Showing posts with label daytime TV. Show all posts
Showing posts with label daytime TV. Show all posts
Wednesday, February 25, 2009
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?
Monday, January 12, 2009
Reality TV: Maximize Profits With Discount Entertainment
Reality TV: Maximize Profits With Discount Entertainment
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
In the entertainment industry, it can truly be said that everything old is new again. From the beginning of the film industry to the current contract negotiations, studio executives have attempted to keep the lion share of the profits, while denying the necessity or importance of the skilled workers and talent that make the industry possible. The movement towards reality shows is just latest in the long line of attempts to devalue industry professionals in order to keep salaries and benefits low.
The American film industry was created by pioneers who weren't thinking about changing the world, but how to make a quick buck. Nickelodeon owners quickly learned that the true money was to be made by producing films instead of just showing them. The ruthless competition between the studios eventually led to the top nine forming the Motion Pictures Patient Company, which signed an exclusive contract for the film stock produce by the George Eastman factory. The contract created a monopoly that not only controlled who could produce films, but also which films could be made and where the films could be shown. Anyone failing to meet the Trust, as the Motion Picture Patient Company came to be known, was either excluded from the industry or found themselves to be the target of violent attacks.
The strangle hold the Trust held on the business cascaded throughout the industry. Independent film producers were denied access to film stock made in the United States. Although they could buy stock from other countries, they also had additional difficulties with processing the film. In addition, the Trust was known to use strong arm tactics to shut down offices and destroy sets. In spite of public interest, on-screen talent was considered easily replaceable by the studios and was listed only by their character name in the credits. By limiting the information, studios prevented the actors from building a fan base that would give her or him financial or creative leverage. Distributors were required not only pay a fee to distribute Trust films, but they were also limited to showing only films produced by the Trust studios. To do other would bring down the Trust’s wrath. Not only would films be withheld, but their Nickelodeon would be subject to the same violence as the filmmakers. Between the anti-trust court battles and the influx of foreign film stock, the Motion Picture Patents Company was busted in 1917, clearing the way not only for independent film makers but for the actors and production staff to start receiving their due.
The independents were not only more willing to take risks on subject matter, but they saw the profit in creating a star system. They realized that in the short run it would cost more in salaries, but in the long run the profits would be much greater. Signing actors to exclusive contracts insured that their fan base would also stay loyal to the studio. Although the stars gained in notoriety, they lost independence. Morality clauses in the contracts gave the studio executive a great deal of control over their private as well as professional lives. Bound by contracts, actors were assigned roles based availability instead of desire to play the role or compatibility for the part. Contract actors received a weekly paycheck whether or not they worked; therefore, the studios used them as frequently as possible, even if the connection between role and actor had to be forced.
When the Supreme Court ruled that the ownership of theaters and film distribution was a violation of the Sherman Antitrust Act, the studio contracts was brought to an end. Having to compete for theatrical screens forced the studios to limit the number of movies they released a year and increase the quality of the productions. Instead, cast and crew were hired for individual projects. No longer held by the rigid contract system, actors, directors, producers and the technical crew were able to not only chose projects, but also negotiate the terms of their contracts. Whether on-screen or behind the scenes, the more popular the talent, the more control she or he has in determining the terms of the agreement.
In response to the increasing competition of networks and entertainment venues, the networks have created cheaper ‘reality” shows that do not focus on professional talent, storylines or staging. Although reality shows have been around since radio, it wasn’t until the 2000s that they became highly prolific. The shows feature ordinary people in situations that have little to do with reality; instead the shows have become a hybrid of games shows and dramas, as the participates compete against each other for prizes. Using exotic locations or sets, the audience becomes voyeurs as they are giving glimpses behind scenes. Even with million dollar prizes, these shows are cheaper to produce than those with skilled artisans.
The star system has come full circle as once again studio executives chose to use unknown players as a way of streamlining costs so that they may retain more of the profits. Instead of improving the quality of the shows to increase revenues, they chose to produce and promote entertainment shows of lower quality both in content and production values. By giving ordinary folk fifteen minutes of fame, the studios undermine the guilds and unions of the entertainment industry, thereby increasing the power of the studios to not only control but also manipulate the industry. The movement away from professional talent back to the nameless performers is a tactic taking straight from the Motion Pictures Patient Company’s hand book as they once again chose quantity over quality.
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, 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.
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 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/
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
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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
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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
Sunday, September 14, 2008
Alternative Storyline for Days of Our Lives Part 29
INT: EMERGENCY TREATMENT ROOM: NIGHT
Celeste lays unconscious on the bed. Sitting by her bedside, Lexie holds her hand. Abe walks in. Lexie runs to him.
LEXIE
(Crying)
She's not waking up.
ABE
I’m sorry I wasn’t here for you. Tell me what happened.
LEXIE
It was her.
ABE
Her?
LEXIE
Her the spirit. Mom was going to tell me. She didn’t get a chance. The back door burst open. Mom just flew across the room.
(Hesitating)
Theo stopped her from coming in. Abe, he stood in front of her and told her to go away. And she did.
ABE
You saw her?
LEXIE
Not clearly.
ABE
Where is Theo?
LEXIE
He’s up in daycare. We were in the waiting room. Abe, he said the strangest thing. He said, Mom wouldn’t wake up until she was done. Mom must know a way to stop her.
ABE
When Celeste wakes--
LEXIE
She should be awake. There is no reason for her to still be unconscious. Her injuries are minor. No broken bones. According to the CT, she has a slight concussion. Her EEG is normal.
CUT
INT: REALM BETWEEN LIFE AND DEATH: NO TIME
Celeste stands in a darkened room except for the incandescent mists swirls around her. Yet she doesn’t try to find her way out.
CELESTE
I know you are here. Show yourself.
The woman steps closer, yet remains cloaked in the shadows.
WOMAN
You should have never helped Stefano.
CELESTE
You gave me no choice.
WOMAN
You always had a choice. I did not.
CELESTE
Do you think I had any more freedom than you? I gave up my daughter just as you did.
WOMAN
His evil still poisoned her.
CELESTE
Not completely. Alexandra made mistakes. But she has made up for them. She’s a doctor. She saves people.
WOMAN
My daughter never had a chance to make up for her mistakes.
CELESTE
That is not my fault! Not my daughter’s fault.
WOMAN
She found true love; Stefano stole it from her. All those things your daughter experienced--love, marriage, a child of her own--my daughter was deprived of.
CELESTE
There is still a chance.
WOMAN
More lies! Here you are. Here you shall wait.
CELESTE
You can’t do this!
WOMAN
(Backing into the darkness)
As you left me. Now I leave you. When it is done, I will free you. I wasn’t able to say good-bye to my daughter. I would not deprive you of the same.
CELESTE
Please. I beg you. Take me. I will do penance for her.
WOMAN
You will watch them lower her lifeless body into the cold ground and know that you were responsible.
The woman leaves. Celeste is left alone in the mist and darkness.
CELESTE
(Screaming)
No!
CUT
INT: EMERGENCY TREATMENT ROOM: NIGHT
Lexie sits next to the bed, again holding Celeste’s hand. Abe stands to her.
ABE
I’ll take Theo home.
LEXIE
Tell him I love him.
ABE
Are you sure you don’t want to come with us?
LEXIE
I need to be here. If-when she wakes up.
ABE
I’m sorry I wasn’t here sooner.
LEXIE
There wasn’t anything you could do.
ABE
I’m still sorry. Marlena called.
LEXIE
Did they find anything?
ABE
Stefano’s private study. She didn’t give me any details. She wanted you to come to the mansion tomorrow morning.
LEXIE
I can’t promise that.
ABE
I’ll tell her. She also called Tony and EJ. They plan is to compare notes.
LEXIE
I wouldn’t have much to share. They knew him much better. Father never really trusted me enough to let me into his world.
ABE
Which I am eternally grateful for.
LEXIE
Me too. Give Theo a kiss for me.
ABE
(Kissing her cheek)
I will Try to get some sleep. Wearing yourself out won’t help her.
LEXIE
I’ll--we’ll be fine. I’ve arranged for a room with an extra bed for me. Night sweetheart. I’ll miss you.
ABE
If you need me call. I love you.
LEXIE
I love you too.
Abe leaves.
Mom. You have to wake up. We need you.
CUT
INT: HOSPITAL DOCTOR’S LOUNGE: NIGHT
Dr. Dan is alone in the room, talking on his phone.
DANIEL
I told you... Listen....Just listen. It was too soon. I told you that....Not even me. It wouldn’t have mattered. There are guards inside and out....I’ll talk to Bo or Roman tomorrow. They both trust me...If I push it, they’ll get suspicious...There isn’t a hurry. I looked at his chart. Lucas will be here for at least a couple of days....Don’t worry about her...I don’t know what Lane was doing with him. Horton is involved with Samantha Brady... That’s right. Roman Brady’s daughter. Bo Brady’s niece. You go after her and I’m out...When it comes to their family--they’re crazy. The Brady’s and the Hell’s Angels--All on one....Let me handle it. With Lexie’s history, let just say I know how to play her. She helps me or I’ll threaten to tell her husband we had an affair... No. Of course not. But the rumor mill has already begun to turn...I’m having a good time with her. Don’t worry. When the time comes he’ll be Chelsea’s father more than he is a cop...Give me time. I’ll take care of Luca. The only way he’s leaving the hospital is in a body bag. Accidents happen all the time.
He hangs up his phone.
Damn.
CUT
INT: BEDROOM OF BED AND BREAKFAST: NIGHT
Ava and EJ snuggle in bed, basking in love’s after glow.
EJ
I’m hungry.
AVA
(Teasing)
Hungry? You can think of food now?
EJ
(Tracing his finger up her harm)
Just think of all that lovely chocolate. Just right over there. And you. And me.
(Nibbling on her ear lobe)
And this big beautiful bed. All together.
AVA
(Rolling over to face him)
You. Me. Together. In this big beautiful bed. Hum?
Slowly her index finger circle around one of his nipples before, her hand massages his bare chest downward.
Whatever will we do?
EJ
I have a few ideas.
AVA
You do? Please share.
EJ
(Teasing)
We could watch the telly.
AVA
The telly? The Disney channel perhaps?
EJ
I was thinking of a cooking show.
AVA
A cooking show? Any particular one?
EJ
(Shifting in bed so she is lying beside him and looking up)
Most definitely. It demonstrates unique ways to serve deserts in bed.
AVA
You've already seen it.
EJ
(His hand trails down her bare shoulder past her breast and rests on her stomach)
Once or twice.
AVA
What about the crumbs?
EJ
Crumbs? There won't be any.
AVA
I see. How do you do that?
EJ
(Kissing down her neck)
You remember to lick your plate clean.
On the night stand, EJ's phone rings.
AVA
That's your phone.
EJ
I don't hear anything.
AVA
It could be important.
EJ
(Tossing his phone across the room)
Nothing. No one is more important.
AVA
I like the way you think.
(Tossing her phone in the same general direction)
Where were we. Oh, yes. Just about there.
CUT
EXT: CHEZ ROUGE: NIGHT
Chloe and Philip are leaving. They walk toward the park
CHLOE
Did you like the new songs?
PHILIP
Trying to send message.
CHLOE
You could say that.
PHILIP
Not very subtly.
CHLOE
I wasn't trying to be subtle.
PHILIP
Good thing.
They walk the path in silence.
CHLOE
Philip.
PHILIP
Chloe.
CHLOE
(Stopping him)
I'm serious.
PHILIP
The night is too beautiful to be serious.
CHLOE
I need to start living again.
PHILIP
Were you dead?
CHLOE
Inside. Yes. When I lost Brady, a piece of my heart died.
PHILIP
You weren’t responsible.
CHLOE
Not completely. Brady made his mistakes. But so did I.. I should have--
PHILIP
Should have. Could have. Would have. It’s over. You can’t go back.
CHLOE
I know. I want to go forward. Singing at Chez Rouge is a new beginning. I’m happy for the first time in a long time.
PHILIP
What’s the problem?
CHLOE
You are.
PHILIP
Me?
CHLOE
I know we said friend with benefits. But I’m not willing to settle any more. I let Brady push me away. I gave up on my marriage. What I need to know from you--do we have anything--anything between us that is worth fighting for?
PHILIP
I don't know.
CHLOE
Honest and vague. What or should I say who do you want Philip? I will fight for you if there is something to fight for. But I'm not just going to be the sure thing if you can't find another playmate. You need to stop sending me mixed signals.
PHILIP
I'm not doing that.
CHLOE
You're not? You are all loving and protective, until little miss southern bell bats he eyes.
PHILIP
That's not the way it is.
CHLOE
Philip, you can't be every woman's knight in shining armor. At some point you have to decide in whose barn your horse is going to live.
PHILIP
Nice metaphor.
CHLOE
You're stalling.
PHILIP
You're jealous.
CHLOE
Call it what you like. But it's time to make a decision.
PHILIP
I remember saying something similar to you.
CHLOE
This is payback?
PHILIP
No. That's not what I meant.
CHLOE
What did you mean?
PHILIP
Back then you asked for me to be patient and understanding. Now I'm asking for you for the same.
CHLOE
(Backing away)
I'm sorry that I hurt you.
PHILIP
Where you going?
CHLOE
Home.
PHILIP
You can't go by yourself.
CHLOE
Sorry Philip. No benefits tonight.
Chloe runs into the park.
PHILIP
Chloe! Wait! Chloe, it's not safe!
Philip runs after her.
CUT
EXT: ANOTHER PART OF THE PARK: NIGHT
Miles and Kate are walking on the path toward Kate's car in the parking lot.
KATE
I don't care what anyone says. Once you are a parent, you are always a parent--no matter how old your children are.
MILES
It's true. It's also true that at some point they have to take responsibility for their own lives.
KATE
So you're not going to help your son.
MILES
I will be loving and supportive. But this time he has to climb out of the hole he dug.
KATE
What if he can't
MILES
That's up to him.
KATE
Tough love. I don't think I could do it.
MILES
I never thought I could either. But this time he didn't just hurt himself. He hurt others. I won't support that.
KATE
He's your son.
MILES
Yes he is. He is also an adult who needs to be held responsible for his actions. We bailed him out more times than I can count. Each time it was worse. I feel partially responsible.
KATE
You shouldn't.
MILES
Thanks. It's time to talk about something else.
KATE
I'm sorry.
MILES
Me too. Did you hear A Chorus Line is touring again? It'll be at the Chicago Theatre for three weeks.
KATE
I heard too late. It was sold out. Oh well. Maybe it's for the best. I saw at the Shubert Theatre many years ago. It was amazing.
MILES
I have two tickets.
KATE
Two tickets?
MILES
On Friday.
KATE
On Friday?
MILES
Main floor.
KATE
Is that an invitation?
MILES
You could say that.
KATE
(Teasing)
Oh good. Otherwise, I would have to mug you.
MILES
(Startled)
You mug me.
KATE
Don't be so shocked. Not only am I stronger than I look, but I have moves that would take down a ninja.
MILES
Oh really like what?
KATE
(Walking ahead of him)
No. No. I might hurt you. Then you couldn't take me to Chicago.
Miles catches up with her and reaches out to take her arm. Kate flips him on his back. however, he grabs her and pulls her down on top of him. She pins him to the ground. Instead of struggling, Miles smiles up at her.
CUT
EXT: ANOTHER PART OF THE PARK PATH: NIGHT
Following the path, Chloe runs away from Philip.
PHILIP
(Off camera)
Chloe wait up
Chloe rounds a curve in the path to find Kate and Miles. She stops short.
CHLOE
Kate?
KATE
It's not what it looks like.
CHLOE
What are you doing? Trying to get a date?
Kate attempts to get off of Miles. He holds her down .
MILES
(Teasing)
Okay, okay. I'll go out with you!
Philip arrives. Without thinking, he pushes past Chloe to help his mother. Chloe grabs his arm and steps into his path.
CHLOE
Calm down.
PHILIP
(Angrily)
He's hurting--
MILES
(Letting go)
Whose on top of whom?
CHLOE
Chill. It's just part of your mother's mating ritual.
KATE
(Standing)
It's not what you think.
PHILIP
I don't know what to think.
KATE
Look. I'm not hurt.
MILES
(Getting to his feet)
I'm not to sure about me. Where did you learn to do that?
PHILIP
Mother, what do you think you were doing?
KATE
If it's any of your business--having fun.
Chloe quietly slips away.
PHILIP
What would people think?
KATE
There is no reason to take that tone with me. I'm your mother not your daughter!
MILES
Why do I suddenly feel like a teenage who just brought his date home late.
PHILIP
You could have hurt her!
KATE
I'm not made of glass.
MILES
(To Kate)
You're stronger than you look.
KATE
Thanks. I take self defense classes at the gym.
MILES
(Poking her arm muscle)
Wow. I need to check that out.
KATE
Sorry women only. Do you want to get a drink?
MILES
(Looking briefly at Philip)
Love too if it's a twosome.
KATE
(To Philip)
You still here.
PHILIP
We need to talk.
KATE
Yes we do. But not now. We--not including you are going for a drink.
(Kissing his cheek)
Good night Philip. I love you. Don't follow us.
Kate takes Miles arm and walks down the path. Philip stares. Suddenly, he looks around for Chloe only to find himself alone.
CUT
INT: DIMERA MANSION ENTRANCE WAY: NIGHT
Sami opens the door and pushes the stroller inside. The twins are asleep. She closes the door. Marlena walks out of the study.
MARLENA
Sami, we were worried. How is Lucas?
SAMI
Sorry. I had to stop off and pick up a few things. Dad arranged protection.
JOHN
(Walking out, carrying one of Stefano’s scrapbooks)
Are you sure they are trust worthy?
SAMI
Of course. My father would make sure.
MARLENA
Sami!
SAMI
Sorry, John. It’s been a long day. Lucas is doing good.
JOHN
Did they say when he would be released?
SAMI
Not for a couple of days.
JOHN
Good enough. I’ve made arrangements to have the cottage opened tomorrow. Blonde, if you’ll make a list what kind of medical supplies he’ll need, I’ll have make sure they are there.
MARLENA
I’ll talk to Miles. Do you still think it’s necessary.
JOHN
They killed a cop behind the station. You tell me. Would your rather be safe than sorry?
MARLENA
Go point.
JOHN
(To Sami)
Don’t worry about hauling the rugrats’ stuff. There’ll be a complete nursery--on the opposite of the cottage. All you need is their favorite toys
MARLENA
When did you have a chance to do all that?
JOHN
While you were catnapping? Speaking of which, you’ll have to make arrangement for your furball. It’s not coming with.
SAMI
I’ll talk to Rolf. Then again maybe not. I’ll think of something tomorrow. Night.
MARLENA
Night Sami
JOHN
Sleep well.
Sami pushes the stroller down the hall.
CUT
INT: DIMERA STUDY: NIGHT
John and Marlena walk in. They have begun to separate the scrapbooks into piles according to subject. Sticky notes with information have been attached to those they have looked through. There are at least 50 more that they haven’t looked at.
JOHN
(Opening)
This were obviously taken on one of his islands. It has a women and a child.
MARLENA
I started a possibility pile over there.
JOHN
Don't thinks so. The woman and child appear to still be alive.
(Setting it aside)
I'll put it in the maybe pile anyway. Who knows maybe they knew the child that died. The first seems to be from the early to mid 80's.
MARLENA
How do you know that is when the room was boarded up?
JOHN
I found Delia.
MARLENA
I remember her. She worked for Stefano for years.
JOHN
She said that the west wing was closed off except for a small staff. It was right after Stefano came back from the dead.
MARLENA
Which time?
JOHN
I think the first.
MARLENA
Did she know why?
JOHN
Stefano made it clear that no one was to ask questions.
MARLENA
At least we know about when. To bad we know why?
(Opening another one)
Another one of Tony on the island.
(Putting it on top of a stack)
This stack is filled with pictures of him while he was on the island. I don’t know how he is going to react when he finds out.
JOHN
He’ll probably be pissed as hell. I would.
MARLENA
Maybe Tony will know. That could be why Stefano replaced him with Andre. Imagine living 20 years in little more than a shack.
JOHN
The house in those pictures isn’t a shack. It makes all this look like a ghetto.
MARLENA
(Yawning)
Really? I wonder who house it is?
JOHN
Tired?
MARLENA
Very. Aren’t you?
JOHN
I’m too wired.
MARLENA
Nothing new about that..
JOHN
Let’s not go there.
MARLENA
It was the part of you that made miracle happen. You saved me and so many others because you wouldn’t--couldn’t give up. You just instinctively knew what questions to ask and where to look.
JOHN
I’m not that man any more.
MARLENA
Just because you don’t have the memories, doesn’t mean that you aren’t the same person at the core. I’m willing to bet you that you won’t be able to sleep until you go through every one of these and organize them.
JOHN
(Sitting closely beside her)
Okay. What’s the wager?
MARLENA
I’m so sure this I will to bet anything you like.
JOHN
(Nuzzling her neck)
Anything?
MARLENA
Anything.
JOHN
(Nipping her ear)
Are you sure?
MARLENA
Definitely. Don’t you want to know what I want when I win?
JOHN
It’s not going to happen.
MARLENA
Are you sure?
JOHN
Definitely.
MARLENA
So when--
JOHN
If--
MARLENA
When I win, I can have anything I want?
JOHN
What do you want?
MARLENA
I haven’t decided.
JOHN
(Standing up)
You can pay up in the morning. I’m going to bed.
MARLENA
It won’t last.
JOHN
Want a bet?
MARLENA
We just did.
JOHN
(Walking out of the room)
Easiest bet I ever won.
Marlena picks up another scrapbook. John walks back in.
Aren’t you going to bed?
MARLENA
Not yet.
JOHN
You said you were tired.
MARLENA
I will in a little while.
JOHN
Okay. Fine. Good night.
Marlena waggles her fingers at him. He starts to mirror her but catches himself. Instead, he walks part way upstairs before coming back down
Did you reach Tony and EJ?
MARLENA
You were sitting right there when I talked to Tony.
JOHN
What about EJ?
MARLENA
You were standing over there when I left the third message to be here tomorrow morning.
JOHN
Maybe you should call again?
MARLENA
It’s late.
JOHN
Then you should go to bed.
MARLENA
I will right after I win the bet.
JOHN
Not going to happen, Blondie.
John runs up the stairs.
MARLENA
That won’t last long.
CUT
EXT: DOCKS: NIGHT
Roman and Alyssa walk along the docks on the warm late summer night.
ALYSSA
This is what you wanted to show me? The docks? How romantic.
ROMAN
You sound skeptical.
ALYSSA
It’s the docks.
ROMAN
Here yes. Follow me. Careful.
Roman leads her to the end of the dock over looking the lake. A light fog hovers over the water, obscuring the reflection of the moon. The waves gentle lap against the dock and the shore.
What do you think?
ALYSSA
It’s this just about time the insane serial killer attacks?
ROMAN
You don’t think it’s romantic?
Alyssa shakes her head.
No.
ALYSSA
Sorry.
ROMAN
Don’t be sorry. Where would you like to go?
ALYSSA
Now. Home. It’s late.
ROMAN
I see. May I at least walk you back to your car?
ALYSSA
You better.
(Tucking her arm through his)
Next time. I’ll plan the date.
ROMAN
Then there will be a next time.
ALYSSA
I hope so.
ROMAN
Me too. Is breakfast too soon?
ALYSSA
How about lunch tomorrow? I’ll pack a lunch and we can meet in the park across from city hall.
ROMAN
You cook?
ALYSSA
I was a cook for a while at a small family restaurant.
ROMAN
Were you any good?
ALYSSA
People cried when I left.
ROMAN
That’s pretty good. Do you want me to bring anything?
ALYSSA
Just you cute self.
ROMAN
That I can easily do.
CUT
Celeste lays unconscious on the bed. Sitting by her bedside, Lexie holds her hand. Abe walks in. Lexie runs to him.
LEXIE
(Crying)
She's not waking up.
ABE
I’m sorry I wasn’t here for you. Tell me what happened.
LEXIE
It was her.
ABE
Her?
LEXIE
Her the spirit. Mom was going to tell me. She didn’t get a chance. The back door burst open. Mom just flew across the room.
(Hesitating)
Theo stopped her from coming in. Abe, he stood in front of her and told her to go away. And she did.
ABE
You saw her?
LEXIE
Not clearly.
ABE
Where is Theo?
LEXIE
He’s up in daycare. We were in the waiting room. Abe, he said the strangest thing. He said, Mom wouldn’t wake up until she was done. Mom must know a way to stop her.
ABE
When Celeste wakes--
LEXIE
She should be awake. There is no reason for her to still be unconscious. Her injuries are minor. No broken bones. According to the CT, she has a slight concussion. Her EEG is normal.
CUT
INT: REALM BETWEEN LIFE AND DEATH: NO TIME
Celeste stands in a darkened room except for the incandescent mists swirls around her. Yet she doesn’t try to find her way out.
CELESTE
I know you are here. Show yourself.
The woman steps closer, yet remains cloaked in the shadows.
WOMAN
You should have never helped Stefano.
CELESTE
You gave me no choice.
WOMAN
You always had a choice. I did not.
CELESTE
Do you think I had any more freedom than you? I gave up my daughter just as you did.
WOMAN
His evil still poisoned her.
CELESTE
Not completely. Alexandra made mistakes. But she has made up for them. She’s a doctor. She saves people.
WOMAN
My daughter never had a chance to make up for her mistakes.
CELESTE
That is not my fault! Not my daughter’s fault.
WOMAN
She found true love; Stefano stole it from her. All those things your daughter experienced--love, marriage, a child of her own--my daughter was deprived of.
CELESTE
There is still a chance.
WOMAN
More lies! Here you are. Here you shall wait.
CELESTE
You can’t do this!
WOMAN
(Backing into the darkness)
As you left me. Now I leave you. When it is done, I will free you. I wasn’t able to say good-bye to my daughter. I would not deprive you of the same.
CELESTE
Please. I beg you. Take me. I will do penance for her.
WOMAN
You will watch them lower her lifeless body into the cold ground and know that you were responsible.
The woman leaves. Celeste is left alone in the mist and darkness.
CELESTE
(Screaming)
No!
CUT
INT: EMERGENCY TREATMENT ROOM: NIGHT
Lexie sits next to the bed, again holding Celeste’s hand. Abe stands to her.
ABE
I’ll take Theo home.
LEXIE
Tell him I love him.
ABE
Are you sure you don’t want to come with us?
LEXIE
I need to be here. If-when she wakes up.
ABE
I’m sorry I wasn’t here sooner.
LEXIE
There wasn’t anything you could do.
ABE
I’m still sorry. Marlena called.
LEXIE
Did they find anything?
ABE
Stefano’s private study. She didn’t give me any details. She wanted you to come to the mansion tomorrow morning.
LEXIE
I can’t promise that.
ABE
I’ll tell her. She also called Tony and EJ. They plan is to compare notes.
LEXIE
I wouldn’t have much to share. They knew him much better. Father never really trusted me enough to let me into his world.
ABE
Which I am eternally grateful for.
LEXIE
Me too. Give Theo a kiss for me.
ABE
(Kissing her cheek)
I will Try to get some sleep. Wearing yourself out won’t help her.
LEXIE
I’ll--we’ll be fine. I’ve arranged for a room with an extra bed for me. Night sweetheart. I’ll miss you.
ABE
If you need me call. I love you.
LEXIE
I love you too.
Abe leaves.
Mom. You have to wake up. We need you.
CUT
INT: HOSPITAL DOCTOR’S LOUNGE: NIGHT
Dr. Dan is alone in the room, talking on his phone.
DANIEL
I told you... Listen....Just listen. It was too soon. I told you that....Not even me. It wouldn’t have mattered. There are guards inside and out....I’ll talk to Bo or Roman tomorrow. They both trust me...If I push it, they’ll get suspicious...There isn’t a hurry. I looked at his chart. Lucas will be here for at least a couple of days....Don’t worry about her...I don’t know what Lane was doing with him. Horton is involved with Samantha Brady... That’s right. Roman Brady’s daughter. Bo Brady’s niece. You go after her and I’m out...When it comes to their family--they’re crazy. The Brady’s and the Hell’s Angels--All on one....Let me handle it. With Lexie’s history, let just say I know how to play her. She helps me or I’ll threaten to tell her husband we had an affair... No. Of course not. But the rumor mill has already begun to turn...I’m having a good time with her. Don’t worry. When the time comes he’ll be Chelsea’s father more than he is a cop...Give me time. I’ll take care of Luca. The only way he’s leaving the hospital is in a body bag. Accidents happen all the time.
He hangs up his phone.
Damn.
CUT
INT: BEDROOM OF BED AND BREAKFAST: NIGHT
Ava and EJ snuggle in bed, basking in love’s after glow.
EJ
I’m hungry.
AVA
(Teasing)
Hungry? You can think of food now?
EJ
(Tracing his finger up her harm)
Just think of all that lovely chocolate. Just right over there. And you. And me.
(Nibbling on her ear lobe)
And this big beautiful bed. All together.
AVA
(Rolling over to face him)
You. Me. Together. In this big beautiful bed. Hum?
Slowly her index finger circle around one of his nipples before, her hand massages his bare chest downward.
Whatever will we do?
EJ
I have a few ideas.
AVA
You do? Please share.
EJ
(Teasing)
We could watch the telly.
AVA
The telly? The Disney channel perhaps?
EJ
I was thinking of a cooking show.
AVA
A cooking show? Any particular one?
EJ
(Shifting in bed so she is lying beside him and looking up)
Most definitely. It demonstrates unique ways to serve deserts in bed.
AVA
You've already seen it.
EJ
(His hand trails down her bare shoulder past her breast and rests on her stomach)
Once or twice.
AVA
What about the crumbs?
EJ
Crumbs? There won't be any.
AVA
I see. How do you do that?
EJ
(Kissing down her neck)
You remember to lick your plate clean.
On the night stand, EJ's phone rings.
AVA
That's your phone.
EJ
I don't hear anything.
AVA
It could be important.
EJ
(Tossing his phone across the room)
Nothing. No one is more important.
AVA
I like the way you think.
(Tossing her phone in the same general direction)
Where were we. Oh, yes. Just about there.
CUT
EXT: CHEZ ROUGE: NIGHT
Chloe and Philip are leaving. They walk toward the park
CHLOE
Did you like the new songs?
PHILIP
Trying to send message.
CHLOE
You could say that.
PHILIP
Not very subtly.
CHLOE
I wasn't trying to be subtle.
PHILIP
Good thing.
They walk the path in silence.
CHLOE
Philip.
PHILIP
Chloe.
CHLOE
(Stopping him)
I'm serious.
PHILIP
The night is too beautiful to be serious.
CHLOE
I need to start living again.
PHILIP
Were you dead?
CHLOE
Inside. Yes. When I lost Brady, a piece of my heart died.
PHILIP
You weren’t responsible.
CHLOE
Not completely. Brady made his mistakes. But so did I.. I should have--
PHILIP
Should have. Could have. Would have. It’s over. You can’t go back.
CHLOE
I know. I want to go forward. Singing at Chez Rouge is a new beginning. I’m happy for the first time in a long time.
PHILIP
What’s the problem?
CHLOE
You are.
PHILIP
Me?
CHLOE
I know we said friend with benefits. But I’m not willing to settle any more. I let Brady push me away. I gave up on my marriage. What I need to know from you--do we have anything--anything between us that is worth fighting for?
PHILIP
I don't know.
CHLOE
Honest and vague. What or should I say who do you want Philip? I will fight for you if there is something to fight for. But I'm not just going to be the sure thing if you can't find another playmate. You need to stop sending me mixed signals.
PHILIP
I'm not doing that.
CHLOE
You're not? You are all loving and protective, until little miss southern bell bats he eyes.
PHILIP
That's not the way it is.
CHLOE
Philip, you can't be every woman's knight in shining armor. At some point you have to decide in whose barn your horse is going to live.
PHILIP
Nice metaphor.
CHLOE
You're stalling.
PHILIP
You're jealous.
CHLOE
Call it what you like. But it's time to make a decision.
PHILIP
I remember saying something similar to you.
CHLOE
This is payback?
PHILIP
No. That's not what I meant.
CHLOE
What did you mean?
PHILIP
Back then you asked for me to be patient and understanding. Now I'm asking for you for the same.
CHLOE
(Backing away)
I'm sorry that I hurt you.
PHILIP
Where you going?
CHLOE
Home.
PHILIP
You can't go by yourself.
CHLOE
Sorry Philip. No benefits tonight.
Chloe runs into the park.
PHILIP
Chloe! Wait! Chloe, it's not safe!
Philip runs after her.
CUT
EXT: ANOTHER PART OF THE PARK: NIGHT
Miles and Kate are walking on the path toward Kate's car in the parking lot.
KATE
I don't care what anyone says. Once you are a parent, you are always a parent--no matter how old your children are.
MILES
It's true. It's also true that at some point they have to take responsibility for their own lives.
KATE
So you're not going to help your son.
MILES
I will be loving and supportive. But this time he has to climb out of the hole he dug.
KATE
What if he can't
MILES
That's up to him.
KATE
Tough love. I don't think I could do it.
MILES
I never thought I could either. But this time he didn't just hurt himself. He hurt others. I won't support that.
KATE
He's your son.
MILES
Yes he is. He is also an adult who needs to be held responsible for his actions. We bailed him out more times than I can count. Each time it was worse. I feel partially responsible.
KATE
You shouldn't.
MILES
Thanks. It's time to talk about something else.
KATE
I'm sorry.
MILES
Me too. Did you hear A Chorus Line is touring again? It'll be at the Chicago Theatre for three weeks.
KATE
I heard too late. It was sold out. Oh well. Maybe it's for the best. I saw at the Shubert Theatre many years ago. It was amazing.
MILES
I have two tickets.
KATE
Two tickets?
MILES
On Friday.
KATE
On Friday?
MILES
Main floor.
KATE
Is that an invitation?
MILES
You could say that.
KATE
(Teasing)
Oh good. Otherwise, I would have to mug you.
MILES
(Startled)
You mug me.
KATE
Don't be so shocked. Not only am I stronger than I look, but I have moves that would take down a ninja.
MILES
Oh really like what?
KATE
(Walking ahead of him)
No. No. I might hurt you. Then you couldn't take me to Chicago.
Miles catches up with her and reaches out to take her arm. Kate flips him on his back. however, he grabs her and pulls her down on top of him. She pins him to the ground. Instead of struggling, Miles smiles up at her.
CUT
EXT: ANOTHER PART OF THE PARK PATH: NIGHT
Following the path, Chloe runs away from Philip.
PHILIP
(Off camera)
Chloe wait up
Chloe rounds a curve in the path to find Kate and Miles. She stops short.
CHLOE
Kate?
KATE
It's not what it looks like.
CHLOE
What are you doing? Trying to get a date?
Kate attempts to get off of Miles. He holds her down .
MILES
(Teasing)
Okay, okay. I'll go out with you!
Philip arrives. Without thinking, he pushes past Chloe to help his mother. Chloe grabs his arm and steps into his path.
CHLOE
Calm down.
PHILIP
(Angrily)
He's hurting--
MILES
(Letting go)
Whose on top of whom?
CHLOE
Chill. It's just part of your mother's mating ritual.
KATE
(Standing)
It's not what you think.
PHILIP
I don't know what to think.
KATE
Look. I'm not hurt.
MILES
(Getting to his feet)
I'm not to sure about me. Where did you learn to do that?
PHILIP
Mother, what do you think you were doing?
KATE
If it's any of your business--having fun.
Chloe quietly slips away.
PHILIP
What would people think?
KATE
There is no reason to take that tone with me. I'm your mother not your daughter!
MILES
Why do I suddenly feel like a teenage who just brought his date home late.
PHILIP
You could have hurt her!
KATE
I'm not made of glass.
MILES
(To Kate)
You're stronger than you look.
KATE
Thanks. I take self defense classes at the gym.
MILES
(Poking her arm muscle)
Wow. I need to check that out.
KATE
Sorry women only. Do you want to get a drink?
MILES
(Looking briefly at Philip)
Love too if it's a twosome.
KATE
(To Philip)
You still here.
PHILIP
We need to talk.
KATE
Yes we do. But not now. We--not including you are going for a drink.
(Kissing his cheek)
Good night Philip. I love you. Don't follow us.
Kate takes Miles arm and walks down the path. Philip stares. Suddenly, he looks around for Chloe only to find himself alone.
CUT
INT: DIMERA MANSION ENTRANCE WAY: NIGHT
Sami opens the door and pushes the stroller inside. The twins are asleep. She closes the door. Marlena walks out of the study.
MARLENA
Sami, we were worried. How is Lucas?
SAMI
Sorry. I had to stop off and pick up a few things. Dad arranged protection.
JOHN
(Walking out, carrying one of Stefano’s scrapbooks)
Are you sure they are trust worthy?
SAMI
Of course. My father would make sure.
MARLENA
Sami!
SAMI
Sorry, John. It’s been a long day. Lucas is doing good.
JOHN
Did they say when he would be released?
SAMI
Not for a couple of days.
JOHN
Good enough. I’ve made arrangements to have the cottage opened tomorrow. Blonde, if you’ll make a list what kind of medical supplies he’ll need, I’ll have make sure they are there.
MARLENA
I’ll talk to Miles. Do you still think it’s necessary.
JOHN
They killed a cop behind the station. You tell me. Would your rather be safe than sorry?
MARLENA
Go point.
JOHN
(To Sami)
Don’t worry about hauling the rugrats’ stuff. There’ll be a complete nursery--on the opposite of the cottage. All you need is their favorite toys
MARLENA
When did you have a chance to do all that?
JOHN
While you were catnapping? Speaking of which, you’ll have to make arrangement for your furball. It’s not coming with.
SAMI
I’ll talk to Rolf. Then again maybe not. I’ll think of something tomorrow. Night.
MARLENA
Night Sami
JOHN
Sleep well.
Sami pushes the stroller down the hall.
CUT
INT: DIMERA STUDY: NIGHT
John and Marlena walk in. They have begun to separate the scrapbooks into piles according to subject. Sticky notes with information have been attached to those they have looked through. There are at least 50 more that they haven’t looked at.
JOHN
(Opening)
This were obviously taken on one of his islands. It has a women and a child.
MARLENA
I started a possibility pile over there.
JOHN
Don't thinks so. The woman and child appear to still be alive.
(Setting it aside)
I'll put it in the maybe pile anyway. Who knows maybe they knew the child that died. The first seems to be from the early to mid 80's.
MARLENA
How do you know that is when the room was boarded up?
JOHN
I found Delia.
MARLENA
I remember her. She worked for Stefano for years.
JOHN
She said that the west wing was closed off except for a small staff. It was right after Stefano came back from the dead.
MARLENA
Which time?
JOHN
I think the first.
MARLENA
Did she know why?
JOHN
Stefano made it clear that no one was to ask questions.
MARLENA
At least we know about when. To bad we know why?
(Opening another one)
Another one of Tony on the island.
(Putting it on top of a stack)
This stack is filled with pictures of him while he was on the island. I don’t know how he is going to react when he finds out.
JOHN
He’ll probably be pissed as hell. I would.
MARLENA
Maybe Tony will know. That could be why Stefano replaced him with Andre. Imagine living 20 years in little more than a shack.
JOHN
The house in those pictures isn’t a shack. It makes all this look like a ghetto.
MARLENA
(Yawning)
Really? I wonder who house it is?
JOHN
Tired?
MARLENA
Very. Aren’t you?
JOHN
I’m too wired.
MARLENA
Nothing new about that..
JOHN
Let’s not go there.
MARLENA
It was the part of you that made miracle happen. You saved me and so many others because you wouldn’t--couldn’t give up. You just instinctively knew what questions to ask and where to look.
JOHN
I’m not that man any more.
MARLENA
Just because you don’t have the memories, doesn’t mean that you aren’t the same person at the core. I’m willing to bet you that you won’t be able to sleep until you go through every one of these and organize them.
JOHN
(Sitting closely beside her)
Okay. What’s the wager?
MARLENA
I’m so sure this I will to bet anything you like.
JOHN
(Nuzzling her neck)
Anything?
MARLENA
Anything.
JOHN
(Nipping her ear)
Are you sure?
MARLENA
Definitely. Don’t you want to know what I want when I win?
JOHN
It’s not going to happen.
MARLENA
Are you sure?
JOHN
Definitely.
MARLENA
So when--
JOHN
If--
MARLENA
When I win, I can have anything I want?
JOHN
What do you want?
MARLENA
I haven’t decided.
JOHN
(Standing up)
You can pay up in the morning. I’m going to bed.
MARLENA
It won’t last.
JOHN
Want a bet?
MARLENA
We just did.
JOHN
(Walking out of the room)
Easiest bet I ever won.
Marlena picks up another scrapbook. John walks back in.
Aren’t you going to bed?
MARLENA
Not yet.
JOHN
You said you were tired.
MARLENA
I will in a little while.
JOHN
Okay. Fine. Good night.
Marlena waggles her fingers at him. He starts to mirror her but catches himself. Instead, he walks part way upstairs before coming back down
Did you reach Tony and EJ?
MARLENA
You were sitting right there when I talked to Tony.
JOHN
What about EJ?
MARLENA
You were standing over there when I left the third message to be here tomorrow morning.
JOHN
Maybe you should call again?
MARLENA
It’s late.
JOHN
Then you should go to bed.
MARLENA
I will right after I win the bet.
JOHN
Not going to happen, Blondie.
John runs up the stairs.
MARLENA
That won’t last long.
CUT
EXT: DOCKS: NIGHT
Roman and Alyssa walk along the docks on the warm late summer night.
ALYSSA
This is what you wanted to show me? The docks? How romantic.
ROMAN
You sound skeptical.
ALYSSA
It’s the docks.
ROMAN
Here yes. Follow me. Careful.
Roman leads her to the end of the dock over looking the lake. A light fog hovers over the water, obscuring the reflection of the moon. The waves gentle lap against the dock and the shore.
What do you think?
ALYSSA
It’s this just about time the insane serial killer attacks?
ROMAN
You don’t think it’s romantic?
Alyssa shakes her head.
No.
ALYSSA
Sorry.
ROMAN
Don’t be sorry. Where would you like to go?
ALYSSA
Now. Home. It’s late.
ROMAN
I see. May I at least walk you back to your car?
ALYSSA
You better.
(Tucking her arm through his)
Next time. I’ll plan the date.
ROMAN
Then there will be a next time.
ALYSSA
I hope so.
ROMAN
Me too. Is breakfast too soon?
ALYSSA
How about lunch tomorrow? I’ll pack a lunch and we can meet in the park across from city hall.
ROMAN
You cook?
ALYSSA
I was a cook for a while at a small family restaurant.
ROMAN
Were you any good?
ALYSSA
People cried when I left.
ROMAN
That’s pretty good. Do you want me to bring anything?
ALYSSA
Just you cute self.
ROMAN
That I can easily do.
CUT
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