Writing and Producing Soap Operas
Soap Opera Storylines
Soap operas storylines have a 13 week rotation schedule which is based on one primary, 2-3 secondary and multiple filler plots. Although primary storyline may contain several sub-plots, there is one central theme or question that runs through from beginning to end. Unlike movies, soaps and all continuing series have plots that are designed to over lap; it is this intertwining of stories that keeps the show running indefinitely.
Over the decades the format has become very styled and fixed; the timeline is broken in to thirds. During the first third, the primary characters are introduced and the conflict is launched. In the middle third the conflict is developed by adding sub-plots, which gives both helpful and misleading details. The final third is the resolution to the conflict. Even though the portions are listed as being in thirds, they are rarely expressed in equal lengths of time. More often than not it is the middle section that is the longest and contains the most drama.
Each storyline has five sections: beginning, mid-point, body of the story, conflict resolution and the denouement (also call the end of the end). In the beginning, characters are introduced and the conflict identified. At the mid-point a crisis develops that forces the main character to make decisions. The body of the story is where the main characters works through the conflict. The conflict resolution is just that; the characters must face the challenge with either a positive or negative result. Denouement is French for end of the end. It is the last of the story that gives a hint to what will happen in the future. Not all stories have this tail at the end, but I think it is a nice touch In soaps, the denouement, becomes the basis of the next storyline that will involve the characters. The beginning and the mid-point will usually be found in the first third. The characters are introduced and the conflict is set up. The middle third contains the mid point and most of the body of the story. This section contains the clues--both real and false, the subplots, and character development. The body contains the bulk of the story. It gives dimension to the characters and adds suspense, by heightening the drama as the characters are forced to make decisions which limit or change their options. A correctly written conflict is best describes as staircase. With each step, more information is given, but also options are limited. The conflict resolution, including the crisis moment and solution, and the denouement will be contained in the third section. However, in soaps, the end is never the end, but the beginning of another storyline.
The primary storyline is the one that is front and center. It consumes the most air time and resources of the show. However its development is very specifically controlled to maximize suspense and keep the viewers coming back. Usually the primary story airs on Mondays, Wednesdays and Fridays. Fridays used to be the cliffhanger day that left the viewer hanging, insuring they that they would be back on Monday. The first part of Monday was to resolve the tense moment from the week before, while the second half started the story moving forward. Wednesdays are also hump days for storylines. They are designed to keep the plot moving forward and set up the viewer for the cliffhanger on Friday.
Secondary storylines air on Tuesdays and Thursdays. Although there may be two or three, one will be favored and will become the next primary storyline once the current one is resolved. Usually at the mid point which is about week seven, one of the secondary stories will be accelerated. However, it’s own clock will not started until it takes center stage.
Filler stories are plots that have just begun to form or scenes that are character building. They are unstructured and can be placed any where time needs to be filled or a character needs to be developed. Although they may seem like fluff, in reality they are a very important parts of the soap structure.
Scripts
Soaps, like all scripts written for commercial television, have four different versions: creative, working, shooting and post production.
The creative script is very much like a stage play. It contains the dialogue, some stage direction, and the scene transitions. But very little else. It is the starting point and ending reference point for every episode.
The working script is more detailed. The page is divided into two columns; one for the audio or what the audience will hear, the other half contains what they will see. The audio describes what audience will hear--dialogue, music, special effects, etc. The video half explains what is happening on the screen. It has all the blocking of the actors and the props. It is the equivalent of the storyboard in movies.
Shooting scripts are used primarily by the directors and techs; however, the cast also finds the information useful. . This script list the specific shots for each camera and in what order the cameras will be used as well as what the camera need to focus on. The director along with the audio tech, stage manager and camera operators will organize the shots and the lighting after watching the rehearsal. Although the director preside over the set, the cast does have input into the blocking and their characters portrayal. Television is not only a team sport, but it is also an interdependent activity. In spite of the egos, the cast and crew do need to work together in order to create a quality product.
Both the working and shooting scripts are organized for convenient and efficient production. All scenes that use one set will be shot together and edited to be in their proper order. These scripts are also the time keepers for the episode. During rehearsal the scenes are timed in order to keep the proper flow and to keep the episode within the broadcast time limits.
Post Production is where the individual shots are edited together into a complete scene. Music, special effects and credits are added. The scenes are then edited together into a complete package that will fit into the broadcast format for time and commercial breaks.
Broadcast Standards for Hour TV Shows
Even though a show technically fills an hour, the show itself is not an hour long. Commercials take up from six to eight minutes of air time in order to make a profit.
Not only does the FCC still regulate the amount of advertising that can be shown in entertainment shows, but they also have standards that the stations must comply with.
Stations are legally required to identify themselves at the top and bottom of the hour; however, they have a two minutes margin on either side in order to meet the standard. The identification must include the station’s call letters and location. During sweeps weeks, most stations also identify themselves at the quarter hour in order to insure their station receives the proper credit for the viewers.
The amount of advertising breaks in a show depends on the target audience. Children’s programming is more restrictive; not only is the advertising time shorter, but there has to be a very clear separation between programming and ad. Advertising for adults or general audience programming is not as restrictive, but the time is also limited to 6 minutes during the half hour plus the 1 1/2 minutes between, which leave only 22 minutes for actual show time.
In soaps, there are breaks at the top, bottom, and around the quarter hour. In addition there is also a floating break. At the bottom of the hour there are is actually closer to a three minute break which is split between the network and the local station. It is the reason for the five second bumper that states the show will be continuing. The second half hour continues with the same format of three breaks during and the one at the end.
Soaps are a for profit business. However, each time they break away for advertising, they risk loosing their audience, which is why the pace and flow are so important when it comes to the writing, directing and editing. It is the reason why scenes are cut at climatic moments for commercials and why a well written show ends with a cliffhanger. If you keep the view hungry for more, they will keep coming back to the table.
Showing posts with label head writer. Show all posts
Showing posts with label head writer. Show all posts
Sunday, October 05, 2008
Monday, May 12, 2008
If I was the Head Writer on Day of Our Lives--Part Seven
INT: TONY’S BEDROOM: NIGHT
Tony is asleep in bed. He is restless. In his dream, he awakes to see the shadow of a woman standing at the foot of his bed.
TONY
I know you.
Although her features are hide by shadows, she is petite and seemly fragile. Her dark hair is piled high on her head.
WOMAN
(With a southern accent)
Yes. You do Tony. Where is Stephano?
TONY
I thought you were dead.
WOMAN
I am now. But I lived for a long time after everyone gave up on me. Is he still alive?
TONY
Yes and no. Why did you do it?
WOMAN
I didn’t. Stephano took my life from me.
TONY
I thought you--
WOMAN
He locked me alone in a room and left me to wither until death freed me. He took my life and everything I held dear to my heart.
TONY
If you a looking for justice, you’re too late. He’s locked a coma. He might have locked you in a room, but he is locked in his body. He knows nothing. Sees nothing.
WOMAN
Where?
TONY
In a hospital, not far from here.
The woman turns to leave.
Wait! I don’t understand. If you didn’t die, does that mean--
WOMAN
Good bye Tony. True love never dies when you don’t stop looking.
TONY
Don’t leave. You have to tell me.
The woman fades into the shadows. Tony suddenly awakes; tear stream down his cheeks.
INT: EJ BEDROOM: NIGHT
The bedroom is dark except for the moonlight filtering in through the curtains. It casts a beam across the bed and onto the Stephano's portrait on the opposite wall. EJ is peacefully asleep in bed. The woman's shadowy figure walks out of the darkness. She steps into the moonlight, yet only the knife in her hand casts a shadow.
CUT
INT: DIMERA STUDY: NIGHT
Sami has fallen asleep on the couch while reading college information booklets. The baby monitor is beside her.
CUT
INT: DIMERA ENTRANCE WAY: NIGHT
Marlena and John walk in the front door. John nuzzles her neck from behind and closes the door. She spins around and lightly brushes her lips against his cheek.
MARLENA
I had a good time tonight.
JOHN
(Pulling her closer)
It doesn't have to be over.
MARLENA
(She doesn't pull away)
I have an early day tomorrow.
JOHN
Wanna neck?
MARLENA
Neck? At our age? That's for teenagers.
JOHN
You're a teenager to me.
MARLENA
As tempting as that is...
He kisses her and she responds.
JOHN
You were saying.
MARLENA
I can't remember--Right. I have to go to bed.
JOHN
Wonderful idea.
MARLENA
No.
JOHN
If it's not a wonderful idea, why do it?
MARLENA
It is a good idea. To sleep.
JOHN
I have a better idea.
MARLENA
I bet you do.
JOHN
My couch.
MARLENA
Your couch.
JOHN
It's very comfortable. I could fix you a drink. Massage your--
MARLENA
A drink? That's the best you can do?
JOHN
(Leading her to the study)
You haven't seen the best that I can do--yet.
MARLENA
(Seeing Sami)
We seem to have company.
CUT
INT: EJ'S BEDROOM: NIGHT
The woman stands at the foot of EJ bed, torn between staring at EJ and Stephano's portrait. She walks to stand in front of it. Angrily, she lashed out out with the knife, slashing the portrait and knocking it off the wall. The noise wakes EJ. He sits up in bed.
EJ
Sami?
The woman retreats into the shadows and disappears. EJ turns on the light and jumps out of bed to examine the damaged portrait. The knife lies on the floor. Angrily, he picks it up and walks toward the door.
CUT
INT: DIMERA STUDY: NIGHT
John and Marlena lean over the back of the couch, watching Sami sleep.
MARLENA
Best laid plans--
JOHN
That was the plan.
MARLENA
John!
JOHN
Didn't she say something about staying on the other side of the house?
(Taping Sami's shoulder)
Hey. Little Blondie. Wake up.
MARLENA
Careful. You don't want to scare her.
JOHN
Yes. I do. Hey!
Startled, Sami suddenly wakes. Grabbing for the monitor, she slips and awkwardly rolls on to the floor.
I though you were going to stay on the other side of the house.
SAMI
Huh? The twins.
MARLENA
They're fine.
SAMI
What planet is this?
JOHN
Mars in Venus.
MARLENA
John!
JOHN
Okay. Venus in Mars.
SAMI
I fell asleep.
JOHN
Obviously.
SAMI
I don't have an internet connection yet. So I used your to download some college information.
EJ
(Off screen screaming)
Samantha!
JOHN
Don't you have to finish high school first?
SAMI
Now what does he want?
(Going to the door)
EJ, I'm in here. I have to apply early if I want to get in.
EJ comes running downstairs, carrying the knife.
What are you doing with that?
EJ
Like you don’t know!
MARLENA
EJ, what are you doing with that knife?
EJ
Ask Samanatha. She brought it to my room.
SAMI
I did not!
EJ
I saw you. You destroyed my father’s portrait.
SAMI
I didn’t.
EJ
I saw you!
SAMI
But I didn’t!
EJ
Just now.
(Throwing the knife at Sami’s feet)
If it hadn’t fallen and woke me up, were you going use it on me next?
JOHN
Just now?
EJ
Yes. I followed her out of my room.
MARLENA
It couldn’t have been Sami. She was alseep on the couch when we got home.
EJ
She must have ran down before you came in.
JOHN
No. We watched her sleep on my couch.
SAMI
You watched me sleep. How creepy is that?
JOHN
You drool.
SAMI
I do not!
MARLENA
Sami, yes you do.
JOHN
(Picking up the knife)
Maybe it was the evil spirit.
SAMI
More like EJ making up something else to blame on me.
JOHN
As entertaining as your drama is, say good night and go away. Marlena and I have plans for this couch.
SAMI
Eww. I really don’t need that image in my head.
MARLENA
How do you think you got here?
SAMI
I know. But it’s not something anyone wants to think about.
MARLENA
That’s childish.
SAMI
Oh, yea. Just image your parents doing what you were just thinking about.
JOHN
I never knew my father.
MARLENA
That wasn’t very nice. I’m going to bed.
JOHN
Marlena?
MARLENA
Night John.
Marlena goes upstair.
JOHN
Thanks a lot.
SAMI
I’d better check on the twins.
JOHN
You couldn’t have had thought of it sooner?
EJ
(Grabbing Sami’s arm)
I know it was you.
JOHN
Let her go Junior.
Sami pulls away and follows Marlena up the stairs.
I don’t know what you think you saw. But it couldn’t have been Sami. Marlena and I had been home a few minutes before we found her sleeping on the couch.
EJ
I saw her.
JOHN
Sleep walk much.
EJ
(Walking out)
I thought you were the house zombie.
JOHN
Not any more.
CUT
INT: BO AND HOPE’S LIVING ROOM: EARLY MORNING
Bo runs downstairs, buttoning his shirt and carrying his socks.
BO
I can’t believe we forgot to set the alarm.
HOPE
(Off screen)
We are so late. Did you call the sitter? Maybe she can pick up Ciara at the station.
BO
Not yet.
(Flips open his phone. The doorbell rings)
Now what?
He opens the door. Doug and Julie stand outside
DOUG AND JULIE
Surprise!
BO
Doug? Julie?
HOPE
(Coming downstairs carrying Ciara)
Is that the door?
DOUG
Where’s my little princess?
HOPE
Daddy? Julie? What a wonderful surprise!
JULIE
We couldn’t wait to bring over the gifts and share our news.
HOPE
News. What news?
BO
I’ll call the sitter on the way in. It’s good to see you. But I’m real late. We over slept.
DOUG
Wait. This will just take a second.
JULIE
Maggie asked Doug-
DOUG
With a little arm twisting from you.
JULIE
You loved it.
HOPE
What?
JULIE
Maggie asked Doug to sing at Chez Rouge.
DOUG
When we’re in town.
BO
That’s great! I hate to run.
(Kisses Ciara and Hope)
I’ll see you at the station.
(To Doug and Julie)
Let have dinner tonight.
DOUG
Tonight at Chez Rouge for my premiere performance.
BO
Deal. See you later Fancy Face. I’ll let Abe know you’ll be late.
Bo leaves.
HOPE
That’s great Daddy. I look forward to it. But now this little one has to go to the sitter and I have to get to work.
JULIE
We’ll take care of her. That way she can open her presents.
HOPE
You’re spoiling her.
DOUG
Spoil brings up such nasty images. I prefer overly indulged.
HOPE
Keep it up and you’ll take all the fun out of exploring the world herself. She has something from almost every corner of the world.
DOUG
Not yet. But we’re working on it.
HOPE
Only one for now.
JULIE
Party pooper.
DOUG
I understand. We’ll save the rest for later.
JULIE
Aren’t you running late?
HOPE
Are you sure? She’s been fussy.
JULIE
(Taking Ciara)
Sure. Of course. Love you. Now go away so we can start the over indulging.
HOPE
Julie.
DOUG
(Leading Hope to the door)
I love you.
HOPE
I love you too. Bye-bye sweetie. I love you.
JULIE
Have a good day at work.
HOPE
Call me if you change your mind.
DOUG
(Opening the door)
Be safe. See you later.
(He kisses her cheek and gentle pushes her out)
Better hurry. But be safe.
HOPE
Daddy?
Doug closes the door.
DOUG
On to the gifts.
HOPE
(From the other side of the door)
I heard that.
CUT
INT: KIRIAKIS DINING ROOM: MORNING
Philip is the first one to enter the room. He pours himself a cup of coffee. Henderson brings in the morning paper.
PHILIP
Good morning. I just want coffee.
HENDERSON
(Offering him the paper)
There is something you might find interesting on the front page.
PHILIP
I’ll read it later.
HENDERSON
I think you knew him.
Henderson Open the paper to the front page and holding it out to Philip. The headline reads, “Iraq Vet Dies in Suspicious Car Accident”
PHILIP
(Taking the paper)
Jamie. Jamie Merkle. We graduated high school together.
VICTOR
(Walking in)
Henderson. Coffee please. Who?
PHILIP
Jamie Merkle.
VICTOR
His father and I kept in touch after the two of you finished basic. He contacted his parents more often. Isn’t he back?
PHILIP
He was killed in a car accident yesterday.
VICTOR
That’s too bad. He was a good kid.
PHILIP
The accident is listed as suspicious. It doesn’t give many details.
VICTOR
I’ll have to call his father. It got to be hard on him. To just get him back only to loose him so quickly.
PHILIP
(Giving the paper to Victor)
There has to more to it.
VICTOR
Let me know what you find out.
PHILIP
Who said I was going to investiage?
VICTOR
You’re my son. And I wouldn’t let questions go unanswered.
PHILIP
I’ll stop in at the police station on the way in. See if they know more.
CUT
INT: PRISON CONFERENCE ROOM: MID MORNING
Mickey is pulling legal briefs out of his brief case, while he waits for Lucas. He also pulls out a ziplock baggie of Alice’s donuts. The door on the opposite room opens. Lucas walks in followed by a guard.
LUCAS
Mickey, I didn’t expect to see you. Is there something wrong?
MICKEY
No. There is something right.
LUCAS
Is Sami and the twins okay?
GUARD
You’ve got 15 minutes.
MICKEY
I’m this man’s lawyer. We’ll take as long as we need. If you have a problem with that check with the warden.
The guard stands his ground.
This is a private conversation between client and his attorney. If you don’t want me to make an official compliant, you close the door behind you.
The guard leaves.
LUCAS
Mickey, don’t piss him off. He’s not exactly the forgiving kind.
MICKEY
It no longer matter what he likes or doesn’t like.
LUCAS
I have to live here.
MICKEY
Not after noon today. I talked to the Govenor. Your sentence has been commuted.
LUCAS
What?
MICKEY
You’ve been pardoned.
LUCAS
What about Sami and the twins. Stephano will--
MICKEY
Stephano isn’t in the position to hurt anyone.
LUCAS
But that doesn’t mean that his goons won’t take revenge.
MICKEY
That’ s not going to happen.
LUCAS
You don’t understand. I plead guilty to protect my family.
MICKEY
I know. I talked to Will.
LUCAS
You keep him out of this.
MICKEY
He will be. Only the three of us know.
LUCAS
If EJ ever found out.
MICKEY
He won’t. Trust me. That’s why I fought for the pardon.
LUCAS
Does Sami know?
MICKEY
Roman is going to tell her this morning. She’s living with John and Marlena at the DiMera mansion.
LUCAS
John’s dead.
MICKEY
You have a little catching up to do.
CUT
INT: DIMERA STUDY: MID MORNING
John is working at his computer. The doorbell rings.
JOHN
Rolf!
ROLF
(Off camera)
I’ll get it
CUT
INT: DIMERA ENTRANCE WAY: MID MORNING
Rolf opens the door. Roman is on the other side.
ROMAN
Shouldn’t you be in jail?
JOHN
(Walking in)
I needed a butler. What’s up?
ROMAN
I have some good news for Sami.
JOHN
Rolf, go get her.
ROLF
She’s in those rooms.
JOHN
Suck it up and go tell her she has a guest.
ROLF
Very well.
Rolf reluctantly walks up the stairs
JOHN
Coffee/
ROMAN
Sure.
They walk toward the study.
CUT
INT: DIMERA STUDY: MID MORNING
Roman pours himself a cup of coffee.
ROMAN
I’m having a hard time getting use to you living here.
JOHN
I’m not have any problems. I like it.
ROMAN
I can see that. John, about the docks.
JOHN
Oh goody. Another person giving me unwelcome business advice.
ROMAN
Just be careful. You still mean a whole lot too many people. Including me. We don’t want to see you get hurt.
JOHN
Now is that the old me or the new me?
ROMAN
I just see the one man.
JOHN
Little Blondie has been sharing some of my past with me. If I was in your place, I wouldn’t have been so forgiving.
ROMAN
I don’t know why she did that, but that was a long time ago.
JOHN
I can be very persuasive.
SAMI
(Walking into the room)
Dad, what a surprise.
ROMAN
I have a better one. Lucas is being released at noon today.
SAMI
He is? How?
ROMAN
The governor pardened him. You don’t look happy.
SAMI
I am. I’m just surprised.
ROMAN
Mickey drove out to pick him up. You should see him in a few hours.
SAMI
I had to give up our apartment.
ROMAN
We’ll work something out.
SAMI
John said the twins and I could stay here.
JOHN
Don’t look at me. I let you keep the cat.
SAMI
John, Ali needs to be with her father.
JOHN
What am I running here a Christian Charity?
ROMAN
Well, you were a priest.
JOHN
(With sexual untones)
Thank God I forgot that.
SAMI
John, I still don’t need that image in my head.
ROMAN
Have you changed the way you feel about Lucas?
SAMI
I love him with my whole heart.
ROMAN
Then what is it? Haven’t you forgiven him?
SAMI
I want to. He lied to me.
ROMAN
After all the times to you, lied--
JOHN
Maybe she is having a hard time forgiving, because everyone keeps throwing her past into her face. It’s hard to forgive others if you never have been forgiven.
ROMAN
Are you saying that Marlena and I were bad parents?
SAMI
They were terrific parents.
ROMAN
John, are you saying that was a bad father.
SAMI
It was me. I was bad seed.
ROMAN
Is that how you really feel?
SAMI
I’ll never be able to make up for what I did.
JOHN
Let’s make this simple. I forgive you. And since you brought up the priest thing--I also absolve you.
ROMAN
Your mother and I have always loved you.
SAMI
You just didn’t like me much.
JOHN
So which husband do you want to live with?
SAMI
I never stopped loving Lucas.
JOHN
What about EJ?
SAMI
What about him? Once the immigration thing is over, so is the marriage. The only reason I haven’t divorced him already is that I didn’t want to keep him away from Johnny like I did to Will and Lucas.
EJ
(Walking down the stairs)
Technically darling, I still have legal custody of Johnny.
SAMI
What are you saying?
EJ
He’s my son.
SAMI
I’m his mother.
EJ
I don’t want Lucas living under the same roof as us.
ROMAN
You have nothing to say about it.
EJ
On the contrary. It is you who has nothing to say.
JOHN
Remember me. The homeowner. On whose good graces, you have food and shelter.
EJ
Like you would let me forget.
JOHN
Good. Now that we have an understanding. John’s House of vagabonds and stragglers can find room for one more.
SAMI
John, thank you.
ROMAN
To answer your question. The old and the new are more a like than you think.
JOHN
No reason to be rude.
EJ
I have to go to work.
EJ leaves, slamming the door behind him.
JOHN
I’m going have to talk to my nephew about his manors.
CUT
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Tony is asleep in bed. He is restless. In his dream, he awakes to see the shadow of a woman standing at the foot of his bed.
TONY
I know you.
Although her features are hide by shadows, she is petite and seemly fragile. Her dark hair is piled high on her head.
WOMAN
(With a southern accent)
Yes. You do Tony. Where is Stephano?
TONY
I thought you were dead.
WOMAN
I am now. But I lived for a long time after everyone gave up on me. Is he still alive?
TONY
Yes and no. Why did you do it?
WOMAN
I didn’t. Stephano took my life from me.
TONY
I thought you--
WOMAN
He locked me alone in a room and left me to wither until death freed me. He took my life and everything I held dear to my heart.
TONY
If you a looking for justice, you’re too late. He’s locked a coma. He might have locked you in a room, but he is locked in his body. He knows nothing. Sees nothing.
WOMAN
Where?
TONY
In a hospital, not far from here.
The woman turns to leave.
Wait! I don’t understand. If you didn’t die, does that mean--
WOMAN
Good bye Tony. True love never dies when you don’t stop looking.
TONY
Don’t leave. You have to tell me.
The woman fades into the shadows. Tony suddenly awakes; tear stream down his cheeks.
INT: EJ BEDROOM: NIGHT
The bedroom is dark except for the moonlight filtering in through the curtains. It casts a beam across the bed and onto the Stephano's portrait on the opposite wall. EJ is peacefully asleep in bed. The woman's shadowy figure walks out of the darkness. She steps into the moonlight, yet only the knife in her hand casts a shadow.
CUT
INT: DIMERA STUDY: NIGHT
Sami has fallen asleep on the couch while reading college information booklets. The baby monitor is beside her.
CUT
INT: DIMERA ENTRANCE WAY: NIGHT
Marlena and John walk in the front door. John nuzzles her neck from behind and closes the door. She spins around and lightly brushes her lips against his cheek.
MARLENA
I had a good time tonight.
JOHN
(Pulling her closer)
It doesn't have to be over.
MARLENA
(She doesn't pull away)
I have an early day tomorrow.
JOHN
Wanna neck?
MARLENA
Neck? At our age? That's for teenagers.
JOHN
You're a teenager to me.
MARLENA
As tempting as that is...
He kisses her and she responds.
JOHN
You were saying.
MARLENA
I can't remember--Right. I have to go to bed.
JOHN
Wonderful idea.
MARLENA
No.
JOHN
If it's not a wonderful idea, why do it?
MARLENA
It is a good idea. To sleep.
JOHN
I have a better idea.
MARLENA
I bet you do.
JOHN
My couch.
MARLENA
Your couch.
JOHN
It's very comfortable. I could fix you a drink. Massage your--
MARLENA
A drink? That's the best you can do?
JOHN
(Leading her to the study)
You haven't seen the best that I can do--yet.
MARLENA
(Seeing Sami)
We seem to have company.
CUT
INT: EJ'S BEDROOM: NIGHT
The woman stands at the foot of EJ bed, torn between staring at EJ and Stephano's portrait. She walks to stand in front of it. Angrily, she lashed out out with the knife, slashing the portrait and knocking it off the wall. The noise wakes EJ. He sits up in bed.
EJ
Sami?
The woman retreats into the shadows and disappears. EJ turns on the light and jumps out of bed to examine the damaged portrait. The knife lies on the floor. Angrily, he picks it up and walks toward the door.
CUT
INT: DIMERA STUDY: NIGHT
John and Marlena lean over the back of the couch, watching Sami sleep.
MARLENA
Best laid plans--
JOHN
That was the plan.
MARLENA
John!
JOHN
Didn't she say something about staying on the other side of the house?
(Taping Sami's shoulder)
Hey. Little Blondie. Wake up.
MARLENA
Careful. You don't want to scare her.
JOHN
Yes. I do. Hey!
Startled, Sami suddenly wakes. Grabbing for the monitor, she slips and awkwardly rolls on to the floor.
I though you were going to stay on the other side of the house.
SAMI
Huh? The twins.
MARLENA
They're fine.
SAMI
What planet is this?
JOHN
Mars in Venus.
MARLENA
John!
JOHN
Okay. Venus in Mars.
SAMI
I fell asleep.
JOHN
Obviously.
SAMI
I don't have an internet connection yet. So I used your to download some college information.
EJ
(Off screen screaming)
Samantha!
JOHN
Don't you have to finish high school first?
SAMI
Now what does he want?
(Going to the door)
EJ, I'm in here. I have to apply early if I want to get in.
EJ comes running downstairs, carrying the knife.
What are you doing with that?
EJ
Like you don’t know!
MARLENA
EJ, what are you doing with that knife?
EJ
Ask Samanatha. She brought it to my room.
SAMI
I did not!
EJ
I saw you. You destroyed my father’s portrait.
SAMI
I didn’t.
EJ
I saw you!
SAMI
But I didn’t!
EJ
Just now.
(Throwing the knife at Sami’s feet)
If it hadn’t fallen and woke me up, were you going use it on me next?
JOHN
Just now?
EJ
Yes. I followed her out of my room.
MARLENA
It couldn’t have been Sami. She was alseep on the couch when we got home.
EJ
She must have ran down before you came in.
JOHN
No. We watched her sleep on my couch.
SAMI
You watched me sleep. How creepy is that?
JOHN
You drool.
SAMI
I do not!
MARLENA
Sami, yes you do.
JOHN
(Picking up the knife)
Maybe it was the evil spirit.
SAMI
More like EJ making up something else to blame on me.
JOHN
As entertaining as your drama is, say good night and go away. Marlena and I have plans for this couch.
SAMI
Eww. I really don’t need that image in my head.
MARLENA
How do you think you got here?
SAMI
I know. But it’s not something anyone wants to think about.
MARLENA
That’s childish.
SAMI
Oh, yea. Just image your parents doing what you were just thinking about.
JOHN
I never knew my father.
MARLENA
That wasn’t very nice. I’m going to bed.
JOHN
Marlena?
MARLENA
Night John.
Marlena goes upstair.
JOHN
Thanks a lot.
SAMI
I’d better check on the twins.
JOHN
You couldn’t have had thought of it sooner?
EJ
(Grabbing Sami’s arm)
I know it was you.
JOHN
Let her go Junior.
Sami pulls away and follows Marlena up the stairs.
I don’t know what you think you saw. But it couldn’t have been Sami. Marlena and I had been home a few minutes before we found her sleeping on the couch.
EJ
I saw her.
JOHN
Sleep walk much.
EJ
(Walking out)
I thought you were the house zombie.
JOHN
Not any more.
CUT
INT: BO AND HOPE’S LIVING ROOM: EARLY MORNING
Bo runs downstairs, buttoning his shirt and carrying his socks.
BO
I can’t believe we forgot to set the alarm.
HOPE
(Off screen)
We are so late. Did you call the sitter? Maybe she can pick up Ciara at the station.
BO
Not yet.
(Flips open his phone. The doorbell rings)
Now what?
He opens the door. Doug and Julie stand outside
DOUG AND JULIE
Surprise!
BO
Doug? Julie?
HOPE
(Coming downstairs carrying Ciara)
Is that the door?
DOUG
Where’s my little princess?
HOPE
Daddy? Julie? What a wonderful surprise!
JULIE
We couldn’t wait to bring over the gifts and share our news.
HOPE
News. What news?
BO
I’ll call the sitter on the way in. It’s good to see you. But I’m real late. We over slept.
DOUG
Wait. This will just take a second.
JULIE
Maggie asked Doug-
DOUG
With a little arm twisting from you.
JULIE
You loved it.
HOPE
What?
JULIE
Maggie asked Doug to sing at Chez Rouge.
DOUG
When we’re in town.
BO
That’s great! I hate to run.
(Kisses Ciara and Hope)
I’ll see you at the station.
(To Doug and Julie)
Let have dinner tonight.
DOUG
Tonight at Chez Rouge for my premiere performance.
BO
Deal. See you later Fancy Face. I’ll let Abe know you’ll be late.
Bo leaves.
HOPE
That’s great Daddy. I look forward to it. But now this little one has to go to the sitter and I have to get to work.
JULIE
We’ll take care of her. That way she can open her presents.
HOPE
You’re spoiling her.
DOUG
Spoil brings up such nasty images. I prefer overly indulged.
HOPE
Keep it up and you’ll take all the fun out of exploring the world herself. She has something from almost every corner of the world.
DOUG
Not yet. But we’re working on it.
HOPE
Only one for now.
JULIE
Party pooper.
DOUG
I understand. We’ll save the rest for later.
JULIE
Aren’t you running late?
HOPE
Are you sure? She’s been fussy.
JULIE
(Taking Ciara)
Sure. Of course. Love you. Now go away so we can start the over indulging.
HOPE
Julie.
DOUG
(Leading Hope to the door)
I love you.
HOPE
I love you too. Bye-bye sweetie. I love you.
JULIE
Have a good day at work.
HOPE
Call me if you change your mind.
DOUG
(Opening the door)
Be safe. See you later.
(He kisses her cheek and gentle pushes her out)
Better hurry. But be safe.
HOPE
Daddy?
Doug closes the door.
DOUG
On to the gifts.
HOPE
(From the other side of the door)
I heard that.
CUT
INT: KIRIAKIS DINING ROOM: MORNING
Philip is the first one to enter the room. He pours himself a cup of coffee. Henderson brings in the morning paper.
PHILIP
Good morning. I just want coffee.
HENDERSON
(Offering him the paper)
There is something you might find interesting on the front page.
PHILIP
I’ll read it later.
HENDERSON
I think you knew him.
Henderson Open the paper to the front page and holding it out to Philip. The headline reads, “Iraq Vet Dies in Suspicious Car Accident”
PHILIP
(Taking the paper)
Jamie. Jamie Merkle. We graduated high school together.
VICTOR
(Walking in)
Henderson. Coffee please. Who?
PHILIP
Jamie Merkle.
VICTOR
His father and I kept in touch after the two of you finished basic. He contacted his parents more often. Isn’t he back?
PHILIP
He was killed in a car accident yesterday.
VICTOR
That’s too bad. He was a good kid.
PHILIP
The accident is listed as suspicious. It doesn’t give many details.
VICTOR
I’ll have to call his father. It got to be hard on him. To just get him back only to loose him so quickly.
PHILIP
(Giving the paper to Victor)
There has to more to it.
VICTOR
Let me know what you find out.
PHILIP
Who said I was going to investiage?
VICTOR
You’re my son. And I wouldn’t let questions go unanswered.
PHILIP
I’ll stop in at the police station on the way in. See if they know more.
CUT
INT: PRISON CONFERENCE ROOM: MID MORNING
Mickey is pulling legal briefs out of his brief case, while he waits for Lucas. He also pulls out a ziplock baggie of Alice’s donuts. The door on the opposite room opens. Lucas walks in followed by a guard.
LUCAS
Mickey, I didn’t expect to see you. Is there something wrong?
MICKEY
No. There is something right.
LUCAS
Is Sami and the twins okay?
GUARD
You’ve got 15 minutes.
MICKEY
I’m this man’s lawyer. We’ll take as long as we need. If you have a problem with that check with the warden.
The guard stands his ground.
This is a private conversation between client and his attorney. If you don’t want me to make an official compliant, you close the door behind you.
The guard leaves.
LUCAS
Mickey, don’t piss him off. He’s not exactly the forgiving kind.
MICKEY
It no longer matter what he likes or doesn’t like.
LUCAS
I have to live here.
MICKEY
Not after noon today. I talked to the Govenor. Your sentence has been commuted.
LUCAS
What?
MICKEY
You’ve been pardoned.
LUCAS
What about Sami and the twins. Stephano will--
MICKEY
Stephano isn’t in the position to hurt anyone.
LUCAS
But that doesn’t mean that his goons won’t take revenge.
MICKEY
That’ s not going to happen.
LUCAS
You don’t understand. I plead guilty to protect my family.
MICKEY
I know. I talked to Will.
LUCAS
You keep him out of this.
MICKEY
He will be. Only the three of us know.
LUCAS
If EJ ever found out.
MICKEY
He won’t. Trust me. That’s why I fought for the pardon.
LUCAS
Does Sami know?
MICKEY
Roman is going to tell her this morning. She’s living with John and Marlena at the DiMera mansion.
LUCAS
John’s dead.
MICKEY
You have a little catching up to do.
CUT
INT: DIMERA STUDY: MID MORNING
John is working at his computer. The doorbell rings.
JOHN
Rolf!
ROLF
(Off camera)
I’ll get it
CUT
INT: DIMERA ENTRANCE WAY: MID MORNING
Rolf opens the door. Roman is on the other side.
ROMAN
Shouldn’t you be in jail?
JOHN
(Walking in)
I needed a butler. What’s up?
ROMAN
I have some good news for Sami.
JOHN
Rolf, go get her.
ROLF
She’s in those rooms.
JOHN
Suck it up and go tell her she has a guest.
ROLF
Very well.
Rolf reluctantly walks up the stairs
JOHN
Coffee/
ROMAN
Sure.
They walk toward the study.
CUT
INT: DIMERA STUDY: MID MORNING
Roman pours himself a cup of coffee.
ROMAN
I’m having a hard time getting use to you living here.
JOHN
I’m not have any problems. I like it.
ROMAN
I can see that. John, about the docks.
JOHN
Oh goody. Another person giving me unwelcome business advice.
ROMAN
Just be careful. You still mean a whole lot too many people. Including me. We don’t want to see you get hurt.
JOHN
Now is that the old me or the new me?
ROMAN
I just see the one man.
JOHN
Little Blondie has been sharing some of my past with me. If I was in your place, I wouldn’t have been so forgiving.
ROMAN
I don’t know why she did that, but that was a long time ago.
JOHN
I can be very persuasive.
SAMI
(Walking into the room)
Dad, what a surprise.
ROMAN
I have a better one. Lucas is being released at noon today.
SAMI
He is? How?
ROMAN
The governor pardened him. You don’t look happy.
SAMI
I am. I’m just surprised.
ROMAN
Mickey drove out to pick him up. You should see him in a few hours.
SAMI
I had to give up our apartment.
ROMAN
We’ll work something out.
SAMI
John said the twins and I could stay here.
JOHN
Don’t look at me. I let you keep the cat.
SAMI
John, Ali needs to be with her father.
JOHN
What am I running here a Christian Charity?
ROMAN
Well, you were a priest.
JOHN
(With sexual untones)
Thank God I forgot that.
SAMI
John, I still don’t need that image in my head.
ROMAN
Have you changed the way you feel about Lucas?
SAMI
I love him with my whole heart.
ROMAN
Then what is it? Haven’t you forgiven him?
SAMI
I want to. He lied to me.
ROMAN
After all the times to you, lied--
JOHN
Maybe she is having a hard time forgiving, because everyone keeps throwing her past into her face. It’s hard to forgive others if you never have been forgiven.
ROMAN
Are you saying that Marlena and I were bad parents?
SAMI
They were terrific parents.
ROMAN
John, are you saying that was a bad father.
SAMI
It was me. I was bad seed.
ROMAN
Is that how you really feel?
SAMI
I’ll never be able to make up for what I did.
JOHN
Let’s make this simple. I forgive you. And since you brought up the priest thing--I also absolve you.
ROMAN
Your mother and I have always loved you.
SAMI
You just didn’t like me much.
JOHN
So which husband do you want to live with?
SAMI
I never stopped loving Lucas.
JOHN
What about EJ?
SAMI
What about him? Once the immigration thing is over, so is the marriage. The only reason I haven’t divorced him already is that I didn’t want to keep him away from Johnny like I did to Will and Lucas.
EJ
(Walking down the stairs)
Technically darling, I still have legal custody of Johnny.
SAMI
What are you saying?
EJ
He’s my son.
SAMI
I’m his mother.
EJ
I don’t want Lucas living under the same roof as us.
ROMAN
You have nothing to say about it.
EJ
On the contrary. It is you who has nothing to say.
JOHN
Remember me. The homeowner. On whose good graces, you have food and shelter.
EJ
Like you would let me forget.
JOHN
Good. Now that we have an understanding. John’s House of vagabonds and stragglers can find room for one more.
SAMI
John, thank you.
ROMAN
To answer your question. The old and the new are more a like than you think.
JOHN
No reason to be rude.
EJ
I have to go to work.
EJ leaves, slamming the door behind him.
JOHN
I’m going have to talk to my nephew about his manors.
CUT
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