and violate his civil rights.
ABE
Those are serious charges.
MILES
I asked him leave during the exam. He refused.
ROMAN
Is that true?
OFFICER
He’s a convicted felon.
ABE
No. He is a witness and a victim of a violent crime.
MILES
That’s been his attitude since he got here. Both him and the other one.
ABE
Officer, I want you to join your partner in my office. Don’t leave until I get there.
Angrily, the officer walks to the door.
Leave your gun with the desk sergeant.
OFFICER
What about my badge?
ABE
We’ll talk about that when I get there.
The officer leaves.
I’m sorry Lucas.
LUCAS
I understand.
SAMI
I don’t.
ROMAN
Sami, calm down. Let us take care of it.
MILES
I need you all to leave. I’ll remove the drain and make sure it is safe for him to travel.
SAMI
I thought he wasn’t going to be released until tomorrow.
ROMAN
Things have changed. We’ll talk about it in the hall.
Sami, Roman and Able leave, closing the door behind them.
CUT
INT: HOSPITAL HALLWAY.
SAMI
What wrong?
ROMAN
First the twins are safe.
SAMI
The twins!
ABE
There was traffic in Maggie’s neighborhood that concerned us. So we sent someone.
SAMI
Someone like him.
ROMAN
No someone like Hope. Relax. We do know what we are doing?
SAMI
I’m sorry.
ROMAN
You’re stressed. I understand. Right now you have to focus. We’ve had to move our plans up. If Lucas can travel, you have to be moved to safe location today
SAMI
What happened?
ABE
We can’t give details on open investigation.
ROMAN
You really don’t need to know.
SAMI
Don’t need or are you afraid I’ll go ballistic? Don’t look at me like that. I know that sometimes I get a little nuts.
ROMAN
A little?
ABE
Not a word. I’m not saying a word.
SAMI
You just did.
ROMAN
Focus Sami. I’ve already talked to John. He’s taking care of the transportation between the manor and the cottage. Hope is going to meet us there with the twins. You need to pack for everyone, including Lucas.
SAMI
For how long?
ABE
We don’t know.
SAMI
You are scaring me.
The door opens and Miles walks out, closing the door behind him. Immediately, Sami walks in.
MILES
(To Abe and Roman)
I’d like him to stay another day.
ABE
That wouldn’t be a good idea.
MILES
I understand. I’ll have the supplies Marlena needs, including an antibiotic. Just in case. You can pick them up on the way out.
ROMAN
Thanks.
MILES
Don’t thank me. I’m not happy about any of this.
ABE
Neither are we.
ROMAN
But it’s the only way we’re to root out the corruption
MILES
I’ll take care of the paperwork.
Miles walks to the nurse’s station.
ABE
We have to get these guys. Two department funerals are enough.
ROMAN
Amen to that.
CUT
INT: DIMERA STUDY: LATE MORNING
Tony, Anna, Marlena and John are looking through the scrapbooks from Salem. From above the perspective watches and listens.
MARLENA
So many I remember.
ANNA
We were so young.
TONY
And foolish.
(Looking at picture of Renee)
If we only knew then what we do now.
JOHN
One of the benefit of not having a past is that there are no regrets.
ANNA
There's also no special moments. First kisses. First fights.
TONY
The making love afterwards.
The perspective focuses on Tony. Bitter, sweetly Tony remembers his moments with Renee. http://www.youtube.com/watch?v=FTHIWzLmylE
I wasn't teasing. I loved you.
ANNA
(Walking to him)
Tony, what are you looking at?
Tony snaps back to the present. Quickly, he sets the scrapbook on the table.
TONY
Old memories. Shouldn't EJ be here.
The Perspective focuses on Anna. One of the scrapbooks falls off the table and hits Anna’s foot.
ANNA
Ow!
TONY
Did I do that? I’m sorry
ANNA
Talk about the past coming back to hurt you.
JOHN
He'll be here shortly.
MARLENA
How do you know?
JOHN
I tracked him down through his GPS.
TONY
I didn't know he had a GPS.
JOHN
He does now.
MARLENA
John, what did you do?
There is a knock at the front door.
JOHN
(Walking out of the room)
I'll get it. Rolf is making lunch.
ANNA
Am I the only one who just got a cold chill up their spine?
JOHN
(Returning with Hope and the Twins)
Look who I found.
MARLENA
My goodness there you are. Hi Hope.
HOPE
Hi. Tony. Anna. I didn’t expect to see you here.
ANNA
Look at them. What I wouldn't give for one of my own.
TONY
If you ask nicely, maybe Samantha will loan you hers.
JOHN
Run Tony. Save yourself.
TONY
(To John)
Like I'd get away that easily.
HOPE
Do you know about the change in plans?
JOHN
All taken care of. The copter will be here at two.
MARLENA
When did you get a helicopter?
JOHN
Right after I lost my plane.
MARLENA
You replaced the plane.
JOHN
Now I have both. At one point, Stefano must have had one. There is a landing pad in the back and at the cottage. Mine’s better.
ANNA
Boys and their toys. Tony aren't they beautiful.
JOHN
These are big boy toys.
TONY
(Distracted)
Yes. Of course.
MARLENA
(Walking to Tony)
Old memories.
The Perspective focuses on Tony and Marlena.
TONY
You could say that.
MARLENA
She was very special.
TONY
Ever wonder what you life would have been like if--
MARLENA
Don’t go there.
HOPE
They missed their nap. I thought I’d put them down and start packing.
ANNA
Packing? Where is Sami going?
While Anna is holding Alie, she reaches out to the Perspective.
JOHN
We’re all going on adventure.
ANNA
Where?
JOHN
If I told you, I’d have to kill you.
ANNA
John.
MARLENA
It’s very complicated. Lucas was not only a witness to but was also suffered abuse at Statesville. Mickey documented it when he picked up.
HOPE
There was enough evidence to trigger an investigation. Lucas has agreed to testify. The last beating was a warning for him to keep his mouth shut.
TONY
Surely the authorities are protecting him.
JOHN
Not so much. He was nearly killed in Salem's Place yesterday afternoon.
HOPE
Not only are we taking it seriously, but it's also very personal. An officer was murdered on his way to log in evidence. This morning there was an attempt was made on Lucas’s life. Several cars were blown up in the hospital parking lot as distraction. There was shoot out. A detective and the assassin were both killed.
ANNA
I can't believe this is happening.
HOPE
Whoever is behind this knows enough about our procedures to get around them.
MARLENA
That's why John is taking us all to one of Stefano's safe houses.
TONY
You found one of his retreats. I'm impressed.
HOPE
No one on the force will know where they are. If we don' t know, there can be no leaks. Is there an easy way to get the stroller up to the nursery.
ANNA
(Picking up Ali)
Why take it up? You just have to bring it right back down. I'll care his little one up if you take her brother.
HOPE
Deal. Where is the nursery?
JOHN
I'll have Rolf take you there.
(Shouting)
Rolf.
TONY
Isn't he making lunch?
MARLENA
John likes tormenting him.
TONY
Oh.
JOHN
Rolf!
ROLF
(Running in he looks around)
More people for lunch.
JOHN
Most likely. But first take these two beautiful women up the west wing.
ROLF
I won't--can't--
JOHN
Rolf get over it. That's probably the safest place for you. She's out. If I were her, I wouldn't want anything to do with it.
(Rolf is unmoved)
Fine. You don't have to go in. Just show them to the door.
ROLF
Fine.
Carrying the children, Anna and Hope follow Rolf upstairs.
TONY
Do you trust him?
JOHN
Hell no!
The front door slams open, startling everyone. EJ marches in followed by Ava.
EJ
(Screaming)
John!
(Furious EJ enters the study)
You have gone to far!
JOHN
(Calmly)
When I call you, I expect you to answer.
EJ
You don't own me!
MARLENA
Calm down. We were worried.
EJ
Like I believe that. Tony, what are you doing here?
TONY
Ghost busting.
EJ
You don't believe that crap.
MARLENA
It's true.
EJ
It's superstitious nonsense!
JOHN
What was so important that you couldn’t return a phone call?
AVA
That would be me.
TONY
Big bad you kept him from answering his phone.
AVA
(Showing off her ring)
Big bad me did a lot of things to him.
TONY
All of which I enjoyed immensely.
JOHN
Elvis, I see you spared no expense when it came to the ring. How long were you at the gumball machine?
AVA
(Angrily swings at John)
You son of --
EJ
(Intercepting her fist and kisses it)
Darling, don’t worry about it. I’ll take care of it.
(To John)
I’m here. What do you want?
MARLENA
While we were looking for information about the identity of the woman, we found Stefano’s study.
EJ
Hold the presses! We’re standing in it.
JOHN
His real study. This is just for show. Unfortunately, he booby trapped his computer. All that information is gone.
MARLENA
We did find his scrapbooks.
Ava looks around the room at the different scrapbooks.
We were hoping that they would give us a lead.
AVA
These are his di ritagli di coppa. That’s what he called them.
The Perspective focus on Ava, circling her as if it was trying to remember her.
TONY
How would you know that?
AVA
Daddy and Stefano not only did business together, they were friends.
EJ
Ava and I grew up together. We were going to get married.
(Bitterly)
My father had other plans for me.
MARLENA
How well did you know Stefano?
AVA
Me not well. But my parents did. Stefano would hold the huge galas. My mother would act as hostess.
EJ
I remember those.
AVA
That’s how EJ and met.
(Sadly)
She was murdered during one of them.
EJ
I thought it was a car accident.
AVA
It’s not true. She died in a car, but it was on one of Stefano’s islands. She was organizing Andrea Lee’s coming out party. .
JOHN
Was this reminiscent of a pre-civil war mansion only gaudy? Half way up a hill with terrace gardens.
AVA
That’s the one
JOHN
(Pointing to a stack of scrapbooks)
You might find interesting pictures of your mother.
AVA
It was the only time we had been there. If there are pictures of us, they would be elsewhere.
(Picking up the open one on the table)
I could help with the European books. Who are you looking for?
MARLENA
You would be too young to know. We’ve narrowed down the timeline to the mid-80’s. That’s when the west wing was sealed.
AVA
Sealed? I don’t get it.
EJ
To keep a spirit locked away so she couldn’t carry out her curse against Stefano and his progeny.
AVA
Stefano cursed. Who would have thought it?
TONY
Apparently Stefano killed her daughter and locked her away.
JOHN
When Sami and I opened the door, we freed her to carry out her revenge.
MARLENA
She’s probably the one who tried to stab you.
AVA
Someone tried to stab you.
EJ
That was Samantha.
JOHN
Actually it wasn’t.
MARLENA
She has attacked others. Lexie was nearly killed. Celeste is in the hospital.
TONY
I’ve been having weird dreams--
EJ
John, do you believe this nonsense?
JOHN
I know there is a mystery.
AVA
(Opening the scrapbook)
I love a good mystery.
TONY
That one’s from Salem.
AVA
(Looking at the pictures)
I know her.
MARLENA
Who?
AVA
(Pointing to Renee)
Her.
MARLENA
Renee?
AVA
She’s a lot older now. But that’s her.
TONY
Andre murdered her. I saw her body.
JOHN
There are at least three of us in this room who have come back from the dead.
TONY
I was never dead.
EJ
Just kidnapped and held prisoner.
AVA
I saw her last year.
THE WOMAN
(Screaming)
You lie! It’s a trick!
The book is ripped from Ava's hands and thrown against the wall. The several of the pictures fall out. The album catches fire. Tony stomps out the flames. A large statue is thrown at Ava. EJ pulls her out of the way. The other piles scrap books smolder One by one they ignite. Tony tries to put out the flames; they immediately reignite.
TONY
Stop! We're trying to help you!
Furniture is over turned. EJ, Ava and John dodge lamps, books--picture fly off the walls. EJ does his best to shield Ava, who seems to be the primary target. A decanter of amber liquid is picked up by an unseen hand.
JOHN
(Pointing)
Not the Scotch!
The decanter is thrown at him. He dives to the floor. It smashes on the wall behind where his head would have been Marlena runs to him.
MARLENA
Are you alright?
JOHN
Wow! The ghost stuff is actually real!
While he stands next to Marlena, he is no longer a target.
MARLENA
You think?
JOHN
Wait a minute. You have our rolls reversed. I’m the sarcastic smart ass.
Marlena walks away and the cigar box flies of the desk toward John’s head; he blocks it. It bounces off his arm and smashes on the wall. As John dodges flying objects, he notices that neither Marlena or Tony are being attacked.
THE WOMAN
(Crying)
My daughter. He murdered her and she never knew!
MARLENA
I know that voice. How do I know that voice?
JOHN
If you know who she is, don’t keep it to yourself!
MARLENA
(To the woman)
What didn't you daughter know? Tell me. Let me help you.
The woman's voice becomes clearing and more localized to the area of the room in front of the large mirror. The fuzzy image of a petite dark hair woman appears in the broken glass, further distorting the image.
THE WOMAN
I kept the secret for so long. She never knew how much I loved her. What I did to keep her safe.
MARLENA
I'm sure she knew.
THE WOMAN
When I told her, it was to late.
MARLENA
What secret. Let us help you?
THE WOMAN
You can't help. Stefano found out and he punished me. He told me so. He said he'd make me pay. And he did.
TONY
What does this have do with Renee?
THE WOMAN
She was my daughter!
MARLENA
Lee?
THE WOMAN (LEE)
Marlena, you were right. I didn't think it through. It was my fault. My fault he murdered my daughter
AVA
(Screaming)
Renee's not dead!
THE WOMAN (LEE)
(Her image become very clear in the mirror)
It's a DiMera trick! You would say anything.
TONY
(Grabbing Ava)
Where did you see her.
EJ
(Freeing Ava)
Stop it! You're hurting her!
AVA
The night my mother died. She was on the island. They were talking. Stefano saw them. when my mother saw him, that's when she ran away. He was so angry.
TONY
Where is this island? Tell me!
THE WOMAN (LEE)
Her image stretches out of the mirror becoming 3 dimensional but not solid. Ava backs away. EJ attempts to protect her. With a wave of her hand, Lee knocks him across the room. Stunned, he slides down the wall to the floor
It's a lie! She’s dead. Stefano laughed when he told me. He broke my heart and he laughed.
Walking through the furniture between them, she pursues Ava around the room.
I saw the two of you together. You are just trying to save him. It won't work. He's just like his father. Just as cruel and manipulative.
AVA
He's not!
MARLENA
Lee, stop! Listen to me.
THE WOMAN (LEE)
No more talk. No more lies.
(To EJ)
Before you die, you are going know what it's like watch someone you love die in front of you.
AVA
She's not dead. I saw her!
THE WOMAN (LEE)
It's not true. I saw it. Andre killed her in the garden.
(A large shard of glass is lifted off the floor)
You will die as she did.
MARLENA
That's not the way it happened!
The doors and windows slam shut.
TONY
Lee.. You can't do this! Let me find out the truth!
The chard soars across the room, piecing Ava's chest.
EJ
(Screaming)
Ava!
For a moment, Ava stands staring at the glass protruding her chest before she crumples to the floor. EJ scrambles to her, cradling her in his arms.
Stay with me. Marlena saver her.
THE WOMAN (LEE)
I’m sorry Marlena. I can’t let you do that.
With a flip of her hand, Marlena is thrown against the wall. She is knocked unconscious.
Watch her died. Don’t worry. The pain won’t last long. Death will reunite you.
CUT
Technorati Tags:
Days of Our Lives, Angelique, Barabas, Bloopers, collins, Soapnet.com, Soap Opera News and Updates, Soaps.com, Days of Our Lives Fan Site, Dark Shadows, daytime TV, ghosts, horror, Quentin, real life vampires, soap operas, fiction, fantasy novel, best fantasy novel, daytime TV, soap operas, daytime serial, romance, love in the afternoon, Charmed, witch, witches, witchcraft magic, witch hunts, religious bigotry, religious ignorance, freedom of religion, reincartion, soul mates, new storylines, Alison Sweeny, Renée Jones, Peter Reckell, Kristian Alfonso, Deidre Hall, Bryan Dattilo, Drake Hogestyn, James Scott, Thaao Penghlis, James Reynolds, Suzanne Rogers, Leann Hunley, Tanya Boyd, Bill Hayes, Susan Seaforth Hayes, gothic romance, Theresa Chaze, magical fantasy, soap opera fan, fan fiction, Spoilers, Synopsis, Recaps, Characters, alternative reality, Salem, Sony Pictures Television Soaps, soap opera spoilers, soap opera updates, soap opera digest, soap opera, soap opera awards, daily recaps of soap operas, soap opera central, soap opera weekly, soap opera news, soap opera scoops, male soap opera stars, soap opera recaps, daytime soap operas trivia, soap opera websites, days of our lives spoilers, dustin's days of our lives, days of our lives soap opera, days of our lives cast, cast for days of our lives, days of our lives youtube, days of our lives story spoilers, days of our lives cafe, bio of days of our lives cast, what will happen on days of our lives, days of our lives cast and crew, Theresa Chaze
The officer at the door pushes Sami into the room. The one inside pulls her the rest of the way in and slams the door.
OFFICER AT THE DOOR
(Into his mic)
Shots fired. Possible officer down. North stairwell of University Hospital.
ABE
(Off camera)
Do not--I repeat do not leave your post
OFFICER AT THE DOOR
What about--
ABE
(Off camera)
Keep everyone away from the door. Swat is coming in.
OFFICER AT THE DOOR
What about--
ABE
(Off camera)
If you move more than ten feet from that door, you're fired!.
OFFICER AT THE DOOR
Affirmative.
Daniel walks toward the elevator, while Miles starts toward the stairway door.
(To Miles)
Down go down there!
MILES
Some might be hurt!
OFFICER AT THE DOOR
(Reaching for his gun)
I gave you an order.
MILES
(Pointing at his hand)
You're going to shoot me?
OFFICER AT THE DOOR
(To Daniel)
Don't move!
Daniel stops and raises his hands. The south stairway door opens six officers in full swat gear run onto the floor and down the hall. On the way they clear the hallway by asking people to step into the nearest room and close the door. The nurses at the station are herded into the room behind the desk. Two stop in the center of the hallway with the threesome. The others continue through the stairway door.
SWAT 1
Officer, you were told to stay by your objective.
OFFICER AT THE DOOR
I was detaining witnesses.
SWAT 1
Suspects are detained. Witnesses are protected.
MILES
He was going to shoot me.
DANIEL
That's what it looked like to me.
OFFICER AT THE DOOR
He ignored my order.
SWAT OFFICER 2
(Shaking his head in disgust)
Carver, your man needs to be relieved of duty.
ABE
(Angrily)
Send him down and stand by until his replacement gets there.
SWAT 2
Will do. Get going.
Angrily the officer marches to the elevator.
Take the stairs. The elevator is stopped between floor.
SWAT 1
(Knocking on Lucas's door)
Did you copy in?
CUT
INT: LUCAS'S HOSPITAL ROOM: MORNING
Sami is sitting on the bed next to Lucas. The officer is at the door.
OFFICER
Affirmative.
(To Sami and Lucas)
Better make yourselves comfortable. But not too comfortable.
(To Lucas)
You just had surgery and I’m still in the room.
SAMI
What do you think happened?
OFFICER
You know as much I do.
LUCAS
It can’t be good.
SAMI
How are your feeling?
LUCAS
I hurt. How’s my new son?
OFFICER
You just have baby?
SAMI
Almost a year ago.
LUCAS
I just learned I was the father.
SAMI
First we thought Johnny was Lucas then the test--
OFFICER
(Waving his hand)
Way to much information. You both seem happy. Congratulations.
SAMI
Thanks.
LUCAS
How is EJ taking it?
SAMI
I haven’t seen him.
LUCAS
I wonder what he’s planning.
CUT
INT: B & B BATHROOM: MORNING.
Ava reclining on EJ as they take a bubble bath in an old fashion claw foot tube. Their fingers intertwine and he kisses her ring.
EJ
I need to get you a real wedding ring. Something big and shiny.
AVA
If you must.
EJ
I must. I must.
AVA
(Holding it up to the light)
I like it this one.
EJ
You don’t want a big diamond to show off.
AVA
(Shrugging)
The ring doesn’t matter as long as I’m in your heart.
They passionately kiss. One of their cell phone can be heard ringing from the bedroom.
Is that yours or mine?
EJ
Sounds like mine.
AVA
Aren’t you going to answer it.
EJ
Whoever it is can bugger off.
AVA
(Looking up at him)
What if it’s important?
EJ
(Embracing her)
I’m busy.
Rolling over to face him, she kisses down his chest. There is a sudden banging on the bedroom door.
MALE VOICE
Sheriff’s department.
EJ
What’s the problem officer?
MALE VOICE
You EJ DiMera?
EJ
Yes. What’s the problem?
MALE VOICE
Open the door.
EJ
What the--just a second!
EJ gets out of the tube, quickly drying himself off he wraps the towel around his middle Ava stays in the tube.
AVA
I’ll save you place.
EJ
This better be good.
(Opening the door)
Yes officer?
The sheriff’s deputy looks him up and down as if he can’t believe his eyes; the camera follows his gaze. Although, the sheriff has a big booming voice, he’s a short, slender man who could have doubled for Don Knotts.
SHERIFF
Little late to be taking a bath.
EJ
Is there some sort of bathing law in this county?
SHERIFF
You’re all wrinkly.
EJ
My new wife and I are on honeymoon.
SHERIFF
Oh, I see. Your uncle called.
EJ
My uncle?
SHERIFF
John Black. He was worried about you? Seems you haven’t been answering you phone.
EJ
(Closing the door)
I’m not a truant child.
SHERIFF
He said its a family emergency. You need to go home immediately.
Wearing a robe, Ava walks up behind EJ.
Miss.
AVA
(Holding up her ring)
Mrs. Mrs. EJ DiMera.
SHERIFF
You’re all wrinkly too. I didn’t know these rooms had more than one tube.
EJ
They don’t.
SHERIFF
(Embarrassed)
That would mean you were in the tube together.
EJ
(Closing the door)
Yes it would. If you will excuse us, we’re going to pick up where we left off.
CUT
INT: B & B BEDROOM: MORNING
SHERIFF
(Off screen)
Well. I. You. He said it was life or death.
EJ
(To the Sheriff)
I’ll take care of it. Thank you.
AVA
You should at least call.
EJ
(Putting on his pants)
No. I’m going to kill him in person.
CUT
INT: LUCAS’S HOSPITAL ROOM: MORNING
The officer stands near the door, listening to the police chatter on his radio. Sami stands at the window, looking out.
SAMI
The fire is out.
LUCAS
How many cars?
SAMI
Looks like three. My dad and Abe walked in a few minutes ago.
(To the officer)
Are they coming up?
OFFICER
Should be here in about five.
LUCAS
Do you have any more details?
OFFICER
Sorry. I can’t.
LUCAS
You don’t know or you can’t say?
OFFICER
Both.
LUCAS
Come man. I need to know how much blood I’m responsible for?
SAMI
None. You didn’t do it..
(To the officer)
Tell him. You did the right thing.
OFFICER
I don’t know nothing about nothing.
SAMI
How is the detective?
OFFICER
(Looks away then back)
Dead.
SAMI
What about the other guy?
OFFICER
He’s dead too. I don’t know what you’re into buddy--but you’re racking up a hell of a body count.
SAMI
You don’t know what you are talking about!
LUCAS
Sami don’t.
SAMI
No. He’s implying that it’s your fault it isn’t!
OFFICER
There are two dead cops.
SAMI
He didn’t start this. The guards at Statesville did.
OFFICER
They were just doing their job.
SAMI
Beating up inmates is part of their job?
OFFICER
Who said they were the ones?
LUCAS
I do.
OFFICER
You must have been a troublemaker.
There is a knock at the door.
ROMAN
(Off camera)
Brady and Carver. We’re coming in. Codeword Jack of all trades.
The officer opens the door. Abe and Roman walk in; Miles follows.
Is there a problem in here. I heard loud voices.
LUCAS
Nothing worth mentioning.
SAMI
(Pointing to the officer)
He’s blaming Lucas.
ABE
Obviously he doesn’t have his facts straight.
MILES
I would like to lodge an official complaint. He put my patient at risk and violate his civil rights.
ABE
Those are serious charges.
MILES
I asked him leave during the exam. He refused.
ROMAN
Is that true?
OFFICER
He’s a convicted felon.
ABE
No. He is a witness and a victim of a violent crime.
MILES
That’s been his attitude since he got here. Both him and the other one.
ABE
Officer, I want you to join your partner in my office. Don’t leave until I get there.
Angrily, the officer walks to the door.
Leave your gun with the desk sergeant.
OFFICER
What about my badge?
ABE
We’ll talk about that when I get there.
The officer leaves.
I’m sorry Lucas.
LUCAS
I understand.
SAMI
I don’t.
ROMAN
Sami, calm down. Let us take care of it.
MILES
I need you all to leave. I’ll remove the drain and make sure it is safe for him to travel.
SAMI
I thought he wasn’t going to be released until tomorrow.
ROMAN
Things have changed. We’ll talk about it in the hall.
Sami, Roman and Able leave, closing the door behind them.
CUT
INT: HOSPITAL HALLWAY.
SAMI
What wrong?
ROMAN
First the twins are safe.
SAMI
The twins!
ABE
There was traffic in Maggie’s neighborhood that concerned us. So we sent someone.
SAMI
Someone like him.
ROMAN
No someone like Hope. Relax. We do know what we are doing?
SAMI
I’m sorry.
ROMAN
You’re stressed. I understand. Right now you have to focus. We’ve had to move our plans up. If Lucas can travel, you have to be moved to safe location today
SAMI
What happened?
ABE
We can’t give details on open investigation.
ROMAN
You really don’t need to know.
SAMI
Don’t need or are you afraid I’ll go ballistic? Don’t look at me like that. I know that sometimes I get a little nuts.
ROMAN
A little?
ABE
Not a word. I’m not saying a word.
SAMI
You just did.
ROMAN
Focus Sami. I’ve already talked to John. He’s taking care of the transportation between the manor and the cottage. Hope is going to meet us there with the twins. You need to pack for everyone, including Lucas.
SAMI
For how long?
ABE
We don’t know.
SAMI
You are scaring me.
The door opens and Miles walks out, closing the door behind him. Immediately, Sami walks in.
MILES
(To Abe and Roman)
I’d like him to stay another day.
ABE
That wouldn’t be a good idea.
MILES
I understand. I’ll have the supplies Marlena needs, including an antibiotic. Just in case. You can pick them up on the way out.
ROMAN
Thanks.
MILES
Don’t thank me. I’m not happy about any of this.
ABE
Neither are we.
ROMAN
But it’s the only way we’re to root out the corruption
MILES
I’ll take care of the paperwork.
Miles walks to the nurse’s station.
ABE
We have to get these guys. Two department funerals are enough.
ROMAN
Amen to that.
CUT
INT: DIMERA STUDY: LATE MORNING
Tony, Anna, Marlena and John are looking through the scrapbooks from Salem. From above the perspective watches and listens.
MARLENA
So many I remember.
ANNA
We were so young.
TONY
And foolish.
(Looking at picture of Renee)
If we only knew then what we do now.
JOHN
One of the benefit of not having a past is that there are no regrets.
ANNA
There's also no special moments. First kisses. First fights.
TONY
The making love afterwards.
The perspective focuses on Tony. Bitter, sweetly Tony remembers his moments with Renee. http://www.youtube.com/watch?v=FTHIWzLmylE
I wasn't teasing. I loved you.
ANNA
(Walking to him)
Tony, what are you looking at?
Tony snaps back to the present. Quickly, he sets the scrapbook on the table.
TONY
Old memories. Shouldn't EJ be here.
The Perspective focuses on Anna. One of the scrapbooks falls off the table and hits Anna’s foot.
ANNA
Ow!
TONY
Did I do that? I’m sorry
ANNA
Talk about the past coming back to hurt you.
JOHN
He'll be here shortly.
MARLENA
How do you know?
JOHN
I tracked him down through his GPS.
TONY
I didn't know he had a GPS.
JOHN
He does now.
MARLENA
John, what did you do?
There is a knock at the front door.
JOHN
(Walking out of the room)
I'll get it. Rolf is making lunch.
ANNA
Am I the only one who just got a cold chill up their spine?
JOHN
(Returning with Hope and the Twins)
Look who I found.
MARLENA
My goodness there you are. Hi Hope.
HOPE
Hi. Tony. Anna. I didn’t expect to see you here.
ANNA
Look at them. What I wouldn't give for one of my own.
TONY
If you ask nicely, maybe Samantha will loan you hers.
JOHN
Run Tony. Save yourself.
TONY
(To John)
Like I'd get away that easily.
HOPE
Do you know about the change in plans?
JOHN
All taken care of. The copter will be here at two.
MARLENA
When did you get a helicopter?
JOHN
Right after I lost my plane.
MARLENA
You replaced the plane.
JOHN
Now I have both. At one point, Stefano must have had one. There is a landing pad in the back and at the cottage. Mine’s better.
ANNA
Boys and their toys. Tony aren't they beautiful.
JOHN
These are big boy toys.
TONY
(Distracted)
Yes. Of course.
MARLENA
(Walking to Tony)
Old memories.
The Perspective focuses on Tony and Marlena.
TONY
You could say that.
MARLENA
She was very special.
TONY
Ever wonder what you life would have been like if--
MARLENA
Don’t go there.
HOPE
They missed their nap. I thought I’d put them down and start packing.
ANNA
Packing? Where is Sami going?
While Anna is holding Alie, she reaches out to the Perspective.
JOHN
We’re all going on adventure.
ANNA
Where?
JOHN
If I told you, I’d have to kill you.
ANNA
John.
MARLENA
It’s very complicated. Lucas was not only a witness to but was also suffered abuse at Statesville. Mickey documented it when he picked up.
HOPE
There was enough evidence to trigger an investigation. Lucas has agreed to testify. The last beating was a warning for him to keep his mouth shut.
TONY
Surely the authorities are protecting him.
JOHN
Not so much. He was nearly killed in Salem's Place yesterday afternoon.
HOPE
Not only are we taking it seriously, but it's also very personal. An officer was murdered on his way to log in evidence. This morning there was an attempt was made on Lucas’s life. Several cars were blown up in the hospital parking lot as distraction. There was shoot out. A detective and the assassin were both killed.
ANNA
I can't believe this is happening.
HOPE
Whoever is behind this knows enough about our procedures to get around them.
MARLENA
That's why John is taking us all to one of Stefano's safe houses.
TONY
You found one of his retreats. I'm impressed.
HOPE
No one on the force will know where they are. If we don' t know, there can be no leaks. Is there an easy way to get the stroller up to the nursery.
ANNA
(Picking up Ali)
Why take it up? You just have to bring it right back down. I'll care his little one up if you take her brother.
HOPE
Deal. Where is the nursery?
JOHN
I'll have Rolf take you there.
(Shouting)
Rolf.
TONY
Isn't he making lunch?
MARLENA
John likes tormenting him.
TONY
Oh.
JOHN
Rolf!
ROLF
(Running in he looks around)
More people for lunch.
JOHN
Most likely. But first take these two beautiful women up the west wing.
ROLF
I won't--can't--
JOHN
Rolf get over it. That's probably the safest place for you. She's out. If I were her, I wouldn't want anything to do with it.
(Rolf is unmoved)
Fine. You don't have to go in. Just show them to the door.
ROLF
Fine.
Carrying the children, Anna and Hope follow Rolf upstairs.
TONY
Do you trust him?
JOHN
Hell no!
The front door slams open, startling everyone. EJ marches in followed by Ava.
EJ
(Screaming)
John!
(Furious EJ enters the study)
You have gone to far!
JOHN
(Calmly)
When I call you, I expect you to answer.
EJ
You don't own me!
MARLENA
Calm down. We were worried.
EJ
Like I believe that. Tony, what are you doing here?
TONY
Ghost busting.
EJ
You don't believe that crap.
MARLENA
It's true.
EJ
It's superstitious nonsense!
JOHN
What was so important that you couldn’t return a phone call?
AVA
That would be me.
TONY
Big bad you kept him from answering his phone.
AVA
(Showing off her ring)
Big bad me did a lot of things to him.
TONY
All of which I enjoyed immensely.
JOHN
Elvis, I see you spared no expense when it came to the ring. How long were you at the gumball machine?
AVA
(Angrily swings at John)
You son of --
EJ
(Intercepting her fist and kisses it)
Darling, don’t worry about it. I’ll take care of it.
(To John)
I’m here. What do you want?
MARLENA
While we were looking for information about the identity of the woman, we found Stefano’s study.
EJ
Hold the presses! We’re standing in it.
JOHN
His real study. This is just for show. Unfortunately, he booby trapped his computer. All that information is gone.
MARLENA
We did find his scrapbooks.
Ava looks around the room at the different scrapbooks.
We were hoping that they would give us a lead.
AVA
These are his di ritagli di coppa. That’s what he called them.
The Perspective focus on Ava, circling her as if it was trying to remember her.
TONY
How would you know that?
AVA
Daddy and Stefano not only did business together, they were friends.
EJ
Ava and I grew up together. We were going to get married.
(Bitterly)
My father had other plans for me.
MARLENA
How well did you know Stefano?
AVA
Me not well. But my parents did. Stefano would hold the huge galas. My mother would act as hostess.
EJ
I remember those.
AVA
That’s how EJ and met.
(Sadly)
She was murdered during one of them.
EJ
I thought it was a car accident.
AVA
It’s not true. She died in a car, but it was on one of Stefano’s islands. She was organizing Andrea Lee’s coming out party. .
JOHN
Was this reminiscent of a pre-civil war mansion only gaudy? Half way up a hill with terrace gardens.
AVA
That’s the one
JOHN
(Pointing to a stack of scrapbooks)
You might find interesting pictures of your mother.
AVA
It was the only time we had been there. If there are pictures of us, they would be elsewhere.
(Picking up the open one on the table)
I could help with the European books. Who are you looking for?
MARLENA
You would be too young to know. We’ve narrowed down the timeline to the mid-80’s. That’s when the west wing was sealed.
AVA
Sealed? I don’t get it.
EJ
To keep a spirit locked away so she couldn’t carry out her curse against Stefano and his progeny.
AVA
Stefano cursed. Who would have thought it?
TONY
Apparently Stefano killed her daughter and locked her away.
JOHN
When Sami and I opened the door, we freed her to carry out her revenge.
MARLENA
She’s probably the one who tried to stab you.
AVA
Someone tried to stab you.
EJ
That was Samantha.
JOHN
Actually it wasn’t.
MARLENA
She has attacked others. Lexie was nearly killed. Celeste is in the hospital.
TONY
I’ve been having weird dreams--
EJ
John, do you believe this nonsense?
JOHN
I know there is a mystery.
AVA
(Opening the scrapbook)
I love a good mystery.
TONY
That one’s from Salem.
AVA
(Looking at the pictures)
I know her.
MARLENA
Who?
AVA
(Pointing to Renee)
Her.
MARLENA
Renee?
AVA
She’s a lot older now. But that’s her.
TONY
Andre murdered her. I saw her body.
JOHN
There are at least three of us in this room who have come back from the dead.
TONY
I was never dead.
EJ
Just kidnapped and held prisoner.
AVA
I saw her last year.
THE WOMAN
(Screaming)
You lie! It’s a trick!
The book is ripped from Ava's hands and thrown against the wall. The several of the pictures fall out. The album catches fire. Tony stomps out the flames. A large statue is thrown at Ava. EJ pulls her out of the way. The other piles scrap books smolder One by one they ignite. Tony tries to put out the flames; they immediately reignite.
TONY
Stop! We're trying to help you!
Furniture is over turned. EJ, Ava and John dodge lamps, books--picture fly off the walls. EJ does his best to shield Ava, who seems to be the primary target. A decanter of amber liquid is picked up by an unseen hand.
JOHN
(Pointing)
Not the Scotch!
The decanter is thrown at him. He dives to the floor. It smashes on the wall behind where his head would have been Marlena runs to him.
MARLENA
Are you alright?
JOHN
Wow! The ghost stuff is actually real!
While he stands next to Marlena, he is no longer a target.
MARLENA
You think?
JOHN
Wait a minute. You have our rolls reversed. I’m the sarcastic smart ass.
Marlena walks away and the cigar box flies of the desk toward John’s head; he blocks it. It bounces off his arm and smashes on the wall. As John dodges flying objects, he notices that neither Marlena or Tony are being attacked.
THE WOMAN
(Crying)
My daughter. He murdered her and she never knew!
MARLENA
I know that voice. How do I know that voice?
JOHN
If you know who she is, don’t keep it to yourself!
MARLENA
(To the woman)
What didn't you daughter know? Tell me. Let me help you.
The woman's voice becomes clearing and more localized to the area of the room in front of the large mirror. The fuzzy image of a petite dark hair woman appears in the broken glass, further distorting the image.
THE WOMAN
I kept the secret for so long. She never knew how much I loved her. What I did to keep her safe.
MARLENA
I'm sure she knew.
THE WOMAN
When I told her, it was to late.
MARLENA
What secret. Let us help you?
THE WOMAN
You can't help. Stefano found out and he punished me. He told me so. He said he'd make me pay. And he did.
TONY
What does this have do with Renee?
THE WOMAN
She was my daughter!
MARLENA
Lee?
THE WOMAN (LEE)
Marlena, you were right. I didn't think it through. It was my fault. My fault he murdered my daughter
AVA
(Screaming)
Renee's not dead!
THE WOMAN (LEE)
(Her image become very clear in the mirror)
It's a DiMera trick! You would say anything.
TONY
(Grabbing Ava)
Where did you see her.
EJ
(Freeing Ava)
Stop it! You're hurting her!
AVA
The night my mother died. She was on the island. They were talking. Stefano saw them. when my mother saw him, that's when she ran away. He was so angry.
TONY
Where is this island? Tell me!
THE WOMAN (LEE)
Her image stretches out of the mirror becoming 3 dimensional but not solid. Ava backs away. EJ attempts to protect her. With a wave of her hand, Lee knocks him across the room. Stunned, he slides down the wall to the floor
It's a lie! She’s dead. Stefano laughed when he told me. He broke my heart and he laughed.
Walking through the furniture between them, she pursues Ava around the room.
I saw the two of you together. You are just trying to save him. It won't work. He's just like his father. Just as cruel and manipulative.
AVA
He's not!
MARLENA
Lee, stop! Listen to me.
THE WOMAN (LEE)
No more talk. No more lies.
(To EJ)
Before you die, you are going know what it's like watch someone you love die in front of you.
AVA
She's not dead. I saw her!
THE WOMAN (LEE)
It's not true. I saw it. Andre killed her in the garden.
(A large shard of glass is lifted off the floor)
You will die as she did.
MARLENA
That's not the way it happened!
The doors and windows slam shut.
TONY
Lee.. You can't do this! Let me find out the truth!
The chard soars across the room, piecing Ava's chest.
EJ
(Screaming)
Ava!
For a moment, Ava stands staring at the glass protruding her chest before she crumples to the floor. EJ scrambles to her, cradling her in his arms.
Stay with me. Marlena saver her.
THE WOMAN (LEE)
I’m sorry Marlena. I can’t let you do that.
With a flip of her hand, Marlena is thrown against the wall. She is knocked unconscious.
Watch her died. Don’t worry. The pain won’t last long. Death will reunite you.
CUT
Technorati Tags:
Days of Our Lives, Angelique, Barabas, Bloopers, collins, Soapnet.com, Soap Opera News and Updates, Soaps.com, Days of Our Lives Fan Site, Dark Shadows, daytime TV, ghosts, horror, Quentin, real life vampires, soap operas, fiction, fantasy novel, best fantasy novel, daytime TV, soap operas, daytime serial, romance, love in the afternoon, Charmed, witch, witches, witchcraft magic, witch hunts, religious bigotry, religious ignorance, freedom of religion, reincartion, soul mates, new storylines, Alison Sweeny, Renée Jones, Peter Reckell, Kristian Alfonso, Deidre Hall, Bryan Dattilo, Drake Hogestyn, James Scott, Thaao Penghlis, James Reynolds, Suzanne Rogers, Leann Hunley, Tanya Boyd, Bill Hayes, Susan Seaforth Hayes, gothic romance, Theresa Chaze, magical fantasy, soap opera fan, fan fiction, Spoilers, Synopsis, Recaps, Characters, alternative reality, Salem, Sony Pictures Television Soaps, soap opera spoilers, soap opera updates, soap opera digest, soap opera, soap opera awards, daily recaps of soap operas, soap opera central, soap opera weekly, soap opera news, soap opera scoops, male soap opera stars, soap opera recaps, daytime soap operas trivia, soap opera websites, days of our lives spoilers, dustin's days of our lives, days of our lives soap opera, days of our lives cast, cast for days of our lives, days of our lives youtube, days of our lives story spoilers, days of our lives cafe, bio of days of our lives cast, what will happen on days of our lives, days of our lives cast and crew, Theresa Chaze
Monday, September 15, 2008
Alternative Storyline for Days of Our Lives Part 30
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
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
Subscribe to:
Posts (Atom)